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4-1-1915 Volume 33, Number 04 (April 1915) James Francis Cooke

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PRICE 15? #1-50 PER YEAR THE ETUDE 241

PLAN NOW FOR MUSICAL PROSPERITY A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT, AND ALL MUSIC LOVERS. efaf' Edited by James Francis Cooke Subscription Price, $1.50 per year in United States, THIS SEASON AND NEXT Alaska, Cuba, Porto Rico, Mexico, Hawaii, Philippines, or Panama, Guam, Tutuila, and the City of Shanghai. In Canada, $1.75 per year. In England and Colonies, 9 Shill¬ ings; in France, 11 Francs; in Germany, 9 Marks. All other countries, $2.22 per year. inner Liberal premiums and cash deductions are allowed for Sophocles was right, “Fortune is never on the side of the fainthearted.” The resolute, fore-sighted Ainei lLcl SI IV1USC I caurci s And the last thing she uminem music worker wins. does before she leaves her dressing table is to fOPEN THE ENTIRE YEAR ] TERMS’ inc,uding Plan confidentially and optimistically, work af¬ gently apply with the firmatively and energetically and you can not- fail to find opportunity where your negative brother has found disas¬ Thefraerant, skin-softening cream, with its non- ter in the present world upheaval.

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Sow these Dealers in principal cities and towns. POND’S (onvpany's Send for catalog. FAELTEN SYSTEM. Booklet months with seeds of keen musical interest (instead of Vanishing Cream doubts and fears) and a rich harvest must be your reward. EMERSON PIANO COMPANY CARNEGIE HALL - - NEW YORK Every new Etude subscriber you secure means a new, tablished 1849 MASTERFUL ADVAN Jrane Normal Institute of Music living, ■ thriving centre of musical activity in your com¬ Training School for Supervisors of Music ^ BOTH SEXES ^ munity. VIRGIL P The more of these flourishing centres you plant POTSDAM, NEW YORK Famous for Ins the greater will become your musical efficiency, happiness New 50-Cent Collections tation, and prosperity. S] SELECTED "CZERNY ;s of 50c collections. These comprise piano ror two and four hands; also violin, vocal Hugh A. Clarke, Mus. doc. TERM A RARE SUBSCRIPTION ana organ music. AU these collections are gotten out in the best possible style, giving 5 BY MAIL the best quantity and the best quality for the least possible money. All the books are In Harmony, Counterpoint of full sheet music size. OPPORTUNITY STUDIES and Composition POPULAR RECITAL REPERTOIRE MRS. A. M. VIRGI Viseu, nuueu anu i " 31 Piece, for Ihe Pianoforte 1618 CHESTER AVE., PHILADELPHIA, PA. Revised, Edited and Fingered, with EMIL LIEBLING These pieces are suitable for the drawing room, To assist our readers at this important moment Copious Annotations, by for recital or exhibition purposes. They he m difficulty, suitable for teaching, recital or grades four to six inclusive. Every number is a m planting these helpful centres of musical interest we make PRICE 90 CENTS EACH ! playing. The pieces range from the early gem; such standard writers as Schiitt, Dvorak. a special rate of IN THREE BOOKS third grade to the early fourth grade. All are Chaminade, Wm. Mason, Bargiel, Gottschalk, melodious and entertaining and by the best Wachs, Dubois, Poldini, Delibes and Koelling being represented. The American Ins VALUABLE and noteworthy addition to the technical lit¬ OPERATIC FOUR HAND ALBUM THE STANDARD VOCALIST FIFTY CENTS erature of the pianoforte. This work, represents a 22 Pianoforte Duets 30 Songs for Medium Voice of Applied Mu diligent sifting and careful selection of material from large and comprehensive collectionofj the immortal melodies from the standard grand both sacred and secular, suited JOHN B, CALVERT, D.D., President (The Metr FOR THE ETUDE the entire works of Czerny, including all the popular operas, all arranged in effective and playable opus numbers, together with many less known but form, intermediate g >f difficulty. Sorr shiger can turn at any til and fi 212 West 59th St., New Yo equally meritorious studies. Mr. Liebhng s editorial ented a: “Aida,” - _„_,____y possible demand. FOR SIX SPLENDID MONTHS “ Don The songs are chiefly by modern and contem¬ work has been of the most exact and painstaking "Faust,” “The Flying Dutchman,” “Lohen¬ porary writers. They are chiefly of intermediate character from both the technical and interpretative grin,” “Lucia Dl Lammermoor,” “Rigoletto,” grade, and well suited ' Special Summer Session, June 21st sides • the annotations are of real practical value and “Tannhaeuser,” “II Trovatore,” “Die Wal- This, the lowest Etude rate ever made, and applies musical interest. The three volumes, which are care¬ kiire,” “Der SELECTED CLASSICS Unusual advantages for teachers . only to those not now receiving The Etude regularly as fully and closely graded, the studies being arranged in progres¬ 19 Standard Piece, for Violin and P THE STANDARD ORGANIST Arranged and compiled by Frederic A subscribers. sive order, range in difficulty from the early second to the sev- lin. In this volume some of the best thoughts 30th Season Begins September \ 43 Pieces for the Pipe Organ of the great masters are to be found arranged in One of the best collections ever published. The effective form for violinists of intermediate at¬ Send for circulars and catalogue. KATE S. CHITT enthCzerny’s mastery of technical detail and his mastery of ieces are all good and interesting, of intermedi- tainment. No better introduction to the study No special subscription blank is needed. Just send musical expression are truly remarkable; he was a most te grade and moderate length, written in all of the larger classics can he found, all the pieces tyles and suited to all purposes. Both original ' positions, chiefly in all the names and addresses enclosing fifty cents (stamps, voluminous wnter^, -mpossible tQ study but a u portion 0f organ pieces and transcriptions are included in -A proportion. The book is handsomely _ _ TO TEACHERS AND STUDENTS cash, money order or check) for each new subscriber. Foreign his work’s, and even in the more generally used opus num¬ ted from special large plates. stein, Schubert and Schumann. bers there are many studies which are unnecessary in the pres¬ addresses add 36 cents; Canadian, 10 cents. Address ent day. But in practically every volume there is to be found Our series of 50c collections has been uniformly successful in the p your letter to The Etude, Philadelphia, Pa. some pianistic gem which should not be neglected. representative volumes may be mentioned the following:— DUDLEY BUCK The object of this present compilation is to present his very Popular Piano Album* will commence his Summer Class on June 1st. Special attention given t< Could you see the many fine features we have in best studies of all grades in attractive and convenient form for Modern Dance Album 18 Pieces general use. The success of this work has been of the most it Grade Composit 23 Pieces oratorios, and opera. AEOLIAN HALL, 33 WEST 42d ST., NEW Pieces Popular Parlor Album reserve for these important issues you would net rest until flattering character. It is the best work of the kind ever offered. Standard Sevent 5 Composi- Standard Opera Album. .. 15 Pieces It is printed from beautifully engraved special plates and tions, by W. S. Mathews.15 Pieces you had shown at least a dozen friends how The Etude substantially and thoroughly bound in heavy paper. Piano Duets helps all music lovers. March Album.17 Pieces Music for the Young Violin and Piano INSTITUTE OF MUSICAL art: Well Known Fables Set to Music, by Operatic Selections, by F. A. AN ENDOWED SCHOOL OF MUSIC “While we stop to think, we often THEODORE PRESSER CO.,paul>HJHlt-1 .•.Franklin. ISPti Send for Our New Catalog of SO-cent Collections •T?16 °f the Institute are intended only for students of miss our opportunity” Wjjhrai?fe.arrIlestpurpose to do serious work, and no others will be accepted, THEO. PRESSER CO.. PHILADELPHIA, PA. arid full information address SECRETARY, 120 Claremont Aven. OLD ROMAN MAXIM

n Manufacturers of G Built especially for people of high artistic discrimination Summer School Announcements i who appreciate the difference between good and best. PIANOS Your Correspo h d e n c e solicited STR1CH i ZEIDIER and PLAYER-PIANOS E. 140th St. and Jackson Ave., : New York City n THE ETUDE when addressing o THE ETUDE 243

242 THE ETUDE EDUCATION I DIRECTORY OF SUMMER SCHOOLS NEW YORK musical WORKS FOR USE m MODERN MATERIAL for VOUNG BEGINNERS NEW YORK SCHOOL OF MUSIC AND ARTS Childhood Time. OA t, TECHNIC AND ART Anything in our large stock of Miy spection\ Central Park West, cor. 95th St., New York City RALFE LEECH STERNER, Director Musical Merchandise sent freely on in' • —^nts \ OF SINGING We will move into our new building, A Real Home for Music Students. New By FREDERIC W. ROOT to reliable parties, at our usual large a overlooking Central Park, on April 1st.. York’s modern, up-to-date Music School. A complete System of Education in singing Mu.ic-1 ‘ on scientific methods, for use in private in- £E OF Mu Special Summer Courses of six and ten weeks, for Amateurs, Teachers and Professionals, from May 1st to September 15th | struction and in classes. A work resulting d ClrU. I from the author’s exceptionally wide experience STANDARD GRADED COURf (r All Branches of Music and the Arts taught from the beginning to the highest artistic finish by a faculty composed of in Voice Culture in Europe and America during ORTE a period of more than thirty years. The only STUDIES FOR THE PIAN0F America’s Most Eminent Teachers Dormitories in School Buildings and Proper Chaperonage system in print covering this ground. Compiled by W. S. B. MATHER leaver* I. Methodical Sight-Singing, Op. 21. TERMS, including Tuition, Board, Practicing, etc., on application [PUPILS MAY ENTER ANY DAYl Three keys.each, $0.50 10 Grades 10 Volumes $1.00?e ls T° 1 OPEN THE ENTIRE YEAR 1 SEND FOR BOOKLET roductory Lessons inVoice Culture. 1.00 A complete course of the best studies selected for every1111 1 *-* III. Short Song Studie.. Three keys. . each, .50 Scales and Various Exercises for the Graded Course idea is original with the Presser house, bfacytComparty’s VanishingCream Voice. Op. 27.60 than any other system or work ever published. This Cof anft„n;' „eam with Its non- Twelve Analytical Studies. Op. 20. . . 1.00 proved constantly. It combines the best elements off 7. applied immediately before CONDENSED SUMMER COURSE Sixty-eight Exercises in the Synthetic greatest variety from the best composers. It is sirnpD . h"at once from the skin, CATIONAL AGENCY Method. Op. 28.75 easy to teach, always interesting. We mvite comparison , f ; d of elegance and for PIANISTS AND TEACHERS Guide for the Male Voice. Op. 23. . . 1.00 MRS. BABCOCK THE VIRGIL . Studies in Florid Song, Medium or Low MORE THAN A MILLION COPIES S>'1 the,alnto 8 /IFTElfS Teaching Positions, Col- leges. Conservatories, Schools. N 50c AND 25c JARS Also Church and Concert Engagements PIANO SCHOOL CO., GIBBON’S • will be sent with the compliments of FIRST STEPS IN PIANOFORTE STUDY CARNEGIE HALL, NEW YORK 42 WEST 76th ST., NEW YORK A concise, practical and melodious introduction CATECHISM OF MUSICfel “ to the Study of Piano Playing By GIBBON CHAMBERS KILL0UGH. Price, on request. Address Pond’s Extract Co., CRANBERRY PIANO SCHOOL The “Tek” Compiled by THEODORE PRESSER. Price, $1.00 This work is arranged in the style f-> New York Cl,T- SUMMER SESSION For teachers and advanced students Some Points of Interest Questions and Answers, 499 in all, cover3/Yk.1 TVO Extract Teachers’ Training Courses The Bergman Clavier New material. Popular and yet of a high grade. Not the necessary ground of elementary instry NU d Company's The Bergman 2 and 4 Octave PIANO, ORGAN, VOICE, VIOLIN less than six specialists have given their experience to .this tion in notation, time values, intervt » FAELTEN SYSTEM. Booklet Public School Music. Normal Classes work daring the past three years. Graded so carefully and scales, keys, chord construction, abbrevll QUllkl C If r AM instruments for travelers MARKS’ CONSERVATORY OF MUSIC tions, and embellishments. The answer^>-« Btandbj CARNEGIE HALL - - NEW YORK beginning so simple as to be almost a kindergarten method. The Bergman Child’s Pedal 2 WEST 121ST STREET :: NEW YORK It will take a'child through the first nine months of instruc¬ the questions are generally so direct tfho’Talcum^'cold Cream, Tooth Paste, Soap. tion in a most pleasing and profitable manner. To teach concise as to admit of their being comnQ MASTERFUL ADVANTAGES AFFORDED EXPLANATORY CATALOG ted to memory. Crane Normal Institute of Music from one book is monotonous: it has become the practice Learn Harmony and Composition among the best teachers to change instruction books—it It can be used by the student who is gives breadth to one’s knowledge and certainly lightens the eating himself. The teacher can use gradient stjmpfot ttlTEoI.’ Ihree^Vlai'W drudgery. GIVE THIS BOOK A TRIAL. class work by making it A Basis for Examination QuestioiT VIRGIL PIANO CONSERVATORY Qns "in colleges,*city and normal schools. Famous for Instruction in Technic, Pedalling, Interpre¬ Wilcox School of Composition POTSDAM, NEW YORK Sox E. 225 Fifth Ave., New York City, N. Y. THE NEW GRADUS AD PARNASSUM 50-Cent Collections tation, Theory and Harmony Playing. PRACT1 Special Courses for Teachers. In Eight Books By ISIDOR PHILIPP Price, $1.00 each ®y *antly adding to our series of 50c collections. These comprise piano STUDY HARMONY Part I. Cons.ted gracjes and styles, for two and four hands; also violin, vocal Hugh A. Clarke,Mus- D<>c- and COMPOSITION In this unique work each separate department of technic is considered by itself, TERM BEGINS JANUARY 4th, 1915 by MAIL with Dr. Price c,\|[.11 thesethese collections are gottengotten-—- out in the best-, possible - style, giving LESSONS BY MAIL • ^ personally all the studies bearing upon any particular technical point being classified together This book drilid the best quality for the least possible money. All the jjlves all Instruction and arranged in logical and progressive order. Proceeding in this manner each sub_ matic, bo that tze. In Harmony, Counterpoint FOR INFORMATION WRITE iect is treated exhaustively in a separate part. The main points thus covered are. composers, m Wy,E COLLECTION POPULAR RECITAL REPERTOIRE and Composition In Part II tT_ MRS. A. M. VIRGIL, Director 42 West 76th Street, NEW YORK 1. Left Hand Technic 5. Double Notes 31 Piece* for the Pianoforte 4618 CHESTER AVE., PHILADELPHIA, PA. simple treatmei od^_n pieces__ of interrae These pieces are suitable for the drawing room, 2. Right Hand Technic 6. Octaves and Chords The exercises inie for teaching, recital c. for recital or exhibition purposes. They lie in 3. Hands Together 7. The Trill odies, and in a (iec containing A large and comprehensive collection of songs, Every teacher should examine a set of these works. to learn, as m SJfro-n the standard grand both sacred and secular, suited to voices of aver- JOHN B. CALVERT, D.D., President (The Metropolitan College of Music) PRACTICE CLAVIER ’ 'ctive and playable age compass. This is a book to which the busy difficulty. Some of singer can turn at any time and find therein a 212 West 59th St., New York City Far superior in its latest construction to any song adapted for almost every possible demand. other instrument for teaching and practice. The songs are chiefly by modern and contem- PRACTICAL METHOD --— -hey are chiefly of intermeJ!— A COMPLETE HISTORY OEa&SS ted for teaching purposes Special Summer Session, June 21st to July 30th VIRGIL SCHOOL OF MUSIC FOR THE YOUNG VIOLINIST By W. J. BALTZELL PriFr,ovatore’” “Die Wal' By K. H. AIQOUNI Price, $1.00 SELECTED CLASSICS SUMMER SESSION begins Monday, June 28th Contributed chapters by teachers and writers of experieni 19 Standard Pieces for Violin and Piano Unusual advantages for teachers . - The most elementary method yet offered. in subjects connected with the history of music. R.D ORGANIST ipiled by Frederic A. Frank- A. Y Enrollment Saturday, June 26th --of the best thoughts It is possible to take up this work with the The plan of the book centers attention upon ththe Pipe Organ • ” ’ iged in 30th Season Begins September 29th „ lRGIL For prospectus address Secretary youngest students. It is logically arranged music; every great master being placed according to bisons ever published. The effective form for vi< Send for circulars and catalogue. KATE S. CHITTENDEN, Dean. the art and his influence on subsequent development, tl£tw£™1^written’inaU tainment. No better ™ to the_* » 185 Madison Ave., New York City and progresses by easy stages. The book is of the larger classics t _, ill the.... piecesr_ illustrated by various cuts showing the present an accurate and faithful record of the facts essiurposes.’ Both original are in the easier positions, chiefly in the first. understanding of the growth of ancient, classical and modf'P1'011® aye included in The composers represented are Beethoven, position of the player, etc., and diagrams of Pedagogic features of great value to teachers and pupil^e pia°^,_ls handaomely Chopin, Handel, Mendelssohn, Mozart, Rubin- TO TEACHERS AND STUDENTS the fingering f3i“ each string. In the beginning ment jn lessons of moderate length, two per week during .. , , “"u™“ of the book there is some introductory text Questions at the end of each lesson. Review helps and .c collections has been uniformly successful in the past. Among NEW YORK INSTITUTE OF MUSIC complete and easily understood exposi- Suggestions. for independent work and reading•' by pupils.,;i, olumes mamayy be mentioned the following:—following:- 560 WEST END AVENUE (Corner 87th Street) tion of the rudiments of : This book ot more exhaustive works. A pronouncing index. Maecital and Home Popular Piano Albums DUDLEY BUCK ALL BRANCHES TAUGHT BY EMINENT PROFESSORS might be used for self-instruction. Paragraph headings. «.21 i Pieces Modern Dance Album.18 will commence his Summer Class on June 1st. Special attention given to modern songs, Boarding Accommodations for Students in Building H.H.wM——^mmmmmre Compositions, Popular Parlor Album.23 . .„™ oratorios, and opera. AEOLIAN HALL, 33 WEST 42d ST., NEW YORK CITY VICTOR KUZDO il Pieces Standard Opera Album.15 Pieces WRITE FOR CATALOG It BESSIE CLAY OUR CATALOGS Song Albums are extensive and c jmprehensive, continually increasing. GENERAL INFORMATI Singer’s Repertoire, MediumVoice...38 Pieces with many notable .. 17 Pieces OF THE CITY OF We publish hrtthems, choruses and part-songs of all styles Violin and Piano NEW YORK INSTITUTE OF MUSICAL ART Frank Damrosch, Director and in all degrees of difficulty, our anthem collections and part-song books being unsur¬ in addition to ^.16 Pieces Operatic Selections, by F. A. AN ENDOWED SCHOOL OF MUSIC 0FSTudyic passed. All the standard composers and popular contemporary writers are fully repre¬ Franklin.13 pje, BURROWES COURSE sented in our catalog. Catalogs that are veritable classified guides of musical works sent 0tWePare^headq'i1*^ for °ur New Catalo8 of SO-cent Collections The opportunities of the Institute are intended only for students of natural ability Kindergarten and Primary—Correspondence or Personal Instruction upon request. Singer’s Hand Book, Piano Study Guide, Hand Book for Violin Music, W1f.“ aiJ,e.arnestPu.rP°se to do serious work, and no others will be accepted. For catalogue Happy Pupils—Satisfied Parents-Prosperous Teachers. Classes are doubled by use of this method Choir and Church Hand Book, Hand Book for Pipe Organ, for Reed Organ, Hand Book for CO., PHILADELPHIA, PA. arid full information address SECRETARY, 120 Claremont Avenue, New York. 4,6, 8,12 hands. Complete catalog of Vocal and Instrumental Music, Thematic Catalogs. Music Lovers, et'_ - ri^dSivfiSr[r.?e«h™ KATHARINE BURROWES Turn PPFQQFP rn publishers, importers,dealers/ Built especially for people o{ high artistic discrimination D. 502 CARNEGIE HALL, NEW YORK CITY, or I tlLiL/. r IyILii3311iI\ sheet music and music books'1 who appreciate the difference between good and best. Summer School Announcements 1&2723&L. Dept. D. 246 HIGHLAND AVE., HIGHLAND PARK, DETROIT, MICH. as-. Please mention THE ETUDE when a ANOS D E. 140th St. and Jackson Ave., ; New York City 245 the etude THE ETUDE 244

1 eastern i directory OF SUMMER SCHOOLS 1 CHICAGO DIRECTORY OF SUMMER^£222=== Your Ideal of a Summer School NORTHWESTERN OHIO SCHOOL NORTHWESTERN UNIVERSITt FAUST SCHOOL 2E TUNING Southern University of Music, Inc. Atlanta Conservatory of Music GERARD-THIERS, KURT MUELLER, Directors Faculty of Artist-Recitalists. All departments Piano, Player-Piano, Pipe Organ & Reed Organ Courses 353 Peachtree Street, ATLANTA, GEORGIA complete. School Orchestra and Chorus. Public Musicians! Make those Teachers! Increase School Music. Oratory. Languages. PIANO TUNING AMERICAN IDEALAMBmOUS s,VcMoMMn dunning system COURTRIGHT SYSTEM OF MUSICAL KINDERGARTEN SOUTHERN CONSERVATORY OF MUSIC SPECIAL SUMMER SESSIONS DURHAM, NORTH CAROLINA Chicago’s Foremost School ^ImprovedI_Music Music Study for Beginners of Music and Dramatic Art Normal Classes for Teachers SAN FRANCISCO EXPOSITION and NORTH CAROLINA SUMMER TERM, JUNE 17th to AUGUST 1st Write for further particulars PIANO, VOICE, PIPE ORGAN, SIGHT PLAYING Offers courses in Piano, \'r>icc, \ K’lin, I’ui'ln' Sciiool uM MRS. LILLIAN COURTRIGHT CARD 116 EDNA AVE., BRIDGEPORT, CONN. Teacher’s Course a Specialty GILMORE WARD BRYANT, Director Music, etc. Diplomas and a» DUNN,NG^"^2f5L St.. N.w Y-, N. v. and Public Performance. SUMMER SESSION, JULY 1st TO AUGUST 12th MR. & MRS. CROSBY ADAMS bevittu&H^ Annual Summer Classes for Piano Teachers SUMMER NORMAL SESSION 39U 3rd St.: San Diego, California Shepard School of Music, Orange, N. J. for the Study of Teaching Material will be held in Piano Teachers’ Course also by Mail-prepared by CONSERVATORY Montreal, N. C., June 17-30, 1915 Frank H. Shepard, Author of “Harmony Simplified”, Lincoln, Neb., July 15-28, 1915 IKUINtj \ Au^st010t’h^hTville, N. c. , -Key”, “Graded Lessons in Harmony”, etc. Even BALTIMORE, MD. ^Chicago, HL, Aug. 5-18, 1915 ^ ^ CHONTRELLE ARMSTRONG ' PEABODY lectures JJU ^ msmoder a Catalog and Su mmer Address, 100 Carnegie Hall, New York, N. HAROLp RANDOLPH, Director Session Prospectus sent free. MONTr'eAT^ NORTH* CAROLINA JOHN J. HATTSTAEDT, Pres. Sm SHAW } Ut. Address, 1927 Broadway, Galveston, Texas_ I is endowment enables it to offer exceptional advantage in music culture in all grades and branches Kimball Hall, Chicago, Ill. School of Music Collegiate Institute BROOKFIELD SUMMER SCHOOL /■ Dayton, Va. THE COLUMBIA SCHOOL OF MUSIC Offers a broad variety of musical courses, OF SINGING including Pianoforte, Violin, and other stringed instruments. Band and Orches¬ Beginning Monday, June 21st a/iiTCir BROOKFIELD CENTER CONN. Herbert Wilber Greene, Director tra, with weekly concerts, Pipe Organ, E.CH.LOGANFOr -UU yrti«0 FINE ARVs BUILDING ■ - CHICAGO. ILLINOIS | Piano Tuning, Voice Culture, Elocu¬ PIANO—VOlCE-yiOLlN-TffiORY—PUBLIC SOgjOlMjgac] tion and Physical Culture, Arts and 701 Carnegie Hall, NEW YORK CITY Crafts. Rates: $200 to $275 per year. No Extras. 39th year begins Sept. 16th. Students from 20 states. Address Box l: @|SUMMER SCHOOL UNIVERSITY OF PENNSYLVANIA DETROIT CONSERVATORY OF MUSIC Music teaches most exquisitely the art of development Effa Ellis Perfield SUMMER SCHOOL FRANCIS L. YORK, M.A., President FINEST CONSERVATORY IN THE WEST 42nd Year Music-Education Teaching Syatem and how to blend Keyboard TERM: JULY 6th to AUGUST 14th Students may enter Offers courses in Piano, Voice, Violin, Organ, Theoi at nnv timo Theory, Public School Music, etc. Academic SUMMER NORMAL mony. Strict Counterpoint and Modern Counter¬ at any time Department. Send for Catalog. EFFA ELLIS PERFIELD point, offered by Professor Hugh A. Clarke. PORTLAND, OREGON THE ORIGINATOR VOCATIONAL EDUCATION Four Courses in Public School Music offered JAMES H. BELL, Sec. 1013 Woodward Avenue DETROIT, MICHIGAN by Mr. En< ‘ ~ . LEARN HOW TO TEACH Piano, Voice, Violin, Dramatic.^ Philadelphi a Public Schools; Music Pedi JUNE 28—AUG. 6 Method am ind^Nor- monv, Public Sc hot.’ Music, Two; CALVIN B. CADY, Principal Business Training. Fall term open mal Work. tcmber 1. For catalog address: j&H OTTO SCHOOL OF SINGING Lecturer in Music, Teachers College, rses, address 4t>L ° W. N. E. Cor. Ninth and Main Sts., Dubuque, Iowa Columbia University Sec., Box 8, 20 E. Jackson pi J. P. WICKERSHAM CRAWFORD, Only School in Eastern Iowa Devoted Exclusively to the Art of Singing CHICAGO. ILL. Director of the Summer School F'-naentary, Graduate find Postgraduate Courses. Diploi-*'- THE principles underlying Music-Educa- Suite 950-955 McClurg Bldg., 218 S. Wabash, Chicago.111. Box 24, College Hall, Special c---Session!-* of ---Ten Weeks ■ f Suite950 University of Pennsylvania, Philadelphia, Pa. mber 1, 1915 educators aTd ^^id^nsTsT^ic fo'r I Be.. stage for acting and opera. Scho o all teachers of music and also for all WESTERN CONSERVATORS ■■ Pupilsi !. Send for Illustrated Catalog. teachers of any subject who are seeking to CHICAGO COLLEGE OF MUSIC ThT Music-Educatio^ School, of ‘Portland, (Inc.) NORMAL COLLEGE OF MUSIC HEINZE SCHOOL OF MUSIC ESTHER HARRIS, President. 1714 Chestnut Street, Philadelphia, Pa. SCHOOL OF MUSIC (STATE CHARTER) Piano students ami teachers should not fail Students may enter at any time. Prepares for State Examination in the RtfMM to take up the Special Summer Course. Valua- For free catalog address standardization of music teaching. Mff' VALPARAISO UNIVERSITY VALPARAISO, - INDIANA. CHICAGO COLLEGE OF MUSIC Organ, Theory and Public School Music. ANNOUNCEMENTS ON APPLICATION E. H. SCOTT, Prea.. Malices BM|.,CH1CM “ i " ’ ‘ ■’ University. Dept. 23, 304 South Wabash Ave.,Chicago, Ill. „ .. THE expenses are the LOWESTk CALVIN B. CADY, Teachers College „ luition, £35.50 per quarter ipf twelve weeks, board with Furnished Room, $26 tc 28 per quarte Columbia University NEW YORK, N. Y. catalogue will be mailed free. Address Henry B. Brown, President, or Oliver P. Kim 7, Vice-Presi Send for Prospectus COSMOPOLITAN SCHOOL OF 42ND YEAR-STUDENTS ACCEPTED AT ANY TIME. WALTER SPRY MUSIC AND DRAMATIC ART NormalConservatorY UNIVERSITY SCHOOL COMPREHENSIVE COURSES MAKE THE MUSIC SCHOOL Mrs. W. S. Bracken, President OF MUSIC Fine Arts Building, Chicago BAUR, Foundress Minneapolis School of Music, Oratory and dramatic Art ALBERT A. STANLEY, A.M., Director „ „ . , 42-44 EIGHTH ST., S. MINNEAPOLIS, MINN. Faculty of International Reputation Ann Arbor, Michigan SUMMER NORMAL COURSE Offers to prospective students coU^? I Co Th'i°eco^lzedfI^ii<1fin2(jni,^,uli»n of Ihe Northwest SCHOOL OPEN ALL THE YEAR All Departments Open Throughout t study based upon the best moderned»» I FOR TEACHERS Masters of wtd. reputation. Recital Sail seating 500. TJ^Knenual'pedal1'ni/o^gan?' FoIlTmYim^'itag^for^otiag'ifDd tional principles. Diplomas and degrt® I opera. School open all the year. Pupils may enter st any (Jme. Send for Illustrated Catalog E. Beginning June 30th, 1915 Elocution—M US IC—Languages students who intended to study abroad. Also Special Summer Course in conferred. Many free advantages. i||| Affiliated with the University of Michigan. Audi¬ torium’ seating 5000. Concerts by world’s artists Heads of departments will teach, including PUBLIC WALTER SPRY, CLARENCE EDDY’, WIL¬ d.tdi ir SCHOOL MUSIC Students May Enter at Any Tm* and organizations. Chorus of 300. Orchestra of LIAMBEARD,’ WILMOT LEMONT and roundings ideal for Summer ..—a- 50. Splendid women’s gymnasium. Second ALEXANDER KRAUSS. . r ana circular Address For particulars address Secretary,!101 emester commences FebY'8, 1915. Write for Summer Circular No. 1 MISS BERTHA BAUR, Directress, Highland Avenue and Oak St., Cincinnati, O. 44 Auditorium Bldg., Chicago, DU* j|| ic Schools in the United States N.W.Cor.TayU Send for Announcement.

YOU WANTED THAT POSITJON ^ ^ | wh/0T$s booklet Is^uKgeSId^our'otrti'obSn'aUbnsiS thirty years The Brewer Teachers’ Agency Combs Broad Street Conservatory h. IT TELLS HOW. Sent gratis. 623 South Wabash Avenue, Chicago. A„di.„riun, BuUdrngacSh^f0 tlV DEPARTMENT J S Summer Vocal School SUMMER VOCAL STUDY July 5-31 Inclusive DENVER Write FREDERICK W. WODELL Gives you individual and careful attention- Your needs are considerecxmsidered. On entn pierce bldg., boston, mass. to a teacher especially adapted for developing the best in you. Daily rep, Very best of advantages; ideal climate for both with the entire School. Daily supervision shows you how to work, -ur Recitals a w study and recreation. Four weeks’ course includes ample opportunity for Public Performance. 20 private lessons with Mr. Wilcox, class sessions guide for the male voice Choral*Union, 400 voices, Oratorio Con<:en«,CSymphwQy^aJl). covering every phase^of Vocal Pedagogy, Educa- Od 23 FREDERIC W. ROOT Price, 51.00 DANA’S MUSICAL INSTITUTeT MUSICIANS DOUBLE INCOME YOU MUST SUCCEED This wort is minute in its mstruction as M the WARREN, OHIO July 6-16, inclusive ] TEACHERS’ CERTIFICATE COURSE, in- development of^bass^ban one for ^ A,| Learn Piano Tuning al the Original Sd#| sdemific melh/s We ?».»»« Modern and >rty-fifth year. Music taught in all its branches. Lessons dally id private. Sal!y &ivatve Lessons—Voice—Singing. A paying profession, not overcrowded sdffijSll 10 Daily Class L^sons-How to Study and Deliver DORMI- nsachers nna this volume to be a complete compen¬ d countr in North America lealth?'- Not profession for the musirisa or teacher. Recitative, Songs and Arias. dium of all necessary knowledge. No othermanual ts every YVednesday night. fupXm” 10 Daily Normal Class Lessons—How to Teach orical sketch to WM. H. DANA, R.A Singing. Instruction Throughout the Entire Year THEo/pRESSER CO., Philadelphia, Pa. R.A.M., P, -' ..a 1 One moderate fee for all. DO IT NOW JOHN C. WILCOX, Wolfe Hall, Denver, Colo. POLK S PIANO TRADE SCHOOL. Yabarn*^ Simplified Practice Manual for Vocal Students Please m< ETUDE when addressing o GILBERT RAYNOLDS COMBS, Directnr 1327-29-31 S. Broad St., Philadelphia by John C. Wilcox, $1.00 postpaid. Please mention THE ETUDE when addressing our advertisers. the etude

-Upright-Style 715

Messrs. Steinway & Sons, New York. 1VERS & POND Gentlemen:— The supreme qualities of your instruments have been for many years universally recognized. Public and individuals, amateurs and artists ha PIANOS THE ETUDE been looking upon your pianos as upon a standard of fo_ Jibing VOL. XXXIII No. 4 perfection is attained progress is stopped, for there is no room tor climDi g , • "" nwripht is especially suited for apart- Mien the summit has been reached. And yet, in your case, this iHIS dainty upg wherever space and price nature seems to have been defied. Trment 's, ’ bungs ows anad ^ with it for a few moments, until its message becomes clear to you; love Nature and “hold communion with her visible forms,” and Having played Steinway pianos after a long interval, in manjr con¬ nt yet qu^'S , . a prominent college having pur. Real Growth in Musical Life certs, during a season of unusually sudden and unfavorable climatic and you will find yourself growing bigger, richer, happier, finer. atmosphericgchanges. 1 feel obliged to declare, and 1 do >t most emphat.cany, best indicated chased 27 of these pianos. In all sincerity, It is difficult to write in this strain without the that you have realized an astonishing progress. To the formerwbkh now magnified, intensified, you added an entirely new one, a quality. which Write for our catalogue Fidgeting over piano keys, sawing away at fiddle strings, feeling that one is preaching or prating, yet', here we have brought had been considered unimportant, superfluous, almost incompatible with the describing this and other | warbling solfeggios and letting it go at that, makes up the sum nothing to our readers that is not eternally important to all music character of tone: an easy, light, surprisingly agreeable action. attractive uprights, grands of what many very unfortunate people think is a musical educa¬ workers. Perhaps it is usual in these material times to ignore the In former years I had to select my pianos before every tour; I used tion. All music has to do with the means of interpretation—the divine in music. Nevertheless it is well for us to read Beethoven’s to go repeatedly to 14th street to try most carefully the instruments, and my and players. choice invariably fell upon those two or three which were considered of the fingers, the voice, the arms—but never forget that these are only fervent words: “I know that God is nearer to me in my art than best ones by the makers themselves. This time it was quite different. the mediums. They should be very perfect mediums, strong and others. 1 commune with Him without fear; evermore have I Before beginning my tour I went only once to Steinway s warehouse; 1 tried acknowledged Him and understood Him.” an amazingly large quantity of instruments, dozens of concert 8rf"ds.andl IVERS & POND sensitive to the slightest desire, but the student who works day could not make a choice; I could not select the few best ones because all PIANOS and night to perfect these mediums and forgets about the really were best. Is there anything which could demonstrate more convincing y T- the wealth of resources of your firm, the astonishing vitality of your housej great thing in his life is squandering his time in a sickening But there is in it something to rejoice the heart of everyone who is devoted are built in but one grade—the manner. Jobs best. Their sterling integrity to his profession: young men inherit fame and fortune, general respect and You need not penetrate the mysteries of the soul to realize universal recognition most legitimately acquired by the genius mdustry and of construction, delightful tone that something came into your bodily shell at birth and that some¬ honest, persistent labor of their illustrious forefathers Instead of simply and tasteful designs nave made enjoying life, instead of dwelling passively upon the golden ancestral laurels, thing will leave it at the end. The body grows and you do every¬ Here is the letter just as it came to us: they concentrate in noble, ambitious efforts all their energy and up they go them the choice of 400 leading. to a higher plane and. indeed, they reach still higher regions. Educational Institutions and thing in your power to keep it healthy, strong and responsive. “Mary has been studying music for five years, during which What have you done for your soul growth ? Do you think some¬ time she has been going to High School. Her sister, Kate, finished Such a thing can only be accomplished by a sincere love of profes¬ Boudoir uPright-styie 715 nearly 60,000 American Home. sion, and it is to this love of profession that I wish to pay my tribute of high thing beautiful? Do you do something worthy? Do you seek her grammar school course, and started clerking in a department HOW TO BUY esteem and admiration. . , the noble in your soul-sick neighbor and try to help him? The store where she has. worked herself up to cloak and suit, saleslady Most faithfully yours, Wherever in the United States no dealer sells them, we ship Iver* & Pond Pianos on approval. The piano must please or it returns at our world is filled by fine big bodies tenanted with dwarf souls. Again which brings her about $75.00 per month.” I. J. PADEREWSKI. expense for freight^ Liberal allowances for old instruments in exchange. giant souls often abide in weak and puny bodies—Elizabeth Barrett “Mary keeps plodding along at her music, and hopes some day Attractive easy payment plans. Catalogue and full mformat.on mailed New York, May 4, 1914. Browning, Robert Louis Stevenson, Francis Parkman, Thomas to have a studio of her own, and pupils enough to enable her on request. Write us today. Carlyle, Frederic Chopin, Edward Grieg and countless others with to advance farther in her line of studies. . Yet, people discourage (A highly artistic facsimile of the above letter m Mr. Paderei with a most excellent portrait of the great artist will be marled upo IVERS & POND PIANO COMPANY just enough of the material to encase their magnificient inner her, and hold Kate up as an example, telling Mary that, she can Sons, Steinway Hall, 107-109 East 14th Street. New York.) 141 Boylston St., Boston, Mass. selves. The soul-great are the only truly great—the Lowells, the never hope to get a due recompense for her labor and time, and Phillips Brookses, the Lincolns, the Laniers, Mozarts, Newmans, asking her why she does not give up her music and seek a paying Goethes, Mendelssohns, Charles Wagners, John Brights, Whit¬ employment. Can you tell me what poor Mary is to do? Of mans. Stunt your soul and your art mortifies. course she stays at home, and is dependent, and must of course PROFESSIONAL DIRECTORY Do you find a soul-joy in your music or do you spend all help with the housework, while Kate dresses nicely, and is to all your time agitating your nerves and exercising your muscles? appearances independent, and ambitious, and is looked upon as Are your study hours mere finger gymnasiums or are they won¬ SCHOOLS VOICE quite superior to Mary. Mary isn’t lazy, but people are inclined SCHOOLS SCHOOLS derful cathedrals wherein you worship the truly great. The student to think so, because she does not get out and work.” MIDDLE WESTERN EASTERN—Continued_, who can rise from the piano after the performance of a Beethoven Advise Mary! Phew! If Mary has the real love of music in EASTERN EASTERN-Continued ■ urn in 111 CONSERVATORY 70 Instructor. at nmi qeo. rninirirK Sonata without showing on the countenance that he has passed her, we might advise until Doomsday and Mary would not be AMERICANS NEW YORK ‘’SSSfe. AMERICAN through a soul-building experience has not played that composition turned an inch one way or the other. Kate has a real job of MARY WOOD SCHOOL OF MUSICAL ARTS and never will really play it until he educates his soul to appreciate which she is deservedly proud, but Mary would probably rather H. RAWLINS BAKERiSf NEW YORK CHASE its beauties. * jump in the river than exchange with Kate. Yet we must advise The soul is indeed the real self. The following from Charles CINCINNATI CSBSB.'W.. "-ESTEKS Mary. . She must know first of all that the greatest emoluments " ... . NORMAL E. St. John expresses the thought excellently: in music are beyond price. Once we sat in the organ loft of a —t u . ^ GROFF-BRYANTsvcrq, “The soul is the real self. The soul is the great thing in life; New. York church and watched a fast degenerating multi-mil¬ and through the soul, through that alone, we are to win what suc¬ lionaire tottering up the aisle passing a collection plate. His money cess life can give to all who are born into it. The soul thrives had unlimited potentialities for good, but most of it was static, where the body cannot. The soul prospers under all kinds of con¬ motionless, except insofar as it bred more and more money like ditions. It has the power of the life eternal in it, and there are a swarm of flies around a carcase. Not for all he owned would no conditions that can kill it; none that can delay it save by its we have changed places with him. Give up our music, pur ever- consent. expanding outlook upon the beautiful things in life, our youth, “The soul, to a large extent, is a self-made thing. By the our joy of living, pur boundless opportunity to help others, the things that we do, we are constantly modifying our souls. By cherished friendship of kindred spirits, the dream hours,’ the our daily actions with reference to our fellowmen, we are making ecstasy of poesie, all that, just for the privilege of incubating a ourselves to be broader, stronger, purer, grander, or the reverse. few coins! How many times were Brahms, Schiller, Wagner, By whatever we do, we are occupied with this task of the building Mendelssohn, Daudet, Bizet, Rosetti, Whitman, Poe and MacDowell’ up the soul unto its glory. By every thought we entertain, we tempted to emigrate to some land of marks, francs, sovereigns and CONVERSE COLLEGE are dealing with ourselves, with our souls.” dollars and how many times did they realize that their happiness Spartanburg, S. 1 Time for body-building is begrudged by the average busy man could not be spelled in currency alone! INSTITUTE and woman, yet body-building is only another name for fun. Few Kate can never find the art joy that shall be Mary’s if Mary PEABODY make real effort toward building the mind, yet mind-building is glorifies her talents. Moreover, it is not inconceivable that Mary A I and SCHOOL OP MUSIC C0URTR1GHT fs? S P I Piano, Pipe Organ, Voice, Theory, Violin, On one of the most delightful experiences. Not one person in ten MARKS' . Oa la tra. Band. Plano Tuning. Catalog free. Daytoi may place herself in position to earn quite as much as Kate if FLETCHER^ thousand ever thinks about soul-building, yet that is the highest not a great deal more. It all depends upon Mary and how far joy of existence. You who make much of the name of MUSICIAN MOLLICA'S ’ NICHOLS -- — - --K»W York CityClw her mdustry and talent take her. She will find her music an —read the words we have quoted or something like them every Open Sesame to many circles which may be closed to Kate Keep MOULTON: : OREGON: und. Ore. Engliah,LOUISE ItaUan. RING53 EAST K=v;r“I.a«r.~ Gorman.v'”- RtKN""" day. for a little while; play some great, not necessarily difficult, at it, Mary, and time may make Kate and her friends see thing* music understandingly; look at a beautiful picture and live alone very differently. . s-

) Rates for May Issue Rates for May 3 ETUDE when addressing THE ETUDE 249 the etude A Reward System 248 For years I have used a regular re. Twenty Thousand Lessons ward system in my work. At first it started with simple little tickets which I have often been asked by young I had printed for the purpose. At every teachers why it was so easy f°r me t0 good lesson the pupil received a ticket Music a Human Necessity in Modern Life secure pupils. I have kept an account as a reward. After a certain number of all the lessons I have given and after Practical Ideas for Busy of tickets had been collected by the Not a Needless Accomplishment I had given the first thousand, the mere pupil he was entitled to a larger prize mention of the fact that I had had that Music Workers and the one with the greatest number much experience was, I believe, more of tickets at the end of the year re. helpful than all my press notices. It Mined from Real Teaching Experience ceived a kind of grand prize. I was is natural to assume that one who has very particular about giving out the given one thousand lessops must know tickets and never gave one out unless at least something about the best way Among many foremost Americans in Public Life who will take part in this the lesson was especially fine. Later 1 to teach. There are lots of teachers Symposium from month to month are the following: who have given twenty thousand les¬ (jiscarucudiscarded the tickets and used post sons and who are not past middle life. . 'nstead These post cards had fine portraits of thf composer's and short biographies on their backs. THOMAS EDISON The average parent knows little or Ho! For the Open Road! EDWARD BOK nothing about music but when he knows that you ANDREW CARNEGIE HON. RICHMOND P. HOBSON have been a busy and successful teacher he does not ELDRIDGE R. JOHNSON Preparing the Pupil for Special Pieces RUSSELL H. CONWELL hesitate to choose you as a teacher for his child. DANIEL FROHMAN DAVID STARR JORDAN Mrs. H. B. H. Tt ;s very human of the child to find delight in look- G. STANLEY HALL JOHN LUTHER LONG ins forward to a new piece. This pleasant anticipa- tion is often blighted by disappointment when the piece The Apple that Taught Time Off we start for the trees and infields, opentalking Ti a ou Nine teachers out of ten overestimate the amount anything and everything pertaining to music and Edward Bok of knowledge—that is acquired information that little cal work When the weather permits we take along XJd T, Hr. Bok, whose notable work as editor of “The ladles’ Home Journal" has done so much to mould pubUo fo'ok ahead and anticipate the difficulties? Would it opinion In America, starts The Etude Conference with a very practical discussion of one of the pupils possess. They taljc to little tots of fractions rUj lunch and by the time we have walked several chief advantages of music to the business man, in which it is pointed out that the when they have had so Jittle experience in numbers miles we have found appetite enough to enjoy it. not be possible to have the piece in mmd several weeks physician is often am enemy to good music. that the tiny pupils blink their eyes and wonder what These walks with a body of pupils bring the teacher before the work is actually given and provide the >HE man who often stands between the morning fit for a day’s business. But the hour teacher is getting at.” fry this plan some time. Get into far less pedantic relationship and the interest of pupil with exercises selected from the piece wh.ch will business man, and not only his enjoy- and a half of a symphony concert is about the best “first step” that I can imagine for a busi¬ a big, red, rosy apple ap'd cut it in half. Then cut the pupils invariably increases. As the glorious days of lessen the technical difficulties when the piece itself arrives? I have found this foresight in teaching ness man to take if he wants to try the enter¬ one half in two parts, making quarters. Then cut spring and early summer burst in upon us let our tainment and refreshment that an evening of one quarter in two parts, making eighths. Make an pupils see that we too are really human even though very profitable. Hazel M Howes physician. It has become a positive fetish with the average physician to counsel the so-called music holds for him. It is high time, to my eighth note on the staff and let the little pupil eat we be teachers and there is no better way than by “tired business man” not only to keep away mind, that the physician shall cease his unin¬ one eighth and then the other eighth. Repeat with formed counsel to patients about a subject that manifesting our love for nature in the open air.^ Mimicking Bad Habits from the serious dramatic performances and the quarter and the half and at the end when the he knows not of: that he shall find out for Scolding, good advice, patience are none of them so attend the “lighter shows,” but from the opera last juicy morsel has vanished say, “You have now himself what an evening of good music can do valuable as well applied ridicule in curing bad habits. and the concerts where “they give highbrow eaten the whole" and then make a whole note. At for a tired man; or, failing this, that the tired Joint Lessons Sneers and unhappy remarks are not correctives bat music” and to encourage his attendance upon man shall discover for himself, as I did, that the next lesson repeat with another apple. The dose It frequently happens that two pupils of the same the mimicry of bad habits that brings with it a laugh musical comedies and shows where “he can while the physician may be competent to give for desperate cases is four apples given at four sep- grade studying together will make better progress than never fails to point out to the interested pupil just have a laugh” and forget his cares! The trou¬ medical advice, he is not always equally com¬ ble is that this average physician does not him¬ arate lessons but the effect is life-long. C. E. H. if they had separate hours. This plan has worked well what he needs. In the first place all children are petent to tell a man from what kind of an self understand the mental refreshment that with me. I have a ninety minute lesson. This gives born mimics and they are held by a similar gift on the evening’s entertainment he can derive the great¬ comes from listening to a program of good est pleasure and mental refreshment. Learning Sight Reading through a Window about forty-five minutes for each pupil. Each pupil part of the teacher. 1 f the teacher sees the pupil with music, and with this ignorance full upon him I remember one of the leading physicians of thus has one half hot\r individual instruction and then fingers crumpling in at the knuckles it is easy to Take a piece of paper or thin card board about six he steps outside of his profession and counsels Philadelphia one day when I was under his care each is given one quarter hour of criticism by the simulate a walk across the room with knees giving his patient about something of which he is ab¬ from business strain asking me what I did with inches square. Cut a hole in centre about as large other pupil. In this, way the spirit of keen analysis in in a similar manner. This makes the pupil laugh and solutely ignorant. I have again and again my evenings. as the average measure. Place this over any music as well as the spirit of rivalry is finely fostered. Joint a far deeper impression is made than by hours of listened to this counsel from physicians and I told him I led a quiet home life and oc¬ page so that one measure is exposed through the lessons have been productive of splendid results in sermons. N. B. S. followed their advice until I awoke to the fact casionally went to the theatre. opening or window in the centre. Expose the measure that they didn’t know what they were talking “Well,” he asked, “what do you see when you all cases where I haSve tried them. C. D. about thirty seconds—then require the pupil to re¬ about. I recall now six different physicians go to the theatre ?” peat as many of the notes in the measure, giving Enlarging the Class under whose care I was at one time or another, “This evening,” I answered, “for example, I their position accurately qs to pitch, note length, posi¬ I started with ten pupils, realizing that I ought to and four of them have acknowledged to me that am going to see Henry Irving as ‘Shylock.’” A Studio Screen so far as music was concerned they were tone- have many more i f 1 hoped to make a profitable living “Now,” he said, “there is where you make a tion in the measure, etc., as can be done. In some A studio without a screen has something yet to be deaf. I have heard other physicians disclaim mistake. That is not the place for you. It is from my work. Living in a small town, advertising cases I require the pupij to write down these notes added. I do not mean a screen for decorative pur¬ the slightest interest in music, and I wonder if not enough of a change for you. Now, suppose on another sheet of music paper so that a record was not difficult but 1 realized that what was needed poses but a screen 'for educational purposes, which tone-deafness in music is characteristic of the you don’t go there this evening and go to may be kept. Do the same with several other measures was to stir up a musical enthusiasm. This I decided medical profession. One thing is certainly true Keith’s and have a good laugh.” is nothing other than a bulletin board in attractive on the page. As the pupil advances week by week, to do by giving up one afternoon a week to sociables, of this advice of physicians that I should keep “But, doctor,” I persisted, “I enjoy Henry form. On my screen goes every little idea I can the time of exposure of the measure may be reduced recitals or meetings. »Part of this time was devoted away from “highbrow” music, as they called it: Irving: it refreshes me, and I wouldn’t care a glean which might tie of interest to my pupils in I used to dread the coming each week of the until the eye is trained to see in five seconds what to club work and study of musical history, theory, et(. hang about a vaudeville show. It would bore general. For instance, I buy one extra copy of The Philadelphia Orchestra concerts on Saturday me to extinction.” it formerly saw in thirty. The window in the paper The rest of the time was purely social. If these had Etude every month -and make a practice of cutting evenings for fear that I would be taken and “All the same,” he said, with finality, “I want induced concentration and purposeful study. M. R. been given in the parlor of my own home they might out paragraphs which have an instructive or an up¬ asked to “exercise a brain already tired from you to try it.” never have been noticed, but I arranged to give them the week’s work.” Then, one evening, I went. lifting or a convincing note. That is, I find that I But, of course, I didn’t. I went to see the in the homes of the parents of pupils. The parents The result was, of course, that I was absolutely Merchant that evening, felt refreshed and had The Milestone Book can preach for hours without result while one little gladly assented and in six months the interest these refreshed: my mind was taken out of its rut a better night’s sleep than I had for a week. I Pupils delight in looking back over what' they have paragraph in print' clinches the fact, or if you will, little meetings created served to make my class nearly and quieted. Now I go every Saturday evening simply didn’t recognize his right to regulate my accomplished. Every piece is a milestone in a pupil’s “emphasizes the point” far better. For instance, in three times its original size. F. M. B. and always with the same result. The time of amusements. duration of a symphony concert is, to my mind, career and the teachers should make these milestones order to make scale practice appear more important in With regard to counseling men to go to light the eyes of those pupils who were inclined to neglect just right for a man to whom the beauties and musical shows and comedies, certainly that kind so significant that he is not ashamed to point to any Entering the Race benefits of music are opening up. Three hours of a show, barring here arid there the excep¬ of them at any time. I have found that it is a.fine it, I pinned up the following cut from old issues of of opera is unquestionably a strain: the unmusi¬ Every pupil that starts to study with me is told at tional one, can give him nothing except an even plan to have a book in which the name of the piece, The Etude: cal mind cannot take in so much, and the man the very outstart that there are doubtless thousands more tired mind to try to find out what it is the date when given, and the composer’s name are “I still find it desirable to practice scales for half often goes home tired and at a late hour, which all about and an evening wasted in a vitiated like him starting at the same time in various parts of presented. If a few biographical facts regarding the an hour each day.” Wilhelm Bachaus. is not conducive to his early rising the next atmosphere. the world. This suggests the idea of the race. Will piece may be included as well as the number of les¬ The idea that a great virtuoso continues to practice he win in the race? Ah! that depends upon how sons required to master the piece the little note book Scales daily is more * convincing than all the moraliz¬ surely and rapidly he runs. Once the pupil, especially takes on a positive value. From time to time review ing I might do. These extracts from good musical the boy, gets this idea of the race—competition with is essential in all work and such a book as I have papers and wide-awake musical books supplemented by some imaginary rival—he works harder and better. suggested helps enormously in making review syste¬ attractive pictures always made my screen a centre of attention. E. K. Why. Because he has something to work for. matic. ' F. W. P. D. J.

The Etude Needs Your Idea the moment it cqmes to you. Keep a pad and a pencil will be printed “nowand then,” THEETUDEwill be glad at the side of your keyboard and never miss an oppor¬ ^ffind wheeKblish Y?Ur name if y°u w-sb it so. Nev. to pay the regular space rate or will give one year’s sub¬ tunity. Send it to us in not more than seventy-five not i tT*yj U ha,ve ever written anything before scription to THE pTUDE for the idea. Once m awhile words and we shall be glad to use it if in line with our essav*S fTi-*HlCa , tthe^e ^_«...SerrT? w»wuK«nthought, v-—wc aicre after,-*»— *>°8 for eight times. suitable exercises in extension of the fingers: the wrist. years ago. come to mind a.s one reads many of the that a modern work discussing this subject fell into my is perpendicular, thumb side up. Now by a quick rotary Octaves .for four notes.. 108, 112, 116, 120, 132. recent “discoveries” in piano playing. Most of the The forearm is used to some extent in playing the hands. This explanation, I trust, will serve to acquit movement to the left throw the hand limply to the table, 49. Avoid Fatigue: Extension exercises, and in gen¬ vital principles of technic which are being loudly chromatic scales (See No. 29) as the action of the me of any charge of plagiarism in what follows. then back to the perpendicular; repeat many times with eral all difficult exercises demanding effort and liable exploited and incorporated in various methods to-day the muscles in a condition of absolute looseness. Next wrist alone does not admit of passing from the white The two large bones of the forearm between the to cause fatigue and even pain are to be practiced only can be traced back to Dr. William Mason, who first put rotate to the left, with the fifth-finger side of the hand keys to the black, and vice versa. By using the fourth elbow and the wrist are the radius and the ulna. One finger on the black keys, however, the wrist movement in short periods. They should always be followed if them into print and used them in his teaching. Some up, then throw the hand limply to the right till it strikes of these, the ulna, is fixed, the other, the radius, rotates can be employed more freely, and this fingering should not by complete rest, by easy exercises such as scales, of these principles are the pressure touch, arm weight, the table, and repeat a number of times. Be sure to arpeggios or five-finger exercises. the various types of up and down arm touch, the around it. In order to get an idea of this rotary move- be employed where the hand-span is broad enough to keep the muscles loose and throw the hand limply, avoid¬ elimination of the finger stroke, the velocity principle admit of its use without tiring. Even in this, however, 50. Skips: Practice skips in all forms, octave skips, ing any finger action. When these rotary movements the forearm is employed to some extent. chord skips, and skips with a single finger. of grouping tones, and—as vital to and underlying all these—looseness and devitalization. It is not necessary can be made properly, go to the piano and practice Octaves and chords played with a forearm stroke to refer to the various “methods”—each claimed by its exercises 71 and 72, Vol. IV, Touch and Technic, using have something of a more spirited effect and are often 27. Slow Legato: This is very difficult to do well. adherents to be the true and only gospel—which have the same loose movements as at the table. Hold down more graceful. When not employed for too long Influence of Music on the Body Practice exercises in which the fingers are employed set forth these principles as something new. The C lightly with the fifth finger, raise the hand to the together one has more vigor. Octaves and chords for holding notes and the thumb strikes different keys To what are the beneficent effects of music due? reader can make the application for himself. perpendicular position and with a rotary movement to played with the forearm, however, can never be played legato. Darwin, who never rested until he could explain a The latest of these discoveries to be given to the the left, throw it quickly and limply, thus striking E a very detached, nor with much lightness, therefore they 28. Rapid Repeated Octaves: These can only be world is that of the so-called forearm rotation principle. sixth below. The thumb must not act at the metacarpal should only be employed for a short time, or where thing, if it were explainable, could nevertheless no more played from the wrist; do not attempt to use an arm The great value of this discovery is not adequately joint, simply throw the entire hand. If the muscles are power and strong accentuation are needed. They may explain why musical tones in a certain order and motion. realized by piano players; its importance will become in the proper condition of looseness, the key E will rise also be used to play “demi-staccato, loure, or sus¬ rhythm afford pleasure, that we can account for the 29. Chromatic Scales in Octaves: Play, not very fully apparent after even a short trial. after it has been struck, carrying the finger up with it. tained” passages, though for that matter such passages pleasantness of certain odors and tastes. "We know rapidly a few accented octaves with the forearm. Unfortunately, however, Dr. Mason also discovered When this exercise can be played correctly, hold down may well be played from the wrist with less fatigue. that sounds, more or less melodious, are produced dur¬ This is desirable because in playing the chromatic scale this “new principle,” and if the reader will turn to the B with the fourth finger and play E as before; then in octaves rapidly, the up and down motion of the hand The forearm need only be employed in a movement ing the season of courtship by many insects, spiders, first edition of Touch and Technic, he will find it hold A with the third finger, finally G with the second. from the wrist must work in co-operation with the of a certain rapidity, therefore it may be said, only fishes, amphibians and birds." After all we need go no elucidated in exercises 71 and 72 on page 14 of book IV. Now reverse the movement, holding E with the thumb employ the fore-arm when the speed of the movement backward and forward motion of the arm. deeper for an adequate explanation than that influences, As this edition was copyrighted in 1892, there is little and throwing the fifth finger at C, fourth at B, third at 30. An Ideal Legato: The clarinet has peculiar does not allow you to use the wrist action. For octaves such as music, which arc agreeable, are therefore salu¬ room for doubt as to the authenticity or priority of the A, and second at G'. in disjunct intervals, use the wrist only. faculty for maintaining uniformity of tone. Think of tary, and music is agreeable because its component discovery. The exercises appear in this form. this, and try to approximate it when practicing legato. 38. Repeated Notes: When the fingers are required tones are regular, periodic vibrations, even auditory KEYBOARD DEVELOPMENT. 31. Four Styles of Touch: The styles of touch most to play repeatedly in rapid succession on the same waves precisely so many to each note, being in this re¬ No. I. Next place the hand in playing position so that the commonly employed in piano playing are legato (that key, two hand positions are available: the normal one gard unlike noises, which are irregular, dissonant, con¬ Rotary Exercise in Sixths, for small hands. third finger rests lightly on C sharp, the fourth on D is, the clinging legato, or loure) ; mezzo-staccato wherein the hand is in “quiet position” the hand mov¬ flicting vibrations. Sound waves impinge on the hear¬ sharp, the remaining fingers just clearing the keys. Play (half staccato, with a very slight separation between ing from side to side; and the position when the hand ing sense, whence the perception is conveyed to the C sharp with a rotary movement to the left, then D the notes) ; staccato pp; staccato ff (martellato). Prac¬ is turned outward (thumb uppermost), the elbow away D sharp by rotating to the right; practice this slow trill tice scales, arpeggios, etc., using all these varieties of from the body, and the fingers fall on the key from brain. The benignant influence of music physically is with each pair of fingers in turn, then play on the white touch. above each other. by the transmission of its influence from the cerebrum keys in the same manner. Now practice a five-finger 32. Manner of Placing the Finger to Acquire a Full, 39. Strength and Independence of the Fingers: through the sympathetic system, which directs the vari¬ passage from C to G as follows: Starting with the Round Tone: The ordinary way. and the one generally Speed and lightness may be obtained by the practice ous organs. Thus not only is music physic for the soul, hand thumb side up, play C with a rotary movement recommended, is to strike the note smartly with the of the shake, slowly and rapidly, in addition to scales dissipating mental depression, soothing psychic perturba¬ toward the left, then throw the hand loosely at D, which finger; it is even claimed that this is the only way to and exercises. Modification of tone by means of hold¬ tions; but its influence may also enhance nutrition, will be played with the second finger; next elevate the make the tone resound. Nevertheless, a charming tone ing notes should also be practiced. further digestion and restore organic equilibrium. In¬ outside of the hand, throw it on E (third finger); is obtained with the greatest certainty by adopting a 40. Three Ways of Practice: All exercises should deed, the entire working of the human mechanism, No. 2. elevate the hand as before, throw the fourth finger at method which is absolutely opposed to the usual man¬ be practiced with at least three different kinds of touch : physical and mental alike, may be lubricated by a Rotary Exercises in Octaves. F. finally the fifth at G. ner. I recommend that the key be not pushed down legato, light detached staccato, and vigorous staccato stream of music, which art and science should there¬ immediately the finger touches it, but to wait for an To be played by each hand alternately, the left hand Reverse the passage and play from G to C, always 41. Extensions of the Hand: Extension exercises fore have a place in the medical armamentarium.— playing in a lower octave. almost inappreciable instant—just long enough to con¬ giving a little rotary jerk toward the direction in which are intended to give the greatest possible flexibility to Journal of American Medical Association. form with the direction not to press the key immediately the fingers and hand. As the writer has observed in you are playing. In going up the scale the keys are the finger touches it. This is excellent for playing a the preface to his Exercises in Extension for the played by rotating the arm to the right, in descending movement that is not quick. Fingers, “To obtain the best results they should be The Simplicity of Success thg rotation is toward the left. 33. Changes in Intensity of Tone, Movement and practiced with moderation and for short periods of time By THOMAS TAPPER One exception to this rule must be noted however, Accentuation: In order to secure absolute control of only, working very slowly and thoughtfully. It will in the ascending scale, as the thumb goes under, the the hands in intensity of tone, cross-rhythms, or not be necessary to exaggerate the binding of the No one, in all the records of literature, has ever arm is rotated to the left; in the descending scale, as accentuation, practice first with similar action in both tones; it will be useful to pay strict attention to the given a rule for attaining success that is not simple. Perlee V. Jervis. the third or fourth finger crosses the thumb, the rota¬ hands, then with dissimilar action—that is to say, play contact of the finger with the key, to listen carefully Schumann, in his Rules for Young Musicians, failed tion is toward the right. forte with right hand and piano with left; detached and to draw from the piano a sonority round and full. to introduce any but simple statements. Men who When these, exercises have been practiced thoroughly with right and legato with left, and so on. Use also The hand should be held lightly, the wrist, the arm and have written on success in commercial life, like John mentj extend the arm in front of the body with’the DR. MASON’S DISCOVERY. with each hand alone, try them hands together, play¬ the following cross-rhythms, together with others of a the body being free from all contraction.” McDonough, Meyer Rothschild, and the late Mr. back , of the hand up. Now turn the forearm to. the When I studied with Dr. Mason he made constant use ing first in contrary motion then in parallel. Follow similar nature: 42. Exercises Involving Holding Notes: Exercises Ugden, have always written simple rules; so simple, right till the thumb side of the hand is brought ,up; of these and other arm-rotation exercises as a prepara¬ these by any broken chord, arpeggio or scale form. No. 3. in which certain piano keys are held while the unem¬ in tact, that we cannot believe but what they are with¬ reversing this movement, turn back to the first posgidn. ployed fingers practice various motions are an integral holding the real secret. And perhaps they are; for tion for octave playing as well as for securing a thor¬ The value of the Mason two-finger exercise will be Right hand: P |» f |» f f ough loosening up of the muscles, and they were recom¬ This will be done very easily; now turn the forearm "to part of all modern piano practice. These should include he real secret is still simpler than anything they say. greatly enhanced if the first three forms are practiced mended as an indispensable part of the daily practice. the left till the fifth-finger side of the hand is as near bolding notes while playing both conjunct and disjunct with rotary arm movements; when this is done the really^are ^ "eVer make their ru,es as simP,e as ,hey After many years of use, their value became so apparent the- perpendicular as possible and reverse to position Left hand: £ £j* Q £ keys, and various combinations of keys. Practice exercises given above may be discontinued. that it occurred to me to apply the principle to the again. This rotary movement should be confined entirely finger crossings, both forward and backward with notes The one and only way to lie a successful teacher of By this time rotary movements should be so thor¬ study of pieces. The result was so gratifying that since to the forearm; the.upper arm must not be allowed .to 34. Rapidly Repeated Chords: Such passages are held by the unused fingers where possible. music is to think of two things, not of three—of music, oughly familiar that their application to piece study that time every piece has been studied in this way, both take any part in the movement whatever. If there is frequently of value to the student, Many examples .).?. The Shake or Trill: A good way of practicing as regards the rhythmical swing of the first movement. so on through the entire piece. Stanford’s Pages from an Univntten Written in the troublesome tempo of 6/4, most con¬ This etude is so perfectly adapted to the purpose the following illuminating description of ^utuns. ductors either take it too quickly by beating two in that the movements almost take care of themselves “During the winter of 1880 I went with a h.ghlj a bar or too slowly by beating six. Brahms beat it Other pieces may require a little closer analysis, but gifted Fellow of Trinity, the late Richard C. R , in an uneven four (—~-•). which entirely did away the same rotary practice should be applied to every to Hamburg, and we chanced by good luck on a con with undue dragging or hurrying, and kept the line composition that is studied. In the slow practice the cert at which Brahms played his second Concerto i of movement insistent up to the last note. H.s tempo rotary movements will be exaggerated, but when play¬ B flat, then a novelty. The reception given to the was very elastic, as much so in places as von Bulow’s, ing up to tempo, forget them entirely and think only composer by his native town was as enthusiastic though more restrained, but he never allowed his liber¬ In all the musical terminology there is probably no does not in this respect differ from other artistic attain¬ his conception and its expression may prompt him to of absolute looseness. anticipated. His pianoforte playing was not so tuucn ties with the time to interfere with the general balance: word under cover of which quite as many sins are ments. The greater the artist, the better he will play do. It is quite similar with the elocutionist; if a given that of a finished pianist, as of a composer who de¬ they were of the true nature of rubato. He loathed poem contains, say, 2,000 syllables and it takes him RAPID PLAYING. committed as under tempo rubato. Chopin deservedly everything and consequently also the rubato. But that spised virtuosity. The skips which are ™,an<1 having his slow movements played in an inexorable five minutes to recite it he certainly is not obliged to In rapid playing, the rotary movements, while almost perilous in the solo part, were accomplished regardless receives the credit for having discovered it, but many does not shut all’the rest of musiciandom out from a if not entirely imperceptible to the eye, will nevertne- four-square. On one occasion at a performance of his rational—or, let me say, esthetic—understanding of it. pronounce exactly 400 syllables in each minute. He of accuracy, and it is not a exaggeration to say that C minor Symphony he was sitting of those who thus credit him hold very strange ideas less, after a little practice, go on automatically. is free to speak certain words or lines slower and in a box next to a friend of mine, about it. There are those who suffer with a technic Just here an explanation of the DISCOVERY, NOT INVENTION. certain others faster. Neither is it his duty to empha¬ and in the Andante, which was too unreliable to keep them steady in prolonged rapid purpose and value of the rotary A discovery is not an invention. Discovering means size the scanning, nor is he bound to stop at the end of being played with a metronomic passages and when they run away with the tempo arm movement may not be amiss. to become consciously cognizant of something that has a line if the sentence extends to the next one. -What stiffness, he suddenly seized his they palm their weakness off as “tempo rubato.” Then, Raise the forearm a few inches he endeavors to convey is neither the correct number neighbor by the shoulder and there are those who believe that the use of tempo pre-existed and of which we were ignorant or uncon¬ above the lap with the hand of feet in every meter nor the assonance of-the rhymes, ejaculating ‘Heraus!’ literally rubato begins with the works of Chopin and that it scious (or both)- heretofore. Just as the American hanging loosely at the wrist continent had existed before Columbus chanced to dis¬ but the literary human sense of the poem. Just so joint. Now relax all the mus¬ pushed him out of the concert- must not be employed in any music written before him. There are also the arch-pedants who insist that tempo cover it, so had the tempo ruba'.o existed before it it is with the executive musician: a composition contain¬ cles quickly, thus allowing the dawned upon Chopin’s consciousness. Intensely musical ing 300 measures which, played in strict time, takes five arm to drop limply to the lap. rubato not only begins but also ends with Chopin’s natures, such as Bach, Beethoven and like masters, can¬ minutes, should not occupy more than five minutes, If there is no muscular contrac¬ compositions. All of which is, of course, pure cant, the Perhaps ?????? not by any possibility have played their compositions rubato or no rubato; but this does not compel the player tion, the hand as it lies on the bulwark of ignorance and bigotry. to pla'y exactly one measure in every second; any lap will slant toward the fifth If Chopin has coined the term “tempo rubato” his with the stiff regularity of metronome beats. The mere By GRACE WHITE finger side, the thumb side being coinage was certainly not particularly happy; he could supposing of such an absurdity would be an insult to mechanical playing-machine could do that. The analysis their genius. It is only reasonable to assume that of a piece shows us its parts, sections, periods, phrases, the higher. This is the normal You pay for your lessons, so have scarcely hit upon words more ambiguous and less every one of them played occasionally rubato, although sub-phrases, motives, etc.; in the rendition or interpre¬ position of the hand when it is does Miss Smith. You have descriptive of their object. “With freedom of time” dropped on the lap, table or key¬ they may have been as unconscious of it as was my dear tation of the piece the player may part company with studied the same length of time; (tempo libero), “vac Hating or wavering time” (tempo board, if the muscles are entirely old (first) teacher, Moscheles. He proposed to play a his metronome (I refer to it only metaphorically) after you have put in about an equal vacillando) or “undecided time” (tempo indcciso) would free from contraction. To bring Beethoven Adagio with all the expression it required the very first beats; but at the conclusion of a part, amount of careful practice. But have done just as well and would have been easier the hand into the universally ac¬ section or period he and his metronome should be gradually Miss Smith has gone understood by nations that do not speak Italian, of and still keep strict time—and then he sat down at the cepted playing position, a rotary which—by the way—Chopin’s knowledge was very piano and played a most beautiful rubato, for he was a together again and the number of its beats should movement of the forearm to the ahead of you. She is playing limited. Above all, however, a clearer term would consummate artist. And when he had finished he com¬ tally with the time the player consumed; tally—approxi¬ left is necessary; this induces a more difficult pieces. When your teacher has given pupils’ recitals have prevented that occultism, that mystery with which mented upon how strictly he. had kept time. The mately, at least. Of course, this is a somewhat drastic certain amount of muscular con¬ masters before Chopin had simply not been conscious or extreme way of putting it and I, therefore, said traction, which, because hardly he has chosen her to take the so many people still connect the tempo rubato. It is of their rubato playing and besides, one master’s rubato “approximately” in order that some super-smart criti¬ suspected, is rarely eliminated. most important part. Why is this amusing to note that even some serious people express was fairly certain to differ from that of another caster may not take me too literally; but in spite of its Now, in playing, the supposed the idea that in tempo rubato “the right hand may use master, according to the cast of their melodies and barn-door size it may serve as a hint of the nature weakness of the fourth and fifth Perhaps you do not think to a certain freedom while the left hand must keep strict phrases; it is, nevertheless, safe to assume that no of tempo rubato and remove or solve the “mystery” fingers is largely due to this close the door when you leave time.” (See Niecks’ Life of Chopin Up. 101.) A nice of it. - rotary movement in the wrong the studio. sort of music would result from such playing! Some¬ musician, capable of sensing the musical feeling of a direction toward the thumb. Perhaps you try to talk too thing like the singing of a good vocalist accompanied melody, ever played it in strict time. To do so would Those rare members of amateurdom who play such When- the movement is in the much and introduce subjects by a poor blockhead who hammers away in strict time have gone as much against the grain of his musical pieces only as are within the scope of their technic, play foreign to the lesson. nature as it would have been contrary to the nature of them as a rule very well and they may, therefore, use right direction, these supposedly BRAHMS FIGURE .-PROPORTIONED. without yielding to the singer who in sheer despair must . weak fingers become as capable Perhaps you “dress up” for renounce all artistic expression. It is reported by some music. If vacillations of movement were inadmissible the ruhato to their hearts’ content because their atten¬ as the others. In octave playing your lesson too much; or per¬ ladies that Chopin himself has given them this explana¬ in the works, say, of Beethoven, then an Orchestra tion to the musical inwardness of the pieces will -not there were handfuls of wrong notes. The touch was haps you do not pay any attention to your appearance these opposite rotary movements must be nicely bal¬ tion, but—they might not have understood him as well playing one of his symphonies would need no con¬ be diverted by the grappling with difficulties beyond somewhat hard and lacking in force-control; it was at at all. anced in order to equalize the thumb and fifth fingers. as did Wilhelm von Lenz to whom he said: “Suppose ductor; a large metronome would, then, do just as their pale; but the average amateur had better stick These facts will become apparent after the rotary it$ best in the slow movement, where he produced the Perhaps you talk in the hall. well as far as the tempo is concerned.. to strict time; at least until—well—until some good true velvety quality, probably because he was not so a piece lasts so and so many minutes, if only the whole movement has been in practice for a short time. When Perhaps you try to engage a little more of your If I now may venture to express the hope of having musician assures him that the piece is well learned. hampered by his own difficulties. But never since have lasts so long, the differences in the details do not every piece has been analyzed and the proper move¬ teacher’s time than others. satisfied the reader on my first point, namely that the I heard a rendering of the concerto so complete, in Perhaps you pout. matter.” The two precepts are somewhat contradictory, ment applied to each note and carried into the daily works of Chopin hold no monopoly of an artistically AN UNDULATION IN MOTION. its outlook or so big in its interpretation. Perhaps you do not read the music journals and so but of that I shall offer an explanation a little later and practice, there will result a sense of ease, flexibility free treatment of the matter of time keeping, I may In conjunction with the rubato question I would and looseness that has probably never been experienced are not posted on things musical. shall mark it with an asterisk (*). I well remember proceed to deal with the subject directly and begin by like to say a word about its first cousin, the occasional, BRAHMS’ WRONG NOTES. Perhaps you do not practice immediately after your an old gentleman, a Pole, whom I met in Paris many calling attention to certain verities concerning art; annotated or prescribed rilardando or ritenuto, The analysis and application of these movements “The wrong notes did not really matter, they did lesson when the details are most accurately remem¬ years ago and who in his younger, years has had piano synonyms in effect. While there are cases in which the necessitates extremely slow practice, concentration, the not disturb his hearers any more than himself.: He bered. lessons from Chopin. He talked hardly of anything first, that ultimately all art is one; second/that the thinking of each note before playing, and accurate took it for granted that the public knew that he hpd else than tempo rubato; the compositions of Chopin various branches of art differ only in their materials idea I have in mind does not, or not necessarily, apply, space measurements, all of which are factors in rapid written the right notes, and did not worry himself were to him only the raw material to which the tempo and in the province of their subjects; third, that the as I admit freely and in advance, those cases are so memorization. These by-products of the study of the over such little trifles as hitting the wrong ones. His A Forgotten Belgian Composer rubato was to be applied. He described it as “unfathom¬ esthetic principles are the same whether we speak of infrequent as to be counted as exceptions. Taking the rotary arm movement are alone worth all the time attitude at the piano was precisely that-in Professor able, inexplicable” a.nd then talked for an hour explain¬ 'painting, poetry or music. A painter, interpreting upon matter by and large, I think that a retard is an The almost forgotten Belgian composer Francern spent upon it. von Beckerath’s sketch. The short legs straight down ing it. The trouble was only that, as often as I met the canvas the feelings which a particular landscape undulation in the motion of a piece. Now, an undula¬ to the pedals, which they seemed only just to reach, Joseph Gossec, besides having produced his firstirst syi him, the explanation was never the same, until one under certain conditions of light, etc., has awakened tion consists of gentle, gradual elevations and corres¬ irchesti the head thrown back and slightly tilted as if listening phony a year before Haydn, was a great orch day he capped the climax by saying with a sigh: “Ah, in him, is as free and as unfree in his work as is an ponding depressions, of hills and valleys. And I incline The philosophy of music, like many other higher to the band rather than to himself, the shoulders innovator. “In his Messe des Morts,” says Grc my young friend, no one but a Pole understands the elocutionist in reciting a poem or a musician inter¬ to the belief that every casual ritardando implies a pro¬ branches of knowledge, claims attention rather on in¬ tempo rubato; that is why only a Pole can play Chopin hunched up and the arms almost as straight as the Dictionary, “which made a great sensation when preting a composition. What nature meant to say in portionate accellerando either before or after it, unless tellectual than on utilitarian grounds. The argument and of all Poles it is really only one—but, come to think legs and well above the keyboard. His figure was performed at St. Roch, 1760, he has produced an e the particular landscape, no one can tell any more the ritardando serves to lead into an altogether slower that would restrict a man’s acquirements to those of it, no—no—he cannot—either!” curiously ill-proportioned. He had the chest-develop¬ which must have been not only quite new but also than what a composer meant to say in a composition. movement. My orthodox friends may fall hack upon things that he needs' for earning his livelihood is ment and height from the waist of a muscular man of mysterious and impressive, by writing the Tuba Ah The painter can strive only to reproduce on his canvas their pet argument that the composer, if he had meant worthy only of a barbarous age. Hence the student five foot ten, but his legs were so short as to reduce NOT AN INSOLUBLE MYSTERY. for two orchestras, the one of wind instruments what he saw in that landscape. That is his incontest¬ it, would have said so; but, alas,* we cannot always will, if an intelligent and rational individual, know that him well below middle height. His eyes were, I think, Such mystery-mongering is, of course, pure tommy- cealed outside, while the strings of the other, in able right, his freedom, hut—whether his canvas jurare in verba magistri. Men of genius have nearly an enquiry into the principles of his art, although it the most beautiful I ever saw; blue, and of a depth so rot; as much so as some of the gushing melliflux about church, are playing an accompaniment pianissimo measures one square foot or ten feet by twenty—he always “built better than they knew.” It was almost may influence but little his practical pursuits, is a laud¬ liquid that (as I once heard a friend of his say) ‘you it in which some of Chopin’s biographers indulged. tremolo in the upper registers. In his oratorio o must not paint on the frame; he must keep within invariably left for posterity to analyze and explain what able and legitimate one for him, and cannot fail to could take a header into them.’ This was my only While an artistically perfect rubato will ever be attain¬ Ha twite he does the same with a chorus of an his canvas and make the diminution of the visible a master’s genius has hit upon by instinct, intuition or give him higher and more enlarged views.—William experience of Brahms as a pianist. As a conductor able only to a well-trained and finely-organized artistic which is sung by an invisible choi,- at a distance.” objects proportionate to the size of his canvas. He whatever name we may give to the mysterious impelling I saw him at Leipzig in 1881, and late in his life in nature (taking the technic for granted), the rubato surely is the true prelude to Lohengrin! may, however, enlarge or reduce in size any detail as force which prompts and moves genius. Nearly every 257 the etude THE ETUDE 256 The Musical Girl and “The Vision great master has exceeded the limits of an established, By HELENA MAGUIRE time-honored law; what made him do it was not a dis¬ honest striving for mere novelty but the distinct be strong enough to do it on the road to ParnaS5us, E i wood-carver was given this to — : feeling of a higher law; of a law which he could not Once upon a and the girl who learns to meet and overcome the formulate and explain—not even to himself—but of carve upon an altar: “Where there is no', j little obstacles and irntat.ons of everyday life will which he felt the presence and the compelling fores people perish.” As he worked he wondered what the know how to triumph over those of the music life. ji E ; so strongly as to be unable to ignore and withstand it. vision’ was that people must have, and finishing he These then, your garments of courage, patience and Posterity, viewing his life-work in the correlating per¬ went forth to seek the meaning of the words. And self-denial you will weave right in your home and spective of time, has usually understood this law much long years, he learned that the vision must be w.th more clearly than the genius who felt and obeyed it his own heart, beside his own workbench Tha is daThenf6you must have in your gripsack, wisdom, Manifestations of the Composers’ Characters instinctively; for, it was from his very works that where the vision must be for each one of us-within knowledge and understanding. It is possible for every¬ posterity deduced the law and formulated it. It was so ourselves, and in our daily duties. « one in this our good day and country, to pack up a in music as well as in many other fields of thought So many girls say, “It is no use for me o neat stock of these. You will find them in the small in Their Music and it is, more than probably, so in the case of the music. I cannot study with the great masters 1 can¬ schools as well as in the large, in the town libraries casual ritardando. When we speak of hills it is not not hear great music, I cannot enjoy the musical atmos¬ as well as in the cities, in correspondence schools, and ! By ARTHUR ELSON necessary to specify every time that there are, of course; phere in this place. It is no use." But think how old in intercourse with the humble as well as with the 1 : many musicians were before they had these things, valleys between them and, inversely, does not the very cultured. A “general” education is necessary as is and in what obscurity they prepared themselves for idea of a valley imply the presence of hills? This the specific musical education for the musician; (no them. And some never had a great master at all, obviousness may be the reason why the counterbalanc¬ student will be admitted to the normal department of being quite self-taught. Harold Bauer is one who is ing accelleration before or after the retard is so seldom the New England Conservatory who has not been largely self-taught in piano playing. He sits at the ji E ; specified; but it is just as probable that a master (in graduated from the high school or else, possessed of piano, uses hands and arms, does many things in a an education equivalent to a high school education), this case: Chopin)—while feeling this law perhaps style quite contrary to the laws that pupils are paying stronger than we do—has not understood it and its so do not be in a hurry to leave school. Make the thousands of dollars for the privilege of studying, most of your school wherever it is while you are in workings as clearly. but—he is a wonderful musician! He had the vision it, and do not stop studying when you stop going to Music is the speech of the emotions—a means of they are now wholly forgotten. Opera in those days deep than that of theirtwo great predecessors. Haydn and, following it, all things musical became possible expression that is said to begin where language ends. THE NEED FOR BALANCE. school. .... , had a prescribed number of characters, almost always followed Handel’s lead in oratorio, but The Creation The great law which governs the motion of the uni-, As to the scaling apparatus, which is the actual Its vocabulary of chords and progressions is a large mythological; and each personage had to have a fairly shows a rather naive realism for the most part, and And what is “the vision?” “It is something that one—so large, in fact, that there has been room for verse is: Balance! And this law is as powerful and music study, and the guide, which is of course your definite number of chances in solo and concerted work. a Chesterfieldian politeness in the Garden of Eden, the soul sees, and reaches out after.” It is something composers to express themselves in the most radically pervasive in art as it is in every other phase of physical teacher, all good music and good teachers are not to Handel was, not the man to go against custom. He instead of Handel’s virility. Mozart, too, was straight¬ that the soul can see in quiet places as well as in bust¬ different ways. Something of this expression results and spiritual life. Hence, when a certain amount oi be found in the large cities. I received, this month, wrote great music, so that many single numbers from forward in his music, which expresses gayety and light¬ ling cities, and to seek after it you need not go beyond from the age and school in which a composer works; time has been borrowed in one place—or "stolen,” as a package of programs of recitals that had been per¬ his operas are favorites to-day; but he tried no re¬ heartedness for the most part. His Requiem is more ' your own township. We are all born with a faculty but by far the larger part, the really intangible quali¬ forms. Another bid for applause i§ the realism which Chopin chose to call it—the law of balance ordains formed this spring, and they were all admirable in¬ earnest, but some consider this partly the work of for music as well as for reading or arithmetic, and ties that cause musical individuality, must be to some he used in his program music effects. Sometimes they that this amount of time should be made up for in deed. Some of them had been given in very, very another composer. if we love music we can become musicians. It does extent dependent upon a composer’s character. are delicate in suggestion, as in the case of All we, another place. When we reflect that tempo rubato. not matter where we are, or what the obstacles in small places, none of them in large, and they showed With Beethoven we come to a far more rugged and Of course character is not the only requisite for a like sheep, have gone astray, where the parts twist consists, after all, only of ritardandos and accellerandas work that was progressive, artistic, good in every way. well-defined character. Even in his youth he showed our way may be, if we love music we shall persevere composer. He must have inspiration first of all. But and turn in a manner suggesting varied wanderings. it seems quite possible that Chopin’s “rubato" may mean in our quest, and turn every obstacle into an oppor¬ One of our greatest harmony teachers told me that a sturdy independence that marks a great deal of his the different composers have shown their characters Sometimes the suggestion is more definite, as in the only an abbreviation for retard and corresponding tunity. Imagination is a powerful factor in the de¬ he had learned more about harmony from a little or¬ music. He took lessons of Haydn at twenty cents an ganist in a tiny village in Maine one summer than in their music in a number of ways, none the less. skips representing the plague of fleas in Israel in Egypt. hour, but did pretty much as he pleased; so that hurrying, implying the two ideas together and dis-' velopment of a musician, but only when it takes the One of the most devout and earnest and industrious he had ever learned before in his life, and a woman The differetice between Handel and Bach may be seen Haydn sobn nicknamed him “The Great' Mogul.” tinguishing the combination from a mere retard. form of a creative vision, of something definite to be of the old composers was Palestrina. While others who spent ten years studying in Boston wrote me if one will contrast The Messiah overture with the Even in Beethoven’s early works, he showed a Hector Berlioz, a serious and benevolent critic who achieved, is it productive of good results. of his time, like De Rore, would tamper somewhat overture that begins Bach’s D-major Suite for orches¬ brusque vigor that was one of his most prominent in his day was surely a modern musician, wrote of1 from a little town on the line between New Hamp¬ with the Gregorian modes that were used in the Cath¬ WHAT THE MUSICAL CLIMBER MUST HAVE. tra. Handel’s music is strongly dramatic, and arouses traits of character. The man who could pelt his cook Chopin’s piano playing that “he pushed rhythmical inde¬ shire and Canada that never until she went to this little olic service, Palestrina respected them religiously, much great enthusiasm; but Bach's charm's by its own won¬ with eggs when she brought bad ones, or send a pendence much too far.” I have heard a similar opinion And what is the proper equipment for the musical place had she known the happiness of studying with a as a priest would respect his prayer-book. These early derful beauty, without trying to stun us by effects. snip of a goat’s beard to a lady who asked for a expressed—though in the kindliest possible terms—by climber? First, courage, self-denial and patience. man whom she could feel was a real master! modes are not at all widely known now. The Catholic Handel’s music has more of conscious effort; Bach’s lock of his hair, was surely not built in the more Liszt. It is, therefore, quite probable that the novel These we must have, and there is no place so good So with you. There is a good teacher near to you. service calls on them to a limited extent, and once in is that of a man who need not try to astound, but dapper style of Haydn and Mozart. The very first charms of time-freedom induced Chopin to overdo his for this preparation as a girl’s own home. The girl who will be your true and faithful guide if you will a while some ambitious singing society will revive cer¬ attracts us' more surely by translating into tone the of Beethoven’s piano sonatas, though strict in form, “liberties” sometimes; but, if so, it would be but another who has the courage to sing and be happy in the permit it, but you must believe in your teacher. You tain old madrigals and motets; but apart from this beauty of life as he sees it himself. is gigantic in power when compared with even the proof of it that he rather felt than understood *the gloomy-times of everyday life will be able to pass can accomplish wonders with this teacher, if you will the modes are not heard at all, though they form an strongest of the Mozart or Haydn sonatas. The min¬ new self-discovered truth: we can and must play in through the black clouds that descend upon every¬ only believe in the teacher faithfully enough. It is interesting branch of study, if nothing more. FROM THE COURTS OF VIENNA. uet is especially marked in its ruggedness. rhythm, but we need not keep strict time whenever our one who attempts the extraordinary at times. The wonderful how it improves a teacher to have the pupil Palestrina, like many another composer, had to strug¬ Haydn and Mozart were both influenced by the gay Beethoven was a great lover of liberty, and this, feelings (their expression) forbid it. girl who practices self-rdenial in her home life, will believe in him with all her heart 1 gle against poverty; and his fidelity to his ideals, in and polished life of Vienna. Their music fis far less too, showed in his works. Hugo Wolf once said that the face of such poverty, helps to show us his sincerity the true test of a composer’s greatness is found by —a faith in art that was not unlike the monumental JlotUn-aXir- faith of Wagner in later days. Thus the other contra¬ asking the question, “Can he exult?” Beethoven cer¬ tainly could, and did so in the cause of humanity. puntal composers would bow to popular custom in building their masses around popular songs. It be¬ The third symphony is one of the works typifying came almost a point of honor for every musician to liberty. It was dedicated to Napoleon at first, but write a mass based on the tune L’Homme Armc; while the dedication was crossed out when Napoleon made certain other ditties of camp and field, used for the himself emperor. The Egmont overture is another same purpose, were not far behind it in popularity. celebration of liberty, and its finale is a wild orgy of The melody in those days was given to the tenor, who enthusiasm. The same is true of the finale of the sometimes sang the popular words of the song instead ninth symphony, which aims to picture the millennium of the sacred text of the mass. We should be sur¬ in contrast with the years of doubt and trial that prised, to put -it mildly, if we went into a church and preceded. Voices help out in the jubilation, and , the heard the tenor of the choir shout out, We won’t go composer used them unsparingly, in a way that ex¬ home till morning, or some other convivial sentiment; presses enthusiasm even at the expense of vocal cords. but this would be very much like certain services heard In some of Beethoven’s music we may actually find in the fifteenth and sixteenth centuries. Palestrina traces of his physical personality. His pulse, for in¬ generally set his face against such procedure, using stance, was slower than that of certain other compos¬ beautiful themes of his own, although he did try ers, and this had its influence on the tempi of certain L’Homme Arme in his younger days. of his works. After his deafness came on, he could With Bach we come to a composer whose music is still note the rhythmic throb of heart and pulse-beats, a vital part of the present repertoire. His works are and it is not improbable that these are echoed in the cast in a different mould from the later classics, as steady underlying rhythm found in the slow movement they are based on the principles of counterpoint; but of his seventh symphony. even allowing for this, we can see the characteristics BEETHOVEN AN OFTIMIST. of the man in the music. Bach’s life was as healthy, natural and well-balanced as that of some old patriarch. Beethoven was an optimist, and never gave way to The composer was twice married, and had twenty chil¬ despair altogether. After one of his worst domestic dren. so that he must have prized the domestic ties of troubles, a lawsuit about his nephew’s guardianship home life. In his music we see this serenity reflected, when the latter was driven from Vienna, Beethoven along with a deep' earnestness that pervades all his wrote the great sonata, Op. 106. The slow movement works, and makes them far higher than they would alone, in this work, takes twenty minutes to play. It if they were merely clever bits of counterpoint. seems tinged with mournfulness, and sorrow, and even A Practical Illustration of Tempo Rubato Handel was more of the world, worldly. He was a torment, but it ends tranquilly. Paderewski says this music is so intimate in character that it should be ? persuaded to furnish the above illustration to his article on Tempo Rubato and \ great genius, and he foreshadowed many modern effects. 'This example can, of course, be only an approximation; but in the second version it shows that at'the^lTg^V*ti,ayS• If lie had lived to-day, he would undoubtedly have been played alone, or at most to a close friend; and he does not put it on the programs he gives in public renumunon anduna theme renditionrenamun inm strictsince timenme meetmea again andana thatmat thetne deviationsaeviations fromprom strict time are as halnnmgbalanced as if fltl 1, gf’ ertod eightJ measuresj theme rubatoiuuum a modernist of far greater originality than some of attention may be called to the place marked with a cross. These places show that the player went through th ' ”0< occurred- I" third version tile rather muddled experimenters who are now at A similar triumph of strength over sorrow may be had to. be balanced by an unwarranted waiting at the end of each measure. As he made no retard before arrivina to° fast and }hat »™ •••«-o successful—we execu- to the wavering and discouraged who ianoforte tion and interpretation at the piano, far from the least to reach a high standard in the art ol pm important is Melody. And by Melody the writer means not merely pinky-panked tune, but an air of really Plain'nf personal talk Franz Liszt once sald *°h * S-“_ sustained musical quality. For such, only, will hold Egotism, Eccentricities and Mannerisms Among "SfX :fb4yht Scmetf^ steadily the interest of listeners. And yet this quality and confidence.” This alone unlocks the entire Lter is sadly lacking in the work of a very large number Famous Musicians This exercise by Carl Czerhy, Op. 261, contains an ture of the pianoforte. advan- of students and amateur pianists. Teachers adopting these principles will find it advan example of an advanced form of chord fingering, ab¬ Now one of the things most important to be im¬ solutely necessary for meeting present requirements in tageous to do so in connection with the art of phv™ pressed upon the student’s mind is that singing is the By LORNA GILL rapid chord playing. An intelligent teacher on an analy¬ ing through tone production by means of the Pressure foundation of music; that is, that whatever may be the sis of this fingering, will soon discover the expediency Touch, according to the rules advocated in an article instrument used as a medium of musical expression, by the writer which appeared in the August issue its effectiveness rests largely on its being handled in of adopting it in preference to the old style which The vanity of the musician is a theme upon which MELODRAMATIC PERFORMERS OF YESTERDAY. efforts. They aimed at some permanent contributions requires a too frequent change in the position of the such a way as to make it reproduce the characteristics few disagree. The “big head” is the plague that counts The development of the piano, at the end of the to music by writing worthy compositions, studies de¬ hand, retarding instead of facilitating the execution. r „„„„ v,., the voice, the one natural musical instru- its most numerous victims upon the concert and oper¬ eighteenth century, into an iron framed instrument signed specially to overcome technical difficulties and The second cadenza of the Liszt Eli Concerto shows atic stage, where it assumes so many varied and in¬ to develop virtuosity. the advantage of using this form of chord playing. Helping the “Ordinary Pupil” with now capable of brilliant effects was responsible for a teresting forms that one might say, “Some heads are The day of the finger players soon passed, to give It also affords the student employing this modern chord crop of vain, superficial pianists who won applause and Encouragement must possess the properties of song. Not that any in¬ born big, others achieve bigness and others., have big¬ place to a higher type of pianist—to Chopin, Liszt and fingering sufficient opportunity to maintain and in¬ money by feats of strength and dexterity. Steibelt strument of wood and metal ever can produce many ness thrust upon them.” Rubinstein, men of lofty principles in interpretation crease his proficiency. For instance in the above ex¬ By EVA HIGGINS MARSH rushed through Europe with battle pieces, thunder of those nuances which are distinct attributes of the From'the earliest days of music affectations, manner¬ and composition, with a sense of duty toward the ample by Czerny, when the hand is at rest the fingers storms, “enrapturing the public and tickling their During the absence from the city of the teacher with isms and self-exploitation have been the besetting sins cover the keys of the first two chords, avoiding a living tissue of the vocal cords; but, in its essential nerves with sparkling shakes and tremolos," and given public, to elevate its taste rather than debase or descend whom she had been studying, Mrs. Owens was persuaded to it, as their predecessors. change in the position of the hand. In the next chord, outlines, the treatment of all melody should partake of the musical hierarchy, though in more modern times to such acts of musical operacy that he was called to go to Prof.-, of whom she had heard her own a change of position takes place, followed by a return of the qualities of hea'Helt, human song. And the a vast ifnprovement has been shown, owing to the ever “one of the disgraces of his age.” Chickering brought Although Liszt did so much to raise the tone of teacher speak so highly. She played for him, and was to the first position and so on, illustrating a splendid nearer an instrumental air can be made to approach increasing seriousness, and complexity of music, and some of these “gymnasts” to this country to exploit piano music, he was guijty of a few rare vanities—he told she had a good appreciation of music but was weak the consequent amount of study and mentality required example of economy of motion in chord playing. the characteristics of vocal music, the more effective, his new pianos. Herz, one of the first among them, studied his audiences unceasingly while he played, laid technically. She had a wiry, closely knit hand, and being from interpreters. Vanity and conceit usually flee be¬ In Henselt’s Etude the extended leap fingering is the more appealing will it become, and, consequently, in 1845, sprang into the arena with cheap tricks and his glove on the piano, and left it there afterwards, naturally very nervous, found many difficulties in her fore the chariot of Minerva. It is no longer considered so that the ladies might tear it into fragments for used as best adapted thus avoiding the use of the thumb the more valuable as real music. cheaper music, battle, thunder and lightning pieces, way. He told her that other pupils with hands like hers good form to attract attention in any way, either by souvenirs. Nowadays technic counts less than ever— when double notes follow octaves, either for the right How are we to accomplish this? to be greeted with the uproarious applause of a foot¬ lad become, well—very fair players, and set her to eccentricity in manner or dress—those outward signs any machine can beat the pianist at the game—he must or left hand. Liszt advocated this style of fingering First, we must get the melody to sing in the head. ball hero, by audiences composed, principally, of girls work on some suitable technic. of inward talent—luxuriant hair, flowing ties, and vel¬ excel in tone and interpretation if he chooses to he as best applicable for extended leaps. from boarding schools—who before had heard nothing She became more and more nervous as her deficiencies As we learn to think melody in a singing style the vet waistcoats, have disappeared almost entirely from more exciting than the Maiden’s Prayer. However, numbered among the elect, among the great virtuosos No. 7. Etudh by Adolph Henselt. seemed to loom before her. She came to feel she was instrument will begin to reproduce our conception. In the concert stage; the aspirant for musical success Herz’s taste for exploiting himself had its limits. Bar- of to-day, Bussoni, Godowslcy, Paderewski, and others after all exceedingly dull and that to attempt to teach the case of the piano this is particularly true. Here cultivates repose and dignity of manner. equally distinguished. her must be a terrible trial. To memorize eight pages the quality of tone depends entirely on the conception num, of circus fame, made a proposal that staggered That there is some excuse for rapturously swaying even him—to play the piano, while the heavenly voiced of a new piece in one week was impossible. To do which is energizing the touch. Consequently, only as and energetic shaking of heads, one can do no better Jenny Lind was to appear as an angel descending from VANITIES OF THE SONG-BIRDS. justice to the sonata assigned the same week equally so. we develop discriminating ideals of tone, can we ex¬ than quote from Holmes’ Autocrat of the Breakfast Paradise. Von Meyer, another of these melodramatic Above all other interpreters, either of the theatre It went from bad to worse, until she could do nothing pect to realize them in our playing. But the encourag¬ Table. “I have often seen pianoforte players and performers, came a little later; sometimes “he played or concert stage, singers of both the past and present before him, and finally became actually ill and was singers make such strange movements over their in¬ ing part is that, as our mental conception of tone and with his thumbs alone,” then “smote with his fists or carry off the palm for vanity and conceit. Operatic forced to stop. struments and song books that I have , wanted to laugh melody develops, the fingers will involuntarily repro¬ elbows,” to produce music box effects, ringing bells history shows that it pandered to and developed that So few can be artist pupils. Why not encourage such at them. ‘Where did our friends pick up all these duce that ideal. True, they at first will do it imper¬ or thunder bolts; or “he took a stick to drum out vari¬ inordinate vanity that led to the jealousies, endless in¬ as her by making her see what there is satisfying in ecstatic airs?’ I would say to myself. Then I would fectly; for repeated exercise of muscles is necessary ations,” meanwhile losing no opportunity of coquetting trigue and quarrels for the spotlight; it shows that the music? It must become to her again something true in order that they may answer to the subtle sugges¬ remember My Lady in Marriage a la Mode and amuse with the ladies in the parquet. love for technical display and applause retarded the and beautiful. Recognizing her limitations, what a myself with thinking how affectation was the same in tions of the brain. But they will not lag far behind. “He seemed to tear up great masses of chords by development of opera. The singer was the cock of wealth of material still remains within her reach, the Hogarth’s time and in my own. But one day I bought the roots and scatter them about with furious joy; the walk, the composer a nobody, obliged to write me a canary bird and hung him up in a cage at my easier Chopin valses and nocturnes. MacDowell in the PRACTICAL DEMONSTRATION AT THE KEYBOARD. his brow seemed almost to lift itself from his head; whatever the singer wished, or he would lose his posi¬ window. By and by he found himself at home and simpler things, Mozart and Haydn sonatas, Bach from his whole body played; then he would straighten hack tion as direefor. The arrogance of the prima donna Now when a student's playing is deficient in the began to pipe -his little tunes; and there he was sure the Little Preludes and Fugues to the Well Tempered and look with triumph on his audience, spring from became proverbial; she gave herself more airs and singing quality there is no better remedy than to have enough swinging and waving about with all the droop- Clavichord. his seat as if from a race horse, and as the one piano demanded more attention than royalty itself: felt her¬ her to practice singing and playing alternately. Her ings, and liftings and languishing side turnings of the Why not make it your ambition to succeed with the was vibrating like twenty, he would rush, as it were, self privileged to break every law, in fact no contract vocal tones may not be perfectly formed (though she head that I had laughed at. And now I should ask, ordinary pupil, not the brilliant one? You will pass into the arms of the audience, laughing and shouting, was safe with her unless it were bound with iron should be encouraged to make them the sweetest pos¬ ‘Who taught him all this?’—and me through him, that out of the rank of ordinary teachers at once. There with as much delight as any of them at the marvellous clamps. The tenor fell, slightly below her standard. sible), but the object is to develop the singing sensa¬ the fooljsh head was not the one swinging from side are so many rainy-day people. things he had done.” Perhaps some lively experience led von Biilow to re¬ tion. Let her sing a phrase or a short melody. As to side and bowing and nodding over the music, hut Teach your pupils not to grieve too much over what Kalkbrenner, a pianist and teacher of big reputation mark that “tenor is not a voice but a disease,” and to she repeats this the melodic idea will take hold of her that other which was passing its shallow and self-satis¬ they cannot do, but to find pleasure in what they can in Paris at the time, was a man of mediocre attain¬ a young man who had the hardihood to introduce him¬ do. Encouragement, in the main, is knowing and under¬ consciousness. Then, in playing it. ask her to try to fied judgment on a creature made of purer clay than self as a tenor—“Oh, never mind, don’t let it worry that frame which carried that same head upon its ments and so full of vanity that he would stop at standing the pupil and giving her what she needs, adapt¬ hear the tones sustained and linked together as in the you.” shoulders ?” nothing to gain applause or to place himself con¬ ing one’s self to her viewpoint. Especially is this true singing. spicuously before the public. He patronized Chopin and Fortunately there is very little of the consuming Even to-day some of the actions and attitudes of The closing example is from Chopin’s Fantasy, Op. when the teacher has been through similar experiences For culture of this sort we must select music which Beethoven, then younger men; said to the editor of a vanity and self-importance of the opera singers of the our great ar-ists are misunderstood by the pubic. I 66. The descending chromatic scale is fingered with and has found the way out. is essentially tuneful. The andante and adagio move¬ Berlin journal that the art of improvisation was on past left among those of the present, as from the time have heard a highly intellectual man criticize Pade¬ the modern scale fingering, eliminating the excessive ments of sonatinas and sonatas are rich in beautiful the wane, that after his death there would be no mu¬ of Gluck the composer has steadily asserted his right rewski severely for what he called his affectation in use of the thumb. passages of this nature. But we must keep within the sician capable of it. for free musical expression until he leads now where throwing his hands so high in the air, not knowing In my studio I had two proficient pupils, with the pupil’s limitations, and. if she cannot yet successfully When Chopin first came to Paris he played for formerly the singer led.- As a result we have now that it was done for technical reasons—to relieve the same degree of technic, each at a piano executing this Remember! grasp the melody in these compositions, there is a Kalkbrenner, who said Chopin should study with him and have had for several years singers imbued with strain of the muscles and to prepare the hands for passage with a different set of fingering. The student bountiful supply of lighter yet musical compositions, for three years. “Although I was in a fair way, he conscientious standards toward their art and the music By ALICE M. STEEDE a fresh attack. There is, of course, no physiological employing the modern chromatic scale fingering played such as Jungman’s Heimweli. C’zibulka’s Winter Tales. regretted that when he ceased to play there would he of the composer, music becoming every day more dif¬ with greater rapidity and more ease than the one using reason why that whimsical charmer, de Pachmann, ficult and complex, and demanding from them inces¬ Remember in teaching a young pupil that the signs Beaumont’s Con Amore. Schumann’s Happy Peasant no disciple of the grand old school of piano playing the old style chromatic fingering, thus demonstrating should stroke and caress his hands so tenderly and sant study and greater mental and musical gifts. De¬ which are so simple to you are to him as remote and or Traumerei, to mention only :i few of medium diffi¬ left,” Chopin has told us. the practicability of the modern chromatic fingering. applaud h-.mself, after the performance of some spark¬ spite this improvement among opera singers there does almost as meaningless as the Greek alphabet. culty. ling piece of passage work. not seem much promise of the average professional or Remember that the slow pupil is probably trying just Without playing entire compositions so as to develop THE DAWN OF SYSTEMATIC PIANO TECHNIC. Musicians in the past were not the broad-minded, amateur'singer of mediocre ability and cultivation ever as hard—possibly harder-—to succeed as your most mimicry in the pupil, give her many illustrations of A.ll these “gymnasts” despite their stunts, did really well-educated people that the great ones are to-day; becoming bereft of the ljon’s share of the world’s con¬ brilliant specimen. passages done in your most singing legato, so that she nothing to systematize or develop piano technic, such they knew nothing outside of music; their narrowness ceit. Why the mere possession of a voice should cause may understand to what goal she is working, and have as we know it to-day. That remained for men of Remember that if all your pupils were gifted and such stirrings of superiority is a difficult question to bred in them an exaggerated opinion of their impor¬ a far different mental calibre—dementi, Cramer. easily taught that your occupation would be speedily something from which to evolve ideals. And do not answer. Budding Carusos, Tetrazzinis and Sembricbs tance; in consequence we must look to them for the Dussek and a little later Czerny and Moscheles. No gone. expect her to do in two lessons what you have accom¬ speak after a year or two of study of a thousand a most glaring examples of vanity, conceit and egotism. passion for self exploitation animated their musical Remember that slow playing is the iron key that plished in fifteen years. It might he a reflection on night as a mere trifle. One can readily understand unlocks the golden dopr of success. yourself. If she is advancing, be content. The rose Remember that if the pupil plays too fast in the is not the product of a day. lesson, that he has certainly done the same in the prac¬ Little by little she will realize the added beauty her tice hour and played still more carelessly. execution is acquiring. Little by little her niusif will Remember that if you neglect the scales and finger grow to be a real voice from the soul, rather than a work in the lesson, your pupils will most surely neglect mere tinkling of sounds. Little by little she will be¬ them in their practice. come conscious that her music has a new interest to Remember that an uncorrected mistake will have made herself and a peculiar one for her hearers. a week’s growth before you have the next opportunity of uprooting it. Remember that if you teach conscientiously and try to follow the working of the child’s mind, you will learn Mozart communicated the charm of Italy to Ger¬ many; Wagner communicated the majesty of Germany more from the slow pupil than from the quick one. to Italy.—Marsop. 263 the etude THE ETUDE 262 Epigrams for Ambitious Students the feeling of self-satisfaction that might arise in the By CLARA EYSENBACH bosom of a singer of accomplishment of musical gifts ,*A’™ide™ of hifh and cultivation, but “they that have most reason have J go. the Chance. The °< felich the least self-conceit.” And what is it these half-baked Preparation invites opportunity. singers don’t expect from their poor accompanists. , Paderewski's opportunity to make his debut in New They demand the technique of a virtuoso, the intuition received when Napoleon declared himself Emp York would have been wasted if he had not been mag- of a seer, a prop for every weakness, “conceit may pun nificently prepared. said, and in a man up but never will it prop him up,” that is left Hard work only digs the hole in which wc lay the to the accompanist to cover up defects of time and thote0monuments of musical advance, the N^nth Sym¬ foundations of towering success. phony and the Grand Mass are their embed ment his interpretation, to be the butt for every failure and Sir Edward Elgar worked along for years in in¬ mistake and to be poor paid in return. independence of all traditions and the opening up significant positions until he had gained a techffic new fields in operatic and instrumental music. in’composition which made him a master. HALF EDUCATED SINGERS. What but egotism could have enabled Gluck to aj out his operatic reforms in 1773? Cabals were formed A wall of conceit imprisons progress. Max Maretzek, the impresario, writes in his Crochets A NEW PERIOD. and Quavers of one of these half educated singers, against him by the adherents of Italian opera, singe s Every student needs an immense amount of con¬ pursued under the direction of Emile Durand. The great musical awakening that has been Benedetti, “robust indomitable figure, conceited with the refused to appear in his operas because he would not fidence, but the difference between conceit and con¬ In the class for .accompanying he won the going on in France during the last forty years inevitable self-approval of a first tenor, with a voice supply them with the meaningless trills, roulades and fidence’ is that between the rooster and the night¬ second prize in 1880. He also' attended the has nowhere been more clearly tracted than of only mediocre cultivation. If he sang a false note, top-notes that stirred the gallery gods to resounding ingale. classes in organ under Cesar Franck and the in Romain Rolland’s excellent work Musicians or out of time he would look daggers at some unoffend¬ applause. He clung through all to his ideals of dra¬ classes in composition under Ernest Guiraud, The horn you toot yourself is always a discordant in¬ of To-day. Rolland himself is one of the great ing member of the orchestra and even rebuke him pub¬ matic truth, and in so doing hurled the first real blow winping an accessory prize in counterpoint strument. forces which have had to do with moulding the and fugue in 1882, and the second Grand Prix de licly or if he could not keep time he started beating at the vanity of the singers. Hundreds of virtuosi fail because they have spent Berlioz, that revolutionist in orchestral music, was musical art of France. A Professor of Musical Criti¬ with his own hand to show the fault lay with the con¬ more time in “tooting their own horns” than in play¬ Rome in 1883. Finally in 1884 his Cantata L’Enfant also a furious fighter for his individual expression, cism, his influence is weighty arid his prestige gained prodigue brought him the Premier Grand Prix de ductor, though Benedetti himself did not know the dif¬ ing their chosen instruments. ference between 3/4 or 2/4 time. You may be sure that with a tongue and pen sharper than a Damascus blade through his momentous contribution to contemporary Rome, which entitled him to three years for further such was a priceless tenor.” to help him out. Starving, unappreciated by Parisians One excuse makes many. literature (the ten volume novel Jean Christophe) development outside of France. Woe betide the accompanist now as in the past who while he lived, they gave him a gorgeous funeral at his Excuse your lack of practice, your lateness, your has made the opinion of Rolland very significant. The foregoing dates have been given in detail to draws any attention to himself. Handel and Beethoven death; consider the irony of it all. Here and there he absence from your lessons, your failure to memorize, Rolland states than “in 1870 no one had show how elaborate the student work of Debussy must proved themselves more than matches for conceited had enthusiastic admirers. Once a young man rushed up and soon you will be a colossal big excuse yourself. heritage to bear than French musicians; for the past have been. Counting the time spent under the bene¬ coxcombs among singers. The former, by his masterly to him and seized his left hand, saying “I beg your Trust no applause but that of your inner conscience. had been forgotten and such a thing as real musical fits of the Prix de Rome We find that Debussy’s higher permission to grasp the hand that wrote Romeo. Ah, playing, sometimes did so. This was too much for Beethoven was too deaf to hear applause, but he education did not exist. The musical weakness at that musical education was extended over thirteen or four¬ sir, you understand Shakespeare!" “Certainly,” said one rare tenor who told the writer of heavenly strains, worked for high artistic ideals nevertheless. 3 a very curious thing, and has given many teen years. Naturally he did much in the meantime that if it happened again he would jump down on the Berlioz, “but you are mistaken in the hand, I always people the impression that France has never been a1 Envy is the discordant note that breaks the harmony that had to do with his general education. In 1879 instrument and put a stop to the performance. Oh, write with this one,” extending the right. musical nation. Historically speaking, nothing could you will jump, will you! Very well, sare! Be so kind Countless stories are told of the great composers of body, mind and soul. •he lived for a time in Russia as the private pianist in e wrong. Certainly there are races more gifted being called upon to assert their musical independence. You will never be a Melba, or a Tetrazzini, or a the home of a rich mechanical engineer. as to tell me the night you will jump so that 1 can n music than others; but often the seeming differences advertise it on the bills and you will get a great ^ deal After the production of Mozart’s opera, Entfiihrung Caruso, or even a third-rate singer by envy. Think of race are really differences of time; and a nation more money by your jump than by your singing. aus dem Serail, the Emperor of Austria said to him, of yourself, not of your rivals. DEBUSSY IN ROME. While Beethoven was organist at the Chapel of the “T' 's too fine for our ears, too many notes, my dear appears great or little in its art according to what Very few of the great French musicians of the past Put humanity and heart in your music. period of its history we consider. England was a The Real Debussy half century have been deprived of the advantages of Elector of Brandenburg, one of the singers boasted jy.v.art,” “Just a How can you expect the great world to throb with that nothing could make him err, or no accompanist musical nation until the .revolution of 1688; France was the Prix de Rome. At the same time there have been your musical thoughts unless you have learned to the greatest musical nation in the sixteenth century, upset him. Beethoven heard of it and made a wager numerous prize winners who have been forgotten al¬ throb with the best in life? A little human kindness and the recent publications of M. Henry Expert have that he could. During the solemn services of Passion THE LAST WORD IN MUSICAL EGOTISM. most the moment they have entered the glorious Villa will put more beauty in your work than ages of given us a glimpse of the originality and perfection week, the singer was warbling innocently away, when When we reach the mighty Richard Wagner, we have Medicis. This was not the case with Debussy, how¬ practice. Think beauty and you will be beautiful Give of the Franco-Belgian art during the Renaissance. "To believe that one can judge a work of Beethoven by clever modulation threw him off the key said the last word on egotism. He wore a “halo of ever, for during his prize years he was very industri¬ beauty and beauty will come to you. But without going back as far as that we find that art by first impressions is one of the strangest and brought him to a standstill, making him a com¬ infallibility;” no pocket-filling politician was ever more ous, producing a lyric drama, Almamor, upon a text Paris was a very musical town at the time of the and most dangerous of delusions." plete failure. In a rage he went to the Elector, who caricatured as the diabolical egotist and musical despot. by Heine; a symphonic suite in two parts for orchestra Restoration, at the time of the first performance of decided after hearing both sides that the singer was Heaven only knows what depths of courage, confidence and chorus (Printemps) ; La Damoiselle elue and a Things to Remember about Your Piano Beethoven’s Symphonies at the Conservatoire and the concludes his historical review of the last thirty years to blame for his meanness in complaining. Fantasie for piano and orchestra. and patience were needed to launch such gigantic up¬ first great works of Berlioz and the Italian Opera.” with the portentous remark: “From this time on French heavals in opera. Like the early Christians, he suffered It is said that in Rome Debussy met an old gentle¬ BRIGNOLI’S CONCEIT. By W. E. BABCOCK Rolland then quotes Hugo’s famous remark that music felt that it had left school, and claimed to have tortures, contempt, ridicule and poverty rather than Germany’s inferiority was measured by its superiority founded a new art, which reflected the spirit of the man who had formerly been a musician. This un¬ Brignoli, a popular tenor twenty-five years ago, pre¬ relinquish his artistic faith, that faith to which he named person called the young composer’s attention to Remember that the wood in your piano is not dif¬ in music, to show in what low esteem music had race and was freer and suppler than the Wagnerian sents a glaring example of self-importance. He had would have been false if had he gone on writing in the remarkable score of Moussorgsky’s Boris Godou- ferent from any other wood. Dampness will swell it. fallen in France.' Then he traces the development of art. These ideas, which were seized upon an4 enlarged been engaged to sing a solo during mass at St. Agnes the style of his early opera, Riensi, when by doing so noy, which was then procurable in the original edition Dryness will shrink it. These atmospheric changes lead music from the Concerts of Pasdeloup in 1861 to the by the press, brought about rather quickly a conviction Church, New York. He arrived late, and after having he could have secured ease and comfort for the rest prior to the retouching which Rimsky-Korsakov accom¬ divested himself of much clothing, he started practicing, to a relaxation of the string tension, or to loosening the present. In 1880 we find the summit of the success of in French artists of France’s superiority in music. Is of his life. No man was ever fonder of elegance and the Concerts de l’Association Artistique under Colonne, that conviction justified? The future alone can tell plished. Debussy was amazed at the bravery of the keeping it up until he thought himself prepared to sing, luxury. Failure after failure only goaded him on, action and causing it to rattle. This demands regular when the prejudice against Wagner had been overcome work which to most musicians of the time and even meanwhile not caring how much he was annoying or opera after opera came from his pen with no prospect attention from your tuner. and his music was being received with French enthu¬ to-day seems a meaningless jumble. Debussy visited upsetting the choir. The priest was beginning his ser¬ of production, each one more radical than the last, Remember that no definite rule can be laid down as DEBUSSY’S RAPID RISE. siasm. Gradually we find many of the most noted Bayreuth in 1889 and heard Parsifal, Tristan and mon when Brignoli leaned over the choir rail gesticu¬ while the bitter attacks of the critics were still ringing to how often the piano should be tuned other than that Most musicians will, be somewhat surprised to dis¬ French artists, musicians and men of letters carried Isolde and Die Meistersinger. The following year he lating wildly and shaking his head to attract the atten¬ in his ears, scorn on the lips of musicians and the when it is out of tune it is best to have it tuned as soon cover that Claude Achille Debussy was born as long away by the Wagnerian deluge. The Revue Wagner- returned to the Holy City impressed with the idea that tion of the priest. Then he shouted out in a loud laughter of the public in his very face. He lived through as possible. ago as 1862 (at St. Germain-en-Laye). The very new¬ ienne was published and many noted writers contributed it was impossible to follow two forms of art so radi¬ voice, “Stoppe ze preach 1 Stoppe ze preach! Me ready the three stages which John Stuart Mill says all Remember that a piano standing a long time without ness and freshness of his music has given many who to the movement. Here was the triumph of a great cally opposed to each other as the Russian and the for ze sing! And the priest actually stopped to ac¬ reformers pass—ridicule, discussion, then adoption; he tuning, besides “settling” badly in pitch, gradually loses are not informed the impression that Debussy is a German in a city and country where he had at first Wagnerian schools. commodate the impatient singer, whose voice now rang lived to see the victory of his artistic standards, to that fine musical tone quality that probably induced yon very young man. With this has come quite naturally been received with bitter hostility. Fortunately Debussy arrived at a time when France out with religious fervor.” see himself a ruler in the realms of sound. to purchase it at the outstart. Then several tunings at the consequent idea that his development has been In 1890 Russia and Scandinavia commence to have was sated with the commonplaces and conventionalities The egotism of the creative musician is a far dif¬ frequent intervals are necessary to restore it. Some¬ rapid and possibly ephemeral. Nothing could be fur¬ a wonderful influence over the art development of of a beautiful but somewhat artificial past. The radi¬ ferent quality from the conceit and vanity of the man times even this fails to bring the tone back satisfac¬ ther from the real facts. Debussy’s development was of lesser talent; and if we are to judge by the lives of Paris and the French art workers. Meanwhile the cal atmosphere of Wagner was still strongly felt and A Successful Method of Memorizing torily. Don’t try to see hou’ long you can get along the result of a severe grounding in all of the conven¬ the great composers, a very necessary characteristic to Great Belgian Cesar Franck had completed his work, all France was crying for an art of its own. Conse¬ without having your piano tuned. tional French methods of instruction. That is, he the man with new ideas to express. Where would Han¬ and its influence was hardly less than that of Wagner quently Debussy did not have difficulty in winning the Remember that the action of your piano requires in¬ was first made acquainted with the best in the music del, Gluck, Beethoven and Wagner be to-day were it By ALICE L. CROCKER interest and favor of many of the older French musi¬ telligent attention as well as the wire^ or strings. The although it was not accompanied by any spectacular of the past before his radical departure toward new not for their tremendous self-confidence? Where the cians, including Massenet, who were quick to perceive action is the mechanical means of producing the tone outbursts. Substantial in the extreme and resembling roads was attempted. glorious symphonies of a Beethoven, the epoch-making Committing to memory seems to be a very difficult and corresponds in a very real sense to the bow of the in character the serious efforts of Johann Sebastian the signs of the times. Consequently his orchestral operas of Gluck, the music dramas of Wagner ? Bal¬ task for some pupils, and the reason for this is ob¬ We have in Debussy a peculiar combination of an work L’Apres-Midi d’un Paune, produced in 1892, met violin. No matter how fine the finger technic of the Bach, Franck made a magnificent impress upon all iconoclast, an extremely sensitive musician, and an zac says of Schmucke, the gentle German musician in vious. Much time and energy is wasted in learning a violinist his playing would not be worth much if his French musical art. The Schola Cantorum (1894) and with surprising favor. It was in the same year that Gambara, “For all his talents he never could rise above passage or a piece of music by mechanical and thought¬ artistic temperament altogether unusual. It is often Debussy read that delightful poem of mysticism and bow and his bow arm were not good. The action con¬ the Ecole Superieure de Musique, headed by Franck’s the rank of a music teacher, as he lacked the initiative less repetition. The most effectual method of accom¬ said that he has knowingly surrounded himself with symbolism PellSas et Melisande by the great Belgian, sists of many delicately adjusted parts which with much famous pupil d’Indy, brought about an altogether new a veil of mysticism for the purposes of gaining pub¬ necessary to the composer to put new ideas into ex¬ plishing the object, is to return several times, at short Maurice Maeterlinck. At the same time he secured use naturally suffer. The best piano is useless if the interest in music at the beginning of the present cen¬ licity. This, however, is a libel upon the man. From pression.” intervals of rest, to the same subject, thus to re¬ the rights to compose the music to PellSas et Melisande action is not working right. The only course is to tury. examine and deepen it by a mental act. his childhood it is said that he lived in an atmosphere although the work was not brought out until ten years BEETHOVEN’S EGOTISM. insist upon having the action looked over regularly and Thus we note that musical interest was expanding of dreams. His birthplace not far from Paris reached It is impossible to forget anything that is committed repaired when needed. later (Opera Comique, April 30, 1902). This epoch- There was no such lack in any of the immortals of to memory in this way, for what has been consciously in two directions. The French music workers were out to the skirts of a beautiful forest where the boy Remember that moths, mice and dampness are the making work required six years to complete. In the music. How they bullied their patrons right and left. stowed away in the mind can be summoned at pleasure, commencing to take deep interest in the music of pre¬ wandered during his play time. Later when he came natural enemies of the piano. Often a whole new set meantime he wrote many songs and piano pieces which Beethoven would not give an inch in art or life. Gluck and may be reviewed and deepened and made perma¬ vious epochs and likewise in the music of alien com¬ to write PellSas and Melisande he remembered this of hammers is needed when a little attention would startled the hearer at first but then in many cases and Handel were veritable tyrants with singers and nent. posers. Richard Strauss was welcomed to Paris as forest and planned the first scene to: represent it. have saved the original. set. Get a good tuner and absorbed him by a charm little employed in music, the orchestra. Berlioz and Wagner stood before the public were the modern Scandinavian and Slavic composers. Debussy was fortunate in having as a teacher a for¬ The trouble with most students is that they work trust his judgment. charm of atmosphere. Conventional melodies were and the world in an attitude of defiance in defense too hard with their fingers and too little with their In 1891 we note the first performance of Bruneau’s mer pupil of Chopin in the person of Mme. de Sivry Remember that it pays to take care of your piano. forsaken and instead a new kind of impressionism was of their new ideas. This aggressiveness is written on brains. The intelligent student will save much time Le Reve, in 1898 of d’lndy’s Fervaal and in 1900 of (mother of Charles de Sivry), who oversaw his edu¬ A man with a horse costing from $200 to $1,000 does making itself felt in music. all their faces. See Beethoven’s pugnacious mouth, his and energy, by bringing his whole mind into subjection Charpentier’s Louise, all of them unconventional in cation until his entrance at the Conservatoire in 1873. not begrudge an occasional $2.00 fee to the veterinary. Debussy can not be given the credit of having in¬ fearless eyes, his bristling hair! He was called the to the authority of the will. If this were the purpose the extreme and pointing the way to new musical At the great French institution Debussy became the The piano needs much more regular attention than a augurated this new movement since we have already “Big Mogul” by Haydn and so proud of his genius, of all study, there would be fewer failures among musi¬ triumphs for France. In 1902 we note the first per¬ pupil of M. Lavignac in Solfeggio and won three horse. To let it go untuned more than a year may ruin related his interest in the amazing production of the that when asked in court if there were not a von to cians. “Think ten times and play once,” said the great formance of M. Debussy’s PellSas et Melisande, which medals in this study (1874, 1875 and 1876). Piano was besotten Russian Moussorgsky. Would the world ac¬ his name, he tapped his forehead answering, “This is Leschetizky 1 an instrument. It is better to have it tuned every six was so new that even the French, accustomed as they studied under Marmontel and Debussy won the second cept music of this kind? Was it all a passing fad, months or oftener to be on the safe side. are to startling novelties, were astonished. M. Rolland prize in this study in 1877. His haririony studies were a kind of cant that people claimed to like simply be- 265 THE ETUDE THE ETUDE 264 cause it was fashionable to like the extraordinary. The BMggSi...tun...... mill.i... world is large and tastes are infinite. There will al¬ ways be people whose musical horizons are lined by harmonic1 lavage: ^His‘ d°« n,£ ^etn¬ simple and beautiful .tunes like 'Sally in Our Alley and as some of his foolish admirers have said, m the i My Old Kentucky Home. Others reach out to Chopin, vention of new chords, but in the use he ™kes °t Raff, Grieg, Beethoven, Brahms and Wagner. Yet them A man is not a great artist because he makes The Teachers' Round Table others find a beauty in musical atmospheric effects use of unresolved sevenths and ninths, consecut.vema- Conducted by N. J. COREY and they are altogether sincere in their expressions jor thirds and ninths, and harmonic progressions based of rapture. Fortunately for the world of music there upon a scale of whole tones ; one is only a This department is designed to help the teacher upon questions pertaining to “How to Teach," “What to Teach," etc., and not technical problems pertaining to musical theory, history, etc., all of which properly belong to the Questions and Answers department. Full name and address must accompany all inquiries. is no high authority to decree what we may like and what we must detest. The Chinaman may revel in Mrs Franz Liebich in her biography ot Debussy devotes his squeaks and the Spaniard may dream to the sweet fifteen- pagS to a discussion__ of >dus operands or rue 'composer"but even with such a complete description drowsy music of his guitar. the trained• -P musician-- would have difficulty in gammsgaining Again such a passage as the following three n Debussy has been described as being the height ‘than an Sling of the means Debussy employs. it ts statei r...... Z',A tmvers les feuiltes (Bells hea iiiiiMniiiiiiijj - - -. - -■ -. iSiiiiiiiiiiiiiiiiiiijiiiunii of geniality among friends but unapproachable to strangers. His critical works reveal an envied nicety WITHOUT LOOKING. MENDELSSOHN’S .SONGS WITHOUT WORDS. in eradicating it. Uncultivated people have a prejudice in the use of words which stamps him as a good “Do you agree that the pupil should be taught “Will you kindly tell me whether or nert against “collections” of pieces to begin with. One of conversationalist. He is famed for his delightful im- Mendelssohn's Songs without Words should be used Lent. from the very beginning to play without looking at our prominent vocal teachers wishing to give a student provizations. Despite his reticence he is by no means the keyboard? It seems to me that the pianist ns teaching material, how many of them students can never master the keyboard without occasionally should study, aud in what order they should be one of Chadwick’s songs, thought he could save her a a weakling but on the contrary has a strong head set — glancing at it."—C. J. given?”—A. B. upon broad, vigorousi,shoulders. His hair is dark and little money by giving it to her in the “collection,” No one should allow anything he does, no matter The foregoing is the substance of three or four let¬ using others of them later. The next day he received his eyes are deep brown. ( doucemenl sonore. along what line, to master him. He should always ters that have been received concerning the famous a letter from the mother saying that she had sent her himself be in full control. The player who cannot per¬ Songs without Words. In a general way it may be said daughter to learn “sheet music,” and not books of exer¬ ‘Ot Debuss;, „ ...... ------. jEc*5£iEi±iE form without constantly looking at the keys is the that any music that has ever bCen written, that is worth cises. Constantly expecting to encounter such dilemmas, with success. Of these the best known are the Deux Arabesques (1888), Jardins sous la Pluie (1003), and slave of the keyboard. Whatever any pupil does along listening to, may he used for teaching purposes. Dur¬ and being able to forestall them, is one of the functions Polssins d’or. To those who are unfamiliar with Debussy s any line, he should begin its practice from the start, works the first taste of many of the pianoforte pieces is a ing the elementary stages of piano teaching there may of the teacher in developing taste in students. To in-, disappointment. Indeed there are few who would be brave at least of that particular function. From his first in¬ be many studies and pieces used for development pur¬ duce the student to approach the Songs without Words enough to declare that it is not necessary to cultivate a troduction to the keyboard, he should be taught to liking for some of Ills effects. Passing over a few works of \B*==== poses that may not belong in the class of artistic music, in the proper attitude, they should be given him weeks know the key positions without looking. If this is left piano four-hands we come to Debussy's songs. Many of and even later, doubtless many teachers are obliged to before he sees the music. In other words, he should these have been widely sung, but the Romance to words by to be taken up later, he will become a victim of the use more or less of such music with uncultivated tastes. be told all about them far in advance, little by little at Paul Verlet is probably the best known from a popular keyboard, and will find it almost impossible to break standpoint. This song, however, Is not characteristic of While regretting the necessity of this, every teacher various lessons, until an interest is aroused, and he Debussy in his most modern moods. It Is an exquisite up the habit later. Meanwhile this does not interfere thoroughly expects to take up the study of something work well worth the perusal of the accomplished singer. with your suggestion as to glancing. As the difficulty should aim to advance the pupil beyond this period as Debussy’s choral music like his chamber music Is limited to fast as possible, when he may select only such music that he will enjoy and find very beautiful. If he ‘is a few works of which very little is heard outside of the of compositions increases, especially with many long prejudiced against books, he should be told* how Men¬ great cities. Of his longer pieces for voice and orchestra skips, the frequency of glancing will increase accord¬ as is worth listening to. If all the vast army of music the most noted is La Demoiselle Etui, a musical setting of delssohn came to compose them, and how they had all ingly. On the other hand, when a person is playing students could be taught from this standpoint, it would a translation of Rossetti’s famous poem, The Blessed Damosel. been collected together and published in a book. In’this One of the most notable works of Debussy is the setting from memory, he should keep his eyes fixed on the help amazingly in the development of musical taste in to the five act mystery play, Le M art are de Saint Sdbastien, way you can gradually get pupils over the book keyboard, as he can thus better concentrate his mind this country. I am sure every music publisher in the in five acts by Gabriele d'Annunzio, given for the first time prejudice nonsense. If you give him the first “Song,” in Paris in 1911. on the interpretation. In this habit, however, he land would welcome the time when there would be an do not tell him that it will make a splendid study in Debussy’s gifts as a critic are little known in America but should not allow himself to sacrifice his ability to keep increased demand for the best music on his shelves, and he has written quite extensively upon musical topics. In which to practice playing a subdued accompaniment to 1901 he was the musical critic of the Rerue Blanche and in his eyes on the notes when reading from the printed less demand at the sales counter for such things as are a melody, with subdued accompaniment and melody 1903 he held the same post on the Paris Oil Bias. page. A player who is obliged to look constantly at only of trifling merit, if any. This is not saying that there is not a place for light music in the general notes in the same hand. If so he will at once begin DEBUSSY AND THE MODERN MUSIC OF FRANCE. the keyboard will never be able to become a rapid sight reader. Half the enjoyment of being a pianist economy of pleasant living. Personally I enjoy the to think of it as substitute for an etude. All instruc¬ Romain Rolland in the notable book we have quoted musical comedies, and other “trifling” musical offerings, tions as to proper relations of accompaniment and above says, “The form of the Wagnerian drama is is in the ability to take up new works of all sorts, and in their proper place, just as thoroughly as I enjoy read¬ melody should be given as means to making it beautiful antipathetic to the spirit of the French people—to their being able to form an opinion as to their nature and PROGRAM. ing the column of jokes in the magazine or newspaper. and getting at the composer’s inten’ion. In the course artistic taste, to their ideas about the theatre and to quality, by simply playing them at sight. A player SCENE FROM ACT I OF PELLEAS AND MELISANDE. Because of mental rest and diversion I can read the, of time he may come to know that all pieces involve their musical feeling. This form may have forced The preparation of n Debussy program Is an extremely who is entirely limited to the things he plays from difficult task inasmuch ns everything depends upon the Indi¬ serious essay all the more understandingly. It is only study principles, and that he may acquire something itself upon us and by right of victorious genius may vidual tnste of tile performer nnd the audience. It should be memory is indeed in a sad way, and his knowledge of compositions. It is not necessary to explain to musicians the educated musician that can really enjoy music of new from each one, but the manner and time in which have strongly influenced the French mind and may do that every tone is accompanied by a certain series of upper remembered that to many the music of Debussy is still a music will be very small. He should keep posted in his tones, harmonics, or partials, which may he distinctly heard meaningless nothing. The average audience accustomed to art, just as he does in the world at large through the this order. He does not take it seriously but as a diver¬ he acquires this information will be an index of your so again; but nothing will ever make it anything but by means of the right apparatus from the physical labora¬ tunes and conventional harmonies might have their curiosity own tact in handling pupils, and your own discrimina¬ a stranger in our land. Genius has a right to be tory. That is, we mav by striking let us say-C two leger gratified by hearing some Debussy numbers but many of them newspapers and magazines, and this he can only do by sion, like a parlor game, or other amusements such as tion in interpreting the various individualities in your what it will—to trample underfoot, if it wishes taste lines below tile bass clef detect by means of the-proper reso¬ would on the contrary feci quite lost in a whole program. reading many things which he has no idea of commit¬ are engaged in occasionally by even the most intellec¬ nators tile octave above, the fifth above that, the second This is not said from any lack of appreciation of the great class. There is a great deal in the successful teacher and morals and the whole of society. But when those octave (middle (’) and the following notes above that in the novelty and often exqulsiie beauty of Debussy’s methods hut ting to memory. tual. The person of uncultivated taste can only take besides simply training the fingers to act properly. Yoti who are not geniuses wish to do the same thing they following order ascending e, g, b flat, c, d, e, f sharp, g, a, b merely to state the fact that most of our public in America THE PEDAL. trifling music seriously, for he is unable to understand flat, b natural and c. at least have not reached the point where some of Debussy's anything else, although he may be capable of unlimited must develop and learn to use your own head. Every¬ only make themselves ridiculous and odious. There "extreme” works would be relished. Consequently the fol¬ “Should the use of the pedal be explained to have been too many monkey-Wagners in France. Dur¬ lowing is confined to a few of the most demanded composi¬ Tlaydn sonatas, and the lighter compositions of development along many lines. Your properly educated thing you give in the way of music should be for a ing the last twenty years scarcely one French musician tions of Debussy. It is wry difficult to cnid.- ; pupil of moderate advancement should be able to play purpose, but the time and manner for you to reveal this sitions as their character in most instances demands a “Should the use of the pedal he explained to has escaped Wagner’s influence. One understands only finished technic. Much lias been said of tile set known as pupils, or is it necessary to mark every place?”— so-called popular music at sight. He should not be purpose tot the pupil will be a test of your discretion. toe well the revolt of the French mind in the name of the Children’s Corner, including the following numbers: F. G. obliged to study it. The study hour should be devoted One reason for this extended comment is that many Doctor Oradus ad 1’arnassum (a juvenile satire upon Cle¬ naturalness and good taste, against exaggerations, and to music worthy of it. inexperienced teachers seems to have a vague idea that extremes of passion, whether sincere or not. Pelleas ment!), Jumho’s Lullaby or Berceuse dcs Elephants (a kind The pedal is used to sustain certain chords and chord of musical joke which only too few will appreciate), Serena* This brings us back to the subject of teaching music. the “Songs” should be used as etudes, and that the et. Mclisande came as a manifestation of this revolt. tor the Doll, The Snow is Dancing, The Little Shepherd, effects, to obtain legato in chords, and to secure majority of them should be taken up in progressive It is an uncompromising reaction against over-em¬ Golliwog’s Cake Walk. None of these bear any resemblanw sonority, both momentary and long continued. To This should be something worth while. Hence, there is to such pieces as the Kindcrsccnen of Schumann, and the acquire judgment and expertness in this is an elabo¬ nothing more appropriate than Mendelssohn’s Songs order. Not at all. They should be intermingled with phasis and excess and against anything that oversteps average American child looking for what he has been taught the limits of the imagination. From a scenic point is a tune will look askance upon the teacher who gives Min rate study of itself. At first it will be necessary to without Words. There is a1 manner of using them, the student’s study from time to time, not too rftany of view, Pelleas et Mclisande js also quite opposed to pieces of this type. The pieces would range from tl ‘','1 mark the use of the pedal, and so little judgment in however, which seems to me very bad, an observation during a given period, or he will grow tired of tjhem. to the fourth grade in the grading of f In marked that applies equally well to a teacher’s attitude towards They should be selected in accordance with the student’s the Bayreuth ideal. The vast proportions—almost im¬ nil s losltion the use of the pedal has been shown by many advanced moderate proportions—of the Wagnerian drama, its is the Vaise La plus tie, which i, hardly players, that it is printed in most editions of the all the music he uses. No pupil should be told that he needs, taste, advancement, etc. Some of them are diffi¬ Double Vibrations per second. compact structure and intense concentration of mind of Godard’s i ..-ces. it whs most difficult compositions. This ought not to be is studying the Songs without Words because they are cult, numbers like the Spinning Song having been 'used r tlte production ot /’ which from beginning to end holds these enormous By experimenting with these overtones all related to anu shows that Deli_L _ _ .... necessary for a thoroughly trained musician, hut in the “good practice.” There are serious, professional stu¬ as virtuosi pieces by the great players. Only advanced works and their ideology together, and which is often and contained in the fundamental tone as well as with erations if he so chooses (Grade 5). past thoroughly trained musicians have not been as dents to whom this observation may be made, especially pupils with facile execution can make it interesting. displayed at the expense of the action, and even the r (Gold Fish) is one of -the widely played other overtones Debussy discovered new effects which called ’‘atmospheric" type by Debussy (Grade common as they are now. The principles of pedal if they are learning to teach and need to know exactly One of the simplest, Number 2, cannot be made inter¬ emotions, are as far removed as they can be from the lie constantly employs. Indeed, he thinks nothing o books of twelve Preludes there are many playing certainly should be taught. What is the func¬ how to apply music in an educational way. Your aver¬ esting by a student that has not advanced far beyond French love of clear, logical and temperate action.” of such a passage as this from his Danse Sacrce often highly eccentric pieces such as the tion of the teacher but to try and aid the pupil to age pupil, however, resents working on a piece that he that stage technically. Many students consider it Ivery What then is it other than the contrast with the Iloma twick which lias a droning Got! Rare the King which would have staggered a Richter with its consec¬ in t! hese pieces range from fourth to sixth grade. understand his art and how to interpret and present has been informed will afford him good technical prac¬ dull, and were surprised accordingly when Paderewski Wagnerian furore that distinguished the music .of De¬ utive fifths and its consecutive octaves. Trobably Debussy’ ' noted pianoforte composition is tit* it to his hearers in an intelligent manner? There tice. He is thereby prejudiced against it before he be¬ used it as one of his concert numbers in his .programs bussy and other French musicians of later days from highly “atmosphei ■ ' Jardins sous la Pluie ( Rain), a dellghtfi.. are many places in the works of Mozart and Haydn gins its practice, and an opinion of this sort once formed a few years ago. On hearing him play it, they learned that of the music of their predecessors? With many Trfcs mod£r£. impressionistic composition represents where the pedal practically makes the effect Doubt¬ Debussy’s rare talent‘lit at. its best (Grade 7-8). Debussys can rarely be dislodged. In former generations Milton’s wherein its beauty lay. Many of the “Songs” are of musicians the first thought when the name of Debussy genius is again shown 1 less you will have to mark these for your pupils, and his transcription for two hands of Paradise Lost used to be employed as a parsing exer¬ is mentioned is the whole-tone scale; others ascribe his a Cental.- -’ taken—. froi one of Robert Schumann’s pieces in doing this and explaining why at the same time, you about the same grade of difficulty, so that a progressive U £ n cise in the grammar class. It is nOw a matter of his¬ effects to new and wonderful chords which he and he i $ f Dehurotf h,ands (Grade (tl. One of the least difficult of the will be teaching them how and where to use the arrangement of them would be hardly possible. One -A .. g • t i Debussy pieces likely to be of interest to the average player tory that this custom invariably killed all future enjoy¬ alone is supposed to ifave discovered; others claim S.hV. Bateau (In the boat) probably in the fourth grade. pedal. You will find few passages in the older com¬ would be more or less difficult than another with this that his music is little more than a French reflection of Finally we roach such works as the two irabesques. both of posers, however, in which the pedal may be used to ment or appreciation of Paradise Lost. Your average or that pupil in accordance with their individual weak¬ Moussorgsky. As a matter of fact, the whole-tone rr —^ 1-1—- w aa,Ip 1,een widely played and should be even better produce long continued sonority, as the chords change pupil knows nothing about the Songs without Words, nesses. The following have proved among the most scale has been used many times in the past by different f)f) doux et soutenu. sixth a.-adesy "Tl undprtaken by players In the fifth or laml Repels dans Veau (Grade 8) lias mnnvde- more rapidly than in a certain class of modern piano in many cases has never heard of them. If you give masters although not so continuously as in the works popular, and are numbered progressively: Numbers 4 9 todavdasd^se«, °- Ia''e fffects ln tha futuristic music of Compositions. In Bach, especially, the pedal must him the book with the information that they will be of Debussy. Fanelli, the poverty-stricken music copy¬ spr^l-*-— Ho™' arm ^as Hi o interesting set of pieces known as Suite 12, 28, 22, 30, 1, 18, 15, 20, 39, 10, 34, 23, 3. There are =F=3 j remain down very briefly, often not more than a single splendid technical practice for him, he will at once look ist whom Pierne brought to fame and success, showed t best'which includes the Clair <1c Lunr. Debussy's many more that are beautiful, and another would doubt¬ - re: Les C,oche*’ liar,nonie du Soir, Rif beat. Procure a copy of The Pedals of the Pianoforte. at them as a book of studies like the Czerny etudes. in his works which antedate those of Debussy a kind J -S- T IProdigue; id less make a very different list. My own mind would by Hans Schmitt, and you will obtain much assistance. Having formed this prejudice you will have difficulty naturally gravitate to those I have most enjoyed myself. THE ETUDE 267 266 THE E T UD E PARADE OF THE FLOWERS-M. LOEB-EVAX’S. care, exactly as indicated. The pedal, in work of this A lively little march movement of easy grade which SERENADE ESPAGNOLE sort, serves a threefold purpose It s^tems harmomes will make a very acceptable teaching or recreation after the fingers necessarily have left the key , piece for a young student. Grade 2. serves to aid in creating a harmonic background and m.m. it helps in the binding of melody tones. In play g FAIRY DELL WALTZ-E. MACKAY. Allegretto J.--7* L.BECKER left hand pieces nearly all the melody tones wil be 3 Even in the early grades it is well to familiarize stu¬ r-, —, i—3-tj -1" - -I =r 3rr^.. * - M < taken up by the thumb, and these, of course, must stand dents with keys having more than one or two sharps /dNhr 7 rs out well. Chords which are beyond the compass ot an or flats. Fairy Dell Walts is, in reality, but a second - 7 I'iF’l*- octave should be taken with what is known sometimes grade piece, although it bears the signature of four :> as the “wheel touch;” the fingers acting like the spokes irr of the wheel with the wrist as the hub; the hand being flatS' THE FOUR HAND NUMBERS. slightly whirled from left to right. The foregoing re¬ RONDO A CAPRICCIO—L. VAN BEETHOVEN. Carl Koelling’s Staccato Schcrso is a piquant and marks as to execution will apply to any left hand piece. The Rondo a Capriccio, Op. 129, is a well authenti¬ 'TViic* rmmhpr Hoes not sfo beyond Grade 4. fascinating number in the orchestral style. It should cated composition of Beethoven, although published prove interesting to duet players. posthumously. It is well worth playing, thoroughly CRADLE SONG—WILLIAM H. NEIDLINGER. The Moment Musical in F Minor, by Schubert, is characteristic and full of life and go. As it is some¬ Mr. William H. Neidlinger is known chiefly for his well-known as a pianoforte solo, but like much of what lengthy in the original form, it has been abbre¬ many beautiful songs. He has also written a number Schubert’s music, it lends itself well to four hand viated judiciously for study purposes. This is a typical of piano pieces which are well worth attention. His arrangement. Even as a duet, however, it should be Rondo of the classic type. Grade 4. Cradle Song is a very pretty example, melodious and soothing. In playing this piece properly the pedal must VIOLA WALTZ-R. W. GEBHARDT. PRAYER FROM “MOSES IN EGYPT” (VIOLIN Mr. R. W. Gebhardt has been represented a number be used continuously but discreetly. With very little adaptation this Cradle Song could be available for the AND PIANO)— PAGANINI-HARTMANN. of times in our Etude music pages by various piano¬ This is one of Paganini’s most famous violin solos forte pieces in larger form. These have proven very pipe organ, playing the melody on a soft solo stop and transferring the low bass notes to the pedals. Grade 3. in which he has taken the melody of the celebrated acceptable. His Viola Walts is a recent work, brilliant prayer in Rossini’s Moses in Egypt and treated it as and graceful with three well-defined themes. The third GOLDEN SUNSET—H. D. HEWITT. an air with variations to be played entirely on the G theme in the key of C, with the cross hand accompani¬ This is a showy drawing-room piece in the form of string of the violin. The celebrated violinist, Mr. ment, is particularly striking. This piece should prove a concert mazurka. It will require a light, crystalline Arthur Hartmann, has revised and rewritten this work an attractive recital number. Grade S. touch and accurate finger work. Grade 4. with much valuable editing for the use of players and students. It is a splendid concert number. HUMMING BIRD—E. F. CHRISTIANI. MATUSHKA—H. ENGEL. This is another waltz movement, very different in An intermediate grade teaching or recital piece in WEDDING MARCH (PIPE ORGAN)— character from the preceding. The Humming Bird the form of a Polish dance. The rhythm is that of a E. S. HOSMER. should be taken at a very rapid pace and played with mazurka with the accent thrown chiefly upon the sec¬ A full and sonorous march for the pipe organ, writ¬ a light, sparkling touch. It should be given a charac¬ ond beat of the measure. Grade 3. ten more particularly for use at weddings, but avail¬ teristic style of interpretation in keeping with the title able for any festive church occasion or for recital pur¬ of the composition. Grade 4. SERENADE ESPAGNOLE—RENE L. BECKER. poses. The registration is carefully indicated, and this ’jUANITA-A. SARTORIO. A bright and tuneful teaching piece, easy grade; with should be followed as far as possible. the characteristic rhythm of a Spanish waltz. This is A. Sartorio’s latest piano piece is an idealization of one of a new set of six pieces recently composed by THE VOCAL NUMBERS. the Tango and Maxixe rhythms. This piece is, of Mr. Rene L. Becker, who has been a valuable con¬ Homer Bartlett’s Elaine is a high class song, beauti¬ course, not intended for dancing. It is, on the con¬ ful and expressive both in melody and in harmonic trary, a drawing-room piece of rather high order. In tributor to our music pages from time to time. Grade treatment, a song which cannot fail to prove acceptable addition to its rhythmic interest and its value as a 2J4. either for concert or recital use, not yet too difficult study in rhythm, it will also afford excellent chord and OLD BLACK JOE—MARIE CROSBY. for the average singer. octave practice. This strikes us as one of Mr. Sar¬ There are certain melodies of which one never tires. torio’s best pieces. It should be played in a thoroughly Old Black Joe has never lost its original popularity, R. S. Pigott’s Nora is a very pretty and jaunty Irish characteristic manner with the syncopated effects very and it has appeared again and again in various ar¬ song suitable for encore use or to be used as one of snappy and slightly exaggerated. Grade 5. rangements. Marie Crosby’s arrangement of this mel¬ a group of characteristic recital numbers. ody, taken from her set of Plantation Sketches, gives Mr. Laslett-Stnith’s Longing is a short and tender THE WATER WHEEL—F. A. WILLIAMS. it in easy and playable form with two interesting varia¬ love song, melodious and lying well for voices of Mr. F. A. William’s Water Wheel is a charming tions. Grade 254. medium compass. study or recital piece which has been popular for some years. As originally written, the middle section was found rather awkward for hands of limited span. This The Wonderful Touch of Adolf Henselt composition now appears with a revised middle sec¬ Professor Frederick Niecks has been writing in the the room, while the second made the instrument a tion ; the principal theme remaining the same, note for London Monthly Musical Record on the subject of complete dummy.’ The master himself had in his study note, but the passage work brought into more limited Adolf Henselt as man, pianist, composer and teacher. two grand pianos: one of them was muted and on it compass. Whep well played this entire .composition may be rendered with a delightful, sparkling effect Speaking of Henselt’s touch, which Liszt said was “in¬ he practiced; the other was normal, and on it he played the pieces after he had mastered the technical which is thoroughly pianistic. In order to attain even¬ imitable,” Niecks says: “Elasticity was at the bottom ness in the arpeggio work divided up between the of this touch, and it was elasticity that was the aim difficulties. He seems to have discarded the dumb in¬ hands, it would be well to practice very slowly at first of the efforts of increasing the extensibility of the. strument in later years. and then gradually increase the speed. Do not allow hand. Plehselt’s hands and fingers were short and “Lenz tells us of Henselt’s evening study on a either hand to dwell on the keys during the rests, but fleshy. He must therefore have felt the necessity of damped piano of Bach’s well-tempered clavier fugues, endeavor to have the arms rise and fall in easy and widening his natural stretch more than other pianists, while at the same time he was reading in a Bible lying natural alternation. Endeavor to imitate a murmuring especially as a lover of Weber’s piano music. The on the music desk before him, or keeping up a conver¬ and whirring effect of the water wheel. Grade 3]A. extent to which he developed his small hands is as¬ sation with his friends. This seems to me one of Lenz’s tounding. He gives in a letter of his youth these two dressed-up stories. Substitute technical exercises for PROCESSION OF LANTERNS—P. BROUNOFF. five-note combinations, and says: Bach s preludes and fugues, and you probably will be Mr. Platon Brounoff, the well-known Russian pianist nearer the truth. All the accounts that have come and composer, delights in Oriental musical effects. His down to us make it clear, and do not leave us in doubt Procession of Lanterns is an interesting example of as to the severity of his practicing. Indeed, Hensdt’s this style of composition, full of characteristic color. practicing was so severe that it has been called slavish. The left hand part should be played in a drumming But this fact must not mislead us into believing that manner, suggesting certain percussion instruments, he was a virtuoso of the finger hero type. All who ‘While I hold the extension with one hand, I practice while the right hand suggests ecstatic bursts of melody heard him—the greatest pianists as well as others— with the other. Besides this, I can also read or learn upon the part of the reed instruments. Grade 4. admired his interpretations no less than his technique. by heart.’ No wonder that his palms were quite fiat Schumann, you remember, noticed in him something BELIEVE ME IF ALL THOSE ENDEARING and his hands like leather. It was by such drilling daemonic,’ and said that Henselt had given him more YOUNG CHARMS—W. P. MERO. that the foundation was laid of Henselt’s always beau¬ pleasure than any other pianist he had heard. Four Pieces for the left hand alone are always of interest. tiful and always clear and brilliant touch. As the out¬ years later, in 1842, when Clara Schumann heard him They invariably serve to impress a casual listener and standing features of the master’s style of playing may again she found his playing as magnificent as before, they serve to lighten the practice hour for the student. be mentioned: the greatest possible purity and fullness Besides this, it is an excellent thing to develop the left of tone, absolute clearness whatever the speed or diffi¬ indeed so magnificent as to discourage, and at the hand in this manner, and it is astonishing how much culty might be, and the most perfect legato and can- same time incite her. Only she thought, rightly or may be accomplished at times. Most of the left hand labile. wrongly, that, however distinct each tone, his touch pieces, however, are too difficult for students of inter¬ “In practicing Henselt used very largely a dumb ad lost in delicacy by the great amount of his mechani¬ cal study, that it did not seem to her quite so ethereal, mediate grade. It so happens that the ancient Irish piano, using it for conquering technical difficulties. His melody, now usually sung to Tom Moore’s verses, “Be¬ reason for doing so was that it spared the nerves. quite so poetic as formerly. To Hans von Billow, in lieve Me If All Those Endearing Young Charms,” Miss Walker relates that his assistant lady-professors later years, the memory of Henselt’s playing was a lends itself very acceptably to an arrangement as a in St. Petersburg ‘invariably practiced on instruments never-to-be-forgotten enjoyment and a source from left hand soio. In playing this particular arrangement, for which they used two sets of sordines (two kinds which he drew instruction and helpful stimulus. ‘One as in the case of all left hand pieces, the pedal is an of damping apparatus) : one which so deadened and Th!mVe je3Trrd’’ Rubinstc;-n writes. ‘Chopin, Liszt, important factor, and it should be used with the utmost softened the sound as to render it inaudible outside - . erg an(^ Henselt, to know what genuine piano¬ playing means.’” British Copyright Secured. the etude THE ETUDE 269 CRADLE SONG W. H. NEIDLINGER OLD BLACK JOE Adagio m.m. J-ei A PLANTATION MELODY

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MOMENT MUSICAL IN F MINOR PRIMO THE ETUDE TH E ETUDE 879 278

To my dear daughter Viola

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To Mr. Arthur E. Rogers WEDDING MARCH E. S. HOSMER Tempo di Marcia m..M. J =108 THE ETUDE 293 THE ETUDE 292

NORA Words and Music by ROBERT STUART PIGOTT

LONGING KATE WOODWARD NOBLE R.A.LASLEXT SMITH

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Copyright MCMIV by The William Maxwell Music Co. Copyright transferred 1914 to Theo.Presser Co International Copyright Secured V F BritIritish Copyright Secured 295 THE ETUDE THE ETUDE 2S4 The Humorous Side of Musical Examinations ELAINE HOMER N. BARTLETT By DR. ORLANDO A. MANSFIELD 3H-M After an experience extending over of a candidate requesting me to excuse LEONTINE STANFIELD nearly a score of years, I have come to the candidate’s technical imperfections l Andante con moto the conclusion that one of the most demo¬ because she had a wooden leg! cratic institutions is a correctly consti¬ In the examination of theoretical papers ^Ultra-Quality PIANOS tuted and conducted musical examination. we often come across some rich gems of In the local examinations as conducted unconscious humor. Thus I have been by various bodies in England all sorts told that a double sharp is like “the sign layer. Pianos and conditions of students meet on com¬ of the cross;” that a natural is to tj ; mon ground; they all pay the same fee; that Mendelssohn composed the oratorio they all receive similar treatment. Many Elizah; that a whole rest is. like “a silk are young people of culture and refine¬ hat turned upside down;” that a natural ment, but not infrequently one meets is “a sign placed against a sharp or flat with students who have not enjoyed those which is not wanted;” that a slur is advantages which are supposed to be con¬ “marking the semitones;” that time is veyed by means of a liberal education. “the rate of playing;” that a slur is “a In these latter cases loquacity often ac¬ curved line meat for you to come off at companies illiteracy, as was once exem¬ the end;” that compound time “consists plified in the person of a young woman of tide notes;” that a Canon is “a short hailing from Hampstead Heath who setting of the Scriptures;” and that the “’oped she would come /lout with a ’igh two schools of musical composition are number” because she “ ’ad been so Aill “Pollyphony and Mollyphony.” And I and hupset since Hapril” that she feared could go on with many other bulls and she would “ ’ave been Aunable to Center.” blunders, but I will conclude with the Sometimes loquacity expresses itself in story of the son of a parson named Jor¬ the form of anxiety for parents, as in dan. This gifted youth went up for a the case of the Lancashire lass who, after musical examination and, in accordance an atrocious performance, expressed a with a promise previously made, sent his hope that she had been successful, other¬ father a telegram announcing the result. wise her “poor mfither would go clean off The “wire” ran thus: “Hymn 342, fifth hej" dot.” I regret to say she failed, and verse, last two lines.” The anxious parent there was possibly a slight increase in the hastily seized the nearest hymnal of his lunacy returns that year. On other oc¬ denomination and looked up the hymn, casions the anxiety is expressed by the when he found these words: Unswerved by parent on behalf of the child, as when I “Sorrow vanquished, labor ended, the cheapening was once handed a letter from the parent Jordan passed.” influences of modern com¬ mercialism, three Why Memorizing Is Necessary generations of the Kranich & Bach By GRACE BUSENBARK families of piano builders Imagine going to a play where the mind’s capability of retaining musical have steadfastly maintained actors and actresses, book- in hand, read thought. The normal mind must feed the firm’s original policy of their lines from the printed page. Every¬ upon something and -the kind of mental manufacturing "Only the one knows that an actor’s words are not food it lives upon determines its growth. Best that Human Hands Could Fashion.” Rigid adherence original, they are only an interpretation The added thought which must be given to this ideal for more than half a century has made the of another’s, the author’s ideas. Yet this to a composition in order to memorize Kranich & Bach the leader of the world in tone and real JUBILEE PLAYER interpretation requires two things: is just the stimulus which develops the musical merit. Money can buy nothing better. Price, $700 First', the ability to keep the content of retentive faculty of the mind. When the Obtainable anywhere—on convenient monthly terms if desired. “The instrument you the original faithfully. Second, to give brain is given something musically good Write for Catalog and address of our agent in your locality. will always enjoy." it out plus whatever talent for idealizing to grasp and hold, the power of memor¬ the author’s message the interpreter may izing, even if as yet latent, is noticeably possess. strengthened. In dramatic art, mere memorizing is Fourth: This feeling of increased KRANICH & BACH not thought to be a feat, it is regarded power brings mental poise, naturally re¬ 233-243 East 23d Street as a matter of course. An actor unable sulting in physical poise, an agreeable NEW YORK CITY to memorize, is considered deficient in attitude of mind and body which reacts imagination, and mentally weak. most favorably on the player and his Is music any less important or pleasur¬ audience. able an art that one should give only a Fifth: Memorizing engenders concen¬ half or third of one’s self to learning tration, as all who have fairly tried it About Being ^ dare, The ro - ses blush,the li - ly’s breath And God and love are 1 something really worth while? An elo¬ know. One must perforce concentrate, cutionist once said to me: “If you know for how can the attention wander when Se = • L FT", j p 1 your ‘piece’ well enough you will not it is being held to every measure, every iM ■ r---g* need the book in order to read it, you chord, each phrase suggesting the one Beautiful l==TT cresc. *- will have so absorbed its content that following it, by systematic methods? If you only knew what a difference Carmen C==c~ Powder really makes you would at once begin even the words will be your Own.” Sixth: Memorizing cultivates that the use of this pure, harmless aid to Real There may be a few musicians who enviable faculty, a “musical ear.” Beauty. Thousands upon thousands of refined jfh women would not use (as do Miss Risser and Miss * perhaps do not realize the real benefits Seventh: Memorizing improves one’s Cunard) Carmen Complexion Powder exclusive¬ to be derived from memorizing. musical taste. ly unless they had proven that it really is First: Memorizing will make you There were three passages in a piece - The Best Beautif ier ^ playing as definite and effective for which a 12-year-old pupil was studying. memorizing implies a finished perform¬ For ALL Complexions Although from an artistic and harmoni¬ i Vntl1 y?u have used this powder you will never have as Beautiful a cmrmle ance. Rough spots are illumined as with ous standpoint these were the finest parts \ ion as is possible for you to have. Carmen Powder is so pure, so unusually a clear light Difficulties must be over¬ of the music, they were rather advanced come, for how could one consciously set ’ for her stage of musical understanding about memorizing stumbles? and consequently seemed less tuneful to w£nt It? wSSsSSSEgt; Second: Memorizing improves the her than the simpler and more obvious technic. Since “all technique is mental” passages. When we came to memorize and the most reliable technique springs the piece, however, these places received from dear musical thought, the more a thorough drill, with the result that she definite and complete the musical concept got a clearer comprehension of the musi¬ CARMEN that directs the fingers, the more it will cal idea than ever before. One day she impel them with a positive and unerring surprised me by saying, “I like those poco rit. 8 ' 1 1 rail. 4 i ; Complexion 2 force and the better will they obey in places better than the rest of the piece Copyright MCMH bv The William Maxwell Music Co., Copyright 1 runsferred 1914 to Theo. Presser Co. 5 2 4- International Copyright Secured TL-bUSineSS °f exPress'nS it. now, somehow I don’t get so tired of Third: Memorizing increases the them as I do of the easy parts.” Powder Please mention THE ETUDE when addressing oi advertisers. THE ETUDE 297 296 THE ETUDE

Music at the Arctic Circle Greatest Educational Work of the Age By CONSUELO CRAIG Cornless If you will take the map and run your witchery of the long a Mathews Standard finger west to Vancouver, thence up the and sunset and sunrise ... ith CoasJ To Skaguay at the head of the neighboring hilltop fill the beholder with Graded Course of Feet Lynn Canal, latitude 60, thence over the wonder akin ti > awe. i the long dark days ot White Pass Railway to Whitehorse, a It is, though, Studies Pianoforte Are Very Common Now t weeks never ™ stretch of 125 miles of mountain scenery winter when the sun for - Compiled by W. S. B. MATHEWS probably unsurpassed on earth, thence by rises above the horizon and hen tor A few years ago they were The Leading Musical Writer and steamer (or stage in winter) along the many days merely peeps ove Educator of the Present Tin.. not. People pared corns and Yukon River to Dawson, you will have of the mountains, it is in ^ , A COMPLETE course of standard kept them. Or they used an reached the heart of the Klondike region, the Aurora Borealis cnnkl S h Etudes and Studies arranged inefficient treatment. Civilization knows little of this far- and the thermometer stands at 60 be o in a progressive order, selected Then the Blue=jay plaster was a .v ay country and for many months of zero or lower, that -e gath^ around the from the best composers for the cul¬ invented. That ended corn pain Instant Results tivation of technic, taBte and sight the vear we “Sourdoughs” (pretty name fireside and music is t instantly for everyone who used You’re in a hurrv! Just a isn't'it?) reck little of the outside world leisure hours. Since the days o reading, carefully edited, fingered, phrased, and annotated and supple¬ it. But it also gently undermined few moments to “dress up” for we are ice-bound for many months and 1899 music has always ie A Determining Factor in tone. This ideal tone, which is our idea accompaniment can atone for it. The mented with complete directions for the corn, so in two days it all for the affair and you wanted of the year when our only link with place in our lives here and musicians and of tone quality, is what we try to make melody determines to a very considerable the application of Mason’s “System Voice Training came out. And this without one to look your best. In just civilization is the White Pass Stage ser- vocalists of a high order have beeni i of Touch and Technic” for the pro¬ him reproduce. If he succeeds it satisfies extent the health and longevity of the In my teacher’s class there is "always our ear, and whatever satisfies our ear is bit of pain or soreness. one of those moments you vice running between Dawson and White- our midst. In 1901 t e res y . duction of a modern style of playing. song. A poem which expresses a simple a manifest determination to get at the to us right. Our ear is the measure of can render to your skin a horse. It takes a month for my Etude Church installed .a splendid two-manual Thirty years ago Music Teachingin sentiment requires . a simple melody. If One told another about it, America was for the most part con¬ bottom of things. The paramount desire our musical (aste. Beauty is entirely a beaut,iful, refined, pearly to travel from the publisher to my home, concert organ, run by electric motor an the poem is sad, joyous, or tragic the until millions came to use it. Now ducted in the most slip-shod and ex¬ of each one is to be a successful teacher, matter of mental correspondence. A This region since the year 1898 has costing in all in the neighborhood ot melody must correspond. Otherwise the those people never keep a corn. white appearance by the travagant manner imaginable. The and associated with an earnest effort to tone which satisfies our mental demand produced $175,UiX),000.00 in gold. These $12,000 and capable organists have always song is a misfit 'from the beginning. A As soon as one appears, they use of teachers were not to blame for the discover the principles which lead to suc¬ is beautiful to us. If one’s mentality is figures do not include Alaska which also been available. And one indeed was a enormous expense of purchasing in¬ lullaby should not have a martial melody, remove it cess, there is a wish to know why some coarse and crude, then coarseness and Gouraud’s has its own immense output. Splendid brilliant pupil of Edwin Lemare and dividual studies and pieces of music neither should an- exhortation to lofty people fail. crudity will not offend his ear. If one is We urge you to do that. Prove vegetables of many varieties grow to Xavier Scharwenka. In the seasons of for educational purposes, nor were patriotism be given a melody which in¬ they to blame if they did not have the A considerable number of things beside mentally pure and sympathetic he will de¬ Blue-jay on one corn. If you perfection here and wild flowers • of 1901 and 1902 an amateur opera company duces somnolence. The same sense of fit¬ Oriental Cream experience to select the best studies actual knowledge enter into the business mand these elements in tone quality and hesitate, let us send you samples infinite variety bedeck the hills. Several with a chorus of 50 to 75 voices, the ness must obtain in the accompaniment. for theright time. The Graded Course of voice training, hence it is not always the least degree of coarseness and cru¬ free. If the pain does stop—if The liquid, face cream of nearly kinds of orchids and delicate ferns are principal parts too, being taken by clever idea is an original creation of the The office of the accompaniment is not three quarters of a century of easy to tabulate the causes of success and dity will offend his ear. the corn does go—think what it popular use. Society and profes- to be found by those who know where to amateurs, put on the following operas : Presser House. The Standard Graded The ear of the teacher must be so merely to keep the singer on the pitch. Course has succeeded because it was failure. means to you. It means a lifetime fcontinents look for them. The splendid “Pasque Pinafore, Mikado, Pirates of Penzance, sensitive that it will detect in the tone It must help to tell the story. built along the lines which years of ex¬ The first step m voice teaching is that without corns. Your own friends, Flower” lifts up its beautiful mauve Bohemian Girt, Ernume. The following quality whatever is wrong in its pro¬ The accompaniment is the clothing perience had shown to be necessary. of securing a pupa, and here the individ¬ by the dozens, probably, know head, with its silky grey stem, almost years saw the Chimes of Normandy, duction. It will not be necessary for worn by the melpdy, and the melody uality of the teacher is a very potent ele¬ him to see how a tone is produced for he must be dressed according to the work it that this is so. before the snow is off the ground. This Trial by Jury and the operetta Beans and CHIEF ADVANTAGES ment. It may attract or it may repel. An will hear how it is produced. Especially is to do. Melodies, like people, should is the land, too, of the midnight sun. Buttons. Once we had a visit from a CYVTFlV! <;ives ,h* teacl.er and the pupi. the attractive individuality w;ll do much in All day long the air is filled with warm noted English pianist who gave two 31,31 C,1Yl broadest possible ayatem and com must his eqr detect interference in any be well dressed but not overdressed. the way of securing pupils, for at that Some people look better in plain clothes sunshine and is so wonderfully clear that recitals. And there has been a succes- degree whatsoever and know where it is. time the student has little else by which than they do in a ’.fancy costume and so the Ogilvie Range of the Rockies, 50 to sion of good concerts that would have When, we hear young singers shouting to judge. do melodies. Other melodies appear to 60 miles distant from Dawson, seem to done credit to many large outside cities, ECONOMY“ their upper tones with a harsh, unsteady, Blue=jay But passing on to the work of teaching, advantage in rich rcostume. Present-day be within an hour or two’s walk. There There have also been many interesting I am fully convinced that a teacher's unsympathetic quality we must inevitably PROGRESS'^;;: conclude that it does not offend the ear song writers are inclined to over-dress Ends Corns is a wonderful appeal to the senses in the recitals of talented students. value is determined very largely, if not to Book X like an even of their teacher. If it did he would stop their melodies. The resources of modern entirely by his ear. The whole matter it at once. This kind of tone production composition are so .tempting that they in¬ may be summed up in this—what will 15 and 25 cents - at Druggists all the need not continue twenty-four hours un¬ dulge themselves to the extent that Tie VARIETY b^t known*C“ the teacher’s ear stand for? Samples Mailed Free less the teacher is willing. accompaniment oftentimes obscures every- The Mystical Use of the Trumpet lea. This is greatly prefen In listening to a tone . two things studies all composed by one o The vast amount of vocal wreckage thing else. Such writing is incongruous Bauer & Black, Chicago and New York must be considered, namely, its pitch The trumpet is one of the oldest of he heard at a distance of thirty miles, SIMPI If ITY T1,e *tudi« strewn along the way is the result of to say the least. Makers of Physicians’ Supplies OliVIr LiUl I I ^^0™! MOteg and niay and its quality. In the matter of hear¬ instruments. In fact for all we know hut unfortunately the effort to produce forcing the voice and this is allowed to . The significance of the theme should taught by any teacher without previous expe ing pitch, ears vary from the one who Ferd T. Hopkins & Son it may be the first of all instruments, these magical tones was so great that the continue because it does not offend the indicate the nature of the accompaniment. tr&ry method demanded. has absolute pitch and can detect a varia¬ 37 Great Jones St. - N. Y. City for though it was probably preceded by hero died in making,it. ear of the teacher. It need not be argued To take a simple sentiment and overload tion of one or two vibrations, to the the drum, we can only guess as much. The trumpet early made its way into INTEREST here that such teaching is useless. It is it with a modern complex harmonic ac¬ . The co one who is tone deaf. That is, one who Who knows but what some prehistoric the temples of the East and became an worse than useless, it is criminal. That companiment is like going after spar¬ s, especially when cannot detect a difference between man was blowing through the hollow tusk important part of the Hebrew ritual, as it exists is due entirely to the fact that rows with siege glins. A pompous, bois¬ My Beauty Exercises different pitches when he hears them. A our bibles tell us. One of the earliest such teachers have not yet learned to terous style when there is little to com¬ of a mastodon, long before it occurred to majority of ears are more or less inac¬ him to beat time on a stretched skin in miracles recorded in the Scriptures is MAKE NO MISTAKE hear as they should. municate is no better in song writing than curate and a variation of a few vibra¬ in public speaking.' The sense of fitness response to his inborn sense of rhythm? the fall of Jericho. “And the Lord said tions is not detected, therefore is not must always be in evidence. What a keen The trumpet has been said to have sup¬ unto Joshua,” we read, “See, I have offensive. Few measure up to the stand¬ How to Judge a Song sense of these things the great song plied two needs in ancient time. It was given unto thine hand Jericho, and the ard set by the old Italians. Tosi divides What is good song writing? How writers had. That • is the reason they blown in time of war to frighten the kingdom thereof, and the mighty men of 10 GRADES; 10 VOLUMES the whole step into nine commas and can a student tell whether a song has were great. How unerring they were in enemy into running away, and in time of valor. And ye shall compass the city, makes the diatonic half step five com¬ merit? This knowledge is not acquired creating a mood. How skillfully they peace to bring rain. The underlying idea all ye men of wai, and go round about $1.00 EACH VOLUME mas and the chromatic haif step four suddenly. The vast amount of unworthy mixed colors. The songs of Schubert, in both cases is to frighten some one—the the city once. Thus shalt thou do six ie volumes for inspection. ■When ordering commas. Therefore, when the interval songs that are made and sung bear wit¬ Schumann, Rubinstein and Franz may be enemy in wartime, and in peace, the evil days. And seven pricsu shall bear before is a diatonic half step the singer must ness to this fact. However, it is quite studied with profit by all who write spirits who hold back the beneficent the ark seven trumpets -f rams’ horns; sing five ninths of a whole step, and possible to assist the student in forming songs. showers or perpetrate other evils. “We and the seventh day ye shai: compass the when the interval is a chromatic half an accurate judgment by mentioning are told by M. Hue, in his Travels in city seven times, and the priests shall Proportion is another important ele¬ step he must sing four n nths of a some of the fundamental principles of Thibet," says Edward MacDowell in his ment in song writing. It obtains equally blow with the trumpets. And it shall STANDARD whole step. Tosi did not think this par¬ good writing. These he may use as a Critical and Historical Essays, “that the in all art and is as necessary in song as come to pass that when they make a long ticularly difficult and insisted that his sort of measuring rod when studying a llamas of Thibet have a custom of as¬ in architecture. It is this that preserves blast with the ram’s horn, and when ye CONCERT ETUDES pupils be able to do it. song and deciding on its merits. sembling on the roofs of Lhassa at a hear the sound of the trumpet, all the the balance between melody and accom¬ FOR ADVANCED STUDY Probably no one sings scales with A song is a union of poetry and music. stated period and blowing enormous people shall shout with a great shout ; paniment, between voice and piano, be¬ Price, $1.00 Grades IX to XI mathematical accuracy, but of the stu¬ Therefore, first of all, is the theme of trumpets, making the most hideous mid¬ and the wall of the city shall fall down tween phrases and periods. These pieces are bound in book fbrm,eacb dents who sing noticeably out of tune the the poem worthy or unworthy? Is it The First Woman to Teach Scientific Facial Exercise night din imaginable. The reason given flat, and the people shall ascend up every Building a song is similar to painting looted for some standard technical essential; cause is rarely that of defective hear¬ moral or immoral? Is its tone healthy for this was that in former days the city man straight before him.” An instrument instance, the two compositions by Saint-Saensi a landscape. The grass, flowers and made up exclusively of rapid reiterated chor ing, oeing rather the result of a sluggish or unhealthy? Is it serious or trivial? was terrorized by demons who rose from of ram’s horn known as the shofar. is Four of the pieces abound in arpeggio for brooklet should be in the foreground and sense of pitch due to a lack of mental If the sentiment of the poem is not good a deep ravine and crept through'all the still1 tised in the Jewish ritual at the time and others in extended and arpeggioed chords, the mountain range, if there be one, A Rare Bargain and others in rhythmical puzzles, but all are of alertness, in other words, carelessness. the song should be dropped without fur¬ houses, working evil everywhere. After of the New Year’s festival, in accordance should be in the background. A moun¬ Nadine Mail us two dollars and we will send you concert grade and content, famous pieces, ready But in voice training the ability to hear ther consideration. locket with adjustable neck chain, one of the priests had exorcised them by blowing with the command of Moses, “And in for presentation with an abundantly developed tain range in the immediate foreground technic. There are twelve pieces in all, by nine quality is even more important than that Face Powder the most beautiful of our many designs. these trumpets, the town was troubled the seventh month, on the first day of The office of music is to create moods. would obscure everything else. In con¬ composers,about half of them by composers ’’ of hearing pitch, for one may have a {In Green Boxes Only) We guarantee this locket and chain to be no more.” the month, ye shall have an holy con¬ living. Adapted as a continuation of Math< In this it may go far beyond the limita¬ structing a song there should be a grad¬ Graded Course of Studies and all other gn sufficiently accurate sense of pitch with¬ gold filled; and if not thoroughly satis¬ The use of a trumpet as a military in¬ vocation ; ye shall do no servile work; tions of words and awaken states of feel¬ ual development from the beginning and factory purchase price will be refunded. out training, but to hear quality as a strument, at royal pageants, and so on, is it is a day of blowing the trumpets unto ing which words cannot express. But in the climax, which corresponds to the teacher should hear it requires a thor¬ styles °in jewelry. familiar enough, but the trumpet as a you.” Bach chorales are frequently song writing the aim is to create the mountain range, should come near the - THE NEWCOMB COMPANY symbol of mysticism is quite as deeply oughly refined taste which is the result same mood with music that is created by end. A climax near the beginning ob¬ Box B 6. ATTLEBORO, MASS. played by a brass quartet on the towers embedded in the traditions of all lands. of native ability and serious study. the poem. scures and destroys the effect of what¬ |§ of German churches—and indeed our Hearing is mental, hence we listen only In the Anglo-Norman romances an in¬ own Bach festival at Bethlehem, Pa is First, then, consider the melody. There ever follows. When the singer has built Kill The Hair Root strument known as the Oliphant or Ele¬ usually heralded in this way, showing for what we have in mind. We can¬ must be a sense of fitness between the up his climax and carried his audience THEO. PRESSER COMPANY not demand of our pupil anything beyond poem and the melody. The melody must phant’s Horn was supposed to have magic how firmly grounded is the religious sym¬ 1712 Chestnut St., Philadelphia, Pa. with him to a dizzy height their chief Pink, Branetiel White! SO?by toilet coin!ten powers. Roland’s or Rollo’s horn could bolism of the trumpet. bur own stage of development. When in some way reflect the spirit of the desire is to be brought safely and speedily Please mention THE ETUDE when addressing he sings we are listening for our ideal words. If the melody fails no amount of back to earth. National Toilet Co., Dept. T. E., Paris, Tenn. our advertisers. Please mention THR^ETUDP. when addressing 29$ 298 THE ETUDE THE ETUDE

I have mentioned a few of the prin¬ for proportion, harmony and unity, the Forms of the Recitative demand for intelligent design, for action ciples of good song writing. They under¬ By DR. HERBERT SANDERS Musical Post Cards lie all artistic expression and they pro¬ according to principle. For Nervous Women THIRD ceed from a mental demand, the demand Of recitatives there are several forms, mann, Tschaikovsky, Strauss and the Horsford’s Acid Phosphate quiets the earliest and easiest being the “Recita- other great masters, as weil as the dramas the nerves, relieves nausea and head¬ PRIZE CONTEST tivo secco,” which is the same to-day as of Wagner. ache, and induces refreshing sleep. when Peri exemplified it in his first opera, We have stated that in the ideal mar- Imitation in Voice Study Best of all tonics for debility and FOR Euridice. This simple form is accompa- riage of words to music the melodic and loss of appetite. another man’s way of thinking. Ninety- nied by a figured bass that the harmonies word accents coincide in every syllable Every student of singing must be taught might be filled the harpsichord or and that the emotional content of the that intangible but none the less definite nine per cent, of art study is imitative. organ without anything in the way of PIANOFORTE music is the outcome of the same element : entity known as the singing tone. Scarcely We are still trying to imitate the archi¬ symphony or an instrumental accompa¬ in the text. From this it follow^ that a tecture and sculpture of ancient Greece. niment. any one has it in the beginning. That translation is never so perfect as the Composers all .over. the. world are trying ts per dozen postpaid the young student does not sing it is due D. A. CLIPPINGER _ As the.... -resources'... of the. orchestra. , , . , original setting, and it is better, if pos- to no defect in his vocal organ, but to to imitate Wagner/ Strauss and Debussy. AUTHOR OF COMPOSITIONS creased it was inevitable that it should be ^ tQ sing the originaL If a Kransla. NEW SETS FOR 1914 There is never more than a Srfiall handful utilized in the accompaniment of recita¬ the fact that it is not in his mind. Systematic Voice Training tion must be sung it must be selected with In training a singer we do not develop of creators on earth at any one time. Inspired by the success of two pi tive. Allesandro Scarlatti (1659-1725) American Conductors - 6 [ Modern Pianists will hold his Institute for Lingers ous contests, the publisher of The Et Famous String Quartet s 6 Series A and B- - 6 muscles but ideas, concepts. The singing All of the rest are imitators. A foreign was the first to tread this new path. As American Composers Celebrated Organists - 6 BEGINNING JUNE 28th AND makes the following offer, being convinced this new form, known as Recitativo Stro- It has been said that words wh ch are Series A and B - 6 I Famous Cellists - - - 6 tone must exist first in the mind of the language must be learned through the CONTINUING FIVE WEEKS that competitions of this kind will mentato possesses inherently the too empty to say are usually sung. The 50 cents per dozen postpaid .pupil as idea. This idea is what he. at¬ ear, not the eye. That is, we must imi¬ awaken a wider interest in pianoforte potent means of expression the great Points to observe in a translation HISTORICAL POST CARDS tate what we hear. The child while The full course is a combination of private composition and stimulate to effort many tempts to express through his voice. lessons, class lessons, lectures and recitals. composers have not neglected to employ U) The words must be worth singing LISZT—Six Cards-The set, 15 cents. learning to speak does not try to hold the composers, both those who are known The problem, then, is that of transfer¬ His success with the head voice has brought and those who are yet striving for recog¬ it frequently. Perhaps the greatest com- both from the standpoint of the value of WAGNER—Twelve Cards-The set, 30 cents. | Pianist’s Convenience ring the ideal tone from the teacher to organs of speech in a certain way, neither BEETHOVEN—Twelve Cards—30 cents per set. to him singers from all parts of the country nition, bringing to the winners a desir¬ poser in this form is Handel. Speaking of the thought they contain, and also the GREAT COMPOSER POST CARDS-Fourteen P A duet bench and music cabinet com- % the pupil. To try to do this by any is he guided by physical sensations. He able publicity in addition to the imme¬ his examples, W. S. Rockstro says “that beauty and skill of its expression; * '' Great Composers. Printed in nine colors, SBSfiD. A. CLIPPINGER s birthplace on each card. 35 p bined in one artistic, dainty, yet substan- || manner of dissertation whatsoever on the tries to imitate what he hears and he diate financial return. It seems unnec¬ though they are generally based upon the (2) The melodic and verbal accents p tial piece of furniture, which will beautify p 414-415 KIMBALL HALL, CHICAGO, ILL. keeps on trying until he succeeds. essary to note that the fame of the p the whole room—entirely change its as- § structure and functions of the vocal in¬ composer will in no way influence the simplest harmonic foundation they exhibit must coincide; OPERATIC POST CARDS P pect and in addition afford the most de- |j strument would be worse than futile. To The art student would not progress very selection and that the pieces will be a rhetorical perfection of which the most (3) The inherent emotion, which is the Reproductions of photographs of the Wagner Operas as p sirable way of preserving your music, p far if he were not allowed to see art selected by absolutely impartial judges. accomplished orator might be proud; and soul of the music> must be .the fruit, so to presented in Germany, Lohengrin (4), Meistersingers attempt to convey this ideal tone by ex¬ (6), Parsifal (10), Tristan and Isolde (3).Tann- p keeping it clean, convenient at all times Jf plaining the physical sensations which works. The music student would never we cannot doubt but that it is due to this speak or the blossom which derives its haeuser (9), The Ring (28). p and ready for immediate use. MY SIX WEEKS may accompany it could only end in fail¬ become a great artist if he were never SEVEN HUNDRED h,gh quality, combined with a never-fail- Hfe and vitalit from the of the Various Operas printed in colors. Aida, Boheme, p It will pay for itself many times by || SUMMER COURSE ing truthfulness of feeling, that so many WQrds_ Words and Butterfly, Falstaff, Iris, Tosca, Modem Operas, ure, for physical sensations are alto¬ allowed to hear good music. The process music must be but Rienzi-Hollander, Tannhaeuser, Lohengrin, Tristan, 1 keeping your music intact, untorn and | DOLLARS of them owe their deathless reputation, of living is so largely imitative that it is manifestions of the same life. Meistersingers, Parsifal, The Ring. Six selected p unsoiled. gether unreliable. An explanation of the to the unfair exclusion of many others of cards, 25 cents. elements of a musical tone, such, for ex¬ >cal di will be divided among the successful p The bench may be opened to make se- 1 not clear why any one should object to i. The composers in the following manner: equal worth, which still lie hidden among Some of the songs of Brahms have REWARD CARDS p lections or to return the music, then I ample as round, full, steady, mellow, giving the pupil an example of the pure : need st V who fe< 1 translations which c be positive help is not being given, Place I For the best three Con- the unclaimed treasures of his long- A set of fourteen cards. Portraits of the Great Com- || closed ready for use—all in a minute, |f rich, resonant, sympathetic, etc., would L.lass 1. cert Pieces for piano solo, ' hplaces, printed in nine colors. Qn P without any trouble whatever. tone that he may have something to imi¬ forgotten operas.” A typical and telling daubed as nothing but “doggerel.” Our biography of each master. With help to convey a mental picture of it, but tate. The teacher who can do this has a teaching will be sent on request. we offer the following prizes:— example precedes the air in Jeptha— muslc publishers, happily, are now awake --— .. ...v ..~J a Music Prize Card, a steel engrav¬ || Comes standard height, 36 inches long, f ing, with portraits of eight composers, and blank for in- p 16 inches wide, mahogany veneered, light M when all is said a tone is something to very great advantage over the one who GEORGE CHADWICK STOCK First Prize - - - $80.00 “Waft Her, Angels,” which is written in to the fact that translations must be sug- or dark, also quarter-sawed oak in green §f hear. It cannot be put on paper, and Second Prize - - 60.00 the grand style of the opera seria of his gestive in thought, appropriate in accent cannot. The teacher who cannot produce Vocal Studio, Y.M.C.A.Bldf.,Now Ha.oo.Cooo. Third Prize - - - 40.00 p or golden finish as desired. Price de- p talking about it is only talking around it, the pure singing tone must of necessity period. and emotion, and poetic in expression. P livered to your door $10.00. If you are p Author of "C Place II For the four best Par- Sound is the most natural and prac¬ v^iaaa n. Ior Pieces for pian0; Referring to the accompanied recita- We cannot conclude without a refer- p not entirely satisfied that it is better than % resort to other means to reach the desired $1, postage prepaid THEO. PRESSER CO., Phila., Pa. P any $15 bench you ever saw, return it at p tical means of communicating ideas. end, but he is suffering a serious handicap. offer four prizes as follows:— tives of Handel, Mozart, and their con- ence to the delivery of recitative and its P our expense and get your money back at p Therefore, give the pupil an example of Let no one fear that he is doing some¬ First Prize - - - $80.00 temporaries the last writer says: “Even incorporated principles in the lieder of p once without question. this invention failed either to meet the Strauss and Wolf, and the vocal music of the singing tone. To hear the singing thing not sanctioned by psychology and Second Prize - - 60.00 Third Prize - - - 40.00 needs of the dramatic composer or to Richard Wagner, without a note of warn- p If Wu fed you would like further P tone a few times is worth more to the pedagogics when he resorts to imitation p assurance or further particulars, Fourth Prize - - 30.00 exhaust his ingenuity. It was reserved ing as to its delivery. Phrasing, accent Pennsylvania p drop us a line, addressing Dept. !. student than hours of florid conversation along with all other aids. On the con¬ SIBYL SAMMIS MacDERMID about it. for Gluck to strike out yet another form and emphasis spring from the words, Music Lithographing trary he is making use of the most of Recitative, destined to furnish a more But as Mr. W. J. Henderson says: “The STANDARD STOOL AND All educational processes are largely natural, simple, and effective means of Form (waltz, march, tarantelle, mazurka, powerful engine for the production of a conception of recitative as speech in song polka, etc.) we offer the following Company BENCH MFC. CO. imitative. When we study mathematics acquainting the pupil with the singing certain class of effects than that which must never so befog tbe singer’s mind as When Phyllis Takes Her Vocal Lesson prizes:— 114 N. 13th St., Philadelphia, Pa. or philosophy we are learning to imitate had preceded it He it was who first to obscure tbe fact that it is still song. 192 Southern Boulevard by LOUISE AYRES GARNETT First Prize - - - $60.00 conceived the idea of rendering the or- Recitative is to be sung> not sbouted, New York Price 50 eta. Second Prize - - 45.00 Send to your dealer for a copy (enclosing 27 cts.) Third Prize - - - 30.00 chestra and the singer to all outward cack,ed or barked. identification of Music Engravers and Printers Fourth Prize - - 20.00 appearance entirely independent of each musical accent and emphasis witb those The Terminology of Voice Culture CLAYTON F. SUMMY CO. Place IV For the best four Easy other; of filling the scene so to speak, of the text does not mean effaceraent.-> Estimates promptly furnished to composers and The Best Way to PUBLISHERS L-ldSb 1 V * Teaching Pieces in any finished orchestral groundwork He blames Cosima Wagner for tbe ber publishers on Sheet Music, Music Books, Band, The scientist and the artist clash the Keep Your Music wuiu coior is used 11 64 E. Van Buren St., Chicago style, for piano, we offer the following ' m itself, and needing no vocal that tbe fflusic of her husband must be Orchestra and Octavo Music, etc. HIGH GRADE moment they begin a discussion. The prizes:— WORK AT REASONABLE PRICES. Copyrights painting affords no reason why it shouli melody to enhance its interest, while the ‘shouted, cackled barked.” And cause of this may be traced to their dif¬ not be used in voice teaching. Painter; First Prize - - - $60.00 singer declaimed his part in tones, which, furth ^ Henderson says: “Instead of secured. Manuscripts revised and corrected. ferent modes of thinking. The scientist speak of the tone of a picture, and rhytlm Second Prize - - 45.00 however artfully combined with the in- the broad and elastic form of declaraation is always hunting for a law, for some¬ is used in architecture. Many of tin Third Prize - - - 30.00 strumental harmony, appeared to have no In New York This Season Fourth Prize - - 20.00 designed by Wagner, a declamation em- TINDALE thing he can use as a formula. The terms used in music, for example, staff “STARS OF THE CLOUDLESS SKY” connection with it; the resulting effect bracing all the elements of musical speech Sacred Song for Medium Voice. Music Cabinets artist sees in his mind the finished pro¬ key, measure, bar, air, brilliant, clear being the same as that which would be from the cut and dried phrases of the old duct and he works toward that knowing GEORGE E. SHEA CONDITIONS “ROSE TIME” light, -heavy, etc., all have a wide variety produced if, during the interpretation of ” secco to the splendid. eloquence of the that when he has succeeded in producing OF PARIS of meanings as any one may learn bi symphony,... .some , accomplished, . , , singer. modern dramatic arioso, we have a non- it he has made the right use of his consulting the dictionary, and all of theii TEACHER OF soliloquize aloud, in -broken sentences, descript tbingj compounded of brittle> materials. The scientist is looking for s neither to take a uses are equally proper. The terms higl formless staccato and vociferous shout- the process, the artist for the result. The n the performance, n and low as applied to pitches and voice: RIGHT SINGING ... . • I j C ■ 1 . u‘g- ThisA u*s thingming must beDe v\wiped out of clash, then, is due to the scientist not are given a special meaning for the key turb it by the introduction of irrelevant existence. It is neither art Gesture, Perfect French discord. » • - - - - being able to get the artist’s point of board is horizontal, not perpendicular It■ is needless to add that these remarks for FREE Catalogue No. 1 and the tenor singing high C is no highei 171 W. 57th St., (Monday*, Thuradaya) Just another, step, and this simply by appIy to tbe rendering of all vocal music, BUY ENTERTAINMENTS Vocalists have been taken to task by AUi D- .?h°ne 268 Colurr.hu. making the recitative assume a in point of distance from the earth’' 410 Riverside Drive, Phone 4597 Moming*ide of all styles, and of all time. From “The House That Helps,” a live concern which scientists for their alleged inaccuracy in tained style, but not, of course, as sus¬ handles a choice line of Operettas, Cantatas, Action surface than when singing middle C. Songs, Plays, Drills, Musical Recitations, etc. “For The Etude Pris tained as the air which follows, and we the use of terms. Criticism seems to It is customary in all arts to borrow * fir“ 0^'ruCinnF^“c.t0 *‘n* *" Write about “The Captain of Plymouth,” the Comic center in our use of the word color in have “Mezzo Recitativo,” which Gluck Opera with a splendid record. words and give them a special meaning TINDALE CABINET COMPANY referring to tone quality. This brings us used with indescribable power, which “The Singer’s Use of Breath” A very helpful Catalog sent FREE Voice teachers have done nothing extra¬ ELDR1DGE ENTERTAINMENT HOUSE,Franklin, Ohio Salesrooms: No. 1 West 34th St., New York Spohr frequently employed to the ex- When Ruth, the Maid of All Work to a consideration of the thing called ordinary in making use of the word tone- language. ARTHUR D. W00DRU1 of symmetrical melody, and with 1 The Pirates of Penzance, was told to cclor in developing tone qualities. Ii Studio: 171 W. 57th St., N. Y. What is language? It is any means which Wagner builds up his dramatic edi- make a pilot of young Frederic, suits their purpose admirably and they teacher of singin Invol most imposing heights, unnatural confusion of terms forced her used to convey or communicate ideas. id pedantic effoi should NEW VOCAL MUSIC will continue to use it. This Melos of Wagner : Says Webster: “When two or more per¬ Cond avoided. the last step to acknowledge afterwards “I took and These same sticklers for accuracy will < ?nheu, L?,^the University Glee Club. X. Y. C No restriction ii which brings us logically 1 “ON SALE” EAT™ VOICE sons customarily annex the same sounds length of the compGo.»vU. the. finished bound the promising boy apprentice to speak of whole tone and half tone, when ...CS.'.S.'SJ-'S&S;-'11'' "**• from the somewhat rudimentary Pirate.” Some similar Gilbertian reason Have your name entered (or the receiving of a to the same ideas, the expression of these No composition which has been pub¬ few small packages of new music ON SALE during they mean whole step and half step lished shall be eligible for a prize. Recitative secco. must be responsible for the confusion of sounds by one person communicates his Compositions winning prizes to become They will tell you that a composition is be kept; discount the b^st obtainable; the only S. W. TUFTS, M.D., 1010 Highland Bldg., Pittsburg,Pa. ideas to another.” the property of The Etude and to be The student who has traversed the path mind which led the printer of last written in two-four time when they mean WALTER L. BOGERT published in the usual sheet form. through which we have tried quickly to month’s Etude to ascribe the article en- Voice teachers have found that by using double measure, and they will tell you guide him, and has made himself theo- titled “The Singer’s Use of Breath” to stop DROWN’ Q words indicating color, such as bright, without blushing that a sharp raises a esident ofN.Y. StateMus'ic Tea The Etude retically and practically sure of the van- David C. Taylor, instead of Louis dark, clear, somber, white, etc., they can Member of” ' ' - CoughsTsD I trochevJ note a half tone, a statement which con¬ THEO. PRESSER CO., Pubs., ous and progressive steps which will bring Arthur Russell, by whom it was origi- at irritation and hacking cough, i most easily and quickly convey to the turn! s': tains not one word of truth. Verily there Teacher of Singing him to the present condition of his art, nally written. It is with due apologies pupil their idea of tone quality. The is still use for the word inconsistency. PHILADELPHIA, PA. will be in a position to sing with greater to all concerned that we make this cor- THEO. PRESSER CO., a THE ETUDE when addressing dramatic effect the lieder of Liszt, Schu- rection. 1712 Chestnut St., Philadelphia, Pa. THE ETUDE 301 300 THE ETUDE One per cent, on the cost of the organ The organist is to consider that the may be regarded as a fair average charge accompaniment must be a contrast to th*e The Commonwealth for the tuning and regulating. This may tolo in power, being more or less softer Austin Organs vary somewhat according to the distance than the solo, and it also should be of a School of Music of the organ from the in .kers’ nearest different tone quality. He is to depend at beautiful Booth'oay Harbor, on representative, but it would not be far on the speed of his working the blowing the Maine Coast from the mark. pedals for differences in power as well CTILL maintaining their Of course a well-built organ demands as upon the knee swell. But never let the Summer Session, July 5 to August 14 D unique record for tonal far less attention than a cheap one, and wind get so low as to give a gasping and quality, characteristic voic¬ as the writer has said before, it pays to breathless effect, yet by a skillful use of ing and blend, and for get the best rather than the most for the the feet a delicately and an evenly soft Connected with the Commonwealth remarkably faithful be¬ havior mechanically. money. Expense and annoyance are tone can be given not otherwise attain¬ School of Arts and Crafts avoided by detecting troubles due to able. A quick putting down of both feet Send for full catalog to the Director, There’s a reason—they are built to stay. damp. By urging proper warmth and together will give an accent effect for CLARENCE G. HAMILTON And the adaptation of ventilation the builder can prevent a con¬ a sfs chord. For ordinary, loud playing 18 Cottage Street Wellesley, Mass. small organs to large spaces tinuance of this great enemy to organs. a full stroke of each foot is demanded, has long been an Austin The same may be said with regard to making the blowing pedals work their full specialty. In several two over-heating a church, or damage due to capacity. Always use the ankle, not hip Two-Part Hymns in Honor visitor, there were well-made pincushions manuals we have achieved a not very skillful arrangement of it, at the essential effect of a very too close proximity to hot water pipes or joints when blowing. What is “Bad Taste” in and accurate thermometers which would of the Blessed Virgin Mary that. large organ, through adapt¬ other heating apparatus to any part of An accent effect can be given by making And then, the organ music. Who has have fulfilled their duties inoffensively. ing scales and voicing. the instrument. Attention aiso needs the note just before the accent a very By N. MONTANI Price, 25 cents Church Music? not seen items such as these on church Ori reflection, the outstanding idea con¬ sometimes to be called to damage to the little staccato, and by also striking down By RUSSELL CARTER service lists: veyed by the exhibition of had taste is that large interest to the fraternity leather work caused by rats and mice. the keys at the accent and the feet help¬ Qrigrinal hymns in the vernacular, to be Prelude, The Evening Star (from Tann- the articles represent wasted effort; they No matter -what size the organ is, small ing out more or less on a down stroke The music is so written that it may be hSuser) .Wagner are all so futile, so useless. In our musi¬ but constant expenditure on the upkeep for extra power. Also, the knee swell sun* in two parts with a simple and Offertory, Swan Song (from Lohen¬ cal exhibition is not the samp thing true? of it is true economy since defects due can help, it being quickly opened at the elan.—Editor op The Etude.[ appropriate organ accompaniment. The grin) .Wagner Suppose, that all the labors of re-arrange¬ to wear and tear can be observed and instant of the short staccato. A quick texts of the hymns are taken from the most approved sources, many of the Some time ago, in New York, a group Postlude, Grand March (from Aida), ment. all the efforts to fit obviously un¬ A ustin Organ Co. corrected in time at little cost. Neglect movement of the knee swell during the great writers of hymnology being rep¬ of artists and authors presented to the t Verdi suitable texts to melodies and unsuita¬ of this might lead to serious damage to .holding of a chord gives cater-wauling resented. The music is by Signor N. effect, one that is decidedly unpleasant. public an exhibition of household objects, But why, someone asks, should these ble melodies to texts, and all the striv¬ Wotidland Street, Hartford, Conn. the organ which could only be rectified at great expense. Inner melodies, or a melodic accompani¬ has achieved an enviable reputation. all of which were designed or fashioned not be played during a church service? ings after novelties and “effects” had ment can be made to demand attention rad taste.. The articles exhibited The question is partly answered by ask¬ been used to master and to worthily by playing them somewhat staccato. belonged mainly to the period of the ing another,—What is the purpose of the render churchly music in our churches, i—ESTEY CHURCH ORGANS-, Reed Organ Stops and Their THEO. PRESSER CO. In hymn playing, every melody note eighties and early nineties—described by music in a church service? Its purpose Estey standard maintained. 1712 Chestnut Street, Philadelphia, Pa. would we. could we. possibly have such a Maximum facilities. Management must be struck, but hold one or two notes one wag as “late Pullman or early North • is to serve as an aid to worship. Assum¬ potpourri as we now have on many church Highest grade of product. of the chords that are common to both German Lloyd.” . The prize for bad taste ing that the compositions mentioned are Pioneers and leaders always. service lists? If church musicians set chords—the one left and the one being : awarded to a gilded statuette of unknown either as to content or as to the Examine stop action and wonderful reedless By CHARLES W. LANDON themselves to consider seriously their high Oboe, Saxophone, Clarinet, etc. played—if possible, this to give the neces¬ ms de Milo with a clock in its significance of the titles to the members of PIANO TUNING calling, would such incongruities as the ESTEY ORGAN CO., Br.ttl.boro, Vermont, U. S. A. sary smoothness and stability. Two con¬ stomach; a clcse competitor was a gilded the congregation, the general effect of The names on reed organ stops have use of Dvorak’s Humoresque as a pre¬ flicting principles control this, the rhyth¬ Regulating and Repairing shoe, stuffed so that the upper portion them will not be distracting, but iri these in many cases no standard tone quality. lude to a funeral, and selections from mic flow must be evident, yet it must he rved as a pin cushion; a thermometer days of general familiarity with both the Each maker of organs uses stop names as A Complete Course of Self-instruction William Tell as the prelude to a mission —-THE “GEM”- done so as to give a smooth and continu¬ is fastened upon the front of the shoe, music and the stories of the standard suits his own ideas, or want of ideas, ous effect, so much as is consistent with for the Professional or Amateur operas, it is the writer’s impression that service be possible? CHURCH ORGAN PEDAL although among the best makers there and a festive air was given to the entire an evident rhythm. By J. CREE FISCHER no organist has the right to suggest by Attachment for Pianos has long been a serious effort for stand¬ work by the addition of a ribbon em¬ What stops to use with a given solo is his music to the worshipper’s mind the ardization. The first thing to do when PRICE $1.75 broidered with the • name of “Bessie.” Tuning and Care of the Enjoy Organ Practice in Your Own Home to be decided by the player’s taste and stories of any one of the operas named, INFORMATION UPON REQUEST trying an organ that is new to the player, Any adult person can remember enough Organ. experience, and experimenting. But all and then to assume that he is disseminat¬ is to find which stops complete a scale in nstances of such things which were com- Syracuse Church Organ Co., Sjn.T’ such experiment should be done in pri¬ ing a worshipful influence. To play the By ROLAND D1GGLE uniform or unbroken pitch. Then to non enough in his childhood—and long vate practice. Above all, do not allow the afterward, perchance—beribboned rolling Grand March from Aida after a service An organ is an expensive instrument, find which stops are active and which are in which an appeal for any good cause or thought that ‘“it is nothing but a reed pins, brilliantly tinted frying pans, over¬ and one which requires a great amount dummies. No attention should be paid high ideal has been- made is but to send organ, and it has no possibilities of tone decorated plates, and frightful designs of care. Moreover it needs the care of to the Forte stop for the power will be some of the worshippers home recalling color, so what is the use of trying,” be¬ embroidered in worsted, portraying im¬ an efficient man who understands the Steere Organs controlled with the Knee Swell. Some that at the last performance of the opera cause there are beautiful possibilities of possible animals with shoe-button eyes. mechanism of the instrument, otherwise Bailey Hall, Cornell University of the dummy stops will give a modified which they heard the tenor did not sing as Dedicated, October 8, 1914 expression on the reed organ to be gotten an exhibition of extreme bad taste it is likely to suffer almost as much as if power of an active stop if drawn with¬ well as usual and the “supers” were hor¬ Springfield Auditorium, now building by practice and patience guided by taste. in the present day is wanted, church music it were left alone. The organ should not out the active stop being out; these have ribly mixed up in the march. their uses therefore. THEO. PRESSER CO., Philadelphia, Pa. offers a most inviting field. The Superior be put in charge of a local piano tuner, J. W. STEERE & SON ORGAN CO. The 8-foot tone, that which is unison Modern Musician looks over an American BAD TASTE IN THE CHOIR LOFT. unless he is an exception to the general Springfield, Maw. Established 1867 Hints to Young Choir hymnal of thirty years ago. Horrors! rule. These gentlemen, though capable with the soprano voice, must predomi¬ The Factor of Safety The people of that benighted period sang In hymn tunes our exhibition of bad enough in their own work, have rarely nate; next is added 4-foot tone for fur¬ Directors Jesus Lover of my Soul to that weak tune taste has some specimens, in organ music had any experience in pipe work, tracker, Established Sen Verb, 1851 St. Louis, ISIS ther power and especially for brilliancy. By FRANCIS H. MORTON in the Human Body of Abt’s, When the Swallows Homeward the specimens are more numerous, but it pneumatic or electric action. I have seen GEO. KILGEN & SON The 16-foot tone comes only when the Fly; there were hymns which were is in the choirmaster’s sphere that the ma¬ full organ is used with the Treble coupler, pipes cut in a shameful way by inexperi¬ Begin practice promptly at the time parodies on the verses of Home, Sweet jority of the exhibits are to be found. The enced hands. And in addition to the Pipe Organ Builders except for some solo effects described be¬ Hallelujah Chorus sung by a quartet: the set. Five minutes late may not seem Home and The Old Oaken Bucket, using unsatisfactory tuning that results, the ST. LOUIS, MO. low. The 16-foot Sub-bass is usually of Good Night song from Martha, based much, but it may be pointed out that in the tunes with no changes whatever; and, quality of tone suffers greatly, with the One of the moat eorajilpie Pipe Organ Plants In the United only one octave, in extent, therefore the upon one of the most ridiculous situa¬ Slntes. Kes{ „r References. the course of three months this amounts —would you believe it?—the children sang result that the church is put to much ex¬ bass of a hymn tune must be kept within tions imaginable, • used as a suitable tune to practically a whole rehearsal lost. the hymn I Think When I Read That pense to rectify matters. this low octave by changing the written Sweet Story of Old to the tune of for the hymn Saviour, Breathe An Even¬ bass for this purpose. It is the sure GOOD HEALTH PUBLISHING CO. The majority of organ builders Make a rule of always going over new 3904 W. Main Street Battle Creek, Mich. Believe Me, If All 1 Those Endearing ing Blessing, and another part of the (Srirnty frhonl of Gllmrrl] itlusir mark of an unskilled player to play the endeavor directly an organ is erected to work beforehand, and mark all special Young Charms. The Superior Modern same opera for the words, Guide Me, O bass as written when the Sub-bass stop is arrange with the church authorities a con¬ A Training School for Organists, effects, etc. Musician closes the book and, like those Thou Great Jehovah: the intermezzo Choirmasters and Choristers drawn, for “Now you hear it and now tract for the regular and periodical tun¬ who attended the exhibition of bad taste, you don’t,” it groans then subsides, then NEW ORGAN MUSIC from Cavalleria Rusticana sung as a ing of the instrument. This is by fgr Headquarters, 90 Trinity Place, New York Avoid entering into explanations. While he says that he is thankful that America FELIX LAMOND, Director gives another unexpected groan. The Musical Leader suitable setting for the Ave Maria; the the most satisfactory way of keeping the such aTe necessary in private lessons, they Published Weekly, $2.50 a Year “ON SALE” has passed beyond such a stage. Has it ? In solo playing, the accompaniment can Lost Chord and The Holy City sung in organ in good condition, and in the end are not in keeping with a choir rehearsal, Ten weeks' trial subscription, fifty cents Have your name entered for the receiv¬ The Episcopal Church in the United all softs of arrangements, as well as in be played on a 4-foot stop, but this will where your word should carry authority it is by far the most economical way. It The Recognized Authority on all Musical ing of a few small packages of new music States is frequently credited with being their maudlin originality; a florid solo, demand many changes from the manner without the aid of explanations. ON SALE during the professional season, is. moreover, of great importance for the the'exponent of the best in church music such as Costa’s 7 Will Extol Thee, ar¬ of its writing. Be sure that your solo no guarantee as to amount to be kept; in the country, and yet every musical edi¬ builders to have charge of their own Yet although you do not make a rule discount the best obtainable; the only re¬ ranged for, and sung by, a chorus choir; stop has all the tones demanded by the tion of the authorized hymnal of that organs. They know the minutest detail of explaining why you wish a certain sponsibility the small amount of postage; piano and organ solos re-arranged as solo, especially for its lower notes. A church uses as a proper setting of the of the action, and it is naturally to their passage done in one particular manner, MUSJ?LL“der’ regUlar Price I Club Price returns of unused music to be made once solos, duets, trios, quartets and choruses, e-foot stop can be used with the 16-foot £2.50 for year. ) - A each year; a ‘postal card will stop the Easter hymn, The Strife Is O'er, a muti¬ advantage to have their organs in good spare no pains in making clear how you with words that vary from the sublime repair. for a pleasing and peculiar effect in solo And ETUDE, regular price, ] and Twelve Easy Trios, the third position the octave of the The fingering of the second and sixth y has w The violin student taking up the study open string is produced by the first finger positions is also the same, with the dif- wish to say a few words. Rheinberger. The pedal parts should dramatic, and historical analysis 10c a Day- Many of you I know have had the post be studied separately, then left hand and tion oi some ot the greatest and of the higher positions for the first time, °n the next higher string, the first finger ference that the fingering is done on the Now buys this superb Baader Violin ORGAN piano compositior- is apt to be dismayed at the prospect Pjaced on the D string in this position next lower string, as in the following thrust upon you, when the new organ was ,a, tben r;ght hand and pedal, and The book contaii of the leading A N exquisite instrument— installed; there was no one to play it but ,astly’ all together, piano composition- of having to learn the fingering for six g'^es the octave of the open G, etc. The example, the beginning of the four notes aV. perfect in tone and su¬ positions in addition to the first, making umson of the open strings D, A, E, are in the second position is on the A string perbly finished—made by the great COMPANY yourself. You had always played the and several each by Schubert, Bubinstein, Violin maker, J. A. Baader. Pay piano, so of course with a little practice NOVELTIES DESIRABLE, Grieg, and Saint-SaSns. seven in all, to say nothing of occasional Pr°duced by the second finger on the next and in the sixth position on the D string, for it at the rate of only 10c a day. BOSTON NEW YORK Price, $1.50 passages which must be played above the |.ower strings, as for example the second Ten days fr— — you could soon play the organ. You Finally, do not be satisfied to play the No. 4. could not afford to go away in order to old standbys. You know what they are: seventh or in the half position. finger on the D string produces the same Plant at Waltham, Mass. STORIES OF STANDARD TEACH- ( Second Position.) (Sixth Position.) WURUIZER take a few lessons, so all you know you Star of Eve, Pilgrim’s Song of Hope, ING PIECES The problem of learning the positions s°und as the open A string, have picked up yourself. Some day you etc. Get some good music, Guilmant, is not as difficult as it looks, fortunately , , fourth Posltlon the first finger |“* —— instrument mafcfruy hope to go to the city to take some les- Dubois, Merkel, Smart and others have By EDWARD BAXTER PERRY The unusual popularity of “Descriptive provided the student has a good ear, a °Vny StnnJ? foduce.s the same pply the ^U. S. Govt, sons, but in the meantime what are you all written charming pieces that are not Analyses of Pianoforte Works” has induced natural mechanical quickness of the left ^ ^ stTm«J as facilities for buying in large doing? Very little to improve yourself, difficult, which can be well rendered on another work, which includes just those favor¬ hand,hand and a good<™d memory and that het.„ notefirst lEn Siner unisonon the withA string producesstring. the (on A and E.) (on D and A.) Bennett Organ Co. I fear, but you are not to blame for a two manual organ. In fact most clas- ite and standard compositions of lesser diffi¬ m culty about which teachers, pupils and music makes a systematic study of the different this position the octave of any ^ _ ORGAN BUILDERS this as few of you know where your sical organ music is quite possible on The fingering of the third and seventh positions one after the other. The third Produced by the fourth finger, as, the positions also corresponds, as in the fol- 10 Days Free Trial ROCK ISLAND - - ILLINOIS faults lay. Here, however, are a few such an instrument. of them: Apart from these old classics, keep in positior. should be taken up after the first fourth finger on the G string is this posi- lowing example the same fingers are used Take the instrument of your choice and be organa try it out in your home for 10 full days. as skill First, your finger touch is not the touch with new works. A host of Eng- Price, $1.50 has been thoroughly learned, and after tion produces a tone an octave higher in producing the four notes in each posi- proper organ touch. The right method lish and American composers are putting the student has acquired the ability to than the open G. tion, with the exception that in the third Your Choice ^etspro0df of producing sound on a moderate pneu- forth compositions of sterling worth and HOW TO UNDERSTAND MUSIC play in good tune in these two positions, In the fifth position the octave of any position the notes are played on the A the leading Violin makers of matic or tracker action is an exertion originality. Spend a few dollars once By W. S. B. MATHEWS and to shift from one to the other with open string is produced by the third string, and in the seventh position on the The Hall Organ Co. from.°rFaray, G°°er? of the finger and hand, keeping the arm in a while on them, you will not regret Price, $I.5C ease and accuracy, the remaining positions finger, and the unisons of the E and A L> string, Heberlein, Fiedler, Wurlitzer New Haven, Conn. 10c a Day free from all rigidness. Decisiveness is it. Above all, never rest satisfied; let suc- Eight editions of th splendid work can be learned in a fraction of the time strings are produced by the fourth finger been sold, and the wc < is generally r< No. 5. X,0Tio*’oorne“ ?-- Di one of the chief factors in organ touch, cess spur you on to higher endeavors, nized as indispensable t which had to be devoted to the first and placed on the second lower open string, Write for Special sllv.evi>1“tea' Modern but it must not be confused with mus- and when the time comes that you can A most valuable feal third. Thus, the open E string produces the (Third Position.) ( Seventh Position.) terial it >r pupils' musicalesf DISTINGUISHED for ARTISTIC VOICING cular rigidity. Pressure is the founda- go to the city for lessons under a master, There are many little helps to the mem- same sound as the fourth finger on the Circular Get full particulars of our great DIGNIFIED AND CHURCHLV. tion of organ touch. Above all, watch you will find that your time has not been MUSIC- ITS IDEALS AND ory for the fingering of the different D string in the fifth position, special offer. No obligations. your left hand; see that it plays a real^ wasted. positions, which the student might not the sixth position the octave of any The Rudolph Wurlitzer Company METHODS notice if they were not pointed out to °Pen string is played by the second finger (on A string;.) (on D string.) ■L The Zephyr Electric By W. S. B. MATHEWS him. It is a great help to remember and the unison of the E and A strings ■wa BWabMllATfr%SM Organ Blower A collection of essays for young teachers, what fingers are used in each position hy the third finger on the second lower . Of course this assistance in correspond- amateurs, and students, relating to rmri- ronsidered as an art and literature, and for producing the notes corresponding to °Pen string. For example the third finger hig fingering only holds good for the The Good Old Hymn Tunes the open strings of the violin, either in on the G string gives the unison of the three lowest strings, and not for the unison with them or at the interval of an A string open. high notes in the fifth, sixth, and seventh ROOT VIOLINS I don’t presume to say anything to carefully the lines of composers of hymn MUSICAL ESSAYS octave. In the seventh positToh the first finger positions on the E string, but these are Send for book organists, but I have thought this some¬ tunes in measure which have followed For instance in the second position the placed on the octave of the open easily learned, and where the student T, CULTl times: If organists and people, like min¬ the thought of the writer, and what a ...-yclopedin third finger on the G string produces the string, thus, the first finger on the A usually has trouble is to get the fingering wish Temple «r Music. Brooklyn, N. Y.f isters, understood the significance of the Thought. A Com. possibility there is for the good organist same tone as the open D, and the third string gives the first A above the staff, °n t,le lower strings in these three posi- . Waltham, Mass., 61 Wellington hymn tunes! The old hymn tunes, when Teachei a and Studen to admit the church into fine expression b containing the b< finger on the D and A strings produce the octave of the A string open. The tions. I was a boy, used to be written in short of religious emotion; and I have often .the same tones as the A and E strings second, finger on the open G and D Only short examples are given above metre—long metre and short—eighths and skillful adjustment thought, too, there is a good deal in respectively, as in the following exercise: strings gives the unison of the second but the fingering is similar throughout have made them the sevenths—and then some tune selected to creating an atmosphere; by looking at the higher open strings. That is, the second the compass of the three positions named, saLjsiactory violin at any price. Church Organs suit the particular hymn, hut nowadays title of the hymn tune—for instance, that CHATS WITH MUSIC STUDENTS No. I. finger on the G string in this position except on the E string. Send for catalogue of prices and color illustrations. writers attempt to express in terms of which Dykes gives in his Eternal Father, c> About and Mt ic Life would give the same sound as the open A _ While much application and hard study Old and used violins taken in trade. We also publish Latest Approved Methods. Highest music exactly the same sentiment which is By THOMAS TAPPER string. is necessary before the student becomes all kinds of easy music (or young orchestras. Cata¬ Strong to Save—that has the nature of logues free. Grade Only.Established 1827 expressed in the hymn itself, and the Designed to bring to the attention o The fingers producing these octaves or at home in all the positions, the few the island from which St. Paul escaped who make music a life-work, the very —„ Main Office & Works music is written for that hymn, and the at the time the storm swept the Mediter¬ contingent topics that should be considered unisons to the open strings can easily be helps outlined above will, I am sure, be E.T. ROOT & SONS differences in the music are just as nnection \ remembered as each position is taken up, °f great assistance in furnishing an easy 1530 E. 55th STREET CHICAGO, ILL. ranean. Whenever I see the title Nicea . and finds mi Hook & Hastings Col" striking as the differences in the hymn. over his Holy, Holy, Holy, I see the land and benefits that pertait In rtm can,. „ ,t. * c and this method of learning the positions road to the higher positions. I have Take a group of hymn tunes by Dr. in Asia Minor where Constantine cele¬ operXrProdUCed<^ he found to simplify the process usedthese “memory helps’’with hundreds Price, $1.! fineer on th* y„i greatly. of violin pupils, and have found that it Dykes: Eternal Father, Strong to Save. brated the doctrine of the Trinity which g g Learning the fingering of the fifth, reduced the time of learning the positions There is just as much of the roll of the is celebrated in that hymn. Whenever I THE MUSIC LIFE AND HOW TO FINE VIOLIN, $20 sixth and seventh positions, after the by fully one-half, ocean in it as in Rubinstein’s symphony; see the name of Hursley there rises to SUCCEED IN IT Guaranteed Satisfactory or pupil has mastered the first, second and PIPE ORGANS.gjjft; it is just as pastoral in character as my mind that little village in England No. 2. Money Refunded By THOMAS TAPPER third positions will be greatly simplified Our Instruments comprise all featui Beethoven’s symphony. Take the hymn, where Keble, who was the author of the A companion volume to the “Chats with Send for by noting the following fact: Spare the Artist Wholesale Catalog F which are of real value. Many years of prac¬ Lead, Kindly Light, of Dykes—there is hymn had his garden. He there very Music Students.” It points ‘ ” success to teachers and stud< The fingering on the A, D, and G tical experience. Write for specifications. just as much feeling as there is put into happily took Keble s record of that and According to the articles of The Hague, JOHN MARKERT& CO. Price, $1.51 strings in the fifth position is the same Violin Makers, Importers, Dealers EMMONS HOWARD ORGAN CO. People That Walk in Darkness. Take applied jt to music. You see that beau- the nations who signed them agreed that the first position, only that the 33 WEST 8TH ST., NEW YORK WESTFIELD, MASS. the one where our Saviour sits together tiful little English village, the quiet in war, historic buildings, and great works BUSINESS MANUAL FOR MUSIC fingering is done on the next lower of art, should be spared. It certainly with his disciples and promises the com¬ churchyard there and the little garden i ‘Most of the leading organs TEACHERS T string.. This comes from the fact that seems that great musical artists should ing of the dove. Take the tune that he and you remember how Newman and By G. C. BENDER OUR “SPECIAL” in the United States are others used to go down and talk at the ■I,™.6 , gerS Producing the unison or the violin is tuned in fifths. The follow- come under the same ruling, and should ilk coperated by the ‘Orgoblo’. wrote for Ten Thousand Times Ten The average music teacher blunders in oik c aves °f the open strings can be easily jng passage will make this principle clear time the great Oxford movement took way or the other in the business side. H« *t"v -i- be excused from military duty. It came OCr 10 Tested Lengths, OCr Over 8,000 equipments in Thousand; and there is the march of the remembered and in first learning the posi- place in the Church. If that is in your aoes not know how to advertise properly. He shock to music lovers to learn that kiO Silk Violin E, for«D^ , use. Write for booklet.” army right to the city of the King. You ;?1,s *n keeping accounts. He is slow to ■on should be compared to the open No. 3. heart, people will feel it through tbl the advantages of the social sid< * the great violinist Fritz Kreisler had Made in ai will remember that in the first verse of strings to see that they are in correct si Position.) (Fifth Position.) Send for Violin and Cello Catalogue 0 H. P. church and it will make a difference dress, of collateral education, et been compelled to go on the firing line, the Ten Thousand Times Ten Thousand nne. This can only be done of course MUSICIANS SUPPLY CO. The Organ Power Co., the playing and in the singing, and people these problems.” * br°"‘ht 1 with his Austrian regiment, and that he there is Fling open wide the golden gates when the notes in the exercise to be 60 Lagrange St., Boston, Mass. HARTFORD, CONN. will respond to it. It will be the rffi! Price, $1.00 had been wounded. Many great violinists, and let the Saviour in. It is there as Payed are natural. Learning the fingers A.m C. FOSTER, 218^Tremont'st',‘Boston,“ mmi. mg of the service with a difference-REv vocalists, pianists and other artists are G. W. WESTERFIELD, 264 Virginia Avenue, Jer.ey though he was flinging open the gates. Howard Duffield, D.D in an add KEV' corresponding to the open strings or their (on the A string.) (on the D siring.) now fighting on the battlefields of Europe, n„YOU CAN BE A NURSE And just take that group of hymns of octaves, gives a fixed anchorage to the and a number have been killed. If great n« positively guarantee to train you in your own religious thought from one writer. Count ZgaZT'1™ °f th£ « Zlrican memory- and— the «„uother ,fingersu,6i,a ■-.a.,. H In the above example the fingering S^U®orfo,'ra’ a,nd assist you to positions Theo. Presser Co., Philadelphia, works of art are to be spared, why not |^1 and illustrated book ^•‘NattoTat 1”*“““°* Please mention THE ETUDE when addressing *asily calculated from them, until finally of the two passages is identical, only that great artists? J Nalional School ol Nursina. Pepl. 62 Elmira.N.Y. Please mention THE ETUDE when add our advertisers. THE ETUDE 305 304 THE ETUDE Preparing for a Public Appearance belly of the violin it is likely to set up a Many inexperienced violinists and stu¬ A Depraved Taste rattling vibration. It is important tha playing Handel’s Largo, with its slow dents make a complete or partial failure "It has become a fashionable fad to the feet of the bridge should be adjusted sustained notes, because he had carried ARTHUR HARTMANN when they appear in pubiis for the simple dispense with the services of an orches¬ perfectly to fit the arch of the belly. a heavy suit case to the theatre in his RECITAL reason that they are not in proper physi¬ tra, and install piano, banjo and drums. The tail-piece should be fastened to the right hand to oblige a lady friend. He BmIuorANT cal condition. To appear at his best the Concert Violinist This is the natural evolution of the button at the bottom of the violin by had to play as soon as he arrived, and violinist must be in perfect health, his tango, fox trot, turkey trot, etc., namely, tail-gut and not wire, and care should before his muscles had had time to re¬ Obliged, on account of the War nervous system must have a fine vigorous backward. This kind of music was once be taken that the knots in the ends ot cover, after carrying the heavy weight. to transfer his Studio from MUSIC tone, and all his muscles must be elastic, popular among the negroes of Africa. the tail-gut do not rest on the belly of His hand and arm trembled so much that Paris to New York. and in perfect working order. It is im¬ he found it impossible to draw a steady IDENTICALLY the same preparation |§| S Our modern fashionables will soon tire the violin. All parts of the violin are that was used by the great violinist. Not Iff and possible for the violinist who is weak, tone, and the whole performance was an W For terms of instruction address: of this new fad and return to real music put together with glue, and nails, brads, Duets, Trios Quartettes rosin.butanOricntalgumcompound,which || ^ | nervous, and tremulous to do himself involuntary tremolo affair, and a complete again.”—International Musician. screws, etc., sometimes used by inexperi¬ for Organ (Pipe or Reed), works on an entirely different principle. g| M MR. HARTMANN enced repairers should not be tolerated. justice. Alcoholic excesses and dissipation failure. With Paganini’s Tone Ameliorant you It is astonishing what queer instru¬ of all kinds are the deadly foes of good In order to ascertain if anything is Violin, Piano, ’Cello, Etc. In the case of rheumatism, cramps of get none of the grating harshness of rosins, “THE LINCOLN” mental combinations the craze for novelty violin playing, or in fact of any human but amostpleasingclarityandpurityof tone. THE GREAT PAGANINI loose about the violin, the instrument any kind in the arm, or where the arm is 130 Claremont Ave., New York City in dance music has given birth to in the pursuit which requires a perfectly work¬ It is dustless; it preserves insteadof disintegrates the strings and bow-hair and, should be held lightly by the neck with “asleep,” good bowing is impossible. Vio¬ last few years. The mandolin craze ing nervous system, extreme accuracy of being used more sparingly, it is far more economical than rosin preparations. the thumb and finger, and the back of the linists sometimes get their right arm un¬ which swept America a few years ago the muscles, an accurate memory, and your art, Paganini’s Tone Ameliorant violin tapped with the knuckles. In this der the body during their sleep thus size in unique handy container, 151.00; seems to have started the ball rolling. ll(mi1tCion8I^of^eiur money cheerfully refunded, if you As this partially died out, combinations School, Recital and Church purposes, as effort. Violin playing makes enormous thing is loose. well as for Ensemble playing. ing for a considerable time. The circu¬ s. Send us your order direct, if you Recognized as the leading school for highest class like piano and drums, piano, saxophone demands on the nervous system and on t it from a nearby dealer. Write for violin playing in this country. European methods. Great care and research have been lation in the arm must be perfect for the a and drums, accordion, guitar and drums, necessary to get together all the worthy the special muscles involved in the work, muscles to do good work. Where the circular telling how this secret formula Accommodation for limited number of students literature for these combinations. Below in residence. Chaperonage etc., gradually began to be heard. Double The Violinist’s Appearance and the. weak-minded and weak-bodied muscles are not in good trim from any our. possession, and is prepared so is only a partial list. one can profit by the master violinist’s Oper^throughout the^year. Singing with Mme. drums (bass and snare drums) played student has simply no chance at all. of these causes it is a good idea to go Appearances count for a great deal in CABINET ORGAN and PIANO ■ by one man, by means of a foot' pedal this world. The violinist who is neatly Some students who are otherwise in to an osteopath: or trained masseur, and Boccherini. Menuet.$0.50 good mental and physical condition meet Special Correspondence Course for the bass drum, were deemed neces¬ dressed, well groomed, and has a1 general Brahms. Adagio from Op. 78. 1.00 have the arm rubbed and manipulated. LIORANT MFG. CO. Allegro amabile. Op. 100.... 1.75 with failure because they tire themselves sary as a part of every combination for air of being on intimate and frequent The osteopath manipulates the arm in EDAR ST., OWATONNA, MINN. Beethoven. Moonlight Sonata, Op. out by leaving too much to do on the day REGISTRAR, 51 W.76th Street, New York City dance work. Where a two piece or¬ acquaintance with the bath tub, the barber, 27, No. 2 .1.50 such a manner as to increase the blood Gade. Romanza, Op. 59.65 of the performance. The student who is supply, thus causing the arm muscles to chestra is employed for dances, picture and the manicurist, has ten chances for Haydn. Adagio, Op. 77, No. 1.65 to play an important violin solo should acquire their usual tone in a short time. -mm shows, etc., piano and drums seem to success as a performer and teacher, where Knhne. Sacred Transcriptions.90 Beybach. Souvenirs and Regrets... 1.25 take a great deal of rest on the day be¬ The violinist can do much for his arms be the favorites at present over a great the violinist who is slovenly in dress, and Liszt. La Regatta Veneziana. 1.00 portion of the country, especially in the Low. Souvenir de Mozart.50 fore and on the day of the concert. The and fingers himself, by rubbing and mas¬ Violin Instruction has the general appearance of a freak in Romanza .40 night before the concert he should be in saging each arm and hand with the other, west. This fondness: for the drum can a “medicine show,” has one. There may Gondoliers .50 only be accounted for as a reversion to Mendelssohn. Three Songs without bed at 9 o’clock, whether he can sleep although he cannot do the work in so have been a time when long, greasy, un¬ the primitive taste of our savage ances¬ Words, Ops. 53, 85 1.25 or not. The rest will store up nervous scientific a manner as the osteopath. PROGRESSIVE VIOLIN STUDIES VICTOR KUZDO combed locks, and uncouth dress, may Meyerbeer. Huguenots Potpourri.. 2.40 Sole authorized representative (in America) tors, who loved the beat of the tom-tom. Mozart. Introduction and Quintette energy for the following evening. The Care should be taken in cold weather have been successful in some degree in from Magic Flute.75 day of the concert should be one given not to expose the hands to great cold It seems impossible that any person with Ravina. Adoremus.1.00 By FAMOUS MASTERS real musical feeling could prefer to dance making the violinist “look the part,” but Schmeidler. Concert Romnnze. 1.00 to rest and moderate outdoor exercise, just before playing. I knew a case of a LEOPOLD AUER to the music of the piano and drums in this day is rapidly passing. The most Schumann. Bilder aus Osten. 1.00 and not given to rushing around all day young man who drove five miles to play Selected and Edited by Eugene Gruenberg Teacher of Elman, Zimbaliat and Kathleen Parlow. Supp6. Boccaccio March.65 preference to piano and violin. successful violinists of the present day Verdi. Traviata Potpourri.net .75 attending to things at the last minute at a concert. He had forgotten his Instructor of Violin, N. E. Conservatory of Music Studio: 560 West End Avenue, New York City take great pride in their personal ap¬ Wagner. Lohengrin Selections.... 1.50 which should have been done several days gloves and the horse he drove was spirited Vol. I. STUDIES IN THE FIRST THREE POSITIONS pearance, and compare well with men in CABINET ORGAN and VIOLIN before. No great amount of practicing and hard to hold. He reached the hall good standing in other professions. A Album of Fourteen Pieces.net $1.00 should be done on the day of the con¬ where he was to play just in time to step Price $1.00, postpaid Sounds Foreign to the Violin writer in speaking on this subject says Bach. Andante from Italian Con¬ cert appearance. The student who has on the stage with his violin, but the cold The Etude Violin students are often puzzled to of Carl Flesch, one of the world’s greatest certo .65 followed this plan, and who has lain on drive and the tugging of the horse on the The famous masters of the violin have left to the world a great number of Prelude .75 wonderful exercises, most of them practically unknown. The present work aims know the cause of rattling, buzzing, or violinists : Beethoven. Adagio from Op. 24... .40 the lounge a couple of hours before sup¬ reins had gotten his' fingers into such Moderato Grazioso from Op. 30.. 1.00 to bring many of these hidden treasures to the light, and thereby to offer abundant VIOLIN STRINGS other sounds foreign to the violin which “With scholarly poise, Flesch disdains per, will find himself on the stage brim¬ shape that they seemed almost paralyzed, ETUDE Violin Strings offer^pUyers a chance occur when they play, and which they Andante from Op. 109.40 material, that is concise and progressive, for each grade of study. parade of technic, and the grotesque ful of nervous energy, with his mind and his playing proved a dismal failure, most frequently attribute to the violin Goldmark.rMAir'’fromr'' ‘Concerto” i! 75 affectations, which have clothed some of •Far, and memory in perfect order, while to the great surprise of his friends in the The* ETUDE* Strings are manufactured for being out of 'order. This is often the Gounod. Larghetto .net 1.00 | Our Spring Bulletin of New Publications will be mailed FREE on Request our^trade^ a.nd are ..^nearly perfect as the his younger colleagues with a little brief Handel. Larghetto.65 the student who has been on the go all audience who could not imagine what case, but not always. I knew of an in¬ Haydn. Cavatina from Seasons.40 day, including three hours of belated was the matter. authority. On the platform or on the HlrBCh. Andante Religioso.50 stance where a lady; sent' her violin, a practice, will find himself tired, weak street, Flesch looks like any other well Raff. Cavatina.net .70 These few instances go to show what OLIVER DITSON COMPANY valuable old instrument, from Seattle to Reinecke. Introduction Act 5, King and nervous, and in anything but a con¬ great care is necessary in preparation for dressed, and well groomed gentleman. Manfred .65 150 Tremont St. BOSTON G Strings, each..15c. New York, a distance of several thou¬ dition to do his best. a public performance. The brain, arms, 30 Strings, E, A, or D.$3.00 Neither long hair nor eccentric dress to Wagner. Prize Song, Meistersingers 1.25 sand miles, to a violin repairer, stating The violinist must take great care of and fingers of the violinist are like an Philadelphia, Pa. proclaim the artist, finds favor in his THEO. PRESSER CO., that the instrument made a queer rattling CABINET ORGAN, VIOLIN his arm muscles, especially of the right exquisitely constructed bit of machinery eyes. He is of the opinion that one may noise every time she played, and that and PIANO arm. Care must be taken not to carry and very small causes are sufficient to up¬ be a violin virtuoso without making up something was radically wrong with it. Bach. Meditati-m .$1.25 heavy weights with the right arm, just like a freak. He holds that volumes of Gounod. Church Scene, Faust. 1.50 set it. Professional concert violinists The repairer could find nothing wrong, before playing or indulging in violent ex¬ hair and volumes of harmony are not have learned all these things by bitter ex¬ BERLIN PHOTOGRAPHIC COMPANY Your Music Is Torn! and returned it, the express charges on Haydn.’ Ado-io from On. 77 No. i. T25 ercise involving the arm muscles, as this perience. They even go to the expense the round trip from Seattle to New York necessarily correlative.” Andante, Svmphonv No. 2. 1.50 Mascagni. Intermezzo . 1.00 makes them unsteady and tremulous, and of insuring their fingers for large 305 MADISON AVENUE NEW YORK CITY It will Take One Minute to costing several dollars. The repairer If violinists expect the public to take Mendelssohn.. Midsummer Night’s makes it impossible to draw a perfectly amounts. They take such excellent care Repair it by Using sent a letter with the violin, however, them and their art seriously, their dress, Dream . 1.50 steady bow. I remember the case of a of themselves, that they are almost always in which he suggested that the rattling conduct and appearance should be such Raff. Cavatina.net 1.00 Multum-in-Parvo Binding Tape Schubert. My Sweet Repose. 1.00 student who made a complete failure in in good form when they play. FINE ART PUBLISHERS might be caused by the violin touch¬ as to induce this result. If a man has the Ave Marin.75 fbearing and appearance of a mountebank I-nany.75 ing some, ornament on the lady’s Verdi. Miser,■, Trovatore. 1.50 Transparent Adhesive MendingTissue dress when she played. This proved the the public will infallably take him for Portraits of Famous solution of the mystery, as it was found one. CABINET ORGAN, TWO VIOLINS Musicians and Composers that some of the metal buttons on her and PIANO Some Curious Musical Experiments with Animals Theo. Presser Co., Philadelphia, Pa. dress were in such a position that they Grell. Laurel and Rose.$0.90 Wagner. Rienzi Overture. 4.00 Printed in photogravure rested against the violin lightly as she A Short Cut to Reading at One of the most delightful and inform¬ hind legs and fixed his eyes steadily on Multum-in-Parvo Binder Co. Flying Dutchman Overture. 4.25 624 Arch Street Philadelphia, Pa. played and produced the rattling noise Sight TannhUuser Overture . 5.60 ing books about music that has been pub¬ the player; an ass, meanwhile, went on measuring about 7x9 complained of. lished for some time is Francis W. Gal- eating thistles with absolute indifference. Reading at sight is an accomplishmen CABINET ORGAN, VIOLIN inches and mounted on If the violin rests against buttons, which many desire to attain. There ar and ’CELLO pin’s old English Instruments of Music. Cows stopped and looked a little, but chains, or articles of jewelry worn on many “methods” of doing this, but per Beethoven. Largo from Op. 1, No. 2.$0.90 Among the many interesting things in it passed on. Poultry gave no attention, fine Dutch hand - made the dress or coat, it will often give forth haps the most effective is that recom Romanza from Op. 50.90 is an account of some experiments made but the smaller birds tried their best to rattling sounds, which prove very mys¬ Andante from Symphonv No. 5... 1.15 paper, $1.50. mended by Adolphe Charles Adam, th Largo, Op. 10, No. 3.75 by various investigators to determine the sing it down. Owing to its trumpet-like terious to the inexperienced player. There Muller. Andante Serioso.1.80 celebrated French composer. Adam suf extent to which “music hath charms to tones, a horse seemed attracted and inter¬ are many other causes of these foreign Schubert. Andante from Symphony ^ ested, whilst a cat paid no heed at all to fered somewhat by a lack of early train soothe the savage breast.” The Trumpet CATALOGUE OF FAMOUS PEOPLE SENT UPON REQUEST sounds also. Care should be taken that mg and at an advanced period of his lif the musician’s efforts. Marine is a kind of one-stringed contra¬ the chin rest does not touch the tail-piece, he was unable to read at sight. He him CABINET ORGAN, VIOLIN, “We are also told that a prisoner in bass, with a number of “sympathetic” as this is likely to produce a rattling self gives us the fo.’owing account o ’CELLO and PIANO the Bastille, who was allowed the use sound. Every part of the violin must Bach. Prelude B minor.$2.00 wired strings in the body of the instru- hew he overcame the difficulty. “Soo Fuchs. Andante . . . 1.25 of his lute, noticed that the mice came be tight also if the instrument is to pro¬ after my admission to the Conservatoir Grell. Laurel and Rose ’ ’ .. 1.00 out of their holes and the spiders de¬ “ETUDE” duce its best tone. There must be no (in Paris) I was asked by a school fellou Herold. Zampa- Potpourri. 1-75 In Sandy’s and Forster’s History of scended from their webs when he began NEW VIOLIN MUSIC “ON SALE” open cracks; the fingerboard must he older than myself, to give a lesson at hi the Violin many details with respect to to play. Our own experience is that a rv.THcaAVfJ°.Ur-nam,e ent(Ted for the receiving of a few small packages of MUSIC CLUB BUTTONS tightly glued to the neck; the bass bar, UJN bALL during the professional season, no guarantee as to amount to be kept; dis- solfeggio class. I went to take his plac plete stock of Commencement and the effect of music on animals are noted, cat, which was frightened at the sounds linings and blocks must all he firmly glued with snbhme self-assertion, and althoug Exhibition ^Music, Octavo Choruses, and we have all met with the dog who of a flute and of a trombone, but lulled responsibility the small amount of postage; in place; another frequent cause of a each year; a postal card will stop the send- totally unable to read a ballad I son, to make u’p sel’ec'tton’s'toL^se^tfor ex- hurriedly departs when the violin is taken by the strains of a fiddle, was irresistibly rattling sound is where the knot at the hew managed to acquit myself creditabh animation. Liberal terms to schools, °.ut, °^ its case. In the early part of the attracted and evidently pleased with the end of the string where it is placed in Thousands of teachers receive piSno music from us in this way; they say i so creditably mdeed that another solfeggi eighteenth century a French scientist, skirl of a bagpipe. As it was a Persian vement to have 8 or 10 new compositions coming along from time’to time. We send mano the string holes of the tail-piece is tied class was assigned to me. Thus I lean arville, gave the result of some experi- cat, could it have retained a lingering vocal, octavo, viol.n and organ music this way ; any or all to responsible persons. ’ Theo. Presser Co., Philadelphia, Pa. too far from the end of the string. If reading music by teaching others how” THEO. PRESSER CO., ents made with a Trumpet Marine, recollection of the reed instruments so this long end of the string rests on the 1712 Chestnut St., - Philadelphia, Pa. THEO. PRESSER CO., Philadelphia, Pa. Please mention THE ETUDE when addressing pon hearing the sound a dog sat on his characteristic of its Oriental home?” our advertisers. msse asesttaa SHE BSUBE wfe#a afidrssitag ear aS.TOrftsm 307 306 THE ETUDE THE ETUDE

a large number that he has arranged. This is the result of many years of ex¬ Theo. Presser Co. perience and labor. You Can Weigh The second feature in the book is that Exactly What Publications Publisher's Notes all the pieces are attractive; there is nothing in it but of the most interesting You Should A Department of Information Regarding New type of compositions. The work is one Issued March, 1915 Educational Musical Works that will be useful to most of the or¬ Any of our work* itnl on inspection to t.ach'n, ganists, and we expect to have it ready upon request, al our usurt largo professional some time during the coming summer. All registration and pedalling has been carefully done. NEW WORKS. have an efficient organization of over two Our advance price on this hook is 50 You Can Be 12883 Labor Day.G. L. Spaulding 2 Advance of Publication Offers— hundred people, each one of whom has cents, postpaid. Special his or her share in executing even the So Well! April, 1915. Bgjdf P*" smallest orders. Aside from the confi¬ The Daughter of First Progress—Theodora Dutton. . dence with which a teacher may rely on Jairus. By John Stainer 12932 Two Polish Themes, How to Play Well-Known Pian our enormous miscellaneous stock repre¬ Solos—Charles W. Wilkinson. The special offer on this popular can¬ How to Study the Great Composers senting all the important publishers of the tata will be continued during the present —Thomas Tapper. Six biogra¬ world, there are always the PRESSER high and three gilt crowns adorned its morning and at the stroke of the clock IsOeb-Evans 3 month. The best possible workmanship May Day Customs phies, price complete. Publications, consisting almost exclusively top. The place where the May-pole begin singing their songs. The “green” .2145 The Yankee Donf» Same, single biography . . will be put into this edition; nothing but What mad happiness goes abroad over R. S. Morrieon 3% of teaching material covering all the stood was called “May-pole Lane.” Pope, about the college is massed with specta¬ the Rose, Note Spelling Book—Adele St the most superior work will satisfy us. our good green earth at the end of Pieces in All the Major and practical needs of the work. the English satirist, referred to this pole tors, who have come from far and near H. Wildermere This is one of the most pleasing of all April! Winter, is dead, long live Sum¬ 3 Among the Moon Flowers, Keys—Carl Koelling. Every piano teacher should at least be¬ in the line, “Where the tall May-pole once pipe Organ Gems—Chas. W. Landon the short cantatas, and almost every mer! This outbreak into beauty which to hear the choir welcome the happy R. Ferber o come acquainted with our catalogs, such o’erlooked the Strand.” This renpwned 0 La Apdalusita. G. D. Martin 3 popular Overture Album—Four chorus, sooner or later, takes up this Nature celebrates by putting on her dain¬ day. The singing is said to be very 3 All Smiles. . . .T. Lieurance 4 as “The Piano Study Guide,” “Selected work for study. If you are looking for May-pole was taken down in 1717 and Prayer, Promise and Praise—W. H. tiest dress has- been celebrated at all sweet and solemn; all is hushed and calm 12857 Elsa’s Bridal Procession Graded List,” “Graded Thematic Cata¬ something that will please and is not the place whereon it stood is no doubt from Lohengrin, Neidlinger ...... times and by all peoples. Mingled with until the spell is broken by the peal of Rose Dream, Operetta for Young log.” Vocal teachers should write for difficult or long, this “Daughter of forgotten. U Folks—Mrs. R. R. Forman... “The Singers’ Handbook;” for violin the joyous merriment of the season there bells from the tower. I... Jairus” will fill all these demands and a O. Olsen 5 Scale Studies for the Violin—I players and teachers the “Handbook of is a grateful sense of goodness which “Happy the age and harmless •were the One can have a May-pole dance wher¬ L2897 Une Folle, Op. 140, No. 9, Schradieck . great many more. It will not take, more Second Suite for the Pipe Organ Music for Violin and Piano” is indispen¬ makes the promise of the seasons so ever there is a lawn with a tall straight Ch. Mayer 5 ’ than about 25 minutes to perform. Some L2913 Jonglerie, Op. 107, No. 3, sable. “The Choir and Chorus Hand¬ stable and sure. (For then true love and amity was tree, The many colored streamers can book” is valuable to all interested in of these numbers have become immensely B. Godard 5 popular. Almost the entire cantata is In olden days, as with us, people found), be wound about a tall thin tree as well 12927 By the Waters of Minne¬ choral music. We invite correspondence tonka.T. Lieurance 5 Studies for General Use—Mathilde a book of gems, both in chorus and rushed to the open, and the more city- When every village did a May-pole as about a pole. The dancers can be on any subject connected with music or .2966 Valse Mignonne, Op. 16, No. solos. pent the population the more eager the 2.E. Schuett 5 Studies in Syncopat music supplies. flower girls and shepherd boys. A bower Sartorio . Our special cash price in advance of desire to get into the fields. The Romans 2896 The Streamlet, Op. 34, Parishes vied with each other in the in which to place “The Queen of the J. A. Pacher 6 The Daughter of Jairus—Stainer. publication will be 25 cents, postpaid. Powdered celebrated the coming of spring in their Four Hands Prayer, Promise and height and adornment of their poles, and May” can be easily constructed of boughs; 2197 March of the Pioneers, Op. Perfection floral games, which began April the 89.E. R. Kroeger 6 Praise. By W. H. Neidlinger a good- idea of the hilarity of the occa¬ a clown with cock’s comb and bauble will L2879 Garlands, Op. 107, No. 11, Studies for General Use. For the twenty-eighth. In “Merrie England” sion may be gathered from a curious old add to the merriment. Perhaps some B. Godard 6 Among the works which have come to Complexion away off down the centuries, it was the 12980 The Swan, us by the purchase of the catalogue of By Mathilde Bilbro ballad called the “Rural Dance about the willing violinist will come to play for Camille Saint-Saens 6 custom for the middle class to go forth May-pole.” 12196 Spinning Song, Op. 81, the Wm. Maxwell Music Company, of A very desirable study book for ele¬ at an early hour to gather flowers and the lacing and unlacing of the streamers ; H. Litolf 7 New York, there is one by Mr. Neidlin¬ mentary or first grade work, consisting “ ‘BeginJ says Hall. ‘Aye, aye,’ says if not, there is always the never failing, 2188 Cachoncha-Caprice, Op. 79, The April ger, “Prayer, Promise and Praise,” hawthorn branches, which they brought J. Raff 7 Title Page of short studies interspersed with little home at sunrise with the accompaniment Mall, always willing sound-reproducing ma¬ 2871 Polonaise, Op. 26. No. 2, which is worthy of the consideration of pieces, thus combining the useful* with .‘We’ll lead up Packington’s Pound; chine. Some of the dances found in The Fr. Chopin 7 The very characteristic picture within every choir and choral conductor. The the entertaining. It is the sort of a book of horn and tabor. With these spoils 2071 Grand March from “Tann- ■‘No, no,’ says Noll; and so says Doll, Etude may be of use if you tlse the piano. the frame on the title page of this words are taken from the Psalms, writ¬ which, will be sure to please and attract from the woods they would decorate hauser’ ’.F. Liszt 8 ten for soprano and alto or baritone ‘We’ll first have Sellenger’s Round.’ Morris Dance (4 hds., Feb., 1910), Chorus from issue, entitled “Liszt & Wagner,” is used the young student. It could be used as every door and window of the village. through the courtesy of the owners of solo, and chorus and organ accompani¬ Then every man began to foot it round Atherton. _r’’ . . F. -‘ a recreation book to be studied in con¬ What a very pretty custom that was— Isolds’s Love Death, the copyright, The Berlin Photographic ment. It consists of seven choruses, two something we might do ourselves—and about. Dance op the Village Maidens (June, solos, a duet and a quartet. The music junction with any pianoforte method, or Co.,. 305 Madison Avenue, New York with the first grade of any Graded I haven’t the least doubt in the world And every (firl did jet it, jet it, jet it 1912), Lindsay. City. This picture, in size 15x20, can is melodious and spirited throughout, but Course of instruction. The author is a that the hanging of May baskets sprang in and out. The Merrymakers (Dec., 1911), Ather- be obtained through them, as well as always churchly. At times it is dramatic successful teacher and writer. from this older custom of placing flow¬ many other imported musical pictures of in intensity, but never difficult. The or¬ “‘You’re out/ says Dick. 'Tis a lie,’ says FOUR HANDS The special advance cash price for in¬ ers over door-ways. The name given Springtime (Nov., 1914), Carreho. grgat interest to music lovers. gan accompaniment is interesting, afford¬ Nick: 12915 Polish Dance, Op. 3, No 1 ing ample support for the voices. Time troductory purposes is 15 cents, postpaid. Ingram’s to the hawthorn bloom was “the May,” ‘The fiddler played it false;’ X Scharwenka 4 Etude of performance: about 35 to 40 minutes. and the people called this ceremony ‘Tis true,’ says Hugh; and so says Sue, 12187 William Tell_G. Rossini 5 Third Prize Contest for Pianoforte Compositions Our introductory cash price on this work Studies in Syncopation, nvcola> “bringing home the May.” There was And so says nimble Alse. VIOLIN AND PIANO • for a short time will be 40 cents, post- always a “Queen of the May” who was Op. 1079. By Sartorio The fiddler then began to play the tune Do not be afraid of the words Theory 12931 Kuiawiak, 2nd Mazourka We are pleased to report a very de¬ rSoiouverame the fairest maid of the village and wore „ H. WieniaWski 6 cided stirring up of interest on the part These special studies are very timely again. Harmony, Counterpoint, etc. If yoi Face Powder 50c t ±1 ±ZZ, 12934 Legende, Op. 17, of composers in our new Prize Contest as they contain the principle of the a crown of flowers. She never took And every girl did trip it, trip it, trip H. Wieniawski 6 Pieces in All the Major and part in the dancing or singing about the smile at them they will do as much fo for pianoforte compositions. Although, rhythms used in the modern dances, such it to the men.” you. Minor Keys. By Carl Koelling May-pole. She must have had rather a VOCAL according to the complete announcement as the Tango and Maxixe. Besides1 this, The May-pole once fixed remained until These manuscripts were found among stupid time, for, she was placed in a sort Penetrate early into the tone and char 12536 The Dream-Man, which will be found on another page, the these studies have a great deal of musi¬ the end of the year, and had its place W. H. Neidlinger 3 contest does not close until July 1st, the effects of Carl Koelling since his of bower or arbor near the May-pole and acter of every instrument, and accuston cal merit. They are in various moves equally with' the parish church. One Dr. 12863 My Love is Like a Red. Red nevertheless, manuscripts have begun to death.. We are very glad indeed to there she sat'in state, the object of ad¬ your ear to distinguish its individua Rose.J. R. Gillette 3 and some of them almost approach Parr was a great patron of May-day fes¬ arrive. There is ample time for all who come into the possession of such a valu¬ miration of the whole village. However, coloring. 12866 Soon Forgetting, pieces. There are a number of waltz tivities: Opposite his parsonage near _ W. W. Smith 3 wish to be represented to prepare fitting able work. They contain short studies it was considered a great honor, so per¬ Counterpoint in relation to Harmony i 12944 The Great Beyond (Medium), through all the major and minor keys. rhythms and a minuet, but the study of Ingtam’S Milkweed Cream Warwick stood the parish May-pole, contributions. While all manuscripts are syncopation in all its forms is completely haps this compensated for having little what Syntax is to Ciranimar; or Counter A. Wallace 3 welcome, we would suggest to composers Most of them are in the form of pieces Preserves Good Complexions which was annurlly. dressed with flowers, 12945 The Great Beyond (Low). in study form, such as preludes and lit¬ treated in this set of studies. If a pupil —Improves Bad Complexions to do. In every village there was a fixed point is to Harmony as Algebra is ti that they give us their very best and ta'kes up this set of studies and masters and the doctor himself danced with his 12943 Thj Great Beyond ( High) tle short educational pieces. They come Price 50c and $1.00 at druggists. pole as high as the mast of a sailing Arithmetic. most recent efforts. There is absolutely it thoroughly, they will be grounded in parishioners around the shaft. ' ’ Wallace 3 no restrictions as to the number of in grades 3 and 4, and he has divided vessel, and each May-day gay ribbons Art does not exist in order to procur the matter of syncopation for all prac¬ “The lords of castles, manors, towns a.id manuscripts any one composer may sub¬ them up so that there is scale and ar¬ fluttered from the top, wreaths of flow¬ wealth. Be a noble artist and the res peggio work in each key. The remote tical purposes. towers, mit, nor as to the number of classes in ers were suspended from it. and round •will be given to you into the bargain. 12447 The Silv'ry Moon, keys, such as C-sharp major and A-sharp Our special cash price in advance of Rejoic’d when they beheld the farmers which he may be represented. We wel- publication is 15 cents, postpaid. and round the pole the villagers danced Everybody must bring a stone; no mat ,„ , M. Hollins 3 minor, have been avoided. These will pretty much all day. flourish, 12146 Heaven's Gateway, ter how small it may be, the contributioi make a pleasant and useful addition to In earlier times ladies and gentlemen And would come downe unto the sum¬ 12183 Beautiful Dreams, * Music Supplies the repertoire of any practical teacher. Richard Wagner mer bowers, will never be useless, provided it is sin joined in the Maying festivities; even 12378 When I Think of'Violets” 3 for Teachers The special cash price in advance of at Home the King and - Queen condescended to To see the country gallants daunce and cere and brought in good faith. publication is 20 cents, postpaid. . Every musx teacher has a personal mingle with their subjects on May-day. morrice.” Often rest yourself from your musica 12538 Fairy Tales in Song!' D°>le 3 We take pleasure in repeating our interest in the proper and satisfactory offer of last month to supply copies of Tn Chaucer we read that early on May- The Morris dance used at May-day is studies by reading good poets. Tak 12837 A May Caroi.H.’. H?* Walter 3 Pipe Organ Gems. 12(22 Easter Triumph, furnishing of students with the material Gautier’s “Wagner at Home” at 75’cents, day “Forth goeth all the court, both supposed to be of Moorish origin. Some¬ walks assiduously in the country througl needed in their work. No teacher can By Chas. W. Landon postpaid, cash with order. This is not most and least, to fetch the flowers times it was called Morisco, and there the fields. 12723 Easter Triumph,' *“ 3 afford to overlook the advantages and We are fortunate to procure from this one of our own publications, but we have fresh.” were certain characters, often as many What is wonderfully good for educa well-known author a collection of pipe 12880 Hear My Cryf* 0RG'l0r 4 needs arise. ganists of not great pretensions. The Wagner’s career. It is eminently a read¬ long preparation: their talent must b purpose by the Duke of York, with drums the top of the magnificent tower of Mag¬ The filling of teachers’ orders is the book is.in about grade 3 or 3y2. in the able book, written by one who was not developed early, and by careful educa beating, flags flying and music playing. dalen College. There, in their surplices, venous business 0f this company—not scale of 10, but none of the effectiveness only a “Wagnerite,” but also a proficient tion and special studies. of the compositions is lost. Mr. Lan¬ THE JENSON PRESS It was one hundred and thirty-four feet they assemble a little before five in the THEO. PRESSER CO., Philadelphia, Pa. niy filling the orders accurately and student of art and literature. We are don has been gathering this collection "ON TIME PRINTERS” {Department for Children continued on,page3j5) promptly, but also on the most econom- sure that no one with more than a pas¬ 25 Sansom Street, Philadelphia, Pa. lcal terms. To do this successfully we for years, and the selection is made from sive interest in the great works of this Fleasa -mention THE ETUDE whan ad dragging Please mention THE ETUDE when addreiein* ®ni sdvertiaira oar advertietri. 308 THE ETUDE THE ETUDE Child’s Own Book of Great master will be disappointed in this book, Musicians. By Thomas Tans are of melodic interest, so that there is which, as stated above, we are offering second grade. The phenomenal success This book offers a new and at,,!” genuine pleasure in playing them. They of the first set of studies by the same for a limited time at 75 cents. (Postage are really short pieces and they are so additional if charged.) method for familiarizing the y0tt„ ,e author has forced on us the continuation dent with the lives and works written that either student playing them of the work. Study pieces mean com¬ great composers. It uses to may take either the Primo or the Se- positions for the piano with the idea of A Rose Dream, “I Saw Your Advertisement the liking that all children have condo. They are not teacher and pupil improving some technical difficulty, but duets. Operetta for Young Folks ting out and pasting pictures The in a very melodious manner. The com¬ By Mrs. R. R. Forman WANTED—To buy conservatory. Address Our special introductory cash price in poser is a well-known practical teacher for the volume is supplied, and also,;" n., ears Etude. advance of publication is 20. cents, post¬ material for binding it up bin a. t of children, and one who has published This is a delightful entertainment for in The Etude” paid. many works that have met with the any group of young folks. It is intended really makes the book, all material h? greatest of favor. Price, $1.00. strictly for amateur production. There furnished and proper spaces beii, Willow Arm Chair. A Popular “Musical Ideas for Beginners,” by F. may be any number of participants, boys ranged for pasting the various ini!' for SALE—Virgil Techniclavier. George Marion Ralston. This is a work de¬ and girls, between the ages of 8 and 14. Burden, Johnson, N. Y. Etude Premium nearly everything one sought to buy. tions after they are cut out. The wnu signed by a composer and teacher of A very pretty and original fairy story is is arranged in a series according t0 n One of the most popular premiums great experience in elementary teaching told in music and dialogue with appro¬ PIANO TEACHER wishes to sell li¬ that The Etude has ever offered is our The Cupid Grand Grandma went to market with her dear old basket on her arm because she posers—the first six numbers of 7 brary, teaching pieces, books. Cost $15. Price to particularly interest and inspire small priate action, stage pictures, etc. The wanted to be sure that the butter was fresh, the meat was tender, t Waltham School Music, Waltham, Mass. willow arm chair. For only a little The first small grand piano ever made was the music is exceedingly attractive and the series being Mendelssohn. Sehm», children. It would come in just after gingham just the right color and the sugar full weight. She came spare-time work—just a pleasant call kindergarten work. The type is large product of Sohmer. That was over twenty- text is sparkling and entertaining. The Mozart, Schubert. Bach and Havdn ?’ FOR SALE—Estey two-manual church or- with a recent copy of The Etude in goods home herself to be sure of getting exactly what she had bought and clear, the selections musical and nine years ago. In this over a quarer of a scenery and costumes required are such each book there are blank spaces fotc„ Manager—Yone. variety of good music in this small col¬ shape. to the same address) .450 tt Publisher— Theo, Presser Co., Philadelphia. lection, and it is well named—first prog¬ »ete Waltzes of Chopin, DO YOU READ MAGAZINES? Our big of This Issue Owners: (If a corporation, give its name KRAKAUER The special price of 15 cents, postpaid, Hundreds of additional combinations Money-Saving Club Catalogue free. Write and the names and addresses of stockholders There is a depth and richness to ress. It is the first step in the advance¬ will be continued, therefore, during the to-day. Agents wanted. Write for full in¬ The following works, new publica¬ holding 1 per cent, or more of total amount ment made in music and a very import¬ are given in “The Etude Magazine its tone and perfection to its action present month. This is a book that in¬ formation. J. M. Hanson-Bennett Magazine tions, have just appeared from the press, of stock. If not a corporation, give names that makes it pre-eminently the ant step it is. The pupils are in an ex¬ Guide” of 36 pages; sent postpaid on re¬ Agency, 223 West Jackson Blvd., Chicago, Ill, and addresses of individual owners,) terests every practical teacher. Every quest. and our method of introduction, that is, Theodore Presser, Philadelphia, pectant state and look for something Open : DFonureHanrAlbumPian0 PieCe8’ pupil would be benefited by studying this Open- vl0Iln a, PIPE ORGAN INSTRUCTION—A slightly supplying one copy of these works to 11. H. Presser, Philadelphia-. ARTIST’S PIANO that will interest them in their first 1 Selections, violin and pianr used copy of Rink’s “School for the Organ,” interested persons at about the cost of Wm. E. Hetssell, Philadelphia. book. There is too little done in the way •/. Cutler Puller, Philadelphia. progress. If they are disappointed their Popular Overture edited by W. T. Best, complete, with English paper and printing, must cease with this whole career may be blighted, so these of writing and in elementary theory with |§;:: gs, sssfsi, 4,i. test. May he had for $3 (regular price $6) James Francis Cooke. KRAKAUER BROS. Album for Four Hands by addressing Drawer m, Alexandria, Virginia. issue, so far as the Ibw price is con¬ Known bondholders, mortgagees, and other little pieces, slight as they are, form a the average pupil, and we would recom¬ security holders, holding 1 per cent, o 193 Cypress Ave., New York City IS K-f-™ The standard overtures as arrai cerned. The works now being on the very important part of musical progress. mend every practical teacher to procure TEACHERS WANTED for Southern of total amount of bonds,s, i-*-——mortgages, or- other at least one copy of this work, and espe¬ for four hands furnish about as intei market we shall be glad to send copies securities: Our special advance cash price on the High School and Colleges. Oldest and largest of any or all of them on inspection to volume will be but 15 cents, postpaid. cially while it can be had at the nominal ing and instructive material for - agency service South. Special college service. (Signed) Theo. Presser. price of 15 cents. playing as can he found anywhere, Three agencies, one enrollment. Guaranteed our patrons at the usual professional service. Enroll-- nu».—- Sheridan’s Teaehers’ Sworn and subscribed before me this 12th The INTERLAKEN SCHOOL good four-hand arrangements it is Agencies, Greenwood, L, , discount; dav of March, 1915, What They Do in Wonder- ” ~ Other offices, [seal] (Signed) Jas. P. Winctiell. sible to preserve and to suggest mos Atlanta, Ga.; Charlotte, N. C. "Progressive Studies,” by L. A. Bug- town. By Ruth Alden Showy Parlor Album] ;jotee.lrSt i'‘eCes’ 39 P*»o pieces, large (My commission expires January 21, 1917.) for the Pianoforte the striking orchestral effects as oi bee, a volume of study pieces in the Form 3520. This is a jolly little journey for small p\eqSj7°%auldlig8 Set to Musi°: easy nally intended by the composer. In p people into the regions of musical fun. All those who play the pianoforte are >ng such pieces one becomes fam e, small goods and sheet music PIANISTS—Teaching adult pupils Popular Testing Talent There are nine episodes, each with its called upon, from time to time, to play- How to Play Well-Known with some of the best things in mui pieces which Serve chiefly to entertain; Musie and Ragtime Piano Playing by means “Doctor Carl E. Seashore of the de¬ appropriate musical setting in the form Pianoforte Solos literature. In this new book all the in city of over 800,000 population' In Middle of the quick, easy, short-out Winn Method, all partment of psychology at Iowa State such pieces as will catch the ear and Wcst- Address V. R. P. C., eare Etude or spare time, at your studio or their home; of a piano solo in the first grade, no By Ghas. W. Wilkinson of the great overtures will be gathi University, has just perfected a system chords and few double notes; the nota¬ serve to impress the casual listener, at pays big. One hundred teachers, three large the same time serving in a measure to together under one cover, all in schools in New York. Particulars, sample In¬ by which he can tell parents whether or tion is large and clear and the scenes struction books without charge. Positively display the proficiency of the performer. ard 'epianPotfoerternap‘eces f?n®frnin« Stand- very best possible arrangements, c StiXn,, I?.ualf.study; send for Russell- not It will pay them to give a child a are depicted in language at once simple fully edited and revised. Prof 0 5vUetin No, 14, valuable information no investment. Winn School of POPULAR In the; compilation of this new album the mand. Mr. 1 ,n dt" mail' Pwn,2fortS Teacher’s Guide, 35c by Music, IDS West 125th St., New York, musical education. and amusing. It is an excellent supple¬ endeavor has been to fulfill the forego¬ very nearly all the well l. SSOns cover Our special introductory cash prio S. Write for interesting literature] ment to elementary piano instruction; POMPEIAN MASSAGE CREAM is not a “In making these tests the pupil is ing requirements. While all the pieces which are played™bv fnIekn°j" P'eces advance of publication is 40 cents, p LS,s J>ow through the country, contains nothing in the least technical, hattan PublUhIng Co„ Carnegie Hall, Man- mask to conceal ugly skin defects but a sen¬ not required to sing a note, and no musi¬ are showy in nature, they are not neces¬ moderately advanced'stiXftT^’'3*? and paid. sible scientific means of restoring the natural and furnishes pleasing yet useful recrea¬ sarily difficult, and all of them may be healthy activity of the skin in such a way cal instruments of any kind are used. that it takes on the normally beautiful com¬ tion for little players; each of the musi¬ rendered with good effect by the average ourceLw fTf-wish« ftS’C suf; Time Studies for Four Hand YWDFR?m™JmMETH0D ATTRACTING Dr. Seashore has perfected a device by cal numbers is complete in itself, but the performer. ing t?oAhoT?NTi0N’ No device for beueflt- plexion of youth. The impression you make complete fn'one vnl,the lc%ons will be °P- 824. By C. Czerny tracted Instrumentalists has at- upon others is measured almost wholly by which he has divided one full musical entire series is strung together on a Our special introductory cash price for to be edited by Mr EMI boc>k is attention in recent years what others see In you. Skin defects bespeak note into fifty-two parts. By means of NO MUSIC PAPER INAMERICA story thread, the whole forming a splen¬ tins month will be 20 cents, postpaid. , This ’s one of the most useful of (fan n=(-0f Russian inventor and musi- disease and the irritating disposition that will add analysis of' cmSl?*^r’- who goes with sickness ; wrinkles are the sign¬ the most delicate tuning fork and a tiny prints one-half so much general news or so many did juvenile recital program, not only en¬ pieces which have not iltn desirable the Czerny books. It begins at the i SauiotFovsky. Zimhalist, Auer. Godowsky. but have ™ J’i’kon,y endorsed the devices posts of advancing age : abnormal fat shouts telephone he can ascertain the exact programs from all parts of the country as does gaging the enthusiasm of the performers, Special Offer for Mr Wilkin son’sV work! Tb COVered in beginning in the first grade, and indolence and indulgence. Good bodily habits but also, as is not always the case, fur¬ Imorovo them in tbeir own work to and the regular use of Pompeian Massage susceptibility of a pupil to minute grada¬ Renewing Subscriptions to will then cover practicallv n,ew kook vances by progressive stages thro 0*trovskvthinO«<.°Yn lland conditions. The tions of sound. MUSIC NEWS. nishing amusement for the auditors. the first and second grades and a 1 the dir«wtw?tttSte,ln Philadelphia is under The Etude During April teacher^ i- of tlle well-known American harbingers of age and Inefficiency. Note tho Our editorial and educational matter is also of The book is in the hands of the en¬ past the second grade. Through has I K Frederic Hahn (American teacher special coupon offer in our advertisement on “The first tests were made under the gravers and will soon be on the market; another page. Fill out coupon and send with direction of a department of the Des very high grade. Subscription $2.00 a year— Subscribers to The Etude who renew to play together from the verv beginr derwSSP who’ Aether with Rex TTn- fifty-two issues. Send ten cents for sample 10 cents lo The Pompeian Mfg. <’o„ ltiff Pros¬ Moines Women’s club. Several children until publication the advance cash price their subscriptions during April can save the students acquire a more aeon liaa a rranawf t°r f t,lp (’tlU'a»° iustitute, pect St., Cleveland, Ohio. Nothing convinces copies. Address Charles E. Watt, Editor is 20 cents, postpaid. person 1 tp glve special instruction in were tested and each was sent home with 35 cents on si 50-cent album of music by °,f .time and rhythm than can |U‘v Pln2Prbivc?riresi,0"deflp<‘ in the Spiral like an actual trial, and that is the reason and Publisher, 522 Kimball Hall. devices whL a clser’ one of the Ostrovsky why The Pompeian Manufacturing Compan- a chart showing his musical qualifica¬ obtained in any other manner. In a< Hon Whlch ba8 been attracting wide atten- CHICAGO. tion to their musical value, all the it® tions.”—Technical World. Please mention THE ETUDE when addressing our advertisers. Please mention THE ETUDE when addressing our advertisers. 311 310 THE ETUDE THE ETUDE

Do you FILE or PILE your music?

FILING^

PILING

asy

Sectional

THE NILES BRYANT SCHOOL OF PIANO TUNING BATTLE C

The Tuners’ Magazine STANDARD PIANO DUETS I s?£jg3S& IP SUMNER L. BALES, Editor and Publisher i 313 312 the etude THE ETUDE

The question has received a long answer but,* it deserve- much longer, for it is almost on a par _ the question. young lady put to Rotteck, the great h'tetoriaiT .Wonderful THE EDUCATION OF THE MUSIC TEACHER Commencement in a European drawing-room. She said : “Oh| AND 1 rof. Kotteck, we have quarter of an hour ^ High-Grade Violin yet before we go down to dinner. Do tell me Book Reviews Thomas Tapper’s Latest and Most Helpful Book all about your History of the World!” PRICE, $1.50 Exhibition Music Q. 1. Please explain the difference between Offer! The movement for a more thorough education of the music teacher is national A partial list of vocal muaic for closing a short slur and a tied note—must the line Here is postively the most in its scope. The main point of Mr. Tapper’s new and interesting work is to show exorcises. Copies sent patrons for exami¬ actually touch both notes to make it a tiet what the teacher must know to achieve the widest success and then how this nation if desired. 2. If a note is made flat or sharp or j ELetters from and to Joseph Joachim, se¬ TWO-PART SONGS lected and translated by Nora Bickley. with knowledge and proficiency may be attained. The captions of a few chapters make a preface by J. A. Fuller Maitland. Price, clear the great value of a work of this character. Call of Summer, The.R. R. Forman $0.15 free triaKa*Wi3te today—now. Come Where the Blue Bells Bine $3.75. Several illustrations, 470 pages. Fundamental Requisites Music Teaching as Service A. The short slur is a slur over two notes Boupd in blqe cloth. We want you to try your F. H. Brackett .08 of different pitch, or over two notes of the In a land of telegraphic notes such a book Equipment and Success Pedagogy Maypole, The.H. E. Warner 12 same pitch in which one or both have a dot as that of Joachim serves to make us realize Music in the Home Community Music Merry June!.C. Vincent .10 over them. The tie is a short slur over two that oul- failure to write our lives into in¬ Public School Music Efficiency Pohd Lilies.R. R. Forman .15 notes of the same pitch, neither being dotted timate letters to dear friends is an unfortu¬ Song of the Mill.M. Carmichael .10 The Basis of Music Memory Teaching Material as^ above described. The slur need not touch nate shortcoming. If you read one of the Springtime. Waltz Song.A. Wooler .15 letters to Clara Schumann, for Instance, let¬ The work comprises 2*4 peg.. .„d is h.ndeom.ly bound in cloth. sweet Evening BeUs. .H. E. Warner .15 There is, however, some difference of ters which often reached one thousand words This work will be sent postpaid to any purchaser upon receipt of price. May March.R. R. Forman .15 opinion regarding a slur over two notes of in length, you would at once realize how Blossom Time.J. W. Lerman .15 the same pitch in which the second has a beneficial such a correspondence could be¬ THEO. PRESSER CO. :: :: PHILADELPHIA, PA. v-. Kindly give ■■■- ° PRusHan coin- ularked you i - Hark to the Mandoline... H. Parker .15 dot over it. Some teachers hold that in such come1. It not only serves to bring one Into ITXofi Russian would pronounce the left over ,4 THREE-PART SONGS-Women’s Voices a case the second note is not played and that more active appreciation of the great things Dance of the Pine Tree Fairies, The the slur becomes a tie. I do not agree with in contemporary musical life but it also en¬ SnpriaM Artist’* Quality String Offer I names are a torment to the R. R. Forbian .15 this, but teach that the second note is struck courages reflection—fi quality sadly missing staccato, the first note being played with in American musical life. The Joachim let¬ musical dictionary maker. When I + ”™Pedu. Scarlatti. You will find it In several In? Old Time Favorites. Medley pressing ters are mirror-like reflections of the musical a list a few years ago I sonatas, but not in his laiest nnra ti, l1* H. H. Pike .15 nt, and the second note played rated Russians, and to my »st°njBbment found reason f()r t,,u hu * ‘ ?.£_ I?"? 1 Southern Songs. Medley.H. H. Pike .15 lightly. life of the great years of the last century. sssss® BEGINNER’S BOOK that they diaagreed in rewrd to certain very fnt uut, (.roM)l,s yW® Fairy Queen, The.P. H. Goepp .10 The flat or sharp holds only to the bar- ■' -.spondence includes some of the Hnmoreske ‘‘Swanee River” (Vio¬ line, unless the note thug affected is tied over Xour moDey By THEODORE PRESSER Price, 75 Cents were pronounced differently in different parts sp”netAworit“1 heJ ceased il:i lin Obbligato) ..Dvorak—Wilson .10 into the next measure. But it is well for is r Golden Stars.D. Kerrison .10 the young teacher to remember this very free MStfe S2WSSSES.* AXnSS BSgSLZ& IS aftiUSs rule: if the composer thinks that the mean¬ The Boston Symphony Orchestra, An His¬ SSSiSSS! THE latest work along lines of elementary instruction. The material used (the last name) "Kor-sa-koff,” and all the eIecn“- FOUR-PART SONGS—Women's Voices ing of any notes may be mistaken, for any torical Sketch, by M. A. de Wolfe Howe. Pub¬ our hand-made tone violins for professional use are of excep¬ is entirely fresh and is presented in an attractive manner. It is intended dictionaries give it thus. But when I met Cupid Made Love to the Moon reason, he has the right to make their mean¬ lished by the Houghton, Mifflin Co. Price, tional value and far superior in quality and power of tone to the for the veriest beginner; little tots just out of kindergarten. A very large one of that master’s pupils (Mr. Sokoloff), O. Can one giro any appreztmote fall, D. L. Smith .15 ing sure by adding an accidental. Thus I $2.00 net. 275 pages, bound in cloth; illus¬ note is used in the early part of the book. Questions and answers are given to a man who had been with him for years. I defining the classical period and th, romZ Egyptian Bridal Procession have used a natural before a B in the key trations. (Quad that he pronounced the name "k..r ••*<» period hi 0. W. Cadman .15 of G major where using the first seventh All honor to the noble accomplishment of clinch every subject. Writing exercises are introduced at the very start. koff," and told me that the composer did so. .1 /so kindly state how three period, ar, m Old Kentucky Home, The chord, and fearing that some performer might Henry L. Higginson, who in 1881 founded The utmost care has been given to every part of the work to make it as nearly a I taught my classes to pronounce Hacb- alleled ftp mmrmtute in religion letter, mistake it for the dominant seventh of F. the Boston Symphony Orchestra, often called perfect Beginner’s Book as it is possible to make. A trial of this new book is maninoff as “Rach-man-i-noff,” yet one day other arte.—1|. C. W. This rule will explain why you find so many America’s finest musical organization and cer¬ Violin Makers! earnestly solicited by all who have to deal with elementary piano instruction. the Russian professor at Harvard corroded Scotch Rhapsody.. accidentals in music which, strictly speaking, tainly one of the finest orchestras of the Liberal discounts. one of my pupils and gave it as “Rach-man- dedne such ptfi, Thou’rt Like a Tender Flower worlfl. It is a fine thing to have the achieve¬ ee-noff.” Bui when I met the gentleman In classical sdiool Herrmann—Matthews ments of the orchestra recounted in a work question I found that he called himself “Rach- includes. Ilacli, Beethov llandcl, Motart, Vojces of Spring.A. Q. Thomas Q. Is there a new way for pronouncing the of this kind and very excellently done it is THEODORE PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. mnni-noff!’’ Therefore I am always a little WM lontom niriir> with thr literature of FOUR-PART SONGS-Men’s Voice, scale syllables, Do, Re, Mi, Fa, etc.? The indeed. Ope of tfie most, interesting parts For Clubs, Teachers and Students fearful of the Muscovite names, and would J,'; Jonnson and the r« flier curse novels o( children in the town where I live are pro¬ of tjie book is Colonel Higginson’s own re¬ not be certain even whether tile capital of !,"* V n.‘'r V «»i i'r 1 heiillrnrrfined sen l Act of Up-to-Date Grand Opera. nouncing them “Doo, ray, me, faw, sool, law, counting of how he wept about forming the PLAN OF STUDY ON MUSICAL HISTORY the country is called Petrograde or Retro- Jimentallli of Klchnrdson. fhe true elanlcal A Musical Comedy... .F. J. Smith tee, doo.” This seems absurd, bat perhaps orchestra. His experience as a business Outlines, Question!, Answer! and Programs grade. But I am reasonably safe in saying , VM ., ' ""a1" rather to Cobbler and the Crow, The this method opens the throat more, or serves man is splendidly evident at every step, and IN PAMPHLET FOKM S. Powell some other vocal purpose better than the one can see how a different course might Prepared by Mrs. F. S. Wardwell, His full name is Alexander Porphyria vlcb . ” ■Is alw ays some hazloos », |0 what Excelsior. Balfe—Smith true Italian pronunciation, though it seems to have been ruinous despite the fact that there Chairm Terrace, Stamford^ Conn. ^ h"i"diu .. n .1 pi.II.. . III., in 11|, 11 «• .. "I III. »»M Good Fellows’ Song, The.H. Tourjee me that the method would constrict rather Gypsy Trail, The_T. B. Galloway was a very large..bank account to draw upon. name), and as he is a descendant of the royal ''lawuriil. hut I should drfin. It as sjm than free the throat from strain, etc. If the The founder of the orchestra gave far more General View of M°usic,'Opera, Oratorio, Musical house of Imeretia, and that house claims '""'r nil music In which li.iellcnuUltv ami Hj§ Day.C. P. Scott method has some justification, can you tell than his money as the success of the organi¬ Form, Voice, Piano, etc. Topics on History of ... 11 ■ .11, III.. r..vul lime. ..i l-rnrl n.l- ‘ "“’"“n *re blender). The romantic -,b»l Honey Town. A Plantation LuUaby me what this justification is, when, where and zation has depended in a large measure upon Music, complete;. German Music, Books I and II, Mastering the Scales and Arpeggios ."in |h err k a direct dr-,-, n.lant I'r.,m Hint le r hr pi .p. .n.l. i:,■ nr.i |,,n tine .-,n by whom it teas introducedt—H. the fine judgment and notable ability as an and Russian Music, in detail; Programs of American other musician. King David, that Is unless not °raw as close an annlner h-ra-w... m.,d, Keen the Air, and Clear the Sky. A. I do not know of this method. Cer¬ organizer of the great philanthropist who Music, arranged by the composers; Colonial Period, the princes of Imeretia are bragging. and the sister arts in their periods of devcl Hunting Song.W. R. Spence tainly “Doo” would be a more difficult sound has given this country one pf its proudest Indian and Negro Music by Arthur Farwell; Out¬ A Complete Daily Practice Manual from the First Steps to Highest opment as one can between palming and Listen to My Tale of Woe to produce clearly than “Do,” and “Faw” institutions. The years- under Henschel, Ger- line of Border Countries and Opera; List of Subjects Attainment. Everything Fully Written Out. Abundant Explanations. Q. How may one distinguish between the literature. Smith—Petrie would be less clear than “Fa.” It may be ieke, Pauer, Nikisch; Kneisel, Fiedler and Dr. for Musical Club Programs. Programs of Modern designation of a note marked to be played one Perhaps the reason is that la its early Love’s Old Sweet Song that these are chosen just because they are Muck aye al| of great interest to $hose who Music, and a Study of the Literary Works of the - lower and one mariced’ he„„ vwwplayed stages music tried to dominate poetry. In Molloy—Smith vowels that are difficult to produce. ‘That have known the orchestra for years, but the Great Tone Poets. By JAMES FRANCIS COOKE PRICE, $1.25 together with the octave lower. That is a, tile early operas the libretto was generally Lullaby.J. Brahms would be the only justification possible. Just kernel of the whole matter is found in the the**there ,„.r. markings™^ and theyf— cut ami dried according to the musical scheme, ‘‘Mah Punkin’ Sue”.S. F. Widener as in piano practice the teacher sometimes admirable manner in which the founder car¬ Thus there would he a set of arlaa for the Mary of Argyle.. .Nelson—Shattuck purposely gives an awkward fingering be¬ ried out his noble idea. America will never ORIGINAL FEATURES CONTAINED IN NO OTHER WORK V. There some confusion In these r H ■“ other for the male soprano, FOUR-PART SONGS-Mixed Voice. cause of its difficulty, so in vocal work we be able to pay him enough credit. lugs. But t - ...» female alto voice. There must practice the difficult sounds as well as Preface containing opinions of great pianists upon the necessity for scale and At Honor’s Glorious Call arpeggio study. although simply ••8va’ distinct classification of the aria#, Sullivan—X evin the easy ones. 1 Preparatory Section.^ Gives ful "Aria Parlante," the "Aria dl Published by G. P. Putnam’s Sons. Price, f°r th£.f°rma*ion of all scales, major and minor, em- etc. In Germany they 111 ' Awake With the Lark.De Reef i the left hand of the srs which any teacher may make at home without -f- -raw-7' Away to the Woods.De Reef $3.50. 510 pages, bound jn cloth; numerous KIESLING’S TEACHING PIECES the possibility of any mistake. The nroDcr 1 r throe or four rflfforent languages in an BeUs of Dreamland.Ratbbun illustrations. For Plano, are sold by most music dealers in Creator New York, marking of the addition of a note an octave n"'* Klnir''r "sing Italian, another Kindly explaint— It is impossible to look upon a work of below the printed note is “Con 8va basso ” French, etc. The poet was crushed under Bugle Song.Demarest Chicago, amd^other cities, and used by hundreds of piano Come AH Ye Jolly Shepherds (Scotch Helpeb, Op. 47, No. 9. this kind without being guilty of the plati¬ .-.- Part Song).G. B. Nevin tude, "It is only the busiest of people who marches, rondos, 1st and 2nd ^grades.’ Mazurkas, caprices! ZjSSSjE^«*» «*«•*’ .Omitted peda- Come, Sing with Zest.A. F. Andrews find time to do big things.” This long and Come to the Gay Feast of Song interesting work fias been written by one a rate of TOO mS"’“fn SyS“m °f developin8 the «reat'« possible velocity in scale study leading to ic poems of Goethe and Heine bn of the hardest-worked women qf our times. have seen it used both ways. icnce upon vocal music, and the I „ , , De Reef ibif The story of the Scale. Complete history of the development of scales entertainingly told. Of course the octave higher is o.i—r.—- and Schumann cams Cunning Fox, The.De Reef Nevertheless, in addition to all of her daily KIESLING, Composer, 1035 Gates Ave., Brooklyn, N. Y. God Keep You Safe.. .H. W. Petrie duties she has found time to produce a very Complete Arpeggios. All chords explained. Special exercises for expanding the hand without se of S h?. rectly„ - aftcr.'and-, I-. be ,. ause of tliese poets. unusual book. Lilli Lehmann represents to t!rm “8 va'1 ’a It a ” ^ have s®en tlle vorks, ail PoHtHnnReligion InflnowInfluenced music chiefly In Hail! Orpheus, Hail!.De Reef ^ ^THia^work omits nothing that is regarded ard” by the leading Conaerv nddition that is only apt Immortality.F. L. Bristow Americans the very topmost point of Ger¬ I presume that you knoi •onfusion. .Tlfe4, "»»»»'>*■ Thus the only mi In Pride of May... .J. p. Ludebuehl man singing art. A great singer, a great Enthusiast jcaUy endorsed by Rosenthal, B haus. Gabrillowitsch, Liebling, Katharine Good only a Latinized form of Middle Ages that was recognized LuUaby.j. l. Browne actress, a great teacher, it is not surprising NOW READY -lltsldo of Troubadour and Mil May-Pole Dance.De Reef that the five hundred pages of reminiscences linging) was should escape the customary padding that is Our New 140 Page Catalog in tH* Self lie light forth Josqiiin Pea Pre#, Night .Mozart—Tschaikowsky ing'ln ihee"\m\n(1 a pa •lando di l.as 0 Hush Thee, My Babie.G. B. Nevin the' curse of so many biographical works. ----fUt ThePw Old Oaken Bucket.... Arr. Rockwell A. The double-dots are quite right and At the end of the book is a list of one hun¬ “Coppdlia” hy^rfmiles'^ tostant Church ...lertfMl ita Influence chiefly In intelligible. The F is to be held down ex¬ dred and twenty operas ranging frqm Adams THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. the form of the ci.„.„„ 0 Sparkling Little Morning “MUSIC BY MAIL” which lofty school 0. Hilton—Turvey actly the value of a double-dotted quarter, Postilion of Lonjumeau and Offenbach's Grand came from the Influence .‘ Our Country.. n ™ - that is a quarter, an eighth and a sixteenth; Duchess to Wagner’s Tristan and Isolde and may lie considered a late product PUgrims’ Chor a half-note less one sixteenth. Hold the F Beethoven's Fidelia. Mine. Lehmann made of the Influent..of thel>lt Protestsul Church. through the two groups under the slur, each her dibuts in these works between 1866 and M. Witmark & Som"« Er?o“‘ The romantic school ■gan chiefly with Sands o’Dee, The.’.'(TlT Nevin 1885. She very often not only knew one rOle A NEW EDITION BOUND IN STRONG PAPER, Price, $1.00 Fl'«bln and Schumann. The latter e. Sigh No More, Ladies... .H. Parker but two rOles such as Elsa and Ortrud in jrted (he chief influence In this school. He Song of the Village Church Bell Q. In what form are the following two Lohengrin and Queen of the Right and ™te* \°”g or short r JouKht against the imitations of the classical _ , B. Steane pieces written: Schumann's “Papillons:" Cho¬ Paniina in The Magic Flute. Americans will i ' rV?«r::r ,2vhi<,h. barriers In his day. Sunrise .Moszkowski—Brapkett pin’s “Scherzo” in B flat minor Opus Sit— of course find those years that Mme. Leh¬ LANDON’S REED ORGAN METHOD be nh *F,rlt ?f,the school bad departed M. T. Tippet. mann spent in our country (1885 to 1889) dash through the atemt fiimJr’;,each wi. ,v nnrt tile erlflof... (U«7. t ea Hod them . Swing High, Swing Low. . .Kerrison Kindergarten SW ., This new edition is bound in stiff paper covers with cloth strip back The notea and the followina nnt™ h ,t tfj Ruardg in the To the River.. .W. Franke—Harling A. Papillons are mostly in song-form, the of greatest interest, but the whole book is Secures and holds the child’s interest. Two Marionettes.E. Cooke smallest musical form. But Schumann was filled with stimulating anecdote, practical ad¬ old edition in stiff board covers at fl,50 can still be obtained. vice, and most of all the life story of a Color Bird Scale, Staff Peg Board, Folding Music ( LZn durationthe t Should^ note^ilaLi, Played Beethoven.ZZlthlDS A protes We Hasten to the Meadows.De Reef rather free in form even in the smallest . . This method is of the most practical character. The material has been se¬ we’re A’ Noddin’.J. E. West works, at times. If you wish to study the great artist, with significant meaning be¬ Boards, Keyboard Diagram and many otBer at¬ lected from the best composers, each number being carefully edited and copiously onor the third of these three Vnote^rf s?h2i?t,Ck W*M . Who Knows What the Bells Say? elasticity of the song-form look over Men¬ tween every line for all earnest vocal stu- tractive things. Send for Catalog. annotated together with a short lesson in which every point is fully explained! A. Such greups are almost invoi.i n ,tcKt ct\00 came as that protest, _ H. Parker delssohn’s Songs without Words. DANIEL BATCHELLOR & SONS Ye Singers AU.G. N. Rockwell Chopin’s scherzos were the first applica¬ Germantown, - Philadelphia, Penna. Each number included has been especially arranged for the Reed Organ with the makesrno®differ'SteS‘ Tb® ^noinination’Sald fh,itn°ith ‘~ J..i" V"' romantic schMl tion of the scherzo-form (so far as it has idea of bringing out the best possible effects of the instrument. No unadap ed r’i' *o^^JJ6ntiy. u e prone to imagine that the I , CANTATAS FOR WOMEN’S VOICES a form) in separate works, as an independent pianoforte or pipe organ pieces will be found. p ea ^LagV4%^*e4hthb«TsC1nstea^ Ttiki i skilful composition alwt form. Before these the scherzo was always There is one point in composition '-second notes, t won o . ?, written in existed, bbut such. u■_ -fa . -- „ being the ca „ THE GOLDEN VALLEY a movement of a larger work. where the intellectual and intuitive func¬ Owing to its thorough rudimentary instruction and progressive character this H. E. Warner Price. 75 cent Properly speaking the scherzo ought to be work may be used with absolute beginners. Special attention is given to the playful. Its very name indicates that. But tions meet, and, but for the assistance development of the true reed organ touch and to the equal training of the hands composers have departed far from the idea of the intellect at this given point, no There is a special chapter on stops and their management. which Beethoven had when he founded the RAGTffj -V£. scherzo to sometimes take the place of the permanent art of music could exist, This MATERIAL TO USE WITH AND FOLLOWING THIS METHOD “i«5s™4‘S«E?yrfraSK SlistMtw-.' minuet, of which he was getting tired, be¬ consists in the written record. The in¬ cause of its eternal dance rhythm. vention of notation, though it must con¬ 10 cents for sample copy. S°h?o™f Gml<2TlI,PIlTl^' Each.iled by C' W- Landon- Four voluraes ” sheet mus c This great scherzo is anything but play¬ HRIST! i RAGTIME REVIEW ffocity Studies. Theo. Presser. Grades III-IV...... "".*!' ful. Indeed Chopiu used to say that its form to the requirements of intuitive I- CHICAGO Little Home Player. Twenty-eight" pieces in grades I-II.. . . . opening phrase should be like a charnel- action, is of purely intellectual origin. Pictures Thirty-two pieces in grade III . grace-notes r,;.,,. 'uu time or ri,.~ ..,, 7me to-dav. The Idisslain e»P house.” Yearning, longing, triumph, are in Juvenile Duet Playt -Xteen four-hand pieces in grades II-III, g notes from the A-flat precodinl of ' * civen their adhesion to the pH No intuitive action would ever of itself Classic and Moder this work, but not playfulness. Fifty-eight pieces in grades III-IV. 0 Which - , foundin'"8 classic, upon a folk-wn The shape of the scherzo as Beethoven Music typography tn all its Branches I ius Organi. Tht “ of high-class Reed Organ music. V; I;™™ ts right, to nm n , youndatlon. This |s tf|V|mr i new ltfcvMoe lead to the invention of written signs. Little Preludes. J. S. Bach. Grades III-IV.. ■ Grades III to V. Each".’' established it closely followed the minuet, when therhahtn hma nr »«§w th* Ji1,* h""'-‘ ---— J- S. Bach. Grades IV-V . .. when the hands eraser bright l,ona M sic is evor-chnuging : ,h.%ri»ol «f. »< Three-Part In J. S. Bach. Grades V-VI. .. scherzo being somewhat longer and more de¬ rficord itself, and its lack of advance hanaTlii^Te^ ^ the hand, veloped than that of the true minuet, while "ife; the trio, whether marked or not, was more beyond the small form of a melody ^Dudley T. Limerick I THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. in contrast than the trio of a minuet. which could easily be remembered. The '■options. This scherzo, then, has the song-form with -GOSPEL SONG PLATES-1 composer ought to ' 1 18 Ubt, til© THEO. PRESSER CO. debt owed to the monks of the Middle adding the words trio shape, sometimes called the minuet- e mention THE ETUDE when addressing our advertisers. C. and* that htindreds of form. In this case the trio begins at the Ages is in this respect incalculable.— JVo. JO 8. Kicks Street, Philadelphia t yet suspected, will m Philadelphia, Pa. part marked Sostenuto. This Is In contrast with the first and last divisions. Margaret H. Glyn. (Market above Fifteenth ) Please mention THE ETUDE when addressing THE ETUDE 315 314 THE ETUDE Rudvard Kipling on the Importance of Music Children’s Department in War (Continuedfrom page306) [Many leading musicians and puhlien-euin England have^ luting the«^ NEW PRESSER PUBLICATIONS FLETCHER MUSIC METHOD Games and Puzzles Helen was running as fast as Possi- There is an American pianist whose blej faster and, faster she flew, when JUST OFF THE PRESS playing is characterized by earnestness, suddenly she tripped and rolled over a mlfitery iWe thaTwe Cannot forbear from reprinting a neutral portion of bis speech-^ The Normal Summer School will be opened by Mrs. Fletcher- smoothness, repose, energy, lightness, broken hoard. Nellie heard this sudden To responsible parties we will send on examination any of f The Etude.] Copp in San Francisco, in June. intensity and zest. When arranged in ,ng and started slowly toward her our Publications at Special Rates. i civilian tunes that it employs and the words th: Mrs. Copp’s sisters, the Misses Fletcher, will open Mrs. Copp’s . The most useful thing that proper order the beginning letter of each sister- By this time Helen’s high soprano these busy days is to speak as go with that tune are sometimes vi Boston Summer Class the 1st of August, in Brookline, as usual, in of these adjectives will spell the artist’s V0|ce was lifted up so very, very loud little as possible, and if he feels moved remote from heroism or devotion, but WORSHIP IN SONG order that the last, month’s training can be given this school by name. (Zeisler.) that the whole neighborhood turned out ELECTIC COURSE OF to write to confine his efforts to his the ma&ic and the compelling power is to see about the trouble Anthems Arranged from Well-Known Songs Mrs. Copp herself. by Famous Composers GRADED STUDIES cheque-book. But this is an exception in them, and it makes men’s souls realize A MUSICIAN’S NAME. Nellie was running J fast as possible In Piano Playing- to that very sound rule. We do not certain truths that their minds might Single Copy 25 cents, prepaid Any number of players may take part toward the spot where Helen had meas- $1.80 per dozen, not prepaid By J. M. BLOSE Price, $1.00 WHAT IS THIS METHOD ? know the present strength of the new doubt. in this game, the only materials necessary ured her length. “Hold me up ” cried In this attractive anthem collection a At the cost of over 375,000, Mrs. Copp A practical course which can be taken Fletcher Music Method, finding in it an armies. Even if we did it would not Further, no one, not even the adjutant, being a slate, watch and pencil. One Helen “while I tie my shoe.” “Oh” said number of sacred songs which have be¬ up with pupils who have some knowledge has originated, developed and introduced ideal, democratic and rational system of be necessary to make it public. But we can say for certain where the sonl of come very popular have been assembled a radically new system, psychologically of the players, who is called the leader, Nellie, vivaciously, “you are not so badlv of the rudirhents. A book which can be teaching music tp little children. may assume that^there are several battal‘ the battalion lives, Bat the expression and arranged for mixed voices in anthem sound, of teaching music, which, in the A large field of happy, successful selects a musician’s name and writes hurt.” “Yes, I am, snapped off Helen taken up" after the instruction book is ions in Great Britain which form. In addition tp these, several well finished. past fifteen years, has been adopted by occupation is open for those ready to of that soul is most often found in the several letters forming it upon the slate- accenting each word sharply “I’ll have in existence at the end of last July, and known part songs have also been similarly The book contains sixty pages, and one seven hundred music teachers and has grasp the opportunity. band. It stands to reason that l,2flb the letters are written in the order in to g0 horae now and py J been introduced into England, Ger¬ some of them are in London. Nor is it arranged. hundred and eight exercises. Those exer¬ Dr. Lyman Abbott, Editor of “The i en whose lives are pledged to each other which they occur. The slate is passed to after this episode. .‘Naturall » ^e The twelve numbers contained in the cises at the beginning of the work are many, France, Belgium, Canada and any part of our national policy to explain the next player who is allowed three lveme Australia. Outlook,” writes: must have some common means of ex¬ collection are : extremely simple. “Mrs. Copp teaches children to think and how far these battalions are prepared minutes to gain some idea of the name “ /ly' ,°ne step at a tune and Calvary,.by Paul Rodney That music teachers are willing to to express themselves in terms of music. She pression, some common means of con- O Light! OLove! O Spirit! by Ciro Pinsuti for the work which is ahead of them. that has been chosen and to write a " . °y lt?tle and very, very slowiy they come from the above mentioned coun¬ They were born quite rightly in silence, veying their moods and their thoughts O Dream of Heaven, - by Arthur Sullivan letter, either before or after those already , , P°y|se *“ t,me f°r dinner, Jesus Calls Us, - - - - by Claribel Nevin RHYMING TUNES FOR tries, that they are not misled by the But that is no reason why they should to themselves and their world. .The The Heavenly Song, - - by Hamilton Gra; many claims of copyists into studying on the slate. If the letter is correct, the ^ s helen s another opened the door she The Shepherd of the Fold, - ^ -^byO^Bari LITTLE PLAYERS continue to walk in silence for the rest band feels the moods and interprets the less expensive and more easily obtained leader announcs it and the slate is passed low^e^ large and expressive eyes by Hem„ By HANNAH SMITH Price, 75c of their lives. Unfortunately up to the thoughts. A wise and sympathetic band- GoTfsTspir - by W. S. methods, proves that the Fletcher Music Mr. Riesberg, of the ' on to the next' player; if incorrect a to ^e^en’s new. barred gingham dress by Pinaut- This new work should prove one of the Method must be what it claims to be. present most of them have been obliged master—and the masters that I have met best efforts of an unusually successful Courier,” writes: mark to indicate a failure is given to now ab torn and dirty. “It is all over" by Concone-Giffe Cut off from all possible foreign music “The Fletcher Method has per: to walk in silence or to no better accom- have been that—can lift a battalion out composer of pieces for the very young. number two. Number three, who has had was ab Helen said, Solemn’ Thought, by Ambro study, prospective musicians and paniment than whistles and concertinas of depression, cheer it in sickness, and S The work is largely melodic, the times some time to study the word, now takes teachers are turning with interest to the and other meritorious but inadequate in- steady and recall it to itself in times being divided up between the hands with his turn scoring or missing—and so the PICTURING RUSSIAN MUSICIANS, very little harmony. It may be taken up struments of music with which they have of almost unendurable stress. You may MUSICAL IMPRESSIONS FOR Full information will be gladly furnished. Apply to slate passes around the table, only the The names of the following Russian in conjunction with any system of instruc¬ provided themselves. In the beginning remember a beautiful poem by Sir Henry THE PIANOFORTE tion, and the various numbers may be MRS. EVELYN FLETCHER-COPP this did not matter so much. ^fore Newbolt, in which he describes how a failures being counted. musicians might be pictured out as fol- The leader must act as timekeeper and lows: By HUBBARD W. HARRIS Price, 75 cents used as the very first pieces. 31 York Terrace, Brookline, Mass. urgent needs had to be met; but now that squadron of weary dragoons were led to Each piece has appropriate verses which the new armies are what they are, we renewed effort by the strains of a penny scorer. Capital letters are never used Essipoff (Letter S—eye) (picture) The eleven original pieces contained' in are, suitable to be sung. who cannot assist them by joining their whistle and a child’s drum taken from and the period with which the word ends puff (picture), this volume are all by the well-known The scales are drawn in a larger than teacher and composer, Hubbard W. Harris. ranks owe it to them to provide them a toyshop in a wrecked French town, counts as a letter, with this difference, Cui (Billiard cue) (picture). usual size-so that the notes may be easily They are in various styles, all of moderate distinguished by the child. with more worthy music for their help, I remember in India in a cholera camp, however, all additional letters must be Arensky Letter A—wren (picture)_ prefixed. sky (picture). length and very characteristic. their gratification and their honor. where the men were suffering very They fie chiefly in the third grade, in a A Music Cabinet Worth While ! I am not a musician, so if I speak as badly, the band of the 10th Lincolns For example, suppose the leader has Rachmaninoff (Hat rack) (picture) few instances a little beyond. Adaptable A. B.C. OF PIANO MUSIC _ Music—every selection a barbarian I must ask you and several started a regimental sing-song and went had in his mind the name of Schubert, —man (picture)—enough (picture boy equally well for study, recreation or recital By MRS. H. B. HUDSON Price, 50c I, free from dust, and safe gentlemen on the platform here to for- on with that queer, defiant tune, 77it He writes upon the slate be. Number finishing three plates of ice cream), The author of this little book in her give me. From the lowest point of view Lincolnshire Poacher. It was their regi- two at the end of his time can find no Rubinstein (Letter R—pronoun you— opening paragraph says: “A teaching ex¬ perience qf sixteen thousand lessons has Don’t let your mus'ic become torn, worn and a few drums and fifes in the battalion mental march that the men had heard a clue to the name and is counted a miss. ^'n (picture of coal bin) stein (picture FOUR SONGS dusty; don’t search everywhere for the selection demonstrated the need of a more simple you want. Keep each piece perfect and find it mean at least five extra miles in a route thousand times. There was nothing in Number three tries, a happy thought ste'n of beer), By CARYL FLORIO Price, $1.00 form of piano exercises for children. This strikes him and he adds r, which is called Rimsky-Korsakoff (Rim — tire-rim) instantly by filing it in-a march, quite apart from the fact that it—nothing except all England, all the A splendid set of songs for studio use, book is intended to precede any piano they can swing a battalion back to East Coast, all the fun and daring and correct. Number four finds himself con- ,(picture) sk! (P'^ture of man on skis) to be taken up in conjunction with any method; familiarizing the- pupil with the quarters happy and composed in its horseplay of young men bucketing about fronted with her and with a thought per- £or.e Pict«re (core of an apple) letters vocal exercises or studies of elementary or piano keys before taking up notation is the principal on which the work is based. TINDALE mind, no matter how wet or tired its big pastures in the moonlight. But as it haps of Weber he prefixes /and is S A C°Ugh (picture of man coughin^' intermediate grade. These songs are unique in the fact that all fie within the After the' hand has been shaped and body may be. Even when there is no was given very softly at that bad time rewarded with a demerit mark and so compass of a fifth, E to B on the staff. placed on the keyboard, the young student Music Cabinet Tand go.’ in that te ble. camp of death, it was the game goes on. begins playing at once, from large capital the roll and flourishing of drums and the c ™ A Music Test for Young Each song has both Italian and English Beautifully finished in various sizes and graceful thing in the world that could The game gives excellent opportunity Pupils words. All are carefully phrased, with letters instead of from notes. designs—Mahogany, Oak and Walnut. Made for fifes around the barracks is as warming have restored as it did restore shaken for exercise of observation and quick- ... interpretative markings.; The book is illustrated in a manner to Sheet Music, Albums, Player Rolls and Phonograph Re¬ and cheering as the sight of a fire in a men back to their pride, humor and self- ness. _ Who can answer the following: ques¬ The titles of the songs': are: impress the child. cords. $17.00 up. Small monthly payments if desired. room. A band, not necessarily a full control. This may be an extreme in¬ tions correctly? In music we use our Write for Illustrated Catalog So. 31. band.ybut a band of a dozen brasses and “Ave Maria” stance, but it is not an exceptional one: FIND THE NAMES OF SEVEN AMERICAN fingers a great deal more than we use our “Fair Is the Sky, Ah Why?” THE COURT OF MUSIC wood-winds, is immensely valuable in the e Any man who has had anything to do COMPOSERS. minds, at least I have found it so; but “Song of the Fortune Teller” A DELIGHTFUL NOVELTY IN TINDALE CABINET COMPANY district where men are billeted Salesrooms, No. 1 W. 34th St., New York vives , - .“ witb the service will tell you that the Edith left off practicing quite suddenly. the ‘‘me has come at last when every The author is a well-known teacher and PLAYING CARDS Price, 50c it opens and unit/a®soc'?tlons> battalion is better for music at every She unbuckled her slipper and sat there player must use his mind too; at school composer Who knows just what is needed practical vocal work. _ Especially adapted ■ for Musical Card Lrfsurelv than anv anS °f men tUrn’ haPPier- more easily handled, with holding her foot, Evidently the pain we have grammar, geography and arith- Parties, Spciables, Clubs, etc. MsresZtaP-P-31 Can' greatcr «« in daily routine, if to either stopped or something unexpected metic tests, why not test ourselves in YOUR FING All of the regular card games—Euchre, ERS SHOULD BE SLAVES TO YOUR WILL 1 haps more than anv oth/™/n,fvPerT Ta"* 'S 1svvce,encd 'vi,h melod-v a®| happened—.“Nev—nev (she did not fin- music? SIX FOREST SKETCHES Whist, Casino, Hearts—may be played with this pack, the difference being that, THE wonder whether I should s,/t'El,hI SSTfafffi bod” "" ”'"1 ‘ ish) in my life did I hear such noisy Read these questions over carefully, For the Pianoforte SPIRAL KEY FINGER EXERCISER boys!” Chad, wicked rascal, was swing- then go away from the piano and answer By F. FLAX1NGTON HARKER Price, 50c instead of hearts, diamonds, clubs and WILL MAKE THEM mg Herbert by one arm and dashing his them. , ‘ c, all entertaining, as well as in¬ spades, the denominations are sharps, flats, STRONG AND UNDER CONTROL structive, characteristic pieces by a well- notes and rests with the following face head into a tub of water—“Mac,” he 1) What is “up” and what is “down” known American composer. The music cards: Single^keri Tulo.01 Combination Set. pSJOO. “uL'^HuMatiS^S 1 Testimonials yelled, “Come—Mac do! Weltering 0n the keyboard? is of a fine character, far removed from KINGS Hand and Finger Development will help you. Your Hands Are Your Tools. With What Other People Say waves are overtaking me 1” 2) Give a short description of the the commonplace, the kind of a volume Wagner, Beethoven, Mozart, Mendelssohn Tjle"* and Musical Ability will have a Chance. trough Harker’s “Six TWoc* r . (Buck, Foote, Paine, Nevin, Chadwick, metronome. the best teachers are glad to add to their QUEENS repertoire. In point of difficulty the vi™ihnsTs,0!ndk'OT Each sketch'fills a pe^nal wluA 6Very pa»e **« &» Herbert, MacDowell.) 3) How are your fingers numbered? Patti, Melba, Calve, Lind ■ pieces are in the second grade, verging on GODOWSKI. ZIMBALIST, AUER, SHATTUCK, SAURET, DRDLA, etc. cn^SOr‘«thiDfe’ melodlou^1sDnpiVandofteUch; i?',pn8> and 1 «h«Tbe glad to tel! 4) What is the difference between a PRINCES Personal and Correspondence Courses. Address the third grade. CHARADES. major third and a minor third? Sullivan, Herbert, Strauss, Offenbach OSTROVSKY INSTITUTE necUcut. MRS- Willis F.BsSSbw! Con- Wager.'8 “nd frlend8 about “-01®: PHILADELPHIA: CHICAGO: (What two touches are these?) 5) What kind of a step is found be- Hahn Conservatory of Music, 1714 Chestnut St. Steinway Hall, 64 E. VanBuren St. lx looking throna-v. .... coltlc Four-Hand Album" Is a My first is a general’s name tween B and C, between B flat and C, THEO. PRESSER CO., 1712 Chestnut St., PHILADELPHIA, PA. slons,” by HubbarCfhW^Ub,mMl1,Sica,1 ImPres- the aWii.,- “U0‘ worth. It brings wltWn Frederick Hahn, Manager Rex Underwood, Manager My second is past of “to get” between G sharp and A sharp? Music Teacher Agents Wanted. My third is on the baby’s foot. 6) Where do the half steps come in a&j «—»■->sk s^yssa. asjbs. cc M _ —(Legato.) a major scale? My first is a support 7) Give the fingering to the scales of '«««■• pi.r.r.,- by n;a“ga,p”-.'« s^tsss‘3 My second is a family pet C, G, D, A and E? beginners. They comblnp^wu0nal value for delightful little book for young bejrfnDers. METRONOMES My third is “to drag.” 8) What is legato playing? NEW SONGS OF EXCEPTIONAL MERIT with melodies and in a form mrf the “<*es with the little piecel are Inter- TKE^PAT^H OF THORNS-^Med.din C. (C to E) by Waiter Rolfe - - . 60c Ohio. ChM’S m,pd-MRS?r?E“a9Et Cart! attra-**'- —M«s —(Staccato.) 9) What is staccato playing? What famous p 10) What does accent mean? THE STYLES ARE: wrlH THE MILLS Song, Med. in Eb. (E^to F) by Walter Rolfe - 60c ^.^.-roic/^ducts royal “> What is a chromatic sca,e? N0 BELL fiE American Maelzel with door attached.go 25 qfLL —fur CS' * am a shelter in the garden. American Maelzel with detached lid . . ‘ 2 25 z oc (.Harold Bauer.) Beauty in an art work is nothing n French Maelzel with detached fid 2'in lin Palmer Davidson, Michigan teacher—Mrs. k,ngsburt, Massachusetts. * than the completeness with which it sat- J. T. L. (Best) French Maelzel with detached lid’ ’. 300 495 A MUSICAL RUN. ;sfies the soul. Its entire value depends PRICES SET TRASSPORTATIOSADDITIOSAL DISCOUSTS OS TWO OR MORE n p?ace of the italic words write out upon its beauty in this sense.—Ernst the »• mention THE ETUDE when addretaing our advertisers. s?t'sutjsz equivalent in musical signs.) Friedrich Richter. THEO. PRESSER CO„ Philadelphia. Pa n THE ETUDE when addressing our advertiser*. THE ETUDE 317 316 THE ETUDE REQUISITES FOR THE MUSIC TEACHER

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THEO. PRESSER CO. the etude 319 318 THE ETUDE “The Greatest Symphony Ever Written’ An Introductory Talk for the Pupils’ Recital By JO-SHIPLEY WATSON Think for a moment of the vast sums “So Fate knocks at our door!” given by big men of affairs for the musi- able our fingers to run lightly up and SPECIAL PREMIUM REWARD EXTRAORDINARY REDUCTIONS ^ introduction at a pupils’ recital , in^any cal development of this country. These This is the famous saying attributed to down the keyboard, was a pupil of Beet¬ cases there is really very little that rnrea oe Beethoven when asked what the four said and then the teacher may profit by sound, level-headed business men are not hoven. He says that Beethoven heard IN MAGAZINES the ones to squander their money on mere ominous tones at the beginning of his the bird while walking in the park in rtlchr^ay entertainments or amusements. They Fifth Symphony meant: Vienna, and used often to make up music EIGHT SURE BLOOM ROSES We have arranged a number of special low-priced magazine combinations 2£« know that music has a face value infin¬ —or to extemporize, as it is called—from FOR for the benefit of our readers. These offers comprise positively the greatest following covers some of the points that itely above its delightful importance as an the music of the birds thus heard. reductions ever offered. Present subscriptions will be extended. Each may be likely to interest the average audi¬ entertainment. If you were to ask any magazine can go t > different addres Canadian postage additional. ence. After the customary complimentary The second movement is the famous ONE NEW SUBSCRIPTION TO THE ETUDE remarks upon the attendance the teacher one of them about the advisability of in¬ and ever favorite Andante, in which the might commence in some manner such as tne Special Price Special Price vesting in a musical education they would ’cellos and violas announce a beautiful To show our appreciation to those who influence new sub¬ following.] shout 1 reply, “Fine,—w< THE ETUDE ... A $Q25 THE ETUDE ) $ -| 60 ‘ investing song-like theme, the basses touching in scribers to take THE ETUDE regularly, we have arranged Modern Priscilla . . . > £— Woman’s > 1 — .illions in it for the public good.” Probably the greatest revolution in with pizzicato strokes. In the Scherzo, a special premium reward of Eight Everblooming Roses McCall’s (free pattern). .j Save 75 cts. World (Save25ct*. The pupils who play this afternoon have popular opinion during the last fifty years which follows the double basses and ’cel¬ for One New Subscription to The ETUDE. THE ETUDE) $1 65 has been that of the American attitude studied for different lengths of time, and This theme is so simple that we are THE ETUDE . . . . los set the pace. Without a formal clos¬ Housewife f JL toward music,—particularly the study of should be Judged accordingly. Recitals told the members of the orchestra laughed Housewife .... . Save 35 cts. such as this are in themselves a great ing to the Scherzo, the Finale opens tri¬ OUR OFFER Y2- music. In our great cities there has been, at it when the work was first performed, McCall’s .... . 1 Save 50 etc. discipline for the student. You need not umphantly. 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Woman’s ) _| - in days gone by permitted his daughter as they are powerful and noble.” come to some of the following recitals lowed to lose sight of the theme of “Fate Magazine J Save 50c THE ETUDE ... A to study music largely because he wanted Felix Mendelssohn, who used to visit The roses are all strong, well rooted , I am sure that you will be greatly inter¬ knocking at the door.” Even when the Woman’s Home Companion to be entertained in the evenings at home, the poet Goethe, says this in one of his plants, which have been THE ETUDE) $ *| 90 or because he thought that the daughter’s ested to observe the development of those calm and beautiful second theme is in¬ Modern Priscilla . . .J Modern [ X ~ letters: “He (Goethe) did not wish to grown for us by one of who are to play for us to-day. troduced the ominous first theme is heard Dates to Plant Roses Priscilla J Save 60 cts. admirers might be more interested if the hear anything of Beethoven, but I told the largest rose growers THE ETUDE ...,.]1 $275 young lady, could play a few pieces. Is it not the common right of all chil¬ grumbling in the bass, thus: de of Florida, California, Texas.after February I of America. They are him I would not let him off, and played de of Arizona, Oklahoma, South Carolina, aftef March j Modern Priscilla . . THE ETUDE) $Q00 Now, however, our American men and dren to have beautiful music come into well packed and guaran¬ Ladies’ > S.— their lives, just as we may enjoy the the first part of the C minor symphony. de of Washington, Tennessee, Virginia . after'March if Pictorial. Review . . j| Save 75 cts. women are so well read and so conversant No. 2. Violins, p. dolce. de of Nevada, Kansas, Missouri ... aftef-April 1 teed to reach their desti¬ World) Save50cts. heaven born gift of lovely flowers, fresh It seemed to have a singular effect upon with the great investigations which have nation in good condition. THE ETUDE .....] air, grand trees and beautiful birds? The him. At first he said, ‘This causes no de of Mom la, Mici ran. New YiSrk and THE ETUDE) $fJ40 been made with the view to finding out ill New England St er May 1 Roses will not be shipped Woman’s Home Companion men and women who go about deploring emotion, nothing but astonishment. It is !*3- Christian > - what is really worth while in mind train¬ until the proper time. American Magazine . .J1 Save $1.25 Herald) Save60 cts. the lack of an opportunity in youth should grandiose.’ He Continued grumbling in ing that they know that music ranks at SEND ORDERS ONLY TO Mutt go to same address have only one thought and that is of the this way, and after a long pause began the top among those studies which make opportunity of the rising generation in again: ‘It is very grand, wildly mad; it THE ETUDE, PHILADELPHIA, PA. THE ETUDE . . . .]1 $050 the growing student more attentive, more which every adult should take a proprie¬ makes one fear that the house is about to THE ETUDE) $Q| Woman’s Home Companion receptive, more accurate, and'more rapid Woman’s > tory interest whether he is a parent or But although the great theme was fall down; and what must it be when Pictorial Review . . .J 1 Save 50 cts. in his thinking processes. So putting Home Comp, j Save 50cis. not. Oliver Wendell Holmes has ex¬ pade to serve so majestic a purpose, it played by all in concert?’” aside whatever pleasure we may get from pressed this thought so beautifully in the THE ETUDE) $r%4 THE ETUDE ... A was suggested to Beethoven by the sound ; So the Fifth Symphony has become a hearing music, the experience of learning lines: Technical > To-Day’s (pattern) . . . *1 — of a yellow-hammer, according to Carl world’s favorite; almost a hundred years music, particularly how to play some World (sa“d McCall’s (pattern) . . . j Save 75 cts. “A few can touch the magic string, Czerny. Carl Czerny, who wrote so many have weighed this master work in the Every music-lover should read the worthy instrument, is without equal in its And noisy fame is proud to win them; pf the technical exercises we use to en¬ THE ETUDE 1 $ O 5 THE ETUDE . . . .) benefits to the student. .las for those that —— — balance without finding it wanting. . $212 But die with all t American j £4 ~ McClure’s Magazine . J music-study articles by Save 50 ct Save 60 cts. THE ETUDE . . . .) 5 THE ETUDE) $*1 60 Ladies’World . . . . i*2- To-Day’s \ X ~ Does it Pay to Give Free Music Lessons ? Wit, Humor and Anecdote LOUIS C. ELSON Modern Priscilla . . .J1 Save $1.00. (Women) J Save40cts. America’s foremost musical authority in According to this advertisement in a Brown was what is commonly called a THE ETUDE ... A i $222 THEETUDE) $*}40 By CLARA LOUISE GRAY Connecticut country paper there is a cow gifted amateur singer. Modern Priscilla . . . Musician j Alt in New England which is possessed of As a matter of fact, he had really Mother’s Magazine. . . J 1 Save $1.50 Save 60 cts. rare accomplishments: quite a good voice, and, although he had “Is Rose going to take an extra les¬ THE ETUDE . . THE ETUDE) $050 When Rose finished her hour, she gave 'Wanted—A steady, respectable young only just recovered from an extremely THE MOTHER’S MAGAZINE Musical ) £ — son this week, teacher?” Review of Reviews. me a note from her mother, which read: wan to look after a garden and care for bad cold, readily responded to an invi¬ }*3- Leader J Save $1.50 “I ^pect her,” I answered. “You know ‘ Dear Madam :— tation to sing at the village concert. This favorite home publication is the when I said I would give you both free a cow who has a good voice and is accus¬ . * that Rose has too much on her THE ETUDE . . lessons, I made only one request, and tomed to sing in the choir.”—Exchange. What is more, he rendered his selection THE ETUDET $f>00 mind, and that she is working too hard in a truly charming manner. AMERICAN MOTHER’S BEST FRIEND Mother’s V Delineator Delineator that was that you should not miss no E verybody’s 1 Addres! j’3-\ Save $1.: in school, and I must have her stop her When the applause had died down, mat£f what came up. What made’you Every woman needs the help of the music for the season. however, the chairman—a nervous little THE ETUDE . “Very truly, “Here, waiter!” said the rude man in t e cafe; “tell the orchestra to play man, somewhat inexperienced, rose hur¬ Delineator ... “Rose said she was afraid it was going “Mrs. Whitney." PERSONAL SERVICE BUREAU dyj Save 51.0 1*3- riedly to his feet. Woman’s Home Companion I Save 8SC. to be too much, to keep on, as school And this was the result of giving Rose While 1 eat ‘’’is beefsteak.” work is so hard, and that she is going to cs, sir. Might I inquire why?” “Ladies and—er—gentlemen,” he be¬ HOME AND SCHOOL DEPARTMENT THE ETUDE . free lessons all winter. gan, “before Mr. Brown started to—er— give up for the season.” , . ^ant to hear the Toreador Song. I Current Opinion sing he asked me to apologize for his— }*3- “But you know the musical is very the remedy. BETTER PARENTS’ LEAGUE *fe a bul1 fighter.”—London Opinion. er—voice, but I omitted to do this. So near now, and it would not be right or I made up my mind to see Rose’S Their advice and assistance free to every subscriber. THE ETUDE . . fair to stop just at the present time.” mother. I—er—apologize—er—now .’’—Answers. Youth’: Companion. THE ETUDE) $040 ’3- THJatxi-1JWhat my mother said,”’ an¬ If all teachers would try and keep mort It. was at a concert. The eminent SIX HUNDRED THOUSAND WOMEN find in the Delineator ) £4 swered Mildred. in touch with the parents it would be bet¬ ** Was embarked upon an ambitious “Don’t like ragtime, eh?” Mother’s Magazine the solutions of their daily problems. THE ETUDE . . . As the clock chimed eleven, Mildred’s ter for both. Mrs. Whitnev was much ZfCa! prograin The single individual “Not much,” answered the real mu¬ Woman’s Home Compar.ii hour was over and Rose walked in Pleased to have me call. We had a nice J'42 hi? e.n, W^° pa^ f°r bis ticket turned to sician. “Ragtime always sounds to me LET US HELP YOU! Review of Reviews. talk and as I arose to go, she held out boJrl^ t~an(^ nefebbor, obviously by his like a tune affected with the stuttering THE ETUDE . er hand and said, “I am glad you came 1200 pages a year, for only $1.50 (.„ • an. suPefior air a person whose habit.”—Brooklyn Citizen. Modern Priscilla to see me. I was going to let Rose stop, THE ETUDE) $050 Harper’s Baza Ladies’ World . s3- Hearst’s. . w!1 ut now after our pleasant visit together, sical critic W3S t0 3tten<* concerts—a mu" DAVID C. COOK PUBLISHING CO., ELGIN, ILL. Everybody’s j £4 Ladies’ Home Save 50 eta. Pictorial Review Saturday Even would no more let her give up than I Spurgeon was asked if the man who which did not ring-she quitega^e atrue. ,ittie fl“I° unceam would take her out of school, for I have isn’t, lP!rd°n’ sa'^ the individual, “but learned to play a cornet on Sunday would Send Orders Only to afraid I shall never be able to play and found out through your interest, that go to Heaven. The great preacher’s re¬ SPECIAL ( Mother’s Magazine, 1 year hst number J0’’"6*''’2 °f Ch‘*ta',-that ply was characteristic. 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