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

1-1-1936 Volume 54, Number 01 (January 1936) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 54, Number 01 (January 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/840

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S©5 MSfie-'S&E®«' Your reward for securing three subscriptions. JANUARY, 1936 THE ETUDE i Editor Copyright, 1[ JAMES FRANCIS COOKE Theodore Pres for U. S. A. a THE ETUDE Associate Editor Forging Ahead Through Work EDWARD ELLSWORTH Published Monthly HIPSHER By THEODORE PRESSER CO. Music Magazine 1712 Chestnut Street Fighting Atavism with Activity A MONTHLY JOURNAL FOR TEACHERS, STUDENTS AND ALL LOVERS OF MUSIC PHILADELPHIA, PENNA. Vol. LIV No. 1 • JANUARY, 1936 WITH the clangor of the New Year’s bells in our common and tragic of all human errors. A very superficial ears and the clangor of New Year’s resolutions in study of the laws of heredity reveals that even with the our hearts, it is wise to make a survey of those best of families there must be an unceasing effort to keep things which contribute to our progress or to our up and keep going ahead—else the demon of atavism may The World of Music retrogression. consume the very best of previous efforts. High ideals and Whether we like it or not, one of the most human of all incessant labor are our only solution. The De Lesseps tendencies is to slip backward, rather than to forge ahead. Company sank hundreds of millions of dollars into their Interesting and Important Items Gleaned in a Constant Watch on The biologists dub it “atavism”— effort to build a canal at Pan¬ Happenings and Activities Pertaining to Things Musical Everywhere that powerful pull to revert to ama; but, only a few decades type, to go back to some coarser after their cessation of effort, all or less desirable ancestor. of their operations were devoured THE THREE HUN¬ AMERICAN COMPOSERS furnished the THE CHICAGO CITY OPERA COM- THE CENTENARY of by the j’ungle. DRED AND FIFTIETH program for the opening concert, on October PANY opened its season at the Civic Opera the birth of < amille Samt- You who love flowers have birthday anniversary of 30th, of the season of the Rochester Phil- House, on November 2nd, with a performance oaens, one ol the most seen some beautiful hybrid rose, A well known musical illustra¬ Heinrich Schiitz, “The Fa- harmonic Orchestra with Dr. Howard Han- of Boito’s “Mefistofele,” in which Ezio Pinza, gifted of all French nun- grafted upon a manettia rooted tion of atavism is to be found in ther of German Music,” son conducting. . Edith Mason and Frank Forest sustained posers, passed all loo much plant, suddenly dwindle and dis¬ the case of Rossini. After this has been widely celebrated •a—^" the leading roles. Frank Forest, a young unnoticed in America, cc- jovial composer had written his in Germany. Born October 8, 1685, in Kos- appear, while the ugly manettia THE BAYREUTH FESTIVAL of 1936 is American tenor, made his debut as Faust <<’|>< for a program of hi* works on Ortobn “William Tell,” in 1829, at the tritz, Thuringia, Schiitz composed “Dafne,” announced to begin July 19th and close on and won much favor as a handsome, young, 14th and l'lh, the Opening stock flourished and seemed to the first German opera, based on the same August 31st. “Lohengrin,” “Parsifal” and well routined artist, with an agreeable but season of the Philharmonic Orrhratrz ui Us consume the attractive plant age of thirty-seven, he composed libretto by Rinuccini which Peri had used in ‘The Nibelungen Ring” will be the reper- rather light Angeles, which happen* to be under the which someone had been at great nothing of consequence, save his 1597. He left a large legacy of works the toire; Furtwangler and Tietjen will.conduct; •«--1> leadership of Pierre Monleur, the « pains to propagate. “Stabat Mater.” He almost de¬ musical vitality of some of which make it and among the leading singers will be Maria BRAILLE MUSIC, in excess of eight thou- French conductor. difficult to believe that he lived a century Progress in all lines of human liberately permitted himself to Miiller, Margarethe -Klose, Martha Fuchs, sand numbers, was issued during the past year earlier than Bach and Handel. endeavor calls for high ideals slip, grew ridiculously fat, and THREE S’s have had important birth an¬ and incessant effort. We remem¬ spent much of his time devising niversaries in 1925: Heinrich SchitU, three THE PROMENADE SYMPHONY OR¬ ber the case of a young profes¬ new recipes for the table. With CHESTRA concerts of Toronto are reported -r--f and a half centuries; Domenico Scarlatti, SIR THOMAS BEECHAM, the eminent EZIO PINZA, of the Metropolitan Opera two and a half centuries, and Camille Saint- sional man who married an his last opera written as a com¬ to have been drawing audiences of as many English conductor is making his first profes¬ as five-thousand. Company, won in the early season fine Saiins, one century. exceedingly beautiful girl. Both paratively young man, Rossini sional visit to New York for the purpose of favor in' Vienna, by his interpretations’'of were college graduates; and dur¬ spent thirty-nine years in com¬ leading the Philharmonic-Symphony Orches- Don Giovanni in Mozart’s masterpiece of THE CHRISTCHURCH MUSIC TEACH¬ tram a senes of eleven concerts, from January that name, and Mephistopheles in Gounod’s PUCCINI’S “TURANDOT," in an tlabo- ing the first year of their married parative indolence. Verdi died ERS’ ASSOCIATION (New Zealand) has second to nineteenth. He has been asked to “Faust” rate production by the St. Louis Grand Opm life their surroundings pointed the age of eighty-seven; and had a chamber music evening, when the “Trio present outstanding English works and also ’ ^_ Company, was presenfed on Ocfober 31st, for to a career of happiness, pros¬ the last thirty years of his life in C minor, Op. 103, No. 3,” of Brahms; the some new and interesting compositions by ^ the dedication of the massive Convention Hall “Quintet in A minor, Op. 84,” of Elgar; and American composers. BROADCASTING-( SYM- seating eight-thousand) of the Municipal perity and fine achievement. were the most important of three pastoral songs for soprano, violin, •«-—- .-—8- PHONY ORCHESTRA, of Johannesburg, Auditorium of Si Louiv Maria Jerilza ap- Both were of the second genera¬ all. They produced the immortal violoncello and piano, by Roger Quilter, were THE HISTORIC TEATRO SAN CARLO W ,, J; Andersen Tyrer of England as guest pea red in the title r6lc. A (xrfonnancc of tion of European peasants from “Aida,” the masterful “Otello” of Naples opened its season on December 26th, conductor, recently gave an ambitious pro- “Tristan and Isolde" on November -’nd. countries where the living stand¬ and “Falstaff,” and the “Manzoni has been the custom for many years. The |.ra,m m.cludl^S The^ Merry Pranks of Till Margaret Halstead, young American soprano, ards were but slightly above Requiem,” his greatest excursion CHARLES WAKEFIELD CADMAN, was work presented v n opportunity to make her debut as Isoidt- those of the animal. The father into religious music. Rossini died recently honored in London, when a program „ , --V.7-by Elgar I and the 4-y of his compositions was put on the air by Overture to “Die Meistersinger," by Wagner. of the beautiful girl came from a seventy-six; and his last thirty BRUNO WALTER, who is said to haw the British Broadcasting Company. Stanford JOHN McCORMACK recently opened the town that nestled uncomfortably years were buried in the mire of Robinson was conductor of the orchestral established a permanent residence in Vienna, new Theater Royal of Dublin, Ireland, with a DR FRANK BLACK, general music direc¬ in the shadow of a nervous vol¬ musical atavism. numbers; and the composer played one of his concert which drew a capacity audience for tor of the National Broadcasting Company recently conducted there "Tristan and Isolde’’ “American Trail Pictures.” the auditorium seating four thousand. has been made by the French Government an with his interpretation which won so much cano. Your editor once visited Music, of all the arts, is some¬ praise at the recent Salzburg Festival. ROSSINI—THE WORLD’S BEST KNOWN EXAMPLE OF ATAVISM Officer with Palms of the French Academy that town and among other things thing which calls for incessant THE MINNEAPOLIS PUBLIC LIBRARY THE SAN FRANCISCO OPERA COM- ^he dlstlnctl°n. comes as a recognition of remembers seeing a calf’s head Thirty-seven years of mastery; thirty-nine years of attention. The delights that come is reported to have received from the widow PANY opened its season with a performance the service which Dr. Black has rendered DUSOLINA GIANNINI has been added to peering out of the second story decadence. from music are the fruits of of “Die Walkiire” on November 1st, when ^renc“ artists and to French music. the American contingent of singers at the of Emil Oberhoffer, first conductor of the window of a typical residence. practice. Some unfortunate and Minneapolis Symphony Orchestra, a gift of Kirsten Flagstad is reported to have won a - - Metropolitan Opera House. She returns to in the large and valuable musical library col¬ sensational success as Briinnhilde in her San THE— WORLD’S--- CHAMPIONSHIP<^«xiunomr and a S‘lh ,hc. Rlamor of remarkable successes in The town was wholly without anything resembling modern irresolute folk work diligently for years and then, through lected during his notable career. Francisco debut. •sfcthousandiBfflMfait guinea-“ (five thousand■■ - dollar') Eur°pe, including the Salzburg Festival of last sanitation. The father of the young woman had come to indolence, expiring ideals or thoughtlessness, permit their Trophy of the Thirtieth National Bra« simmer. America, made a fortune and educated his children in the splendid achievements to die. The roses are gone and GEORGES ENESCO, who now makes his SIR EDWARD ELGAR’S memory has band Festival, at the Crystal Palace Lon -1-y best schools. He was a man of force, industry and most nothing but the ugly manettia roots remain. home at Paris, is certainly one of the most been honored by a beautiful stained glass 28th was won by the' THE MANXERCHOR OF PHILADEL- window in Worcester Cathedral, which v commendable ambitions. The parents of the husband were Perhaps you are slipping right now and do not realize it. complete musicians living. He is said to manufacturerO and. sh.°e fglA celebrated on November 23rd, Nth and excel almost equally as violinist, pianist, viola unveiled on September third. It portrays the manufacturers) Band of Ketterimr in"7,1 25lh itcTTTV'T. doubtless people of similar origin. Perhaps the beautiful ideals that blossomed in your youth player, composer, conductor and teacher. story of “The Dream of Gerontius,” one of first entry into these contests One hunH^H Festival R n ?' , “ct,vl''“- - - , , Two years after the marriage of the young couple, mis¬ have been permitted to die, until you have reached a state the greatest choral masterpieces of the last and ninety-six bands, from England onlWm^u' and G^anNew Jersey, passed away ALFRED G. ROBYN, widely known at her Dayton, Ohio, home, -— -, —juuua Poser, died on October 18th in New Vn.i on October 5th. A woman Huehn, and with Arthur Rodzinski conduct- the age of seventy-five. Born in St Louis ’ a x. MOr'lIUSZKO’S "HAL- of wide interests, Mrs. Tal¬ ing, was the first operatic production of the educated largely by his musical father w"i KA” thc «rcat national bott was for thirty-five Cleveland Symphony Orchestra, when pre- bam Robyn, his early song Answer e • . 0pera of Poland, had its years contralto soloist of spntoH in Severance Hall on October 31 and bis name from coast to coast and’ i °ne thousand Composed in 1847, after undertook to finance its singing tours during passed away on September 12th, at White which she accompanied the organization Plains, New York, at the age of eighty. He KAROL LISZNIEWSKI, distinguished ™ ^h^ii fortun« throughout America and Europe. Mrs. Tal¬ imst and teacher of Cincinnati. *'?Jdui,1-v v was one of the founders of The” America from native" o^Ld^Office^ ^^^ropean pop^utarily bott was a person of very great individual Guild of Organists; and in 1894 he presided the Order of “Poland R«Ututn ” 5« °°SS of b°?ll?c o( 'ts marvelous charm, high ideals, and was the mother of a large family of splendid sons and daughters. ate* F“"“ - - ch» «- a rftstra (Continued on Page 60)

Music Study Exalts Lift JANUARY, 1936 Going Forward realize what is the matter. Yet you cannot ignore this. If you have neglected practice, it is never too late to change. One of the first things is to take yourself in hand and organize your time so that you will practice a certain © amount of time each day. With this in mind, The Etude formed The Etude Music “t'.S Afits Study Expansion League and designed the “Practice “J feel myself Pledge” for which there was an immense immediate de¬ “Every throat is ? i . • wpakness of past civilizations has been mand. physically and One of the most pitiable things in music is the case of ^hTthey have too ofS expressed the aspirations of a minority built differently, the player who has worked to secure a fine technic and whosTkisure was gained by the enslavement of others-etther and every singer mentally vigorous, then, through neglect, has permitted this ability to dis¬ menials or subject races, or both. In our American music we are bound to find that appear. It reminds one of the man who has worked all must find his own after forty-five his life to build a beautiful home and then carelessly esthetic trend will be for the most part just as high as the aspira¬ failed to take care of it, until it fell into ruin. Not far tions of the large mass of Americans But what is the mass— best means of de¬ years on the stage. from the writer’s home is just such a house. Once it was surely not the strident call of a few belonging to any one: race Simple and regular the show place of its community. Owing to domestic or class. We must not confuse the wild cries of a few radicals velopment. The in politics or arts as the harbingers of the American art of the trouble, the man neglected it. Now that house is a mere life has helped to ghost, a pathetic shadow of its days of beauty. The tiles future We in America are for the most part a pretty level¬ best method feels are falling from the roof, the shutters sag, the panes are headed group. We may seem to do eccentric and extraordinary the easiest.” keep me so.” broken and the garden is a jungle of weeds. things at times; but we may be depended upon to work along Nothing can be kept up without care. The best musical lines which are wholesome and sensible. When our great training in the world is only as fine as the care that is in¬ American music comes, it will not represent any one class, race cessantly given to it. After all, that care (call it practice, or people. It will not be Indian, Negroid, European, Oriental, if you will) is the fun of the thing. It requires will power, jazz, gospel hymns, or anything of those sorts, but something but it is always worth while. to express the substantial and dynamic character of our America. A Pledge is an agreement with one’s self to carry out a In the judgment of your editor, the nearest we have come to contract of honor to do a certain thing without fail, under this may be detected in the altogether distinctive treatment all conditions. Only by regular, daily practice can millions which John Phillip Sousa gave to the episodes or center sections of musically experienced people get the highest joys from in many of his amazing marches. This docs not mean that our music; and those who know have found out that such a American music of tomorrow must be loud and powerful, but daily practice is one of the most profitable of all human we feel that Sousa divined the organic structural nature of what investments. was to come. Add to his rare pioneer genius the new technic When we last year proposed The Etude Music Study of modern contrapuntal and instrumental treatment, and the Expansion League, we thought that it was a sound, pro¬ great American music of the future will be bom, interpreting gressive movement; but of course it had to be tried out, the aspirations of the whole American people, so that our musi¬ FEODOR CHALIAPIN and this could not be done until at least twenty-five cal civilization will go forward as never before. thousand pledges had been demanded. Judging from the letters which we have received from teachers in all parts of the country, the results have been most excellent. Studio Magazines The Singer's Art One teacher writes: By the Internationally celebrated singer and actor (y^HE Etude has noted with pleasure an increasing number “The pledge idea was just what I needed.” (3 of little bulletin-magazines (usually four pages long) put Feodor Chaliapin Another says: out by teachers, to circulate information about student activities. One that we have before us comes from The Harley Studio of Secured Expressly for the Etude Music Magazine “The interest of my pupils has been increased Music at East Greenville, Pennsylvania. It presents many pro¬ marvelously by means of the pledges.” grams of student recitals, news of the doing of pupils, news By R. H. W ollstein A teacher in the Far West sends this cheering message: about broadcasts in which students have participated, and other notes which represent a spirit of enterprise and initiative which IT SEEMS that the greatest difficulty come to be stimulated, to be lifted to a everything there is to be done on the stage. thus I regained my ease. I do not think “My pupils are practicing as they never did confronting the young singer of to¬ that that teacher’s methods were bad; deserves response from the community. The Etude has reports higher plane of living than the one on I have acted without music; I have de¬ before.” day is arriving at a clear perception which you entered the hall. What are the claimed recitations; I have sung in they were simply bad for me. Since then, of many schools which by progressive methods have greatly in¬ of what the art of singing really means. elements of the artist’s performance which choruses, in operetta; and so my pro¬ I have been very careful to watch for my creased their patronage. A school music supervisor, who is also a private music For centuries a great deal of wrong think¬ will give you this spiritual lift? Voice motion into concert and opera was earned. own vocal needs, and equally careful about teacher has written: ing and misplaced energy have been de¬ alone? Never! Certainly, a fine voice Whatever position I found myself in, prescribing for the needs of others! voted to this matter of singing. Some “Why didn’t 1 have pledges like this years ago? will stir you. You will be enthralled by though, I tried to observe, to learn celebrated musician once uttered an axiom its sheer physical beauty—for a while. from both good and bad examples in The Safe Method They have raised the standard of my pupils’ work The Successful Piano Piece which sums up the altogether mistaken But, after that, if the evening offers you the work of others, and, most of all, I CAN SAFELY SAY, however, that through real practice; and the more I think of it viewpoint under which we are still labor¬ nothing more than the outpourings' of a to relate my work in some way to life it¬ the best singing method is the one that he Etude desires to call especial attention of its read¬ the more I realize that it is the only way. I hope T ing. The witticism is usually credited well built throat; if it offers you no imag¬ self. Such are the means by which I feels easiest and most natural. The mo¬ ers to the article in this issue, by Herbert Stearns_ that I shall always have these wonderful pledge to Rossini; although, in view of the in¬ ination, no human sympathy, no answer to learned that voice alone is not enough ment that continued singing feels fatigu¬ cards.” “How to Write a Successful Piano Piece.” telligence of his other statements, this some need of your own, you are unsatisfied. to make a singer. An unusual voice may, ing to the throat, wrong methods have Before publishing this article we submitted it to a aroup does not seem entirely probable. At any Your mind wanders to other things, and perhaps, make a “star”—never an artist. been used. One singsr may make greater We would like to have the consciousness that at least a of well known American composers, asking them for their rate he is supposed to have said, “There you become bored. N.ow, boredom in a On the other hand, I do not wish to use of masked resonance; another may half million people have signed these pledges and joined opinions and criticisms. The very greatest interest was are three fundamental requisites which the listener means lack of art in a performer. give the impression that a singer’s voice counsel “relaxation”; and that is what I The Etude Music Study Expansion League. There is only aroused, several of these composers stating that thev had singer needs: First, voice; second, voice; And thus, from your own experience, you is an incidental element. Far from it! mean by treating every voice individually. and third, voice.” one way in which this magnificent objective can be read the advance copy a number of times. Some of'these will agree that voice alone is not enough! It is the very foundation of his future But, regardless of method, the throat obtained, and that is through your personal efforts. Will Now in this is the source of many of Voice is an accident, a gift from God. It work, and must be carefully trained. This should always feel open, free and com¬ opinions will be printed in a later number, and we ask our troubles! A statement like that caught you not go to all who would be benefited by these means is not art. To sing well, to hold listeners training, however, is too individual a ma¬ fortable. The result is always the same, our readers to preserve this one carefully for purposes of the popular imagination, as “clever” re¬ and induce them to sign this pledge? We will gladly comparison. ' spellbound, requires a great deal more ter for me to venture any general or and the only test is the individual feeling marks have a habit of doing, and had the categoric advice. Every throat is built of the thing. Never force the voice. furnish the pledges gratis. Here is a splendid opportunity unfortunate result of confusing singers, This has been learned through hard ex¬ differently, and every singer must find Never sing so loudly that you feel a draw¬ for human service in the art of music. We are confident two-foid. He desired to give the amateur, the teacher and critics, and public alike. It caused them perience, but experience which, for all its his own best means of development. In ing upon your last resources. Always that workers for better music will everywhere grasp it with the student some idea of what the most successful com¬ to overemphasize the physical aspects of buffetings and difficulties, I would not ex¬ my own beginner’s days, I studied with keep a fund of reserve power. enthusiasm. posers seek in making a practical piece, and also to give the voice alone and to shove into second change for the softer, easier method of a teacher who was considered excellent Another point in voice care, which Why not make this New Year season a turning point in composers a guide to help them in writing pieces that the place all those other vital considerations learning out of a textbook. I have been and who did much for me in cultivating should receive great emphasis, is the en¬ your career? public needs and wants. F without which singing becomes merely a on the stage for forty-five years. My my taste and perceptions. But his vocal tire manner in which the singer lives. colorless, meaningless vocal accident. “professional” life began as an apprentice methods were conceived according to his The voice, after all, is part of the physical to a cobbler, in my native Kazan, Russia. own “system” and not very well adapted organism and, as such, reflects all the ups The Full Equipment When I began to sing, I, too, had the mis¬ to my throat! After a while, I found I and downs of bodily well-being. The ORGET, for a moment, that you are taken idea that voice is everything. No could not sing comfortably at all! So I singer who wishes to conserve his best a student with something to learn, one corrected me, and so I had to learn went back to my own natural methods, vocal form, should live a very simple, and imagine yourself a passive auditor at better by the hard knocks of experience. I which I had used almost unconsciously moderate life in all respects. He must some musical performance. You have got my training by doing pretty much when my voice first asserted itself; and avoid excesses, of food, drink, tobacco, or- JANUARY. 1936 THE ETUDE on canvas or in a book. And to tell these publicly and in no uncertain terms I g stories well, one must know life, must ob¬ pleasure. He must learn to say “No.” acter becomes a part of him—or, is' it the plenty of such trainmg myself! Of course other way round? - Only by such means serve people, must keep a warm compas¬ He must let nothing interfere with his it was painful. Of course it made one feel sion alive in the heart for other human regular hours of rest; and, at some time does he really learn. like creeping under the floor. But i beings. Things are going on about us at during the year, he should take a period good for us. Once we had felt testing every moment, which may one day make of complete relaxation, so that the body, A Study of Life What Makes a Successful Pianoforte Piece? of such public censure, we redouMed our one better able to tell the story of a young on which the voice depends, may become I BELIEVE firmly in teaching (and efforts to avoid a second dose. We were man in love, of an old man who has found strengthened, or reborn. He should lie learning) by example. Maxims and humble, alert, disciplined. And thus, we methods are only half effective. One his peace, of a restless spirit who has not on his back in the sunshine, listen to the were able to grow. hum of the insects, and watch the shadow learns algebra out of a textbook, but not yet come to port. The singing artist By Herbert Stearns Today such training is out of fashion. must observe these things and then retell play of the clouds above. Thus he will an art which means the reconstruction of Young people’s feelings are easily hurt. life. Only by living can one learn to live. them through his own voice and acting. grow strong, calm, and toned up. I feel They prefer being handled with kid glove . myself physically and vocally vigorous, Only by doing can one learn to do. A I learn something new every day—some¬ They think of themselves quite as much tigate; and it is a subject which all com¬ many composers and publishers of both the after forty-five years on the stage; and I good teacher should be able to offer his thing that will make my next performance O, MY NAME is not Herbert ability to adjust his understanding to the as of the work they are doing And while N posers should understand. It is the highly past and present prefer the modest out¬ pupils not merely advice but also strik¬ I have never noticed before, something greater human musical needs of mankind. believe that a simple and regular life has they sincerely wish to do good work, they Stearns, for the very good reason ing examples of what must be achieved and better than any of the others. Schumann, Schubert, Chopin and Brahms speculative nature of the music publishing right payment. helped to keep me so. are equally anxious to be spared pain. that, since my compositions for what must be avoided. The pupil, for his To tell stories, the voice must be com¬ piano and voice, which have been used by were profitable to their publishers, not be¬ business. Mysterious Successes That makes them softer, I am afraid, than One fellow composer was so certain that But One of Many part, should learn to watch for models— pletely flexible and full of color. When ' noted artists here and abroad, have sold cause they lowered their artistic standards, we used to be. If a youngster cannot stand one of his compositions had been far more HE COMPOSER who imagines that on the stage, in life, everywhere—for that saying, “I love you,” there must be an en¬ over a quarter of a million copies, it would but because they lived in a spirit of rich, T STILL, THE VOICE is only one of up under a thorough scolding, how will successful than his royalty reports seemed he has a secret formula for the suc¬ a number of important elements in he can copy and that he must shun. He tirely different color of voice from the hardly be prudent to reveal my real name human contact with the great world. When he fare when he begins to feel the harsher to indicate that he asked the publisher to cessful piece is liable to be disastrously a singer’s career. Indeed, it is only after can learn a great deal from a thoroughly one required to say, “I detest the sight of in such an article as this. But the name the composer creates a fine melody and is blows of life? He must not be afraid permit him to see the records. The records deceived. In all very great permanent suc¬ the voice is so well trained, so pliable, so bad performance. It. shows him with faith¬ you!” For the one, the voice is warm is immaterial, because I have long since able to devise original and fresh harmonies, that his “personality” will become re¬ were most humiliating to the composer. cesses there is no secret about the principal easy that tone production has become sec¬ ful exactness all that he must never, never and mellow; for the other, it is dark and learned, with some personal chagrin, that he may look for a consistent return from pressed by discipline. It will not. Because They revealed a great sales advertising ex¬ ingredient. It is naturally but one thing— ond nature that one is ready to begin ar¬ do! menacing. If the singer docs not have it is not my reputation which sells my his work. mature personality (as distinguished from pense upon the part of the reliable publisher inspiration. Thousands of composers have tistic work!' When Tsar Boris is' seen And, along with his power to observe, these different voices—and countless others music. In fact, the name for which I have From talks with students and with would mere spectacularism) is nothing more than and very meager returns. It is for this had the technical equipment to write and .moving majestically across the stage, the the student should cultivate a wholesome —at command, he cannot tell his story so proudly worked seems to be a very be composers, the writer is convinced that the human distillation of all one’s experi¬ reason, in considering the success of a piano have turned out bales of paper covered young artist is not conscious that he had respect for his art. Let nothing that movingly. When it is told movingly, insignificant factor, as compositions which thousands of people would be spared much touches his work be casual or haphazard. ences. The person who lives much and unnecessary disappointment if they would piece, that the writer feels that the com¬ with notes destitute of the one divine factor to spend months—possibly years—in learn¬ ardently, through all sorts of experiences, then the singer is approaching art. my publishers have issued under a nom-de- Let nothing be “good enough.” Only per¬ take the trouble to learn how to compose poser should have some idea of the pub¬ which alone leads to real immortality. ing to walk that way; that at one time, he good and bad alike, emerges as a person¬ plume apparently do quite as well. fection is' good enough—and no one has Complete Singing before attempting to do much creative work. lisher’s problem. Probably more composers fail through even had to learn the very beginnings of ality. The person who shields himself and This was one of the first things which achieved that as yet! The modern mind Anyone who essays to write prose would their inability to permit themselves to be¬ walking! Neither is he conscious' of all spares himself, remains' a figurehead. TO SING with a singing voice alone, interested me in trying to find out what The Publisher’s Aspect come mouthpieces for higher forces than that. It should be exactly the same with seems inclined to be a bit self-centered; deserve criticism if he permitted his com¬ means nothing. It never will enhance makes a successful piano piece. Obviously, through any other reason. the voice. While the singer is still feeling to take itself and its “personality” a trifle positions to be published before he had THE COMPOSER, not knowing the Telling the Song’s Story the singer’s progress in art; and it never the first answer to the question is that the However, while it is impossible to con¬ for his tones, while he still has to indulge too seriously. I remember working in mastered the elements of grammar, to say inner problems of publishing, is natur¬ LIKE TO THINK of a singer as a will reach his hearers' hearts. But to tell most successful piano pieces are those of trive success, there are certain human, com¬ in coriscious concentration on producing a various theaters, when I was a youngster. I nothing of the higher technic of literary ally inclined, in some instances, to think teller of stories. He uses his voice to the different stories of human life and the great creative masters, from Bach to mon sense considerations which are of good B or B-flat, he is not ready for full Many of the coaches were great artists composition. Learn as much of the gram¬ that he is parting with his compositions spread convincing tales of human love and emotion through the voice; ah, that is Rachmaninoff; since these compositions, assistance in aiding the composer to avoid stage work. The actor who walks with themselves; and, when they saw some in¬ mar of music as you can; and of course for a very low remuneration, while the hate and revenge and compassion, quite another matter! And that is why the whatever their style or form, become a per¬ writing things which publishers hesitate clumsy self-consciousness, or the singer experienced novice doing terrible things, one of the best ways in which to do this publisher is making from them a huge theory of “voice, voice, and again voice,” manent part of the literature and thus far to issue because practical experience and an who sings self-consciously, gives but poor they spoke to him roughly, scolded him is not merely by the study of the technic profit. In other words, he imagines the is not sufficient. If one is Ixirn with a outsell the works of the more or less understanding of human musical needs have effects. that one finds in books on harmony and poor composer is exploited by the rich pub¬ voice in his throat, he has simply an added transient type. repeatedly indicated that there is little de¬ It is possible for a young man to be a What do we mean by a “transient” type ? counterpoint, but by the practice of writing lisher who squeezes the composers genius blessing for which to be grateful. What mand for such pieces. The mystery of the great artist, but it is extremely difficult! Few people in this day ever heard of itself. Wagner, Elgar and Rimsky-Korsa- dry and then casts him aside like an old he does with it, depends on himself; on successful piece is often baffling. The One’s younger years are taken up in Daniel Steibelt (1765-1823). Steibelt was koff were all alumni of the school of per¬ lemon rind. Possibly in some instances his ardor, his powers to observe and to composers have been imposed upon by un¬ writer has in mind one composition which learning the mechanical technic upon which reconstruct. Anyone can sing notes and one of the foremost pianists of his time, sonal analysis and of the incessant trial art must be built. There must be the and error process. Get as good a schooling scrupulous publishers, but in most cases is said to have had a sale of over two mil¬ syllables, as they appear on the printed and his piano compositions were widely learning to use the voice, to gesture, to as you can; but remember that the best the composer’s share of profit has been in lion copies. This piece is but three pages page. Some can even penetrate into the played. In fact, many of the contemporary walk-; there must be the learning of the possible training, in itself, will by no means far greater proportion than that of the in length; and it is in the key of D-flat with music enough to sing melody and words. critics felt that he was superior to Beetho¬ values of different historical epochs—how make you a real composer. In fact, through publisher. five flats in its signature. It commences But only the very few learn to sing the ven; and his pieces at that time outsold the people of various lands and ages technic alone you may only succeed in Publishers have stated to the writer that with what might be called an ordinary song itself, with all its human emotion, those of the great master. In our day, his looked, how they dressed, how they thought turning out those soulless mechanical pat¬ it is only by the immutable law of averages hymn tune, or chorale, with a few orna¬ all its joy and suffering. Those who do, one hundred and twenty-five piano com¬ and felt. One must learn what to do with terns which the Germans call “Kapell¬ and by a huge volume of business that the ments. The second short movement is in are artists. They devote themselves to positions, including the Storm Rondo, the his arms and legs, how to handle a sword, Naval Battle, and the Destruction of Mos¬ meister” music. publisher is able to exist at all. In fact a minor key. Then the chorale is resumed. portraying the truth of life, through music. The final movement is an allegro. Many a goblet or a rose. Each thing must be cow, are unheard. some publishers say that in a great many learned separately, and none of them has I am often asked about American Talent and Toil transactions, even the most experienced superior musicians would contend that it singers. Well, I see no reason why Thousands of my fellow teachers and the least meaning until they are all fused pHE WRITER once knew a publishers, guided by conservative and well has very slight educational value and that America should not produce singers as composers can remember the great popu¬ together with such complete technical mas¬ larity which attended the Maiden’s Prayer could neither read nor write, and who trained music critics, make fearfully expen¬ it is in a difficult key. Certainly there is tery that one is conscious, not at all of great as those of any other land. 1 have actually carried all of the details of his sive “guesses” as to the probable demand no great musical worth in this composition; heard many voices in my career, but there of Badarczewska, which still has a consider¬ his actions, but only of the human, emo¬ business in his hat; and yet this man for certain compositions. Many, they re¬ and, in comparison with real musical mas¬ is one that still rings in my ears. It is able sale, but which represents a decadent tional effect he wishes to project through style and possibly is not played by one per amassed a fortune of over four million port, are a total financial loss, although terpieces, such as the “Kinderscenen” of those actions. Precisely there is where the voice of Miss Marie van Zandt, an dollars; while one of his neighbors, so they may, have some worthy claim to ar¬ Schumann, the nocturnes of Chopin or such American girl. I had the honor of sing¬ cent of the number who stormed away at it art begins! in the sedate seventies of the last century. highly educated in the technic and philoso¬ tistic values. This is apparently the reason a popular work as A Day in Venice by The young singer should cultivate the ing with her, in “Lakme,” long ago. phy of modern business that he was looked why the publisher with a very small cata¬ Nevin, it has very slight inspiration. Yet this habit of acute observation. That is his Delibes wrote the part of Lakme with her Sincerity Prevails upon as an authority in a great university, log is rarely able to survive. Evidently piece must have had a distinct appeal to the in mind; and, if you go to Paris and look greatest means of learning. What his HE IDEALISM of the composer is failed dismally in every practical business only the large volume and the law of aver¬ degree of taste and the mentality of two up the Delibes monument there, you will T teacher tells him is good. What he finds of course his greatest possession. undertaking he invaded. If the business ages permit the publisher to exist. million purchasers, to whom it undoubted¬ find upon it the likeness of that young out for himself, through personal experi¬ There is nothing to restrain him from hav¬ genius of the former could have been com¬ One publisher explained it in this way. ly has given a great deal of pleasure. To American girl. She had a great voice and ence and application, is better. Suppose he ing the feeling that he should write what bined with the knowledge of the latter, the Compositions are paid for either through the musician it is hard to account for the she was a great artist; and, if America wishes to portray a king on the stage— he aspires to create, living up to the high¬ result might have been forty millions in¬ outright purchases or through a royalty startling sale of this work, except to say produced her, why should it not produce Philip II of Spain, let us say. How will est ideals of his art. He sometimes is em¬ stead of four millions. Training is in¬ agreement. Usually the publisher refuses that it appeals to the mass mind. But that he go about it? In his mind there is great other great artists? Perhaps they are in bittered with the thought that a publisher valuable, but it will supply neither talent to take any compositions on royalty, except by no means answers the question, because ardor and a vague idea; somewhere in the the process of development today. There looks toward him with the hope that he nor genius; and it is talent and genius that from those composers with real reputations there have been thousands of mediocre pieces world, there is a definite conception of are thousands of eager young people in may produce something which will have live. for large sales of their works. One reason designed to reach the untutored millions, what Philip II should be like. How will America’s vocal studios, learning, and a large sale, rather than being an expres¬ On the other hand, there have been many for this is, I am told, that the daily upkeep and they have failed while this piece has the young artist connect the two? Of A Notable Anniversary working, and burning to develop into sion of his personal artistic impulses. In men who learned their trade by consenting of a royalty department, which is nothing succeeded. There was something about course, he will read and consult with his something. What will that “something” this he is right, but at the same time to be hacks for years, while they quietly more than a very exacting bookkeeping the simple melody, the harmony and the teacher or coach. But that is simply pas¬ Nothing is more pleasant than to see to be sent to schools and edticators. be? It is for them to say. I hope, sin¬ wrong. Because a composition has a wide experimented with the more serious prob¬ and auditing division, is very expensive. treatment of that work which had a mys¬ sive work! It means that intellectual ideas our friends succeed. It is in this spirit that The work depicts the development of cerely, that they will elect to become human appeal, it need not necessarily be lems. Among these are Moussorgsky, The other is that the records of years in terious appeal that is unquestionably hard are merely reaching him from the outside. we extend our warmest congratulations education in America, from the days of artists. trash. Think of Bach’s Air on the G Dvorak and Wagner, to say nothing of the royalty departments of many publishers to explain. Next—he will try to get into some theater at this time to Silver, Burdett and Com¬ the log cabin to the present time and also String, Beethoven’s “Moonlight Sonata,” many of the most successful composers of indicate that hundreds and hundreds of where his king is being performed on the pany, Boston, upon the fiftieth anniversary gives a presage of the future. The central SELF-TEST QUESTIONS ON Schumann’s Evening Song and Mendels¬ the Broadway of today. compositions, accepted in good faith by the What Makes a “Best Seller”? stage. At once the active element enters of these famous publishers of school text figure represents the spirit of education MR. CHALIAPIN’S ARTICLE sohn’s Spring Song. Examine the list of The possible large profits from success¬ publisher, have revealed that they earned hrough the kind offices of a into his preparations'. He sees a flesh-and- books, including music books. bearing aloft the flaming torch of enlighten¬ T 1. Quote a fallacious adage on singing. compositions at the end of this article, ful piano pieces have naturally excited only a few cents a year. In such cases the large music dealer, the writer assem¬ blood personage before him. It is no This firm was founded in 1885 by Mr. ment, above the book of learning. On each 2. Why is more than "voice” neededf thousands to attempt to achieve a “hit.” composer very evidently would have had bled statistics about some two hundred longer intellectualism, it is life! Then Edgar O. Silver, at 50 Bromfield Street, side are representative Americans typifying which is one of the most comprehensive 3. What is the safest method of voice lists of the best selling compositions for Unquestionably the composer, who could the best of the bargain if he had accepted pieces for piano, published since 1876, which he begins work. He observes every least Boston. From the beginning, Mr. Silver their day and time, such as the Colonial production? piano that the writer has ever seen, and write a composition for this day and age a price fair to both parties, for the out¬ are classed as among the best sellers of action his king makes. He studies how gave special attention to school music schoolmaster, a Franciscan priest, women 4. How is the zmee to be preservedf that would equal in demand that which has right sale of his work. The publisher, in today. Forty-nine per cent of these were he dresses, how he conducts himself. He methods, and in 1884 he founded “The school teachers, Benjamin Franklin, Thomas note how many of the works are from the 5. What will the singer learn by the come to Mendelssohn’s Spring Song, Ru¬ the meantime, must lose heavily upon the above the third grade in difficulty. The leaves the theater with a vague idea sup¬ American Institute of Normal Methods." Jefferson, Horace Mann, Joseph Lancas¬ pens of really distinguished composers. observation of life about himt binstein’s Melody in F, Paderewski’s Min¬ compositions as, in addition to the “plant” combined annual demand for all of these planted by a living picture. Then he be¬ The aggressive policies of the Music ter, Mary Lyon, founder of Holyoke Col¬ Therefore, success need not mean a com¬ uet I’Antique, Nevin’s Narcissus, Rach¬ one hundred and sixty-nine pieces, from gins all over again, by himself, to Editor, Mr. Charles E. Griffith, have done lege, Henry Barnard, philanthropist, Lowell promise with art; in fact it may be based (that is, the cost of bringing out the first upon a very keen understanding of the maninoff’s Prelude in C-Sharp minor, edition) he has also his heavy selling over¬ this one dealer, was forty-five thousand re-construct what he saw. He tries to much to promote the advance of the firm Mason, pioneer musical educator. John Mozart composed away from any Moses-Tobani’s Hearts and Flowers or copies. In these upper grades the favored remember all the things that were so in recent years. Dewy, Charles IV. Eliot, Colonel Francis musical instrument, entirely in his human needs of art. head and the charge for the bookkeeping Engelmann’s Melody of Love, would be a clearly before him. And finally, out of One feature of the present anniversary W. Parker, Booker T. Washington, The head, and could complete the whole The publisher, in order to continue in on an unprofitable composition for the life keys seemed to be A-flat, E-flat, D-flat, F, business, must issue works which produce very fortunate somebody, from the stand¬ of the copyright. However, by volume and A and G. the effort of his own mental reconstruc¬ was a commission given to the famous conception of the zvork is very powerful. of a work, from the first note to the profits to make the business possible. The point of returns. This, however, brings the law of averages it seems that the pub¬ The remarkable thing about this collec¬ tion, he begins to build up a Philip II of artist, N. C. Wyeth, to create a symbolic We regret that toe are unable' to show it last, and then write it down—often mural painting, "The Spirit of Education,” composer must live, and the publisher helps up another question which some publishers lisher can afford the gamble and the com¬ tion of “best sellers” is that a comparative¬ his own! He imitates, he discards, he adds, in the rich colors for zvhich this great some weeks or more later—from Copies of this painting in six colors are him to live in proportion to this composer’s have afforded me an opportunity to inves¬ poser cannot, and this is the reason why so ly few pieces had outstanding sales. Let he recreates the personage; and that char¬ American artist is famous. memory. JANUARY, 1936 9 THE ETUDE Uncle Zeb and His Fiddle musical people of all classes, are P™"anly Bert R. Anthony us take the pieces that had sales of two absent at this same point in Example 2. the ones with distinctive melodic gitts. Chasing Butterflies Wilmot Lemont Music of the Buddhist Devil Dancers hundred or more a year and we will find Practically the same effect would have been Successful pieces usually have one To a Wild Rose MacDowell the total combined sales of these pieces created by the use of a suspension, but for more contrasting sections which together Melody of Love H. Engelmann this it would have been necessary that the By the Well Known American Composer divided into grades as follows: First make a complete whole. Often th Dance of the Rosebuds Grade—250 copies year; Second Grade— F-sharp should be the soprano note of the melody returns in the final movement. Frederick Keats 4650 copies; Third Grade—8450 copies; previous chord so that the one in question No Surrender—March R. S. Morrison could be tied back to it and only held, not Lily Strickland Fourth Grade—14,100 copies; Fifth Grade Famous Piano Pieces Garden of Roses Irene M. Ritter repeated, when the other voices move on —4700 copies; Sixth Grade—2150 copies. Taps'—Military March This is certainly an arresting statement. to the notes of the new chord. Suspensions ASPIRING COMPOSERS will be m- H. Engelmann The author was long a resident of India and made and appoggiaturas from below also are terested in a list including many of It is, of course, the sales record of only one A A Dream Song R- R- Forman dealer, but of numbers from the catalogs very effective. Beethoven’s works are es¬ the most successful pianoforte P«es d extensive research in matters relating to music. pecially rich in these periods of emotional Ill Parade of the Wooden Soldiers of many different publishers. The individ¬ the day. This is of course not all-inclu¬ Leon Jessel stress, as are those of Wagner, Debussy sive but it is thoroughly representative. ual original publisher has, in his own files, III Wing Foo Cecil Burleigh of Vasant, so popular among the Hindus, a sales record of many times the number and Stravinsky. (Teachers will find this an excellent work¬ NIVERSAL LIFE HAS been de¬ Another attribute of a very successful III On the Ice at Sweet Briar Crawford U are all based upon the symbolism of the here given for each piece. The sales of ing catalog of the most used pianoforte scribed as a vast cosmic dance. piece is its exhibition qualities." It is human III Sparklets Miles resurrection of nature, its new life and the fourth grade best sellers were three compositions.) The list -includes almost Taken in its broadest sense, art and to want to “shp'v/off,” Many pieces which III Sabbath Chimes Khckmann fructifying. It is the season of mating and times those of the second grade, while the exclusively copyright numbers and not the beginning of all art were expressed in marriage, at the time of the full moon when are really quite easy to play “sound diffi¬ III Dance of the Sunbeams grades above third were four times those works in the public domain. Charles W. Cadman some form of rhythmical or metrical Kama, the God of Love, and Krishna, the of the combined first and second grades. cult,” and teachers, therefore, are not above III In Hanging Gardens Willis measures. Religion and worship were ex¬ pastoral God, together with Lakshmi, the In other words, mere difficulty does not giving these to their pupils. Some, of ,the Grade 'Title • Composer most difficult,music “sounds easy”; and, III Beautiful Star of Heaven Drumheller pressed in the same way; whether the goddess of love and beauty, are glorified make so much difference, if the piece itself stimuli were physical or spiritual, the im¬ and worshiped with music and dancing. has the right appeal. Of the total of one while such' music often makes high artistic III Star of the Sea Kennedy demands upon the performer, it does not III Love and Devotion Drumheller pulse took the same form of reaction. There are many such seasonal dances in hundred and sixty-nine pieces or more, Even before dancing had become a con¬ elicit the applause that the showier piece Uiy2 On the Lake Frederick A. Williams the Hindu calendar of religious festivals selling an aggregate of 45,885 single copies, scious act, it was man’s first medium of and holidays; and, although secular music sixty-seven compositions which were best invariably brings. It is an art to write a UV/2 When the Lights are Low piece that “sounds hard” but yet is “easy I Airy Fairies George L. Spaulding H. Engelmann exhaltation or ecstasy. The origin of the and dancing have their places in the life sellers sold 34,300 copies, or over seventy I Sing,Robin,Sing George L. Spaulding dance goes back to the beginning of life. of the people, they are not nearly so im¬ per cent of the whole, while over 30,400 to play.” . III y2 Moonlight Revels Carl Andre Still another angle of unusual signifi¬ I Maypole Dance L. A. Bugbee Ul'/2 Meditation C. S. Morrison Emotions that could not be expressed in portant or significant as the music that is sales, or over sixty per cent, are to be words gave birth to rhythmic movements cance, revealed by an examination of a I Signs of spring Daniel Rowe lll'A CbarmanteI Frcdcric Groton associated with a religious background of credited to the more difficult best sellers. and interpreted prayers, hopes, desires, and slightly larger list of one hundred and I Dance of the Fairy Queen 111*4 To the Rising Sun T. Torjussen some kind. The profit on a very few successful works L. A. Bugbee joyousness. The unknown forces of nature seventy-six pieces which teachers of the IV MoonDaum Rudolf Friml of this kind must overcome the publishers’ I The Bobolink Ella Ketterer were first feared and then placated and The Barbarian Emerges and dealers’ losses on thousands of other last ten years have used in greatest quanti¬ IV The Stars and Stripes Forever 1 y2 Daddy’s Walts Walter Rol fe flattered in the dance. The sun became a T IS A FAR CRY from the pure, compositions which have failed. Therefore, ties for teaching material, is the incidence John Philip Sousa I 1 j4 The Big Bass Singer Walter Rolfe powerful god and was worshipped as the aesthetic and detached philosophy of while there can be no question but that of the appearance of the names of the com¬ IV Fireflies 1. H.H.A. Beach great Solar Deity who gave life, light and Buddha to the wild barbaric primitivism of far the more pieces of the lower grades are posers whose compositions appear most IV Sea Gardens James Francis Cooke DEVIL DANCERS sustenance to man. Sun-worship, first an Devil-dances; and yet the perversions that sold in the aggregate, the best individual frequently among “best sellers.” Mind you, IV Valse Tendre Louis Victor Saar V/2 Song of the Pines Mildred Adair instinctive impulse, was developed into a have crept into that spiritual and ethical sellers are pieces in the upper grades and I was surprised to find that the list went IV Narcissus Nevin . beauty that is struggling for expression. \y2 A Little Walts N. Louise Wright definite religion and is believed to have To the primitive man all life was ani¬ religion are but the inevitable results of with distinctive identity. back to 1876, but the calculations upon IV Mystery of the Deep George F. Hamer There is a thin dividing line between 114 Tommy’s New Drum M. L. Preston been the first religion. mate and instinct with life, with a character man’s reactions to the past. The followers these best sellers were based upon the IV Nola Arndt physical and spiritual ecstasy ; in fact the The worship of the moon, or Lunar and personality of its own. It was there¬ of Buddha were not content with the pure The Melodic Appeal pieces with the greatest present day de¬ II Rose Petals Paul Lawson IV Old Refrain Fritz Kreisler physical merges into the spiritual, for the II Jolly Darkies Karl Bechter Deity, followed because of its softer, more fore natural for him to create an animate and ideal form of religious concepts laid N EXAMINING these compositions it mand. The composers whose names most IV Glow Worm P. Lincke spiritual begins where the physical ends, I II Priscilla on Sunday Mathilde Bilbro benign, emotional or romantic appeal. It form of expression for his emotional out¬ down by the Master. In his moments of is evident, in the case of the most suc¬ frequently crop up are in the order of their IV In a Monastery Garden just as the conscious mind merges into the came to be associated with the love life of lets. His first half-sensed hopes and long¬ heightened emotionalism, he reacted to the cessful ones, that a vital, living melody occurrence: Friml—8; Kreisler—8; Nevin II Waltz of the Flower Fairies Albert W. Ketelby subconscious and thence to the subliminal. Marie Crosby man, and later on was identified in Hin¬ ings, his prayers and desires were ex¬ savage instincts that slept within him. is generally responsible for the success of —7; Arthur L. Brown—7; Engelmann—6; IV Valse Brillante Mana-Zucca pressed in rhythmic postures; and this II Lefs March Robert Nolan Kerr duism with the erotic Kama and Krishna The Dance Divine These instincts never wholly die. a composition. Such a melody has a Spaulding—5; MacDowell—5 ; Krogmann IV Arbutus Davis crude beginning evolved gradually into —4; Debussy—4; James H. Rogers—4; II Sunset Nocturne Edward M. Read beloved • of lovers. The Hindus believed HE SUBLIMATION of invisible In atavism the Buddhist went back to his natural human interest, a well developed IVy2 Hungary Carl Koelling that the lunar calendar, or phases of the more orderly and intricate forms. T Dennee—4; Cyril Scott—3. This list, it II Little Indian Chief Lily Strickland forces beyond the material carries the inherited ancestral memories, for a more climax, an original idiom. and points of IVJ4 The Rosary Nevin moon, affected their emotional natures, and Among the aboriginal tribes of India should be remembered, is only a partial one II March of the Wee Folk spirit into the infinite beyond the realms of emotional form of expression; and, in his suspense. That is, there are points in a V Love Dreams Arthur L. Brown some of their most popular religious fes¬ there were and still are no special temples, for demonstration; but it is a list based Jessie L. Gaynor actual definition. In other words, while return to the animistic stage of his evolu¬ good melody where the change in the har¬ V Shower of Stars Pan WacL> tivals take place at the full of the moon unless a group of images under a tree may monic background, by the use of a sus¬ upon national sales through an important II Captain Kidd Dorothy Gaynor Blake the dance may reach its limits, as far as tion, he created the Devil-dances. The II Pixies’ Good-Night Song Brown because this is considered an auspicious be considered a temple. Trees themselves serene and aloof Buddha, meditating upon pension brings about a kind of emotional outlet of the works of all American and have had a sanctity that still lives in Hin¬ the physical manifestation is concerned, the European publishers catering to the Ameri¬ II Robin’s Lullaby Krogmann the emblematical lotus of spiritual wisdom, tension which, in the mind of the writer, V Country Gardens Grainger duism; and every high mountain has its awakened or inspired emotions of the can market for copyrighted compositions II Grandfather’s Clock Maxim with folded and quiescent hands, withdrawn seemingly commands the imagination of V Valse Caprice Newland Origin in Music legends of gods and goddesses, of good and dancer may soar far above his literal used for music study. It does, however, II Wood Nymph’s Harp Rea from all physical life and emanating repose the hearer. This is a quality very difficult V Valse Op. 2 evil spirits. rhythmic expression. One is the outer and exhibit in a somewhat significant manner II Elf and the Fairy Bentley DANCING, whether a physical mani¬ and selflessness, seems entirely out of har¬ to interpret in words, but a lengthy study V Lento Cyril Sdott limited; the other is the inward and limit¬ the tastes of American piano teachers of II Three Little Chickens festation, or an emotional or spiritual mony with a Devil-dance; and yet it was of successful musical works reveals that V Danse Negre Cyril Scott A Source of Modern Rituals less. all classes. The names on the list show G. A. Grant-Schaefer expression, is said to have come first in around such an image of him that we have nearly every one has these points of in¬ Fritz Kreisler ERHAPS the cannier priests, who A Devil-dance may be grotesque, ugly, that the works of master minds are de¬ II Wooden Shoes Michael Arron VI Liebesfrcud man's awakening to the knowledge of P seen the wildest and most unrestrained tensified emotional stress, often achieved by R. Nathaniel Dett knew that in housing the images of or awkward in the extreme, as some of manded, as well as those of popular salon II Rain Pitter-Patters Theodora Dutton VI Juba Dance music. The more primitive the race, the dances performed by priests and laymen in very simple means, which are so character¬ deities they would give themselves a home, them are; yet it may express the battle IIJ4 The Butterfly N. Louise Wright VI Moonlight on the Hudson Wilson more elaborate the ceremonial; and the the Indian Himalayas. istic of the very widely acclaimed works. composers. established the early “God-houses” that and final conquest of the spiritual over the This proves that a composition does not IV/2 Sparkling Eyes Bert R. Anthony VI Clair de Lune Claude Debussy dance was doubtless the inarticulate music There is hardly any old established re¬ Even so simple a piece as Foster’s Old later on developed into temples and evil forces of nature; for that is what the have to be trite or artistically unworthy Ilyi Salute to the Colors Bert R. Anthony that interpreted the wordless emotions of a ligion in India wherein the intrusion of Folks at Home illustrates this. For in¬ These compositions are at least repre¬ churches. Today every notable Hindu Devil-dance of the Buddhist symbolizes. in order to become a commercial asset to IV/2 Cheerfulness Daniel Rowe people in the process of evolution. In magic has not permeated or perverted the stance, Foster wrote the first measure this sentative of the larger current demand in temple in India has its attendant bands of No primitive dances are beautiful in the the composer. It also proves that all of IIy2 Chinatown James H. Rogers aboriginal, Hindu and Buddhist India, original conceptions of the people. The way piano works of the so called educational musicians and dancers. Our own elaborate modern and conventional sense of the word, these composers are famed for the creation Ill/2 Valse Petite Ella Ketterer music and religion have always been in¬ animistic hangover has persisted as a pow¬ type. The composer who looks for bigger cathedrals are but a more sophisticated unless we pause and ask ourselves the old of melody. The writer sees great human IV/2 Through the Air Carl Wilhelm Kern separable; in fact the traditions of the erful influence in a great many of India’s audiences for his work might do well to conception of a suitable habitation for and vexed question, “What is beauty ?” values in the esoteric melodies of Debussy IIy2 The Camel Train William Baines dance may be said to have been based first dance forms. The so-called civilized man, investigate the foregoing list. He will find Deity. Our very symbols and rituals are That ever elusive word has a different and Cyril Scott. The composers, who suc¬ Iiy Valse Miniature Montague Ewing upon love and religion, the two strongest while still possessing these primal instincts among other things a high degree of play¬ embellished replicas of the savage love of meaning in different countries; but, as to ceed in interesting the largest number of Iiy2 Climbing MacLachlan forces in life. ability. That is, there are no passages that the dramatic, exotic, or sense-exciting re¬ the beauty of music, it is flux and must in the substrata of his being, has learned, In India religion is not a thing apart through inhibitions and repressions, re¬ prove embarrassingly complicated for the ligious paraphernalia. Our church music continue to develop concomitantly with the from daily life, a ritual reserved for a serve, veneer, and artificiality, to control normal hand. He also will discover that specified date, according to creed or cus¬ of today, used as a part of religious wor¬ world’s; evolution. each piece is almost uniformly in one grade, ship. is a legacy of the early religious his natural instincts and subordinate them tom, but life itself. And, as India is the A Sacred Origin so that the teacher finds it useful in the dances of the first worshippers. to the intellect. mother of many religions, we find that to In older countries, while philosophy has regular progress of study. That is, the this day music plays a vitally important It is not so difficult to sense the primitive IN INDIA, as we have mentioned, the successful piece does not mix up two or as the .more orthodox, would have us be¬ dance continues to be a part and parcel reached a high plane of development part in the life of its people. The rare and among the scholars, the masses need but a more grades. unique aboriginal and animistic dances, still lieve. If we look at music from the cosmic of religious life. It is only in occidental spark to light the tinder of emotionalism Many of the most successful pieces arc extant in remote parts of India, are tradi¬ perspective, we will see that all forms and countries, or where civilization has devel¬ those which give the performer a kind of developments are corelated and part of a oped its music, in terms of modernity, that that seeks expression in barbaric music and tional forms of religious ritualism. The dancing. A reiterated drumbeat, a blare personal satisfaction in their performance, special dances, enacted by both sexes in the universal whole. Music is an outward ex¬ the dance has come to acquire a separate of horns, or a flute melody has the power in that the actual experience in playing them folk manner, take place on festive days in pression of some inward emotion and, how¬ and distinct secular existence. In the to call into activity a dominant rhythmic is such a pleasure. This may account for honor of some deified form of nature or ever crude, has a definite message. While Orient the dance often has some form of instinct that actually appears to exert a the success of Chopin’s "Minute” Valse, some supernatural forces. no expression of music can transcend itself religious significance, allegorical, legendary, hypnotic influence over responsive natures. Notice that in Example 1 the melody Op. 64, No. 1 (D-flat). or the person who expresses it, it is none or historical. In the last analysis, the successful piece The Deities of Evil The Deva-dasis, or dancing-girls of note, F-sharp, on the first half of the last the less an effort to get in touch with the Drum Magic beat in the first measure, is a tone of the must first of all be aimed to inspire and EAR WAS THE FIRST emotion that mystery of life, an aspiring hope and a Hindu India, claim their descent from the F HE INDIAN DRUM is the tocsin tonic chord, D-F-sharp-A, while under it delight those for whom it is intended. The prompted man to atone for evil in cere¬ yearning for something that has no words. divine Apsaras or celestial dancers of T that awakens the sleeping savage, and is the suggested harmony of the chord A- composer who will meet with the greatest monials ; and it is significant that fear These expressions, whether creative or Indra’s court, the ancient Heaven of pre- he is unable to resist the call to rhythm. C-sharp-E. Now in example 2 the domi¬ success is the individual of real talent, ade¬ never created any good spirits; they were interpretative, should not be judged by the Vedic India. The strolling minstrel and He reacts to the excitation and intoxication nant harmony is not introduced at all at quately trained, who can keep his mind in always powerful, but malign. What was perfection of technic in outward form; for drummer claim a like divine heritage from of such music, almost unconsciously. He this point but a pure tonic chord is used. touch with the heart beats of mankind. not understood was potentially evil; and standards differ, and there are no universal the Ghandarvas or male singers of Indra’s begins to move in time with the drumbeat Technically, the F-sharp of Example 1 is unfortunately that phase of man’s mental criterions of correct form. A nation’s court; and they wear the saffron of the (The publishers of The Etude Music and soon is lost in a maze of throbbing an appoggiatura from above. This melody A MUSIC SCHOOL IN KOREA reactions is one of the most pervading and music should be judged by the motivating elect of Brahma and hold their offices in Magazine will be glad to send gratis to sound, forgetful of everything. Such self- note, F-sharp, resolves upon the following This is Case Hall, the Music Building of Euiha College, at Seoul. This building tenacious in his history, religious or other- impulse or intention from within; for only high esteem. any reader, inexperienced in the process of The beautiful and poetic Spring Dances possession, repression or cultivated poise E. Note the emotional stress created by contains excellent facilities for the study of music with classrooms, studios and getting music published, a leaflet especially then can -we sense the significance and this little device, and how it is entirely fifty practice rooms. Modern music is advancing by leaps all over the Orient. prepared and giving valuable information.) JANUARY, 1936 11 10 THE ETUDE as directed and written by Rabindranath the music of Bach, Handel, or Brahms .s Tagore, India’s most famous poet, there is as he may have drops from him like a dis¬ Veda having come into use about 2999 to the man in the street m Amen a But carded mantle. Drum rhythms have been B.C. and the chants of the Upamshads every gradation of music used in connec¬ the primitive Indian, like the m tion with religion. Besides the primitive known to stir men to blood lust, to battle, about 800-600 B.C. Many of these hymns street, has his song and it is one whose to passion and madness. They also can and chants are used today in temple serv¬ tribal religions of India, which alone num- language he understands. ber about ten millions, there are some three stir them to religious ecstasy. ices or at festical seasons. The Spring Buddha’s pure and spiritual doctrines What the panpipes were to the dwellers Festivals, typifying nature’s rebirth, have hundred million Hindus, over sixty-eight New Glimpses into the Life of Chopin were not sufficiently colorful for the masses been celebrated for untold centuries in million Mohammedans, twelve million Bud¬ in Arcady, so is the call of the drum the who professed Buddhism. The religion be¬ India,' both by the aboriginals, who wor¬ dhists, three million Sikhs, two million irresistible master in India. The Holi fes¬ came perverted by throwbacks to animism, shiped the Earth Goddess, and by the Jains, over a hundred thousand Parsis, and From “Chopin—His Life” tival was once, and still is in some sections, as the Devil-dances so well illustrate. Not Hindus later on. Every animistic, or semi¬ over eighteen thousand minor and unclassi¬ a saturnalia where the physical emotions content with accepting Buddhism in its savage tribe in India has its Spring-dances, fied religions, aside from the Christians overflowed all bonds of restraint and original sense, the people not only divided love and mating dances, with their religious and Jews. Out of this vast population it dancers became obsessed by the spirit of Buddha’s teachings into the Mahayana and By William Murdoch significance and symbolism. Such festivals is but natural that there should be so many rhythm. Even the deadly cobra responds Hinayana schools but they allowed the to the magic of music and moves to the are similar to those once given in honor of types of music and dances that reflect and ex¬ Ishtar, the ancient Babylonian goddess; to Devil-dances to enter into its ritualism. flute music of the snake charmer. The The encouragement of music was partic¬ press the many different nationalities, creeds their father in his entreaties, the young clumsy bear dances to the drum of his Astarte, Isis, Aphrodite, Cybele or Am- and castes that make India so rich in color, (The following review concerns itself his pupils, and held in the highest respect The youth of Chopin, which began with ularly fostered by the Mahayana school, in the country of his adoption. His strong the glamor of a prodigy, has been fre- artist sat down again. He was ever the Gipsy master; the monkey capers to the mas; which were all a part of the worship in her arts, her customs and her faiths. with the most recent volume upon the life slave of a pretty face, although far too shy of the life forces in creation and fructifi¬ through whose efforts monasteries and sense of steadfastness, his integrity, patriot- quently outlined in different books. One of rattle of the “monkey-drum.” It is the temples were built, where, at certain Music more than any other medium of Chopin. The author is a noted Eng¬ to compliment the owner of it. At the fin¬ cation. known to man expresses a nation’s real lish pianist. The work is four hundred ism and dignity assured him the admiration the most interesting incidents of his career eternal urge of the universal rhythmic in¬ seasons, festivals of music and dancing are ish of his improvisation on a Polish air stinct that moves in man and beast, as it While the dances of the aboriginal or nature; it is his natural soul language, his and ten pages in length, bound in cloth, of all who knew him. Count Fred- happened on his return from Berlin in 1828. (afterwards remodelled and published as animistic tribes may be said to be purely held. moves in nature, on the wind and the inheritance and legacy, and through it he with nineteen illustrations. The new erick Skarbek wrote in his memoirs, with Murdoch retells it: Grand Fantasia on Polish Airs, Op. 13, emotional, natural and unrepressed expres¬ Even the Moslems, who are forbidden by water. reacts to the emotional or spiritual stimuli volume is published by MacMillan sincere gratitude of the teachings of his “At the small postal station of Zullichau with orchestral accompaniment) the post¬ sions of rhythm, they are none the less a the Prophet to have any music at all, have e told that of his religion in praise, prayer, or the and is priced at three dollars.) former tutor, and attributed the success the occupants of the diligence master, as host, offered wine to his un¬ The Handmaid of Religion type of religious worship. The primitive some very fascinating dances that celebrate le time for a rhythmic impulse that moves him to sing of his own career as poet, scientist, man they would have to wait sor expected guests. They all cordially drank man had no need for intellect in his rhyth¬ their festival of rejoicing after the stric- F HE WERE LIVING today, Chopin ,s not pleasant THROUGHOUT the history of re¬ or dance in the exhaltation, ecstasy or joy I of letters and University Professor to the fresh relay of horses. This w; to the young Pole—‘the darling of Poly¬ mic self-expression, and he knew nothing tures imposed upon them by the fasting of would be one hundred and twenty-five ligion ; wherever people have held of life. And because both religion and solid ground- hymnia’ was the toast—and ecstatically of the sophistication or artistic reserve of Ramadan. The sword-dances of the Af¬ years old. He died eighty-six years two Poles, festivals in honor of their gods; in their music are inseparable from his daily ex¬ ings of his thanked him. One of the audience, prob¬ more modern music. His dances are frank, ghans and Baluchis are famous throughout ago. Yet here we are in 1935 with a ceremonials and worship; music has al¬ istence, they arc used together as natural early lessons. ably a local musician and singer of the because he is ignorant .of dissimulation and India; and the. dances of the Dervishes, a brand new Chopin volume, indicating that anxious to ways been a component part of ritualism. complements in the expression of adoration The funda¬ church, was almost overcome with emo¬ his religion is a part of his .lift as an emo¬ religious' order of fanatical nature, are the interest in the great Polish French get back to The music of the aboriginal Indian was and devotion. mental prin¬ tion. ‘I am old now,’ he said, ‘but I was and is a vital part of his religious life. The tion, or a response to; sensuous appeal. The equally well known. genius is greater than ever. Mr. Mur¬ their families The lesser known religions of India also ciples upon trained to play the piano also, and I know dances are in the folk manner, character¬ intellectual qualities'.'.of.,religion are, like SELF-TEST QUESTIONS ON MISS doch’s scholarly work throws many new as quickly as have their special music in celebration of which all the what to enjoy and how to admire fine play¬ ized by sincerity and spontaneity, a natural harmony in music, a modern development lights upon the career of the master. It possible. STRICKLAND’S ARTICLE ing. I can only say that if Mozart had joy of living of the “children of the soil of civilization. The music of the Indian festivals or holidays. From the coast of represents splendid and painstaking re¬ There was no Madras, where tKe Valuvan or “medicine¬ 1. What is believed to have been the first heard you he would have seized you by and sun” unspoiled by artifice and veneer. is melodic, his dances are emotional and search. In commenting upon Chopin’s patriotism, choice of man” of the village dances a wild barbaric religion, and whyf the hand and shouted “Bravo!”’ Frederic The Hindus, from the beginning of the his mind may be described as “single continued popularity, he writes: fine qualities amusement dance in honor of his gods, to the northern¬ 2. What uvre the first Hindu templesf played a little Mazurka of his own as an Aryan invasion (about 2000 B.C.), had al¬ track,” or uncomplex. It is only among “Some will say that Chopin’s lasting of citizen¬ but walking, most limits of the Himalayas, one may see 3. What teas the origin of the dancef encore—his thank-offering—and then the ready developed a system of music which, the scholarly Hindus that the intricate sys¬ fame can be attributed to his unhappy ex¬ ship, and and although and hear an infinite variety of dances and 4. Describe the effect of the drumbeat on party broke up. The postmaster carried because of its “divine origin,” played a tem of music has been practiced and un¬ istence, to the illness that held him in truthfulness. the village music built upon symbolical and traditional the savage nature. the youth to the diligence, while his wife significant part in religious ceremonials. derstood. bondage for most of his adult life and Nicholas boasted the religious subjects. From.the music of the 5. What has been the relation of music to and daughters packed up wine and food Almost every festival of note in the Hindu eventually killed him, to the torment he knew that historical in¬ Music of the Temple aboriginals and animists, which alone ritualism t for the journey.” calendar has special music, songs and suffered for the Poland that he wor¬ without these terest of hav¬ transcribes an immense arc in the geog¬ 6. What of the age of Hindu chantsf dances, celebrating the deity honored. THE RAGAS and raginis, or musii shipped, and to the chagrin of an incom¬ foundations ing once been raphy of India, to the beautiful and ideal¬ 7. What has been the natural medium for If Chopin Had Come to America The Vedic Hymns are celebrated in modes, of the Cultured Hindu, are a: plete life—for he never achieved the the noblemen a battlefield, the expression of a national spiritt HE RECOGNITION given by Paris Hindu religion; the chants of the Rig incomprehensible to the primitive Indian a: istic music of the celebration of the Rains, domestic happiness that he yearned for. its landscape T of the Poland in 1832 dissatisfied Chopin and Etude Though these causes give grounds for of the future readers will be surprised to learn that he such assertions, and unquestionably have could never tractive, and contemplated spending the rest of his life won the sympathy of the feminine world, hope either to neither the in America. Thus from Mr. Murdoch: A Consort of Musick at Dame Percy's School only the qualities of the music itself could rescue their buildings nor “Chopin was keenly disappointed with have placed him amongst the greatest country from the inhabi¬ his debut in Paris. His finances could not By Doree Germaine Holman composers. His music is more popular the Russian tants pro¬ and more necessary now than ever it was. vided any possibly hold out much longer, and he An outline for a recital in honor of Washington’s Birthday stranglehold, “Others who belittle Chopin’s genius or to rebuild excitement. could see no chance of earning anything maintain that his sentimentality is more it to its for- On their re¬ to help them. To ask for money from his CHARACTERS to straighten the furniture. There is a Charity: I lost my Sum Book, and I was just five when he wrote it fitted for the sick-room, the school-room mer^great- turn to the father was beyond his imagination, for he Dame Percy, mistress of a little school. knock at the door. • She opens it and the don’t know two times five. (When Charity has returned to her seat, and the boudoir than for the concert- knew he had been a drain on the family’s Accompanist. young ladies and Mistress Greene and Dame Percy: We will see about your Mistress Greene leans forzeord eagerly.) room and the study, that its appeal is to The reader resources all his life. At no time had he Pupils of the School—Lucinda, Charity, Mistress Williams enter. All curtsey.) A. B. abs and sums tomorrow. Just now Mistress Greene: I heard the Minuet the slighter and more mundane feelings learns with been self-supporting, for practically the Priscilla, Harry, Nathaniel, Lavinia, our pretty visitors want to hear your from his opera “Don Giovanni,” in rather than to the intellect and the grander surprise that only money he had ever gained was from Joseph, John, Virtue, Martha, Betsy, Dame Percy (pulling out chairs and mo¬ Musick and maybe they will perform for Charleston. It is lovely! (Fans her¬ emotions. But Chopin wrote little that little Chopin the last two concerts in Warsaw. He Patty, Sally. tioning the callers to be seated): This self as she leans back in her seat.) can be labelled weakly sentimental, and at first mani¬ kept asking himself what was to be done, Young Ladies of The Town—Kate, Dorcas, is indeed, a rare pleasure. Priscilla (clapping her hands): That will Priscilla: I think so, too! May I play very much that is heroic. These cavillers fested a great aversion to music. started searching for a pianoforte. He how he was going to start, how he could Matilda, Ann. Mistress Greene: Well, you may thank be lovely; and we won’t talk, or wiggle, an arrangement of it? only think of the Nocturnes and of a few “Young Frederic in his tender years found one that looked depressingly decrepit; win fame either as composer or as pianist; Mistress Greene, a singer, one of the towns¬ yourself for it, Dame Percy. You know or- or- or go to sleep! (Everyone nods and smiles.) other Salon pieces, remembering certain the despair of his parents, for the sound but, unexpectedly finding its interior but the more he thought the more he was women. we are all proud of your school and es¬ (Visitors hide smiles.) Lucinda: I think Mozart's Minuet in F exaggerated performances; they fail to re¬ of music created such apparent hostility be better than its exterior, he began convinced that Europe was impossible. His pecially the Musick you teach our little Mistress Williams, a singer from Charles¬ Dame Percy: My dear! I certainly is pretty’, too. He was so little when he member the ardor of the Polonaises, the within him as to cause inconsolable tears, improvise. talent would never be recognized, for the folks. I brought my cousin, Mistress ton, visiting Mistress Greene. hope not! Surely you are too polite for composed it. (She goes to the piano Elan of some of the Mazurkas, the poetry Both parents were fond of music; we are one by oi public preferred glitter and glamor to Williams, to hear them. She is a singer that! Whom shall we have to perform quickly. When she has returned to her and passion combined in the Preludes, the even led to believe that Nicholas was first by his playing. One of them was a fat poetry and restraint. There seemed only and is going to help us with our next first? one way out—emigration to America. At (If possible and convenient arrange the seat Dame Percy looks around.) exaltation of the Ballades, the fire of the attracted to his wife by the appealing German, who had annoyed his companions stage or end of room as a colonial sitting- Consort of Musick at Mr. Pinkton’s (No one moves. Children look shyly the journey by smoking incessantly, least he would be well paid there for les¬ Dame Percy: Perhaps Mistress Wil¬ Scherzi, the consummate genius of the quality of her singing. He also played room zvith seating for the performers. If tavern next month. There will be a from one to another.) even at night when the others were try¬ sons, which would enable him to live, liams will be kind enough to sing for us 'Etudes, the patriotism of the F minor the flute; but the first time he gave the setting cannot be managed, costumes plus Grand Ball afterwards. Kate (rising): Maybe if we perform for Fantasie, the exquisiteness of the Barca¬ instrument to young Frederic to play with, ing to sleep: but now the music proved though he knew that his art, his life, his many candles will add a surprising amount Dame Percy: I seldom attend affairs in them first it will break the ice. I’ll play more engrossing even than the pipe, sensitiveness would be damaged if not (The children clap their hands and the rolle. If they would only devote a short Frederic promptly broke it; and we are of atmosphere. Colonial costumes are to the evening, but I shall certainly make a movement of the “Sonata in C” by which remained unlit in his mouth. The ruined. America has that effect on suc¬ young ladies smile and nod.) time to examining some of these major not told that it was ever replaced. It was be found in any community or are easily an effort to be at that one. I feel it is Mozart (or any other sonata or sona¬ not long before the father and mother dis¬ audience grew—the postmaster himself be¬ cessful artists; they cannot withstand the Mistress Williams: I am enjoying hear¬ works of Chopin, they would discover contrived out of Big Sisters dress zoith my duty to hear all the sweet Musick I tina) . the falsity of their accusation and per¬ covered that the tears were not the result came a listener, then his wife, and finally quick accumulation of wealth, nor do they ing these little people; but I will be glad the addition of apron, neckerchief and cap Harry: I’ll play Yankee Doodle, if every¬ haps gain a few moments of unexpected of antipathy. T1 of the pianoforte his two daughters. No one murmured— appear impervious to the adulation which Mistress Williams: I do hope there will to sing if you really wish it. Suppose 1 or wig. This playlet was given in the one will sing it. bliss. Even if this is denied them, they produced_.... the _, may be, but they were nothing stirred; all were absorbed in the is thrust upon them at every turn. Yet not be much talking while we are sing¬ do a song by Master Haydn, called She Washington bicentennial year. It is made Nathaniel: Go ahead, we will all sing. will be forced to admit the originality of emotion, of passionate joy, and lovely sounds that Chopin was extracting Frederic was convinced that America was ing. Never Told Her Loz-c. The words arc more attractive by preserving the spellings It is a grand, lively tune with lots of of his genius, for if they are sincere and ere long the tiny fellow was clambering from the old instrument. Suddenly a voice to be his fate. Mistress Greene: I hope not, too! words. by that wonderful William Shakespeare. and phraseology of its period. their knowledge is secure they will see up to the keyboard endeavoring to evolve pealed out: ‘Gentlemen, the horses are “He wrote to his parents that he had When we sang in Charleston last month After that I’ll sing a very, very old song In presenting this playlet we found that (Harry goes to the piano, plays, and all that his methods, whether technical or col¬ his own sounds. The persistence with ready.’ Everyone jumped up, startled out decided to cross the high seas at once. it sounded like a swarm of bees. I do from Somerset, Oh, No John! (She spun glass U’igs cause great discomfort sing. Two verses are enough.) orful, are entirely his own and entirely which he pestered his mother to allow of their dreams, annoyed at the disturbance He had already threatened them with his zvhen the wearer becomes warm and so declare I couldn’t tell whether I was flat Dorcas: Everyone at the Moravian sings, curtsies, leans against the piano. him to learn resulted in his receiving les- of their pleasure. The next moment they project, and they protested in alarm that or sharp or right on the pitch. The version of Oh, No John used zoos novel.” prevent perfect concentration in playing school in Bethlehem is in raptures over Mr. Murdoch makes clear that Chopin’s t the age of four from his elder begging the young pianist to ignore he was not to hazard such a venture. They Kate: At school in Bethlehem we had to that in the Girls Friendly Song Book. and that a dress rehearsal, at which each the compositions by that wonderful Mo¬ father is definitely French and not Polish sister, Louise, then only seven herself. the interruption and continue; but he was suggested his staying in Paris, a little be very quiet during the Musick. Oh, Dear, What Can the Matter Be? child can look and giggle until the novelty zart. Shall I play a Capriccio of his? His parents were overjoyed at his prog¬ itching to see his beloved Warsaw, and longer, and when and if his patience was Mistress Williams: It is getting late as has been often asserted. He left his of the costume has worn off, is highly de¬ Dame Percy: Please do. zoould be a good substitute.) _s and apparent aptitude, and, with their had got up from his chair. exhausted, returning to Warsaw. This and I do so want to hear these children. native land and settled in Warsaw at sev¬ sirable. Plumbers candles, fastened into (Dorcas plays, and then remains at the Mistress Williams: I want to hear each enteen as a clerk in a tobacco factory. He usual common sense, looked around for a “ ‘We have been here too long already, latter alternative did not appeal to Frederic dime store paper saucers by means of tacks Will you have them in, please, Dame piano until the next performer conies up. of these children play. (Looks smilingly later served as a captain in the Polish teacher of worth who would be certain and should be nearing Posen by now,’ said at all. His hatred for the Russians had through the bottoms, make inexpensive and Percy ? She helps this child seat herself, then around the group, and goes to Lavinia.) army. In 1806 he married Justina Krzy- 3 guide his early footsteps in the proper he, looking at his watch. always been an obsession, and now that attractive stage properties for the children’s Dame Percy: Very gladly. (Rings bell. returns to place.) What can you do, my child? zanowska. Later Nicholas became teacher direction. So u find the boy of six years they had conquered Poland and were its use. Put them, unlighted, on a table at Children enter, curtsey and bow to the Dame Percy: Some of our little people Lavinia: I can play Shepherd's Hey, a at the Lycee in Warsaw. taking lessons i pianoforte playing from ruthless governors, he could not bear the the opposite side from the door. Place an guests.) know compositions by Master Mozart. Morris Dance. (She curtsies to Mistress Murdoch says of him as a teacher: a sound and esteemed musician, Adalbert courier horses for you.’ thought of becoming a serf, and his art Lucinda: I lost my Horn Book, and Let us see—Charity? old-fashioned hand bell on another table. Williams and goes to the piano while i pretty daughters joined being at their mercy. No! His decision I can’t say my A. B. abs. “Nicholas Chopin was much beloved by Dame Percy enters the room and begins Charity: I can play his Minuet in G. He (Continued on Page 64) JANUARY, 1936 13 12 THE ETUDE was irrevocable; he • would j oin up with In short, she is a man, and all the more Why Every Child Should Have A several of his countrymen, who were exiles a man because she wants to be one, be¬ like himself in France, and try for fortune cause she has abandoned the part of Musical Training in the other hemisphere.” woman, and so is no longer a woman. Volumes haye been written upon the Woman attracts, and she repels, and, as I am very masculine, if she produces this influence of George Sand in Chopin’s life By L. Arlene Weidner and this phase of the career of the com¬ effect on me, she must needs produce it poser is voluminously treated in Mr. Mur¬ on men who are like me; she will always be unfortunate in this 'way.” doch’s biography. He presents a picture the letters which just missed winning a Chopin apparently was not a linguist. (One o f of George Sand—as written by Balzac— ur recent contest Under the above heading) which throws new light upon this extraor¬ Murdoch writes: prize in o “Despite his eighteen years’ residence dinary woman whose interest in Chopin mand for skilfully trained sense organs in France, Chopin never mastered the jN ORDER to justify any statement was seemingly, largely that of a kind of cannot be easily denied or ignored. artistic, nurse and will give many a new French language. As a boy he had been I concerning the necessity of a musical thoroughly grounded. in German, which ff musical training, m its physical aspect, aspect of this strange companionship. -1- training for the child, we should deter¬ •-is important, its use as a mind educator “I arrived at the Chateau.of Nohant on he never forgot; but although he spoke mine just what the purpose, of any train¬ is invaluable. The mind is the real power the Saturday before Lent (February 4, French fluently, he had a decided foreign ing is, and how adequately or inadequately . behind the throne. It is the imagination 1838), about half past seven o’clock in accent, and never gained any facility in musical training would help in carrying and reasoning; power that control every¬ the evening, and I found Comrade George writing it. For this reason he dreaded out that purpose. Now, should not the thing else. Have riot every discovery ritade Sand in her dressing-gown, smoking a letter-writing—it is said that he would aim of true education be to draw out of in science, and every picture or image cigar, after dinner, by her fireside, in an sooner walk across Paris to deliver a mes¬ the child all that is best, and the cultiva¬ made in art been first a product of. the immense solitary apartment. She had sage or answer an invitation than write— tion and development of all parts of his imagination? In the realm of nfnsic, pretty yellow slippers, bordered with though we also discover many instances nature? Does it not mean the molding fringe, coquettish stockings, and red in his family letters, which were written of a beautiful character-that'Will be ex¬ whether that music be-absolute or program, some picture or image will form itself in trousers. So much for her moral aspect. in Polish, where he admits having begun pressive of the highest in our natures, the imagination, an image that may be Physically, she has a double chin, like an the letter many times. Even as late as and of a mind that will be appreciative June 30, 1848, he begs Solange Clesinger abstract or concrete, but which will grow ecclesiastical dignitary. In spite of her of the varied conditions of life and whose PHILADELPHIA HARMONICA BAND to ‘pardon my style. Le style, c’est I’homme. as we grow with the music and will open dreadful sorrows, she had not a single senses will be trained to a fine degree to to us undreamed of beauties. The value of white hair in her head; her dark com¬ My style is truly stupid.’ ” see, note, and find the vital things about us ? plexion has not altered; her beautiful eyes training the child’s imagination is inestima¬ The Last Hours Musical training foV a child, physically, are just as sparkling; she has just the as a means for training the eye, ear, and ble. and music’s place in education for this HE DEATH of Chopin has been re¬ The Harmonica Band same stupid look when she is thinking, for, T hand, can hardly be overestimated. These value ranks high. ported by many. In Mr. Murdoch’s as I said to her, after having studied her, organs must be trained to assimilate many Any instinct must be trained before it interesting biography many pathetic pic¬ all her physiognomy is in her eye. She things at once, in perfect coordination. becomes something effective in character What Does It Offer? tures are drawn from which the following had been at Nohant for the last year, very Thus they become organs that are ac¬ building. Mere appreciation of music is extract is taken. dejected and working prodigiously. She curate, faithful, and observant to a great not sufficient. Really there can be no true By Max Kaplan “On the morning of October 13, 1849, leads very nearly the same sort of life as degree. Has it not been through finely appreciation without careful training. whilst Chopin was having breakfast, the mine. She goes to bed at six o’clock in trained sense organs that the human race Knowledge alone is appreciation; and All of these notes will sound one octave section, a harmonica in the key of C-sharp. Abbe reminded him that it was his (the 1ET US entertain no illusions about the ing—in fact, all the fundamentals of music the morning and gets up at midday; while has attained such valuable knowledge along knowledge means practical, careful, sincere higher than written. The encircled num¬ The lever affords a means of obtaining all Abbe’s) brother’s name-day. ‘Dearest harmonica. Its limitations are ob- —can be taught with the help of the har- I go to bed at six o’clock in the evening scientific lines? The value of any study study. It comes only with years of devo¬ bers have their notes produced by the drawn the sharps and flats. The note G on the friend, you must give me something for vious; for neither in quality nor in monica. second line is produced by blowing into and get up at midnight. But naturally I or training that will help fulfill this de¬ tion to high ideals. volume can it be classed with the violin, Educational psychology furnishes further breath. today.’ ‘What shall I give you?’ ‘Your hole No. 6 with the lever out. Pushing conformed to her habits, and for the last the violoncello, the clarinet, or many an- justification for the use of this instrument, Many brands of harmonicas are on the soul,’ demanded the Abbe. ‘Ah, I under¬ the lever changes G to G-sharp or A. three days we have chatted after dinner other instrument. However, to brush the We are told to begin with the child on his market. The notes given above will be stand ! Here it is, take it!’ The priest Below is a diagram showing all the notes from five o’clock in the evening till five harmonica aside for these reasons would own level—with his toys. The immediate found in the standard C instrument, which dropped to- his knees and held out the that can be produced on the Chromatica. o’clock in the morning. be to overlook its real value; for in the pleasure which results causes the child to can be used for band or solo work. The “The whole of the matter is—the male crucifix; and the invalid, with tears When using the lever, the player must lie Fifty Years Ago This Month realm of public school music, instruments that suits her is rare. He must be all the streaming down his cheeks, made his con¬ careful to push it all the way in.. If it is must be prized less for their beautiful tone rarer because she is not lovable, and con¬ fession. Then the absolved man put both pushed only part of the way, the scales of his - arms on the priest’s shoulders in the than for the possibilities which they afford sequently she will find it very hard to win “In voice progressions, the beginning C and C-sharp will sound together, produc¬ true Polish fashion, and murmured: Thomas Tapper, Jr., who has done so the instructor to pass on to students a love love. She is boyish; she is a true artist; and ending erf every phrase merits close ing the most modern of modern harmonies 1 ‘Thank you! Thanks to you I shall not much towards opening up a better under¬ and understanding of music. If the har¬ she is grand, generous, devoted, chaste; attention. See Illustration 2, in which a dash after die like a pig.’ standing of the spirit of music, wrote for monica can be utilized to advantage in ac¬ she has the great qualities of a man; ergo, "In many cases the placement of voices a number indicates that the lever is to be “After one of his violent convulsions The Etude, of the “Wohltemperirte complishing this end, it should have the she is not womanly; I had no more sen¬ is such that one will end at the moment pushed. Chopin cried to the doctors to let him die. Klavier (Well Tempered Clavichord)” or teacher’s careful consideration. sibility with regard to her sex when I was “The Immortal Forty-eight” of Bach: that another begins. The fugue in D It will be observed that four notes are sitting near her than I had formerly, al¬ ‘Why do you prolong my life when I have At present there is a spirited movement “At Bach’s time the fingering resorted Major, in the first volume, will illustrate to introduce the study of music among lacking for a range of three complete though I was three days talking to her renounced my life to God, who has en¬ to by the majority was such as made slight this. In the ninth measure the lower voice children, from the earliest years. This is octaves. These are: without reserve, merely affected by that lightened my soul? God calls me; why keep me back?’ His soul was at peace: use of the little finger, and even less of ends on the G-sharp, and at the same time desirable, since a love and appreciation for skin-deep gallantry which men are accus¬ the thumb. But Bach demanded a new¬ the upper voice begins on the B. . . . EX’3 pr. _ , or,,- ,0°^ tomed in France and in Poland to display all earthly cares were at an end. music can be best and most easily developed sy stem of fingering, the chief characteristic “The proper study of these fugues of in the young child during those impression¬ towards every sort of woman. I was “One ray of sunshine brightened his last 4— IlL— of which was an equal development of all Bach and of all similar works will facili¬ able years. Herein lies the great value of repeat the activity. Then, as the child be- director, however, should become familiar chatting with a comrade. She possesses days. Countess Delphine Potocka had been the fingers. This change became neces¬ tate the comprehending of other musica' the harmonica. Although the child in the comes more interested and desires to elab- with all available instruments. While, in The complete range and scale of the lofty virtues, those virtues which society sent for and arrived in Paris from Nice sary, for Bach wrote in all keys, and made forms; for it was from them that the free third, fourth, and fifth grade is not yet, orate his play, he asks the adult for sug- general, they differ more in price and de¬ Chromatica are does not take to kindly. We argued with on Sunday, October 15. Chopin heard use of the white and black keys of the art forms took their rise. developed enough to handle a real musical gestions. In such a natural manner does gree of advertising than in quality, there a seriousness, a sincerity, a candor, a con¬ her voice in the sitting-room the moment instrument without preference. . . . “By studying them analytically, a thor¬ instrument, he will grasp the harmonica the toy lead on to broader interests, while are distinctions and limitations which should scientiousness worthy of the great shep¬ she came. He begged her to sing. A “Considered aside from their technical oughly musical foundation will be obtained. and play it with ease and satisfaction. Even by subtle direction the teacher leads the be recognized. herds who lead the flocks of men, about piano was pushed into the doorway of the worth, they (the Preludes and Fugues) An understanding of the ‘anatomical struc¬ in a haphazard attempt to pick out melodies child toward desired ends, One real difference between harmonicas the great subjects of marriage and liberty. bedroom and this beautiful friend, whose contain so much that is instructive that ture’ of a work is necessary, if one desires lies in the “single” or “double” reed. The “She is an excellent mother, adored by voice had given Chopin so much delight and blow the chords, he finds joy and may , , „ there is not a measure but what may be to know that work well. Appreciation of develop an appreciation for melody and har- Structure of the Harmonica latter has two reeds for each tone, tuned her children, but she brings up her daugh¬ in his early Paris days, mastering the tears studied with care and profit. And this is the works of Bach grows with the study mony. How much more desirable results TT IS EASIEST to understand the struc- an octave apart, thus producing a fuller ter Solange like a little boy, and that is that almost choked her, fulfilled the dying one advantage to be had from studying put upon them. . . . Schumann advises will follow if the child is properly guided! ture of the instrument by assuming that tone. Since this musical advantage neces¬ not right. She is morally like a young man’s last wish. He had loved her voice; J- compositions built upon a strictly con¬ students to make the fugues of Bach their . s constructed for those who sitates two sets of holes, one above the man of twenty, for she is intimately chaste it was fitting that it should be the last It is our purpose to suggest to the leader of originally trapuntal plan; there exists in them a daily bread. It is said of Liszt that when wanted a pleasant succes¬ other, playing this harmonica more easily and prudish, and is only an artist external¬ music he heard. Illus.1 symmetry, relation of parts, and a logical sion of chords. According¬ produces tired jaws, as it requires that the ly. She smokes excessively; she plays the “Accounts differ as to the song or songs a boy he practiced them daily and trans¬ treatment of principal and subordinate sub- ly, in the C instrument mouth be held more widely open. There princess perhaps a little too much, and I which the countess sang. Liszt and posed them into other keys. Surely, if (which will be our unit of are also more reeds to get out of tune. am sure that in the princess in her novel, Karasowski, neither of whom was present, the great can profit from the great, all “The pupil who studies a fugue and who discussion) all notes blown Some harmonicas are made to contain 'Le Secretaire Intime,’ she has faithfully say the Hymn to the Virgin by Stradella lesser ones may hope to derive much from does not comprehend its formation cannot are C, E, or G. The chords every note in three complete octaves. While painted herself. She knows and says about and a Psalm by Marcello. Gutmann, who like sources.” be wondered at for thinking it dry and produced by drawing the these cannot be employed for chord accom¬ herself the very things I think about her maintained he was there, emphatically de¬ uninteresting work. Every teacher should breath are 7ths, 9ths, 13ths, paniment to the melody, they are suitable without my telling it to her, that she clares that she sang the Marcello Psalm make plain how interesting they really are and so on. There are ten for duet or band work of high caliber. has neither strength of conception nor and an aria by Pergolesi; Franchomme is when studied in the proper manner. Com¬ "Too many teachers set students holes, and the instrument All are familiar with those picturesque the faculty for constructing plots, nor the just as certain that she only sang once and positions in contrapuntal style require more to sing in languages that neither the is held with the lower notes harmonicas decorated with bells, horns, and capacity for arriving at a truth, nor the that is was an aria from Bellini’s opera than technical mastery, and indeed they pupil nor the master knows,” writes to the left. The fourth hole other embellishments. These appeal more art of the pathetic, but that, without know-- “Beatrice di Tenda.” Tarnowski agrees cannot be technically mastered until their Richard Capell in the London Daily this activity possible lines of procedure may be considered as the starting point, for to the eye than to the ear. ing the French language, she has style; with Franchomme, but Grzymala wrote that structure is clearly comprehended by the Mail. After which he proceeds to lay which have proven successful practice, it marks the beginning of a complete octave. Other types could be described. Of these, and such is the fact. she sang melodies of Bellini and Rossini.” performer. They may be played well, as down a measure by which to fudge Air blown into the fourth hole produces C; the chromatica is perhaps the most impor¬ Unfamiliar Resources far as time, general observation of piano, the general ability of the singer: "A drawn, D. Hole No. 5 blown is E; drawn, tant. forte, and the like are concerned; but they TN VIEW OF the fact that many adults, ~ The same process with hole 6 produces brief guide for the audience is, if the "If opera is ever to become a genuine and vital art in this country it must belong must be carefully studied and well un¬ J-P as well as children, consider the har- G and A. Thereafter the succession The Chromatica singer conveys a sense of constriction to the people; and that means that it must cease to be regarded as a social pleasure. derstood before the performer can give monica as a mere plaything, it may interest versed, for although A was drawn, B also THIS INSTRUMENT consists of two It must not be at the mercy of smart society. Literature in the United States could each voice part its just amount of promi- and strain, he is wrong; if he or she many to learn of the wonderful possibilities be drawn; the tonic chord cannot in harmonicas, one above the other. When never have attained its commanding position if the fate of books depended upon the hurts the ear with a high note, it is of teaching music with this instrument. elude B. The succession is shown in Illus¬ the lever is out, the top section, in the key verdict of our aristocracy. A book gathers strength and the poiver of longevity as it “It is well to study each voice progres¬ wrong; if the listener is not charmed Ear training, sight reading, notation, tration 1, which will help the student to of C, is being played. Pushing the lever goes down among the countless companies of those whose names never appear among sion singly; by. so doing, every thing of and engrossed, the singer is wrong rhythm, elementary theory, ensemble play- learn this instrument’s entire compass. closes the C harmonica and opens the lower those present.”—W. J. Henderson. importance will be noted. and should be doing something else.” JANUARY, 1936 14 THE ETUDE holds the attention of the child for a num¬ and desire to learn. He needs only to be ber of years. It leads naturally and grad¬ ing m the execution ot jazz music, but with which it must be remembered that all careful to avoid changing this origmM re¬ ually to the study of the piano, or some Music in Modern Home Life which also is sometimes used in place of a notes sound an octave higher than written. pression. The child is impatient for ire other instrument. It affords the leader an sharp or flat. It is suggested, however, that The scales and exercises, given later in mediate results. It is Ptemselyherethat opportunity to study his pupil and to find if a piece is ineffective without these acci¬ this article, suggest methods of practice; the harmonica presents an. \ver- the instrument for which he is best fitted. From “Friends and Fiddlers” many more should be included to attain a dentals, it would best be omitted. that immediate results may be seen Aver The use of various harmonicas which Through its use all the fundamentals of mastery of the chromatica. It might be age harmonica bands have found it possible musical theory and appreciation can be advisable to select several of the more vary in pitch and quality introduces many to present worth while programs after By Catherine Drinker Bowen possibilities in musical arrangement. A taught. Lastly, and this is the most im¬ talented children and to teach them to play about four weekly rehearsals. . portant, when we consider that music is the chromatica for solo parts. Trios and complete score for full “symphonic” har¬ There are several musical principles that taught to children of an early age, as a This extract is from an unusual book* by a keen and sympathetic thinker who outlines the possibilities of pusjc in the quartettes may be effectively arranged for monica band resembles the full orchestral might be kept in mind in Panning re¬ means of character development, and as a modern American home off culture, in a volume which appeared originally m serial form in the Atlantic Monthly. We are this instrument. There are in this country score. A fertile field lies open for experi¬ hearsals. Orchestral procedure should be foundation for future attitudes and appre¬ indebted to the publishers and to the author for permission to republish this chapter. and on the European continent bands made ment with combinations of harmonica and carried through from the start. The use ciations, we are led to conclude that the up entirely of chromaticists. Some of these ocarina, fifes, drums, bugles, and regular of the baton has been found invaluable in instruments. When, for instance, the har¬ harmonica band can play a definite part in bands have traveled widely and have been helping to develop accuracy in starting, it. In defense of my thesis I must add evidence bids fair to have an equal share a man of affairs? Not until John became monica band leader has available trumpets, the musical life of the school and the com¬ LISTED in the county ledgers as house¬ well established as a lawyer did my acclaimed by . noted musicians. stopping, and breathing together, and also that Victoria is the one person I know in the lives of her grandchildren. I deem flutes, or other instruments, he should ex¬ wife, I have four brothers and a sis- It would appear logical to encourage in creating a professional atmosphere. munity. who does not need to play music—does this worth recording, if only in answer father’s conscience permit him to cease plain these instruments, select students who The following exercises are suggested -4 ter, the conventional number of every harmonica student to learn the chro¬ Proper shading is another important ob¬ not, that is, need it at the moment. At to the many mothers who protest to me, casting small gibes at what he called the are fit physically and who want to play as useful for early study of the harmonica. parents, two children, and four nieces and matica, since the latter instrument contains jective Drills in crescendo and diminuendo the moment, she is beautiful, active, and “It’s all very well for you to talk about “long-hairedness” of music playing. them, teach the rudiments of the instru¬ nephews. None of us are professional musi¬ far greater possibilities for the study of in the harmonica band may be used effec¬ triumphant. If ever she may be less of making music a natural part of children’s ments, and arrange simple parts that may Fx.6 cians and we all live together in a quiet, music. This is desirable when the student tively by methods similar to those used in these things, she has music, as' it were, up lives. You and your brother John live Simple Standards be used with the harmonica band. practical succession of days. But strike A is still too young to become effectively in¬ any band or orchestra. Because the har¬ her sleeve; she knows how to play the next door to each other; you play the Below is a typical program presented be¬ on the piano, blow it on the pitch pipe, UT WHAT brought music to life in terested in legitimate band and orchestral monica band cannot enjoy the blending ot piano. violin and he and his wife play the piano; fore a number of schools and clubs: and to a man we move to the fiddle cases our household and kept it so burn- instruments. When, however, he has reeds, strings, and brass, it must depend, as mechanically as we move, on occasion, When I say the boys remained im¬ the three of you really know music. Of ingly alive was not my mother’s feeble reached the point where he can advantage¬ Band for beauty and variety, upon such devices to the telephone bell. People ask us con¬ mune to music, I except such exercises as course you can impart this knowledge and performance upon the piano, not even, I ously be introduced to a regular musical a Stars and Stripes Forever as rhythmic and dynamic interest. stantly, “Who is responsible for all this playing the mandolin in the Glee Club enthusiasm to the six children. But what am tempted to believe her attitude toward instrument, the harmonica has served its b Medley of college songs A feeling for rhythm is of course indis¬ music in your households? How has it at college, or even the clarinet in the about the rest of us, who can barely read music, but a larger thing—her attitude to¬ purpose and should give way to the next c American Patrol pensable. By means of drills and verbal come to pass ?” And they add with a school band. The clarinet is a noble in¬ a hymn tune? How can we direct our ward art and toward life. Both she and stage of development. explanations, the children are led to under¬ vague look of distress, “We used to play strument, an instrument of true music; children, how can we direct ourselves, her sister were trained by family environ¬ Features stand and feel rhythmic patterns. For in¬ long and mournful its notes when blown along the path of music?” How the Harmonica is Played the piano, but—” ment—in a way curiously indirect—to a a Accordion solo stance, in teaching a waltz rhythm to young I cannot bear to hear people say this. from a brother’s room in the third story. My mother could barely read a hymn respect for the arts, that serious respect NSTRUCTION should prepare the stu¬ I b Guitar duet children for the first time, everyone was asked It outrages me to see my friends go But, when he was grown, my brother tune herself; my father, who had in his which in the end amounts to passionate, dent not only for solo playing but also to count 1, 2, 3, in unison. Some were then hungrily to concerts and come away only abandoned his clarinet. Now he is forty; youth sung a very tolerable bass, was, by yet entirely unassuming, conviction. My for band or ensemble work. While the Band told to tap their feet on the count of one, partially filled—the hunger unappeased, or in the intervals of scientific research he the time I came to know him, wholly in¬ Great-aunt Eliza, my Great-uncle Will band member invariably plays single notes, a Old Black Joe different to music. Indifferent, that is, b Larg.o from “New World Sym¬ while others clapped their hands on the sec¬ the appetite whetted, perhaps, to an even solaces himself upon a four-key harmon¬ played piano duets, played them well. In the soloist supplies his own accompaniment. to the hearing of itj he sponsored music phony” ond and third beat. When this rhythm was keener edge. I know what these people ica, or even, on occasion, upon a large and that household a thing undertaken was a To make this possible, the tongue is em¬ felt by all, the children sang a simple waltz complicated piano-accordian. and worked in its behalf. For fifteen ployed. The mouth ordinarily surrounds c Oh! Susanna want: I have seen them pick up my violin thing finished; there were no loose ends, melody, such as Du Lieber Augustine, ac¬ and turn it over in their hands. They My children, aged six and nine, accept years he acted as president of the famous four holes. The tongue is held so that it d Dixie artistic or practical. My mother and my companied by their own improvised per¬ may not know it themselves, but they want piano playing and sight singing as they Bach Choir at Bethlehem, accepting the aunt used to wash the dishes from neces¬ covers the three to the left, while the fourth Features cussion. This experience made it possible accept breakfast and dinner and the hours office on condition—so he told us—that he is left open to be drawn or blown. No music, not by the tickefful, the purseful, sity, not choice; often enough there was a Harmonica solo to learn a waltz, with two-part accompani¬ but music as it should be had, music at that strike round the clock. John’s wife should never be expected to go to a con¬ no money for a servant. More than once matter what is being played, the proportion b Novelty j'ug orchestra ment, in about ten minutes, calling into play and their four children, ranging in age cert. At home, my father endured much of three holes to one is always maintained home, a part of daily life, a thing as neces¬ they have explained to me with pride ex¬ all parts of the body. Such experiences are sary, as satisfying, as the midday meal. from twelve to nineteen, all play and in the name of music: a room known as actly how they washed the dishes. It was because a chord accompaniment to the Band Father’s Office was just across the hall a Andante from Haydn’s “Surprise not easily forgotten by the child. There They want to play. And they are kept sing—and with eagerness—piano, violon¬ a system so perfected as to be almost a melody is produced by rapidly drawing the cello, and violin. String and piano quar¬ from the piano; never once were we told Symphony” is virtually no end to the possibilities that back by the absurd, the mistaken, the ritual; they could, when challenged, clear tongue away from the holes. Like the pro¬ lie open in this phrase of harmonica band tets, quintets, octets, choral ensembles, to stop playing. Indeed, my father’s duction of the staccato on a reed instru¬ b Yankee Doodle wicked notion that in order to play an a table set for five, wash and put away instruction, or for that matter, in any musi¬ burst into sound at a moment’s notice, the patience in the face of overwhelming ment, the tongue is placed back to its origi¬ c America instrument one must be possessed by that the dishes, have their aprons hung upon cal organization. difficulty being, not to make the children sound has always been a matter for mar¬ nal position after being withdrawn. bogey called talent; one must have been the nail and no spot upon the lace cuffs—all It is a little more difficult to give the play, but to keep them from battle when vel. I do not remember his ever listening The following diagram shows the chords Band Rehearsals born with specially shaped fingers, have in seven and a half minutes. I have heard child a proper conception of note values. there are not as many parts as musicians. to my playing, but he used to encourage produced by inhaling and exhaling. The HERE ARE a number of satisfactory been sprinkled with holy water at birth, also how they made the beds and with T Here, again, the methods well known in me: “Your mother says you are doing number of the opening to be blown or procedures for harmonica band re¬ or have seen the moon all yellow at the what care they mended, in the long hot current school practice may be utilized. The Spirit of Music very well on your violin.” He would drawn is indicated above or below the note. hearsals. Much depends upon the person¬ quarter on a Friday night. Philadelphia summer days, the hand- Some leaders of harmonica bands attempt HAT INTERESTS me in this have said music was a good thing—good, A circle around a number indicates a drawn ality of the instructor, his experience and To these persons, then, I address my¬ W woven linen sheets brought down from the to hurry a mastery of the instrument by family music chronicle is the fact certainly, for girls. For boys, question¬ note. An uncircled number is blown. The musical background, as well as upon the self. In the hazard that I may reveal, attic. And in these recitals is nothing various number systems. A better policy that my mother, with so slight a musical able. He had the attitude of his genera¬ whole is based on the key of C. age and experience of the children. not the secret but the very fact that there tedious; the sisters tell their story with The principles of would be to sacrifice speed for thoroughness. is no secret, no mysterious password, no knowledge and technic, could have in¬ tion. I suspect his eldest son’s piano excitement, with relish, in the same tone iiius. 3 educational psychol¬ By this method, our harmonica groups angry gods to be appeased at the portal fluenced at least two of her children so playing worried my father a little; this they used to tell how the younger sister intense preoccupation with one of the arts ogy may be applied began rehearsals by reading from notes to the shrine; I offer my musical rem¬ that music has been the profoundest and obtained her first gold medal from the —was it quite the part of a gentleman, of easily and effective¬ which had the corresponding numbers above iniscences, from the age of seven to thirty- happiest fact of their lives, and from all Paris Salon. Dishwashing or portrait ly in the. training of or below. Very soon the numbers were seven. Hastily, in the fear that the words painting, high standards were not high to omitted. Note names were used rather “began to play at seven” may raise again them, because high standards were ex¬ The child comes to than syllable names. Intervals, chords, the bogey, I interpolate, before beginning pected—demanded. the first rehearsal and scale structures were explained and my story, my affidavit that I have seen 1 with the impression frequently recalled. people begin to play the violin at twenty- A Shadow Goes Before 7 that the harmonica is In conclusion, it appears that the har¬ seven, the viola at thirty-two, the flute at monica lends itself to the application of forty, the cello at sixty-two; not only MY GREAT-GRANDMOTHER, who pared for fun. The accepted psychological and musical prin¬ begin to play, but go on to the essential ruled this household, had that type teacher is therefore ciples. It is a toy. To play it is fun. It goal—membership in a hard-playing, mu¬ of simplicity which the Sixties produced Music to be used in the harmonica band spared the task of instilling an interest is easy to learn. It is inexpensive. It sically exacting, weekly-meeting amateur in New England. Art was a thing must be carefully chosen and arranged. ensemble group. foreign to her—but refinement was not The practical range of a harmonica in the foreign to her,, nor the discipline of mind and character that goes to the creation, key of C is from C on the second space Music a la Nature of the bass staff to C on the second added the establishment, of good taste. Good E ARE NOT the descendants of line above the treble staff. W taste, in that simple household, was not a Naturally, the ideal piece of music is that talented musicians. There has never social asset, it was a matter of morals, of which is simple, easily remembered, con¬ been a professional musician in our what people used to call “character”; it tains normally few or no accidentals, and family, nor even anyone noted in his com¬ consisted in perfecting to the best of one’s makes no unusual demands in breathing. munity for musical virtuosity. My mother, ability what one had undertaken to do or Any collection of well known songs will with only an elementary knowledge of the to learn or to make. To these children, provide selections that meet these require¬ piano—she could read hymn tunes and perfection was no bogey, no nightmare; by liked to sing the alto part of a Mendels¬ ments. their own account it was a house filled It has been found that the first three or sohn duet—somehow instilled into my with laughter and gayety. Yet I am con¬ four rehearsals of a harmonica band are oldest' brother, John, a profound passion stantly amazed at the hints which slip best devoted to the study of melodies in for music, which he in turn communicated from my mother concerning the enormous unison. As the group becomes more pro¬ to me, sixteen years his junior. Of the things which were expected, as a matter of ficient in reading directly from notes, the four intervening children, the three boys course, from her and her sister. They melodies may be arranged in simple two remained immune to music; as a girl learned a habit of perfection—and with it or three part harmony, with the parts writ¬ my sister Victoria played Mozart with me, bound themselves forever to perfection’s ten on a blackboard. Or the alto and bass played Beethoven too, and then in due sister, the dangerous but fascinating habit course married a musician and began, as of intensity. My mother is eighty; she has may be written on music paper and dis¬ STARTING LIFE WITH MUSIC tributed for home practice. In public, of she says, to live music instead of abusing never been a stern woman—her laugh is By the use of the lever the following The boy who starts his home life with Music rarely becomes a problem to his course, all playing should be done from scales and drills become available on the parents. The lad in this picture happens to be the son of Captain Eddie high and quick, like a girl’s—but to this memory. Chromatica. Of course innumerable drill * Friends and Fiddlers, by Catherine Rickenbacher, our famous “Ace” of World War aviators, who is himself a day she flies at a task as if the witches Some players are able to produce a “blue” Drinker Bowen; published by Little, Brown were after her, and she expects others exercises may be invented by the teacher and Company ; 261 pages; bound in cloth; skillful pianist. Billie has attracted considerable notice for his ability and is note by a peculiar position of the tongue. and student. price $2.00. here seen at his practice. to do the same. With stupid people she This produces an odd effect which is arrest- WESTERN UNION TELEGRAPH CO. HARMONICA BAND {Continued on Page 45) JANUARY, 1936 17 16 THE ETUDE records and radio BAND AND ORCHESTRA DEPARTMENT By Peter Hugh Reed s-g-jawsira x&zgtz&vsz Conducted Monthly by qTwiU not make the boast that my ing, reawareness of An The creative genius of Sibelius, the in¬ The “Understanding Music” broadcasts terpretative genius of Koussevitzky, two I VICTOR J. GRABEL which Howard Barlow conducted last yea eminently great men ir> their respective H FAMOUS BAND TRAINER AND CONDUCTOR fields—these are splendidly evinced in ■ aSaSsSss?: family without talent, we achieved music glorious, delicious mdulgenc new series known as ^ Victor set M272, where we encounter a ■ USSVSSZ.- k”“irSC'So^^—i=i- Opera.” These broadcasts which p ^ fervent and imaginative performance of Wt heard Tuesdays drom 6 ^30 to 7 ^lumbia the former’s “Second Symphony”-the B s&*?said, “Do with trall thy heartta thatt5 to Swhich eye clear, the ear alert, and t e s work which first gave the world an in- ■ SSSvS been conemved sight into the symphonic genius of Sibelius % thou has set thy hand”—that was a hard with triumph. and acquainted it with his new line of B eye to meet. But, if met, how „g!°™?,lh.? The Titan Inspires musical thought. Sibelius, who has been : The Importance of Correct Tempo reward. re‘An j told her I wanted SOMETIMES, driving home after an acclaimed as “the greatest master of the A symphony since the death of Beethoven,” S i properly sustained effect! distinctively subdi- formance of this portion of the overture, srco.”bL srs AS SET FORTH in preceding dis- bound to be too rapid The overture was originally written ?" Orchestra under Mr. Barlow s curiously realizes in this work a parallelism ■ cussions of this subject, the correct The preparation of these excellent ? d to Beethoven’s “Second Symphony.” For, B and lacking the necessary flexibility. an introduction to the second act of his :£Sir%-l-= =S5-afH£r: ■T A-tempo of a piece of music is deter¬ opera “Benvenuto Cellini.” The opera first grams emanates largely from the JuAbard like his illustrious predecessor, he frees ■ mined by its character—whether it is to Ex. 2 came to performance in Paris, with Habe- Ichool of Music. Ermst Hutch.nson^the himself almost completely from the in- JB move at a slow or rapid pace is dependent neck as the conductor. In the second act eminent Dean of that Institute, m speak fluences of those who came before him and W undent™ tilfull meaning of her words; der people fall ing of the purpose of these programs has upon the sustained or figurated character there occurs the saltarello, the material of speaks here in a more truly persona! man- £ of movement. stated that they are planned not only t which is employed in the allegro of the A"w hAAwAd Atte pfriicipation, grows rather than diminishes ner. This symphony is a veritable drama, j This conclusion can best be elucidated promote understanding, but to help mten overture. Habeneck either could not or risen tosuch a challenge? Flags waved, with the year, °nly are^beau- a drama of themes, of germs of themes, B by reference to, and consideration of, the sify enjoyment, and also to open the doors would not comprehend the correct tempo their coordination and development. We f forms of allegro employed by various banners flew. But I know now why s e ties .’ " eaje(j jn the old love! to a new world of imagination and ideas. of this wild movement. The dancers were mark this set as one of the "high lights” m composers in the development of the used the n-th”forS When I was “Of course, you may listen to music unable to accommodate themselves to his of the year. ■ sonata form overture. Many such over¬ simply to enjoy sounds,” says Mr. Hutcn- deliberate tempo and appealed to the com¬ “rfn amateur artist. Ridicule pursues young I loved ^ Ormandy and the Minneapolis Orches- B tures open with a movement more or less inson, “and this in itself is a good thing. poser, who was present at the rehearsal. tra give us a vital performance of Bee- | sustained in character. Conductors can be the aspiring fiddler. One of the best vio- te ked’ to sleep to the But why stop there? The main reason He kept insisting that the movement thoven’s “Fourth Symphony" (Victor setlfl that so many persons' like music without relied upon to stray but little when the should be faster. Habeneck became irri¬ M274). The recording is of, course un-jM movement is marked andante, maestoso or pretending to understand it is that they tated and struck his desk with a violin usually vivid, because it is one of Victorsfi^B moderato, though they often fail to arrive listen quite passively. Now it is not at all bow. The bow broke; whereupon Berlioz new “higher fidelity” sets. Comparison, B at a sufficiently slow pace when they find i§§I#ls hard to listen actively, and as soon as one exclaimed, “Good heavens! If you were with Weingartner’s version of this sym- B an adagio or molto lento. How often have does so, enjoyment is immensely ^increased to break fifty bows that would not prevent phony will l>e almost inevitable. Wein- 'B we heard an organization attempting to and real understanding begins. It is your time being too slow by half. It is a gartner undeniably knows the work and perform the opening of Beethoven’s Eg- because the broadcasts, known as Under¬ Another example of a similar nature in It is significant that Berlioz followed saltarello that you are conducting.” Habe- appreciates its subtleties better titan Or- W mont Overture when the conductor was standing Opera,” are presented in a man¬ which the same fault often occurs is the this very slow movement by a very fiery neck then turned to the orchestra and mandy, but the latter has had the advan- JZ (because of laziness, indifference, or ner to assist one to listen actively that we andante sostenuto of the Roman Carnival allegro vivace and in this connection, said : Since I am not fortunate enough tage of better spacing in recording. Hence, » ignorance) beating but three beats to a call them to our reader’s attention. bar throughout the sostenuto ma non troppo Overture by Berlioz. Here the melody it is of interest to quote from the com- to please Mons. Berlioz, we will leave off youramm adult practical man grans enter’; no wonder the walls shook and the When we grow tired of seeking the type the choice of sets will largely rest with ■—instead of subdividing each beat so as to should proceed at a very slow pace and, poser’s experience concerning the per- (Continued on Page 51) artist ceiling of the old parlor to six-eight time! of radio program we want, then is the the individual. V An Exacting Mistress John practiced the “Kreutzer” like one time to turn to our record library. Only a Stokowski in his arrangement of the TUT I CARE NOT how the world demented; whistling the violin parts, e twist of the dial is required to be able to contralto solo Es ist I'ollbracht from only the world practiced it at - : “hear what we want when we want it,’ Bach's “St. John Passion" has given us ‘To music,” says before breakfast, and it will haunt me till one of the finest things of its kind that be not indifferent instead of merely hearing what we get, so e must remain inatten- I die-but I am not sorry. Indeed it was he has done to date. The music is in- : the philosopher, 1 to speak, when we get it. That, of course, become altogether en- the “Kreutzer” that was responsible for is one of the real advantages of owning a tensely moving, and Stokowski has wisely tive altogether c the commencement of my fiddling career, good reproducing machine, or combination kept his setting simple, letting the music slaved.” ire enslaved, to what I remembered well my amazement when radio and phonograph, and a fine library of speak for itself, which it does with rare And we who nf music do we owe Katrina, arriving, took out her fiddle, records. Listening to a program that one eloquence from his superb orchestra. at quality of this has arranged oneself, because one has felt (Victor disc 8764.) the urge to hear that music, is assuredly Sir Hamilton Harty has wisely elected the evidence of a desire for active listen¬ to record some infrequently heard com¬ ing. . positions, one of which, Berlioz’ Beatrice *»&■*«#=* t&sEsSB*** One of Mozart’s most ingratiating violin and Benedict Overture, proves to be a tzsstirjsrz^si „h«„i» concertos is the one that Szigeti and bright and sparkling gem. (Columbia disc Beecham have played in Columbia set 68342D). We recommend this disc to the M224. This' is the “Concerto in D Major,” discerning music lover. K218, which some music lovers will recall, Rachmaninoff’s “Violoncello Sonata" has was played by Kreisler over a decade ago long been considered one of his best works. in an acoustical recording. In the repro¬ Its omission on records has been incom- v ive. Our fiddle-bow draws out high C; mother’s hand around**Affispered duction of this new set it is superbly played prehensible, for its appeal with an audience fives it out, thin and true, and long to quick smde answwmg mine I whispered^ by one of the most ideal teams yet to ap¬ has been always immediate. Its I*? hree other fiddlers under the lamp And -What is ^ Mother She sald- It s_ pear before a microphone. In fact, this songful lines and fervent emotionalismare ,ack it comes,'realized, made authentic Beethoven, child—and I was a little ot set may well be acclaimed as the con¬ fin the composer’s best style. The wore Ae viola Gr the clean, the vigorous fended that she could have *ought “^ summate representation in recorded form dates from the period of his "Second ifth softened by the second violin’s E-flat so stupid. But I know now that she could of a Mozart violin concerto to date. itth, sottenea Dy me =»c :ntervail_ not more richly have answered my be- Piano Concerto,” and is in spirit closely Wieniawski, the Polish violinist and related to that popular composition. In trenethened now'by the violoncello’s deep, wildered question. When they had done composer, created a number of brilliant selecting Marcel Hubert and Shura Cher¬ onlc C the full cheSfbiirr of his'open I went to John and told him solemnly and effective compositions which, although kassky, two youthful artists who stand m firingC' The chord dies; and the four of that I wanted to do that, too, and he their style is somewhat outdated, violinists tlie front rank of their respective line*- ' g'it silent smiling The first fiddler laughed his great laugh of pleasure. I still perform. One of his most popular Columbia has truly chosen an ideal tea' ^ l £d ” he says “Not—so- remembered his hand upon my shoulder aods. Not so bad, he says. m Md his face upturned to Katrina-whom compositions is his' “Second Violin Con¬ to perform this work. (Set 225.) certo in D Minor, Opus 22.” It was A Song for Occupations, by Roy Har 'p'erhaos it is this warm, yet impersonal I remember not at all—his eager voice, originally written for and dedicated to the , . ® i ■ *1,.,.- causes people “Do you think the Infant could do it. the American composer, which Colum famous Spanish violinist Sarasate. Such issues in their set 226, is an energetic » music as this, should be played in record¬ forceful composition, thoughtfully conceiv™ tets, our neignoo y int0 he never hinted at its difficulties, its impos- ing by a great artist in order that its per¬ (it is founded upon part of Walt WM* formance may be inspiring and helpful to ifiVCJveSof anyone listening to a piano solo, sibilities, though he more than once hinted man’s poem) and imposingly worked o** students. It is particularly■ ucuidi ly gratifying,gramying, It is exceptionally well performed byd v A ZtTs the kev to musical.'en- at the difficulties of violin technic. “You thereforetore that Victorvictor has' issued this con- fovAt ?oL soloist; no matter, how can’t fool with a fiddle/’ he told me. “It Westminster Choir of Princeton Uniter**™ played by the eminent Jasha Heifetz under the direction of Dr. John Finley Skillful is a bird of different feather, and means WORK’’—and he made me- "P™ (Album M275). vnur concert-goer though he feed upon my mother’s advice, promise two years of Williamson. symphony as a lamb upon milk, is no piano lessons before I ever touched a vro- true^lover if he play no instrument. Your lin. ‘To see if you really mean it, In- ^ue lover does more than admire the fant” J served my two years bondage music he sweats a little in her service. and I had my reward;.indeed, I have been An ’instant fla'sh, an instant commum- having it ever since 1 a tune^HTlufr tkf, Wry firsl time *** kindergarten child sings mudc hedlnTr5 >h< H»c to hear and appreciate the is the result of knowledge and Victor Grabel leading his Concert Band before a Typical Chicago Audience of more than thirty thousand music lovers Perhaps this same communication is es- inspiration. —Berlioz. JANUARY, 1936 18 COURSE extension study Analysis of Piano Music MUSIC appearing in A Monthly Etude Feature the Music Section Table of practical value, For Piano Teachers and Students The Teachers’ Round of this Issue by an eminent Conducted Monthly by Specialist By Dr. John Thompson GUY MAIER NOTED PIANIST AND MUSIC EDUCATOR gleeful matter in itself to young pupils, and Notice the many little sostenuto marks- because of well marked finger patterns this which adds dignity and an air of reverence These are to be observed carefully as all SWEEP OF THE WIND to the effect. The music begins piano and piece is easy to learn. By C. Frank Koehler have6a distinct bearing on the interpre¬ No question will be answered in these columns unless accompanied by the full name builds tonally until an impressive climax tation according to the composers ideaiL This item on the Etude reader’s musical is reached beginning measure 14. VISIT OF THE HUMMING BIRD and address of the writer. Only initials, or a furnished pseudonym will be published. Marks of dynamics, changes “fpaceand By Homer Tourjee bill of fare, presents a title in keeping with The second section is in F major and pedal and phrasing indications are cleany the gusty weather which sends us indoors When the moon shines up above on the whole is not so somber. The theme given and if followed faithfully will be Mr. Tourjee’s novelty begins with the Elegy by Ed. Poldini; Marcia di Bravura You can scarcely imagine the surprise these days to contented hours at the piano. here lies in the inner voice and is divided melody in the left hand and so continues Two Pupils by Theodora Dutton; Dialogue (easy) by from your letter. Just as I take over I will not tarry long, my Love; Mr. Koehler’s composition is a waltz of the greatest aid. . . , ■ and instantly it comes to life. The first at times between the hands. Allow no per¬ The first theme in G major is followed throughout the first section. The com¬ Two of my pupils, each of Delacourt; Clair de Lune (from Les the Teachers’ Round Table, the very first which affords excellent exercise for clarity ceptible “break” to be heard where the poser has labelled the first theme "In the is twenty-one years of age Orientates) by MacDowell. inquiry bowls me over! Imagine how it or active half ascends to the highest tone, in finger work.. Passages throughout are by a section in C major, the style of which different attituc" " *-’ '' melody passes from one hand to the other. is cantabilc, or singing throughout. After Garden.” It is in waltz rhythm played at Some of these, properly taught, are feels to have a sin of omission coming up C-sharp; while the second or subsiding partly diatonic and partly chromatic—an part descends to the long low C-sharp, At measure 34 the melody appears in the second section there is a reentrance of moderate tempo with light accompanying third grade mu_ bound to incite her to a better spirit. ten years later to point an accusing finger innocent enough combination in appearance. octaves for the right hand. The tempo day to herself, "hates' iu yioJHIl making a living, breathing phrase. (The the first theme—D. C. al Fine. chords against the singing left hand. scales and exercises, and has done so at you. Of course you could not find It is however a combination that hoists quickens. This section leads to a re-an- The second section labelled “Sh-h-h! badly with simple five-finger exercises those “Tests of Phrasing, Color and Tone” reiteration of those last two notes is a the “Beware!” sign for the student per¬ nouncement of the first theme which is that I thought it would be better to Octave Glissando sheer stroke of genius.) HUMORESQUE Here comes the humming bird,” introduces drop them. B has less time to prac¬ in your Etude files; for that last article It is well to remember that such a phrase former. played once more in a majestic manner, By P. Tschaikowsky, Op. 10, No. 2 a trill figure for the left hand which sug¬ tice and eagerly accepts anything How can one play an octave glis¬ never was written. So now I humbly One must really have agile fingers to and ends finally on diminishing chords. gests flight. In this section the melody which will prove beneficial. sando on the present day piano? I apologize, shall try to make amends, and as that of Ex. 1, containing a series of The Etude has selected this month one With A I use no exercises to have in mind especially the passages play this number. Keep the right hand Capture as far as possible in your inter¬ lies in the right hand part. After a re¬ supplement Mathews : just an occa¬ in Variation No. l.l of Brahms' “Vari¬ promise never to be so negligent again. notes of the same value (quarters in this of the very few pieces written by Tschai¬ legato unbroken against a light but well pretation of this piece the religious fervor turn of the first theme the piece closes on sional piece. B shows such interest ations on a Theme by Paganini" (Op. For those who do not know what all case) and with no well defined phrase kowsky which is really piamstic. While in her work that 1 often go beyond 35).—T. A. B. emphasized left hand. Pedal precisely as which animates all simple peoples in their a short Coda consisting of little ascending the routine of the piano lesson to this is about, may I say that these various “punctuations,” needs especially careful this composer always knew exactly what indicated, that is, down on the first beat gropings toward the Great Spirit. groups in the right hand suggestive of the explain different musical topics, Octave glissandos are tough problems. tests, applied to each piece, are designed treatment, if it is to be brought to life. he wanted musically, he was not always styles, and so on. I cannot help hav¬ and up on the second. This use of the ing greater interest in her. And the skin on one’s fifth finger should to find out not only what “ails” the piece, (3) Do I cut up the phrase into too fortunate in the ability to write it in a departure of the humming bird. pedal helps the rhythmical swing and im¬ HOG HOLLERIN’ TIME Am I justified in paying more at¬ also be tough, but unfortunately it is not! but also how to make it more effective, many short groupst Do l constantly play pianistic manner. He was as a matter of tention to the latter pupil, or should parts a lilt which is highly desirable. By Frank H. Grey I treat them alike, letting A decide The first requisite is a large-span hand, for and how better to communicate its beauties toward the highest point or the longest fact a very indifferent pianist himself. As BROWN EYED SUSANS NOD Dynamics in this number are constantly for herself whether or not to digest without this your efforts will be futile. to others. The tests are a sort of catechism note of the phrase? Do I pause sufficiently Well, well, well! an unfortunate consequence of this handi¬ THEIR HEADS the material? She is very difficult changing, being applied so as to suggest “Hats off” to Mr. Grey who certainly Then you must first protect that poor little to prod attention, especially when there is before and wait long enough after this cap many of his most interesting works By Berniece Rose Copeland to teach for apparently she merely the sudden sweep of wind across the land¬ leaves the pack far down the field when it wants to "play pieces” without any finger. Take some absorbent cotton, wad no teacher at hand as a guide. Here highest point, to let the phrase speak con¬ for piano are awkward under the hands Miss Copeland offers here an interesting scape. Changes in depth of touch are comes to the matter of selecting a new title it around the finger-tip (especially thick they are, with some new ones added in vincingly? of most pianists. This one, however, hap¬ study in staccato and legato. The tempo recommended in the right hand shallow for a piano composition. There is no quib- where it touches the keys), and cover this the light of ten additional years of teach¬ (4) Do I begin the piece with the big, pens to be an exception and is really pianis¬ is lively and the tonal range lies between It certainly is exasperating to have such touch to be used when playing softly and bling or equivocation on the part of Mr. Grey with a small piece of cloth, wrapping it ing and playing experience. These “Tests- rich, relaxed tone? Do I phrase it simply deeper touch where a crescendo is desired. tic. The interlocking hands achieve a mezzo forte and pianissimo. The first a pupil as your Miss A. On the other hand, —no naming the piece “Sunset and Piggy with a rubber band to hold it tightly in of Phrasing, Color and Tone” apply chiefly and straightforwardly at first, permitting This piece begins vivo and the second whimsical effect in the first section and a section is in the key of F major. The sec¬ her problem is a direct challenge to you, and Me,” as the more craven among us place; or if you prefer, tie a gauze bandage to slow, lyric works. it later to develop with increased warmth ond, somewhat quieter in mood, is in the and in trying to meet it sincerely you may section is still more animated being marked would probably have done. A very virile nice contrast is formed by the second sec¬ over the cotton pad. Now hold your wrist (1) Does my physical approach to the and freedom? tion which is sustained and flows along subdominant key of B-flat. This piece find that you yourself have unsuspected, pin vivace, more vivacious. title and one which makes some among us as high as you can, as far over the keys phrase, that is, my touch, make it sound (5) Is my rubato legitimate, or is it dis¬ very simply. With measure 55 begins a undeveloped resources. (Which is always ponder on the possibilities held out by, the calls for little use of tire pedal and the as possible. Begin to practice first with the rigid and mechanical, or well molded and torted? section which will require careful practice wise student will observe closely the pedal a thrilling discovery!) AUTUMN IN BARCELONA honorable profession of Hog Hollerin’ as Are you yourself a really stimulating thumb alone. Curve it, hold it steady, and free? Or, is the kind of tone which /' Students must be constantly reminded By Charles E. Overholt a calling. Certainly it offers self-expres¬ of the left hand alone. The running coun¬ markings in the few places where they are play a descending glissando for about an produce suitable for the phrase which I that tempo rubato is not license, but that terpoint of the left hand must be played individual? Are you an out-going, out-giv¬ sion a certain rollicking freedom and less indicated. octave. Repeat several times, trying to am playing? it consists of a very slight elasticity of The dance rhythms of Spain are prob¬ with perfectly smooth legato and light, even ing person, so that you inspire the people ably the most interesting of all the national wear and tear on the mind (if slightly who work with you? Does your own keep the fifth finger (straightened out) Often a singing phrase is improved by rhythm within the measure. What is often more on the vocal chords), than the routine touch, while the right hand “sings” the MERRY MARCHERS silently over the keys a sixth above the slightly flattening the fingers, playing on taken for freedom in an artist’s playing is folk dances—practically every province melody in the soprano voice with beautiful enthusiasm for the recreating of this great having its own characteristic dance differ¬ to which many singers are accustomed. By N. Louise Wright art of music fire your students with a thumb. (It is better to practice glissandos the pads instead of the tips; or by feeling merely a super-control of dynamics. This A hog hollerer, according to the best tra¬ resonance. The piece ends with a brilliant In playing this march by Miss Wright in sixths first, since this smaller span re¬ the whole arm floating almost limply with has been many times proven in the play¬ ing in obvious or subtle ways from the and sparkling Coda played scherzando— desire to work, to control their playing, dances of neighboring provinces. The four dition, is one who has cultivated his voice he careful to observe the two-note slurs so that it will sound beautiful not only to duces arm and finger tension.) Try to a free-swinging elbow-tip (the wrist hang¬ ing of such artists as Schnabel and Tos¬ to attain great carrying qualities. Many are playfully. The chords in the last eight in the right hand part. These short hold the hand and fingers in exactly the ing loosely) and using this light arm down canini, where metronomically there is best known of the countless Spanish measures are to be played with crisp brittle themselves but to their friends? said to be temperamental. Contests are legato groups contrasting with the follow¬ same position as though you were playing touch instead of a close finger controlled, often no variation: but within the beat rhythms would appear to be, in this coun¬ staccato—forearm staccato for most pian- Miss A (at twenty-one), should be more try at least, the tango, the seguilla, the held-at intervals in which the prize goes ing staccato notes add crispness and zest self-reliant. If she is really dead to the both keys. legato touch. Frequently, also, a phrase the extremely subtle management of to the one who can make his voice travel to the rhythm. In the last line the upper Now do the same with the fifth finger will sing (and swing) better if a different nuance gives the illusion of great rhythmic fandango and the habanera. IStS’ MODERATO CONTABILE importance of getting a good musical edu¬ The rhythms which the composer has the longest distance. Such contests con¬ notes of the right hand—the repeated notes alone, this time holding the thumb silently touch is used in each hand; that is, down liberty. By F. Chopin cation in order to express herself intelli¬ . chosen for this piece are typically Spanish stitute a sort of rustic festival. This little —suggest trumpets. Be sure to give proper gently in this glorified language, then she above the keys a sixth below. Then finally touch in the left hand and up touch in the (6) Do I play sequential groups inter¬ and necessarily they play a leading part air by Mr. Grey is designed to bring to This theme from the middle section of resonance to the sustained notes as marked is hopeless, and you had better discontinue play both together in sixths. right; or if the elbow or wrist is raised estingly? in the interpretation. Mark the rhythm mind the merrymaking of such a gathering the “Fantasie Impromptu” is always a in this section. The first two lines for teaching her. But perhaps she is only in¬ Afterward the same process must be higher and more rotary movement of the Much music is made up of sequential sharply, being careful never to hurry the rather than the actual hog calling. The favorite, “discovered” with delight by the left hand are legato while the last line different, has not yet waked up; and if this repeated with the octave-span. As to that forearm is used; or if care is taken not groups; and a good general rule for song¬ tempo. Lean a little toward the indolent composition has the syncopated rhythm successive generations of budding young calls for sharp staccato. is the case it is you who are responsible. passage in the Brahms-Paganini “Varia¬ to “poke” at tones or chords with the like pieces is that, after a motive is started, and lazy style of performance. Contrast associated with American country dances, musicians of good taste. This music is quite So I advise you to clear away your preju¬ tions,” you can make almost as good an forearm. Often only a change of finger¬ its sequence should be played more softly, should be strong between the staccatos the motifs of the trio being particularly typical of the style of Chopin. In playing MECHANICAL TOYS dice, and make the sparks of enthusiam fly! effect (especially if the hands are small) ing is needed to improve the phrase im¬ with different color, and with more free- and the following sustained and accented apropos. It is a novelty which will be it try for the real Chopin tone. Apply a By Rene Miles Cut down her practice periods to two by playing a very swift thumb glissando, mensely. enjoyed by many readers of The Etude. little percussion to the weight principle adding an octave in length to the original, notes which appear in the opening melody. In Miss Miles’ little piece we have an¬ half hours a day, let her work at very (2) Where there is a phrase of which when playing the melody. In other words and with a slight crescendo in the middle, The left hand accompaniment is to be kept other march calling for legato and staccato short concentrated exercises, and one scale the contour and meaning elude me, do I rather steady against an elastic rubato in OVER THE HILLS use a little finger tapping together with and one arpeggio (C major) in small and thus— make up suitable words to the music, in By William Baines arm pressure. The left hand accompani¬ playing. Mark the rhythm well and keep the right. . the tempo absolutely strict. The more large groups, very slowly and very fast order to bring it to life? The second section in E-flat major is ment should be rolled, not fingered. The The introduction of this march uses the precise the rhythm the more in keeping (no moderate speeds), so as to stimulate This opening melody of the Impromptu more or less sustained throughout, be¬ opening strains of the reveille bugle call. use of the pedal is of great importance in F-sharp by Chopin is a good illustra¬ with the title of this piece it will be. her to control the music with her mind be¬ ginning piano and reaching forte as it Following the short four measure opening in playing this movement. Use the half The first section is to be played with fore she plays it. Give her short, colorful, tion of such a difficult phrase. progresses. The third section in G major the march begins in the cheerful key of C pedal for the most part—that is press rather full tone while the second is some¬ modern chord pieces such as the “Sea Ex.l is marked largemante, sempre forte, very the pedal down only half way in order to Do not ask me how to play an ascend¬ major. what quieter. It is suggested that this Pieces” or “New England Idylls” by Mac- The accompaniment in the left hand Mr. avoid a blurring of tones. Note the meas¬ ing octave glissando, for so far as I am broad and always loud. little number be played with a certain ex¬ Dowell; Lento (a Pierrot Piece) by Cyril Play the final measures allargando and Baines has arranged for the timid souls ures where the melody is doubled, the concerned, there just “ain’t no sech animal”! UN N PPH aggerated stiffness suggestive of the move¬ Scott; The Szrnn by Palmgren; The Pines build to fortissimo. who find it difficult to jump back and emphasis here being given to the left hand ments of the mechanical toys which inspired by H. Alexander Matthews; In Old Vienna forth in the usual march accompaniment. notes—for instance measures 3, 11, 23, 35, (Waltz) arranged by Margaret Anderton. and so on. While played at a sedate pace the title. Phrasing and Color (7) Is there at least one portion of the THE GREAT SPIRIT Steadiness of tempo and well marked accents Make up romantic tales about these piece where I should play pianissimo and are of primary importance in the playing the tempo should not be allowed to drag. works; fill your lessons with a warm, By George F. Hamer The mood should be pensive and reflective with repose? of any march. No subtleties of interpre¬ happy, imaginative radiance; play effective, As a rule I am opposed to putting texts Almost all lyric works contain these This piece by George Hamer omits to tation confront the student in this number. but not morbid, a distinction, unfortunately, "The orchestra in recent years, qulring a Technic of Interpretation,” good purpose the usual musical parapher¬ short pieces to her and talk interestingly by Guy Maier. These articles in¬ to purely instrumental music; but, in cases moments of calm, of satisfaction; and the Make the changes in dynamics exactly as not always made. says Oskar Fried, "has been develop¬ about them; give her easy but beautiful cluded “Tests for Tempo and Out¬ nalia associated in the average mind with where a bridge of words will help the student must be careful to find them so indicated. ing backward; that is, grossing material to read at sight at home, and let line,” “Tests for Rhythm,” and Indian music. It is lyric in style and the ACROBATIC FINGERS "Tests for Pedaling.” student to understand the music, I often that he may communicate this beautiful smaller. But that was chiefly for the rest of the technic go hang! I have used these in my teaching advise this temporary association of words “let down” to his hearers. Above all, he atmosphere of the composition is distinctly PETITE SCENE DE BALLET By Hester Lovena Dunn and found them very helpful. But religious. The American Indians, like all economic reasons. I think the neces¬ As to other material, you might try: with music. The text should be the stu¬ should be sure that his pianissimo is a By Edouard SchTutt A piece for first graders is this by Miss peoples living close to nature had a strong sity has proved beneficial. We hare In the Starlight, by Oiarles Huerter; dent’s own; and the teacher should not be real pp and not nip or p. Here is a little piece true to the best Dunn. Only the first three fingers of each “World-Known Melodies” (eight pieces) too critical as to the literary value. Al¬ (8) Does my crescendo start softly religious sense, and worshipped the Great hand are used. The accompanying verse seen that an amateur at composing Spirit in the Sun, the Wind and the other Schiitt tradition. It is melodious, graceful by John Thompson; Diabolo (Melodic Ar¬ - -ling part most every student plays Ex. 1 too severe¬ enough? Does my accellerando begin de¬ not only explains the purpose of the little may write with some success for a appeared. May I in- and full of the modulations which this peggio Study) by S. M. Downs; Mazurka n obtain a copy eon- ly and woodenly at first: but let him have liberately enough? elements of nature, in song as well as by big aggregation of sonorities, and composer loved. As suggested by the title study but makes the task of actual playing by Ornstein; Music Hall by Morton Gould; ‘Tests for Phrasing, set to the music such a sentimental couplet Always delay the crescendo till the last means of the dance. at this stage fun for the child. There is that only a great composer can twite Tone ganu i oioi —E. M. H.— The opening melody emerges in full the music is in dance style and therefore Song of India, Arr. by Margaret Anderton; British Columbia. as (Continued on Page 64) much crossing over of hands—always a rich harmonies against a stationary bass rhythm is most important throughout. with effect for a little group.” JANUARY, 1936 21 THE ETUDE 20 FASCINATING PIECES FOR THE MUSICAL HOME SWEEP OF THE WIND

RF.F.THOVEN AND GOETHE STROLLING IN THE Beethoven's Love of Nature By Jerome Bengis

“Symphony in C minor.” And could they comfort^He is like a child wh-ej-j™ 5Sj Ever let the Fancy roam! Pleasure never is at home: pronounce ^ m§hi treeSl and he knows they are his friends, futility of his more human loves, but also At a touch siveet Pleasure. melteth,hlfth CS uSed our S ^h m^sic^ and he smiles to them with a . full heart was a revelation o, h.s inability m n himself. ' Like to bubblesbles when rain pelteth. hav P cantabile—andante moderato of kindness. And his inner ears are others more of what he saw Keats—The Realm of Fancy, h .

Barcelona is regarded as one of the most beautiful cities in Europe. It is a center of cu

JANUARY 1986 25 i ^- ^ _f^TTl a * h , - I-Vn ttttt (TREAT SPIRIT o l ulfljJlr*HlU° IrCiiK fa j!——^ (SrN^f^L^END) ^ the tom.tom. This will be an effective Recita,

Here is a splendid piece in characteristic style without the usual over-emp a GEORGE F- HAMER number for pupils with a bravura talent. Grade 4. j ' i \^t yF! -i! r i rl ^ Maestos i 11 _ i

HOG HOLLERIN’ TIME FRANK H. GREY In the Western states, where hogs roam freely in the open spaces, there has grown up a custom of choosing a .h,!. caTfs thing of a pet of it, and then training it to come at a certain call. As these droves often wander far afield, farmers helpers invented calls particularly for carryingqualities over the plains. Some are said to be able to make themselves heard for seve S this came to be known throughout those parts by the picturesque title of “hog hollerin’. Grade d. Allegro non troppo M.M. J =88

4 3 1 1 2 3«Jp—i 2 4 p- F=i

9 9 mp > > 15 ™f 10 A 0 >— * —f —

i 1 2 a 2 U 5

* The lower notes of the melody in octaves may be played by the left hand if desired. Copyright 1935 by Theodore Presser Co. British Copyright secured Copyright MCMXXXV bv Oliver Ditson Company. Inc. International Copyright sectu** JANUARY 1936 IBS KTUiS OVER THE HILLS WILLIAM BAINES MARCH MASTER WORKS

HUMORESQUE, Ttoe and agtin „ „.s b«.n used i„ moving pictures,

This very origin.l and ingenious theme by Tschaik.wsky has » decided .ouch oi the w ■»

This lovely movement is the middle section of the difficult Fantasie Impromptu, and might well stand alone as a typical example of the Polish

a) The thumb of the right hand crossing over the thumb of the left hand. THE ETUDi 30 OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES

cunnin’ liL thing ARTHUR A. PENN

32 THE ETUDE A SONG- OF REDEMPTION DANIEL PROTHEROE

Come then, let us rea- son to - geth-er, saith the Lord. Tho’ your sins be as

scar - let, they shall be white as snow: Tho’ they be red as crim-son, they -ijU—T—1

-e iff:9-9- i"i—9—9-•- f- - ) tr )__j_ t a aC- \>p ♦ t v P-T (m - i * wv - c/. Moderate

d J J j i J. ■ i ".-----1 ■■ ii W. -hiii eJ 9 • * 2 shall be as wool. rit. _ Fear not ye, O Is - ra - el,

* * r ^ T *f te aJ, „ r 6- #

Copyright MCMXXVI by Oliver Ditson Company International Copyright secured THE ETUDS REVERIE DU SOIR twilight in AROADY CLARENCE KOHLMANN ISw. Oboe Andante sostenuto rrepaJ™'

vPed. Bourdon and Soft 8r ERNEST H. SHEPPARD Andante espressivo e rubato

PIANO

Copyright 1935 by Theodore Presser Co. British Copyright secured THE ETUDE marigold frank h. grey SECONDO Brightly m.m. J = U4 i4M> i ^ i ^ ^ ^

British Copyright secured Copyright 1935 by Theodore Presser Co. ROSE PETALS PRIMO PAUL LAWSON ROMANCE Andante moderate* con espress. M.M. J = 76 SECONDO PAUL LAWSON

1 » , 8*|

irvf cantand 0

5

JANUARY 1936 PROGRESSIVE MUSICFOR ORCHESTRA INDIAN SUNSET GUSTAV KLEMM INDIAN SUNSET GUSTAV KLEMM FLUTE Orchestrated by the Composer

1st Bl> CLARINET INDIAN SUNSET GUSTAV KLEMM CELLO or TROMBONE INDIAN SUNSET GUSTAV KLEMM

JANUARY 1936 41 FASCINATING PIECES FOR THE MUSICAL H ACROBATIC FINGERS

British Copyright secured Copyright 1935 by Theodore Presser Co. 43 Copyright 1935 by Theodore Presser Co. British Copyright s*cui*d JANUARY 1936 THE FTUDt The Harmonica Band EXCEPTIONAL MATERIAL (Continued from Page 16) For the Real Young Piano Student

These pieces and albums are extremely easy, yet they are of rare musical quality: Humoresque . . Heller Nicholls A Jovial Tune. .Ernest Austin Minuet . .... Eric Mareo Russian Dance. .Eric Mareo The Horseman. .Cecil Baumer Wind in the Trees .Cecil Baumer Happy Go Lucky Graham Forbes jr nr PifTrrrlMEgfa Gentle Breezes. .Atlee Ashton

A Field Day by VICTOR HELY HUTCHINSON B B B D D » This exquisite little suite of six easy pieces will attract the immediate interest COMIN' THRO’THE RYE of every young boy. Other suites and little albums, equally attractive, are: Young Hearts (Series I and II) *£"” J Cyril Scott Country Sketches.Cecil Baumer Hey Diddle Diddle.Mae Sarson LESTER Album of Miniatures....Federick Nichols B B D ESTABLISHED 1888 Album for Boys.Cyril Scott —7 Album for Girls.Cyril Scott " A? The majority of wealthy families do not practice extravagance; their pos¬ ^ —i • n sessions are fine, yet dur¬ ^ i U l able. Very often you will Ask for them on approval. We will send find their piano is a Lester. them to you immediately upon your ife^rTitf-^ rj* r ^ request. [tf Ucjh jli ■P.lc, . o » o " n GALAXY MUSIC CORPORATION 17 West 46th Street, New York, N. Y. Lester Piano Co. 1306 CHESTNUT ST. PHILADE L P HI A

Almost all of the old folk tunes and such songs as those of Stephen C. Foster may be easily adapted to such use. Bibliography The Hohner Harmonica Company, Inc., has compiled many pamphlets of value to the harmonica band director. These in¬ clude not only descriptions of the many instruments made by this firm, but also four-part arrangements of songs like “My Old Kentucy Home” and “Old Black Toe,” as well as hints on conducting harmonica contests and other activities. A few pub¬ lications of this company are: “The Art RINGS&PINS FOR MUSIC CLUBS of Playing the Harmonica”; “How to Play the Chromatica and Super-Chromatica”; ^ Pin shown at^left, and “The Harmonica as an Important gold plate. ^Bing^at Factor in the Modern Education of Girls ,er,r$f."write for 26-page and Boys.” Victor Record No. 20377 (Orthophonic), . K. GROUSE COMPANY “How to Play the Harmonica” ; seventy- Jorth Attleboro, M: five cents. “Modern Harmonica Method,” contain- MUSIC ENGRAVING arranged ing twenty old time selections arranged for And here are two familiar the harmonica with piano accompaniment; Piano, Band, Orchestra and Octavo work. We for a soloist to play the notes on the upper specialize in book work; also engraved titles. thirty-five cents. staff, while the band furnishes the har¬ “Fifty Famous Songs for the Har¬ Send your mss. for estimate. monies written on the lower staff. OTTO A. C. NULSEN monica,” containing fifty old time songs P. O. Box 774 Cincinnati, Ohio THE CAMPBELLS ARE COMING with piano accompaniment; fifty cents. “New Standard Harmonica Course,” containing two-hundred old time selections for harmonica, without piano accompani¬ ment ; twenty-five cents. “The Harmonica Soloist,” containing forty-five standard compositions—twenty- NRHfflg five for “Chromatica” and twenty for regu¬ CSINY PUBLISHER. OUR REFERENCE lar harmonica, with piano accompaniment; CV3 WRITE FOR PRICES ~ ~ (Continued on Page 56)

JANUARY, 1936 WHY Not BuyIIYour Music The Technic of Vocal Intensity ilie cf'ign of ilw tuning cJorL THE ELDER Lamperti said, “In- breath, and on which the old Italian U THE SINGER’S ETUDE tensity of breath pressure and in- masters of bel canto insisted as an un- Music of all Publishers Special Mail Order Dept. tensity of tone are the basis of all portant factor in their methods. (This Edited for January by Homer Henley expression in singing.” Webster defines quotation is from “The Voice”; by Dr. Easy Piano Teaching Material expression as “The act or product of press- Frank E. Miller.) , , „ “Singer’s Etude" complete in itself ing out”; and intensity as “Extreme force Now breathe for singing—take a deep It is the ambition of The Etude to make this departmen or energy.” Therefore, we have the ex- singing breath, but, instead of actually treme force or energy of pressing out. singing, check the breath that has been It goes without saying that there can taken. Do this a number of times. Ob- be no intensity of vocal tone, without a serve what happens. It will be found that great intensity of breath pressure behind the chest has advanced, and, in advancing, that tone. It also goes without saying has also spread out the lower ribs all that there can be no worth while intensi- around the body. The abdomen has re¬ lying of that tone, however great the tracted with the breath; and, whilst it breath pressure behind it, unless the tone remains retracted, it will also be found Training the Male Voice be amplified by the reflecting sound boards that checking the breath has tightened a of the head cavities and of the chest. (The wide girdle of muscles about the torso and, that if the principle of this axiomatic law air passing through the narrow chink of at the same time, has tensed the diaphragm tones even in the easiest portion of the be painstakingly and persistently carried the vocal cords produces only a very with a well defined outward push. Here HE TRAINING of the male voice ing device, which is the employment of middle range, must be always determmed into daily practice, and over a sufficient feeble sound, until it is augmented by its lies the key to the problem. That dia- T the head cavities resonance at either end for singing offers many points of by the musical feeling governing the pas length of time, the desired results will passage through the natural sound reflec- phragm push,” as all the great singers call divergence from that of the treat¬ of the messa di voce. certainly be manifested.) tors of the pharynx, the mouth, and the it, is the seat of both breath intensity and Here is the exercise: begin the chosen ment of tone in women. Some of these The first step, then, would mean that head spaces ) tone intensity. The secret of the affair is note pianissimo, in falsetto tone. As the are due to the difference in texture and words whose predominating sound was to hold that “diaphragm push” continuously point is approached where the inevitable quality of the male and female voices. represented by oh. uh. ah. ote. and aa. would Breath Intensity while singing. More than two score of the break occurs, throw the tone quickly into ir, sj The male voice is broader in tone, deeper be covered into the sound and shape ot oo. THESE THINGS are accepted as world’s greatest singers have personally in volume, and very much lower in pitch what is unfortunately called the nasal place¬ axiomatic. What is not so generally demonstrated this “push” for the writer, ment, exaggerating the head resonance Examples of such words might be: roan- than its sister. Excepting in rare in¬ relation of life, the question of taste is understood is that force of breath does not Without exception, every great singer in quality very greatly the while, and it will i„g; flowing; slow; and, button; love; stances, it is subject to what is known as the determining factor. The d,ffere™* be¬ necessarily mean force of voice; and that the world employs it. It is the held: breath, be found, sooner or later, that the nasal shove; and father; far; alarm; and tall; a “break,” in progressing from a piano tween opened and covered tones may be ought; and raw; and. shatter; talent; wrap. the schooled singer should be able to in- It is gained by inclining the body forward to a forte, and from a forte back to a piano. placement goes very far toward aiding the accurately and definitely learned by any crease the force of his voice without spread- while drawing in the breath, and by keep¬ voice to tide over the dangerous break be¬ In the very highest notes of all male It is also necessary for the male voice to student through listening to phonographic voices the covering of tones occurs farther ing or enlarging the bulk of his tone; and ing the body so inclined in order that that cover its tones when reaching certain notes tween the retreating falsetto and the ap¬ records of the world’s great male singers. that he also should be able to maintain an girdle of muscles which holds back the proaching true tone. Add this device, and farther back in the geography of the in the ascending scale. It is with these There can be no mistaking what open mouth, as the pitch becomes more and equal intensity of both breath and tone for breath may be brought into automatic oper- two phenomena of the male singing voice coincidentally, to that of the muscular ad¬ and covered means, after hearing the his softest notes and for his loudest and ation. And it can be brought about in no justment of breath support, and you have a more acute. On these highest tones the that this article has to deal. voices of these artists, who never offend highest notes. That is to say concretely other way that is either comfortable or partnership of two powerfully efficient aids e and oo covering becomes modified into There are but few male voices, of what¬ the musical ear by errors of either judg¬ a broadening of these sounds into a less that there should be as physically powerful natural for the singer. ever classification, which can, by nature, in bringing the male voice scale into a smoothly joining inter-relationship. ment or taste. and less definite pronunciation. (It should successfully negotiate the path from aorbra£t^S:r “as STehMa The Retained Breath Bassos should begin practice on or about be remembered, however, that the context pianissimo to forte, and back again, with¬ By Subtle Means fortissimo" note; or else there will be no TTAVING TAKEN, adjusted, and bal- E-flat, third space of bass staff, for the out the voice slipping to and from a OVERING THE TONES of a male on either side of a single or series of high intensity of either tone or expression in A J. anced the held breath, begin to sing messa di voce, continuing upward by the C tones scarcely ever fails to reveal the mean¬ t to Chi.nr chink. falsetto on either side of the forte sound. voice bears the same relation to its the messa voce or the pianissimo note. The with it. Sing, for example, these words c most slowly graduated half-steps, to the This is especially true in the upper middle tone quality as does the button placed on ing intended, to the listeners.) uninstructed singer presses his breath any comfortable note: A-ve Ma-ri-a ; O-i and highest ranges. The tenor is as much top of their range. Baritones may begin the point of the fencer’s foil—it softens A Great Tenor Discoverer strongly for loud tones, but let downs his pro-no-bis. This will not, in all likelihood, ■igkt, 1935, by I subject to this humiliating “break’ as is on G, fourth space of bass; tenors at B-flat below middle C. If difficulty is experienced the acerbity of its temper. An open, roar¬ breath for soft tones, and so achieves sickly, be easy at first. There will be a sen the basso or the baritone. THE TWO CLASSES of vowel cov¬ SPRING FLO WERS with the break, even at these low ranges, ing sound of oh, for example, could readily colorless effects quite out of keeping with fullness in the region of the lower chest Walter Rolfe be made of quite another temper by chang¬ ering enumerated above have long his virile louder sounds. The result is (but not at the throat region). lhis is be- Building the Scale begin the experiment at still lower levels; been the standard and accepted method of for the break is rarely, if ever, noticed in ing the oh into oo. The oo sound would artistic futility. There can be no art where cause the act of holding back the breath Anatomists claim that this break vocal procedure, in the training of male intensity of tone and expression are not is new; but persevere, for the sensation of the lowest part of the voice. automatically cover the oh, for the excel¬ is caused by the abrupt change of the lent reason that oo cannot be opened—it is voices by legitimate teachers. But it re¬ uniformly maintained. fulness will not endure for long. Sing 'BP larynx from one position to another. They mained for Enrico Caruso to invent and V At Use of Covered Tone a definite and permanently closed sound. For When this is granted, we come to the slowly the syllables of the words indicated; p Already 2nd Editio also claim, in the cases of those fortunate introduce another method—that of cover¬ HE ADVISABILITY of covering the another example: an aggressively opened practical demonstration of its technic. It dwell on each one, and, as the tone is Cash postpaid male singers who have no discernable break T ing all vowel sounds in the high range, LcL-==J Ilf tones in the male singing voice in the a, (as in day) on a high note, would in¬ begins, naturally, with the breath—the maintained, try for a uniform intensifica- Price, 25$ in their scale, that the wide gulf between forward on the teeth, by modifying every ascending scale amounts to a necessity, if stantly become more mellow and agreeable pressing out of the breath. And just here tion of the sound in singing both loudly Copgrtgkt, 193$, by Harold Flawimer, Im falsetto and true tone is bridged by a sort known sound into tire shape of eh (as * the quality of beauty of sound be taken if covered into the sound of e (as in sec). is the rock on which the singer, who does and softly, and in the messa voce.„ Try to of automatic muscular shock absorber But what, then, becomes of the pro¬ let), and by so mixing that sound withtne not understand breath management, en- withhold the tone from “ballooning beyond OL’ UNCLE JO’ so to speak—and so distributed over any into consideration. For open tones on high notes, in the male voice, resemble shouting nunciation of the word intended? cries vowel intended to be sung, so that thereoy courages disaster. He may inhale his its initial proportions. potential gaps in the scale. That is to say, an objector. Ah, my friend, for an answer the word or syllabic was brought to reso¬ breath properly, but he probably has not Then sing each vowel sound in a long, the break has been gradually, dispersed more than they do singing; and they have the added disadvantage of exposing the to that, I must quote you the old masters nate directly on the upper front teeth, grasped the great fact that, between in- sustained note in all the comfortable over the given distance by a lucky natural of bel canto: “Pronunciation of words, on this device lias come into fashion wtn halation and exhalation, there occurs the pitches in your compass, beginning piams- adjustment of the necessary muscles of the voice to a definite danger from forcing the high notes especially, must be modified for practically all the great artist tenors ot necessity of holding the breath he has in- simo, swelling very gradually to a forte, throat. Other persons, not so happily en¬ tone. For some reason, male voices, which the sake of beauty.” Note, please, the this later day : Gigli. Schipa, LaunAolPV haled. Here lies the great point of breath and diminishing very gradually still dowed, must, however, seek means of have been trained by women teachers, gen¬ word: “modified,” which does not mean Borgioli, Martinelli. and the lesser hg and tone intensity. For it is the holding another pianissimo; being most careful to bridging this awkward break. There are erally display this defect; possibly for the reason that the training of women’s voices changed; but which does mean made suit¬ The method not only carries with it » back of the breath which enables the singer keep the tone of the same size throughout, two roads to this goal. ably flexible for the purposes of beauty. to exert those delicate adjustments of the and striving to infuse every gradation of One is by means of so practiced and takes no account of open or covered tones richly brilliant quality of tone, but it in the upper ranges of the scale. The oh was not made wholly oo; nor the appears to insure, in nearly evcr5 immense power of that held breath, which sound with the same, intensity you will skillful a balance of the breathing ap¬ make for the emotional coloring of the truly exert in the loudest juncture. You will paratus, for tone support, that exactly But if a man’s voice is to be a tonally a wholly e; but both oh and a were molded valuable freedom and ease in the production intensified tone, be it loud or soft. find this thinning process greatly aided by sufficient pressure—at every delicately pre¬ musical one, he must take active count of into the shape of oo and e, for the reason and facility of high notes. , those very qualities—and the word “quali¬ that the shape of oo and e are covered Bridging tire breaks between falsetto also intensifying the resonance of the head carious step of the way—may be lent to Position and Control cavities in what, for lack of a better term, the tone as it approaches and returns from ties” is used here advisably—for opened shapes. All capable and experienced male true tone, and covering the upper tones OW IS IT done? Simply enough in is called the nasal placement. With this the break, to enable it to prevent the and closed notes reveal tone textures of teachers of voice thoroughly understand the scale, arc the two salient features » H theory; and really simply enough aid you will soon learn to press the nar- larynx front slipping away from the marked divergence. A tenor’s open notes this principle. Let us now extend it for differentiate the training of the male ' gradual passage of the voice from falsetto should never extend beyond the altitude the benefit of students. from that of the voice of woman. ^ when both understanding and practice join row and intensified tone like an extended, hands. elastic blue flame toward any given part to true tone, or from true tone to falsetto. of F, fifth line (treble), and then only on We will take it for granted that the these two features exist cannot 5—* f * * the rarest occasions, and only in the in¬ principal vowel sounds are: ah (father), denied. That they are not widely u “Bend the body forward sufficiently to of. the room or auditorium in which you * Cofyr.gKt, 1935. by Barold /lam*.. Blending the Falsetto terest of securing some tremendously aa (fat), oo (shoe), oh (so), aw (saw)’ stood is, unfortunately, all too app*o" loosen the muscles of the shoulders. Those may be singing. That is exactly what the dramatic effect. I have heard F-sharp and shoulder muscles, when fixed or set, con- great singers accomplish. Their tones press To Order Piano Teaching Material “On Approval” T MAY BE ASKED if the falsetto e (meal), ih (mill), eh (met), a (may) That a practical grasp of their *°TanrSj I even G done in one or more instances, but stitute the base of all physical inteference electrically forward always, and they re¬ Check V Below: tone may be legitimately employed in uh (up). We will then, if you please, as¬ is easily within the reach of readers <> these were sung by great tenor artists who artistic singing. The writer replies that sume that both e and oo cover themselves article is a simple fact, readily to be p*v> in singing. It will be found that this for- main always pressed forward with that well understood their own exceptional ward inclination of the body permits a for- same elastic, electrical resonance, whether it can be legitimately so employed; pro¬ —which they do. One cannot alter them by those sufficiently interested *0 I**’ capacity for exceeding the average law. ward position of the chest, and a horizontal the note be loud, soft, or messa voce. They vided it be so joined to the true tone that without changing one to a, and the other practice tire principles here laid d0* 1 □ Piano Classics—Gr. I—in no perceptible break can be detected. The Baritones should make a seldom dared lifting of the ribs. At the same time it have accomplished this extended miracle of □ " “ " rr—y singing of any passage in falsetto alone is, E-natural their limit for open tones; and Next step: ih, eh, and a, cover into the induces that gentle sinking in of the lower intensified emotion, by way only of an basses would be wise to stop short on abdominal wall, which is the final detail in intensified tone produced by an intensified Cut out this coupon and mail it with nam of course, taboo. sound and shape of e. The male voice break, then, may be Middle C-natural. And oh, uh, aw, ah, and aa cover into the correct method of drawing in the breath pressure. bridged over by a long continued practice It should not be assumed, from the fore¬ the (modified) sound and shape of oo. (If "The art of interpretation sho of breath adjustments; and a long and very going, that tenors, baritones and bassos you do not understand this at once vou 10 e. 43rd St. Chas CoH; h!!SM should sing all their tones open up to the taken up first as a cultural difficult road it is, requiring every possible may, perchance, blame the writer for not then, as the technic of the “ HAROLD FLAMMER New York T head ore *Spr«fser degree of patience and perseverance. But notes mentioned; but reference has been having made himself perfectly clear in what made only to notes demanding exceptional mastered, as a practical it can be done! And it can be hastened he intended to convey. But the writer, from and yet simultaneous trim ' to perfection by the aid of a second bridg- dramatic intensity. Opening or covering none the less, has no hesitancy in stating 47 nical work.”—Giloerov Scott. JANUARY, 1936 46 Nearer My God to Thee THROUGH PIPES ALONE WHERE SHALL I GO THE ORGANIST’S ETUDE TO STUDY? By Mrs. W. Henry Herndon Private Teachers Author: Mrs. Sarah Flower Adams, Tune; “Bethany” was written by Lowell Mason, in 1856. The popularity of (Eastern) 1805-1848, was a native of England. Her “Organist’s Etude” complete in itself. the song increased after this music was It is the ambition of The Etude to make this department a ambition was to be an actress of the highest KATE S. CHITTENDEN type; and her greatest triumph on the written. However the words are still oc¬ Pianoforte — Repertory — Appreciation stage was when she played the part of casionally sung to other tunes. Lowell THE WYOMING, 853 7th AYE., Lady Macbeth. Illness ended her stage Mason has improved and elevated Ameri¬ NEW YORK career, and she then followed the lure of can Church music perhaps more than any other man. Most of his hymn tunes seem ALBERTO JONAS a literary life. Although she never suc¬ to be a natural outgrowth of the word Celebrated Spanish Piano Virtuoso ceeded in becoming a real poet, she had a Teacher of many famous pianists fine gift for lyric verse. text. Interpretation: The lines are written in When the Choir Sings Out of Tune x 1? WEST 85TH STREET, NEW YORK CITY This hymn was written in 1841 and is « Tel. EndicottMCm^ On Wednesdays in Philadelphia dimeter and trimeter; but the tune length¬ _i the genuine article, parti based on the story of Jacob, as told in larly when the arts are invol' ens it into common meter. Frequently high prices justify c— Some Causes and Some Cures Genesis 28: 10-19. When Christian The song opens with a cry of the soul -.ideration of the unreal, but when ; LaFORGE-BERUMEN STUDIOS ;he genuine costs even less, there travelers are touring Palestine, they stop for divine help, pleading human insuffi¬ s no doubt as to which presents By Clifford Roberts Voice—Piano at Bethel, where Jacob had his dream, and ,:he greatest value. In the new must attack the fault by adjusting the ciency; and it closes with a gleam of ex¬ Wicks’ creations purchasers get the ’ Frank La Forge teacher of Lawrence Tibbett since Oct. sing the song. altation. Although its literary worth is been entirely mental condition or by controlling the J 1922 “greatest value.” tance of listening. Singers should 1 difficulty The song was the favorite of President much debated, it is very singable and its Space for a pipe organ Is no longer HOW WE ARE tortured when listen¬ physical actions. n 14 WEST 68TH STREET, NEW YORK a problem as the above Illustrates. ing to a choir sing out of tune! But encouraged to realize the team spirit Action and Reaction , Tel. Trafalgar 7-8993 McKinley, and its words were his last. merits outweigh the defects. It has been m---e are 207 pipes within «” "™ their chorus work and should be trained The band played it when the Titanic was called a perfect hymn because of its sim¬ . wideband V- ~I" deep,' height even the best of choirs get out of Much in Little only 5’-6". blend in tone and tune. ; GEORGE S. MADDEN sinking. It has been played or sung on plicity, vividness, and strong feeling. These tune sometimes, and it is very seldom that O SUM up: I Scientific—Mental Art of Singing we hear the rendering of an unaccompanied rs T , Based on psychological 100 P. C. tone vibration other important occasions too numerous characteristics should be portrayed in sing¬ A PIPE ORGAN FOR ONLY $775.00 Seek the Cause Good intonation depends on the three TdheSiree SrsTe £veriub.e « By a Singer Who Makes Singers ing the song. EASY TERMS—PLAY AS YOU PAY work with perfect intonation. factors and may be affected by all or any to mention. But “perfect intonation” sounds dread¬ THE REASONS for getting o. — . . " Metropolitan Opera House, 1425 Broadway, N. Y. C. Address: Dept. Et. J Tel.: Penn. 4-2634 fully technical; and “perfectly acceptable in¬ tune are numerous and varied, and undivided trim y. of them. The best results will appear when all tonation” would be perhaps nearer the exact what is true of the soloist is true of the If it can be checked in the mental state, it three conditions, mental, physical and in¬ I RICHARD McCLANAHAN §mtx, ply cr control, he may get out of hint. enough to raise his mind to a suitable plane, be strained or braced up too much so that I Studio, Carnegie Hall, Suite 827, 57th St. at 7th Ave. A Preventive Good breathing is the foundation of good , Tel. Columbus 5-4357 ^ ltts ,N®",York City THERE CANNOT be too strong em¬ In common parlance, the “right frame of the physical action is Justou‘of c°ntr?*; singing, and the singer must have proper „tad” «,adequately eupeea, «. «*»• phasis on the importance of ear training tuition in this most important subject. A Private Teachers for every singer; and of almost equal value is logical condition. proper intellectual equipment covers a Now to get int this right frame of mind effort is made, the physical action is I (Western) the much neglected art of listening. Every effort The performer strained and then sharping of pitch occurs. knowledge of good breathing and the means chorister should be trained to detect the may require son _ of applying tliat knowledge, as well as the « VERA BARSTOW may feel tired, he may be nervous, or he The remedy in this case obviously lies in slightest out-of-tuneness. power to reason and find a remedy for n Concert Violin—Teacher—Chamber Music may find it difficult to concentrate, Even exercising restraint. In unaccompanied singing there are at 5 may In some cases of faulty intonation the any fault which may appear in the physiol * 1831 N. Beverly Glen Boul. Los Angeles, Calif. least two ways of getting out of tune. One the most experienced artist X Phone West Los Angeles—322-37 have to overcome an initial inertia, before intellectual faculty may come to the rescue or mental capacity. Much bad intonation part may get out by itself, going off at a could be obviated, if singers knew bow tc ; CHARLES DALMORES tangent as it were, either sharp or flat. The feeling quite at home in his song. The and adjust matters. When the singer ■ < " ■ - -i-i.- realizes he is sharp or flat, he may use his listen to their own efforts. result of this is decidedly more unpleasant first mental effort may not thoroughly s ceed. Fear may be strong enough to pre- intelligence-„-. and proceed to rectify the fault In the case of accompanied works, the » Teaclh;eng°Oplera" Concerts,'^^o^Movies than that of all the parts flatting or sharp¬ accompaniment must be listened to and the x Repertoire in French, Italian, German The Then and Now of the Organ ing approximately together and so to an vent the singer from getting completely according to his knowledge, upon the right mental plane. There may The singer must be able to u singer’s sense of tonality be kept in touch " 5873 Franklin Ave., Hollywood, Calif. extent keeping the harmonic peace even if with it. For unaccompanied works, this * Phone Hempsted 9949 the tonal barriers are rather badly demol¬ be lack of inspiration or a pernicious in- tellectual faculties to their fulle difference; but the will to rectify the First of all, he must realize he .s uui u, sense of tonality must be developed in the Charles M. Cotirboin ished. • Miirfd ABBY DE AVIRETT By Here especially will be seen the impor- mental attitude must be there until the tune; and, having become aware of it, he team spirit. ! TEACHERS OF PIANO J 108 South Larchmont Los Angeles, Calif. The popularity of the organ is- a com¬ an audience. For instance, one should not To Couple or Not To Couple? ; DR. GEORGE LIEBLING paratively recent thing, and it is grow¬ use two consecutive numbers that are the J MasterClasses—June, July, August 1936 ing all the time. The tremendous demand same in mood and characteristics. If this m Teaching Methods, Materials and is done, monotony will be one result, and By Charles N. Boyd n Interpretation. Liszt Exponent. for better instruments has resulted in re¬ J 5533 Hollywood Blvd., Hollywood, Calif. markable progress in the building of the a cold audience another. The way to make IN THE DAYS when tracker actions is no reason for the‘invariable use of the On two-manual organs the player cannot and their inversions; no sharp discords | organ. There has been a surprising in¬ up a program is to change the mood of the NEW MUSICAL PRINCIPLES were universal, couplers were a fear¬ Swell coupler at 8’ pitch. With the super¬ afford a tone quality for each octave, as he ; MARGARET ELLEN MACCONACHIE crease in the number of organ students as compositions. Go from one mood to an¬ ful and wonderful adjunct for the octave coupler the.situation is different. A might an a three-manual instrument,. but Do Not Neglect Experimentinf ; STUDIOS well as in the addition of organ depart¬ other. If a heavy composition is used first, fair amount of tone on the Great organ the use of the same quality in the lower ments in our music schools. be sure to follow it up with something player. Only those organists with strong, NE OF THE BEST suggestions to , ! Address Care of Musical Courier tireless fingers dared risk the key resist¬ may be brightened most advantageously octave is often preferable to a thinner eight- O , Roosevelt Hotel — Hollywood, Calif. Free organ recitals have been a tre¬ light. In this way the audience becomes any inquiring organist would be » I Kinne memorize music ance the couplers of those instruments in¬ by coupling some Swell stops of appropri¬ foot solo. The player needs to give careful mendous help in acquainting the public better able to perceive differences and to ate tone at the upper octave. This pro¬ attention to the use of the 4' coupler for try out the effect of the couplers, sing? j JOHN A. PATTON with the organ; and then there has been appreciate them. Memorizing Course and 6ure volved. Now, with modern actions, every ends forgetting L^ons b y ojtes^pondcnce organ is provided with an array of unison, cedure is often preferable, to the use of the solo melodies or combinations. Sometimes and in combination, with all sorts of spew- j : VOICE a definite, direct movement to improve Of course, there is a lot to be done in > First Teacher of sub, and super couplers, which add nothing heavier four-foot stops found on some Great a better effect is obtained by using a single ing stops, also singly or in combination, the instrument. There is constant experi¬ the field of organ compositions. Organ MARION Kinne, 1324 So. Lindenwood St., W. Philadelphia,Pa. organs, and is frequently desirable in hymn- this way the possibilities of a small orpj» j| > Josephine Antoine of Metropolitan Opera music is so likely to be cut of the same to playing difficulties and often add much four-foot stop, which means relatively less ‘ 6655 De Longpre Ave., Hollywood, Calif. mentation, constant change taking place— to the musical effectiveness of the perform¬ tune playing^ for congregational singing, tone in'the upper octave than the four-foot may be extended considerably, especial? ii ; GL. 7523 until today the organ has become possessed pattern that it should become the duty of Make THE ETUDE Your Marketing Place ance But, since couplers are mechanical where the control of the brighter tone by coupler which duplicates each eight-foot if the player remembers that it is sometnno j of amazing power and untold strength. every composer to draw a line between the Etude Advertisers Open the Doors to Real devices and not “speaking” stops, their the Swell shutters is welcome. The sub¬ stop in its upper octave. allowable to play a passage an octave higt» : EDNA GUNNAR PETERSON Another reason is the care that organists mushy sentimental stuff that characterizes Opportunities octave coupler finds'much'less frequent use than it is written, using 16’ cauplersoc J Concert Pianist—Artist Teacher are taking with their programs. They most organ music—and the severe stuff value is sometimes underestimated by the Some pleasant effects are possible with , 229 So. Harvard Blvd. Los Angeles, Calif. player. , under these circumstances, as the lower eight-foot stops on one manual coupled to octave lower than written, using 4’ coupled ] , FE. 2597 are becoming wiser in their choice of com¬ that is the other extreme. Then we will The “Swell to Great unison (8 ) octaves thicken the tone to or past ..the one or more light string stops in the upper With three- or four-manual organs positions. Of course program making is have our perfect compromise. coupler, is the manual coupler most often danger point. octave of another manual. A registration possibilities are practically limitless, ; LAZAR S. SAMOILOFF tremendously important in winning over —The Musical Digest. MUSIC PRINTERS used, sometimes without due consideration. so popular with many players that it is the devices suggested above, and borrow « Voice teacher of famous singers * From rudiments to professional engagements If, as sometimes happens, the Great organ Interest in Variety sometimes over-used is a soft string stop or stops from another manual at 16. * Beginners accepted. Special teachers' courses ENGRAVERS™0 LITHOGRAPHERS is equipped with only one or two stops of combination with both 16’ and 4’ couplers 4’ pitches with the dual object of cotnbtnw PRINT ANYTHING IN MUSIC- ANY PROCESS HE 16’ COUPLER is frequently use¬ ' 610 So. Van Ness Ave., Los Angeles, Cal. rather thin tone, the player may do well to T "I imagine that it is possible for a man to be a great painter and at the ful on solo melodies of medium or high drawn on the same manual, suggesting the tone qualities and pitches. ^ WE PRINT FOR INDIVIDUALS couple frequently to the Swell in order to effect of divided strings in the orchestra : BERTHA VAUGHN same time to steal chickens. But I cannot believe that the man is a great range. In orchestra such a melody is In trying out these combinations tt* |establishedt8Ts REFERENCE ANY PUBLISHER borrow some desirable tone qualities from I Voice Teacher of Many Young Artists painter because he steals chickens. So,'if anyone should tell you that, because sometimes assigned to violin or flute with a As a rule this device should be restricted of the Swell shutters should always be that manual. Furthermore, there is a pos¬ you are musicians, young artists, you are'above social and moral laics, do not clarinet in the lower octave, or to violins ? h™n’CSt ^ic|> rf™in fairly well in in mind. A combination with closed ] Folder on Request sibility of shading which is denied when i Beaux Arts Building Los Angeles, Calif. believe them. It is quite possible to lead an exemplary life and still be a with violas, violoncellos, or a wind instru¬ Iff J? 1 u 6 keyboard- For the best ters may be absolutely ineffective, but no pipes of the Great organ are enclosed. effect, the harmonies should be compara¬ good musician.’’—Dr. Howard Hanson. °ZIMMERMAHS ment in the lower octave. valid by opening one set of shutters With a fully equipped Great organ there tively simple, consisting mostly of triads or less. JANUARY, 1936 49 the ETZ1# ORGAN AND CHOIR QUESTIONS Bands and Orchestras Music in an "Unmusical" City Answered (Continued from Page 19) By Floyd C. Evans By Henry S. Fry, Mus. Doc. £ the Penn»ylv«ni« Chapter of the A. G. O. likely to be induced by it—no opportunity Ex-dean o £TUD£ unless accompanied by the full tu lor today. You may go.” thing will be alright.’ Not a single mi “Some years later,” Berlioz wrote, “when take occurred. I started the allegro is afforded’ to sentimentalize. Another notable example of this form I was to present the overture in concert vivace in the whirlwind tempo of the allegro, is to be found in the popular over¬ for the first time, Habeneck happened to Transteverine dancers. The audience organ. What is the meaning of “pisir end shouted, ‘Bis!’ We played the overture ture to “Russian and Ludmilla” by thg> whu the fractions included in the pitch <,/ be in the greenroom of the Salle Herz the Q. How ore reedsin reed 9rproduced in some of the stopsf—D. M. evening of the concert. He had heard that over again; it was even better done the Russian composer, Glinka. How are different c“'Supply houses ,n A The specification of the organ indicates second time. As I later passed through reed organst Are there a v ,ceds and It to be duplexed and unified. As a help », we had rehearsed it without the wind in¬ the United States which deal ^ ■ the greenroom Habeneck was standing reed organ parts! way u?e> end- will try to give you a general idea of pitch struments for the wind players had been tnadewuhtlte keyboa, djegmn^ g and tone color. Stops of 8 produce normal there, looking rather disappointed. I could pitch, the same ns the piano. 4' stops pro- called away for military service, they be¬ Sure a. tone one octave ■■higher.— 2' "stops two ing members of the Garde Republicaine not resist the temptation to fling at him: price possible on a following sets K st®R* octave ‘Now you can see how it ought to go!”’ pipes and me eh an is in, w it ’ Open Dia~ L'h. The stops with Band. ‘Good,’ said he, ‘there will certainly completely unified and dupwxea *ne )iad be a catastrophe at the concert this eve¬ It is also of interest to record that the WATERBURY SCHOOL SYMPHONY ORCHESTRA pason, Oedeckt and, an -i oppor*— to thau the unison' or'one ning. I must be there.’ When I arrived opera was a failure when produced under .gan bu^ piteh8speaks u n< between normal pi the wind instrument performers sur¬ the direction of Habeneck but later scored younger brothers and sisters become in¬ successes when presented under the direc¬ EN YEARS ago there was no music 9 ’ ■ — ~te the names and addt esses o, g fifth above it) at rounded me; the idea of playing an un¬ T terested in hearing about the orchestra and organ fact ories dealing m either new o a 2%' stop speaks above the tion of Liszt and Von Bulow. in the high schools of our city. I first ami known work without rehearsal rather desire to study an instrument in order to aed by second °oetuvesa a bin e Boifnaf Dili had just come from a mid-western second uua»™ r*'J< hiapa- terrified them. ‘Don’t be afraid,’ I said, be ready to play it when they enter high ...... koiimsons 8' and 4' pitch are foundationalfuuudat! organ Wagner s Ideas city, where I had supervised and directed tone suitable furfor accompanyinguccompanylni hrmns' and so ‘the parts are correct; you are all gifted the high school orchestra. My present ap¬ school. ■ tongue to flatten. The tone co gjze Gf forth. Theyiey may be augmentednugine by the addi- players; watch my baton as often as you AGNER APPLIED the apt terms As stated before, the annual concert tlon of light liotes, mild si ring* anti so forth. W pointment was not in the music work but, ?eregdanceliaaenCdte\ Ab.ly Williams; We were able to give a public concert Keellnllst.” by Westerby quired for its performance. “Don Giovanni” closes with an unmistak¬ Good Work Rewarded at the end of the first year’s work and from areat—°soft strfng!°'or, Swell^liof ^“string! able touch of the sentimental. Since the that time have established an annual con¬ AS AN AWARD for loyal members, hazard'^here^much? d$ercnceChc\wceJi Rebuilt Band & Orchestra Instruments first portion of the opera is also in alia cert which has taken place during National . pupils who have played in four con¬ Voix Celeste and Vox Humana! Can one be breve, but at a much slower tempo, it was substituted for the other! Though the HONESTLY REBUILT—FULLY GUARANTEED Music Week for the last seven or eight certs are recommended to receive the official found necessary to make a decided Tremolo stop is under the Swell, it sums organ Is not available, but we «rc of the (nstrumentsSentlipon request?IXaUilialora King Band Instruments years. The membership of the orchestra emblem (similar to the ones which are often to affect the Great also. Should this opinion that the Atlantic City Instrument is WEYMANN COMPANY. Dept. E-l. 13th 4 Arch St... Phil.,, Pa. rallcntando at the close of the overture so be sot Why the groups of stops piano and that one tempo would merge smoothly into has grown to the proportion of a symphony, earned in athletics). These emblems may mezzofortet What is the use of Swell to the larger of the iwo Instruments. Onr In¬ Masterpieces of Piano Music formation Indicates that this Instrument hu that which was to follow. with complete instrumentation including be worn on their sweaters, and woe to the Great, Great to Pedal and so forth Are 1133 speaking slops ; S2.U13 pipes: seven English horn, oboe, bassoon, violas, harps, individual who makes an uncomplimentary these couplers! What can be substituted for mu minis : and uses motors equalling 1M Diplomas, Certificates of Awards, Medals and Pedal—Violoncello! In Farmer’s •Muss in horse power. Third place goes to the organ and so forth. Our concert this year was remark about them! With the emblems B-flut” pedal is indicated only on page IS of In the Cathedral at Panaau. Germany. shW Other Requisites for Awarding Pupils A New School Appears given in one of the spacious music halls they receive also gold keys on which are the Latin-English version. Is not the pedal contain* 2nd sp.-liking and 2 "borrowed sltqa Completing Courses in Music used otherwise!—M. N. eethoven, weber, and other of the city, as the stage in the high school embossed the letters of the particular high A Unless your Dulciana stop has n string with 10.103 pipes. Fourth place—Cental B Ilall. llrrslnu. Germany is* *i®PA THEODORE PRESSER CO. later composers began to desert this auditorium proved inadequate to accomo¬ school orchestra of which they are mem¬ quality you do not have any string tone in pipes. The fifth place Ilea between the In¬ the Great Organ. On the Swell organ use older classical form as the romantic school date the one hundred and ten players in bers. The awards are presented at the struments In St. Matthew’s Lutheran Chanh. Salicionai or Salicional and Voix Celeste. Hanover. Pennsylvania with 23. Mops an« the organization. The unusual instruments, concert by the superintendent of schools or The Quintadena is a stop in which the 12th of composition began to develop. They or second upper partial tone is present in a 12.773 pipes anil Cadet Chapel. Rest HUH. were the forerunners of a new style of just mentioned, have been purchased from by some city official and are coveted by the New York which contain* between IL8W pronounced degree along with the fundamen¬ .s.- __ nlppa but UCUOlir tUbv WMiaa-ss ^ composition which took a decided turn time to time from the proceeds of our con- pupils to much the same extent as are the tal tone. As the stop is rnther unusual in small organs, we are inclined to believe yours available. Another organ of jAimilar TEACH MODERN PIANO toward the sentimental. In the perform¬ diplomas at the June graduation. tlona Ih that vln Yale University, with a Paper Edition stops and 12,340 pipe*. ance of the works of this later school we Correlating Studies In September, 1926, our orchestra was The CHRISTENSEN Way $2.00 Examination will conclusively convince cannot rely solely upon contrasting dy¬ N CONJUNCTION with the instru¬ entered in the contest held at the Eastern O. 7 would like suggest! I one that the contrasting second subject namics, for here, modification of tempo mental training, I have outlined a course States Exposition, Springfield, Massachu¬ is played the note heard is "g,” the 12th note opening INCREASE YOUR INCOME higher. Voix Celeste is a labial ..r Hue pipe (Ex. 4) possesses the same characteristics becomes an absolute necessity. A Weber in “theory of music,” as I call it. In this setts, and it was awarded first prize with tone and is produced by two sets ..f pipes, jffct /„ ,» ..... al We Help You Enroll Pupils a grade of 91. In the same contest, 1927, one slightly out of tnne with the other, pr..- ,\. Organ composition* having as the themes employed at the opening allegro contains both rapid figurated and I correlate the course outlined in the or¬ Organ composition* . 53 CLASSIC COMPOSITIONS our mark was 92, first prize. In 1928 we ducing a “wave” in the tone. Vox Humana referee.reference - •-to tiThanksgiving...*-■— —.ju.mmewn (Ex, 3) and that it should move along at broadly sustained cantilena movements and chestra classes with history of music, har¬ limited In number, but works of a J"1**, each must receive individual treatment such as Spring Song mony and appreciation of music. I require were rated 95 and were given a beautiful Joyous character are appropriate thoueo the same irresistible pace. The composer (Mendelssohn) silver cup as a permanent trophy, having The Voix Celeste may be substituted for it. specially Intended for Thanksgiving J*™* relied entirely upon mere changes in dy¬ according to its thematic and emotional two years of “theory” of all pupils taking though it is not imitative of the stop. It is Some numbers that might be "T1 . kr character. Prelude in C (J. S. Bach) orchestral or band training. In these classes been the orchestra with the “highest aver¬ rather unusual for the Swell Tremolo to affect Thanksgiving, by Hosmer: Thaskigins!. I namics to secure the desired amount of 75 MODERN COMPOSITIONS age score for three years.” We did not the Great stops, unless the same stops are Demurest : Jlarrrst Thduksgirin-t Varrt. ») expressiveness. If we examine the first and second such as Melody in F (Rubinstein) we study overtures, symphonies, suites, duplexed between Swell and Great orgnns. Galkin: Thanksgiving Murch by themes of the allegro from Weber’s enter in 1929. In 1930 we tried again, and Your specification does not Indicate this to This restless and persistent movement Scarf Dance (Chaminade) operas, and so forth, and I find that the Jubilate Deo, by Silver: and JuMste ."Oberon’’ Overture we can readily see that not only won first place for the fourth be true in this instance. Perhaps von have by Kinder. ... wilk can be depended upon to create a certain 38 LIGHT COMPOSITIONS pupils learn to appreciate and enjoy the Swell and Great stops drawn at the same Numbers including use of chimes, bin . they are totally dissimilar in character— such as Simple Aveu (Thome) time, but raised our final score to 96! time with the Swell to Great coupler drawn, out special Thanksgiving significance excitement, but no other emotion is so Interest in the organization and what the in which case the Swell tremolo, if in use \orturne. b* Gillette: Pug Krrsm, by both rhythmically and sentimentally. Cradle Song (Hauser) Time and time again the boys and girls will be effectiveeffect on the Swell stops playing Voire of The Chimes. Lulgul; 25 SACRED COMPOSITIONS have reported constructively and destruc¬ work is doing to elevate the community, through the coupler. The groups of stops by Kinder: In the Cloister, bang. •Ufa"""’ such as Largo (Handel) piano and mti™oforte, probably indicate stops Allegro con fnoco tively on a radio program which they had may be gauged by the following conditions : by Demurest. TO SUPERVISORS OF MUSIC, SCHOOL MUSIC DIREC¬ Ave Maria (Bach-Gounod) a. We were notified just recently that that may be cha:langed in groups by a eoinbl- heard the previous evening. In the class nation piston. 0. 7 hare been asked to cmtduct o TORS, AND BAND AND ORCHESTRA LEADERS, known 29 OPERATIC COMPOSITIONS there has been placed to the credit of the Great and so f room I have better results with the phono¬ effective as the ;-- of Junior Girls (o "tern" age '.nospi FREE is such, or who properly identify themselves such asi Evening Star (Wagner) high school symphony orchestra an endow¬ Of the ehurrhes. Cam you gic< Celeste Aida (Verdi) graph than with the radio. The programs Great to Pedal indicates that the stops in lions tor the organization and —mt 128-PAGE BOOK containing 124 Optional 1st Violin Parts (complete, and entirely in the given over the radio with the view to class ment from which a yearly prize is to be use on the Great are effective in the Pedal of such a group! And iri/l you r ! ,)«| For sale at your favorite music given to “that senior boy or girl who has through the Great to Pedal coupler and so unison and simple two port sumoen ^ 1st position) to the Walter Jacobs Standard Marches and Galops; and/or counter or sent POSTPAID upon room instruction usually are not in accord forth. These couplers are used when the would hr suitable for girls’ voicesr—-' • j receipt of price. Money refunded if with the course I have outlined for my shown the greatest progress in music, who stops of the respective manuals or manuals A. We suggest your calling » .“i .- ig 64-PAGE BOOK containing 141 Conductor-Solo Bb Cornet Parts (full size) from the has given most to his or her school musical¬ and pedal are to sound together. You do not the girl* who might be Interested „ volume does not meet with your ap¬ classes. When one is allotted one hour have any stop In the Pedal organ that can be Walter Jacobs Band Books; and/or proval (NOT SOLD IN CANADA) ly, and who has been a member of the used to give Violoncello effect. As this is organisation of such a choir. In mgM a week for each pupil, it is impossible to create additional interest, the e**®” jfir' 48-PAGE BOOK containing 51 1st Violin Parts, some full concert size, of the Walter Illustrated folder with contents Consolidated High School Symphony Or¬ usually an 8' stop, you might use Flute 8' l>e organised with officers such ’ rgtr turn that hour over every week to radio not as an imitation but as a substitute. An¬ Secretary. Treasurer and Llbtsnan- ^ Jacobs Overtures, Suites and Selections, mostly of medium to very easy grade. Instru¬ cheerfully sent upon request. programs, and other pupils, who come for chestra for at least three years.” other substitute to be used might he Hu might also be committee*—for in*t«^ b. A local paper said editorially some Salicional and Voix Celeste of theRweH on membership. If tbe members <* ' mentation includes Eb Alto and Bb Tenor Saxophones. Clarinets and Cornets for Bb MUMIL PUBLISHING CO., INC. music at a different hour never have the coupled to pedal by means of the Swell to have not been instructed In stgm • ^ 1140 Broadway, New York, N. Y. opportunity of hearing the program. With time ago: “. . . in a way the work pre¬ Pedal coupler. The indication for Pedal in instruments. Enclosed find $- for which send p Farmer s Mass, to which you refer Is that feature might be ineln.led no ( of Mas) ..Orchesi carved scrolls give the violin a greatly chestral work. as many spurious authorities as there are ness, tighten them up a tone or so above One of these carved heads ornaments the olin Making As It Was And Is.’ the great THE CHIEF COMPLAINT of the viol™, and to consider seriously the oPm- pitch (to open the wire binding) put a and Book of Military Marches, Nos. 1 & 2.Band added value. If the scroll were carved on scroll of a remarkable three-quarter size Stradivarius himself is supposed to have D and G strings (we are considering a famous old violin of a master violin carved heads on rare occasions. It is in¬ the aluminum D and wire wound G) is a little oil on a cloth - and rub it well into oncert Album.Orchestra, Band, Saxophone Band maker, the violin would be a rarity, and violin, as shown below. the string all round its diameter from nsemble.Orchestra, Band, Saxophone Band This noted violin was made by Jacobus teresting to note in this connection that tendency to buzz. In damp weather (un¬ bridge to nut. Allow the oil to soak in Jacob vergreen Collection of 50 Famous Old Songs.Orch., Band, Sax. Band consequently valuable. Stainer in 166S, and was given to the Duke according to Katherine D. Gather in her like human sufferers from rheumatism and Violins with carved scrolls are not ex¬ for twenty-four hours: and then wipe off olio of Classics, Vols. 1, 2 & 3.Orchestra of Edinburgh by his mother, Queen Vic¬ story. ’Whittier of Cremona,’ in St. Nich¬ bronchitis) these two strings seem at their olio for School Orchestras, Vols. 1, 2 & 3.Orchestra tremely plentiful, but there are some which carefully, especially the bow section of the toria, and was the instrument on which as olas for October, 1916, that it was Stradi¬ very best, while in dry weather or after oose Leaf Collection of Standard Marches, Vols. 1, 2 & 3.Orchestra were made by the masters, and a great string which must of course be left bone a boy he learned to play. The tone is of varius’ amazing carving ability, plus some exposure for any length of time in a Jacobs’ School and Community Band Book, No. 1.Band many that were made by factory makers, dry and clean, and then tune down to exquisite quality, and very large for a jibes of friends about his singing, that led warm, dry room, they develop a buzzing R. B. Hall’s Band Book of His Most Famous Marches.Band such as those in the Mittenwald in Ger¬ pitch. This oiling should be given when¬ three-quarter size violin. It is valued at him to conceive the idea that he might of a most virulent form. Sometimes, how¬ To Music Supervisors: Send us your name and permanent address, together many, and in the Mirecourt region in make violins. He sought out Amati and ever, this fault in one or both strings is ever the buzz develops. will m ir 1st vi France. Amateurs are also very fond of $1,200. . ,. If the bass strings still buzz after this While professional violin makers in this when Amati saw his clever wood carving chronic (the G string is the principal carving these heads. I have seen several procedure, examine the clearance between WALTER JACOBS, Inc., 120 Boylston St., BOSTON!, MASS. country rarely put carved heads in place ability he took Stradivarius in, and taught victim), and temperature conditions have JACOBS’ BAND MONTHLY and JACOBS’ ORCHESTRA MONTHLY, J1.00 per year, each good carved portraits which had been strings and finger board and note whether of the ordinary scroll, except to fill a spe¬ him to make violins. Duiffoprugcar of no effect one way or the other. made by the makers for some friend or there is sufficient distance for the rather cial order, American amateur makers are Bavarian birth, but whose mature work There is nothing more irritating or dis¬ considerable vibration of the low strings. customer. very fond of thus ornamenting their violins, heartening to the player than a buzzing G F IT—FREE! Speciul od*Henning Violin The character of the scrolls differs was done mostly at Lyons, France, also If, when the string or strings are vibrated, although they make a scroll of this kind or D string and unless he knows the real e‘l!l5wyTreerwUMnePha'' DEEP -MELLOW- SOULFUL greatly. Some are of animals (lion heads A BEAUTIFULLY CARVED SCROLL carved heads. some portion touches the finger board, a “From ‘Violin Making* by Heron-Alien, reason for this trouble, he may put him¬ being favorites), human beings, griffins, only occasionally. rattle or buzz will result. Mr. Russell Krueger, of Los Angeles, self to all kinds of expense trying to eradi¬ angels, dragons, devils, and so on. Vi¬ page 165-7, another mode of ornamenta¬ The cure for this may be a higher bridge who has made much study of the subject ions of any of these would be a mistake. cate it—and still not be certain of doing olins with carved heads vary in price ac¬ One of these paragons of perversity, as¬ tion once very much in vogue, but now or higher nut. of carved scrolls, in which he has consulted so. Sometimes, if he is using an inexpen¬ cording to the quality of the violin, and entirely obsolete, is the practice of inlay¬ Again, the buzz may be due to a finger many noted works, writes to the Violin¬ sured me solemnly that carved heads were sive G or D string, he will try an expen¬ the skill with which the scroll is carved. common, though the whole collection in his ing. The instruments were inlayed with board which is not perfectly even and in ist’s Etude on the subject. He is the pos¬ sive one. And, while the expensive string Some violinists are very fond of these views, medallions, crests or fancy designs. alignment. In such cases the finger board sessor of a violin with a remarkable carved store did not number one among the num¬ at first is clear and sonorous, it is quite carved scrolls, while others simply will not “Jacob Stainer was the most frequent should be carefully sandpapered at the scroll, which he has not yet been able to ber. He of course did not know what I likely in time to become a prey to the same iAT HOME own or play an instrument so “decorated.” knew, that in the combined collections of adopter of this form of ornamentatioa and disease as the cheaper one. untrue portion until sufficient clearance is m Learn to color photos and numatui I remember that the first violin I owned, identify. His letter follows: his followers of the German school hast “Noted with interest your reply to two of the largest dealers in old violins To understand the cause of this trouble, obtained. ^rflfloneyst Home’'and reaAugust 1933, page 552. the lions’ head, but not unfrequently setmsto “The subject of ornamentation, partic¬ the catalogue of the other had four carved chestra in which I played. Suddenly an have executed human and other heads, ularly in regard to carved heads on violins heads in 235 violins. This is a total of Removing Rosm from the Violin old violinist who had played in Europe, probably reproductions of the crests ot is one that seems obscure and little men¬ five carved heads in 609 old violins or one spied the lion’s head. He lost no time in patrons for whom the instruments were tioned in most books on violins and violin carved head for about every 122 ordinary By Arthur Troostwyk taking me aside. He tapped the lions made. There exist also instruments with lore. I am the owner of an instrument scrolls. head and said: “Say sonny, get that thing carved heads by Stradivarius: they are with a peculiar carved head which so far “In ‘Critical Documentary Dictionary of A violin is a fairly simple instrument the surface of the instrument, and inciden¬ out of here, or the boys will chase you out. has defied definition, being neither animal Violin Makers,’ by Poidras, he lists only beautifully executed, but inestimably rare in so far as the arrangement of its me¬ tally everything else down to the bare I followed his advice, and on his recom¬ nor human, rather more like some sea nine makers who carved heads at times, Perhaps the most celebrated ornamental chanical parts is concerned; but there are mendation, had the lion’s head sawed off monster or serpent. Delicately carved with in place of the regular scroll. This in a violin whose fame has reached us ot later a few necessary items in its proper care To those who know, it is not needful to and a conventional scroll grafted on in its eyes of turquoise set in by gold or brass number of makers that must total into the days, is Ole Bull’s celebrated Gasparo da which must be attended to, if it is to play 'issue a warning, but to all others an em¬ place. , , hundreds who did not carve heads. This Salo. Its head, finger board, bridge and satisfactorily, and if it is to be kept from phatic “Don’t” is the best advice. However, occasionally professional vi¬ mountings it presents a rather unique ef¬ list however is not complete. One of the tail piece, we arc told, were magnihcenuy deteriorating. One of the first things that Olive oil and linseed oil, two of the sim¬ olinists of good rank own violins with fect. Being of course interested, led me to do considerable research on the subject, catalogs to which reference has just been carved by the illustrious Benvenuto Wl- a player observes is that his violin becomes plest of the articles mentioned above, are carved scrolls, and use them in public 1 made contains a couple of names of makers soiled very quickly. The rosin dust from the most destructive of all so far as their remember an orchestra leader in Columbus, the result of which you may pass on to the bow flies over the instrument and, effect upon the tone of the violin is con- unless it is removed after each playing, it becomes caked. Presently he resorts If the oil should enter through the F to many things in his attempt to clean his holes, the tone of the violin may be im¬ Strings and Their Ailments violin. And rosin being a somewhat diffi¬ paired beyond hope of redemption, depend¬ cult substance to remove, several rather ing entirely upon the kind of oil and the By Douglas Batterbury powerful agents are apt to be applied. amount absorbed. There is probably no Among these are kerosene, ammonia, olive substance which has less resonant quality oil, linseed oil, muriatic acid, turpentine, than the sticky rubberlike residue of dried a J ANY VIOLIN PLAYERS may complaints of the four strings, suggesting notes. If such is the case, a course of elasticity and the tone consequently to** sapolio, sandpaper, alcohol, hot lye, shav¬ oil. It is by all means advisable to have \/l have noticed that at different for each, where possible, curative treat¬ bold strong playing will usually clarify the roundness and color. If investigation ing soap, gasoline, lemon juice, whiskey, the unsightly collection of rosin and dust “I times and periods the strings on ment—and thereby, incidentally, ensuring a tones. If, however an instrument in con¬ veals a tight sound post the necessary and other “first aids.” removed expertly by a repairer rather than reir instruments develop what might be peaceful frame of mind for the player. stant use develops this trouble it is prob¬ justment should result in great To the initiated it is not necessary to to have the instrument become perhaps ably caused either by an accumulation of improvement. - j. state that most of these agencies will ef¬ permanently injured at the hands of an ;rmed “ailments” of one kind or another, The E String Week Cards t may be that while the G and D strings hardened resin on the playing section of The metallic sound on the °P*‘Vt. fectually remove whatever rosin, dust, and apprentice. Only the expert is good enough E FIRST CONSIDER the E to care for a valuable violin. re clear and true, the A and the E are W the string, resulting in a slippery surface probably due to the nut (over which other grime, which may have collected on By D. D. Freas queaky and metallic; or while the latter string. Its chief ailments generally which cannot be gripped by the bow, or strings pass into the peg box) having wo give satisfaction, the G and the D consist of squeaky tones, especially in the by the bow itself not being sufficiently come worn at the groove, so that One very simple and yet effective way piano. Until his next lesson your pupil uzz and rattle. Or again, it may happen upper register; a harshness or hardness, resined. In the former case, a thorough string touclies or practically touches to register certain thoughts in the child’s will remember the name of that particular bat right from the start the G string has sometimes on certain tones, sometimes cleaning of the string with a little turpen¬ finger board at that point. Thus, "From Russia and America will come the great music of the future. mind is the use of cards, about 8’ by 12’ week. There will also be outside discussion hronic “buzziosis,” so that when the low throughout the entire register; and a me¬ tine on a cloth will cure the trouble- in it is vibrated, the string will stnk*, These countries are the youngest in art, and my sympathies and beliefs are with black lettering. These cards are which keeps the correction in mind, totes are played on it, there comes forth tallic quality on the open string. the latter, a little more resin on the bow finger board and give out a metallic . always with youth. New York today is the world’s musical center, and the labelled “Fingering” or “Sharps” or “Ex- “Sharps” will be miraculously remembered , most disagreeable sound, entirely lacking The squeakiness may be due to several will no doubt remedy the difficulty. In this case a new and. if necessary. t"Knc musical development of America progresses rapidly. The musical taste is pression” or any other of the numerous and the “expression” will take a forward n those qualities which make up a full, causes. If the violin is new and musical The harshness or hardness in the tone tone has not been thoroughly “played into nut should be procured. abides being developed very rapidly, and l must say that in this development radio musical terms. step in a large percentage of lessons, with- esonant G string tone. of the E string can usually be traced to a There may be other slight it,” there is almost certain to be a tendency will play a very important part.”—Leopold Auer. Each week, place one of these on the in a week. Let us for a moment assume the role ot sound post wedged in too tightly. This with the E string but those just *n towards squeakiness, especially in the high ioctor, and diagnose the main possible has the effect of robbing the wood of all ated comprise the main ones. JANVARY, im 53 52 the etvdS LAZAR S. SAMOILOFF A* An “Opening Door” to Bel Canfo Studios and Opera Academy Music for Many— 608 SO. VAN NESS, LOS ANGELES, CALIFORNIA. 0

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“If I Were asked, ‘With whom shall I study Voice,’ 1 Would say Samoiloff. Why? Because his teaching is based on sound, sensible laws. Because he makes it all Very simple and clear. Because he brings about progress in amazingly short time. Because he has produced great singers and because his pupils show remarkable development and are happy in their Work. He showed me fundamentals I had overlooked for years and helped me make

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Tw Essentials to a Music Education- HARMONY — HISTORY

Theodore Presser C°- * ,7,2 CHESTNUT STREET PHILADELPHIA, pA, L JANUARY, 1936 55 54 - JUILLIARD SCHOOL OF MUSIC ——“ VOICE QUESTIONS John Erskine, President Bands and Orchestras Answered (Continued from. Page SI) (fonserdator& 40u$i( By Frederick W. Wodell JUILLIARD SUMMER SCHOOL America’s Oldest Independent School DeyoUd figurated movement—while the second Ex. 9 ^ __nicely u> Music and the Allied Arte. Ho questions will be answered in THE ETUDE unless accompanied by the full name George A. Wedge, Director theme (Ex. 8) partakes more of the TTnder Auspices of Cincinnati Institute of Fine Arts and address of the inquirer. Only initials, or pseudonym given, will be published. Affiliated with University of Cincinnati Ex.8 A Institutional Member National tlllllOlllg Loner lone.. n that property about ! uakes July 7 to August 14, 1936 O Can you tell me how I can develop my lower register? I can reach F, above high ringing, whether piano, mezzoforte or forte. isL SIXTY-NINTH SEASON C. and in vocalising I have gone as high as To secure this, control the breath, and see t Any Tin B-flat above high C; but I have also an that the tone upon every vowel starts clearly, extraordinarily rich middle register, enabling without Interference of any sort at or above Reservations now being received. the vocal cords. Such a delivery means that 26S0 Highland Ave. Cincinnati, Ohio me to sing a good many ‘mezzo songs with good results; and l prefer them. I smg to you have practiced thousands of correct, clear, B-flat below middle C quite often in songs, musical “starts” on vowels, on each pitch and yet, when vocalising, I notice that B, C, of the long middle working range, and at D-flat and D sound thin and breathy. This is various degrees of force. In thi 1.* particularly noticeable on the vowels a and o, : before the Have Catalog on request SCHOOL OF MUSIC (pronounced ay and oh) ; and I even have ', still Tongue anil jaw - —. trouble with them in my songs. I sing my begiiins. Avoid the "click” at the glottis^and OF THE UNIVERSITY OF MICHIGAN exercises to all, a, e, o, oo, with consonants also_ — 130 Claremont Avenue Room 22 lj New York, N. Y. I ill n and so on, preceding. I have no daily for a problem, and Complete curricula leading to degrees in trouble 'with e, all and oo, my tones being Only The Best Musical all branches of Music. Faculty of distin¬ rich on these.—I. M. P. . Only that which is already-- guished artist teachers. Concerts and May A. You live in a large and musical city resonated. Think this over. It is found that where undoubtedly there are several good a position and condition of the larynx and Training is Good Enough peculiarities of the true adagio. Conse¬ Festival by world's greatest artists and teachers of singing who could hear your voice parts above it favorable to a resonant tone quently, appropriate modification of tempo organizations in Hill Auditorium seating are accompanied by a feeling, in the case of and tell you how to improve your lower many singers, as of tonal vibration fluttering You can afford nothing less than the best must be employed for the proper interpre¬ 5 000. Chorus of 350; student symphony range. Your compass Is more than ordinary, as you describe it. Sopranos, who can really around the upper front teeth, on the vowel, when it comes to training for a career in tation of these highly contrasting themes. orchestras, glee clubs, bands, etc. Recitais sing beautifully from high (I up to and above and above at the bridge of the nose and Margaret Ellen Mac Conachie music. The consistent success of Sherwood The warm and sentimentally tender motive each week on $75,000 organ. high C, usually do not trouble much about cheek bones. This sensation is most intense securing strong tones below middle C. and concentrated on the lower and more graduates reflects the superiority of Sher¬ of Ex. 8 should induce a quite different rr Second Semester II forcible tones, and it spreads laterally in Voice Specialist now in Hollywood wood training. Choose Sherwood for your You claim good tones upon your pitches rate of motion from that required for the I J Begins | below middle C on the vowels e, ah and oo. both mouth and face, as the pitch rises, or musical education. You might try singing the succession: Ali-a- i the J exuberant and energetic movement at the February 17 J] Ah-a-Ah-a, on a monotone, conversational with Accepts beginners and the most advanced for training for musical Faculty of one hundred prominent teach¬ weight of voice, absolutely no movement of -- of the- ers, including internationally known artists. opening of the allegro. CHARLES A. SINK, P»,id.«» appearance assures the unconscious favorable pictures, concerts, recitals, operas and oratorio. No change of tempo has been indicated __Bo« IOO«. Ann Afbor, MnSig.n the jaw, tongue-tip falling as of its own adjustment of the parts for tone of good C curses lead to Certificates, Diplomas and weight against the lower front teeth, willing quality and carrying power. Ultimately the The original vocal organ developed in a sane and natural way and Degrees in Piano, Violin, Voice, Organ, on the score, for the composer did not feel the clear, rich quality of your ah, as you say artist singer has not to think of these tech¬ Cello, Wind Instruments, Theory, Composi¬ that it was necessary to insert any such INSTITUTE of you have it, to appear also upon the a. Use nical points at all, but only of the message in accordance with the laws of nature. ■vrrnAIT middle C and semitones below as far as the he wishes to convey to his hearers; in which tion, Public School Music, Band, Orchestra indication. To the serious student the MUSICAL ART work goes well. Then transpose from the ’- - “ - --H open his Free and Partial Scholarships to worthy and talented students and Choral Conducting, Class Method of Ut I KUl I lowest satisfactory pitch by semi-tones up¬ happy c change in character is all that should be 1,1.Mtullon.I Merabfr your song beau¬ TRINITY PRINCIPLE the overture is reached, due to their belief voice, a soloist? ting^n two of the best me tiful that yon forget all about yourself. Sum¬ "Good INSTRUCTION stilted, rigid, and unfeeling rendition of CONSERVATORY OF MUSIC choruses here, but do not sing by note, only mon your will-power, and use it, determining PEDAGOGY A professional school that it is the hymn America and, also, to from position. Cannot pick up a piece of The only Scientific Pedagogy based the allegro movements—the cantilena sec¬ APPLETON, WISCONSIN music and sing it without first having it that there is really no reason whatever for Music on Piano, Voice, Violin and in a university environment their further erroneous belief that this giving way to' so called “nervousness.” After Develops all other Orchestral Instru- on Feeling, and practically hymn is our national anthem—which it is tions, which should have been played in Carl J. Waterman. Dean played over two or three times with me. In you have faithfully tried this for a year, re¬ applied to Music. For Free Bulletins Write to ourie* In plino. ro!r«. vlollii. port to us in care of The Etude. Culture” ments. Harmony and Com¬ Send for P M B circular. a langpurous and sentimental manner, were o get n position Counterpoint. SCHOOL OF MUSIC In each instance the composer has pro¬ robbed of the last vestige of sentimentality .. help me to depend upon EFFA ELLIS PERFIELD ®;ps(.ioner is jn thp pijRht 0f al- Making Words Clear. Individual Instruction for beginners 103 East 86th St., New York, N. Y. 1830 Sherman Avenue vided opportunity for a diminution and re¬ or emotion. It is wc.thy of note that a Q. I am training a small choir and am ny vocalists, among them especially interested in enunciation. In past or advanced students. Moderate Evanston, Illinois tardation so as to arrive at the proper pace conductor who will play a cantilena por¬ years I have had a little work in phonetics. r Tuition fees. Dormitories—Branch _ i perhaps looked upon by tion of an allegro at a too rapid pace will MILLIKIN CONSERVATORY OF MUSIC and mood for an expressive presentation ...e public in general as musicians. Let such At present my only help is from the “Magic Schools: WANTED: A REPRESENTATIVE NORTHWESTERN likewise fail to play an opening adagio or DECATUR. ILLINOIS applv for an audition with a good choral of Speech” broadcasts. Aside from early of the delicate second subjects—Examples director, for an engagement to sing in a high training in the words “Jerusalem” and Courses leading to the Degree of in every town to 9 and 10. sostenuto at a sufficiently slow pace. Offer, thoro training in mutic. I•*&* grade church quartet, or to do the solos in “Jehovah,” I find many words of which I am Bachelor arid Master of Music. Bachelor of Muaic Degree. r'“1-"J1 “ an oratorio, with orchestra. The non-mnsie in need of help. l.—May I ask you for the Train Children’s Voices UNIVERSITY cate in Piano. Voice. Violin reader in such a situation, though perhaps sound of E in the following words: return, Pupils may enter at any time during Muaic Methods and Muaic ■kSKJ possessing a very fine voice, will find that before, eternal, rejoice, beside, mercy? the year. - 2.—Is it advisable to give the long E to BuOtUn uni ftm upon rt* there are others with equally fine voices No High School Education re¬ Louise Weigester School W. ST. CLARE MINTURN. upon whom the conductor can depend to words like it is?—L. D. F. "come in on time,” to sing the correct pitches A. One English authority suggests that quired except for the Bachelor and 160 West 73rd St. New York 3smopolitan without special rehearsing, and to keep the sound of e in the first syllable of “re¬ Master of Music Degree Courses. The Harmonica Band silence during rests, and that the genuine turn,” "rejoice," “before,” "beside,'’"eternal.'' SCHOOL OF MUSIC music "reader” gets the appointment. In should be pronounced as is the e in "let." INSTITUTE OF MUSIC our correspondent's city there are undoubted¬ We prefer that this initial vowel sound be CHOOL of MUSIC (Continued from Page 45) ly teachers of “singing by note,” who can S ill I word " The - S AND FINE ARTS give him just the instruction he needs and e in the first syllable of “mercy,” we pro¬ of TEMPLE UNIVERSITY Lonc beach. Calif. lead him to be able to depend upon himself nounce as we do the ea in the word “earth." 1812 Spring Garden St., Phila. may be had at the cost of fifty cents. “Tad’s Inspiration.” A musical play for The generally accepted sound of the vowel i SUMMER MASTER CLASSES when undertaking to sing unfamiliar music. THADDEUS RICH E. F. ULRICH, B. M. INTERNATIONAL MUSICAL “Hohner Harmony Book for Harmonica,” grade schools, by Maude Orita Wallace. He might get help from studying Frederick in "it" and “is,” that given to it in such W. Root's book upon sight singing, or that words as “bit." One does not expect to hear containing fifteen popular songs prepared in This operetta features a harmonica band, rher. Tr f""'’ JU'T’ A”F‘« Vtto Tlolia. « of David A. Clippinger, both of which can an English-speaking vocalist sing "eet eez," and EDUCATIONAL AGENCY Folder on Request—DoraitortM. for “it is.” four parts, for harmonica with piano ac¬ including instructions on harmonica playing Free and Partial Srholarehipe Atranks! be had from the publishers of The Etude. ZOELLNER SCHOOL companiment; sixty cents. and a vocal score with full directions; Some Study Syllul A Husky Tone. S'sTKeaire OF MUSIC “Harmonica Budget of Famous Melo¬ seventy-five cents. Q. Please tell n eaning of 1 Q. I have been interested in your replies syllables “La be da w to voice questions in The Etude, and have jmedy rOpera, Vo^^and^M^S Founded by Zoellner String Quartet dies,” containing forty-five selections of Almeda March, by C. I. Valentine, Direc¬ correctly pronounced wondered whether you would kindly help me. COMBS COLLEGE OF ^lUSI^J ye5a0rs All Branches of Music and Dramatic Art operatic and popular melodies, a number tor of Music, Newton High School, New nee po toot” Are th.„ I am eighteen years old, and have a range what is their origin?—F. .... from E below the bass Olef to B above Mid¬ Yatofog 3 ^SST«c.Pl».°S5 Wwt'saSilt.. S. 1. AMANDUS ZOELLNER, DIRECTOR of which are arranged in four parts; fifty York City. A march for beginners with Schools—Colleces A. These syllables have been long used in dle C. Have been singing tenor parts in the St., Philadelphia, Pa. 21 00 S. Western Ave., Los Angeles, Cal. cents. piano accompaniment; at fifty cents. vocalises. See the set for each class of voice Episcopal choir here, as my voice seemed to Dr.^ Giibert Baynolds Combs, Founder SCHOOLS OF MUSIC _ ' y Sieber, issued bv various publishers. They have a tenor quality of tone. My voice has “Ten Minute Course in Harmonica Play¬ Harmonica Wizard March, by John i - Bnoa.) 'lief Italf - a husky quality, and my throat and nose fill ing,” containing elementary instruction, Philip Sousa, for advanced players on the BRAUN with mucous when I sing. Smoking before I CONVERSE COLLEGE sing helps to prevent this condition, though FREE TO AMBITIOUS PIANO TEACHERS with several well known melodies arranged Chromatica; at fifty cents. I do not smoke habitually. My tonsils were SCHOOL OF MUSIC FOR WOMEN for harmonica; twenty-five cents. “How to Play the Harmonica at Sight," removed when I was four years old. Would Please send me a free synopsis of the New Printed IpARTANBURG, SOUTH CAROLINA CONVERSE COLLEGE that operation be the cause of this conditiont Text used as a basis of instruction by teachers who An Endowed Professional School, Nationally “New Standard Harmony Course for the containing elementary instruction, exercises, N. Irving Hyatt. Dean. Spartanburg. S. U. Started lessons four years ago with an ex¬ I thought it might be so, because my speaking Accredited. Full B. Mus. Degree and Diploma Harmonica," containing fifty selections— and songs; by Borrah Minevitch, the cellent teacher, who thought I would attain voice is inclined to be husky. 1 cannot afford want their pupils to earn Sherwood Music School Courses. College Environment Teachers of CONSERVATORY OF MUSIC resonance. Had to stop after a year; then I to take lessons of a good teacher. There is Teacher’s Certificates and Diplomas under them. forty arranged for two part work and ten world’s leading harmonicist; thirty cents. went to a lady, a younger teacher, and have no teacher in the immediate vicinity of whom Summer' sSSom^Moderate* Tuition”1?^: for three part work on the harmonica; (Any of these items can be furnished by KNOX studied with her for two years, but have to I would care to take lessons.—G. A. P. Please send me also full information about the twenty-five cents. the publishers of The Etude.) stop. She gate me exercises for this and A. It is not likely that your huskiness is series of ten affiliations to be awarded free to F°r CA^rZ: N. Irving HyatkfW_ could not understand why I had absolutely caused by the tonsil operation of which you selected competent piano teachers, including free write. You should see a first class throat Another questior r - ■*- - specialist, who has had experience with Normal Course at your Main School. NORTHWESTERN^- s that r singers, and have a thorough examination ATLANTA ~ and diagnosis, with suggestions as to diet, CONSERVATORY of MUSIC elimination, and possibly medical or surgical ond keep that up i treatment. After the specialist has declared HUGH HODGSON GEORG ^’e^DNEB Please tell me how ti your apparatus in good shape for beginning Cow..? hTplANO, VOICE, VIOLIn/WaN, "Music is really a matter of trying very hard, when we try at all, not of mPMNDOAH,,^COLLEGE vocal study, go to a high grade instructor FILL IN AND MAIL TO PUBLIC SCHOOL MUSIC, NORMAL TRAIN¬ getting things up to the scratch, or of hoping it will be all right on the day. and abide by his judgment. Meantime, it ING DRAMATIC ART AND DANCING is scarcely likely that you are doing your . . . Those ivho listen to it without hairing tried to make it a Organ Ti RateTRiaL'^Mblt in tieVwn'of the aw Sherwood Music School Catalog upon application ■e just stroking andoali 1 voice any good by singing tenor, or any part. velvet and liking the feel of it."—A. H. Fox-Strangways. F. Dayton. - JANUARY, 1936 56 THE ETTJDE ■XotersIwjm Etude Friends Publisher’s INSTITUTE OF MUSICAL ART of the Imagination and the third note an eighth;; and she was JUILLIARD SCHOOL OF MUSIC „ havine trouble with it. Pretending that the G To The Etude: lmagination in teaching n s and that she must get buck to the P ERNEST HUTCHESON, Dean OSCAR WAGNER, Asst. Dean One needs plenty '“ little eight year old, was ^ blem Thorough instruction in all branches of musical education. Private les^ns small children. me some pointers. »° ™u th'. children a monkey story, which in all standard instruments, courses in theory and ^mposition. normal courses for teachers, methods of group training for children, preparat y courses for children, extension courses, and many others. . ith Public School Music course leading to degree of Bachelor of Science witn she asked « she couldt^ee Of course I feU W “ ;io> lt rhe half rest monkey was Develop New Year Fields Major in Music. ifwTthin with her suggestion^g|estion,r SO.we—of ound- ligtt n. ameArlene,r|efor —.as tirP.d and he was able to climb. up Catalog on request. aUail sei^nseven letters. HereE(lna is Fred,ed George. For onT^heaP -hbestps(. modern hooksbooks have many devices Advance of Publication • Out of the confetti of New Year’s dawn, a new procession of 120 Claremont Avenue, New York Ci*l°r& berrlnract’icing there were Offers—January 1936 months is coming to all of us. It is a brighter procession than Svyo«”note7andSt2e0rUe “-m'bSde you^ that which we have had for many years. Prospenty which has j-days, she was reading the letter nam ^ three; so.mbegaj, « ttrier- All of the Forthcoming Publications been just around the corner has, at least, stepped into the scene in the Offers Listed Below are Fully suggestion helped her m playing g”wmiM5 Sight reading book, and the (lash so that we can realize what is ahead of us. Ten Famous Solos NEW YORK SCHOOL of MUSIC and ARTS | Mv teacher used to hav e me i. v t,.,, |,v Williams, are excellent, Described in the Paragraphs Follow¬ - y - was hot when I was to carus^s a,go ,|1(. work, and ,ltles o£ thl, ing. These Works are in the Course of Musically things are unquestionably in much finer shape. Music For Clarinet, Cornet, Alto Saxophone, and tried this fJr.“clt,‘ “[trie studies in many beginners' hooks. teachers music publishers, instrument makers, concert artists, all Trombone With Duet Parts and 310 West 92nd Street, New York City (At Riverside Drive) tv F G F. with the first —Mbs. Doris Franklih. Preparation. The Low Advance Offer Piano Accompaniment 3. ,„oliShe had eichth to piay tile rnext v note a sixteentfi. report a’decided advance. Of course, there are some teachers who RALFE LEECH STERNER, Director a dotted eighth, the nes Prices Apply to Orders Placed Now, With the tremendous development of bands with Delivery to be Made When are still convalescent from the battle of the depression, but at the All rates for tuition and board Your Repertoire and orchestras in the school systems of this same time we have reports from many teachers who have all they country in recent years, and the resulting greatly reduced. ns, you are prepared to perform. Tour music treasury. Around the May Pole—Dance Tunes fok can possibly do. „ i .• interest in instrumental music among thou¬ Piano—Baines . Of course, you want us to suggest a New Years Resolution. sands of young students, there has grown up a persistent demand for solo material 2' f^njlyment and enthusiasm for composition regard 1 Birds of All Feathers—Musical Sketch— Well how is this for one? Start this year to rotate your crops for the various instrumentalists who make 2'- i^P/cy^nTekding, interpretation of dynamics, phrasing, touch, ae of pedal, tone Easter Lily—Musical Every farmer knows the value of that; every farmer knows that up these fine groups. quality. Wilson . fields become exhausted. In business it is precisely the same way. To meet such a demand, our editors have EducationalAitw,Ai. Vocal Technique—*—_-.i Song 3‘ ^ay°arkd lls?ek carefully, then memorize ... d Speech—Two Volumes—Shaw and One must have new fields in which to develop business. When arranged ten of our most famous copyright CHARLES GILBERT 4. Re-study: •-study your previous concert or program numbers, do not Lindsay—Each . you are at the height of your success, .you should look out to new numbers as solos for the instruments listed Go back and ardent! Evening Moods—Album of Piano Solos.... above. In addition to a solo book for each discard them, try to territories in which to start building. We once knew a teacher I urge my students to mal Little Classics—Orchestra Folio— instrument, however, there is published .i.... on. nnd which Parts—Each . who had a very large class, but that class was due to her connec¬ separately a duet part for each instrument; Piano Accompaniment . tion with a wealthy metropolitan church. She never attempted also, the piano accompaniment. While this Marchette Band Book- S P R O S S My Repertoire to develop other fields. The church declined and the teacher de¬ collection is essentially for solo performance Parts, Single Copies—Each. with piano, it may be used for two players Name : Miss Harriet Hovis Parts, 25 or More Assorted—Each. clined with it, and deservedly so. Start today to develop New without accompaniment, and any of the solo Teacher : Eloise Jensen Piano (Conductor’s Score). Year fields! and duet parts may be combined with satis¬ CELEBRATED COMPOSER, Piano Studies for the Grown-up Beginnbr factory results. PIANIST AND ACCOMPANIST Presser's Manuscript Volume . The contents is of vital interest, of course, Composition Composer Where Played Oat* Sabbath Day Solos—High Voice . and we are pleased to announce the follow¬ My borne Apr. 18. 1934 (Private Recital) Sabbath Day Solos—Low Voice . ing ten solos which make up the book— “Grande Valse Caprice’’Engelmann Apr. 18, 1934 (Private Bedtal) Sacred Choruses for Men's Voices . LENTEN AND HOLY WEEK CANTATAS Mighty Lak’ a Rose, By the Waters of “Moonlight i Singing Melodies—Piano Album . Lenten, Holy Week and Easter (Continued) Minnetonka, Recessional, l Love Life, The Composer of the Famous— My home Apr. 18.1034 (Private Bedtal) “Concert Polonaise” Engelmann Six Octave and Chord Journeys—Piano— Cantatas Gypsy Trail, I Heard the Voice of Jesus Rodgers ..... rhe Message from the Cross, by ITi/l C. Macfarlane Say, My Heart Is a Haven, The Green tfrom a recent program) Ten Famous Solos—Clarinet, Cornet. WILL O' THE WISP Alto Saxophone, Trombone — With One of the greatest festivals of the church, of Christ, by Chas. Gilbert Sprout Cathedral, I Shall Not Pass Again This Way, Easter, finds many choirs presenting their and Awakening. The three sacred numbers Duet Parts and Piano Acc.—Each Book Words of Christ, by Th. Dubois Ten Tonal Tales—Piano—Locke . most elaborate music program of the year. included will prove useful for church per¬ Text Musical Books Reviewed When Voices Are Changing—Chorus The most practical and most generally satis¬ formances. by Book for Boys ..... factory programs are, as a rule, built around Ten Famous Solos will be published in nine Torrenc, an Easter cantata. separate books as follows: B-flat Clarinet In the week previous to Easter (Holy Benjamit Solo, B-flat Clarinet Duet Part, B-flat Comet "expert" arrangers sometimes receive eves Week) and ofttimes earlier, during the or Trumpet Solo, B-flat Comet or Trumpet Music in Everyday Life more. Anyoue who aspires to write a popular Lenten season, music programs are presented Duet Part, E-flat Alto Saxophone Solo, E-flat By Eric Thachbb Clauke song certainly needs this readable book. and cantatas are employed to tell in music Alto Saxophone Duet Part, Trombone or If one would know just where America PrfteV $1.00. The Cover for This Month the story of the Saviour’s sufferings and The Easter Lily Baritone (Bass Clef) Solo, Trombone 0' stands today in her musical progress, he ha Publishers : Paul L. Schwartz. but to peruse the pages of this truly unusua Back on the Sep¬ death on the cross. . , A Musical Playlet for Children Baritone (Bass Clef) Duet Part, and Piano book, ia" an^appraisement that” bespeaks Our best composers have contributed some A ccompaniment. observation and study on the part as tember 1933 issue of Fundamental Harmonic Material The Etude the cover of their finest efforts in writing cantatas for By Loretta Wilson The special advance of publication cash the author,' or, who,' out of a wide experience Lent, Holy Week and Easter, and selection idministr By Charles F. Giabd subject was an oil Written especially for price of each book—solo, duet or piano—is graphic and understandable phraseology the Prepared for the teaching of elementary painting rendition of of an appropriate and effective vehicle for 39 cents, postpaid. Be sure to state whicn whole contemporary picture of music in harmonv. this course of study presuppose* choirs of almost any degree of proficiency is young people between the America. And it is no fanciful picture that no knowledge on the part of the pupil. « a fine piece of photo¬ ages of six and twelve parts are desired. paints progresses in praetlral fashion throng graphic portraiture by comparatively an easy task. and'the work For the convenience of choirmasters and years, this beautiful little ...usical p- secondary seventh chords and their inversion* Cy. LaTour. On this story with music will be Little Classics dations, facts with useful keyboard exercises, sorting month’s issue we have music committees, the Theodore Presser Co. __ and mechanical reprodneth models, and the studies In modulation. gladly will send for examination single copies useful for presentation, Orchestra Folio Selected List of SPROSS SONGS That Are Popular With the profession and how it operates. Worthy of special comment Is the another excellent ex¬ not only in Sunday schools addition--- treatment of the usual prohibitions 80 baffling ample of his photo¬ of the vocal scores of Lenten, Holy Week . _ The idea of the publishers in issuing this Concert Artists and Teachers of Singing— genuinely and Easter cantatas. We give here the titles and churches, but also for Easter programs how we can best become to the average student. graphic art in the Little Classics Orchestra Folio is to supply people showing__„__ that it —-enough for us Paps : 200.^ 41of severala of„ outstanding. . i- _ merit:__in in minimpublic and nrivateprivate schools. to support the virtuoso performance but that subject which we have The story of the play goes back, in imagi¬ beginning organizations with something really our real objective is to develop music as a PubBshers:*'0 Harlow Publishing Company. worthwhile to play, instead of the sometimes common possession in everyday life. entitled New Year Joy in Music. It por¬ EASTER CANTATAS nation, to the naming of a flower to be the Pages : 288. trays one of the many phases of what Mixed Voices Easter symbol. The Angel, who is making “trashy” material that is found in easy Price: $3.00. Austral Chanting Method may n i to those who a : able From Death Unto Life, by R. M. Stulti the search, is looking for a very special orchestra books. Frequent inquiry has been Publishers : W. W. Norton & Company, Inc. made as to the grade of difficulty of these THE JOHN CHURCH COMPANY By Victor Masset Everiasrtinlf Life,R. R. Forma flower which is kind, humble, generous, and The choirmaster and organist of All 8*lnnr A happy musical subject, such as this brave. That the Lily has all of these quali¬ pieces. They will be of approximately the Theodore Presser Co., Selling Agents So You Want to Write a Song? same grade as our Easiest Orchestra Collec¬ Church. Woolahra, Sydney, Australia, nas cover, is more than just a decoration on the Victorious, by 9 ties is confirmed by the Butterfly, Ant, Bee, 1712 Chestnut St., Philadelphia, Pa. By Robert Bruce developed a chanting system, known as front of a magazine, since the display of it rice, 75 a tion, compiled by Rob Roy Peery. Of course, Here is a book written by a very practical Austral Chanting Method, which leaves '"' ling of Kings, by Anna Priscilla and Toad, whom the Lily has helped in man in the popular song field. It answers hun¬ impression of its being worthy of invest'**' by thousands of newsstands and music various ways. The search is ended when the dotted eighth notes and sixteenths cannot dreds of questions as they can be answered only tion by those in charge where Anglin* dealers who carry The Etude for sale is just linutes Price, 50 cer Lily displays her petals of spotless white, the be avoided entirely in these pieces, as in the by one who “knows the game." There Chants are in use. The plan is apph""’' like a service to music teachers in directing by J. Christopher Marks Easiest Orchestra Collection, and the rhythms chapter- — —“ u-- - * to whatever Psalter is employed: «»» '!! final essential attribute. cost of the adoption of this system woura the public’s attention to the joy they can. Time, 1 hour Price, $1. The cast includes seven girls and four of some numbers may be a trifle more in¬ King of Glory, by R. S. Morrl80nFrice 60 cer Playing Backwards be but slight. bring into their new year by equipping those boys, but any number of children may be tricate, but any group that has a few months’ Pages: 4. in the home to participate in the making of instruction can safely take up this book. Publishing ^Popular^ Songs’’; Price : 6d (thirty cents). I Benjamin Loveland 75 ei added to make up the chorus. Three musi¬ music for their own fun and for the enter¬ cal numbers are presented, the opening All of the great masters will be represented By Edna Faith Connell -Publisher Victor 1- ff thellesurrection, by Chas. Gilbert tainment of others', to say nothing of the Flower’s Song, which is repeated throughout in Little Classics and the instrumentation excellent infor- cultural advantages of continually keeping 35 minutes Price.- 75■- eei- the play; a solo for the Lily; and the final will include all parts usually found in the ad advice. The writerTiter estimates Sound up study leading into the higher realms of si. by Norwood Dale modern school orchestra. There will be a easily be seen that the ending, which should that the cost of publishing a populpopular so By T. R. Watson , Price, 60 cents chorus, Pretty Is As Pretty Does. The music Many pupils play the beginning of a ; ihousai (1 dollars the art. is lilting and written within an easy range Solo Violin part for a player, or players, lg of a song wii An elementary text book on the science piece well, but the ending is very often always be especially well done, will receive - — er is,_ sound and the phenomena of hearing. ^ The creator of this cover has his head¬ for young children. slightly more advanced, and a Tenor Banjo ays, from twent. _ thirty dollars for part with diagram charts for players of lacking any kind of an artistic finish. many repetitions. _ thousand copies; but this is__ This is the most simple and quarters in Pasadena, California, but his Price, 60 cents No special scenery is required for the one • - -- insignificant of its kind that we have yet seen The ten search for camera subjects has carried him other fretted instruments. The writer has found that after a piece The teacher should be very careful in part of the expense of launching the sc and the illustrations are all exceedingly clear Immortality, by R. M. Stults scene of this play. Full directions for staging marking the sections, in order that the pupil which includes*^ the printing'"of professional Acoustics, however, is not a subject vd the length and breadth of the land, from the Time, 35 minutes Price, 60 centcents are jncluo.,Co.," puuusucispublishers- ofu.-* —Thean*. Etudew- » ■""" things"'- worthy of publishing which, chorus achievement, already occupying a these half-tone cuts is great and the senes debut as artist whistler, in a Philadelphia monartellatoL_rtellato,, spiccatospiccato, , sautillesautille,, saltato a«Hand _MugIC _ Magazine.,, We cannot■ be1 responsi--- despite their certain merits, take positions as coming publication. There is always a high plane in many of our comminnlies where While this book is in preparation for pub¬ market for music that can be played by could only be made feasible through serial recital on November sixth. His program lication and until this offer is withdrawn, a ricochet.■ -1-* Therem I iris a wealth of material ™ ble for the work of swindlers. commonplaces because at every-so-often in¬ good music is cherished. It will smooth the included compositions by Bach, Mozart, marching bands. For the band composed of way for the choirmaster who strives to pre¬ publication in The Etude. single copy of this book may be ordered at shifting, exercises being given for all possible tervals in the publishing output there stands beginners there is little published in book Donizetti (Mad Scene from “Lucia di Lam- shifts between the fingers. Price, $1.00. sent the best only in religious music. the special advance of publication cash price, up higher than the average a number upon form, the most satisfactory and economical mermoor”), Brahms, Schubert and Wagner. 25 cents, postpaid. r. , which the sales records make a noticeable In the two volumes there are twenty-five Sabbath Day Solos Save Money on Magazine Uraers peak In a mus;c publisher’s catalog running method of supplying the music needs of study units. Each contains explanatory text, 4-1- these youngsters’ organizations. High Voice—Low Voice Etude Binders at Cost an educational song, vocalises and an art AMERICAN BANDS ARE BARRED Are_ you .11 M o! nfSU, mfU* In this book will be included some of the song. As an exceptionally low advance of The church soloist must needs possess Evening Moods Regular subscribers who now have a c most popular of our easy marches in brand- from playing in Great Britain, by a decision publication price, 40 cents each volume, has a repertoire of songs with devotional and ln- plete volume of 1935 Etudes will wish to Combinations of The Etude MPublications which to become acquainted, new' arrangements for band, such marches spirational texts suitable for use m religious of the British Ministry of Labor. This act Album of Piano Solos keep these together in accessible form. The zine with most other The publisher’s printing order offers the as Pride of the Regiment, Our School Band, been set for the complete work, we recom¬ comes as a reprisal for the persistent refusal mend ordering both volumes at this time. services. This repertoire should be added to, For players who have reached the degree price of a first class binder for 12 issues of jW ® ^vhere ^HE Etude and one or two best source of information on these numbers, Taps, King’s Review. The instrumentation from time to time, and obtaining a number of the American Federation of Musicians, and of proficiency required by fourth and fifth The Etude Music Magazine is $2.25 re- >n P™* ordered 'iC some of and in these columns each month we present This may be the last month at which the now the United States Immigration Authori¬ grade piano pieces, this new collection will tail. Promptly send your renewal for the ^her magazines are ordere^ Use some ot & number of works which went will include 31 books, as follows: books can be ordered at the special price. of appropriate solos in album form is indeed D-flat Piccolo, C Flute and Piccolo, E-flat an economy. There are also many non¬ ties, to allow any British Band to tour this furnish a pleasing variety of contemplative year 1936 and we will send you one of these thattCWm*|g£t ™ through for new editions on the publishers Clarinet, 1st B-flat Clarinet, 2nd B-flat professional singers who occasionally acquire, country. music-reveries, songs without words,, noc- tote, upon recent **£“£2" printing order of the previous month. Clarinet, 3rd B-flat Clarinet, Alto Clarinet, Around the Maypole for their personal library, books or solos Bass Clarinet, Oboe, Bassoon, Soprano Saxo¬ tUAespeciSepu^ose of this book is that it tional $1.25 covering actual cost of the Sendi post^card forjatalog f||owmg_<»m; Eight Maypole Dance Tunes for Piano having texts suitable for Sabbath Day diver¬ AN INSPECTOR OF THEATERS has SHEET MUSIC—PIANO SOLOS phone, 1st Alto Saxophone, 2nd Alto Saxo¬ may be used for religious services, and the binder, $3.25 in all. We are su Cat. No. Title and Composer Grade Price With Instructions for Dancing sion in the home. been appointed in Italy; and the organization current magazines. phone, Tenor Saxophone, Baritone Saxophone, Perhaps, this accounts for the success of majority of the pieces included will be appro- be pleased with your investment, 11881 Feather—Krof/mann . 1 *0.80 Solo B-flat Comet, 1st B-flat Comet, 2nd By William Baines of all opera companies, as well as the direction 25360 Ring Around-a-Rosy—Sc the albums published by Theodore Presser of their tours, will be under his control. A priate for the church Prelude and Offertory. and 3rd B-flat Comets, 1st and 2nd E-flat It is surprising, the Co., such as Church Soloist, (1.00) Devo¬ Altos, 3rd and ith E-flat Altos, 1st and 2nd new regulation is that no artist shall receive a Naturally a book of this type is most pleas¬ sources from which orders tional Solos, (1.00) and Church and Home ing for home gatherings and for the personal Horns in F, 3rd and ith Homs in F, Bari¬ have come for this book fee in excess of twelve thousand lire (about (1.25), all of which enjoy a year-in-and- one thousand dollars at present rates enjoyment of music lovers of moderate tech¬ 17376 Sunbeams at Play—Cratm tone (bass clef). Baritone (treble clef), 1st since the initial announce¬ Each month we propose ,n the Publisher’, Monthly Letter^ 22788 All in Play—Adair . and 2nd Trombones (bass clef), 3rd Trom¬ year-out sale. Perhaps this is the answer to of exchange) per night; and, in turn, some nical attainments. ment of its forthcoming the most encouraging response to our initial Order your own copy now at the special A FAVORITE 15447 Daddy's Waltz—Iiolfc - bone (bass clef), 1st and 2nd Tenors (treble publication. Physical Di¬ of the leading stars—such as Gigli, Laun- 16367 Little Neighbors. Waltz— clef), B-flat Bass (treble clef). Basses, announcement of the forthcoming publica¬ Volpc, Pertilc and Toti—refuse to sing. advance of publication cash price, 30 cents, COMPOSER 22786 Song ol the Pines—Adair. rectors and Teachers in tion of these books and the many advance postpaid. Drums, Piano (Conductor’s Score). schools, colleges and academies have written In order to give leaders an opportunity of publication orders with which our patrons in to say how pleased they were at the pros¬ have favored us. COMPETITIONS to obtain copies for each part in their bands, pect of securing a book of this kind, and .25 a special quantity price of 10 cents each, The same solos will be found in each Ten Tonal Tales __ .25 Piano Teachers, too, are pleased that they volume; the high voice book having songs A FELLOWSHIP IN COMPOSITION, to has been made on orders for 25 copies or will be able to assign pieces of this kind to the amount of fifteen hundred and fifty dol¬ Melodious Studies for the Development of Richard Ferber 26062 Dancing Sparks—f more, if sent in while the book is in prepara¬ for sopranos and tenors, the low voice book 23205 Tangled Vines—Bin,. . - — their pupils who aspire to the position of having solos for altos and basses. As all of lars for two years, is offered by the American Style in Piano Playing 23719 Fire Dance—Cooke .. 4 .40 tion; single copies are now priced at 15 cents, accompanist at school May Day celebrations. Academy in Rome. The competition b open 30029 Mirhty Lak’ a Rose—Nevm-4 .50 the Piano (Conductor’s Score) at 25 cents. the songs will be within a comparatively By Harold Locke 30626 Cradle Song—MacFadyen .4 .o0 We all welcome the Springtime and the limited compass, mezzo-sopranos will find to unmarried men, not over thirty years of These prices will positively be withdrawn opportunities it affords for getting outdoors. age, who are citizens of the United States. In the instruction of many pupils a judi¬ SHEET MUSIC—PIANO DUET when the book is published. within their voice range most of the numbers ie of Richard Ferb< Small wonder then, that Maypole festivities in the high voice book; baritones will, of Applications must be filed not later than cious choice of supplementary material is music they have purchas 18898 Sparkling Eyes—Anthony. 2Vi *0.50 are so popular. • highly essential. Some just cannot master Richard Ferber was born in Danzif course, sing from the low voice collection. February 1st, 1936; and compositions will SHEET MUSIC—PIANO TRIO Birds of All Feathers The material in this book may be used in not be received aitcr March 1st. Full par¬ each grade of the course with the studies 1848. While the preparation of these volumes is 30113 Stars and Stril A Musical Sketch preparing an outdoor pageant as it gives, in in the hands of the editors orders for copies ticulars may be had from Roscoe Guernsey, provided in the instruction book. For these, $1.00 addition to the eight dances (with direc¬ Secretary American Academy in Rome, 10’ additional practice material must be found. By Mildred Adair are being booked at a special advance of itudied with a distinguished tions) , two unison songs and complete in¬ publication cash price, 30 cents each, post¬ Park Avenue, New York City. The experienced teacher keeps constantly PIANO SOLO COLLECTIONS Every year things seem to be growing structions for costuming the various partici¬ paid. Be sure to state whether high or low- at hand a sufficient supply of supplementary Kdhk/ at "that °time3 First and Second Grade Pieces for Hoys. more delightful for young music students. pants and for arranging the scene for the 4-»• Best Loved Their "~*—ITS 1.00 voice is desired. material, both pieces and studies. We sug- jjis famous school of music ii c of tl Flow .. .75 It is not so many years ago that pupils’ re¬ performance. The book is liberally illus¬ A FIRST PRIZE of five hundred dollars; gest this book for inclusion with the second berg. Richard Ferber citals grew rather boresome to audiences and trated. Parts for string orchestra may be second and third prizes of three hundred dol¬ grade literature. These compositions cover “tir^harmoiy and i PIANO FOUR-HAND COLLECTIONS participants because they lacked action, rented from the publishers. Presser s Manuscript Volume lars each; and fourth, fifth and sixth prizej such technical problems as crossing the ied with Charles Sami Young Duet Players—Harthan. *0.75 variety, and continuity. Many, teachers, It is hoped to have copies ready soon for of one hundred dollars each, all are offered You and I—Spaulding.90 For those who would write music, this is hands, triplets, repeated notes, grace notes. Conservatory, however, have originated their own novel rehearsal, but during this month orders may by Ginn and Company, for songs suitable staccato and legato touch, left hand melody ;ne ||u c SHEET MUSIC—VOCAL SOLOS presentations of pupils’ recitals, and Miss be placed at the special advance of publi¬ just the book to preserve permanently one’s for school use. Only native or naturalized best efforts. Conservatory students of ad¬ playing, etc. assumed the position o and choirmaster 26240 Dawn and Dusk (Low Voice)—For- ^ ^ Adair has written several musical sketches cation cash price, 30 cents, postpaid. American musicians may compete; and full A copy for your reference library may be especially suitable for these affairs. Follow¬ vanced harmony will find this volume useful information may be had from E. D. Davis, Compositions of Richard Ferber 30053 Nichavo' "(Nothing Matters) (Med. for retaining original canons, inventions, and ordered now at the special advance of pub¬ ing the success of her In a Candy Shop (50c) 70 Fifth Avenue, New York City. lication cash price, 25 cents, postpaid. PIANO SOLOS and From Many Lands (50c) comes this new Sacred Choruses for fugues written in the classroom. Mce OCTAVO—MIXED VOICES. SACRED This book will be issued in a substantial, 4-S' Grade Pric one which provides a program of musical Mens Voices 22771 G 25 10089 Something for Thee— Wolcott. $0. numbers including a violin solo, a rhythm cloth binding. Each page will have twelve THE ELIZABETH SPRAGUE C00L- . 3V, Song 40 10546 Some Sweet Dai—Edwards. band number, a musical recitation, several The growth of interest in men’s group well-spaced staves, will be 9 x 12 inches in IDGE PRIZE of one thousand dollars is Six Octave and Chord Journeys ‘26 15754 Come unto Me—OW .. singing since the World War has been re¬ size, and will be printed on the best quality offered, in a competition open to composed 25 20604 Praise the Lord, O Jerusalem— children’s songs, piano solos, duets, and trios. Piano Study Pieces Two of the participants act as masters of markable. If America secured nothing else, manuscript paper. There will be about 80 of all nationalities, for a chamber music woit ceremonies and the performers all may be as a result of that regrettable conflict, we pages in the book. for four stringed instruments. Compositions By Irene Rodgers ; lVi ;40 OCTAVO—WOMEN'S VOICES, SECULAR costumed easily . and inexpensively. Crepe at least learned the pleasures of chorus sing¬ A single copy may now be ordered, to be must be submitted before September 30tJi, ing. Veterans’ organizations, societies and delivered when published, at the special low- 1936; and particulars may be had from the When one sets out on a journey to new .40 6173 A Summer Night—For paper may be used for both costuming and .50 10687 Dreams—Wagner-Shrlley . 3 lodges, and men's Bible classes in the advance of publication cash price, 60 cents, Coolidge Foundation, Library of Congress. and unfamiliar places, it almost always is 8432 Echoes of the Pa r Bell—Wilson . for the dressing of the stage. with a certain eager anticipation for the 20069 The V-™a— 3 This book will be ready for delivery soon, churches have all formed singing societies postpaid. Washington, D. C. 7085 Evening Song . _ _tea—-Chaffin and the degree of proficiency attained by strange sights and experiences that are to 15823 Flight of the So 35019 Recessional—DeK but prior to its publication, a copy may be de Concert .. 9 The Naughty Little Clock— secured at the special advance of publication some of these is truly commendable. be encountered. Some face the journey with 7186 Flower Song... Piano Studies for the Grown-up THREE PRIZES, of One Thousand, Five fear and trembling, some wdth quiet con¬ DeKov cash price of 25 cents, postpaid. For some time the publishers have noted 7081 Forget-Me-Not 35036 Maytimc —Ricci. .18 a demand for more pretentious numbers for Beginner Hundred and Two Hundred and Fifty Dollars fidence, others dash ahead with heedless im¬ 35135 The Sweetest Flower That each, are offered by the National Broadcasting petuosity. But all like to travel as com¬ Blows—Hawley . 4 .iz men’s choirs, selections of anthem propor¬ The preparation of this volume has been Singing Melodies tions rather than simple arrangements of Company, for chamber music compositions fortably as possible. approached with due regard for the technical OCTAVO—MEN'S VOICES, SECULAR A Collection of Piano Solos with Words hymn tunes. Therefore, it was decided that by native composers or foreign born com¬ The young piano student facing a journey 12763 Grandma Dances .. 10795 The Question—Robinson.*0-06 needs of the more fully developed hand and posers who have taken out their first naturali¬ This book is certain of an enthusiastic a compilation of these larger sacred choruses into a new field of technic is much like a 20498 Long Ago in Alcala—Messagcr-Mat- should be issued in book form, thus provid¬ for the general requirements of the student zation papers. The competition closes traveler. Experienced teachers know that thews welcome by teachers of young piano students. who is about to finish the first book of some 1, Kathleen ing men’s choirs of experience with valuable February 29, 193fi; and full particulars may each pupil must be led forward in the man- 1H24 Flight^of*the*Sea Guils. Galop —Westendorf. It provides in the way of first year pieces a adult beginner’s course of study. be had from the National Broadcasting Com¬ fine selection of music to study supplemen¬ additions to the repertoire at a minimum of ner best suited to his nature. With this set a Bril- March . This volume will contain the most inter¬ pany, 30 Rockefeller Plaza, New York City. of very first “journeys” into the land of and Graceful. tary to the instruction book. Pieces have esting selections from the works of such . 3% been selected from a wide range of favorite We believe everyone who is interested in octaves and chords we believe the needs of men’s choirs will want to become acquainted writers as Loeschhorn, Heller, and Burg- every piano traveler, as described above, will TWO PIANOS, EIGHT HANDS composers of easy piano numbers. There miiller, with special editing and helpful prac¬ A ONE HUNDRED DOLLAR PRIZE * 50 On to Prosperity. March. $1.10 are pleasing and helpful texts to every one with this book, especially the directors of tice suggestions as added features. offered by the South Side Women’s Chorus be well taken care of; we are certain that all ORGAN ALBUM such groups, and in order to afford these will find the “journeys” most enjoyable. PIANO SOLO COLLECTION Book of Interludes^ _ of these attractive little tunes. Texts are While this book is in process of publica¬ of Chicago, for a setting of Alvin Winter Gil¬ an aid. as most teachers know, because they an opportunity to acquire a copy, just as more’s poem. Spring Journey, for three pan Teachers may order now a copy of this w Songs Without Words. soon as the book is published, we are now tion, single copies may be ordered at the book of piano study pieces at a “get-ac¬ help the youngsters to get the* “feel” of the special advance of publication cash price, 40 women’s chorus, with piano and small string VOCAL SOLOS VIOLIN, CELLO, AND PIANO accepting orders for single copies at a special cents a copy, postpaid. ensemble accompaniment. Particulars ma> quainted” price of 25 cents; the work will be pre-publication cash price, 30 cents, post- sent postpaid when published. e! & ::::::::::::::::::::::::::::::::::::::::::::::::::: The ** cn*. compute. The advance of publication cash price for be had from Lucille Wheeler Moore, presi¬ Advertisement a single copy is 25 cents, postpaid. (Continued on Page 61) dent, 1533 E. 66th Place, Chicago. Advertisement JANUARY, 1936 60 the etude JUNIOR ETUDE —(Continued)

JUNIOR ETUDE CONTEST Pleasant Lessons for Pleasant Pupils The Junior Etude will award three 1714 Chestnut Street Philadelphia, Pa.; Gertrude Greenhalgh Walker By pretty prizes each month for the best_ and before the;_eighteein, “Oh, mother,” cried Ruth, as she came imaginable; and there are non^ betterbetter.” ” neaneatest"originaltest original stories cor essays, and for and^our

“ "trr ba;r„dtentg W B “Ctf rS‘ under sixteen years Of 3r“arer right AdjgrJI Czerny and he""" molt ^rtant Miss and entertaining lesson. She must put in age Ly compete, whether a subscriber or on each sheS^

me a picture she had clipped from The gives you a great deal more for your les- Subject for story or essay this month J___|JL _ comply with all Etote, and on this, we can see how, right son than we pay for. She teaches you or “Melody.” Must contain not over one Competitors^ who the above conditions will not be considered. mi to our own living Paderewski and the great love of teaching, but i am sur<- hundred and fifty words. Names of prize winners and their con- t7 , • a rwixr’c felt- she would appreciate it if you would let All contributions must bear name, age - . for “ook lessons of the great Liszi her know some time that you realize the and address of sender written^cleared tnbutions will be published The gymnastics period passed very standing at attention before the flag, her ; receiving from her be received at the Junior Etude Office, for April. quickly, and never before did she play her and Leschetizky who were once pupils of benefits you^ “I do wish I could find a new way of mother again rang the dinner bell. _ Czernv himself It doesn’t seem" possible struction. ‘Thank you for a pleasant Universal Language practicing,” sighed Janey, turning about “The first class will be Arithmetic, scales so well. “And now comes the Literature class,” that although Czerny was born in 1791, lesson’ is a very gracious way of acknowl- on the piano stool. “These constant scales she said. “Take down the Mlo^ns prob- By Frances Gorman Risser and finger exercises get so tiresome. Even said her mother. "It is, of course, interest¬ there are now teachers' who were pupils edging her interest, Contest Rules lems on your tablet and work them for of his pupils. Czerny wrote every kind “I will do that ne t week. I suppose A Musical Afternoon I cannot translate Latin, going to school is more fun, because there ing, for here you learn the writings of the (Prize Winner, Class A) Please read the contest directions care- great composers. Your Sonatina and Noc¬ of a gymnastic exercise for the piano she would like that. French, Spanish or Chinese, are so many things to do.” t0 JaneyWtook up her tablet and pencil „nri fully before sending in your contributions, But I can read new music Mother looked up from her knitting and gaily, and copied down these problems. turne are excellent examples of good musi¬ theVuffic^b °had0CLseVbtl“become and see if you have complied with all the At any time I please; smiled. “I have been thinking of that too, 1 If Mr. Quarter-note and Mr. FtalJ- cal literature, and as soon as you learn a shut-in neighbor, to bring her the^appb ru]es. Janey,” she said, “and I believe I have a ' note were out walking, and they these well you will start on some more of Put the letter of the class in which you And I know if I travel splendid idea. Finish your practicing now met Miss Eighth-note, zvhat would the works of the great composers.” Stepping the Intervals The afternoon's entertainment wai are competing on the upper left corner of In any foreign land, the old way, and tomorrow you will have When the dismissal bell rang at the Letter Box a musical travelogue. A stately mi be the value of all three? beautiful France started the group^ your paper, and please remember that this "From Greenland’s icy mountains an altogether different system,■■ which wdl Dear Junior Etude : :ought the club 2. If Harry Half-note bought an ice¬ end of the practice period Janey was really —- Game — V gay tarantella does not mean your class in school or your To India’s coral strand," iznesyo,intliern Italy. From t be loads of fun for both of us.” cream soda for half of his own sorry that it was over. “Mother,” she said o Gerr_ ith" a“delightful* waltz. grade in music, or anything but the class Full Of eagerness, Janey appeared in the earnestly. "I never knew music could be Then down _ Spain where a habanera vmd- in which you are entering your contribu¬ value, zvhat fraction is the soda By Gladys M. Stein the bright life of that country, I can find understanding, music room the next morning and a much tion. Many Juniors have made this mis¬ worthf . so much fun.” es mm 1 uoc in, „n the difficult- ^‘group11 soon was in Japan, listening to For always there will be different sight met her eyes. “Of course it is, Janey. Do you want to e people tell nie to give up the piano, but a descriptD re composition of that artistic take, so be careful about it. The language universal. Before she knew it, Arithmetic class was rictly refuse to do so, because it is my gift Prepare for this exciting game by On one side of the room her mother had do it again tomorrow?” talent which my mother left me. I played The tongue of melody! over, and Janey heard the bell again. This stretching out on the floor five long pieces placed a little desk and chair, and directly time her mother announced, “Spelling class. ^ “I certainly do,” said Janey, enthusi¬ recital recently. across from it was a larger desk behind From your friend, of white cord about ten inches apart. itsPPdeai “Now I will test your spelling, Janey. astically, “just as soon as I get home from Burke Esaias (Age 13), which sat the “teacher,” Janey’s mother. Fasten these down tightly with thumb tacks. was* overjoyed smiled her mother. “Take down the fol¬ school.” „ tne name r>T through music. All had done their nest, ana “Good-morning, Janey. Here is your The leader then calls it tne name oi were Bhappy in giving music to one who was lowing words and see how many of them ‘A third above happy in receiving it. “The House That Jack Built” new desk. You are just in time as I was some interval like this; — • Grace E. Gimbel (Age 14). you can spell correctly. 1. crescendo, 2. 1 eight ^years' old and started^music E,” and then points to a player. This New Jersey. By C. F. Thompson, Jr. about to ring the tardy bell.” diminuendo, 3. pianissimo, 4. fortissimo, 5. Janey laughed merrily as her mother Daily Reminder ieces to other keys. . . , person goes quickly to the huge staff and andante, 6. allegro, 7. largo, 8. forte, lyed a piece in the recital and I play This is the house that Jack built. struck the old dinner bell on the desk. places one foot on an “E” space or line, Stella Whitson-Holmes rhythm orchestra. A Musical Afternoon Here’s the piano, all shiny and bright, “This is going to be fun,” she said hap¬ 9. sonatina, 10. concerto.” By From your friend, and the other foot on a “G” above it. He To Janey’s surprise, after her paper was Mary Blanche Huff (Age 8), (Prize Winner, Class C) and ready to play from morning till night, pily, seating herself at the desk. “I never Kentucky. must do all this before the leader has had that stood in the house that Jack built. dreamed this was the new way of prac¬ corrected, she found that her spelling was time to count to twenty-five. A musical afternoon made me understand This is the music, both grave and gay, not what it should have been, and that she why my mother says one can spend many ticing.” The players who fail are dropped out happy hours when one is a musician. all printed and ready for someone to play, “We will have the flag-salute first, said had missed quite a few of the words. of the game, and thus the last person left Saturday afternoon was stormy. Little upon the piano, all shiny and bright, and “I must check up on my spelling,” she Id not play outside or they would Janey’s mother, and took from the drawer Endless Chain Puzzle is the winner. Little 'lrnthpr1 •other was as"asleep and mother ready to play from morning till night, that a pretty silk flag decorated with a staff on said. “I never thought that musical terms just jthered. stood in the house that Jack built. would be so difficult to spell.” By E. Mendes fiolin out, to see if, perhaps, I c<•ould find a which was a single note, B-sharp. Dear Junior Etude: . _ - lew piece in my book that was noi hard ; This is the child with fingers ten, who “It’s beautiful!” breathed Janey. “What “It is always a good idea to know how I live in what is called the “Jungles of ind sure enough, I could play it!. _id here wished and wished again and again to to spell these terms,” said her mother, “and Africa ” Mv parents have been missionaries >ther that was sung at school, is the salute, teacher?” out here for many years in the central part another that i y mother sang. A Musical Afternoon read the music both grave and gay, all so here is a small dictionary with all of of the Belgian Congo. My home is at What fun ! At ia I looked out printed and ready for someone to play, them in it. Each day, why not count off Bibanga, but the school which I attend is at window and there sai (Prize Winner, Class B) Lubondai. There are eighteen pupils this whistling at the wine.— Excitedly, I- -- upon the piano all shiny and bright, and five terms and study them so that you will * HU, „„ „„ . taking.„ music—- mv mother, and she said the bird’ • ! hailhad heard One afternoon I stood mournfully watching ready to play from morning till night, that piano and one boyr taketakes violin | playing. He had enjoyed my musical Tommy go off to the movies. A cold kept know how to spell perfectly?” m one of the fifteen piano pupils aftera0on, too. me from going. I took up a book and began stood in the house that Jack built. Janey accepted the dictionary gratefully lusic. We give musical programs It was dusk. What a pleasant way to read, but the movie I was missing kept This is the teacher, who knew so well “- spend an afternoon. me from being interested. and resolved to study the words every day. music, but William MacDonald (Age z\ I laid the book down and listlessly turned the many wonderful things to tell the little The next class was History, and Janey’s the music o£ the^ Afr..._in natives. Ohio. on the radio. The announcer's smooth voice talent for music was saying, “Today we are celebrating the child with fingers ten, who wished and mother read aloud a few interesting chap¬ birthday of Ludwig von^ Iteethoven. We will wished again and again to read the music Each link ... four-letter word, and ^the°iwte“peSpfe Answer to October Puzzle: ters from a book on the lives of the great They. •hich i both grave and gay, all printed and ready Expression each word begins with the final letter of made of D°As *therstrains of^hm beautiful composition composers. “Now take down these ques¬ the preceding word. The first and last 1-2, two. poured forth, my mind wandered back to the for someone to play, upon the piano all met, »U1U. — --, and it has past. It seemed that the great composer tions and look up the answers some time.” By Gladys Hutchinson words are the same, thus forming gourd at one end, which makes the music 1-3, ten. shiny and bright, and ready to play from 1. When did Bach live? ound like a banjo. They have drums of sat before me, and the moonlight streamed less chain. through the open shutters as he softly played morning till night, that stood in the house heir own which are made of hollowed out his own compositions on his old piano, while 2. When was the first opera written? What do you know about expression ia 1. A musical instrument wood. They have another instrument which that Jack built. After she had closed her note-book her i'svery much like a xylophone. I dreamed on. , , m , . . . music ? 2. A color t,...' commonly used instrument As the program ended Tommy dashed in, This is the clock upon the wall that mother rose from the desk, smiling, and But the r exclaiming, “The movie was fine. You should Expression in music belongs at the be¬ 3. Sharp Prize Winners for October told the hours to practice all the lessons .musical ?%” instrum - said, “The next is the class in Gymnastics, ginning. It is not something for you to 4. Close by language means a Puzzle: ha“I wlmld* not trade this afternoon for any from Teacher, who knew so well the many Janey, at the piano. That consists of the learn next week, or next month, or next not like anything movie in the world!’’ I replied. 5. A flower music sounds ^ver^ mmusic,1very S°' .The Esther Fry, (Age IS), Class A., Penn- Clark Griffith ^A^laj^a wonderful things to tell the little child with ALLEGIANCE TO PRACTICING AND MUSIC AND actual exercising of your fingers and wrists fingers ten who wished and wished again year! 6. Always picture of the dormitory sylvania. THE SUCCESS AND HAPPINESS FOR WHICH on the keyboard, and the development of Ex means “out of’ and press means 7. A highway and again to read the music both grave your tone and technic. I am sure you will Herbert Haywood, (Age 11), Class B., IT STANDS. ONE PIANO INVINCIBLE WITH “press,” so the word “express" means to 8. Costly From your friend, Letter Box List and gay, all printed and ready for some¬ enjoy it more than ever, after the other Lucile McElroy (Age Virgin Islands. GOOD LUCK AND BEST WISHES FOR ALL'.” “press out.” 9. Wealthy Central School, Eudora Bentley, (Age 10), Ohio. one to play, upon the piano all shiny and After Janey had repeated the salute, Lubondai, Belgian Congo. Letters have been received from the fol¬ bright, and ready to play from morning Even to count musically you must do so 10. A musical instrument with expression. Never use the speaking lowing, which, owing to lack of space, will till night, that stood in the house that Jack voice in things musical. Always sing tne Honorable Mention for October not be printed: built. Wilma Allred, Rita Botka, June Percy, These are the friends, who loved to hear A Big Surprise counting. Essays: Barbara Stephen. Dorothy Biggs, Carole It is excellent practice first to clap o* Coleen Grossman, Martha Peyton, Evelyn Bryers, Harry Harrison, Charlotte Clutton, the wonderful music which year by year Armstrong. Marjorie Ann Hollander, Ethel Betty Baricevic, Daphne Potter, Satah L. was learned, as the clock upon the wall By Sister Angela the rhythm and to do it “dynamically, Byrd, Katherine McCarthy, Thelma Caddes, Irene Hoerner. still told the hours to practice all the les¬ that is with great contrast between One day my mother called to me. The Happy Farmer was the piece; sons from Teacher, who knew so well the light and heavy beats. . ,. Honorable Mention for October "Look here," she said, and lo! It sounded strange to me— Early training in expression will m*". many wonderful things to tell the little ____', Christine Cooke. Puzzle: child with fingers ten who wished and A baby-grand piano stood The keys just talked and I was thrilled even the most elementary tune musical ana heth Burnett, Frances Menius. Sarat Right in our parlor. Oh! To very ecstacy. venia Byrd, Mary Frances Mi cjfifj Maxine Richtenberger, Marietta Jameson, wished again and again to read the music enjoyable for the listener as well as King. Betty Mae Dill, LewisIwis ..,Eden, -Edwin Hilda Dunwood.v, Phyllis McDonald, Robert both grave and gay, and printed and ready the performer, and remember, when ) Beugler, Helen McCallum. Charles Medlin, y vy Amway, Justine Wilson, Wanda Roberts, “It is a beauty,” I exclaimed. oo now i practice }aith)utly Helen Decker, Catherine McLaughlin, Mary Eugene O’Brien, Eunice Spencer, Beulah for someone to play, upon the piano so are the performer, you are playing s° ^ Catherine Solbach, Marianna Olmstead, James Gardiner. Katherine MoFarlane, Lillian "Now, I shall play for you.” An hour or more each day. shiny and bright, and ready to play from body’s composition, and you must pl*f J. O’Reilly, Herbert Haywood, Rodman dormitory, lubondai, Belgian Congo Hyatt, Sarah Louvenia Byrd. morning till night, that stood in the house And then.I played that little song And let the keyboard talk to i with expression, in the way the compos® Thornburg. By Schumann, that I knew. In its alluring way. 63 that Jack built. would wish to have it played. JANUARY, 1936 62 THE ETVOt SPECIALISTS IN GIVING Beethoven's Love of THE HIGH STANDARD OF children. Mistress Percy blows out all SERVICE DEMANDED BY A Consort in Dame Percy's but one of the candles, closes the piano, Nature ACTIVE MUSIC WORKERS takes her own candle, and goes out.) School EVERYWHERE In planning costume recitals, the author ^ elg^"t^asenobtained from the pub- (Continued from Page 22) erv/cM has- kept i mind that the -°dern .school . . M/on (Continued from Page 12) child is a very busy person and so she has Key to Pronunciations reduced conversation to a.minimum. If each fHEODORE Sonata—soh-nah-tah. Mozart-wm- To Bettina Brentano, who has brought Mistress Williams seats herself. Sev- one is provided with a slip of paper giving tsahrt. Capriccio—Cah-pree-choh.vtith the youth of life back to his weary heart, M/A/cAjr/as eral arrangements are available. The the name of the person precedmg him and ch as in church. Don Giovanni— he writes, “The delicious May rain has one we used is from The School Credit his own part and stage directions, the parts dahn jo-vabi-nce *2.y&n--high-dn been very fruitful.” He has always loved Presser Piano Course) wil1 fit smoothly. Of course if it is pos- Armide — ahr-meed. Gluck — gbek, water but has never stood by a rocky coast, Made tAe Nathaniel: I have been practicing an old sible to put the whole playlet into the hands with the mouth well °Pened and like Mendelssohn. Once he had considered English tune, because I think it is so of each performer, the bits of history will slight oo sound covering the ce. writing music about the Bibical deluge, //dime Xof nice and lively. It is usually called be better and more easily absorbed. The Bach—bahek, with the breath blown but the plan, like that of the “Faust Sym¬ Co- Country Gardens. When I finish playing assisting singers may conceal their scripts out around the ck. Prelude-/-ray- phony,” never materialized. However, MUSIC I hope that Mistress Greene will sing ’f *’s '"lenient there is enough of the ocean in his works PUBLISHERS those songs she brought from Boston. and of a vaster and broader sweep than AND DEALERS (He plays, then goes to Mistress Greene p/i£ssm any mere programmatic music ever could WORLD'S LARGEST STOCK and bows. She rises, takes his hand and have held. OF MUSIC OF goes to the piano where he makes Synonymous ALL PUBLISHERS another bow and returns to his seat.) Ensemble Idyls 1712-1714 CHESTNUT ST. Mistress Greene: The Boston songs are; He Stole My Tender Heart Away Next Month HIS THOUGHTS returning to the With MUSIC in Wound less PHILADELPHIA, and My Days Have Been So Wondrous country again, he writes, “There is Free. (Chosen from lists Pages 73-74 of >E for FEBRUARY 1936, Will Include These Features Rich in Pract no lovelier pleasure in the country than The Music of George Washington’s chamber music.” Does this not recall to Time—Bicentennial Commission. When our minds the ethereal adagios of his quar¬ she is again seated Joseph and John go An Invitation MARK HAMBOURG ^ tets, which seem to smell of morning to her and bow, together.) meadows, drooping flowers, and quiet The "Verdict of Approval" Has Been Given These Elementary Piano Works Through John: We know a duet from the opera to Piano Teachers, Voice Presents a Master Lesson twilights ? “Armide” by Master Gluck. (School Teachers, Violin Teachers, The Popular Use of Them By Many Competent Teachers. on Liszt's transcription of Mendelssohn’s He must always have his rural sur¬ Organ Teachers, Choir and Credit Piano Course.) “On Wings of Song" roundings untouched, this wildly beautiful Joseph: I guess Mr. Benjamin Franklin Hambourg’s Master Lessons in THE ETUDE are in¬ Chorus Directors, Music MUSIC PLAY FOR EVERY DAY spirit. On one occasion he remarks that heard it played when he was in France. imitable and have such a practical ^f^tudeihor Supervisors and All Schools THE GATEWAY TO PIANO PLAYING (When they have finished, Virtue runs to the trees at the park at Schonbrunn are tLcher'than'tlm'cost'of an"°entire year's subsorip- trimmed up “like an old-fashioned hoop and Colleges of Music. the piano.) An Irresistible ^ J et™ j Virtue: I know a little French piece, too 1 skirt.” He preferred the wild woods ASK FOR ANY OR ALL OF Appeal to umph among all which were as glorious and free as him¬ Its awfully old. We call it Amaryllis. HENDRIK VAN LOON THESE "ON SALE" PACKAGES Juveniles ^'teaching chil¬ (John and Joseph return to their places self. For long hours he would roam along OF MUSIC TO EXAMINE IN dren from five to eight years of mark hambourg “Getting Joy Out Of Music” the hills and meadows on the outskirts of age to play the piano. It appeals to and Virtue plays. One of the very easy YOUR OWN STUDIO. the child mind with^game-llke _pro- excerpts was used.) famous historians and geographers Vienna. In his earlier days he loved the Dame Percy: Our very smallest little ,r times. Hendrik Van woods of Heiligenstadt, where his sad and ALL you need do is check in brooding “will” was written. In his last girls, Patty and Sally, know another old s and inspiring that n ETUDE reader will order form below the pack¬ Prica. $1.25 French air. (They play one of the ind original article. year his fancy turned to Gneixendorf. a age or packages you desire and little village on a high plateau of the send this form back to us with French folk songs from the Dilter-Quaile HAPPY DAYS IN MUSIC PLAY Danube Valley, with the distant Styrian your name and address signed duet book.) MEXICO'S MUSICAL CHARM TECHNIC FOR mountains meeting the calm skies in the to it and the selections will be BOOK FOR Follows "Music A wort'LIfviJ,7 Dame Percy: Matilda, what have you sent to you to examine, at your BEGINNERS been studying since you went away? iave been seeking a comprehensive article upoi quiet background. He was always with OLDER BEGINNERS Play for the chi'ld' genuinf convenience and with the privi- By John M. Williams Pr., $1.00 Every Day” Pl«sure injiano Pr., 75c Matilda: Oh, I have really been study¬ nature: either he was a little speck walk¬ lege of returning for full credit, st worthy ing quite hard on a composition by Bach ing among the trees in the far distance, the music you can not and do piano beginner from O ^elementa technical which came over in the “Sally Ann” from singing in metallic tones which seemed to not use. This may be any or all London last spring. (When she has fin¬ issue from the depths of a rusted machine, of the music sent. Thus, when esteemed by teachers who de¬ TONE COLOR AND TONE QUALITY settlement is finally made, you velop a good foundation for ished Betsy stands. When Mistress or a strangely fantastic being seated by pupils in grades 1 and 2. the brook, the water gurgling through his pay only for music kept or used Percy looks at her she curtsies.) W. Ward Wright, s y pianii Betsy: My father and mother went down extended fingers. But nature always seems and for the nominal postage costs TUNEFUL TASKS put to profit. in sending music to you. Spe¬ The Above Books ai to Annapolis last spring to hear “The to know him as her own, no matter where cial packages covering individual By John Thompson Pr., 7Se Mountaineers.” They say it was fine. WAGNER AND LISZT he be. For he is her own child, reared Twenty little tunes needs as you describe them which ^cleverly make Jt Dame Percy: Yes, that is what everyone Price, 40 cents, Each Part By special arrangement THE ETUDE is by her own hand, and blessed with her cheerfully made up and sent for says; and you know it was a favorite memoirs of the famous Hungarian^ Stati own beauties. examination on your request. ALL IN ONE entertainment of President Washington. very graphic picti Even on his death bed Mother Nature (M ELODY-RHYTH M—HARMONY) Perhaps Mistress Williams and Mistress comes to him. Lightning flashes as he i, DISTINCTIVE METHOD FOR THE PIANO Greene will sing the duet for us, so we breathes his last; a streak darts across the FIRST YEAR AT THE PIANO can remember the President’s best-loved OTHER INTERESTHjlG _ MjJ^ l US 22 pages’^ room, illuminating the chamber of the TUNES FOR TINY TOTS By JOHN M. WILLIAMS song. expiring man. By some sudden force he Complete—Price, $1.00 In 4 Books—Price, 35c Each (They sing the duet arrangement of The By John M. Williams Pri< Wand* hdpfuf^pieces rises at full length and shakes his clenched THIS popular little book really is i Wayworn Traveller, as given on Page fist at the sounding peals of thunder. He paratory grade for the youngest 1 26 in “The Music that George Washing¬ starts with both clefs a falls back, dead. suits. Easy-to-play ar s"o fX favor he SS ton knew.”) Throughout his whole life he had been Dame Percy: Betsy, your sonata sounded Teachers' Round Table at peace with nature: in his last moment very nice last week. Suppose you play he shook his fist at her. That was be¬ that for our guests. (Continued from Page 21) cause fie loved her as an equal, not as a (Betsy curtsies to each of the singers superior. And at the end she manifested and to the young ladies group.) possible moment; then start piano or We are always very severe with “the her superiority by claiming that which he THEODORE PRESSER CO. Mistress Greene: Ann has learned a ... .Package No. 1—EASY PIANO ... .Package No. 5—Approximately pianissimo and sweep up the crescendo other fellow” when he plays his left hand felt was rightfully his. Beethoven twenty good VIOLIN TEACHING composition by Master Handel. All TEACHING PIECES. Contains ap¬ 1712-1714 Chestnut St., Philadelphia, Pa. 3 swiftly a possible. Wherever such before his right, especially at the begin- displeased. He would not have it so. But proximately one dozen first grade PIECES in first position. London is wild about his things, they pieces, one dozen second grade sav Won’t you pQ“thai\uti7Prelude crescendo or an accellerando occurs, put ning of measures; but we never hear our- it was so nevertheless. For the first and Date.... again, so theL children can hear it? red signal in the mus.c as a warmng 1 serves indulging in this most reprehensible last time in his life, Beethoven had been ....Package No. 11—Ten AN¬ : slowly, THEMS FOR LARGE, PROFI- Ann: Very gladly. They say his musick take a deep breath and of pianistic bad habits! Everyone does vanquished, CIENT CHOIRS._ it; and the only remedy is to start each ... Package No. 2—MEDIUM is like him—big and robust. (Any of the softly and with relaxation. GRADE PIANO TEACHING ....Package No. 7—Ten ELE¬ '....Package No. 12—CANTATAS Gentlemen:—Send me, in accordance with your "On Sale” plan, the Handel compositions can be substituted.) (9) Are there dreary stretches where measure with the arms and wrists low, PIECES. Contains approximately MENTARY WORKS FOR USE IN FOR SCHOOL CHORUSES. De¬ fifteen third grade pieces and fif¬ PIANO INSTRUCTION that every lightful cantatas for two and three packages checked at left. In ordering these packages I am to have the Dame Percyf I think it is time for our 1 play flatly and dully, mf or mp? using a quick upward movement (an ex- ***** teacher should know. part treble voices, not difficult, little folks to be in bed. Martha will play This is one of the worst and most corn¬ aggerated up touch) as the notes are teen fourth grade pieces. but brilliant and melodious in char- privilege of examining the music they contain, keeping and paying for er ‘f fhe student will but think . . around thirty fourth, fifth and grades to use as supplementary ma¬ dred,\ . while.. the children and visitors sing memade fie all3 the worse bybv the natnaturally“rally Pper-e often enough. A certain Rotary Club president sixth grade PIANO PIECES. terial to cover specific phases of

... .Package No. 4—Contains two Package No. 14—A dozen _Package No. 9—Two dozen sat¬ CHORUSES FOR MIXED ££«•*mgiy. •—* - :ust ztzzrttzxztZ.luncheons. He found that, at meet¬ dozen fine SONGS; excellent for candles. When all are lighted and the unremitting^ ^ ^ just to see how difficult it i< teaching purposes or as light re- isfying SACRED SONGS. Un¬ VOICES.^ Four part choruses^ for ings at which there was an assur¬ derline which you prefer—High, 'children in line, they walk slowly out of & 2*2 These few tests are, of course, but Medium or Low. m.) frames upon which many more must tv ance of a fine musical program, Mistress Greene: This has been a very the other? built. well to realize that only a there was an increase of from thirty- pleasant hour, Dame Percy, but we must , The "wora the first rate, experienced teacher can really five to forty per cent in the number Goodnight! ^ t faulty or “relatr pitch of the pian (She and others curtsey and follow the compared with instruments of teach interpretation. of members present. THE COMPOSITIONS AND n TRANSCRIPTIONS OF . . . THURLOW cUmtidnce

American Composer and Savant

WWW.WJVW.VWW I | Selected List of Mr. Lieurance-. Many Fine Composition. These Are But PIANO COMPOSITIONS American Indian Rhapsody (P W. Orem) on Themes Suggested by Mr. Lieurance . BY THE WATERS OF MINNETONKA By the Weeping Waters . ■” Indian Village .. A Sioux Indian Love Song FROM THE DALLES TO MINNETONjIA A Cycle ol Five Pi.no Composition. These five impressions for the piano rank high among pianistic masterpieces of living American composers. Piano students may take them up in about Grade 4. Price, $1.25._

Indian Flute Call and Love Song

This famous song is obtainable in the following arrangements- Vocal Solo (Concert Ed.) High Flute and Piano . ROMANCE IN A Voice .$0.6° Cello and Piano . Vocal Solo (Concert Ed.) Low Mixed Voices (S.A.T.B.) . Mixed Voices (S.A.B.) . ~S"‘ Men's Voices (T.T.B.B.) . 1 iTTTh Vocal Solo (Recital Ed.) Low Treble Voices (S.A.) . Also publishied for Violin and 1 Piano—Price. 60c (S.S.A.) . Pipe Organ . Star Gleams. Valse Caprice .. Cornet and Piano . Vocal Duet (Ten. and Bar.) To a Ghost Flower . With Spanish Grace . Piano Solo ... Piano Solo (Concert Ed.). Violin and Piano Beautiful Catalina . £0 Violin and Piano. Bird and the Babe (Cello ad lib.) . Ghost Pipes (Cello ad lib.) (Arr. F. Cardin) ■■■ ™ Lament. Where Dawn and Sunset Meet (Arr. F. Cardin) .» A MEXICAN RANCHO LOVE SONG Sioux Indian Fantasie .ou Indian Songs CARITA MIA By the Weeping Waters (d flat-D) . (Spanish and English Texts) Chorus Arrangements Dying Moon Flower (c-E)...•••• High Voice E-g 60c Low Vo Indian Songs for Mixed Voices (10 Numbers) . -75 From Ghost Dance Canyon (g sharp-F sharp)... Indian Love Songs for Treble Voices (5-Pan) . (b-a) . (11-numbers) ...—.” Ghost Pipes (d-g) . Choruses in the above-mentioned collections " (b-E) . Her Blanket (Navajo) (d sharp-C) -. Indian Spring Bird (Ski-bi-bi-la) (b-E) . :: " .. •• (d-g) Song Cycles . " (E-a) . Eight Songs from Green Timber . Love Song (Red Willow Pueblos) (c-D) . Other Lieurance Songs Each in His Own Tongue (5 Songs) . My Lark, My Love (E-F sharp) . The Angelus (Creole Legend) (E flat-g flat) .. Forgotten Trails (4 Songs) . O'er the Indian Cradle (E-a) ...••■••••. April First (Encore Song) (c-a flat). Nine Indian Songs (with descriptive notes) . Songs from the Yellowstone (4 Songs) . Rue (Pueblo Love Song) (c-E flat) . Felice (c-g) . Songs of the North American Indian (9 Songs) (Violin or Flute Obbl.) The Last Sundown (b-D) . My Collie Boy (E-g) . Sa-Ma-Wee-No (F-F) . .(c sharp-F.) . The Spirit of Wanna (F-F)^. Remembered (Violin Obbl.) (d-E flat) . Where Cedars Rise (c-F) ... .(b flat-E flat) . Waste Wala Ka Kelo (d-D) .. ' (Flute Obbl.) (d-g) . Wild Bird (Flute Obbl.) (d-g) . Where Dawn and Sunset Meet (d-F) . ' ' (b-E) . Where Drowsy Waters Steal (c-g) . Theodore Wi-um Lullaby (d-E) . Presser Co. Music Publishers, Dealers, Importers World’s Largest Stock of All Publishers 1712 CHESTNUT ST.. PHILA.. PA.