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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
3-1-1923 Volume 41, Number 03 (March 1923) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 41, Number 03 (March 1923)." , (1923). https://digitalcommons.gardner-webb.edu/etude/699
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pie to be of interest to'trained MARCH 1923 Page W THE ETUDE THE ETUDE Page U6 MARCH 1923 =£*: JUNE 25 to AUGUST 4 Summer Master School .(SIX WEEKS) 58th YEAR Sum in e r Schools PROF. LEOPOLD AUER RICHARD HAGEMAN lYCEUM Master Violin Instructor of the World Study Vacations A Splendid Opportunity To Study the Splrxs Right on the Beautiful Long Island Shores PROF. XAVER SCHARWENKA Master Piano Instructor of the World QOMSER-VATORY Master Classes in PERCY RECTOR STEPHENS KCORPORATED> VIOLIN, SINGING, PIANO, COMPOSITION Fletcher Music Method Notable Teacher of Teachers Direction of the Associated Academies HERBERT WITHERSPOON F. L. WILLGOOSE, Mus. Bac. (Durham Unty.) Principal Famous Singer and Teacher COR THOSE realizing that they can serve rivate Dock, Boat House, Tennis and Golf and all facilities for a wonderful vacation combined 1 their day and generation as well, by being CLARENCE EDDY ARTIST TEACHERS as by trying to keep Dean of American Organists Elias Day before the Public themselves-and who NEED OSCAR SAENGER MRS. WILLGOOSE, CENTERPORT, LONG ISLAND, NEW YORK therefore a SCIENTIFIC—and logical way of Celebrated Vocal Instructor and Operatic Coach President and Director of laying the foundation- Dramatic Department pOR THOSE who need quickly to establish LEON SAMETINI FLORENCE HINKLE Renowned Violinist and Teacher way as’ST!NSURE*'CONTI‘nUEu’sUOCEsI America’s Foremost Soprano ANNOUNCES VIRGIL SCHOOL OF MUSIC and GROWTH. THIS METHOD the fir.tN, in the whole world originated expressly for TEACHERS’ NORMAL COURSES Founded by th$ late A. K. Virgil children with an understanding of their psycho¬ REPERTOIRE—INTERPRETATION CLASSES logical needs-OFFERS THE COMPLETE PIANO VOCAL SOLUTION. PROF. XAVER SCHARWENKA OSCAR SAENGER A SUMMER FIVE WEEKS’ SUMMER SESSION SfS\T»E?“vpS’i
£Vf Misery in the Land of Mozart and Wagner up more and better reputation through the excellence and out¬ standing character of his works. The value of his services However bitter any reader of this editorial may have felt depends very largely upon his reputation for producing meri¬ during the war toward the Central Powers, the normal human torious work. being can now have only pity for the professional classes in Reputations are usually accumulated very gradually, that part of the old world. through hard and serious effort. Sometimes a brilliant talent Many of the men who suffer most are now well along in flashes itself into fame in a few hours. Such things are ex¬ years and were those very men who years ago taught some of ceedingly rare. With reputation comes reserve and power, the outstanding minds in American musical art. Their posi¬ confidence, public respect. Careful musicians consider pub¬ tion now is in many cases next door to starvation. Their family licity seriously. Newspaper “puffs” are valueless, unless there JOSEF life, owing to social conditions, is turned topsy-turvy. Their is a constantly growing public appreciation of the real ar¬ daughters, trained to a comfortable existence, versed in lan¬ tistic efforts of the musician. WILLIAM S. guages, music, art and the finer things, find that marriage is DELIA Keep scrap books of notices, of course, but every time you impossible under the present condition, as their fathers are paste in a notice which you know did not come as a result of unable to give them a dowry,-or “dot,” which even the triflers LHEVINNE your real merit (rather than as an advertising consideration, would reeognize. „ World Famous Piano Virtuoso a pull or a favor of some friend), draw a blue line through it BRADY We have taken- steps to help some of the elderly men to Private Lessons VALERI so that you will be able to distinguish between the real and the keep alive in their music work. Among them are some of the of New York City unreal. The banker, who lists among his assets worthless stock, Repertory Teachers’ Classes Famous New York Expert greatest names in the contemporary history of musical art. will soon be,a bankrupt. Don’t fool yourself in as important One of America’s Foremost Auditor Classes On Tone Production We know that Max Bruch, for instance, in his old age virtually a matter as your reputation. Vocal Teachers—Private Lessons Private Lessons starved to death a year or so ago. Repertoire—Teachers’ < Repertoire—Teachers’ Classes If any friend of The Etude desires to help these unfor¬ tunate professional musicians we shall be pleased to receive French Musical Co-operation contributions addressed to the “Musicians’ Humanity Fund” One of the most gratifying of diplomatic courtesies which PUBLIC SCHOOL MUSIC and place them in hands for immediate care of known cases came from the great war was the establishment, by the French GEORGE H. GARTLAN POST-GRADUATE COURSES of need. Kindly read this notice in your music club. Government, of the Fontainbleau School of Music, exclusively for American students. This resulted from a conference of Pleasant Places General Pershing and Dr. Walter Damrosch, in 1918, leading A noted American composer, in advising a would-be com¬ to the establishment, in France, of a school for training Army poser, said: musicians. Dr. Damrosch described this himself in The Etude SUMMER NORMAL SESSION “Don’t improvise at the keyboard if you want some years ago. originality. Despite your best intentions your fingers The Fontainbleau school was opened in June, 1921, in the will fly into ‘pleasant places,’ ‘comfortable positions,’ wonderful Palace of Fontainbleau, with Charles Marie Widor of Six Weeks, June 25 to August 4, 1923. Lecture Courses by Eminent Educators. ‘old keyboard alleys,’ and you will find yourself repeat¬ as General Director and Francois Casadesus as Director. In Recitals by Members of the Faculty. ing old idioms and creating nothing.” 1922 ninety pupils were accommodated. The school cannot For the most part this is good advice; but still Chopin be said to compete with any of the American Summer Schools (many of which engage artist teachers of the highest standing Among the 100 members of the Faculty the following distinguished artists and Grieg, and many others, have shown that compositions may will be in residence: be written comfortably for the keyboard, and not lack origi¬ in the world of music), as the French School is confined to one PIANO - VOICE VIOLIN ORGAN nality and charm. Indeed, a great many composers have found hundred advanced, selected pupils. The lowest possible cost MUSICAL THEORY for three months is between $500 and $600, including ocean Josef Lhevinne Jacques Gordon that they have defeated public interest and success by not William S. Brady Wilhelm Middelschulte Arthur Olaf Andersen Heniot Levy Herbert Butler making their works “kalviermassig.” Indeed, there is only passage which is given at reduced rates to the few lucky stu¬ Delia Valeri John Palmer Frank Van Dusen dents accepted. The session opens June 24th and continues Silvio Scionti Karleton Hackett Ramon Girvin one composer of master rank whose works for the piano key¬ Hans Muenzer Orchestral Instruments to September 24th. Familiarity with the French language is Victor Garwood E. Warren K. Howe board have been successful despite their lack of keyboard facil¬ Walter Aschenbrenner PUBLIC SCHOOL MUSIC Members of Chicago Sym¬ presupposed. This year the French government has established Louise Robyn Charles La Berge ity. That one is Brahms. He seemed to be striving to defy George H. Gartlan phony Orchestra at Fontainbleau a similar school for Architects and Painters. Kurt Wanieck Elaine De Sellem the keyboard instead of accommodating himself to it. In fact, VIOLONCELLO O. E. Robinson Earl Blair Marie S. Zendt DRAMATIC ART one is never sure of a Brahms piece. It has to be practiced The American headquarters of the school are at 119 E. Robert Ambrosius David A. Clippinger A. Louise Suess over and over again for public performance, every time it is 19th street, New York, where Mr. Francis Rogers, known to taken up again. The sheer force of his genius makes it worth The Etude readers through his contributions to the Singer’s while to study his piano works and overcome his lack of respect Department, is acting as chairman during the European for the pianist’s fingers and wrists. absence of Mrs. George M. Tuttle. FREE SCHOLARSHIPS The Etude has always endorsed with greatest enthusiasm the Summer Study movement. We have been proud of our Musical Assets That Count American Schools, some of which have faculties unexcelled by A leading Wall Street man has just remarked that a any institutions anywhere in the world. Fontainbleau can share of stock is to be likened' to one of the cells in a great accommodate only a very small fraction of the thousands who Send for Summer Session Prospectus and Special Lhevinne, Brady. Valeri nnA storage battery, each cell being a storage compartment charged profit by Summer Study. Our American Schools with faculties Public School Music Circulars with labor and brains. That, in fact, is all that capital can be— of artist teachers of equally high rank offer at our doors in¬ a convenient way of storing labor and brains so that its power tensive musical training of the highest character. can be turned on as desired. Your success or your failure in any Summer School depends The musician’s assets are represented by the knowledge largely upon the attitude with which you go to the school. If and experience he has stored up, the plant he has established you elect to make it “a lark,” or an excursion, or a form of (his studio, library, musical instruments, furniture), but most metropolitan vacation, you will get little no matter where you AMERICAN CONSERVATORY of all his experience and his reputation. Therefore the music go. But if you decide to do one, two, or three months of JOHN J. HATTSTAEDT, President worker should regard his every day as an opportunity to store intensive work, you will do as much in New York, Chicago, 571 Kimball Hall, Chicago CHICAGO’S FOREMOST SCHOOL OF MUSIC 300 South Wabash Avenue 149 MARCH 1923 Faye 151 THE ETUDE The Chances of the American Girl in Grand Opera “/f everyone learnt music, would it not be the Philadelphia or Boston as you can anywhere. It is the study An Interview With the Distinguished Operatic Administrator means of bringing about a greater concord and agree¬ alone that counts. Atmosphere is often an inspiration to loaf¬ ment between them, the consequence of which would GIULIO GATTI-CASAZZA ing rather than industry. Masterpieces are more likely to be born in the garret than in the drawing room. The American be universal peace?” It is evidently Molierc’s intention to laugh at music as a (General Director of the Metropolitan Opera Company) students who go to Fontainbleau for real serious work will necessity; for immediately the Fencing Master and the Danc- the great number of revivals of masterpieces as well as have little time for anything else. elder Gatti-Casassa resigned when appointed a Senator, ing Master bring forward their pleas, and the Master of Phi¬ (EDITOR’S NOTE: Of all of the directors who ivorld premieres of the works of the foremost contem¬ America appreciates most sincerely this latest form of thereby being called to Rome, and the son, then twenty- porary masters of the opera. It is said that at least losophy shames them all. With this delicious fooling the music have guided the destinies of the Metropolitan Opera four became director of the Theater. His great efficiency artistic reciprocity upon the part of the French Government, House of Neiv York, none has had so distinguished and three novelties, on the average, have been presented each reader gains a new perspective upon his art. Of course, the ivas immediately apparent; and, five years later, with the always generous with its artistic treasures. season. During his management over one hundred nov¬ artistic a triumph as has Giulio Gatti-C asassawho, since endorsement of the Duke Visconti di Modrone and Arngo world can exist without music, just as it can exist without elties and revivals have been presented. Works by sev¬ 1908, has been the dominating figure in opera m America. Boito, the composer of “Mcfistofclc,” the young man flowers, without trees, without pictures, without good books, eral American composers have been produced during this The Danger of Verbal Clubs He was born at Udine. Italy, February 5, 1869. He was became director .of the most famous of Italian opera regime; and one “Mona,” by the late Horatio Parker, without any of the beautiful things we all prize so much. But destined for the career of a naval engineer arid was houses. La Scald”of Milan. Such he remained for ten Recently we have been looking over some old issues of the accordingly graduated from the Universities of Farrara won the $10,000 prise offered by the directors for the best -would it be a world worth, living in P years. While there he introduced Wagner’s operas in Etude in which appear tirades against the old-fashioned and Bologna, as well as from the Naval Engineering American opera. Scores of American singers have been Squat in an igloo, surrounded by skins and blubber, with the vernacular, meeting with huge success. Since his teacher who felt that one of the principles of pedagogy as School at Genoa. His father was chairman of the Board engaged by him as members of the company.) unmelting ice and snow as far as the eye can reach, human life directorship in New York, the opera has been noted for applied to piano was to penalize mistakes by raps over the of Directors of the Municipal Theater at Farrara. The has gone on for centuries. But who in the world wants to be knuckles with the inevitable pencil. Later, along in the nine¬ presario must first of all be a thoroughly practical man. an Esquimau? is abused for favoring singers of other nationalities to ties, appear articles rejoicing that the “knuckle-rapper” is “The fact that there are now more Americans in the the neglect of American art. Just one peep behind the He must realize that the opera will be a success only as The frigid and desolate North has little feeling for beauty. cast of the Metropolitan Opera Company than at any long as it gives pleasure. People come to the opera to becoming a thing of the past. Now such a thing is hard to scenes upon the actual situation would convince the ac¬ Music and pictures are practically unknown. All these show time in its previous history certainly does not indicate be delighted. Everything the impresario does must be realize. cuser of the injustice of this attitude. It is certainly not in the beauty and civilization of the higher order, wherein they that there is any lack of opportunity. Opera is an to the glory of any country to foster its mediocrities. guided by that principle. If the opera gives pleasure, 1 Yet there are still teachers who seem to feel that musical artistic enterprise; but, as in all cases, it must be sup¬ am pleased. If not, I endeavor to find out the reason go hand in hand. The higher the civilization the more intense On the other hand, its real talent is always welcome a instruction has to be clubbed into pupils with a kind of verbal ported by a fine business organization, and it is the bus¬ why it has not given pleasure. Indeed, the judgment of the manifestations of simple beauty. This in different eras thousandfold. club. The editor well remembers when he was a small boy, that iness of the impresario to provide as fine entertainment the mass mind, in time, is one of the best criteria of art. crystallized into various art forms-—the Acropolis, the Parthe¬ along operatic lines as is conceivable. In view of this, Learn the Old Music First Art is permanent in proportion to the pleasure it gives there was a rosy-faped, white-haired English school principal, “I do not presume to tell teachers of singing what non, the Gothic Cathedral, the plays of Shakespeare, the won¬ do you suppose any American singer with enormous tal¬ to mankind over a number of years. The so-called ‘high¬ who had a pocket constructed down the seam of his trousers should be the course they should pursue with their pupils. derful Georgian furniture, the Sonatas of Beethoven, the can¬ ent, a glorious voice and fine stage presence would be brows’ often deride certain melodious works, partly be¬ to fit a slender rattan. Once, when summoned to visit the prin¬ , denied an opportunity? On the other hand, any well- However, I have observed that in opera the singers cause they are not complicated and partly because they vases of Sorella. cipal, the editor was introduced to the rattan as a specific for schooled impresario would rejoice to find such a singer, are not fashionable. “Rigoletto,” “Traviata,” “Lucia” The difference between the slum and the palace is largely various kinds of class-room misdemeanors. Each blow stung and, if there was great operatic timber, do every¬ and "Faust” have survived because they continue to give a matter of beauty and the appreciation of fine things. Life thing imaginable to afford every possible opportunity to great pleasure to thousands all over the world. For this like a hornet ; but in a few hours it was all over and forgotten. without music and art and loveliness would certainly not be the singer. Such a person is just as much an asset to reason, they are art, to my way of thinking. There was another teacher, however,—a mild-faced gentle- worth the struggle. In this sense, if in no other, Music is a opera as great talent in architecture is to an architect s “For the debut of Galli-Curci at the Metropolitan woman, with a quiet voice and an easy manner, who had a way office or a great inventor is to the huge industrial plant. Opera House last year, we presented “Traviata” with a necessity as essential to most human happiness as bread, iron of saying cutting things that wounded one’s pride for weeks. Opera succeeds or fails largely because of the quality new setting. It gave the old work all of the best treat¬ and wool. The rattan was trifling, compared with her bitter sarcasm. of the singers, players, stage artists, musicians it can ment of the modern theater. Its charm made it as fresh and interesting as the latest production. The audience was The Verbal club is a dangerous weapon. It can strike a assemble in an effective ensemble. “Naturally in America the American-born singer with delighted and the presentation, as a whole, was regarded far fiercer and more lasting blow than many real clubs. Much Organs, Organs Everywhere erreat gifts is especially welcome; and many an impres¬ by the critics as a .splendid work of art. The same of the universally discussed Freudian philosophy has to do We. have not seen the government statistics relating to the ario has endeavored to make opportunities for singers might be said of the notable representation of “The with the fact that wounds made by verbal clubs in the hands in their native land, only to be disappointed later Dont Jewess,” in which the great Caruso brought forth his immense increase in the interest in the organ during the last of unthinking parents, teachers and friends have so beaten up let any American girl imagine that the doors of opera notable powers as an actor, as well as a singer, shortly twenty-five years; but everyone is aware that a new industry are closed to her, if she has the needed attributes of a the will, the imagination and the mentality of individuals, that before his death. has come into existence, largely because of the popularity of great opera singer. On the other hand, tbey are flu^ all kinds of physical and psychic maladies result. The teacher, the organ in moving picture theaters. wide open. More than that, we are continually on the Beautiful Natural Voices who would instantly recognize that, if he were to go around outlook for real talent of the first water. The quest The organs installed range in importance from a glorified “Americans have beautiful natural voices; they are beating people on the head with a bludgeon, he would place is a most difficult one. It is impossible for the operatic extremely intelligent; they have unusual educational ad¬ melodeon with a “traps” attachment (often about as musical himself in the class with the gunman and the thug, often makes impresario to hear more than a fraction of the singers vantages. They demand action, and are often so impa¬ as a junk cart with its string of bells and its load of bottles, tin who imagine they are born under a star destining them tient that they ruin their opportunities by failing to work unthinkably brutal and destructive remarks with his verbal cans and old mattresses) to some of the finest and most excel¬ to become great lights in the operatic firmament. Hours hard enough and long enough to permit their talents to club. Many pride themselves upon their sarcasm, their bitter, lently contrived instruments of this species. and hours are wasted with mediocrities m this way. ine develop normally. The forced plant is usually short¬ cutting innuendos and their terrifying criticisms. impresario must protect himself. He can oafr We have seen moving picture organs advertised from lived. One cannot become an opera singer in a day. Such a course, with the music teacher especially, is not those who, upon the advice of trusted authorities, The impresario, like every director in every field, has to $5,000.00 to $50,000.00—all, of course, imprisoning a “human only unnecessary, but is unscientific. If the pupil is hopeless, worthy of the time and energy required. consider his materials from two aspects—the raw ma¬ voice.” We often wonder about these instruments, from the terial and the finished product. No business man has don’t mangle him with insults and discouragements. Bring him investment standpoint. A fine organ requires care, especial]v Nothing Can Keep the Real Artist Down the time to take absolutely raw material and work it up to realize that his success lies in some other line. If you must “Somehow when a singer is really worth-while, op¬ in manufacturing towns where certain gases in the atmosphere into shape; he must have the finished product. If a use a club, you are in the wrong profession. Buy a black mask portunity comes by itself; that is, the singer gradua y singer comes to us with a wonderful voice, enormous are said to affect the contacts and cables in the wonderfully and join the gunmen. begins to accumulate reputation here and there. Nothi g promise and obvious talent, we sometimes direct such a devised electrical actions. A very valuable piece of musical will keep her down. Finally, after a great many col¬ singer, but we have little time to consider anyone but the property, that may be a decided asset to the community, can lective impressions she seems to rise m such a way Without Beauty ? finished singer. The very business man who might urge readily be damaged by neglect. The history of many organs some of the noted judges of such material have an op¬ an impresario to engage an ‘unfinished’ or partly-trained portunity to hear her. This does not mean that the Recently the Editor borrowed from Lt. Comm. Sousa five is that they are neglected until they break down. Then the GIULIO GATTI-CASAZZA singer would never dream of hiring a person on his staff exquisite volumes the noted conductor had lately acquired singer must have money to go to a very expensive teacher and paying a high salary unless that person were exhaust¬ “tuner” is sent for, in great haste, only to find that ruin has just to attract attention. However, the ability is grad¬ for his famous and unusual library. They were a rare collec¬ ively trained. It is his object to get the best person he entered the delicate works. ually revealed here and there until it comes to the at¬ whose voices seem to last longest are those who have been can secure; yet he would think nothing of requesting an tion of “The Comic Theatre,” published in London in 1762, tention of some one who counts, and it is thus passed thoroughly schooled in what may be called the old music. impresario to engage his niece who has had little training being a contemporary translation of certain French comedies, on to the operatic impresario. There, of course, must That is, there is something about the beautiful cantabile of any real value to him. done in inimitable style. The last two volumes were given over come the training before one can hope to essay even quality of the early operas that seems to give endur¬ “Success in the opera depends much upon the imagina¬ ance to' the voice and a kind of vocal facility not other¬ to Moliere, and the English translation of that day flashes a The attention of the musical world has lately been drav small roles. Many singers seem to be d'smayed when tion. One must be able to imagine effective dramatic they find this out. They seem to imagine that the ability wise obtainable. Modern music is a very great strain. new significance upon the works of the great French wit and particularly to the career of Henry Barnes Tremaine, wh situations; to imagine impressive lighting effects. The to sing through the score of an opera has made them Consider the difference in the size of the orchestra alone. impresario must paint pictures. In this sense, he must satirist. as the moving factor in the Aeolian Company, has built up o Thi. i> nonsense. The pnbU » done The modern opera orchestra is nearly three times the be an artist, with living models. The proscenium is his Perhaps the most amusing play is “The Gentleman Cit” of the largest businesses in the music industry, has provid with puppets on the stage. An opera singer in thes size of the pre-Mozart orchestra. Very often m 7 utti canvas. Opera is, on the whole, far more imaginative (Le bourgeois gentilhomme). If you, our musical friend, have New York with its most used concert hall, as well as one days must be an actor. It demands histrionic talent of passages, only those voices that have been trained for than the drama. The singer must realize this. She must years in the substantial, smooth-flowing music of the never read this charming example of tire humor of Jean Baptiste the highest character. The soprano is expected to a learn to become a part of the beautiful tapestry, as it the finest buildings in the metropolis, most of which has coi earlier masters can be heard with a musical tone above Bernhardt or a Duse. The tenor or baritone must be were, half-drama, half-music. Some singers never fit Poquelin (who took the name of Moliere), don’t fail to do so through his initiative and administrative judgment in develo an Irving, a Coquelin or a Salvini. . the modern orchestra. , into the picture. Their voices do not fit with the other at the first opportunity. It will help you to get a new angle “Practically all of the good singing teachers ot Italy ing the player-piano from a wheezy little organ to the po “One of the crudest things an impresario can do is voices. They are clumsy, heavy, wooden. Of what use realize this, and they would never dream of introducing a upon your art. In this play the writer brings on a Music Don where his firm employs many of the greatest artists . to encourage mediocrity. Impresarios have often ac¬ is such a singer to the impresario? She may spoil the pupil to modern roles unless they were sure that the voice Master, a Dancing Master, Fencing Master and a Master of the day to make records. Public men and women, and musicia quired the reputation of being hard-hearted by refusing whole effect, had been built up with abundant practice m the older Philosophy, all engaged to cultivate a newly-rich personage to recognize some singers whose only great attribute “There will, of course, be more and more opera in the world over, paid tribute to Mr. Tremaine upon this occ music. The voice seems to gain strength and power has been ambition. Ambition will never grow an oak America. How much, no one can tell. It is now credited who is altogether incapable of appreciating their instruction. sion, and The Etude joins in hearty congratulations. As by right use. It goes to pieces in tragic fashion when it tree from a pumpkin seed. The earlier some singers with having the finest opera in the world. The interest Each master is given an opportunity to prove that the destiny is not used properly. Therefore, give plenty of attention climax to the honors which have been showered upon t with ambition and nothing else find out that they have in opera is advancing every year. This means more and of man depends upon his understanding of his particular art. to the music of the composers of the era of Bellini, Don¬ inventor and business man, came his appointment as Chpvsli no possibility of success, the better for that singer and more chance for American singers. At the same time, izetti, Meyerbeer, Rossini, and earlier, before you swim Thus the Music Master contends: for art. There are always hordes of those trying to the standards, dramatically and musically, are constantly of the Order of St. Gregory the Greatly Pope Pius. out into the depths of Wagner, Strauss, Debussy and explain to an impresario that for national or patriotic rising, and there will be less and less room for the later Puccini. . reasons he should immediately exploit certain singers mediocrity.” 150 with pathetically little talent and voice. The impresario “Notwithstanding his innate desires for art, the lm- MARCH 1923 Page 153 THE ETUDE THE ETUDE Page 152 MARCH 1923 THE SINFUL SARABANDE ^ ORIGIN OF "TWO GRENADIERS” “To a great many minds, the word ‘jazz’ How to Conduct a Music Memory Contest Of all Robert Schumann’s songs the implies frivolous or obscene deportments,” most popular is undoubtedly Two Grena¬ writes Carl Engel in the Atlantic Monthly, Cun,,,-**, inarm in *,,, fas,ina«ng cosUtO. pmfi, us >o pr,s„, ,hi, t*n for Mr diers, the setting of a poem by Heine. The Musical Scrap Book in a learned but spirited defence of this And now Sir George Henschel, in his Anything and Everything, as Long as it is Instructive form of music. And he goes on to say : By WILL H. MAYES “Musings and Memories,” gives us the “Let me ask what the word ‘Sarabande’ and Interesting the district contest whose record is highest in the county origin of Heine’s poem. conveys to you? I have no doubt that to torium and seated sparsely over the room, and in no It has not been very long since the rainy afternoon and district meets shall be the eligible member of the “Among the guards of the Grande Armee Conducted by A. S. GARBETT most of you it will mean everything that case mixed in with the spectators. Each contestant shall who returned with Napoleon from Russia when Tremaine started the first music memory contest team for entry in the State Contest, t Note—It is is diametrically opposed to ‘jazzing.’ When come provided with two sharpened lead pencils or there was one who, before he went out, had in order to quiet his children while he was doing a necessary, therefore, that the County Director of Music you hear mention of a ‘Sarabande’ you fountain pen. Twenty of the selections shall then be been a well-to-do man, owning a little little practicing, but that small beginning, started as it keep accurate records of the score of each contestant think of Bach’s, of Handel’s, slow and played, either by competent performers or by talking house with a garden in the outskirts of was to give Tremaine opportunity to continue his practice in the county meet, for certification to the District Di¬ stately airs; you think of noble and dig¬ machine or other mechanical means of music- Paris. That house was now all that was JOACHIM AND THE TIN FIDDLE rather than to aid the noisy children, has grown until rector if necessary). In case the records of the two nified strains in partitas, sonatas and operas left him besides a few hundred francs. On music memory contests are doing more than any other reproduction. .,1, members of the team in the county and district contests “When these concerts were over (the intent, as earnest, and as abstracted there in of the eighteenth century. Yet the ‘Sara¬ After each selection is played, the contestant shall his reaching Paris at last, he went straight are the same, representation to the State meet shall be Monday Pops in London) it was some¬ the empty street as he was accustomed to agency to awaken an almost general interest in music to a celebrated sculptor and said: ‘I shall bande,’ when it was first danced in Spain, endeavor to write down in the respective spaces pro¬ decided, as between the two members of the winning times my privilege,” writes Ford Madox do upon the public platform. wherever they are conducted. Incidentally, too, these not live much longer. Here is all the about 1588, was probably far more shock¬ vided therefor on the score-card, (1) the name of the Huefer in his Memories and Impressions, “After a time he restored the instrument contests are creating an appreciation of music that is team, by lot. _ . ,, . money I have in the world. I know it is ing to- behold than is the most shocking selection; (2) the full name of the author; and 10! The State Contest.—The State Contest in Music “to walk home alone with Joachim and to to the old fiddler along with a shilling and resulting in increased sales of all kinds of musical not a tenth of what you are in the habit jazz today. The ‘Sarabande’ seems to have (3) “Remarks,” see Rule 7. . , Memory shall take place the first Friday in May, at carry his almost too precious violin. Al¬ we pursued our way. Any executant of a been of Moorish origin. Then, as now, merchandise. Immediately after the twentieth selection has been of getting for your work. Take it and Many cities and towns have for several years con¬ 10 A M , in Austin, along with the other events in the most too precious since it made the privi¬ personality more florid would have con¬ the oriental, the exotic touch, gave dancing ’rendered, the Director shall gather all of the cards and make a statue of my Emperor, which I ducted local music memory contests, always with grow¬ State meet. It shall be conducted in a manner similar lege so very nervous an honor. And I re¬ ducted the old blind fiddler into a main an added fillip. When Lady Mary Mon¬ apportion them out to competent persons, who shall want put up in my garden.’ ing interest, and in some places these memory contests to that outlined for the district and county contests, member that on one occasion somewhere in tagu, writing from Adrianople in 1717, immediately grade the same. (Directions for con¬ “The sculptor, greatly touched by such road, would have passed around the hat have become the great annual musical event of the using the same fifty selections as a basis, with the a by-street, we came upon an old blind fid¬ described the dance that she saw in the testants to follow in the use of the score-card will be devotion, refused the money, but promised himself, would have crumpled into it sev¬ schools. The methods of conducting them are too well exception that the State Director shall have the option to do the man’s wish, and the statue in dler playing a violin whose body was seraglio of a rich Mussulman, she made printed on the card, and it shall be the duty of the eral bank-notes, and would without doubt known to all music lovers to be repeated. of continuing eliminations as long as thought practicable course of time was delivered and placed formed of a corned-meat tin. allusions which leave no uncertainty as to Director to call the attention of all the contestants have had the affair reported in the news¬ It has remained for Texas, however, so far as this in an effort to break a possible tie and determine a in the middle of the garden. The poor, “Joachim stood for some minutes re¬ the exact nature of these proceedings. when they are assembled to the printed directions.) papers.Joachim, however, writer is informed, to initiate a successful movement worn-out old man soon afterwards died, garding the old man, then suddenly he took Some of that character must have belonged State winner. merely wanted to know how an instrument for a State-wide music memory contest on a scale that and his will contained the following direc¬ the violin into his own hands, and having to the earliest ‘Sarabandes.’ They were with a metal belly would sound if it were promises soon to include practically every country and Selections to be Used in the Contest tions : ‘I wish to be clad in my uniform dusted it, asked me to produce his own the proud Hidalgo’s hoolah-hoolah.” properly played, and, having the informa¬ city school in the State in its scope. The plan.of the The same selections will be used throughout the State when I am dead, with the sword by my bow from his own case. He stood for Disclaiming any enthusiasm for the more tion, since it seemed to him worth one and have been made with a view to giving public school side and the musket. And in my garden, some little time playing a passage from the objectionable forms modern jazz can take, Texas movement is merely an enlargement of the local shilling, he paid a shilling for it.” children the broadest appreciation of the best work of at the foot of the Emperor’s statue, there Trillo del Diabolo, of Tartini, looking as Mr. Engel reminds us that jazz, too, has music memory contests in operation in many cities. the best-known musical artists. For the year 1922-23 bury me in an upright position like a sen¬ its virtues. “Here,” he says, “is something The Interscholastic League Division of the Bureau Why Not Run This Like a try.’ ” KEEP YOUR FACE STILL in music that is a more typical, a more of Extension of the University of Texas maugurated contests they are as follows : Without discrediting Schumann, it may comprehensive expression of the modern this State-wide contest in the summer of 1922, begin¬ Musical “Spelling Bee?” Minuet in G.... In a recently published work entitled ness. Unless he is calm how can he hope ning its operation with the opening of the public schools Moonlight Sonata (First be said that the popularity of The Two American spirit than all our ‘coon’ songs, Turkish March (Ruins of Alhcn to control his will?” throughout the State in September and (October Per¬ ..Bizet Grenadiers is largely due to the effective “Caruso and the Art of Singing,” by Sal¬ our pseudo-Indian wails, the regional songs Toreador Song (Carmen). .;;;.Brahms use of The Marseillaise in the refrain. vatore Fucito (Caruso’s accompanist) and Contraction of the wrists is just as fatal of a hundred years ago, the tenth-rate haps the matter is of sufficient general interest to set .Brahms to pianists and violinists as contraction of ’ ".Chopin Schumann seems to have had a special lik¬ Barnet J. Beyer, the great late tenor gives imitation of vile English ballads, the im¬ forth the plans as outlined in the League s Bulletin, Say “Spelling Bee” to grandfather the throat to vocalists. The student should, .Chopin ing for this great French melody. He uses the following advice, which applies in a perfect echoes of French impressionism. since other States may desire to follow them. The ;;;.chopm as Caruso says, “apply himself to his study and his eyes will glisten with the urt Waltz . . ’.. Francois Schubert it again in his overture to Goethe’s Her¬ measure to violinists and pianists also: Good jazz is enjoyed by capital musicians, . “foreword” is as follows: ? Bee. with great naturalness and relaxation.” “The purpose of the Music Memory Contest is to pizzicato• • (Sylvia(Sylvie Ballet). . .. Delibes mann and Dorothea. “The singer should apply himself to his by men who are neither inordinately im¬ memory of the fun he used to have in Easier said than done, though. Who does cultivate among school children an appreciation of good Souvenir . study with great naturalness and relaxa¬ moral nor extravagantly uncultured. It not remember the New England teacher has fascinated European composers like music, to turn children away from a fondness for the the old days when contests were a iToo 'wrorn the ‘‘hew' World bymphonit") EINSTEIN’S LOVE OF MUSIC tion; this is the sine qua non of beautiful Pomp and Circumstance . described by William James, exclaiming Stravinski, Casella, Satie, as Debussy was coarser and more meaningless forms of musical com¬ It is not altogether surprising to learn cantilena singing. When he is exercising regular part of school work. Why not Soldiers’ Chorus (Faust).. Gounod with set teeth and clenched fists, “I will fascinated before them by ragtime. Golli¬ position to a genuine love for the classical productions Waltz (Faust) .. Grainger that Albert Einstein, discoverer of the his voice he must not disturb the com¬ relax, I will relax!” Molly on the Shore..... wog’s Cake Walk and Minstrels are works of the great masters. This contest is no longer an try out the Music Memory contest in Morning (recr Gynt Suite) ..Grieg theory of relativity as applied to astrono¬ posure of his face, because every contrac¬ Violinists, like singers, often reflect their .Mendelssohn of purest art, notwithstanding that the experiment; its wonderful educational value has been Spring Song ....••••:• Mile).Grieg my, has not missed the relativity which tion is reflected in the throat. A contracted efforts in their faces. It is not a bad idea the same way? Stand the contestants Anitra’s nance. (Peer Gynt essence of their peculiar charm was filtered proved in the last few years in hundreds of school In the Mall oj the Mountain King (Peer Gynt Suite) also exists between music and mathe¬ face indicates a lack of composure; where¬ to practice before a mirror some of the Grieg matics. In an article on the great physicist from the emanations of the music-hall.” systems scattered over the entire country. in a row and one by one as they fail to . .Mascagni as it is essential that the singer should time: a contorted face often goes with a “In order to participate successfully in this contest, Intermezzo (CavaUeria Rusticana)...... Handel in “Vanity Fair,” Mr. John W. N. Sulli¬ Hallelujah Chorus (Messiah). bring to his vocal study a complete calm¬ stiffened wrist. a school or school system need not have a regular answer, let the contestants drop out. Caprice Viennois. van tells us, “Einstein’s chief passion, NO "VILLAINS” IN MUSIC music supervisor. Any intelligent, energetic teacher apart from mathematics, is music, and his Competent authorities have assured us This puts a new spirit of play into an interest in this is of a very pure kind. A MUSIC FOR LOVE’S SAKE may, with the helps which will be made available suc¬ To a ivua nose.• • ■■■■ ■ ■• • ■ from time to time that broad humor is not idea that has become the rage the O venture (Midsummer Right s Dream)... ! Mendelssohn great work of what used to be called ‘ab¬ The English composer and teacher, Sir cessfully train students for this contest, provided the Intermezzo (Midsummer Right s Di c"’» ) • The teacher’s insistence that “love” shall possible in music. Lightness, grace, irony, xnet,true t Midsummer Right’s Dream),.. . Mendelssohn solute’ music resembles a great mathe¬ Walford Davies, has been giving some be the motive force behind the musician grotesquerie are possible, but humor of the work is’ seasonably undertaken. country over. Wedding March (Midsummer Might’s Drea “To get the full educational value of the contest, matical deduction from more than one very successful lectures on music to chil¬ and the music he studies, is worth remem¬ side-splitting, “haw-haw” type is not easily all the students in the eligible grades should be given point of view, but chiefly in this, that its dren in schools. Recently the somewhat to be expressed in music. Now comes Mr. bering. It is the quality which, for instance, the training, to begin with. In the first elimination the development is a free activity of the spirit novel experiment of transferring these lec¬ Ernest Newman to assure us that villainy makes the simple melodies of Stephen number may be reduced by half ; in the next elimination, Ilarkf Hark.' the "Lurk. .... in music the spirit is creating in tures, together with musical examples, to is equally hard to portray. In an essay on .. .Schubert Foster survive after billions of “popular the best fifty per cent, of the remainder should be . . .Schubert obedience only to its own laws, just as it the phonograph has been tried out with The Villain in Music, from his recent Unfinished Symphony '(First Movement).. tunes” hastily strung together by Broad¬ selected to continue the training; and so on until the Unfinished Symphony (Second Movement) . . .Schubert is in mathematics. success. A somewhat lengthy review of book, A Musical Motley, he asks: “Can It way howlers as dead as the more preten¬ school has selected, shortly prior to»the county contest, Traumerei •. .... Strauss “The march of a train of mathematical these records was published in the London be true, after all, that Ruskin was rieiit 5 Grading the papers-—In grading the papers the tious but not more interesting “oratorios” its Music Memory Team of two members for partici¬ Knowest Thou the Lund ("Mignon”). . . . .Thomas reasonings also has this complete inevita¬ Times, and in it was embodied some quo¬ when he said that the maiden can sing her persons grading shall use the following schedule of .Verdi bility and complete independence. To this ground out by hundreds of Doctors of Quartette (Rigolctto) .Verdi tations from Sir Walford’s lectures which lost love, but the miser cannot sing his lo t pation in that contest.” points: . , Anvil Chorus^(Il Tra inner logic, Einstein is, as we should ex¬ Music as an exercise in musical science. Miserere' (II Trovatore)...... Verdi are worth remembering. money bags—that there is a limit to the Recognition of select-on.•. “ pect, exceptionally sensitive. In his math¬ It is well to remember, though, that music Rules in Music Memory Contest “Music,” he says, “is any two or more expressive and descriptive power of music, Correct composer . * ematical work one is always amazed at the The rules are given so succinctly that they may be musical sounds put together for love that cannot thrive on “love” alone. Unless it and that, precisely because music is an Correct spelling ._ extreme delicacy of his logical instinct, easily understood by every one and may be followed make sense.” And again, “music is a drives the student on to technical perfec¬ affair of the heart, it becomes impotent La?,x. Paloma. and he is quick to detect the corresponding straight and beautiful way of uttering tion in his art, it is not much use for pro¬ easily by all the schools: when it is asked to suggest the absence of Total ..^.. 5 .The Interscholastic League has just published a quality in music. Literary music, such as what we feel.” A musician, Sir Walford fessional purposes, however much it may 1 Eligibility—In addition to the general eligibility 6 The Winning Team.—The team scoring the high¬ Wagner’s, and much more modern music, heart? A man sings because he has an im¬ University bulletin of “Reading Lessons in Music Ap¬ Davies tells us, is “Any one in the whole help the amateur. rules set forth in Article VIII of this Constitution and est number of points shall be declared winner and shall he finds either uninteresting or repellent. pulse to show himself as he is; but in the preciation” to be used as an aid in the Preparation of world who loves music and can put two or No dabbler in the art is a true “music Rules, the following apply to this .particular event : _ be eligible to participate as a representative of the Emotional transitions, which may be quite terms of the case it does not suit a villain students for the music memory contest. This bulletin more musical sounds together and make lover,” no matter how sentimental he may (a) In Independent Districts, only those students in true, as it were, of the arbitrary way to show himself as he is. ‘See,’ says the county in the district meet. gives a brief history of the orchestra and its component musical sense of them.” get over it. grades from the fifth to the seventh, inclusive, are 7 Tics._How Decided—In case opposing teams things happen in life, but do not obey the lover to the other people on the stage, ‘how parts and detailed descriptions of the various instru much I love, how well I can express my are found to be tied, the “Remarks” on the reverse side inner logic, very soon fatigue him. His eIl(b)e In Rural Schools, students from any grade are ments used in string choirs, woodwind choirs, and MUSIC AS A MIND TRAINER love.’ ‘See,’ says Elisabeth (in Tannhduser), of the card shall then, and only then, be taken into 'interest is not merely that of the listener. eligible provided they can satisfy the other eligibility brass choirs, as well as instruments of percussion Each how pure I am.’ ‘See,’ says Elektra. ‘how consideration. After the Child has written the name He is a really good violinist, and al¬ Ex-president Eliot, of Harvard, says of the contest selections is interestingly described in wealthy, and many prizes and scholarships mad I am.’ ‘See,’ says Hans Sacks (in Die requirements. of the selection and the composer, he then during the though, so far as we know, he does not that “music rightly taught is the best mind- (c) Either boys or girls may compose a music mem¬ simple terms and in a way to excite the interest of compose, his pianoforte improvisations are, are offered to its students. Of these, a few Master singer), ‘how wise I am.’ But the continuance of the rendition may, in the alloted spaces trainer on the list. We should have more ory team, or a team may be composed of one boy and children in the story of the composition, and there is he says, a necessity to him.” are in music, but most in other branches.” villain cannot come forward and say ‘See upon the reverse side of the card, write a few remarks. of the practical subjects like music and a biographical sketch of each of the composers. It is Has the world lost a great composer of This letter states that “ten per cent, of how vile I am.’ And apart from this, These may pertain to the (1) descriptive; (2) form; drawing and less grammar and arithmetic.” U ^Divisions.—There is but one division in this con¬ suggested that the bulletin be used by public school genius in gaining a mighty astronomer? the students of Magdalen College take there is something surely in the very nature (3) knowledge of its incipiency; (4) moods that the In proof of this, T. P. Giddings, of test, all students eligible under Rule 1 entering and teachers in reading and in that way be correlated with One remembers that Sir William Her-, music. Ninety per cent, do not. The ten of music that puts a gilding of beauty over child feels. It is not necessary that all these four Minneapolis, in an article on “Instrumental competing with each other in the same division the teaching of reading. schel, one of the foremost of all astrono¬ per cent, taking music also take 75 per points be considered for each selection. A grade of Music in Schools,” quotes a letter received the harshest things a character may say. 3 Selections.—The selections to be used as a basis When the Interscholastic League sent out its nrst mers, and also a musician, in his early cent, of all those prizes and scholarships- It is like trying to be savage and to smile five is given to the remarks on each selection. by a friend from a man who is head of the for this contest during the ensuing season are printed announcement of the proposed contest, over three hun¬ days earned his living as a violin teacher. m all departments, mind you. The 90 per at the same time.” 8 The District Contest.—The district contest shall music department at Magdalen College, dred schools immediately asked to be enrolled, and it cent, who do not take music are contented be conducted in a manner similar to that outlined above Oxford, England. (You pronounce it with, or at least have to put up with the Conducting the Contest.-The Director of Music is expected that fully fifteen hundred schools will par¬ The public desires the song with a pleas¬ “Maudlin College,” if anybody should ask As a musician can move naught else, for the county contest. s . ticipate in this first contest, including schools from the remaining 25 per cent, of the prizes and in the county shall arrange for a suitable auditorium, 9. How to Determine Representative to State Meet. ing melody, refined harmony, simple you, by the way.) unless he himself is moved, he must of remote rural districts to the largest city schools. Under scholarships. This rather amazing record and shall write in advance to the State Office of the One member of the winning team in the district is rhythm and a certain tender sentiment.— “All the music of Oxford University is necessity be able to deliver himself to all the plan the small country school has equal opportunity has been the average for the last thirty League for the necessary number of score-cards, which eligible to represent the district at the State Meet with E. R. Kroeger, taught in this college, which is very old and emotions which he would arouse in his with the largest schools in the State. will be furnished free of charge. The contestants rebate privileges. The member of the winning team m hearers.-C. PH. Em. Bach. shall be assembled at the appointed hour in the audi- THE ETUDE MARCH 1923 Page 155 TIIE ETUDE Page 151, MARCH 1923 “For the sake of clarity, let me take as Just what the influence of such a State-wide movement Six Cardinal Points in Trill Playing £ £ t-v ID violin students of to-day but an example a student who has a good gen¬ will be in musical circles is hard to foresee, but cer¬ | y realize it, they have a remark¬ eral adaptability for his instrument, good tainly it will create in all children an appreciation and By Leslie Fairchild ably easy, safe and sure path to ear, fine and sensitive intelligence and a understanding of music that would have been impos¬ the mastery of their instrument, compared keen love for music, and who, moreover, has the advantage of a fine and experi¬ sible in any preceding generation. It is a movement In the first measure press the key down promptly on the to violinists of olden times. Try to Many are the advantages in the proper study of the enced teacher. He takes, say, two or that should soon Become nation-wide and that should first count and release it as promptly on the second; imagine yourself back in the time of Tar- trill. In studying the trill we are carried back to first three lessons a week, supplementing these receive the heartiest encouragement of the music trades. press another key down on the third count and release it tini, for example. There was no printed lessons when we were taught correct position and finger two or three hours by some eighteen to Quoting from an editorial in the- Tacoma (Washing¬ on the fourth; and continue in this manner. music. Imagine what it would be to have action. It would really repay many a mature musician twenty hours more per week of practice ton) Ledger: In the second measure press down the second note just to copy or have copied every etude and to go back to this simplest of technical exercises (yet one every solo piece? Also, there was practi¬ by himself. It is just in those eighteen to “In this day, of jazz and the abomination of sound as the first one is released, the third one just as the second of the most beautiful embellishments we have in music) twenty hours that the demon called habit which passes for music, anything that will lead youth is released, and so on. Each alternate measure will fol¬ cally no violin literature. which will benefit their technical ability to a great extent. “At the beginning of violin playing there has his chance. He is, in truth, a potential to know and consider the worth-while things that the low these patterns respectively. There are six cardinal points that tlie trill will help to were no standards. The neck of the vio¬ friend, but how much more often, and great masters have handed down is to be commended. Practice this in extremely slow terhpo, but use lightning improve, namely: lin was shorter than it is now, and the how much more quickly does he become To know good music, real music, is to love it, and finger action. Also highest possible finger movement and 1. Correct position of fingers. bow, as we know it, with the removable an enemy? where there is love of music there is always promise of firm nail joints must be maintained. 2. Finger action. frog, did not exist. Violin music was not A Teacher’s Plan good morals, good citizenship, for love of the true and When the above has been thoroughly mastered, begin beautiful makes for better men and women, and a 3. Mastering the legato touch. written above the third position, and hardy “Let me illustrate the way he goes to 4. Stretching the skin between the fingers. working for velocity. . pioneers had to explore, adventurously, work. And I ask each of my readers who better world in which to live. The following exercise will lead to a beautiful trill if “It is a splendid thing, this making the children , of 5. Flexibility. the positions above. In one of the Lon¬ has been either a student or teacher (or made a part of one’s daily study. Start it with an exceed¬ the schools acquainted with the best there is in music; 6. Strengthening nail joints. don museums is preserved a program of both) of violin playing to question his ingly slow tempo and high finger action. As the tempo for to arouse their interest in the best things is to To secure good results from any technical work, our an early Italian violinist, who advertised own personal experience in corroboration increases use less and less finger action. stimulate their appreciation of the truly good. When motions should be greatly exaggerated. If the point at that he would play a composition which or rejection. The student comes from his one becomes accustomed to the best, when one learns to hand is “finger action,” raise the fingers to the highest went into the sixth position. There was lesson with a new piece, or new exercise. read correctly the message that ‘best’ conveys, nothing possible point. If it is for “stretching,” let it be real no standard tuning of the instrument, and He goes home fired with an enthusiastic but the best will avail. stretching. What would “setting-up” exercises do in the early pieces are found with the G string resolve to put all his best efforts toward a “Good music, like good books, and the best obtainable way of muscle building if they were done in a lifeless and tuned up as high as B, or down as low fine performance of it at his next lesson. in art, makes for a culture without which ethical, and listless manner? The vim and exertion that we put as F. Paganini wrote most of his com¬ It is a new world to conquer, and he can¬ even material, progress cannot be made by society. Any¬ into them net us our reward. It is the same with tech¬ positions for a tuning of A 'flat, E flat, not wait to get home to start practicing. thing that inculcates appreciation for and love of the best nical exercises as for setting-up exercises—we get out of B flat and F. How does he set about it? In the great in music and literature, art and science, should be en¬ them just what we put into them. “Bit by bit an unknown continent of majority of cases his very enthusiasm for couraged ; and it is to be hoped that not only will these The following exercises will give the student some idea violin playing was explored and charted. the new work acts as a temptation for him Music Memory Contests be made annual events in the as to the value of the trill, and it is suggested that the The neck of the instrument was length¬ to take the first step wrong. He begins by schools, but that a ‘follow-up’ campaign will be pur¬ students invent others that will suit their specific needs. ened to give a wider range of tones. The giving it a reading, a ‘catch-as-catch-can sued to the end that interest in the really worth-while We will first start off using the trill to acquire a perfect standard tuning of to-day was gradually reading. Of course, he thinks ‘it sounds shall not flag.” legato touch which is used more often in piano playing made universal. • Tourte evolved the per¬ out of tune,’ and it does. ‘Some of the than any other. This touch requires perfect balance of fect bow that we now use with movable notes are missed, the pure tone quality is fingers, one note being taken at the same time another is An excellent preparatory exercise for stretching the frog; and after many changes of form, lacking; hut that will all be corrected when released. It is, therefore, just as important that we. re¬ Stradivarius and Guarnerius evolved a vio¬ Look Out for the “Runner-up” skin between the fingers and to whip the hand into shape I really start to work on it.’ lease as that we depress the keys at the proper time. for the trill, is given below: lin of such perfect tone quality that it has “Now what has he done in reality? He Unless we acquire this perfect balance of fingers there not since been changed for the better, has opened the first door to Bad Habit, By H. L. Duboise will be an overlapping of tones that makes our playing though, of course, there are always ex¬ and Bad Habit, always stalking at the sound blurry and not clean cut. Of course, this overlap¬ periments being made in the vain hope door, and eager to enter; and we all know “Runner-up” is slang, of course, but like all slang, it ping or legatissimo touch is required in some cases; but of improving on the work of those super¬ what an uncomfortable house guest he can is very significant. It has a meaning all its own. Prac¬ if at the outset we master the pure legato style we will Practical Means for Developing be. For every false note, every note tically everybody in music, from Paderewski, Rach¬ geniuses. have very little trouble in mastering various other touches. missed in that first reading, is just like so maninoff, Grainger, Hofmann and Bauer down the line, Practice this in very slow time, with lightning finger Paganini’s League with the Devil The student may ask just what the difference is between much poison received into the student’s has a “runner-up.” That is, there is some one quite action, legatissimo, and with fingers lifted to the utmost “Paganini, that weird and marvelous Better Violin Playing a pure legato tone and a legatissimo. A pure legato tone system in general. ready to step in and take your place if you fall behind. height. is one where the tones just touch each other. A lega¬ Italian, in his mastery of violin technic, “Let us now go on. What does our This is as it should be. The world must go on and there In all this work strive to make each pair of fingers An Interview With the Noted American Violin Virtuoso tissimo tone is where they overlap one another. The fol¬ went so far beyond the players of his time hero do next? The first reading was not must be those to succeed you. However, many people come up to those that are the easiest to work. If tin s, lowing example will illustrate this: that during his life people believed him in ALBERT SPALDING quite as good as it might have been, but fall behind long before they should, largely because they exercises have been practiced conscientiously, the student league with the devil. He mastered and with his enthusiasm still strong within him rest upon their honors and forget the “runner-up.” Don’t may begin to apply shading and color that will transpose Ex.l wrote for the violin in the very highest he tries a second reading and at the proper forget the story of Mendelssohn when he was rehears¬ this technical exercise into a thing of beauty that will Secured Expressly for The Etude positions and invented a system of single tempo. The result is even poorer than the ing the Scherzo for the Midsummer Night’s Dream for enhance our pieces that call for trill work. and double harmonies and pizzicato play¬ By OTTO MEYER first. The novelty has worn off; Habit the first time. The first flutist of the orchestra refused The next study is to be done with each pair of fingers ing which has not been improved. By the has commenced to operate, and recollec¬ to play it, declaring the passage was impossibly difficult and to be worked upon until the merest whisper can be [Editor's Note.—Albert Spalding, violinist, New York debut in 1908. Only American use of harmonics he was able to extend born in Chicago, August 15th, 1888, son of violinist who has ever appeared in La Scala, tion of first errors has called in another for the flute. Now one of the first requisites to the acquiring of this gradually increased to a fortissimo, and vice versa. Milan. Appeared in practically every coun¬ the possible range of the violin as high as James Walter and Maria Boardman Spalding, element: Fear, which accompanies the re¬ “Ah,” said Mendelssohn, with a smile, “if you refuse tone is the proper releasing of the finger from the key Take any tone of the scale and trill it with the < mother a pianist. He was educated in New try of the civilized world. Soloist for all the the human ear can hear notes. During his York, Paris and Florence. Studied violin symphony orchestras. Composed many violin reading of each passage that was missed to play it, let Haache do it.” while taking the next note; and' this can be obtained above. Begin pp and gradually increase to if. Benin pieces; musical settings of poems; many lifetime many violinists would follow him with Chiti in Florence, Buitrago in New York, or spoiled in the first reading. So another Herr Haache was merely the second flutist, the “run¬ through a mastery of the following exercise: ff and decrease to pp. Combine these, beginning pp and and Lefort in Paris. At 14 he was awarded American folk-lore compositions. Mr. Meyer, from town to town in the hope of learn¬ professorship at Bologna Conservatory. Pro¬ who secured this interview, was for some door is opened and more neighbors, all ner-up.” He played it without comment. increasing to ff and then decreasing to pp. Begin ft. time assistant to' Ottokar Sevcik, and is also ing his ways of playing, or to write down fessional debut in 1905, in Paris. Subse¬ named Bad Habits, come in. And so on decrease gradually to pp and then increase to ff. quently appeared with Patti at the Chatelet. a pupil of Engen Ysaye.] from memory the compositions they had and so on. It is an old story, and one Do not attempt any of the trill work with the hands heard him play. Some of his composi¬ often told. It is told countless times a together, unless it is ig contrary motion. Contrary mot ion tice. There can be no definite answer to personal, the most characteristic of the in¬ Making Cans out of Can’ts tions are accessible to us only in this year by countless teachers, to countless tends towards independence of fingers; while technical this. It is entirely a personal matter. I, dividual player’s accomplishments. Now form; for example, the variations on Nel students. It is listened to with respect by exercises done.in similar motion have a tendency towards myself, think that four or five hours of character, individuality of tone, is some¬ By s. m. c. cor piu, non mi sento. Then in rapid suc¬ the student during the lesson hour, 'per¬ one hand setting the pace and the other following. Trills cession came men like Ernst, Wieniawski the right kind of practice is enough. But thing that cannot be taught. It comes from haps believed, but rarely acted upon. It is it must be regular, and one must have due a source more subtle than pedagogic rules, “I just can’t hold my hand up over the keyboard! in double notes may be taken up as soon as they have been and Vieuxtemps, each of whom left his not too much to say that ninety per cent of mastered in single notes. heritage of inspiration to the next gener¬ regard for health, without which there more elusive than prescribed regulations. My thumb always hangs down over the edge, and when the practicing of students away from their can be no success. After one becomes a It takes color from those intangible im¬ I play my fingers are straight as pokers, no matter how The diligent study of the exercises mentioned will ation. master’s guidance is an invitation to Bad ififffppppp “The invention of printed music made performing artist that quantity .may be re¬ pulses that go to make up the inner life hard I try to do as you tell me.” gradually develop a clean, pearly touch, which is so much Habits and a preparation for faulty in¬ “Do you realize that with your faulty position it is desired in playing the piano. it possible to pass on from generation to duced to perhaps two hours daily. I do of the artist. But what can be taught, what can be acquired, is a tone that is pure tonation. almost impossible to secure correct motion, and to pass generation all of the best music and ex¬ not believe in any set daily practice First Steps at Home the thumb without dipping the hand when playing scales ercises of the great masters, so that to-day scheme. If one practices the same thing in quality, wide in range, and capable of “Now, think for a moment! I have and arpeggios?” the violin student has but to follow in the for too long a period the ability to con carrying as far in a pianissimo as in a “I certainly realize it, but it seems I just can’t do “Training In” pathways blazed by the great violin mas¬ centrate is diminished, and wrong habits forte passage. cited an example which is constantly oc¬ curring where all the elements are favor¬ things the right way.” ters of the past and recorded in their creep in. Better to vary the exercises and “Correct intonation and good bowing able : a pupil endowed with natural tal¬ “This is a wrong notion, and the sooner you get rid By Ruth W. Capers printed writings to arrive with surety at keep up interest. The crux of the matter are the elements that make for a'pure and ents and having the advantage of good of it, the better for you. You evidently did not get a the ultimate goal. is how a man has pra .ticed. For this rea¬ unforced tone. It is no more difficult to It is so hard for the little beginner in music to pre¬ correct start, or you did not follow the directions of your line, asked me if I could suggest something. While “Violin students may be divided into son, also, I do not believe in the widely acquire a perfect intonation than a bad tuition. I shall not waste time on specu¬ pare her lessons with no assistance from mother. Yet teacher. Let us first try to get the correct position Helen was very bright and talented, she was not yet two classes. One of these thinks there is prevalent silent exercises except in the one, provided that one has a correct ear. lating on the cases less happily condi¬ so often I have had little folks whose mothers were so away from the keyboard. Lay your hand flat on the capable of instructing anyone unassisted, though she was some deep secret and mystery of violin simplest form. One should never put I fully realize the incredulity that this tioned. Let us return to our student and occupied with household and social duties that they could table; now arch the hand and have the fingers well glad to offer her services free for sake of experience. playing which, if discovered, would make down a finger except in the right place; statement may ' provoke among my read¬ point out what he ought to do, what he find no time to help the little ones with their early can do. We follow him to his home, rounded, then raise them up and down as I do. Let us I asked her if she would care to go to the houses of unnecessary or minimize work and prac¬ and how can one know whether it is in the ers and, as I do not like to propound an “struggles.” The little minds cannot recall all teacher where he returns filled with the same en¬ do the same thing at the keyboard. See how the hand several of my younger pupils on several days a week and tice. The other looks at violin playing as right place if one does not hear the note unsubstantiated question merely for the has told them, and consequently many exercises have purpose of providing a shock, let me ad¬ thusiasm for the new work to be studied, moves up and down from the wrist as from a hinge. assist them in their practice period. This would, not something logical, systematic and har¬ produced ? Again place your hand on the table in its arched posi¬ to be repeatedly reviewed. Invariably the child becomes “Tone is the most important thing in the vance the following in support of my con¬ as cited above, but which enthusiasm he only give Helen practical experience, but also greatly monious. Of course, this is the correct tion, letting the finger tips rest on the table. Now move discouraged and interest lags. Then mother decides that technics of violin playing. It is only viction. It is a question of habit, pure and fully intends to control against the tempta¬ “Sallie” is not making enough progress, and probably aid the little student and the teacher as well. All par¬ the forearm up and down, always coming back.to the “For success in violin playing there are through the medium of a single tone, at simple. Habit is nothing more nor less tion of making a false step. Arrived at blaming the teacher for the trouble, decides that she ties concerned were most willing to try this plan, and arched position of the hand. Now you have an idea of necessary as prerequisites, application, tal¬ once pure, beautiful and expressive, that than an invisible creation of our own. We home, he sets to work in the following must stop lessons. let me add that it met with the greatest success. correct finger, hand and forearm motion. These exer¬ ent, adaptability, musical sense, and a the violinist can say what he has to say. can no more escape its responsibilities than way. Before touching his violin he takes Over and over again this has happened, until at last a cises practiced daily on the table as well as on the I am sure that anyone else confronted with this same good natural harmonic instinct. Add to However accomplished the left hand may we can its consequences. Its powers cover the music and gives it a visual reading, solution to this perplexing problem offered itself. One of keyboard, with a strong determination to succeed, will problem will find this plan most helpful to all con¬ these good teaching and good practice, and be in digital dexterity, if the power to sing the entire field of violin technics, but I carefully noting and recalling all his teach¬ my girls of fourteen plans, in future years, to become put you on the road to progress, and make cans out of cerned. Children often learn more quickly from mentors the result must be good. I am often ques¬ be lacking, the audience is left cold and shall, as an examole, confine myself to er’s suggestions regarding such points as a music teacher, and desiring some experience in this all your can’ts.” near their own age than from older teachers. tioned as to how much one should prac- unimpressed. Then again, tone is the most pointing out its influence over intonation. fingerings, bowings, phrasings, rhythm. MARCH 1923 * Page 157 THE ETUDE THE ETUDE Page 156 MARCH 1923 those melodies with their accompanying The Home of “Yankee Doodle palette of colors and the bow is our brush; Musician and a College Position The next step, while advisable, may The Young but before we try to color our musical pic¬ be optional. If he is fortunate enough to ^rwholeandAl0sonffie mnge'of The* pTano By D.L. Ford ture the tone must be pure. Given that possess a piano and fortunate enough to be By ARTHUR L. MANCHESTER prerequisite, the student should practice able to play it even in an elementary way, Overlooking *e «jr. * £ the production of a pure clean tone, on one he will find it a great help to play the Conductor of the Elmira Symphony Orchestra piece, and especially its more difficult string only at first; as, until the tone is Sean £1*S SsSf ffifv^2selaf family, formed, the practice of too many double able to place it before his classes in a clear and interest- passages, on that instrument, so that he above-mentioned branches is obligatory. Colonial it is in truth; foranmsmpt.o waste and stronger concentration of effort. The educa¬ notes is apt to coarsen the tone. After the There is no phase of musical activity now open to the ing. manner. He should be well acquainted with orches¬ is, to a certain extent, capable of mentally “Besides becoming a fine technician on on the cellar wall reads K W R. 64^ tional atmosphere of the college community provides a tone is pure and beautiful it may be colored young musician that offers greater opportunities for both tral and choral music, and if he be able to conduct both grasping its content. Next, he selects the his instrument, and a broadly trained mu- Anno Domini. It was built for Killean powerful stimulus, whose importance cannot be overes¬ by bowing at different distances from the pecuniary and artistic success than college work in music. orchestra and chorus, it will be much to his advantage. most difficult passages, section by section, sician, the violin student must strive to be- Van Rensselaer, who engaged in sffipp 0 timated, when rightly applied. bridge, according to the volume and char¬ Nor is there any kind of professional activity which He should be able to lecture interestingly and logically and compares them to all previous pas¬ come broadly cultured. One cannot draw to the colonies as early as WU and it The pecuniary returns to the member of the music fac- acter desired. makes larger demands for breadth of musicianship and on general musical subjects. To this summation of edu¬ sages with which he is familiar through water from an empty well; and the musical claimed locally to be the oldest house in ulty of a first-class college are sure and not subject to the “Given a pure, well-controlled tone, the fullness of artistry. In no other field of music can be cational and musical equipment must be added admini¬ study and experience. message which we express will be after all America, study of the staccato may be commenced. found a wider range of educational usefulness or a more fluctuations of the income of the private teacher. The “Then, and not until then, he takes his an expression of what we know, feel, think in this, then considered a salaries now paid in well-equipped, progressive and up- strative power of pronounced type. Freedom of tone and elasticity are neces¬ pressing demand for initiative and the power of sustained To properly direct a college music deparmtent, correlat¬ violin from its case. He. plays scales and and live To give an appropriate rendition old mansion, General Amherst ot nis to-date colleges to competent instructors are, as a rule, sary for a good staccato, and to me a stac¬ and progressive effort. And nowhere else is there a more ing its various functions with the academic department exercises to warm up—and especially those of thl works of any great master one jesty’s Colonial Forces had established his larger than the income of a large majority of private cato is no staccato which does not have stimulating and continuous incitement to the development and maintaining its standing as an integral part of the exercises which he has found to be anal¬ should know not only a great deal of the headquarters in 175.5. The colonial soldie , teachers. The instructor in the college is not required to surety of attack and rhythm. of broader, better and more generally efficient education¬ educational work of the institution, a combination of tact, ogous to the difficult passages in the piece life and character of that musician, but ;n. their frontier riggings that were oitei seek out his clientele. Beyond making his instruction such “The quality of violin tone is more or al methods than in the college. firmness, executive ability and a knowledge of education¬ at hand. Now comes the piece itself. He also something of the times in which he far from new, and even tattered, made a as to assure the reputation of the college, no responsibility less affected by the strings used. Person¬ Much has been said of the freedom of the private al processes as applied to music as well as to education makes a careful estimate of the tempo at lived. The student who is able to read not very favorable showing beside the for securing students rests upon him. His public is pro¬ ally I use only gut strings, except, of teacher, of his unlimited liberty of action, but the prin- generally, is imperative. Vitally important also is ability which he can make a trial of playing it— several foreign languages is at a big ad- jauntily groomed British Regulars an vided for him, and usually it is a public ready and wait¬ course, the G string; but many great ■ cipal freedom accompanying the work of the private to diagnose the characteristics, standards and needs of all the notes—and all the notes in tune. vantage over the one who can read only their officers in their brilliant uniforms. ing to profit by his work. He is free to devote his At the first error of bowing, fingering or artists use the steel E string. I like the teacher would seem to be the release from the keen, ur¬ English If one studies with some foreign Surgeon “Dick” Schuchburg, the wit of thought and energy to the work of instruction and pro¬ the territory from which the institution draws its patron¬ intonation he immediately stops and re¬ character of the tone produced by the gent and systematic impulsion toward improved methods teacher and understands and speaks his the camp, surrounded by friends, was viding ways and means for meeting the educational and age. And in no other position is the value of being a peats the passages over and over again aluminum-covered D, but found it hard to and higher ideals and educational efficiency that charac¬ language one has a distinct advantage, for perched on the well curb at the rear of the artistic problems of the community. It is pertinent here good “mixer,” the ability to enthuse the people and arouse until it has become almost automatically get them with a pure tone and correct terize work of the true college. An experience of more though^almost every good teacher abroad old mansion. As they watched the uncouth to say that this devising means for developing the artistic their sympathetic support of all measures intended to smooth, flowing and natural, and so on fifths. is abk to speak English, yet they are more Colonials, “Dick s irrepressible wit, began than twenty years in college and fifteen spent in private build up the musical interests of the community, of such “I do a great deal of my practicing away standing of the community is one of the most interesting through to the end. If this process is at home in their own tongue, and expfess t0 WOrk and he struck off a merry quip teaching leads me strongly to believe that the private great value. It may be thought that this is a large order, from the instrument. When one is play¬ and stimulating phases of college work in music. It is repeated over and over again, the result themselves more easily. Also if one on his unsoldierly looking comrades. The teacher is in far greater danger of becoming deadened, but the earnest young musician will find in it a stimulus ing the instrument he is hampered by its at this point that the test of the college musician is felt. will appear to be a miracle. But it is in studies or makes concert trips abroad, first stanza of the satire ran: of falling into a rut, because of the absence of the in¬ for self culture and persistent endeavor, and he may be mechanics in considering the music as Upon his power to recognize the educational and artistic reality no miracle at all. It is only natu¬ centive and strict supervision so aggressively present in sure that rewards, both ethical and financial, lie awaiting music only. Of course, one must do much he is certainly at a great disadvantage if “Father and I went down to camp needs of the community, as they arise, and his ability to ral, logical, and consistent. The student the college, but largely absent in the environment of the him as he proceeds along his way. technical practice; but, when it comes to an interpreter must accompany him. Along with Cap’n Goodm’; initiate and sustain adequate means for meeting them does has kept all the doors locked to Bad Hab¬ And there we saw the men and boys private teacher. Heretofore, much of the training outlined in preceding its and has let in only good ones. His playing, the most frequent difficulty, is not the real success of his department depend. And not only the bow, not the fingers, but the coordina¬ Great Art Lovers As thick as hasty puddin’.” so,.but his own growth as a musician, the development paragraphs has been gotten in the school of experience. practice hours mean one hundred per cent The College Atmosphere tion of the mind with them all. One is apt of’ his powers as an educator and a musicianly constituent It would be well for those who intend to follow music benefit, instead of only ten per cent or Very many of the elements essential in the develop¬ as a profession to acquaint themselves with the opportun¬ less. If notes are played slowly enough to start a passage which should be a per¬ of the community are in direct proportion to his success¬ ment of personal and professional strength of character ities and requirements of college work in music and so and often enough—a habit of correct in¬ fect arch of tones, and, before arriving at ful survival of this test. He has every incentive to ar¬ and of individual ability are found in the college atmos¬ shape their student days as to acquire as much of this tonation is formed, which is just as easy its middle, the mind has slipped a cog and range study courses, inaugurate artistic events and effec¬ phere. The college musician has unusual opportunities to preparation during that time as is possible. The impor¬ to acquire as a habit of faulty intonation. the arch falls. I call it the psychological tively carry on musical movements that will keep his put into practice educational ideals and progressive meth¬ “The student will do well not to use too difficulty of interpretation. department in the forefront of similar institutions and tance of the position, its far-reaching influence on the ods of instruction. These can be fairly tested and results music life of the country and its financial possibilities much vibrato during the study of intona¬ his community well advanced in all artistic activities. o?t SL ’art, »d r„> f Co,nw,m, surrendered at York.own accurately estimated. Weakness of plan, of methods, of tion. Especially is this true in the higher Don’t Fail to Study Virtuoso Works combine to emphasize the sensibleness of such prepara¬ presentation, will be invariably revealed. What is edu¬ positions. The vibrato should be from the wmmMrnm Maintaining Your Stand with the College Faculty tion. The trouble has been that too many directors of “Psychologists tell us that every child cationally true and strong will emerge from the test music in colleges have known little or nothing outside of wrist via the finger, and should be rapid passes in its evolution through all the If the director of a music department would maintain ass*.** sat sa 'Z successfully. Operations are carried on under conditions music. This has lowered the dignity of the position and, and not broad. With a slow and broad stages of civilization from savagery to our his stand on an equality with the other members of the and with a continuity of effort sufficient to demonstrate in many instances, made it impossible to secure the hearty vibrato, one does not enunciate, but gob¬ present cultural status. The same thing college faculty, his preparation should include a sound adequately the value of the thing undertaken. Passing support of the college authorities. With the advent of bles, like a turkey. must be true of the violinist. One must sr & a t ass and fairly comprehensive academic education as well as by, for the moment, the teaching of specialties and their study works of all the periods of violin a most complete musical training. He should be a spe¬ music directors who can meet other members of the col¬ correlated theoretical subjects, a consideration of the Higher Positions history, to have an adequate musical back¬ cialist in one or more musical subjects, piano, voice cul¬ lege faculty on their own ground comes a recognition TZZhT'L'Z'r tVleara’ .; .nd the humble quarter, of a eem.nt block power for musical good or evil the college musician can ground for the interpretation of our great¬ ™ ture and singing, violin or organ, or a combination of that means progress. Hence it is very desirable that the “As one goes into the higher positions exert on the tendencies of the community in which the est musical masterpieces. Many music two or more .of these, and, at the same time so conver¬ director should be acquainted with English literature, the tones and half-tones become closer to¬ better perfect .tat to. I*. ata* y is still in possession of de- college is located and, through the college patronage, on students, raised in an ultra-critical musical sant with all that he can recognize good work in each. modern languages, Latin, philosophy, psychology and gether, and there should be less and less learned, then 1 scendants of the original owner. A member the wide-spread territory from which the institution mathematics. His reading on these subjects should be vibrato in proportion to the size of the atmosphere, are inclined to slight the works He should know the theory of music thoroughly and be St‘"Habit can be our strongest friend and of the famous old Van Rensselaer family, draws its students and over which it exerts a strong in¬ continuous and systematic. Of special importance is a tones. Any great deviation from the ex¬ of the great virtuoso composers for their instrument. Each has its worthy place in ally Make habits conscientiously. Open Mrs. Van Rensselaer Strong, of Phi u.el- fluence, will reveal a field of tremendous extent and un¬ knowledge of history, both modern and ancient. act tone, such as is produced by a too any mane mu b „ pha is the present owner and has ottered limited possibilities, emphasizing the responsibility of the broad vibrato, will ruin an otherwise good the development of the young student; such the door only to Good Habits. £, ^ ^ q{ ^ york for Here is a field of musical activity in which dignity of works as those of Dancla and De Beriot position he holds. The conscientious musician cannot position, opportunity for professional development, ad¬ intonation. —rf—- museum purposes. Should this generous contemplate this opportunity and responsibility and per¬ “Also, as one ascends the scale into the have their value; and for the more ad¬ equate financial and artistic reward and surpassingly in¬ impulse not be properly met by the “Empire mit himself to fall into ineffective routine. higher positions there is a natural musical vanced student, Paganini, Ernst, Wien- teresting work combine. It is well worth the consider¬ No Duke Need Apply State,” let us hope that some one of our The facilities possessed by the college musician for tendency to an ethereal quality of tone iawski and Vieuxtemps must not be ation of teachers. When Mehul was only eighteen years of Periotic societies will initiate a noyement the organization of choral societies, orchestras, ensemble which is ruined by much vibrato. slighted. Incidentally some of the Paga¬ Thus far emphasis has been placed on the advantages age, a famous composer of sixty-five, to preserve and perpetuate the _ Birthplace classes and other forms of organized effort, and the fact “The study of scales is, I think, the nini Caprices, and the second concerto of of a college relationship to the young musician. There that the student body is under such regulations as to make most neglected and most important part Wieniawski I consider musical master¬ Gluck, gave the first performance of a of our Flrst National Anthem, is another angle from which the subject should be viewed, attendance upon rehearsals obligatory, simplify matters of violin technic, and the greatest means of pieces, as well as models of writing for new opera, Iphigenie en Tauride, in Paris. an angle of decided importance just now. It is within and render results more certain, giving him a decided gaining and keeping a good technic. But the violin. On the day preceding the premiere, the the bounds of reason to say that music is being uni¬ Make the Minutes Count advantage over his private confrere. Affiliation with a by scales, I do not mean the usual idea “But no matter how talented the pupil, former overheard a conversation between versally cultivated. It is receiving a publicity that is of playing daily the twenty-four scales, nor how hard he may work at his musical a certain duke and the master. college gives better opportunity for installing concert significant. The almost innumerable schemes for its By Marjorie Gleyre Lachmund with one fingering for all, or at the best studies, and no matter how many of the “No, Monsieur le due,” said Gluck, “it and lecture courses and classes in music appreciation and use and advancement in popular interest attract atten¬ one fingering for each. In the literature, great musical masterpieces may be faith¬ is not my fault that there are no tickets kindred subjects, which reaching an assured public, can tion by their diversity and wide range of activities. An hour is sixty minutes—but do you one seldom meets scales that start on just fully studied, a much wider field of study left for the performance. I have only one ------be made estimably valuable and afford a marked incen¬ Community sings, programs of various clubs, prizes the note and position that the student has is necessary to the making of a really good for my wife, and I cannot deprive her . ,SIxty mmutes worth of practicing done tive for earnest and comprehensive research. offered for compositions, the interesting return of carol practiced. Also the exigencies of rhythm musical nature. even for you!” during the hour you spend at the piano.'' These conditions apply with equal force to work in singing during the Christmas season, are indications of and expression demand the most varied “In the first place one cannot be a Mehul, who himself had not yet secured ma,V timcs do >'ou iumP UP ,t0 look harmony, counterpoint, composition and similar theoret¬ a musical interest and activity which cover the entire fingering. Each scale should be practiced really great violinist without being a good a place, was desolate; but rather than at the clock-or look out the wmdow-or ical subjects. These being a required part of the curricu¬ country. These statements are commonplaces and are with a wide variety of fingering. Thus musician. And to the making of a good miss hearing the opera he resolved to hide &° to t"e telephone or tell Mother some- lum in most colleges, assume the dignity of academic here mentioned for the purpose of focusing the point subjects. Classes are ready to the instructor’s hand and conducted, scale study becomes not merely musician belongs more than merely scales himself in the Gallery. This decision was thing that simply cannot wait? with which this article closes. scale playing, but a school for artistic and exercises. To the making of a broadly no sooner come to than it was acted upon, If y°u ar« setting aside an hour for piano every incentive is furnished the live musician to invest change of positions also. educated musician there are necessary the and he spent the whole night there and a practice make that hour count for the very them with interest. It is obvious that pursuing these lines No Use for Desultory Teaching “From these few suggestions the thought¬ study of Harmony, Counterpoint, Musical part of the following day. Driven by hun- most: y°u can. The hour will have been of work, comprising as they do the principal factors of This widespread interest in music can be made per¬ ful student will grasp the idea, and work History, Musical Form and Analysis, the ger, however, he was compelled to descend sPent in any case, so why not spent to ad- breadth of view, profound musical knowledge and practi¬ manent only by supplementing it with a sound and com¬ cal and efficient presentation of musical knowledge, the out fingerings, until he can play any scale study of Instrumentation to the point where some time before the performance was to vantage? prehensive educational program. In the making and with any fingering. The ability to thus the pupil is able to read a score. In short, begin. One of the first of the people he D° not waste the precious minutes idly college musician finds his activities filled with never end¬ developing of this educational program all those who are use different fingerings for passages gives the pupil must study enough of the art of met on coming down was Gluck himself. Playing over everything you know. Buckle ing variety of aspect and ever growing interest. Such desirous of seeing America become a truly musical work, undertaken seriously and followed up persistently, the violin player a great advantage over composing music to be able to understand “Hello, youngster,” said the composer, down to business and see how much nation should participate. Teachers (both private and cannot fail to react upon the musician’s professional the piano player. For example, one will when studying a new composition just what “don’t you wish to see my opera to-night? progress you can make. If you are those connected with institutions), players, singers, con¬ equipment and increase his power and earning capacity. often use the third finger for a note which the author intended to say and how he in¬ Why have you not come for your ticket?” practicing properly with your mind on cert-givers and composers are concerned in it and should In teaching specialties, these conditions conduce to he wishes to make more intense and to tended to say it. “But I heard you tell the duke yester- your work, the sixty minutes will seem do their full part in its accomplishment. Of this group, better work on the part of both teacher and student. The accentuate without a bow accent; and con¬ “For the proper study of the above-men¬ day that there were none left,” replied like ten; but if your mind is on the this article is particularly concerned with those who college atmosphere and the orderliness and system of versely one will use the fourth finger for tioned branches the student ought to learn Mehul. clock while your fingers try to kill teach. Desultory music teaching is not what is needed. college methods are felt in the work of the music depart¬ a note which he wishes to have of a neu¬ to play quite well the piano, for that instru¬ “None certainly for dukes,” was the time, the hour will stretch out indefi- A music-loving nation is the outcome of something more ment enables the musician to express at the ment, assuring greater certainty in securing adequate re¬ tral character. Also one can by different flattering response, “but for a musician, nitely. than a superficial singing of popular songs and the play¬ same time melody and its accompanying sults. The time of the student is so regulated, his work- fingering accentuate as wished, especially for my friend—that makes a difference— --- ing of jazz by orchestras and bands. Policies that die- under such constant supervision, that there is much less ARTHUR L. MANCHESTER by a shift in rapid passages. harmonies. The violinist must be able not and here you are \”-The Scottish Musical The birds never attempt pieces beyond “The four different strings are the merely to hear melodies but to think of their ability. MARCH 1923 Page 159 THE ETUDE the etude Page 15$ MATCH 1023 Negro The Highest Pleasure in Music The Poetic and Melodic Gifts of the tate methods of procedure in general education should Finding Fun in Teaching have influence here. The prospective citizen should be If an Agassiz finds pleasure among fossils in order By Edward Dickinson An Excellent Paper for Reading at Musical Clubs taken in hand and carried through his musical education that he may interpret the great story of prehistoric life; in much the same fashion as is done in his general if a Thoreau by Walden Pond is delighted with his preparation for life. And this leads at once to the studies of bugs and beetles; if a John Burroughs on his This higher musical pleasure, like the agreeable sensa¬ statement that organized education, as exemplified in little patch of ground in the valley of the Mohawk tion produced by tones, is, to a large extent, natural, By R. EMMET KENNEDY our public school system and colleges, is the keystone glories in his life among the birds and bees; if a Luther born in the mind, not the result of education bw™ to this educational supplement to popular musical enthusi¬ Burbank is enraptured with his work of transforming a of the most sympathetic and appreciative lovers ot music asm. Under these auspices the work can be properly worthless desert cactus into an edible fruit, or in pro¬ I have ever known did not know one note by 1 s name planned, systematized and tested. Such standardization ducing sweeter rose or fairer lily; if these and other from another. I have often been astonished to obsene as is possible can be had, and a forward-looking scheme workers, whose names are legion, revel in the love of the genuine appreciation of the profounder music of of complete musical development nationally can be their work, then by what term shall we designate the Wagner, Schumann, Beethoven, and even ot Lacn, on undertaken. the part of very young people whose other faculties sxizrszxz isi^,-**.*!-***-*- * —— joy that should be the teacher’s, who works not with In such a scheme the college will take an important mere fossils, nor with bugs or beetles, not with birds, were only beginning to develop-. But, although this have never oeen lenrueu in iwnuncv. w»v.. . , v “W’en de clouds hang heavy an’ it look like ram, More than four decades ago, speaking of negro music, for effect: the extemporaneous outpourings of simple souls O Lawd, how long? place. It can be made the most potential of agencies liees or flowers, but with the child who is at once the emotional delight is so largely natural and instinctive, yet It is in the devotional songs that you hud the true iacini used. Ideally located in every section of the country, it is capable of cultivation. And I believe that its culti¬ in his preface to Cabin and Plantation Songs, Thomas r. characteristics, the peculiarities ot rhythm and interval, the Well de sun’s draw’n watuh fum every vein, most complex, the most plastic, the most beautiful, the emmu i ii c .■ £ an,i the fantastic interweaving ot if those who are in authority perceive their opportunity most wonderful of all God’s creation.—Journal of Edu¬ vation should be largely a chastening process directed Fenner said: “It may be that this people which has de¬ O Lawd, how long? veloped-such a wonderful musical sense in its degrada¬ tho inn ior and the minor modes. It«s in these, if we tliought- and grasp it with vigor, the college can do more than cation. not to intensifying it, but to leading it toward worthy tlliiv Sainhic the melodies of these despised people, that we any other agency, with the exception of the public objects. Sentiment is a noble thing; it belongs to the tion will in its maturity produce a composer who could findyto What a remarkable degree they are possessed of the “About dis time anuthuh yeah schools, to develop a real and abiding knowledge of, immortal part of our nature; but if it is misdirected it bring a music of the future out of the music of the past. I may be gone and love for, music. The place it occupies is well Producing the Staccato and Legato degenerates into sentimentality, and it is not at all a At present, however, the freedmen have an unfortunate Like the music and poetry of all unlettered folk, these Within some lonely grave-yahd— known. The small college comes into vital contact noble attribute. inclination to despise this music as a vestige of slavery. productions are of a purely sentimental and emotional O Lawd, how long? with more than a half million of young people each By Mary T. Folta Avoiding a false and enervating sentimentalism, we Those who learned it in the old time, when it- was the quality, most noticeable in that form of devotional song year. This half-million young people become thoroughly have only to fix our attention on works of art that are natural outpouring of their sorrows and longings, are or spiritual which the Baptist negro refers to as “ballets.” “If I had a-prayed w’en I was young, saturated with college ideals. Their modes of thought To be the master of tones, to know just what to do to truly beautiful and elevated, and there is little danger dying off, and, if efforts are not made for its preserva¬ They are original expressions of religious fervor, melo¬ O Lawd, how long? and manner of action are colored by their life in these get a certain tonal effect, these must be the aim of the that the emotional side of our nature will become debil¬ tion, the country will soon have lost this wonderful music dies that unconsciously sing themselves into being, the Well, I would not had such a hahd race to run. instituti'ons, oftentimes undergoing radical changes. Re¬ student of music. itated, or will over-balance our common sense faculties. of bondage.” „ , , , words, excellent specimens of primitive poetry. O Lawd, how long?” turning to their respective communities, carrying with Only a few persons, after hearing a tone, can repro¬ There' is but one rule to follow here, and that is never While it cannot be said that Mr. Fenner’s prophecy has Let us listen to the crooning of an old man in one- of them these new viewpoints and methods, they infuse duce it without knowing definitely the necessary physical to play any worthless music to yourself or to others, been fulfilled outright, still, it is pleasing to know that his scriptural moods, early in the morning. . He is sitting Then picture to yourself a moonlight night in late • them into the life of their communities, touching many action: However, this is not to discourage the average listen to it when anyone else plays it, if you several negro composers have made very satisfactory in the shade of a persimmon tree, with the fragrant blos¬ autumn. It is way up on the bank of the Mississippi times their number and extending the influence of the col¬ student of music. The young student may produce beau¬ excursions into the extensive field of folk melody and soms dropping around him, with a bunch of willow river, far away from the noise and rumble of the town. lege far beyond its own comparatively narrow limits. tiful tones as well as the artist. It is only a matter of have brought forth many gems from the plentiful store saplings before him, cutting them into slats to make into You are sitting out on the front gallery of an old planta- How can the power of such an agency be otherwise than learning how to do the thing; and, with this in mind, we Better to be Impolite which still remains theirs in their own right. baskets which he will sell to the “mah-shawn” woman for tion house, watching the fireflies glimmering in and out tremendous? Who can measure the scope and potenti¬ will consider the staccato and legato touches. And I am not sure but that it is better to be impolite To anyone interested iii the elementary forms of primi¬ carrying vegetables. As he works he is thinking of the among the jasmine bushes and listening to the mocking¬ ality of the power for good or evil wielded by the young- The staccato, that is, the ideal one, is a crisp, sparkling than to listen to shallow and worthless music. Rules tive music and poetry, this field of Southern slave music many years that have gone over him and of his unpre¬ birds’ songs of ecstasy in some far tree. After a while, musician who fully identifies himself with such an tone. It is a beautiful, joyous tone. When striving for of good taste in art, which some writers have tried to is one which is filled with surprises both profitable and pared condition if death were to call him away suddenly, a weird snatch of melody goes over you on the night institution? What vistas of ideal, yet absolutely practi¬ staccato, keep in mind the following points : lay down, will not help you much. It is only by con¬ delightsome. and the uncertainty of life in general. Gradually his wind. You listen again, and it sounds like the burthen ot cal, musical development stretch out before him! What I ■ Allow the finger to touch the key before using it stant association and familiarity with great works of art thought finds expression in song, the improvised melody a funeral dirge. You know then that some colored person incentives for concentrated and persistent effort are his 1 for the stroke. that one comes to understand and enjoy them. faithfully reqprding the melancholy wistfulness of his is dead in the quarters and all the members of the church il; those de- are ranged around the room, singing the departed spirit Here is a view of the relationship of the young II As soon as the key is struck jerk the finger away We must realize that the spirit of beauty is infinite, y nation. In mood as he sings: musician to the college that should arouse thought. We with a snap, as if it had touched a red-hot stove. and that the standard of beauty that we have in our ;s of inspired along the undiscovered road, where blind and childish are all ambitious to achieve personal success, but there Carry out -these two suggestions, and a pure, crisp minds is, at best, only fragmentary and incomplete. It Ex.l faith leads them on unquestioningly. The night is is within each of us a chord that will respond to the staccato tone will always be the result. And the faster must be our constant effort to broaden it and make it filled with mystery and your soul with melancholy as you call for a higher service than the mere attainment of the action of jerking away, the more beautiful and de¬ conform more and more to the standards that exist in hear them sing: personal ease and reputation. America shows this in tached will be the tone. those masterpieces of the arts which the cultured world and th“rMus!hengl?ns aud^lattlo-hymns and lamentations every response she makes to the appeals of needy na¬ The legato tone has one thing in common with the agrees in calling true and immortal. We must lay aside of the pagan Celts And w MofJhese which Ex. 2 tions ; and musicians are not lacking when the call comes staccato, namely, touching the key before sounding it. all conceit and prejudice, realizing that our own artistic p\ayf upon°theXemotlo,n’s moic readily than some scholarly to them to do a work for music that will be felt through¬ The wrist should be as low as possible and the hand and judgments are necessarily imperfect. When we come production of any of the renowned masters. out the country and for the future. It is not the province fingers well arched. Now, as the finger strikes the key, in contact with some famous work which seems to Ik- of this article to detail what should be done in the the wrist rises, the finger remaining on the key. If the outside of our sympathies, we should not say, “I find im In our own day the untutored negro of the South pos¬ development of this phase of college work in music; the tone is to be a soft one, strike the key slowly as the pleasure in this; I will let it alone and go to something sesses this charm of inherent creative ability to an as¬ purpose here is to make clear the call, show something wrist gradually rises. If the tone is to be loud, quicken that I can understand;” but rather, “This work hears tonishing degree. He is wonderfully gifted musically of its importance and possibilities and, at the same time, both actions. the name of an artist whom the best judges have pro¬ and fairly tingles with poetic tendencies, alive with senti¬ indicate that it is a call that is not devoid of pleasant The fullness and r'oundness, the ringing and carrying nounced to be great, and the work is called one of ins ment and ready imagination, unconsciously expressing his and stimulating rewards. qualities of the tone, depend fundamentally on the action masterpieces. I cannot see its beauty, but that must he thought in the direct, rhythmic language of true poetry- of the wrist. The wrist is raised just as the key is because I am not yet educated to it; I will study it, and. crude, semi-barbarous poetry, if you will, but savoring of struck. Don’t raise it after the key is struck, because the true essence. His partiality for high-sounding words, Singing Your Piano Pieces perhaps, by and by, I shall appreciate its qualities.” \ MARCH 1928 Page 161 THE ETUDE the etude Page 160 MARCH 1$28 Examples and Illustrations Good Piano Playing: How Can the Average Piano Player (Man asks)— "Wen I lay my body down, “O.tell me, my sistuh, By Elizabeth A. Gest Ay Lawd, in de grave-yahd; Won't you tell me little bettuh, W’en I lay my body down, Whah you bin so long gone?” Tell Whether it is Good or Bad? Ay Lawd, in de grave-yahd; Children are natural imitators, and it is a good plan Think you hyeah my coffin soun’—. ( Woman replies)— for the teacher to give frequent k^b°arJ ™leS a"d My soul be singin’ unduh de groun’— “Bin a-wheelin’ an’ a-rockin illustrations of how some things shouM be done By W. J. HENDERSON Ay Lawd, singin’ in de grave-yahd: At de ole church gate, „ When the example iS purely technical it is importan An’ my soul wants to go home to glory. forthe pupil to watch the teacher’s hand to understand “Toll de bell, angel, I jes’ got ovuh; h point to question and try intelligently to do likewise. (Full chorus) — Some pupils receive a much more definite idea of wh Toll de bell, angel, I jes’ got ovuh; “Roll an’ rock, come along, Toll de bell, angel, I jes’ got ovuh; is required, technically, by seeing ^concrete example Roll an’ rock, come along, Not all the angels; Well, I jes’ got ovuh at las’.” Roll an’ rock, come along, than by listening to “do” and “don t. _ than the early ones. We have better strings, better But when the illustration is purely musical it « mud In heaven nor; My soul wants to go home to glory.” When you go to hear a pianist, what do you expect? sounding-boards, better key actions, and better pedals. better for the pupil to close the eyes and listen, for often The demons down; The next picture is a group of women in the bean field, If you expect what you should not and the pianist does We possess sound-sustaining devices unknown to the picking snap beans for market. They are ranged in rows, the pupil will be so much engaged with the external Under the sea; what he should, you will be disappointed. If you expect makers of Mozart’s and Beethoven’s pianos Yet the down the long aisles of beans growing on upright cane- (Man)— points of interest that the value of the musical expres¬ Can ever dissever my soul; what you should and the pianist cannot fulfil his obliga¬ illusion of song has always been sought by pianists. reed trellises, and they are singing in unison, with per¬ “O tell me,” etc. sion will be lost, or at least lessened. Instead of saying From the soul of; tions to his art, you will be disappointed; but this time Johann Sebastian Bach’s son Emmanuel wrote: fect rhythm and sympathy, a handful of beans emptied (Woman)— “now let me play that passage for you, it would bt with unassailable reason. Too many persons regard The beautiful Annabel Lee. into their baskets with each cadence. They have been at better to say “now close your eyes and listen while 1 “Methinks music ought principally to move the heart, “Bin a-drinkin’ fum de fountain music and its performance as some sort of mystery, com¬ If you read it that way, the rhythm is spoiled, though work since sunrise and it is now nearing the time for play that Sassage.” Then play it as it shoed be: Payed prehensible only to those possessed of special training, and in this no performer will succeed by merely hump¬ Dat nevuh runs dry. B it is impossible altogether to destroy it, while the phrasing resting. One woman takes the lead, singing each line of An’ my soul wants to go home to glory. ■ and if necessary, play it as the pupil played it, but fol¬ ing and drumming and by continual arpeggio playing. whereas to a certain extent any one who has a good ear —supposing it for the moment to be piano and not word the chant alone, the others forming the chorus. Her low’ again with the correct way. Slight exaggerations During the last few years my chief endeavor has been and will apply common sense to his consideration of music mus;c_is wholly ruined. But even when the lines are mind is a medley of reminiscences, and, thinking aloud, (Chorus)— ' mav even be made to impress the pupil more forcibly. to play the pianoforte, in spite of its deficiency in sus- “Roll an’ rock,” etc. can determine whether he ought to enjoy it or not. correctly phrased, the rhythm will still be imperfect if she fits her fancies to a plaintive melody, the others fall¬ Ask the pupil if he noticed any difference in the two If music is an art at all, it is the art of beauty in taining sound, as much as possible in a singing manner, just the right emphasis is not laid on every syllable. ing in with her and supplying the different harmonies renderings, and let him explain the difference and play sound. We need not torment ourselves by trying to and to compose for it accordingly.” In the larger forms of musical composition the melodic with musicianship that is bewildering. The song has a (Man)— the passage in the correct way. arrive at a definition of beauty. Let us confess at once Mozart cherished similar ideals. He demanded of the phrases are often very extended and the rhythms not naivete about it that is charming. “O tell me,” etc. This listening with the eyes closed is very good f°r a1' that beauty has never been successfully defined, and that pianist a smooth, gliding movement of the hands so that the passages should flow like wine and oil. In order simple, but compound. It is therefore the business of pupils, particularly for those whose musical sensibility it is entirely a matter of opinion. But the fact remains Ex.4 (Woman)— the pianist to convey to the hearer a clear and unmistak¬ “Bin a-walkin’ wid de angels is more or less conspicuous by its absence, and it is a that among the cultivated peoples of the world there is that the vocal character of piano music might be pre¬ served, Mozart wrote continually in the cantabile style able outline, so that he may recognize the phrases of a An’ a-waitin’ on my Lawd, grent help towards improving the ear, musical feeling, a pretty general consensus of opinion. In regard to melody and the melody as a whole. If you hear a blurred An’ my soul wants to go home to glory.” and interpretation. music, the general view is that its fundamental beauty (cantare—to sing) and developed many of his melodic thoughts from simple successions of notes of the sea e. and uncertain melody, groping, as it were, its way toward is the beauty of tone. If the sounds produced by instru¬ (Chorus) — you, be sure there is something wrong with the per¬ ments or voices are harsh, rough, impure, or, m a word, One often wonders whether Elly Ney ever heard of the “Roll an’ reck,” etc. Variety formance. The rpost uncouth or vague melody can be noises rather than musical tones, beauty cannot exist wise sayings of Emmanuel Bach and Mozart. played in such a way that the responsibility for its de¬ For that reason we may without hesitation assert that But, while the singing melody is the basis of p'ano By Ada Mae Hoffrek fects will be shown to be the composer’s, not the per¬ (Man)— the chief object of all musical technic is the production music, as it is of all other music, it is not the whole of it. Upon this foundation is reared an artistic structure_in. former’s. And wheii one thinks of perfection in rhythm “O tell me,” etc. of euphonious tone. Probably that is what Liszt had in No one relishes the same diet every day in the week; which variety in unity shows forth in all its engaging one thinks of Josef Hofmann, the master of phrase and (Woman) — in fact if the same food is continued every meal for mind when he declared that three things were needed to “Bin a-listenin’ in de valley make a pianist: “First, technic; second, technic; third, qualities. No one would wish to forego the pleasure ex¬ accent. . . ; “Chink, pink, honey, any length of time our physical being b a."d One of the commonest faults in piano playing is under¬ An’ a-lookin’ fo’ de light, technic.” What he undoubtedly meant was that a per¬ perienced in hearing a pianist perform rapid passages O Lula! develop various ailments. Caviar and Pate de Fois Gras with perfect smoothness and equality, with sonorous estimating the relative sonorities of the upper and lower An’ my soul wants to go home to glojy.” fect and inexhaustible technic is essential to good piano Chink, pink, honey, every day in the week is just as bad as a steady diet of force and sunny clarity. While the pure cantabile melody strings. The high treble notes are sounded by short playing, for the reason that without it nothing can be Way down de bayou. (Chorus)— corn beef and cabbage. may be the trunk of a composition, the florid passages strings with short vibrations; the bass strings are long “Roll an’ reck,” etc. The same thing applies to music. Every composer lias made to sound beautiful. are the natural and beautiful exfoliation, and we would and have more enduring vibrations. Pianists often forget “Chink, pink, honey, a distinct style of his own; and if you give the one this and make the bass of a passage resound so that Making it Beautiful regard some naked trunks as comparatively wintry O Lula! (Man)— writer’s compositions repeatedly, his nature will relic the treble is obscured and the outline of the melody Therefore let us begin with some reflections on the objects. . . , Chink, pink, honey, “O tell me,” etc. against them, even though the student may be unconscious In the performance of brilliant passages, and also in lost. Obviously a composer wishes that everything shall art of playing the piano. Nothing is more generally W’at you evuh gi’n me. of the cause, and you may not observe it. Too much certain types of melody, the staccato, or short, sharp be heard, but in proper proportion. It must be plain to (Woman)— understood than what constitutes good piano performance of the works of one composer may make the student touch is required. The listener is justified in demanding the reader that good phrasing is impossible when the “Bin a-weepin’ like a willuh except what is good singing, and this is reserved for “Chink, pink, honey, physically ill, as well as to make him lose m music that when a pianist has a staccato t6 play he shall play bass overbalances the treble, except in cases where the O Lula! An’ a-moanin’ like a dove, future discussion. The million amateur pianists find generally. . . • it musically. Singers use the staccato, and the instru¬ melody is in the bass. An' my soul wants to go home to glory.” that their greatest difficulty is to strike the notes written Chink, pink, honey, The same applies to one style of composition. V an. t> mental performer therefore can form a vocal idea of One ole faded hankchuh.” in all the “hard pieces” which the masters have given us. (Chorus) — is said to be the spice of life and it surely applies to our this type of utterance. What, then, is hi be said about Foot-Notes “Roll an’ rock,” etc. musical activities. The teacher who has a great variety It does not seem to occur to these amateurs that about rapid passages in simultaneously sounding tones, thirds, Perhaps enough has been said about the office of the And so on for many verses, until her fancy is ex¬ the mechanical difficulty of fingering all those notes the of music to choose from is the one least likely to bare sixths, and octaves, as the musicians would put it? Al- hands. Now a word as to the feet. The possibilities hausted and the baskets are filled with beans and the composers never thought at all. They took that part . yawning pupils. ways the same: the tone must be musical. But here of the pedals are very great. The amateur of music, (Man) — of the execution for granted. So should we. A profes¬ picking ends. . . When giving a recital alternate your numbers witn enters another addition. The balance must not be de¬ unfortunately, has been taught to call them “loud” and It is not surprising to find in such impromptu ditties as “O tell me,” etc. sional pianist ought to be able to strike the notes m any different styles of compositions and composers and thus stroyed. The accord must consist of two or more “soft.” But a pianist can play just as loudly without this a kind of relationship to that variety of accumulative of the standard piano compositions, to strike them while (Woman) — get the desired change. Many a student has given up the tones, one of which usually belongs to the melody. The using a pedal as with one. He will, however, obtain song found in the whimsical and delightful collection of “Bin a-servin’ my Redeemuh proceeding at the correct tempo, and to accent them cor¬ study of music without the teacher realizing that nisut- listener must require the player to make the melody a different kind of loudness. When a pianist strikes a jingles attributed to good old Mother Elizabeth Foster An’ a-singin’ ’roun’ de th’one, rectly. False notes are simply forbidden. , ficient variety in his selections was the cause of it. clear at all times and to give to the accordant or dis¬ key, he raises a damper, and as long as he holds the key Goose of Boston; but one is surprised to find something An’ my soul wants to go home to glory.” But while playing the right notes the pianist ought cordant notes precisely the amount of force needed to down the strings of that note will vibrate freely till their of the same spirit pervading the labor chants and play also to be able to make them sound beautiful. No matter (Chorus)— make them furnish the harmonic character to the per¬ vibrations die out. When on striking the key he also songs entering into some of the devotional songs, of ttimes Studying that New Piece Without how intricate the passage, how rapid the succession ot “Roll an’ rock,” etc. formance. depresses the “loud" pedal, he raises all the dampers with a kind of reverential gaiety. Some of these are a Teacher thirds or octaves or other combinations, no matter how in the instrument and thus permits all sympathetic strings known as “cawntes’ himes” (contest hymns), and are The negro thinks in pictures; and while the result is complicated the polyphony, the tone drawn from the Clearly Defined Outlines and their overtones to vibrate. usually sung at Saturday night contests at the negro often fantastic in the extreme still it gives evidence of a By Sidney Bushell piano must be beautiful, or the performance fails of its When he depresses the soft pedal, he shuts off one Baptist churches. A prize is offered, in most cases a This is one of the most exacting requirements of fine, unhampered imagination. Though he is declared by ultimate purpose—namely, to restore to living, breathing of the strings of a note (in a modern grand each note basket of groceries, and the singer keeping the floor the artistic performance, for the pianist who expects to pre¬ some writers nothing more than a mimic or an imitator, For years and years I have studied in the following eloquence the instrumental song which sleeps in silence has three) and causes the instrument to give forth a longest gets the prize. A man takes the part of ques¬ serve the outline of his melody and the balance of his what are considered his imitations never embody the manner: I hear a composition. I like it, I resolve to on the printed page till the clinging kiss of the interpreter more veiled tone. By various combinations of pedals and tioner, and a woman the part of answerer. The man subsidiary voice parts (as they are called) at all times form or thought of any supposititious model. The es¬ learn it. If one can secure a phonograph record by breaks the spell. must possess fingers and wrists trained to the utmost the union of such combinations with the several kinds asks the same question again and again, the woman being The piano is undeniably an instrument of percussion. sence is always native. the master he heard play it, during the process of pliancy and independence, and he must have them under of touch, pianists produce those extraordinary illusions of required to give a different answer each time until her Its tones are produced by the blows of hammers on learning, it will help the student to keep his enthusiasm such command that they execute his wishes automatically. changing qualities of sound which we call' tone colors. imagination is exhausted and his questioning plays her Asirte rrom ini' songs or rne various umiiui nines metal strings. And the purposes of interpretation are the collected negro songs of slavery days, there Is but small for it. Although you may call the phonograph only The pianist cannot be thinking all the time just how hard It is not essential to an intelligent enjoyment of piano out. A splendid example of this kind of song is as claim to what might be called American folk-song proper. often best accomplished by emphasizing the percussive “canned music,” much can be learned from the full he is to strike this or that note. His mind is rather in¬ playing that one should know all about touch and pedals, follows: Probably it is due to the fact that the country Is yet young nature of the piano. But the hammer of Thor or the ax and has not had time to have its romantic memories and records. tent on the larger matters of phrasing and the adaptation for touch is so subtle that, in the last analysis, it becomes emotions crystallize into musical memorials, the possession of Sergei Prohofieff is not the hourly companion ot the Ex. 5 of his tempi and his broader dynamics to the interpreta¬ an individual gift. But even a tyro can understand that of no single person, but the common property of the people great artist of the keyboard. His chief aim is to dis¬ from generation to generation. correct. Do not attempt to put any feeling into tr tion of the composition. some difference must result when you strike the key with It is only within recent years that we have come to guise the percussive character of his instrument and to new piece, until you have learned the frame work an We now come to the subject of rhythm. With all due a stiff finger or a relaxed oc.t, with the flat, surface of know,--». veryjnuch___JUf -v.—a t tjj, 6 music of. theme American Indians. make it seem to sing. This semblance of singing is the ir "the modern musicians and students of ethnology can play it accurately and fluently. When you ha\ regard for the brilliant liberation of their spirits by the the extremity or with its point. iven their attention to collecting, transcribing and greatest desideratum of all musical performance. What done this for some time, put the “signs” into yoi much-liberated Cyril Scott, the untrammeled Ornstem, Finally, as to interpretation. This brings us to inde¬ publishing these Indian melodies, which, like the melodies musicians mean by a singing tone is one that has a of the negro, play an important part in the development of rendition—those “signs” which are printed upon tl and other colorists of the impressionistic school, the terminate quantities, for, while it is easy enough to folk-music in this country. And while there are undeniable smooth and steady flow. In a series of singing tones music. Practice it this way for some time. All th music-lover will without doubt continue to insist on a decide when the interpreter is entirely wrong, it is im¬ characteristics that suggest barbarism, slavery, long suffer¬ united in a musical phrase the vocal .quality is imparted ing, pent-up emotion and all the other elements that speak rounds off the rough edges from your piece, polishes i clearly defined outline. Now in music the clarity of the possible to pronounce a conclusive verdict when several the poetrv of the beginning of things, there is also a native by so performing them that they seem to be organically shades it, finishes it. outline of a composition depends not only upon a neat admittedly great artists disagree. The true artist assimi¬ charm and an individuality that must always link with united. One note passes into the next without a notice¬ the growth of the American nation, a beautiful uncondi¬ Now you are ready to put your personality into tl enunciation of the separate tones, but upon a perfect lates the composition. It becomes a part of his own tional bequest from the lesser Red and Black Brothers able break in the continuity of sound, yet the articula¬ composition that you have learned by long and hai relation of their relative lengths, their varying degrees artistic organization. When he gives it back to the of which the White man should be Justly proud. tion between the two tones is not blurred, as in the study. Remember, in the first place, it must be a pie1 of force, and their utterance in unmistakable groupings public, he gives himself as nourished by Beethoven, exquisite cantilena of a Bauer or a Gabrilowitsch. This that strongly appeals to you, one that you recognize: called phrases. The phrasing of an instrumental compo¬ Chopin, or Schumann. But at least the thoughtful is the acme of legato, as it is called, and a pure, smooth, At the bottom of Art i this essential condition¬ sition is founded upon the same artistic principle as the listener can study the manifestations of the performer’s suited to your “style.” It will be as an artist paints sustained legato is the foundation of musical performance, teaching. The aim is neither gain nor glory; the Ion lines of a poem, and the preservation of the identity of temperament. Intellect and emotion must each play its picture; you will put a little more color here, a litt whether vocal or instrumental. It is the first and indis¬ aim of art is to teach, to elevate gradually the spirit o less color there. You must play the classic as yoi the line can be accomplished only by a correct treatment proportionate part. As the author of this article has humanity; in a word, to serve in the highest sense- pensable requisite of musical beauty. said elsewhere, “Music is a glorious ship on the ocean soul bids you. You must be “as the child,” in ever The piano of to-day is capable of a far finer legato of the meter. D’Indy. thing but experience and the quality of restraint. the etude MARCH 1923 Page 163 THE ETUDE Page 162 MARCH 1923 A Musical Biographical Catechism Liszt at the Court of Napoleon III of art; emotion is the breeze that fills the sails; intellect Tiny Life Stories of Great Masters is the skilled hand at the wheel.” , By the PRINCESS PAULINE METTERNICII The intellect is the designing power, and without de¬ FRANZ LISZT sign there is no art. Piano playing which is merely a (1811—1886) bewildering exhibition of technical virtuosity, as it is called, is worthy of admiration for just what it is, but By Mary M. Schmitz it is far from being the supreme achievement of the be used by themselves or ETODEut”Zr2:i7i series of biographies designed Musicians series and I he pianist. This explains the attitude of critics who demand as The Child’s Own Booh of Or mar where he had organized a musical and P°etic me- . ally accepted. It was a memorable experience to hear always that a pianist shall show ability to interpret some Supplement 0toB Wk'“in^elaESnd"® mbTTvlth Intimate pictures of the great are always interesting. morial celebration on behalf of the unforgettable Marie Standard History of Music.] such a pair. “There’s no doubt about it/we two play work of high intellectual design, such as a Beethoven A No; it is in one movement and is a musical poem . This fascinating silhouette of the magnetic Liszt is Mouchanow {nee Nesselrode and a niece of the celebra¬ remarkably well together,” said Liszt, and laughed sonata or the Schumann fantasia, before they will accord Q. Where and when was Franz Liszt bom? depicting scenes and events like a word poem. somewhat different from his conventional musical por¬ ted Chancellor’s). In a Grand-ducal summer-house, him a seat among the gods of his art. All pianists and A. At Raiding, Hungary, October 1811. traits, yet it has a direct interest for the musician and heartily over this self-praise. Then he turned to Saint- which he had decorated with flowers and plants, and in students of piano have made an idol of Godowsky be¬ Q. What great Hungarian nobleman helped to give Saens, and exclaimed: “It is possible to be as much of the middle of which he had had a bust of the dear de¬ cause of his extraordinary technic. But many of us % sr, 'is&fzsrs* * +*« music lover. Liszt a musical education? in 1836 He had a very long hand and much strengt i. I always had a great liking for Franz Liszt, not only a musician as Saint-Saens; it is impossible to be more parted set up, he performed, for the ^benefit of her would rather listen to an erratic but imaginative child like A. Prince Esterhazy, with other wealthy Hungarian S !s said he could play the most wonderful pianissimo of one!” friends and admirers, the pieces which she had been Guiomar Novaes, or a solid master of form and style as an artist, but as a man. Personally he was more men. after hearing a concert given by Liszt when he was passages, which would be followed by such g«at chmaxes sympathetic to me than Wagner. Liszt was indeed vain wont to play with such rare skill, and ended with an like William Bachaus.—(From The Outlook.) A Soiree at the Tuileries nine years old, united in providing six hundred gulden of fortissimo that the hammers of the grand P>an°s gave —what great artist is not?-but he was so infinitely “Elegy” dedicated to her as a farewell greeting- After The Emperor Napoleon and the Empress Eugenie yearly to give him a musical education. way so that often there would be three or four grand piano, kind-hearted, so magnanimous, so loyal in his friend- speaking to me of Marie Kalergis, he added: I know Q With whom did Liszt’s father place him to study. had heard of the Liszt evenings at our house, and on the stage and if one was disabled by h.s heavy play¬ ships that one readily overlooked his little vanities, that you loved her. You ought to have taken part m Much in Little . A He took him to Vienna and put him under Carl wanted to have the great pianist as their guest. We ing another would be brought forward. But the makers when he came into closer contact with him and got to our memorial celebration.” He went up to the piano, Czerny’s teaching. Liszt was then 10 years old and he of pianos know how to make the actions stronger no , were ordered to take him to the Tuileries. The invi¬ opened it, and on that evening, which I spent alone ; By Edward Ellsworth Hipsher know him thoroughly. I like to recall his visits to tation went out to him and to us in the form of a little studied with Czerny two years. .. such a thing no longer happens on the concert , Paris, where he was a frequent caller at our house. with him, he played more beautifully than I had ever O. What great composer is said to have heard him dinner-party. After dinner the Emperor asked Liszt Q. For what monument did Liszt raise almost th During one of these visits it so happened that Gounod heard him play before. He must have sat there or So much of the technic of tone-control at the piano de¬ at the farewell concert he gave at the end of his studies to play to him. Once more he gave a rendering of my entire sum of money needed? , had invited us to an evening party, and when he heard two hours, pouring forth the music of the spheres In pends upon a proper use of the muscles of the fingers that A For a monument in memory of Beethoven at favorite “Carita;” then he played a charming waltz of any help along this line is most valuable. And those lit¬ that Liszt was in Paris he begged us to ask the latter some strange way he seemed to have assimilated all W A. Beethoven, who embraced him and predicted great Bonn. In 1847 he conducted a musical festival when Schubert’s, which he called “Backhandel,” but which, I tle muscles which move our ten digits are capable of so in his name to attend the soiree. Strange to say, Liszt that was characteristic in the playing of our dearly things for him. . the monument was dedicated. Liszt played Beethovens believe, is not known under that title. He •wound up much that students often fail to realize that they can do and Gounod did not know each other, so that, my hus¬ beloved friend, for from time to tune he would say. Q. Where did he go after that to continue his studies . Fifth Concerto in a glorious way at the concert with the Preghiera from Rossini’s “Moise.” At the end only those things which they are properly directed to band and I were the means of bringing them together. half to himself: “That’s how she used to play Chopin, A. To Paris, where he wanted to study at the Paris Q. In what city was Liszt musical director for several came a series of powerful tremolos, and when it was that’s how she used to render that phrase. accomplish. Conservatory, but Cherubini, the head of tte Conserva¬ Liszt accepted the invitation. On our arrival we were over, the Emperor said to him: “How well you imi¬ One*_ of-x the most valuable of Qtnnipsstudies totn this end is When he took his leave, tears stood in lus eyes, and tory, refused him admission, because he didnt care lor greeted most effusively, Liszt in particular because he tate thunder!” This praise acted like an unexpected ySAS"ln Weimar, the city where the great German poet he said: “Marie Mouchanow in passing away has left “simplicity itself.” Look at the following: gifted children. Goethe lived. Liszt was court musical director for 14 was Liszt, and we because we had persuaded him to ac¬ douche of ice-cold water. The chilling effect, however, a void that no one and nothing can ever fill for me. Q. Did Liszt make friends in Paris? cept Gounod’s invitation. He already wore the priestly was pleasantly counteracted the next day, when the Em¬ I was deeply attached to her Life has lost much of A Yes; he had a very attractive personality, was a 5 Q. What young composer's works did Liszt bring out cassock, and in point of fact was no longer greatly in¬ peror conferred upon the artist, through my. husband, its savour for me now that she has gone. Then he sincere, charming boy, witty, free from jealousy, and he clined to enter artistic circles. We had assured him the Legion of Honor. Finally Count Walewski the at Weimar? . , . .. held out both hands to me, said good-bye and added. became a .universal favorite. . A. Richard Wagner’s, whose genius at that time wa, that he could not refuse without offending Gounod, and Minister of Fine Arts at the time, approached us with l.B. lower “I shan't play any more-you have heard me for the Q. When did he make his first concert trip to Eng- his kindness of heart prevailed over his scruples. He the request that we should persuade Liszt to let us take After this it requires no great imagination to see many last time ” And indeed, I never heard him play aga.n. “TITth* „« ,h« Ptai® o! to-day »d.b.«l came, saw, and conquered. him to one of his receptions. This was not such an noses tilted about forty-five degrees above the horizontal laiA In 1824, when he was 13 years old, he made a From Paris he once sent me a beautifully bound copy that they were intended to maintain. So, the best thing easy matter, and it needed all the arts of cajolery to concert tour of England, and also went to France and L’a1 For what is called “discrimination in touch,” by How Gounod Sang of the arrangement of “Lohengrin” for the pianoforte. to do is to tilt them down again. induce the great man to accept the offer. On the front page are inscribed the fonowing words parts of Germany. , T * means of which long passages of different kinds arc dis¬ When the formalities of introduction were over, LiSzt was, of course, at once assailed with entreaties Let us not forget the wisdom of Leschetizky in his Q. Who was the great violinist who influenced Liszt written by his own hand: “Copy belonging to Madame tinguished from one another; and when one tone ol a Gounod sat down at the piano and sang as he alone to play, and I may proudly confess that, if I had not “Playing the piano is four-fifths brains and one-fifth to start out on an original path in music? la Princess de Mettefnich, as does her very humble chord belongs to the melody and as such receives an . knew how to sing: in a weak and rather muffled voice pressed him so hard, not a single note would have been fingers.” Allow this to soak in good and deep; then, A. Paganini, who had made such a great impression servant" F. Liszt.” Naturally I am not a little proud emphasis, or at least' a distinctness of delivery to which it is true, I might almost say m a voice that would heard from him that eyening. He was not merely out perhaps, you are ready to begin. on Robert Schumann the year before. have sounded ugly to those who can only admire bell¬ of this twofold possession. Take first the right hand. Lay it at rest in your lap. the rest of the chord has no claim. Liszt, and Schumann, of humor, but downright angry, and said to me: Q. What did Liszt try to do for piano playing? like tones, but with such an incredible charm of de¬ Now raise it over the keys, allowing all parts to hang too, used the pedal for new and wonderful effects. “You’re putting the bear through his paces!” Fortunate¬ A. He tried to make the piano sound like an orches¬ livery that all who heard him were in raptures He sang loosely from the wrist. Let the thumb drop on Middle C; Q. Was Liszt renowned as a teacher? ly Mile. Viardot-Garcia, the famous singer and incom¬ tra. He wrote some new studies by which he arrived various extracts from his own “Faust,” and took the and as it touches the ivory have the sensation that its A. Yes; he was master and teacher of all the concert parable artist—for grandeur and style in singing, there Developing Rhythm in Children at many new effects in piano playing. parts of soprano, tenor, and baritone by turn with such- muscles are to take hold of the key, to draw from out of Q. Was Franz Liszt a composer as well as pianist? pianists of his day. was no one but Lilli Lehmann who reminded me of her Q. What is one style of compositions for piano tor consummate mastery, that even Liszt could not get it its tone As this is done, all other fingers should re¬ A. Yes; he wrote music for the piano and for the —was present (and in her gracious way she came to my By Mme. Jean de Horvath main well raised above the keys. In fact, throughout the which Liszt is noted? 6 over his astonishment. When Gounod at last stopped, rescue, by asking Liszt to accompany her for the "Erl- orchestra. . . A. For the wonderful transcriptions of Schuberts Liszt told him that he would gladly play something study this rule should be observed for all fingers when Q. What form of musical composition did Liszt m- konig ” And so it was that I gained my point and heard The teacher is often surprised at the inability of pupils songs and transcriptions of the operas of Richard \\ ag- from “Faust,” but must ask for a copy of the music, the “Erlkonig” sung by the Viardot with accompaniment to play even a simple melody, say in four-four time, wit ""ncwwb are ready for the second finger. While four ner and of Bellini’s “La Sonnambula.” as he did not know the opera well enough to play from by Liszt. It would be scarcely possible to hear a finer, Vf The “Symphonic Poem” for the orchestra. a good rhythmical swing. This is referring more partic¬ is being counted to the thumb note, very slowly (using Q. Where and when did Liszt die? memory. Gounod declared that he only had the or¬ Q. Is the “Symphonic Poem” made up of different a more impressive, combination. ularly to those little pupils to whom even The Little “and” on the last half of each beat) prepare the second A. At Bayreuth, July 31, 1886. chestral score, whereupon Liszt laughingly replied that movements like the symphony? Drummer” by Papini is a serious task. The following finger to descend on D. With the mind closely fixed on it did not matter, ■ and that with the composer Memories of Chopin this second finger, prepare it to obey your will absolutely. to help him out he would be quite content with that. expedient is passed on to others : A Practical Tryout of Class Teaching Liszt left Paris, and we did not meet him again until Get the pupil to march in time to the melody which is This means the greatest possible concentration of mind The score was placed on the music-rest, and he opened vears later in Venice, and that, too, in 1881. I was being played. This always creates a bit of merriment m on the thing to be done. Now, when the time really By L. Lee with Gretchen’s first meeting with Faust; then went alone one evening, deep in a book, the door opened on to the waltzes, in which, as in the rest, he intro¬ the studio, while at the same time accomplishing the comes to play the D, have the finger to descend upon it to the end. and “Herr Liszt” was announced. He came from Wei¬ with the utmost rapidity. As it touches the key the thumb Returning to my home in a large Pacific Coast town for the pupils of each school, beginning on Monday duced marvelous improvisations; and s< desired result. will rise quickly and remain in position. Notice that the after several years of study with prominent Eastern at 4 r. m., in the first district. Tuesday was given to the All present were fascinated and de¬ It is rather surprising to us older idea of strength or force has been carefully ignored. At teachers, I found musical conditions materially changed. second district, Wednesday to the third, and so on. aH lighted. “That's enough,” he suddenly musicians, whose heads are so full first the tone may seem rather weak; and it may be An Artist Course was a regular feature of the concert It was with some little temerity that I approached said. “In honor of the Princess I’m of tunes that we seldom walk along truly so, for the feeling of the use of any muscle above season, and several musical clubs had been orgamzed_ my task on the first September Monday. I had adver¬ going to play her favorite piece— the street without humming under our where the finger joins the hand is to be absolutely un¬ At my departure only one club existed, composed of tised for beginners only; and my charge was twenty- Rossini’s ‘Carita.’ ” He played it ex¬ breath a fragment of our “latest love” five cents to each for the hour class-lessons. Eighteen known The finger will “click” down on the key with the but a few indifferent members; and a concert, series quisitely—as a matter of fact, I have and unconsciously keeping step, to pupils awaited me and subsequently there were never highest possible speed; but the finger muscles must do it. bringing world-known artists was an undreamed-of never heard it played by anyone but realize that the impression made by a Do you not see that, though you are taking much time for enterprise. From a large town the place had grown less, and often more, attendants at all the classes to which Liszt. melody on the brain of the average the most careful preparation for the production of the to. in my eyes at least, almost metropolitan proportions; I devoted my time following the regular school hours. After the Gounod evening there small pupil is very slight indeed. tone when the time arrives for the use of the finger you and with its growth music teachers both vocal and in¬ To summarize, there was no charge by the school were some musical evenings at the arc developing in it the velocity of action that will be strumental had multiplied. board for the use of the rooms, pianos and blackboards, Embassy, at which Liszt was the I have often said to a little player, needed for.the most rapid movements in any composi¬ I spent the summer in indecision, as there seemed so the work being regarded as along higher educational center of attraction. Incredible though “Do you hum your pieces over when tion? At the same time all conflicting impediments are little prospect for a newcomer to work up successfully lines. Second, I had thoroughly systematized mv it may sound, I cannot resist men¬ you are away from your violin?” and being removed. where there were good teachers galore already established. teaching plan, using the keyboard for ear training, and tioning the fact that Liszt once pro¬ the look of wide-eyed wonder in re¬ The process is simply repeated as one goes on irom To engage a studio and announce myself might mean a the blackboards for note reading. Finger movements posed to me that he and I should play turn is sufficient answer. one finger to another. The one necessary precaution is long wait for pupils with expenses mounting up in and technical drill were counted aloud, using the tops a waltz of Strauss as a duet 1 The Have you ever, I wonder, had the “eternal vigilance” that no carelessness may creep in. As the interim. As a young girl, I had given recitals and of the desks for table exercises. Later, as my pupils idea of refusing would never have experience of being .on a noisy trolley control of the muscles develops, combine with their rapid obtained a fair class of pupils prior to my going East. increased in number. I used educational charts and also entered my head, for on such an and indulging your Grand Opera long¬ descent the feeling that the tone is being really drawn Gradually I thought out a plan to teach daily in each employed assistant teachers in each district. occasion, when the gathering was ings, and then had the car to stop not “pecked” from the key, and we have agility combined section. I decided to try the class method with a view At tbe beginning of the following season I had a quite an intimate one, it would have with tones of a beautiful singing quality. of ultimately obtaining private pupils, and before Sep¬ large number of private pupils recruited from the been simply foolish to do so. “With just as you reached the climax? Well, Play the study first with one hand, then with the other tember I had arranged with the school board for the school-room classes, giving over the latter to my as¬ the greatest pleasure,” I replied, and it’s all in a life-time; but the fact re¬ —alternating them to avoid fatigue or staleness. Play it use of the auditoriums with piano, in each of their five sistants. I fearlessly dashed into the fray with mains that nothing is more conducive at least once with each hand at the beginning of each buildings, for. an hour after school. I had announcement An innovation this season will be the free educa¬ the waltz “Moths.” I had never played to the development of this preemi¬ practice period, and notice the change that will come over circulars printed and well distributed, stating that a tional piano recitals held weekly, following the class so well in my life, for of course one nently necessary quality than to take your playing. Only after it has teen practiced till each daily schedule of class piano lessons would be opened lessons in the various school auditoriums. could only hear Liszt. My strumming one’s music along into daily life. hand can perform its part readily, neatly and with ease was like the buzz of a gnat beside the To pupils, I would say, “Hum your will it lie advisable to try the two hands together. roar of a lion. At one of these cheery solos, whistle them, pace them off, as A parting word. Do not make the mistake of thinking An Unusual Forecast of Delightful Features musical evenings our friend Saint- well as practice them on your chosen this a study for only beginners. The “graduate" or “fin¬ Just as we are going to press we have been reading the proofs of THE ETUDE for April Never have we» seen more Saens appeared. Liszt suggested that ishing” student is just prepared to extract from it the fascinating material in both the reading text and the music. Our ETUDE friends may look forward to a real treat they should play together on two instrument.” greatest value. next month. ‘ pianos, an offer that was enthusiastic¬ MARCH 1923 THE ETUDE THE ETUDE Page 16J+ MARCH 1923 Table No. 6—Modulatory Transition The Teachers’ Round Table Table No. 3-Sept-chords Classified According to How Tabulations Help Construction Through Common Chords Conducted by PROF. CLARENCE G. HAMILTON, M. A. “ Intermediate Keys By G. F. Schwartz “ Enharmonic Changes d I M Diatonic Seventh M M « Modal Chords* • r “H tn Teach ” “What to Teach,” etc., and not technical The time has come when filing cases, card indices Triad M This department Is designed to help the teacher upow^'IT^TwHch proper belong to the Musical Questions Answered and tabulated records are no longer looked upon as a Deceptive Cadences Problems pertaining to Unreal Theorr^H\ must ^comp,n, a„ Inquiries. “ Free-entering Chromatics mere novelty or fad. They have indeed become an Major P, IV7 V7 Chromatic absolute necessity in the efficient management of affairs. where apparent. Each technical device known to the early Minor W V: 1 present these statements without comment, and nineteenth century becomes the text for u^ulandcom- In all lines of activity persons who are expecting to “ Interchanges of vii010 6 A Teaching Plan accomplish something, gladly Accept and intelligently should be glad to receive data from other communities. plex treatment, so that the studies as a whole furnish a Enharmonic Much of the piano teacher’s success depends upon his Meanwhile two debatable questions suggest themse ^C3fi use any or all of the above mentioned means of handling This tabic reads like No. 2!, excepting of course mighty arsenal of mechanical, appliances tend of triads. Thus oi .. “ Aug. Triads cleverness in conducting the lesson. Excellent equip¬ 1. Is any teacher justified in charging twenty-five The studies of Louis Kohler (1820-1886), called the their work more satisfactorily. seventh-chords are classified ins I ment technical skill, broad musicianship—all these are For various reasons, systems or methods of training tonic, in major, we find a major triad combined with a r dollars per hour for regular lessons? heir of Czerny,” contain a certain modicum of musical important factors; but, after all, it is the personal for the music student are more or less lacking in orderly seventh, etc. 2 Is it possible or desirable for teachers to agree interest, and are chiefly valuable in the early grades. Once * Neapolitan sixths, minor sub-dominant, etc. touch”, that crowns the whole. Apropos of these observa- and practical arrangement. The rapid development of upon certain standard rates in a given community^ popular, they are becoming rapidly shelved in favor of illustrated by the following tions, we quote again from Marmontel’s C onscils d un musical theory during recent decades, and the constant The next table (No. 4) shows the equivalence of the The above transitio: I wish these questions might be considered by musical more attractive and up-to-date works. Prof’esscur, under the heading During the Lesson: pressing forward among musicians of all classes is in symbol Jrorms: clubs or conventions! In the studies of J. B. Cramer (1771-1858), we find a major and minor triads of a key with those of other Common Chords.. C(vi = G ii). “A teacher should place at the disposal of his pupil part responsible for this state of things. Fifty or so keys. This table may be made out in all keys up to decided increase in musical interest. Technical figures are Intermediate keys, C(V = D IV) (I- A I all of the time which has been agreed upon. I say all Music and Married Life years ago text books were relatively few and far be¬ seven sharps and flats. It serves as a thorough drill in Enharmonic Changes. C [ni = cb ivj. here presented clothed in attractive harmonies and a con¬ the Neapolitan of this time, for, outside of social relations, or of some tween; now, we are fairly deluged with texts on all scales, keys and signatures. Its real purpose, however, Modal Chords, C(N'= Ab IV) (N« indicates Formerly it was the tradition that a young woman centrated, pithy style of expression. Discretion should be special interest which he has in the pupil, he should re¬ the branches of musical theory. The result, however, is to establish complete familiarity with the possibilities (instead of to who married thereby relinquished all thoughts of a used in selecting the best of these studies, since, as with ^Deceptive Cadence, C V' resolved to Ab I frain from an undue extension of the lesson. In the especially with the average student even after several of the “common chord” in diatonic transition. cal career. Girls who had expended money and time Czerny, many are now relics of a by-gone pianism. first place, this fatigues the pupil, and, in the second years of study, is very often a woeful state of confusion. for years upon a musical education, and who had made Muzio Clement! (1752-1832), “the father of pianoforte As a means of remedying or at least relieving this place if this disinterested act of good will is not prop¬ a reputation for pianistic prowess, proceededafter mar¬ playing,” has left a remarkable collection-the Gradus ad Interchanges of vii" , c (vii"ma= a vii"™) (ab and git are erly understood, another lesson, that is confined rigor¬ condition, it seems quite possible that we may get some Table No. 4- Triad Equivalence ™ riage either to forget as much as possible of what they Parmssum—in which all the styles and forms of piano here enharmonic equivalents). ously to the specified limits, will be considered too short. ideas from the “efficiency expert’’ that should prove of had learned, or to use their ability only for occasional music, from the ancient canon to the virtuoso flights of (VT=b iVj) (f and e# are No conversation foreign to the material of the lesson considerable assistance. The musical efficiency expert Interchanges of V7. etc., C his day, are unfolded in attractive musical guise, and with will no doubt never produce a musical composer, but it here enharmonic equivalents). should take the place of relevant details. ^Now 'Snes the new era, in which married life often the skill of the accomplished composer as well as experi¬ Interchanges ot P V , C (1 = Db V") (g# and ab « “To set before the pupil an example of serious work, will be largely the student’s fault if, after giving effi¬ means opportunities rather than restrictions I hear enced pedagog. By cleverly making useful technical to whet one's interest in the lesson by allowing it to ciency methods a fair trial, he fails to grasp and hold h 0 Parent hesi s'* 'wi th^the^eq o a 1 i t y sign indicates that the frequently from former pupils who are wisely edllc^ng devices factors in genuine musical expression. Clement! ch” one only. Brackets with the equality sign indicate absorb one's entire attention, to avoid every sign of clearly in mind the fundamental facts of musical theory. their children in music, and incidentally those of them paved the way for the modern etude, glorihed in the impatience or boredom, to take due account of even the The resourceful student may arrange for himself nu¬ friends. Several have worked out clever kindergarten works of Chopin, Liszt and Rubinstein. In studying these aI*It "shouhi *be noted*that an “Enharmonic Change” slightest effort or successful attempt, m fine, to arouse merous tabulations dealing with a great variety of detail. a change of each chord member wherens an Enhar^ schemes, and have made these a force in their commum- etudes of Clementi, we are sitting at the feet of one of a love for study by rendering even the most arid task These may be kept in a small indexed file so that they the world’s greatest piano teachers. interesting—this is the secret of the master who wishes will be convenient for frequent reference. Additions ■Ll"have also several friends, married ladies, who make As examples of genuine musicianship, too, we may cite to inspire in young minds a true devotion to their art. and elaborations will constantly suggest themselves, un¬ it a rule to learn a new piano program each year, and, the modest but delicately modelled etudes of Stephen “If lessons are given at one’s own home, carefully til eventually the student will possess a valuable com¬ The six tabulations which have been suggested ma> when this is mastered, to produce it in the fonnofa Heller (1813-1888). In these, while studying technical avoid inopportune calls, and never interrupt the lesson pendium of his subject. To illustrate the plan a few be preceded by certain elementary ones. For instance, recital for friends or even for a wider circle. Others problems the pupil is at the same time developing the except when absolutely necessary. On my own part, i tabulations are herewith given. These may be typed the “Circles of Progression”: . regularly engage in ensemble practice-tnos, violin sona¬ powers of interpretation and of good taste, since they are am exceedingly annoyed if I am obliged to leave my or written on a regular 3x5 filing card, and indexed (1) Circle of perfect fifths in major and minor: < ■ tas four- or eight-hand piano music. Others, again, are invariably characterized by structural finish and graceful pupil for a single instant; every minute thus lost to his according to the character of the information which the G, D, etc., a, e, b, etc. active members of musical clubs, or, better still, are poetic conceptions. card carries. (2) Circle of perfect fourths in major and minor : , work seems to me a veritable theft. . - engaged in musical settlement work. Doubtless there are occasions when the purely technical “At the end of the lesson the teacher should briefly Table 1 deals with the character of intervals found F, Bb, etc-., a, d, etc. Why not, even if you have neglected your music for studies, such as those of Pischna and Czerny, are best summarize his instructions and point out the work or on the various degrees of the major and minor scales; (3) Circle of alternate major and minor thirds. c, many years, take it up again with renewed energy ? You fitted for the pupil’s needs. The teacher should take care, the character of the interval being determined, of course, E, G, B, etc. , ..... r the lesson following.” . may be a little rusty at first, but a course of careful and however, that too much of such arid work may not be a A recent pupil complained that she gained little under by the number of semitones which it contains. The (4) Circle of alternate minor and major thirds. L, systematic practice should produce gratifying results. severe blow to the pupil’s inspiration, and that the final The first column of the upper half of the table, for her former instructor, because the latter spent the most student should become as familiar as possible with these Eb, G, Bb, etc. I have been led to these reflections through receiving the emphasis shall be placed upon those studies which stress example, indicates that the tonic triad in C major may of tht lesson time in answering the telephone or doorbell. values (actual memorizing is not recommended) so that (5) Chromatic succession. See Bach’s Well-tempered following letter from a lady, who furnishes proof ot as far as possible the canons of genuine musical worth. also be the sub-dominant triad in G major, the dominant Another discouraged pupil told of a teacher who ex¬ in the construction and analysis of chords it will not be triad in F major, and so on (capital letters indicating major Clavichord. their validity: necessary to make a review of intervals. and small letters minor); similarly, in the lower half of the The student will find it helpful to consult various ploited at the lesson her aches and pains, or, for variety, “In the December Etude a mother writes her resuming Studies for Small Hands table one will read: the tonic triad in A minor is the same texts on musical theory, using at first only the simpler her domestic troubles! Let us remember that, in giving as the sub-dominant triad in E minor, also the super-tome I wish for advice about a pupil nine years of age, and more conventional ones, and from these select that a lesson we should be constantly “on the job, and that, wai“t° torglve° a few’lines'o/encouragemen t to organists who who has just finished “Matthews' Graded Course Table No. 1—Character of Intervals on Each Scale Degree triad in G major, etc. fTr variola reasona (not the least of them No 3 ” I had to omit several studies in this grade which seems to be most essential. Terms and state¬ with M. Marmontel, we are committing petty larceny as she has such small hands ; so please tell me what ments, especially those which seem to conflict, should be when we employ the pupil’s rightful time for our own yeara Cl'am*agafn’taking organ'worlfa'^the^ag^lrffijty^our studies to give her that would be equal to the Major Minor Various tabulations may be made classifying chro¬ studying new things. My teacher congratulates me on what fourth grade of the Matthews* course, but suitable carefully investigated and an effort made to select that purposes. I have lu compliahld in three weeks’ praetto with Mendel¬ for small hands. Also when teaching Matthews matic chords. Thus we may tabulate according to the which is most clear and concise. Gradually the material sohn’s Third Sonata. Bach is also “y seriou course is it necessary to employ any other studies? chord member which has been altered, or the tabulation Lesson Fees attention. There should be mothers and fathers in. i ^ thus gathered should be tabulated and filed as has been What might be called the “average” fee per lesson world : but it is not necessary for them to give up enrireij I suggest for your pupil the studies by Heller, Op. 47. may be based upon the scale degree which has been suggested. Thus there will be built up a broad, reliable among the better class teachers in the large cities, their personal accomplishments to care a h°me. Children, Most of these are within the compass of small hands, raised or lowered to effect the chord. The following and. accessible knowledge of the subject. With this as a including Chicago, St. Louis and eastward. too, are naturally proud of what their parents can do along table gives only the more usual augmented sixth chords, unusual lines. foundation the student may proceed with greater con¬ and the others can be easily adapted. All, too, are of and the arrangement is based upon the chromatic altera¬ It is difficut to strike anything like an average as to fidence to the more pretentious tasks of harmonic an¬ Ponder over these words, mothers of the Round Table, intrinsic value. lesson charges, since there is little cooperation among For more technical studies, how about the first book tion of chord members. alysis and composition. and if you are “in a dormant state” musically, take cour¬ teachers in this respect, and each one is practically a law age to unfurl again the banner of musical achievement! of H. Berens, Op. 61? These are excellent for the unto himself. This lack of unanimity is quite evident cultivation of ordinary running passages. Letters at left in vertical column indicate scale degrees. Table No. 5—The Augmented Sixth Chords from the results of inquiries which I have recently made Technical Versus Musical Values The Matthews course provides in itself sufficient mate¬ Letters indicate : M = major, m — minor, P = perfect, A Cure for Careless Fingering of leading, teachers in the two cities you mention and How would you rank the technical value rial in the line of formal studies. These may, however, A = augmented, d — diminished. Arabic numerals indicate Major Minor also in Boston and New York. A summary of the replies works of the following composers : Czerny, C the intervals: seconds, thirds, etc.; reading this table cross¬ Clementi, Heller, Kohler, Pischna? be supplemented on the one hand by such technical exer¬ By S. E. Jennings is as follows :: wise, and keeping the abbreviations in mind, we find that 5 R V 4 cises as scales, arpeggios, and on the other by occasional the step from the tonic to the second scale degree (do to re) 1 St. Louis: The average charge for good local Piano studies range all the way from those which are is a major second, from the tonic to the third scale degree £ Save in that rare individual who will sometimes pop teachers is five dollars per hour lesson, although occasion¬ mere finger exercises to those of distinct musical and (do to mi) is a major third, from the tonic to the fourth 5 L V 4 vf interpretive value. According to this gradation, the degree (do to fa) is a perfect fourth, etc. The table may 3 3 up, just as “an exception to prove the rule,” accuracy ally a higher rate is in force. One leading teacher is Exercises from Pieces also be read from top to bottom; thus we have a major is a matter of careful thought and training. With a mentioned as commanding four dollars per half hour. above names would stand in the following order: you think of the plan of extracting second on the tonic (do to re), a major second on the 3 R vif i right start, and occasional prods, almost any student may super-tonic (re to mi), a minor second on the mediant (mi 2. Chicago: Replies from two well-known musicians Pischna, to fa), etc. acquire a really accurate use of the fingers. indicate that prices range from eight t'o fifteen dollars Czerny, It is a plan of which I heartily approve, since it logi¬ % # % To insure correct fingering, the child should he taught 3 L vii viia ii vii vii5 per hour. One correspondent says: “I believe ten dol¬ Kohler, cally connects the different phases of a pupil’s study and that the five fingers should be over five keys—each finger lars per hour is about the average price charged by the Cramer, gives direct application to pure technic. Table No. 2—Triads Classified According to Construction over its owii—not hanging down off the keyboard, as is 1 R best teachers. I have assumed you want prices of art Clementi, Work in technic is of two kinds: general and spe¬ ii iia i/ii too often the case with the thumb, nor flying up in the Triads Major Minor Diminished Augmented grade. There are hundreds of good ones who charge Heller. , cific. Under general work we include those forms of air, as the second and fifth fingers frequently do, but The Sixty Progressive Exercises by J. Pischna, are 1 L six to eight dollars per hour.” scales, arpeggios and muscular exercises which under¬ curved and lightly touching the keys, each finger pre¬ frankly “technical studies in trills, chords, passage-work 3. Boston: An excellent grade of instruction is here lie all piano playing, and which should, therefore, be pared to strike at a moment’s notice. This should be and arpeggios.” They furnish a kind of encyclopedic re¬ given for five dollars per hour. Several teachers of continually cultivated as a background for all grades of emphasized till it becomes second nature to the child, view of technical devices up to the time of Beethoven, In the above table the letters R and L in the column especial experience and reputation, however, receive ten till each finger is “at home” over its own key. As the and while they have no constructive musical value, they study. indicate “raised" and “lowered," and refer, of course, to dollars per hour. But in actual piano pieces we are constantly meeting child returns home from an errand, so should it be made are thorough drill-masters in the development of muscular the chord members as indicated by the numerals 1, S and 5. 4 New York: My correspondent, a leader m the new phases of this material, unique figures in which to feel that the finger which goes abroad after another dexterity. Their special merit lies in the fact that each i X fragments of scales and arpeggios are combined, musical To illustrate, the chord 7 4 In the key of C, is found in musical world, says: “I understand that prices here exercise is transposed into many other keys, and that its key must return to its home, that is, to its five-finger range from five dollars to twenty-five dollars an hour. progressions of double notes (such’as those in Chopin s major only and results from raising (in this case by means position. intrinsic technical value is enhanced by its application to The letters in this table: P, M, m, d and A have the same Of course, if you begin at the very lowest level, you Nocturne in G major), and the like. Each of these is meaning as in the first table. Capital lloman numerals in¬ of a sharp) the fifth of the chord, G B D$ F (with F of The pupil should be taught that, as people have names, various rhythms and accents. ... course in the bass). will find persons willing to give lessons for as little as best mastered by taking it out of its connection and dicate Major triads; small numerals indicate minor triads; so have the fingers—1, 2, 3. 4, 5—and that when a finger With Carl Czerny (1791-1857) we find technical ma¬ small numerals followed by a circle indicate the diminished fifty cents, and the same is certainly true o Boston. terials marshaled into correct musical forms. While, how¬ .subjecting it to intensive analytical study. t'-ind ■ and the capital Roman numeral followed by the plus goes on an errand from home the numbered fingering But twenty-five dollars seems to be the upper limit, and Here, then, is the opportunity for inventing special One more table only is suggested. It relates to the ever, the musical interest is entirely subordinate, the sign 'indicates the Augmented triad. The table will read: tells which of them is to do the work. This appeals to it represents, in my mind, a degree of extortion that is exercises. Such exercises may be grouped under three Major triads, formed by combining a major third and a per¬ various ways in which transitions may he affected. Nu¬ the child; and if he has not too many wide skips pressed studies are yet melodious, and of symmetrical structure. outrageous; it is, in no conceivable case, worth that sum heads, as follows: fect fifth, are found on the first, fourth and fifth degrees merous supplementary tabulations dealing with details upon him and too rapidly, there is little danger that The hand of the clever and experienced teacher is every- of the major mode and the fifth and sixth degrees of the to any student.” of one sort or another may be added. he will develop a habit of careless fingering. THE ETUDE MARCH 1923 Page 167 THE ETUDE Pug* 1M MARCH 1023 What Legato Really Is NOCTURNE An Unused Thumb-Joint Josef Hofmann’s “Nocturne” COMPLAINT By John Ross Frampton JOSEF HOFMANN By Eugene F. Marks Announcement of the Premiere Publication of a Much- Demanded Composition by the Eminent Virtuoso Probably' the word legato is more frequently used than How many piano pupils think of the thumb as possess¬ any other musical term. But are you sure your pup,Is ing three joints? Ask your pupils, “How many joints Music lovers, who have attended the recitals of Mr. really understand it? Ask them individually. The an¬ have your fingers?" and they will give the correct an¬ Josef Hofmann during the last few years, have been swers will prove interesting. Five errors are very com- swer, “Three." Then continue, "Mow many joints has the fascinated by a set of lovely “Migonettes ( the CM- mon. . , „ dmis Corner), which Mr. Hofmann had kept in Students often imagine that legato means slow. thumb?” and the majority of pupils will reply, “Two.” script form for a long time, but which were so insistently In fact, 1 discovered one pupil, a young girl, who evi¬ Their teachers have said to them “play it more slowly demanded that he at last concluded to permit them to be dently had never realized that her thumb possessed the and legato,” and the students interpret these words as third joint. The long (metacarpal) bone of the thumb 1 In this set was an extremely melodic and beautiful seemed never to have moved far from the hand. How¬ ^IHsmore difficult to see how they come to understand number known as the Nocturne. Its engaging character, ever, when we consider that the metacarpal bone of the legato as “soft.” Be that as it may, many students have its clean melodic outline and its very effective climax thumb corresponds to the (metacarpal) bones of the told me “you can not play loudly and legato at the same have made it popular at once with audiences. The Etude hand, and not to the long bone (phalanx) of the finger, time'” And one most excellent musician contends that feels it an honor to present this number for the first it is not difficult to understand that in some instances it it is possible to.play only a few consecutive notes legato time in print in this issue. We are confident that its accustoms itself to this near position to the hand. because “each must be softer than the tone before, and appealing nature and the success that has greeted it at all As long as the small positions in technical exercises you soon pass into the inaudible.” The truth is that of Mr. Hofmann’s recitals, where it has been performed, were adhered to, this defect in the pupil’s thumb posi¬ legato has no reference to power. indicate that it will very probably be known as The Hof¬ tion caused no inconvenience; but as soon as extended Many students try to apply legato to rhythm, this mann Nocturne, just as the Rubinstein Melody m t, tne is doubtless due to the frequently heard definition of positions (octaves) were attempted in her technic a dead¬ Paderewski Minuet and the Rachmaninoff Prelude are lock occurred. The first joint of her thumb failed to legato as “smooth.” But in this expression, the correct similarly classed. Such compositions are inspirations and act; and her thumb refused to leave its close proximity wording is "smoothly connected,-” and there is no ref¬ are rare. This work is comparatively easy to play and to the hand, excepting beyond the second joint. This erence to the relative length of the tones. A succession in due season will appear also for violin and orchestra. allowed her the expansion of only the interval of sixths of doubly dotted eighths, each followed by a thirty- As a composer, Mr. Hofmann is perhaps much better second note, can be as legato as a senes of half-notes, on the keyboard. known in Europe than in America, where his works m Observing that a surgical operation was not necessary, much more so than is the legato of many students at its the larger forms have been done before large audiences as it was only the result of disuse, the defect was ex¬ repeatedly. His five concertos are masterly compositions, plained to the pupil and she was requested to force this ^Legatoi^egaio hasiws no reference to the quality of the tone. bone gently to move outwards by assisting it with the This is apparent if ;we consider the pipe organ. 1 lie other hand, doing this occasionally during the day. At ability to play legato is one of the. the next lesson the improvement was things every organist must acquire, surprising; and, by keeping the matter yet the quality of tone of an organ before the pupil at each lesson, the pipe cannot be altered from the key¬ defect gradually disappeared, and in board. Moreover a person can play a few months the thumb was moving the orchestral instruments perfectly in the desired direction. legato and still produce tones of out¬ Nature will quickly assist herself rageous quality. if started on the right road. How¬ Nor does legato demand any certain ever, if you feel doubtful as to pro¬ type of touch, for this would necessi¬ cedure in case of deformity in the tate a different definition of the word hands and fingers of your pupils, con¬ for each different group of instru¬ sult a physician, though many minor ments, and a still different one for the imperfections can be remedied by the voice which does not use the fingers teacher, especially such a slight one as at all! Moreover, legato can be se¬ a finger joint refusing to articulate. cured in more than one way on some Several pupils with such defects have instruments. under my observation and a physician has been called to correct them. Start the Legato Applies Only to Tone physical members to working in their natural channel, and nature will carry the work No. Legato has no direct reference to (1) speed, (2) power, (3) rhythm, (4) qual¬ onward successfully. Among the “first elements” in touch pre¬ ity of tone, or (5) the mechanics of tone- sented to a pupil should be the action of the production. It refers entirely to the connec¬ joints of the fingers, especially that of the first tion of any two consecutive tones, demanding joint, which is use,d so much in piano-playing. that there be no suspicion of a pause between As to the thumb, it has six movements, and five them. We have two medical words derived of these are used by the pianist,while one, rota¬ from the same root as is legato (with change of tion, is possessed by none of the fingers. Usually vowel), ligament and ligature, both of which are we devote a great deal of attention to the action of bindings. The angularity of a foreign idiom the four fingers, and the thumb is left to care for itself; sometimes assists in grasping the real meaning of but, considering the capability of the thumb to move a word, so 1 quote from a German dictionary, gut freely in all directions, especial consideration should be gebunden; das lueckenlose Aneinanderreihen der Toene,” given to this neglected digit. which translates literally into “well bound together; the JOSEF HOFMANN holeless setting near each other of the tones.” lyright, Mishkin) It is true that masters of some branch of tone pro¬ “Polishing” Your Lesson duction can associate certain muscular or mechan¬ rich in orchestral coloring and filled with scholarly devel¬ ical acts with the real definition, hut these are not By Izane Peck opment of delightful themes. His Humoreske and Raise what the word denotes, but what it connotes. Thus, translated into the terminology of the construction The enterprising music student should do good, clean Caprice, Opus 53, for piano have been widely played. After Mr. Hofmann's meteoric success during his tours of the piano, legato demands that the dampers silence work—like Gold Dust Twins—let us say. He should the vibrating strings just as the hammers form the new of the world as a child, he was placed under the instruc¬ polish the week's lesson before he takes it to his teacher. tone. It is immaterial whether this be through the tion of famous masters, including Moszkowski and Rubin¬ ' The first day after the new assignment has been agency of the fingers (keys) or the foot (pedal). If the made a certain portion of the lesson might be thor¬ stein, and, in addition, the eminent teacher of composi¬ dampers fall just before the hammers strike, “as you oughly learned; the second day’s practice should re¬ tion, Heinrich Urban, with whom he studied for a long think of striking,” or “as you get ready to strike." the sult in a second portion of assignment being well worked time. Only the immense demand for Air. Hofmann’s effect is not legato, but gasping; and if they fall after out; and so each succeeding day services as a pianist has kept him from developing his the new tones are already singing wc get a muddy effect. The last day’s practice should be left free for the great talents in composition; Anyone who has seen some Moreover, if this latter were the tonal effect demanded Saturday cleaning. On that day every bit of the lesson of his earliest compositions realizes that his genius is by legato, no one could sing legato, for the human voice should be gone over. Any part which is not clear cut entirely natural and not unakin to that of great masters cannot produce two pitches at the same time. “Over¬ in delivery or which rings “false” should be polished. such as Mozart, Bach and Handel. lapping legato” is an impossibility, although “overlapping That is, difficult parts should be repeated until the cleans¬ Mr. Hofmann is now at the very height of his pianis- muddiness” is all too common. ing process is complete and the pupil has made sure that tic powers, as is indicated by the New York Times’ nothing has been omitted that is essential to the clear criticism of one of Mr. Hofmann’s January recitals at Charles Dickens’ love for music may have been presentation of the lesson. _ _ r . , Carnegie Hall. , The student’s arms are willing Gold Dust Twins who prompted by his sister, who was a student at the “It might be said - conservatively and cautiously that do the work at the command of the brain which directs Royal Academy of Music of London when the family such piano playing has only most rarely been heard in the polishing. was pitifully poor and Charles earned his living by New York; or, say, never. Here was the art of the sticking labels on blacking bottles. At that time pianist raised to its highest power—technically to a point There is a “reach” to music which the other arts have Dickens’ father, reputed to have been the original of nof it seems to “get” to you in an exhausted mood and where technical problems seemed to have vanished as Micawber, was in Marshalsea prison for debt, and quiets and refreshes where a book or a picture is not such and to leave the performer free to concern himself Charles went weekly to the Academy to take his sister so sure.—Charles M. Schwab. only with the higher artistic and intellectual problem.” with him to spend the week-end in prison. THE ETUDE Page 168 MARCH 1923
MAZURKA BRILL ANT GEORGJ:GGELING>op.208,No.i
SPRING’S AWAKENING
British Copyright secured Copyright 1922 by Theo.Presser Co. Internationale Copyright secured MARCH 1923 Page 171 THE ETUDE Page 170 MARCH 1923 ™SITUM bon VOYAGE DENIS DUPRE APHRODITE R.S. STOUGHTON BARCAROLLE DENIS DU1K VAimeSU.e the pedal with care Grade 1. An excellent study or recital piece, exemplifying light finger work and melody playing in e.ther hand. Grade 3. Id modern style. To be played with grace and elegance, not in strict time, Allegro M.m. o-=72 Andante con moto M.M. J«=54 ,_ 5 * . „ 1
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MARCH 1923 Page 173
Page 172 MARCH 1923 the etude NOVEMBER NOVEMBER SLEIGH RIDE SLEIGH RIDE TROIKA p TSCHAIKOWSKY, Op. 37, No. 11 TROIKA p TSCHAIKOWSKY, Op. 37, No. 11 SECONDO , , _ ^ the* original piano solo,owing to the indepen- When carefully studied, this popular number is ipore effective in the four-hand version than dent part writing. , Allegro moaerato
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E ' THE ETUDE Pag* 176 MARCH 1923 WINDS OF SPRING ERNEST L. BOLLING Op.u landing a clear touch. Grade 3. ^ A gay waltz movement with neat running work for the fingei Introduction (Moderate speed)
Copyright 1933 by Theo.PresserXo MARCH 1923 Page 179
TEE ETUDE THE ETUDE Ease and Fluency in Page 178 MARCH 1923 AVOWAL EMIL KRONKE, Op. 96 SONG WITHOUT WORDS barcarolle. Grade 4. Piano posses$ These Qualities? Areal song without words, conceived in vocal style and rising to a fine climax. The rhythm is th of Vital Interest to Every Teacher Weight and Relaxation Method for the Pianoforte THE By JACOB EISENBERG The Musical Observer SaysJ^ piano with a Minimum of Ge“ln|i^a>-T"Td^'ed a practical handbook and one^th^^s^ou
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addressing our advertisers. British Copyright secured MARCH 1923 Page 181 THE ETUDE THE ETUDE Page 180 MARCH 1928 1otmann —another distinguished addition to The New Hall of Fame self eloquently explaining why he comes to Military history reveals but few Napoleons. you on Brunswick Records. And musical history, but few Hofmanns. Brunswick, by means of a secret new process of So it is with justifiable pride that we am nounce Josef Hofmann on Brunswick Records recording, has attained absolutely unmechamcal JVorld-Qreat Artists reproductions—a wonderrecord that pictures —exclusively. music as clearly as a camera pictures a person Like Richard Strauss, Sigrid Onegin, Elly on Double-Faced Records! or an object. Ney Chamlee,Danise, Easton, and other great stars of the day, Hofmann, with the tremem Hear! Of supreme importance to every family with a phonograph, is the re¬ dous appreciation of the great artist for true Brunswick Records play on any phonograph. cent decision of Brunswick to otter musical value, chose Brunswick as the means Greatest artists—those of the internationally Famous Artists’ renditions on best fitted to perpetuate his art to posterity. acclaimed New Hall of Fame —record for double-faced records. * * * * * them continuously. It marks the first step of Brunswick’s For his first Brunswick recording, Hofmann nation-wide movement to place great¬ They offer you the world's best music, direct est artists and greatest music within has selected the Hungarian Rhapsody, Parts from the musical centers of Europe and the reach of every American home. x and xi, the incomparable which so happily America. provides fullest expression of his gemus. Brunswick Gold Label Records New records are released daily. A distinct ad¬ Just twice the music as before! Two Ask to hear this remarkable Hofmann record vantage, which gives you new music while it selections in place of one! An inex¬ at any Brunswick dealer’s. pensive way to quickly acquire a dis¬ 1S new—no waiting for the old once-a-month Then note the amazing difference, in musical tinguished musical library. Start by release of records. obtaining three or four of these rec¬ quality, between it and the ordinary phono- So whatever your preference—the events of ords from the new release each month. graph record. the Metropolitan Opera, Hofmann s current Leopold Godowsky, Richard Strauss, Elly Ney, Giuseppe Danise, Sigrid Note the crystal clearness of every tone, not performances, dance music from the cosmo¬ a note blurred, not a subtle beauty lost—the Onegin, Mario Chamlee, Marie Tif¬ politan cabarets of London, New York, Paris fany, Bronislaw Huberman, Florence most difficult notes of the piano in perfect —you can gratify it today—simply by step¬ Easton, Theo Karle, Claire Dux and reproduction! ping into any Brunswick dealer’s. other internationally acclaimed art¬ You have Hofmann the living artist himself, ists of the New Hall of Fame will All the world is turning to Brunswick Records. contribute continuously and exclu¬ before you! And incidentally, Hofmann him¬ sively for the new Brunswick Gold Label Records —the worlds truest THE brunswick-balke-collender CO. reproductions. Manufacturers —Established 1845 Play on Any Phonograph CHICAGO NEW YORK CINCINNATI TORONTO FAME brunsw 1 C RL FOE CORD S P H O N O G FGA p H s AND BRUNSWICK RECORDS PLAY ON ANY PHONOGRAPH MARCH 1923 Hage 183 THE ETUDI Page 182 MARCH 1928 THE ETUVE DANCING BUTTERFLIES J. E. ROBERTS D. Appleton and Company Present the Universally Popular Piano Duet Collection pieces of this character depend upon accuracy of rhythm for the best effect; J3T3 must never b 3 s Allegretto M.M. J = 108 Piano Duets the Whole World Plays Containing Forty Classic, Modern, Light, Sacred and Operatic Compositions Arranged or our an s COMPLETE ALPHABETICAL INDEX Miserere (Trovatorr) ...Verdi Andante Religioso .Thomi Paloma, La .;-Yrad*r Angel's Serenade .Braga Pizzicati (Sylvia) .Delibes Aragonaise (Le Cid) .Massenet Polish Dance .Scharwcnka Ave Maria .Gounod Pure As Snow .Lange. Barcarolle (Tales ok Hoffman).Offenbach Quartet (Rigoletto) . Berceuse (Jocelyn) .Godard Romanza .Schumann CARAT ETTA LdCk Scarf Dance.Lhammade Cinquantaine, La .Gabriel-Marie Serenade (Les Millions d’Arlequin) .Dngo Consolation .Mendelssohn Serenade ..Hubert Cygne, Le (The Swan) .Saint-Sacns Serenade d'Amour ...Blon Forget-Me-Not .Macbeth Serenata .Mosokoii-ski' Faust (Waltz) .Gounod Humoreskf. .Dvordk Sextette (Lucia) .Donizetti Hungarian Dance No. 5 .Brahms Simple Aveu .1 ,,umi Intermezzo (Cavalleria Rusticana) .Mascagni Souvenir .,,rdla Spanish Dance, Op. 12, No. 1 .Moszkoivski Largo .Handel Spring Song.Mendelssohn Loin du Bal .Gillet Melody in F .Rubinstein Torchlight March .( iar^ 256 Pages 40 Compositions Minuet in G .Beethoven Traumerei .Schumann Minuet .Boccherini Turkish Patrol .Mieliaclis PRICE $1.25 POSTPAID (Not Sold in Canada) For sale at all Modern Music Shops throughout the U. S. The only Volume in the “Whole World” Send for complete free catalogue of the “Whole World” Music Series Music sold in Canada is a special edition of “Piano Pieces the Whole World Plays.” Postpaid Price $1.50. D. APPLETON AND COMPANY \rid S?ET I---- You Can Save Money Jby purchasing music from the THREE BOOKS Every Teacher Should Know THEODORE PRESSER CO. Biller and Quaile’s “Tunes from || . _ Mail Order Music Supply House -sm Many Lands.” Gr. 1.L25 Fully Equipped to Serve Every Buyer of Music Publications A First Solo and Duet Book for Piano. The liSEISsS object of this book is to provide beginners in piano playing with interesting material of real THOUSANDS OF SATISFIED PATRONS ENJOY OUR musical value. Folk music is the most appro- kT Best Professional Discounts Liberal Examination Privileges priate material for the child’s first study and soon develops an appreciation of the master- K Convenient Charge Accounts Prompt and Courteous Service pieces of music literature. —— —1 WITH the proprietary rights to almost 20,000 successful publications and the Diller and Quaile’s “When all the World was Young”. 1.25 largest general stock of music works, practically every requested publica¬ A Second Solo and Duet Book by these well-known educators. tion can be supplied. We are also always ready to aid the teacher by selecting Slightly more difficult than “Tunes.” National songs and Folk special material that will be sent for examination. music culled from the music of all nations, suitably arranged in solo and duet form, supplies material to develop thorough TEACHERS—WRITE NOW AND TELL US musicianship. The Style and Grades of Teaching Material You are Looking for. “American Indian Sketches” ••••■■..;■ :75 ft SKETCHES_ This suite, depictive of the American Indian, The Number of Pupils to be Taken Care of presents the primitive color most effectively. It and we shall be only too glad to prove our service by ' "as&iplfc. may be used for the early grade to teach inter- sending suitable material for examination. pretation, expression, use of the pedal and dex- terity. Handsomely illustrated with drawings DON’T OVERLOOK THE~ FACT THAT THE BESTDISCOUNTS ARE OFFERED and verses from Longfellow’s “Hiawatha.” Phila., Ps Every Dealer Will Supply Copies Copies will be Sent “On Approval" OINGERS possessing this volume are well prepar SECULAR for duet concert singing or for pleasurable ir ments of recreation at the keyboard with other singe DUETS Practically all combinations of two voices are covet and in this one hundred and two page volume there For all Voices a wealth of carefully selected, good duets. A New and Worth- Price $1 25 While Volume for Copyright 192B by Theo. Presser Co. THEODORE PRESSER CO., PHILADELPHIA, 1 Please mention THE ETUDE when addressing our advertisers. MARCH 1923 PaSe 185 THE ETUDE HE ETUDE Page 184 MARCH 1923 Q SOLE MIO Arr.by A. GARLAND MY BRIGHT SUN EDUARDO Di CAPUA NEAPOLITAN SERENADE The great popular Italian folk song in a new and playable piano arrangement. Grade d* Andantino (Tempo ruFato) THE DARKY FIDDLER WILLIAM BAINES Tunes up f iddle now and then, Just outside his Cabin door, Plays a little strain, Sits old Uncle Ned, Grows a little weary soon, Wiling through the lazy day, Tunes it down again. (Grade 2) Scratchin’kinky head. Joyfully M.M. J = 108 cresc. ■i P ■ * h :t" 1 djtz±■ ii J — [ --f —k- v_r 1^=F=« ^ attarg. t r...T^ Iff** i"*' u- British Copyright secured W' w- 5. Copyright 1923 by Theo. Presser C Copyright 1923 by Theo. Presser Co. MARCH 1923 Uage 187 THE ETUDE THE etude Page 186 MARCH 1923 WOODLAND IDYL THE BOB-O-LINK FREDERIC A. FRANKLIN CAMILLE W. ZECKW.ER, Op. 46, No. jristic piece, violin.,. employe the left hand ^ An expressive reverie,in the manner of an improvisation. Grade 3£. Allegro Moderato m.m. J-72 'J VIOLIN PIANO British Copyrightsecured British Copyright secured Copyright 19-22 by Theo.Presser Co. THE ETUDE Page 188 MARCH 1923 WALTZ . J;h f A™s Transcription by GAYLORD YOST a splendid study ..“double-etc,.;' but, if desired,.belower ne.es One of the celebrated waltzes, Op. 39. As arranged by Mr. Yost this makes of the violin part may be omittedthroughout. Grazioso m.m.J = 144 /c.Full t. octave OFFERTORY IN G MINOR Registration^Sw. St.Diap.Oboecoup.toGt. V/X X -LJ-k-V E. S. HOSMER (ped.to Gt. & Sw. A dignified and churchly number, opening in the grand chorus style.^not rush the tempo. Moderato m.m. J = 108 British Copyright secured Copyright 1923 by Theo. Presser Co. THE ETUDE Eage 190 MARCH 1923 ABARNEGAT LOVE-SONG *Ethelean Tyson Gaw PURDON ROBINSON MARCH 1923 Page 198 con espress. y THE ETUDE THE ETUDE Page 192 MARCH 1923 INCONSTANCY r’L l, FREDERICK HENRY J. TRUEMAN STEVENSON, Op. 35 WW dnst. thou olier-ish t'hv dai - sy so lpv-ing-ly, ten-der-ly, lov-ing ly. «l- =46 i-—- 1 ^ 1 ^ --=p=t-|-7~q colla voce WILLIAM BAINES Within an octave for the voice. The ending is also effective if sung very softly . Copyrieht 1923 by Theo.Presser Co. MARCH 1923 Page 195 f ll I<] ETUDE THEETULE Ole Bull and Ericsson Page 194 MASGH1923 LAKESIDE REVERIE By Ada Mae Hoffrek , Ole 1 ldlllUUS viviunai, vuj ui-i-i-ouc ^ death, he told a good storyary with regard to thoughtful, practical, improving cvervevery mo¬mo- renewing his boyhood friendstup with ment with mathematical precision. Bull's Ericsson, the inventor, when he visited curiosity was aroused, and he began to New York. In early life, it seems, the two wonder what effect music would have upon the grim, matter-of-fact man of squares "t meet again until both had be- and circles. So, taking his violin with him, a”me famous. Bull had charmed admiring he went to Ericsson’s shop. He had re- thousands wffh the magic of his bow. The part the great mechanician played displeased e in naval warfare during the War of Se¬ Bull direc cession roused the North to enthusiasm and startled the world. When taking his leave, Bull invited Ericssc that night. Ericss. , saying that he had no time to waste. Their acquaintance being thus renewed, cussion of sound-waves, Bull continued to call on his old friend when visiting New York, and usually when other musical phenomena, taking his leave, would ask Ericsson to meaning, he replaced the attend his concert; but Ericsson always de¬ provising a few chords, di clined the invitation. Upon one occasion melody. The workmen, c Bull pressed him urgently, and said: “If their tools and stood in sil you do not come, I shall bring my violin played on and on, aind when finally he his bowed head and here and play in your shop.” “If you bring the thing here, I shall smash it,” said the inventor of the Monitor. e was lacking in my li A Course of Study for Each Pupil Boudoir Upright This dainty, companionable Upright is our small¬ One of the mod est and least expensive, yet it is essentially a musi¬ cian’s piano. Not a dollar spent on it for display ial schedt nor a penny spared which could add to tone quality, :> the pupil (on a basis of structural integrity or intrinsic worth. Grade I for the beginner to Grade VII, most difficult) and checking up his grade of advancement under each head of technic with what it should be for that grade, it is an easy matter to concentrate upon any IVERS & POND insufficiently developed points. For in¬ stance, if a pupil is in the second half of uch a schedule is elastic at Grade 111 and his scales are found not up be shortened; but the puj to that grade, immediately seek to improve of a wide variety of pieci PIANOS them. This system admits of the easily iquires a great deal of tin controlled parallel development of all bear a name of recognized worth which is our pledge branches of technic and is especially help¬ ful with pupils coming from other to the musical world that whether smallest Upright that it will fit the pupil and his teachers. or largest Grand, they are of but one quality The greatest advantage lies in planning ' is much more than worth the the work to be accomplished. Make a list the finest. :cessary adjunct is the teacher’s of the various points each pupil’s work More than 500 Conservatories and Schools and should cover for the year, and select, with ise-leaf catalog of teaching pieces, his needs in mind, pieces illustrating these and divided under the heads in each 70,000 American Homes use and endorse the is has been suggested—these pieces d and selected from his own IVERS & POND. A schedule for a pupil in Grade III first half—might be as follows: Write ir complete catalog of Grands, Players and Upri with valuable information to buyers. Fourth Finger Foibles How to Buy gested. “Perhaps I can help you to help Edward, nine years old, had taken several lessons on the violin. The fourth finger Edward had played but three notes be¬ of his right hand caused him much trouble. fore the older teacher smiled knowingly; It would not remain with its tip resting but he let the boy depart before explaining upon the bow, as the teacher insisted it anything to the younger teacher. should. Instead, it would persist in Then he said: “You must tell Edward sticking straight up in the air! Either that you have decided that he needs a new this, or it would commit an equally serious bow. You must select a three-quarter error by snuggling down under the other length bow instead of this full-sized one fingers and bracing against the frog of Ivers & Pond Piano Company' which he is now trying to use, and fail¬ the bow. ing, because it is far too heavy and long 141 Boylston Street Either trick threw Edward’s bowing out for him. That fourth finger was trying of gear and distressed his young teacher, to help hold the bow. When sticking up BOSTON, MASS. , who tried her best to instill right bowing straight or bracing against the frog it was principles into the lad. She wondered how merely attempting to balance a much too I she could possibly teach him to overcome heavy bow. Remember, a three-quarter the recalcitrant fourth finger! At length size, and a liyht one, at that! ’ J she carried her dilemma to her own With the right bow Edward soon be¬ teacher, a man of long experience. came a good player. “Let me hear your pupil play,” he sug¬ Please mention THE ETUDfi when addressing our advertisers. MARCH 1923 Page 197 THE ETUDE Page 196 MARCH 1928 TEE etude Answer.—No, the soprano does not al¬ Artificial Teeth and the Vocalist The Speaking Voice ways speak higher. The speaking voice is not an infallible index of the singing voice. By L. G. F. By Sidney Bushell The notable difference between soprano, mezzo-soprano and contralto voices is that For the reason, perhaps, that the matter more favorable for vocal work. It cer- of timbre. The higher voices are apt to be tainly should be superior to a plate in One who speaks incorrectly is consider¬ 0f artificial dentures is such a peculiarly lighter in quality when using the same the matter of articulation on' account of ably handicapped by neglect of thought and The Singer’s Etude personal one, and since only those posses- pitch. This is illustrated by the tone of the the lesser bulk of foreign matter within training, and imposes upon his singing sin» them are qualified to speak with the violin and of the viola, or ’cello when the the mouth. But extensive bridge work is voice a burden which undoubtedly militates authority of experience, this subject sel¬ A Vocalist’s Magazine Complete in Itself same pitch is played. The pitch at which looked upon with less favor of late, since against all his painstaking endeavors to dom comes up for discussion from the the speaking voice is used is largely a the revelations made by the X-ray have bring the vocal mechanism to that state of standpoint of the vocalist. matter of habit. All public speakers use been broadcasted in many magazines and perfection which is the aim of all vocal Edited Monthly by Well-known Vocal Experts It is true that there is a popular notion a quite wide range of pitch. health journals—which need pot be gone aspirants. Tardy vocal progress must ob¬ that it is -not possible to sing acceptably into at the present time. viously follow, with but two hours, or less, Ethics for Voice Teachers with an artificial denture within the mouth spent daily in favorable practice, and the —yet there have been, and doubtless are, Articulation remainder of the voice’s working day put The New York Singing Teachers’ Asso¬ many singers, professional and otherwise, through under unfavorable conditions. ciation publishes the following ethical who have made good, despite this handicap. Briefly, articulation is the shaping of the It should be more generally realized that Interesting Voice Problems Solved by Noted Teachers ideals originally suggested by Louis Arthur The late Evan Williams is a case in point. flowing tone or vowel into words, by cer¬ articulation and tone production are two Russell. His singing, to use his own words won tain adjustments and interruptions by the distinct functions. So much attention is 1. The relations between all honest him “fame and fortune,’ and his ability tongue and lips. By Edmund J. Myer ease, will be very difficult for the robust usually devoted to the development of a teachers of singing should be fraternal, to sing, in spite of a dental plate, he The necessity of having the dental plate tenor. Its compass may extend to high C, “beautiful tone” that the necessity of hav¬ Q. My range is from E on the first line cordial, and strictly sincere, and without attributed to the fact that he was fortunate well-fitting will be obvious. A clumsy or but the high notes will be full and strong. ing that tone shaped into words by modifi¬ of the treble staff to A on the first lcger reserve as to teaching principles and ethical 1 enough to obtain a well-fitting denture. ill-fitting denture will be a constant irri¬ It would be easy to mistake this voice for cations of the articulating organs is fre¬ line above the treble staff. I am told that relations, as are the nominal relations of For the purpose of this article it might tation to the vocalist and a handicap to the “baritone Martin,” or very high bari¬ quently given slight thought. I am a first soprano. Should I sing that members of other professions. ' be well to make reference to one or two be seriously considered. On the other part in a chorus ? tone with a tenor quality in the high notes. How many vocal students are able to 2. It is unprofessional and contrary to generally recognized fundamentals in con¬ hand, a plate, fitting snugly at the roof Ans. If you are really a soprano, then This voice may sing as high as the robust “vowelize” well but find themselves all at correct principles of ethics for a teacher to nection with voice production. of the mouth and elsewhere, will seldom sing first soprano in a chorus. From the tenor but cannot stay there comfortably sea when it comes to the formation of make any claims, as to himself or as to obtrude itself upon the consciousness, once range given I should say that second so¬ as long. Resonance words by the interpolation of consonants. his pupils, which are not strictly true; to it has found itself, so to speak. Moreover, MOTHER, MY DEAR prano would be better for your voice. Q. Is it better to begin instruction with This is usually the outcome of confining attempt in any way to defame the reputa¬ Resonance is the life of the voice—the the tongue will soon accommodate itself Q. What is the best age for a .contralto sustained notes or with scales and running Ay £>ryae,jon Trcharnz the daily practice to vowelizing alone. It tion of fellow teachers or to lead his pupils “fire,” the “bite”—all of which is summed to the somewhat restricted articulatory to begin taking lessons? passages ? SeCORPS : BMWOT*. COLUMBIA. ErDIBON, PATH&. VICTOR- ***£"» is certainly very satisfying to work through into any habits of ungenerous criticism; Up in the term “timbre.” Timbre is that Ans. A combination of the two is prob¬ space. a series of exercises or vocalises on the Ans. About 18. Some voices can begin and, while he should always expose the Our lest Selling Aallad! Already jo itj Pijtb Edition ably the better plan. Long-sustained notes characteristic quality which gives indi¬ In his interesting and valuable work, ■ vowels only; but it is not enough. The fu¬ safely a little earlier. charlatan or the misguided practices of the are very difficult, for they require such a viduality to any voice, and is the result “Resonance in Singing and Speaking,^ ture singer will have to do with words. A incompetent, careless, or dishonest teacher, of the amplification of the fundamental By Sergei Klibansky steady strain on the voice that the throat Thomas Fillebrown states, “In pronunci¬ certain period of the daily practice should he should never adversely criticise his fel¬ or principal tone by overtones, through Q. What is meant by the word Ballad? is likely to become tight in the endeavor to ation the words should seem to be formed be set apart for the purpose of reading low teacher unless he positively knows the resonance in the cavities of the chest and How does the Ballad differ from the Art sustain the tone. This can be counteracted by the upper lip and to come out through aloud anything that may seem appropriate. history of the case and can substantiate post nares or “masque.” The size and Song? by using short scale passage on the same it. By this method it will be fotlnd easy Poetry, speeches, sermons, extracts from with proof whatever testimony he advances. shape of these cavities vary with the indi¬ Ans. The word Ballad has never had a principle as the Mason technical exercises to pronounce, distinctly. The words will the Bible, so rich in picture language, all vidual; but what is of equal significance, fixed meaning. The Italian word ballata for the piano, ,of going swiftly over the Respect Others’ Opinions thus be formed outside the mouth and be aoNa - ANy K.Ey .40 POSTPAID will serve. At the same time endeavor to the quality of the bony structure also HAROLD FLA MM IIR, INC. meant a dancing piece, and until modern notes from the impetus of the first note of 3. The teacher should by precept and readily heard, as is a person talking m DUET - £>. s A. .so » interpret them as carefully and as faith¬ varies. All this has an influence upon the PUfiLIS HER. times the ballad was a combination of song the phrase to a landing place at the end of example cultivate among his pupils a re¬ front of, instead of behind, a screen. A ■57 WEQT 4AT., N MIXED VQlGEr.5 -15 J! fully as a song, whether dramatic, pathetic, tone and explains why no two voices, single, intelligent trial will be sufficient or picturesque. and dance, but the character of the compo¬ the phrase, touching very lightly the inter¬ spect for the opinions of others and a gen¬ although of the same classification, will to show the correctness of the statement. A common fault is the clipping of word sition known as the ballad has constantly mediate notes. erous consideration of the worth of all COMMENCEMENT PR GRAMS-i iS^;&^£S^^=a: sound exactly alike, even upon the same Thinking of the upper lip as_the fashioner 0 3 terminations and the rushing into the next changed throughout the centuries. Burney artists. He should also endeavor to im¬ THEODORE PRESSER CO.. 1710-12-14 Chestnut Street, PHILADELPHIA, PA. vowel at identical pitch. of the words makes speaking easy and word before being ready for it in the mat¬ refers to it as a “Mean and trifling song.” press upon all with whom he comes in pro¬ To-day we understand the ballad to mean fessional contact, the difficulties of accu¬ The slightest variation in the composi¬ singing a delight.” ter of breath balance and articulatory ad¬ tion of metal used in. the construction of justment. The thought has a tendency to a song of sentimental character, of no rate judgment, of criticism of singers, or Care should be taken, in the case of an great musical pretensions, usually consist¬ Also, it will be found that passages of of coming to correct conclusions without organ pipes, or in the casting of bells artificial denture for the upper mouth, to run ahead of the voice, the result being, skips are easier for the voice than diatonic results in a like variation of tone and when it tries to catch up, an inarticulate ing of two or three stanzas, the melody of experience and knowledge. He should do see that it is not unnaturally built out which is set forth in the first and repeated all in his power to arouse public sentiment is analogous to what is referred to above. in front' and so hinder the freedom of tangle, absolutely ruinous to the adequate It may be inferred then, that a well¬ presentation of the idea embodied in the with a slight variation in the stanzas fol¬ against “quick processes” in voice study, and action of the upper lip. fitting denture will not materially affect KIMBALL By A. L. Manchester text. This difficulty is never experienced lowing. endeavor to lead his pupils and their In the writer’s case it became necessary the quality of vocal tone, since this is in the singing of a song, for the simple rea¬ The Art Song is more pretentious, seri¬ Question.—If merely “thinking” a lovely friends to an appreciation of the above a short time ago, owing to certain changes, “The Instrument of Yesterday, Today and Tomorrow chiefly dependent upon resonance in cavi¬ son that the Words are set to musical inter¬ ous and dignified in subject matter and tone is the way to produce it, why is it facts, and of the impossibility, in many to have his dental plate remodelled. It ties not within the mouth. vals of predetermined length which must musical treatment. It is “Thoroughly com¬ that so many really musical people have cases of young students, of naming posi¬ was discovered that the former plate had This has been the writer’s experience. LOSER to the hearts of be regarded. posed.” That is, the music does not ad¬ harsh voices ? tively the character of the voice and of been abnormally built out in frorit, result¬ C A vocal student for some years and em¬ The writer would urge that the above here to a fixed melodic form as in the Answer.—Merely “thinking” a lovely promising honestly the results of study, ing in an unnatural projection and con¬ the people than any ploying a part upper plate, he has found suggestion be incorporated in the daily “Lied,” .but changes with the meaning of tone will not produce it. Undoubtedly the before the voice has matured. sequent tension of the upper lip. In mak¬ singer of any time, Adelina practice of all vocal students; and it should the words. basis of a lovely tone is the mental con¬ 4. The teacher should inform his pupils that there is no appreciable change of ing the new denture this was avoided, re¬ Patti—famed nightingale of Q. My voice seems to be sweet and cept of such a tone; but there are physical quality in the voice whether the denture be coupled with careful listening to the of the many elements making for success sulting in a marked improvement in ar¬ yesterday—chose the KIM¬ speaking voice at all times. A surprising pure, but it is entirely lacking in power. accompaniments to the production of tone or failure, and should explain the most im¬ is in position or not. , ticulation, but no change in the vocal tone, amount of pleasure, even thrills will result What is the best remedy for strengthening that may aid or impede its proper pro¬ portant sources of success. He should em¬ With bridge work the writer has had with two exceptions: The vowels “O BALL because of its “won¬ from these daily readings; and a growing the voice without throat injury? duction. These physical accompaniments phasize the fact that a full artistic success no experience. This article is submitted and “00” are found to have improved in derfully sweet and sympa¬ realization of the beauty of the spoken A. The possibilities for power of voice of tone production must be so well trained is due to the student’s personal attributes, with the idea of encouraging others to quality to some extent, in all probability thetic tone.” word, as well as the development of a are determined primarily by the natural and controlled that no interference is set physique, mentality, vocal organs (natural overcome their natural diffidence and so owing to the fact that these vowels are speaking voice under good control, will be construction of the vocal instrument. The up that will mar the tone mentally con¬ voice), musical nature (temperament, etc.), open up the subject of artificial teeth from more dependent than any others upon lip In recognition of its vital ample reward for all the time thus spent. full power of a particular voice depends ceived. It follows that attention must be musicianship, general education, good in¬ the singer's standpoint. One might natu¬ adjustment for their proper formation and “heart and soul” qualities, upon the development of sympathetic reso¬ rally suppose that bridge work, being a At the same time will be removed what, paid to these physical accompaniments, struction, surroundings and opportunity. release. and perfect tonal response, nance, which means a proper use of the solid and permanent fixture, would be according to the very highest authority, which, in brief, are muscular conditions This broad consideration will insure a Heniot Levy, poetic inter¬ is without doubt a severe handicap to the resonating cavities and perfect breath con¬ of jaw, tongue, throat and' mouth, and more honest system of credits in the ulti¬ training of the singer. trol. It is understood, however, that the breathing muscles, and a concept had of mate estimate of the teacher’s worth. ADVANCE OF PUBLICATION OFFER | preter of the pianoforte— vocal cords must offer enough resistance to right conditions and a mental control over 5. The teacher who will exploit as his ADVANCE OF PUBLICATION OFFER | and many other eminent ar¬ the. breath to set up vibrations strong them that will prevent interference. This own the results of other teachers’ instruc¬ tists of today —prefer the enough to create resonance. Oftentimes a means a sufficient study and training of tion, or allow his pupils to do so, is un¬ ORATORIO SONGS KIMBALL for their own lack of vocal power is due to a low vitality- the movements and conditions of these worthy of a place among honest teachers four volumes Musical Proverbs in the individual. Song personal use. muscles to bring them under instant and and should be branded as a charlatan. Sacred Albums We will issue shortly four volumes of ora¬ The practice of humming and the use of easy control of the will. If one may judge the future For High and Low Voices torio songs, one for each of the four voices, KIMBALL By Francesco Mariano the vowel e are helpful in developing reso¬ There is another angle from which the Three Important Musical soprano, alto, tenor and bass They will by past and present perform¬ nance, but such exercises must be done un¬ question can be viewed. It is strange, but We will issue two volumes of sacred contain the best only and will be edited by Qrand Pianos Reproducing Pianos der the ear of a teacher who knows how Elements ance, then, indeed, the KIM¬ Count that day lost whose low descending true, that many really musical people are solos, one for high and the other for low a leading authority for each voice. The Upright Pianos Phonographs they should be practiced. Vocal practice volumes will not be large nor expensive but BALL is the instrument of incredibly lacking in discrimination as re¬ By Dr. Frederick Niecks voice. They will be suitable for the aver¬ Player Pianos Pipe Organs may be helpful or harmful. It depends gards vocal tone. The number of really will include a number of arias that have yesterday, today and tomor¬ Sees by thyself no study better done. age choir soloist. None of the selections never yet appeared in similar volumes. 1 he Music Rolls altogether on how it is done. musical people who “think” a lovely vocal Three elements must be distinguished in Know that thy faults, unchanged, will have ever appeared in any similar volume late David Bispham was to have been the row—the piano of imperish¬ tone is much smaller than one would be¬ music, the emotional, the imaginative and find thee out. the fanciful. The first is pre-eminently so there is no risk in ordering one of these editor, but we will now have a special editor able fame. 1. W. KIMBALL Cl By Perley Dunn Aldrich lieve. Power, volume and dramatic effect for each volume. Every singer should pos¬ rw „ human, expressive of our relations to God I 306 Si Better a simple piece well done than a Q. How can a tenor robusto be identi¬ too often are accepted in place of true books in advance. Our advance price for sess one of these volumes. They may be ■ Gentleme and men; the second is descriptive, yet not either the high or low voice volume is 35c ordered singly, each 50c postpaid if ordered masterwork mangled. fied? quality. Both concept of tone and physical _j maMBAIA Grand Pianos □ KIMBALL Phonographs Ans. This voice may be identified en¬ of things—t. e., objects of nature and art— in advance of publication To interpret a true musical sentiment, is training to produce it without interference postpaid. W W. KIMBALL CO. □ KIMBLLUprightPi.no. □ KIMBALLPlayerlXanos tirely by its quality. It does not have the are necessary. but the impression we receive from them; Advance of Publication, cash price, 50c. each f Established 1857) I O Also mail paper floor pattern for Bijou Orand tree. to be chosen rather than to race noisily the last of the three is best characterised Advance of Publication cash price, 35c. each light lyric quality of the lyric tenor and Question.—What is the relation of the over the keys. by the definition which Leigh Hunt gives does not lend itself readily to pianissimo speaking to the singing voice as regards 1 THEODORE PRESSER CO., Philadelphia to fancy, “Fancy is the younger sister of He that studies conscientiously layeth singing. The high notes, which a lyric 1 THEODORE PRESSER CO., Philadelphia | Music Publishers and Dealer., 1710-12-14 Cheslnut St pitch? Does the soprano always speak | Music Publisher, and Dealers, 1710-12-14 Chestnut St. up treasures for his musical future. teqor will sing very softly with great higher ? imagination without the other’s weight of thought and feeling." pIoorsPlease mention THE ETUDEEl ran when addressing our advertisers. MARCH 1923 Page 199 THE ETUDE the etude Page 198 MARCH 1923 of tune is relatively easy. Tune, for our New Fields in Choral Singing purpose, includes pitch and melody. Of ADVANCE OF PUBLICATION OFFER course, pitch is the bugbear of vocal music, By G. K. Forneret particularly unaccompanied choral singing’ $1.00 $1.00 It is astonishing, though, how a thorough POSTPAID POSTPAID grounding in, and insistence on, proper tone Organization NOW IN PRESS production will simplify the question of Like the symphony orchestra, a hrst- pitch. This is where musical intelligence THE ESSENTIALS OF HARMONY class amateur chorus requires a minimum counts in choral work. A sense of melody strength. It seems to be generally accepted By HAROLD B, MARYOTT, A. B. comes naturally to any singer. Its appre¬ that fifty is the irreducible minimum for ciation can be greatly developed, however. Teacher of Harmony and Public School Music Methods the production of anything more than a There are many choral compositions in in the Chicago Musical College very limited class of music. Seventy-five which the melody will run from one regis¬ is better; and twice seventy-five makes ter to another. Exercise in cleanly and available a vastly greater range of selec¬ instantly emphasizing the melody, and sub¬ tion of music. Always bear in mind, jugating the vocal accompaniment, is one though, that a well-trained amateur chorus As a means of contributing to the development of ** °?. oared The following points are emphasized : of the most interesting parts of choral of fifty is well worth while; and that a many years Mr. James Francis Coolce, editor of “The . , . . 77^ 1. Some ear-training is given in each lesson. training. An excellent and simple compo¬ gratuitously, pogrom notes for the productions orceninP^ 2. Familiar melodies are used to develop the ability to harmonize. slovenly aggregation of three or four times She did not have to 3. The student Inter harmonizes the same melodies in more elaborate form. sition, calling for thorough drilling in bbtli JZlZZn VOpera Company oV^Yorh. 'These have j trouble of diet or exercise, that size is a sheer waste of time and en¬ extensively in programs and periodicals at home and a-broad. ^ _ 4. Analysis of easy music is emphasized from the early lessons. pitch and melody, is Percy Grainger's Irish , uc , w, __ informed upon c found a better way, which aids the i 5. The student is taught to compose easy piano music and accompaniments. ergy, as far as the production of first-class our readers may have a desire *n 6. Illustrations for every point 'are quoted from music literature, both American Tune from County Derry. _ \ects of the popular grand operast these historical and digestive organs to turn food into choral music is concerned. A properly aspects of muscle, bone and sinew instead of fat. and Foreign. 3. Time. This is relatively the easiest several of them will he reproduced in “The Etude. The OP 7. Harmony at the key-board is stressed throughout the book. trained chorus of between two hundred and .. by Edward Ellsworth Hipsher, assistant editor. She used Marmola Prescription Tab¬ 8. Harmony is made to lead to the study of music literature. of the three fundamentals. From infancy 9. Rules are avoided. The student is led to use his own initiative without being two hundred and fifty can produce prac¬ lets, which are made from the famous hampered by restrictions. tically any choral work, of whatever mag¬ most individuals possess a rude sense of Marmola prescription. They aid the 10. The study is made really musical, avoiding former pedantic methods. nitude, particularly if there is the ad¬ time, and usually of rhythm. These facul¬ digestive system to obtain the full 1 ties must necessarily be highly developed nutriment of food. They will allow you | Price after April 1st, $1.50 postpaid vantage of the accompaniment of a good in the singer, until he can quickly appre¬ “Boris Qodounow” to eat many kinds of food without the f orchestra. Catalog on Request necessity of dieting or exercising. s The choice of music should be governed ciate the rhythm underlying a four- or Modest Petrovitch Mussorgsky (some- The text of the work was arranged ^ GAMBLE HINGED MUSIC CO. Thousands have found that Mar¬ by the size and experience of the choir, eight-part vocal composition in regular or KRAKAUER BROS times spelled Moussorgsky), born at Ka- Mussorgsky from ^e^spectaeuiar drama Publishers and General Dealers mola Prescription Tablets give com- the nature of the concert, and, to a certain irregular time; and also until without the 67 E. Van Buren Street CHICAGO, ILL. odious tapping of feet, or waving of head plete relief from obesity. And when . extent, by the taste of the audience to March^'^Sl^ddedlo his «reeTthe kin’s 'ancestry like Ahat of Dumas was the accumulation of fat is checked, which the choir .expects to sing. But it or music, he can attack cleanly, progress reduction to norma!, healthy weight | cannot be over-emphasized, that the taste steadily, and finish equally cleanly. A sim¬ SE SS i follows. of a community will be greatly influenced ple and popular composition calling for the Pianologues nf the oast century he could not make of Russia is said to have been that give Thc^clev^pianologue merits “DEAR LITTLE YOU/’ Has Made Many Friends by the character of the music presented by utmost precision of time and rhythm Is? .. .he ..war., bu. ta P.rie, i» 1W with Mg., he its local chorus. A wise selection of melo¬ throughout, and particularly at iis conclu¬ „..JS theyUwillUbe sent in plain wrap- AMONG THEM sion, is Bridge’s Bold Turpin. dious compositions, 'competently and sin¬ “‘^DreW* ™ M TVmon'. . . (Character) cerely presented, should attract a growing It is hoped that these very condensed Fiddlin’ in de Firelight . . . MARMOLA COMPANY remarks may be of general interest in dem¬ Grace Porterfield Polk following—small, at first perhaps, but un¬ Keep a Smilin’.(Inspirational) 1 252 Garfield Bldg., Detroit. Mich. doubtedly increasing, Then it is the duty onstrating the feasibility of choosing from L.'lOle Brown Cabin .... . (Lullaby to hU ...her, who »e8h. h,m ,, l.,d » .he r,.g« f COMPOSER AND SOLOIST OF NOTE Old-Time Wedding Day . . • (Character) u “/am interested in the song DEARJ.ITTLE YOU as of the chorus not to disappoint its public. our communities material wherewith to A Perfect Little Lady (Hiimorou3Juvenile) to play the pianoforte. Later, when he of Ivan the femme. Dimitrl This should be impressed upon every mem¬ form permanent choral organizations. Only la r songs'to goodluan Verse and “pare meh,dyV°Afr'. entered the military academy, his teacher Stott’s lyric has the human touch with the exquisite ber'of the chorus—its duty to its own pub¬ those who have heard good choral sing¬ Speak uVl^nH^SrSssYo'se'f (Humorous) heart sentiment which appeals to all. lic and to the standard of music in general. ing, ranging from ravishing pianissimo to In full sheet music form-price, postpaid, each, 35c; WWhile serving in the army he made the aspires to become Czar on the death of GRACE PORTERFIELD POLK.” The set of ten $3.00; mention “Etude Collection thunderous climax, can appreciate what acquaintance of the radical Dargomyzhsky Feodor. bS “ DEAR LITTLE YOU” is truly a popular our fellow-citizens, men and women, can Complete list on request. song of the better type. If your local dealer Training T. S. DENISON & CO. who brought his talent to the attention of monk attempts to have theputoc behev The primary need of the conductor is do toward the pleasure and artistic stand¬ has not stocked up, order your copy now 623 S.WAB^hTvI:: 'dept. 98, CHICAGO Cui and Balakirev. Encouraged by them that he >s thf .“‘^["f^Xhead of from the publishers. GRACE PORTERFIELD POLK the maintainance of discipline; for, without ing of their town, and toward the general praise, he left the army and commenced a dies and the false Dirnitr , enrichment of the great art of music. »No.i76oo DEAR.LITTLE YOU *-*;■ discipline, his work is hopelessly handi¬ course of self-study, generally conceded to a Pol.;* ™. .™e^r is the me est capped. At rehearsal, a chorus of enthusi¬ DEFLEXOGRAPH have been inadequate to. the great dimen- short while. This however, is tne me astic people have a great deal to talk From a Hong-Kong Subscriber Fits Any Phonograph It .held b. remem- stock of .he wo* .to,e, order o te The Poem about; but when the conductor is ready to To The Etu_ Stops Scratch and bered that Richard Wagner was largely enjoyed, requires a libretto or a close study rehearse, the firm tap of his baton must As has often been s By careful practice. .. e lais woi th HaIf 01 Surface Noises self taught but he was more enthusiastic of the score. . . ROSCOE clear the air of every voice except his own, £ securing hi, p.ep.toion to was Mus- The op,,.™ «*» » GILMORE and galvanize the choir into a position of il fact, many i $1.00 sir & their children get t STOTT alert attention. An habitually undisci¬ Whei your child practices, i sr£»p£nr x; ssrfs c.r?, A real song lyric ' plined, irregular member of a chorus should left undisturbed. This i make with an appealing be let go. Such a member, be he or she LUDEN'S reminiscent sentiment ever so excellent a singer, ultimately does Goudounoff). Even this work had to be large Muscovite Wgatoon cif New York MENTHOL COUGH DROPS The Music more harm than good. Again, a minimum .von, yourself, do not sit down nenr li romnletelv revised and reorchestrated by (as the opera was given m Italian), but git/e quick relief By CLAY SMITH number of unpermitted absences from re¬ to watch her practice. One may got Rimsky-Korsakoff before it finally com- because of its inherent charm and melodic street noises and even persons tniki A musicianly setting, hearsal should be set; after which the walking about in the same room ; but ; manded serious attention (1896). fascination. melodious to a popular delinquent should be dropped, and his place gaze is magnetic enough to detract o' filled; for one poorly rehearsed member ion from one’s playing. It may 1 degree, that wins the VANTONE CO., Depl. Hose in Place discriminating song can ruin a number during a concert. The Story of “Boris Qodounow The actual points of training are ex¬ To be free from, the Ponshkin. Boris, the i pressed alliteratively in order of their im¬ The nlul is from a historical drama by the Russian pot annoyance of twisted portance : having brought about the death otof Dimitri, tarthe youngest 1 “ THEODORE PRESSER COPu 6/ts/iers—PHILADELPHIA, PA. 1. T one. MUSIC PRINTERS remorseful^A Monastery. The people urgo Bom to story of’the hosiery, from the ruin¬ ruler overhears Ptmenn, an old Monk. ' J ^ ,jis cell illld ileus to the border 2. Tune. ENGRAVERS**0LITHOGRAPHERS is fired; he escapes iro ous effect of clocks and 3. Time. |L,so *? brlnS l«ni»pines8k 5 * a a UPLIFTING EASTER SOLOS 10 :: zmm ; l^et us nave tne courage 10 auniu, now- „ . , , ever, that these resources are only parti- “an7d ^e o^ean'hlo er T h°T ally utilized as they can or should be. To ® ° ardst That “ r 7 u 1 stwHtiefsr7o\7n\^t^mTVld05' 7 t0 which *2 tadtth hi d h d * p Rogers in D” had been selected.^3 “Oh, cannot be gained overnight The organ, you have that "old thing?'0 Why not^ive fadefinite7umter 'of21 in°struments°f ft ^ se.™ce’ T.ravis in F?” The EZ'o^S, 1 these instruments are precisely alike. The retired to his post behind the organ mut- organ is only a theme with innumerable tering, “Well, you may play Rogers’ in D imm- variations, determined by the place in if you like, but I shall blow Travis in F.” 4715 Voice Trumphant fck'“ which it is to be installed, by the amount «« Low. ISlg jg of money at the builder’s disposal, by his - and often, by his personal Self-Examination for the ss EASTER CANTATAS By HT^EpGe^eATEST Scents By J. cTSSf b WMw°f ™E KINGD°M THEWOND By J. T. Wolcott 60 cents By I. Serve .7,Jh™?tDs?R,E PR£sser CO. 1712 Chestnut Street ;; Philadelphia, Pa. A Novelty tor Concert or i nw*™ * - Theodore Presser Co., Philadelphia, Pa. Please mention THE ETUDE when addressing our advertisers. MARCH 1923 Page 205 Page 20% MARCH 1923 tub ETUDE Some of these instruments he sold as imita¬ ment he will be the most successful. Num¬ and how to operate his tongue so that the Arpeggi Playing tions, but a lot of them got on the market bers of young fellows, who start out well, wind forced into the instrument through as originals. He made just as good violins the mouthpiece will produce a musical The proper playing of arpeggi is an im¬ get tired of the grind; for it is not a very under his own name as under those of the sound. This takes a little time; and the portant branch of violin technic. The aver¬ attractive pastime during the first few masters, but he could never get the prices teacher’s patience is often severely tried age violin student invariably has consider¬ months; but, if the teacher will stick by for his own that he could for the imita- able difficulty in learning to play arpeggi The Violinist’s Etude his pupil and give every honest word of during these first few lessons. evenly, melodiously and sonorously. In encouragement he can, he will pull a large A teacher of band or orchestral wind many cases the bow wheezes and stutters Edited by ROBERT BRAINE Imitation Still Going On percentage of his pupils through these instruments must know the fingering for unevenly on the strings, in the reverse of “There are many violins being made discouraging months. After that period, all instruments; for while most all brass the proper manner. to-day which are excellent imitations of the study becomes more interesting and, if the instruments finger alike, the wood winds, In my personal teaching, I have found A Violinist's Magazine Complete in Itself great makers and it is a lifelong study to student has the grit necessary to make a such as clarinets, oboes, bassoons and saxo¬ phones have their own method; and it is two remedies which correct much of the he able to tell the original from the bandman and his ambition holds out, he difficulty; the first, a strong accent at the counterfeit, Some of the labels are printed will eventually attain his desire and get a pretty good teacher who is conversant beginning of each stroke of the bow, and or written on hand-made paper and aged in in a band, for there are always openings with all. Then again he must be a master of the various “positions” for the slide the second, the simple expedient of count¬ various ways, so they, too, are as difficult for “players.” Nevertheless a teacher ing with each note of the passage. Study Old Violins to tell as the instrument. There is also a should at the very beginning impress on trombone; he must be able to demonstrate the different kinds of tonguing—single, the following example: The following from the Philadelphia a work of supreme art in construction and, number of lesser makers, many of whose the pupil just what to expect in the way of double and triple—for all these instru¬ Ledger, is by a violin maker of note, as the case may be, a good or a poor ex- violins are very fine, such as Ruggieri, difficulties, not in a way to discourage, ments. For, while he may be able to “tell” William Moennig. Almost all the points ample of the art of that particular maker, Guadagnini, Laudolfi and many others. but to give him to understand that they made by the writer have been covered at When a maker can combine both of these Each has his own characteristics which can all be overcome by diligent work; and the student how to tongue, if he can show him how to do it, he has really accom¬ various times in the Violin Department of things he becomes a Stradivarius or a must be known at sight to the expert. All when they are overcome, the bright pros¬ The Etude, some of them several times; Guarnerius. Needless to say, there have in all, the study of rare violins is a life- pect and the pleasure of having attained plished something. IRftfHSp but this article is so good, summarizing so not been many of them, work if a person wishes to become really that for which he started will be a sufficient The same thing applies to breathing, and thoroughly information usually desired “Many a person, taking a violin to a proficient at it. reward. Dreathing is just as important to the wind along this line, that we gladly reprint it. dealer to dispose of, has been greatly sur- “There have been instances of genuine The student on a wind instrument has instrument as to the vocal artist. Proper The D harmonic scale contains two A’ There is always a new crop of readers prised to find that the dealer will take the Cremona violins being bought for a song, not the encouragements that come to a instruction on this point is absolutely es¬ the first six notes, and the fourth partial coming 1, and the older ones will forget, word of the owner as to the tone-producing but these chances, like those of old paint¬ piano pupil. He has no harmony of parts sential. Practice, of course, as in all lines of F is an A. No other note within the 'There are few subjects which are of qualities of the violin. He will ings, have dwindled so that they may now to break the dull monotony of his prac¬ of musical study, is the ladder to success, octave reinforces the A to an equal extent. greater interest than that of old violins ; himself, nor want to hear it, but will simply be said to be practically non-existent. tice; he hears only his own part over and and all good teachers demand it. The A by itself is of course quite suf¬ and there are also few on which there are look at it and then make an offer for it People know too much now and the fact over and over again; he seldom has the Encouragement to the pupil is more ficient. But many persons feel a note bet¬ more popular misconceptions. if he wants to buy it, which offer I can that the Cremona violins are very valuable pleasure of hearing an accompaniment. necessary in this branch of musical study ter, and hence can tune to it more easily, “There are very few branches of crafts- assure you will not be intended as an insult, leads every owner of a violin who wishes This is a monotonous strain, until he qual¬ than in any other; and a successful teacher if it has a definite harmonic backing. manship where so many different and to dispose of it to take it to an expert and ifies for band work and becomes a member. always has a good stock on hand. A dis¬ The A is thrown into higher relief if, varied elements enter as in the making of Difference in Tone-Judging find out the value of it before he puts it on Then the enjoyment of being a cog in a couraged pupil is a failure; while a student instead of the simple triad, the following violins. Of course, the te thing is true “One reason for this is that no two per- the market. In this way he is able to know musical machine rewards him for his past with something to encourage him, such form of the chord is used regarding all the stringed instruments, but sons judge the tone of a violin alike. Every exactly what the instrument is worth and efforts. as an expression of pleasure when a les¬ the violin has always been the specialty of person has his own preference, and a tonal the chances of getting a fine violin cheap The student’s first difficulty which he son, or portion of a lesson, or even a the great makers of stringed instruments, quality which will please one person will are to-day smaller than they ever have been will have to overcome is the production phrase is interpreted correctly, will work and there have been a few cases in which displease another. I have even heard two of a clear note or tone. This comes far the harder unconsciously in order to win some of the very greatest of these makers fine violinists disagree as to the tone of an “Even the violins of the lesser Italian easier, to some than to others; but, once some more commendation next time. of violins did not make either ’cellos or instrument, one declaring that it was harsh makers have had a vast increase in value acquired, it stays unless some physical A student’s interest can be maintained violas so far as is known. and the other saying that it was soft, so and the Strads and those of Guarnerius del difficulty occurs. Herein the teaching by little incidents or anecdotes from the _ . , , . . that there exists a different tone quality Jesu cannot be bought by any except a very /teacher’s own experience in band or Few Genume Instruments for every player. methods of the piano and wind instru¬ rich man. The demand for the lesser makes ment teachers differ. The merest novice orchestra work. Gain and keep the con¬ “Naturally, of the thousands of mstru- “When most persons who play say that has therefore come from the performers. can obtain a good tone by striking any fidence of every pupil; give them to under¬ ments which are brought to the violin they are in the market for a new violin There are not nearly so many imitators of stand that you have a personal interest In this form the note tuned to note on the keyboard; but the wind instru¬ up- experts for examination every year, most they hear from every one, from their best these makers and a violin possessing a in them individually; and most of them per partial of each of the lower notes. Try of them are not genuine. If Stradivarius, uiu and so doinS most of that Stradivarius had received as much as progress. Hearing the great violinist Practicing arpeggi in this manner kills them save a lot of money which would $25 for some of his best instruments (they to play cornet. It will not take a good pretty generally conceded that practically Spohr, his ambition increased by leaps and several birds with one stone. In doing a otherwise be lost. cost nearer $25,000 now), and they thought teacher very long to decide whether this no progress can be made with less than JOHN FRIEDRICH & BRO. bounds, and for a period of seven months, Established in 1883 is the most suitable instrument for his one hour daily practice, and that if the stu¬ four-part arpeggio exercise ,n this manner, . - that by using his name they could get better so musical history informs us, he practiced the pupil learns : first, to bow passages in Judging a Violin prices for their own violins—and they were pupil. The lips need to be firm and solid, dent cannot find at least that much time 279 Fifth Ave. New York not less than fourteen hours a day. How¬ somewhat thin, not thick or flabby. The for his violin, he had better give up study. groups of four notes; second, to accent “In judging the value of a violin, one must probably right. This accounts for some of ever, although young Oury achieved some with up and down bows; third, smooth take into consideration the maker, the age the very old violins which we often see The majority of violin students practice tension on a cornet player’s lips is much eminence as a concert violinist, he was far too little, but occasionally a few arc found string crossing; fourth, perfect evenness of the instrument, the state of preservation and which are out-and-out imitations with¬ greater than that of the trombone or bari¬ outdistanced by other violinists who prac¬ TEACHING VIOLIN ? in time; fifth,’keeping the fingers of the (a very important matter), the workman- out any of the distinguishing marks of the tone player, to say nothing of the tuba. A who overdo the matter and practice too Jr recently issued folders ticed only five or six hours a day proving d Methods and of Solos left hand on the strings until it is neces- ship and the tone. An instrument cannot be great makers whose labels they bear, much. The nervous system and brain have olin Studies , set of good even teeth behind the lips are that success does not come solely from the l Recital. Sen i postal request for them. sary to move them to play the next pas- judged by any one of these things alone, “Violins were made as early as 1650 in a necessity, as they form the background bounds beyond which the student cannot number of hours of practice. THEO. PRESSER CO., Phila., Pa. safely pass, and the student who finds that sage; sixth, the arpeggio style. but by all of them, or the result will be a Markneukirchen and there are unquestion on which the lips move. Paganini was not possessed of towering The wise teacher will have his pupil do conflict of opinion. ably instruments antedating these Of the large amounts of practicing are getting The teacher, after the first lesson or two, genius only, but during the early years of much arpeggio playing as soon as he is “The point of view of the dealer or col- great imitators of the Cremona’ masters “on his nerves” had better let up until his should be able at least to decide whether his life, at least, his industry knew no VIOLINS and CELLOS sufficiently advanced for it. There is a lector of violins is radically different from the best was J. B. Villaume born in 1798’ nervous system returns to normal. his pupil is suited to a large or a small bounds. For long periods he practiced ten Sold on Time Payments good first position arpeggio exercise in the that of the performer, whether the latter in Mirecourt. His instruments would de’ Spohr, the famous violinist, in his well- GENUINE ITALIAN STRINGS instrument, and, after a short while to or twelve hours a day; and this practice Kayser Studies, Op 20, Book 1; and a lie amateur or professional. The player ceive even the greatest experts, as they known Violin School, advised the pupil to Send for Violin and Cello Catalogue advise with just which individual instru- was done with such terrific concentration great deal of good arpeggio material, with looks upon the violin as an instrument of were made exactly like the original in set aoart two hours daily for practice. A. J. OETTINGER that we are told he would sink on a couch various bowings, in Sevcik’s Forty Varia- music and nothing else, and therefore shape, workmanship and color Added to This length of time was, however, intended Musicians’ Supply Company in utter exhaustion after his daily practice 60 LaGrange Street Boston, Mass. tions for Bowing, Op. 3. Fiorillo also has judges the instrument solely by its tone- this he had exact duplicates of the genuine Genius is industry,” says Schiller; for the average pupil, and not for a stu¬ an excellent arpeggio exercise in his producing qualities. The viewpoint of the labels of Stradivarius, Guarnerius and “Genius is patience,” says Buff on; and was over. dent intending to become a virtuoso. Please mention THE ETUDE when addressing This brings us to the quality of the prac¬ famous Thirty-six Caprices. collector or the dealer is that the violin is some of the other masters of violin-making “Genius is an inexhaustible power of our advertisers. taking trouble,” says Carlyle. MARCH 1023 Page 207 tiie etude THE ETUDE The second interesting Actuelle disc is Page 206 MARCH 1928 did acquisition for , teachers of esthetic New Records of Special Interest to Music Lovers the violin arrangement of the song, Love dancing, as it has untold rhythmic value. Sends a Little Gift of Roses played by Violin Questions Answered Personally by Mr. Robert Braine The Flonzaley String Quartet offers a Alexander Debruille. Mr. Debruille has By Horace Johnson SUMMY’S CORNER Victor publication of the Presto movement excellent tone and the song seems to gam from Beethoven’s Quartet in D Major. much by his interpretation. It was a reve¬ A short time ago Florence Easton, the Rosa Ponselle contributes Home, Sweet The contrast between this reproduction and lation of the lyric beauty of this well Metropolitan Opera prima donna gave a Home for the current list. This is a good THE PIED PIPER of HAMELIN the one just treated is stupendous. It is known melody. It is poignant with senti¬ song recital at Carnegie Hall in New record, but in no way an unusual or like the tinkling of tiny fairy bells after extraordinary interpretation. Her top ment, sincere and appealing. .. York. On her program was a new song listening to the chimes of Westminster Ab¬ The final disc, selected from the Actuelle of Frank La Forge, her accompanist and tones have registered with their accustomed bey. Beethoven is often at his best when list is an impression made by Eleanora de her audience waited with some show of brilliancy and clarity, and she sings with interpreted by a string quartet. The su¬ Cisneros, of I’ll Sing Thee Songs of feeling and fine phrasing. interest as she began to sing it. But her perlatively beautiful contrapuntal con- Araby. Miss de Cisneros has a soprano gorgeously ^expressed'Than in this form. intense enthusiasm for an encore. After 0f the life of John Howard Paine, the IJeViiWVy. with «**»«*£ the encore they literally yelled for her to author of the poem? It is said that Paine sing it again. In truth, they stopped the once remarked: “How often I have been recital so demanding was their applause, in the heart of Paris, London, Berlin, or And Mme. Easton sang it again. some other city, and have heard people IN GRANDMOTHER’S GARDEN ~ 1 has made a record singing or playing Home, Sweet Home, USSS By Joseph W. Clokey tie tune for the Bruns- when I had scarcely a shilling to buy LIBRETTO by Alfred H. Upham CLAYTON F. SUMMY CO., Publishers TINDALE MUSIC FILING CABINETS Your music kept neatly in order, protected from damage and where you can quickly find it. KUBELIK’S ADVICE TO MUSICIANS 12 Styles to Select from, Oak or Mahogany How to Obtain a Perfect Command of Technique Send for Catalog I, and ask for our Easy Payment plan Without Years of Drudgery TINDALE CABINET Co., 159 W. 57TH ST., NEW YORK GREAT OPPORTUNE FOR ALL V.OL.N- FELLOW^^^Y^ ACADEMV WRlT^i ISTS, ’CELLISTS AND PIANISTS caretaUy and anatomically-directed exerctses Harmony Book for Beginners A great opportunity is given to-day to all violinists, ’cellists and A VIOLINIST WRITES: __ ^ By Preston Ware Orem Price, $1.25 SssKHsaassJ fig eSSSS**3*===■ - quentlv that I feel you will have missed . Indeed, by following this won^rfdl Htherto^een^ble to^gain from t PIANIST'. something if it escapes your attention. This aria is particularly difficult of satts- THEODORE PRESSER CO. ^sfesr4 PHILADELPHIA, PA. A NEW CANTATA FOR EASTER :production of the Mefistofele Prolog. The Living Christ 1 d us to the very tips of our boots by ; of his - But it is safe 1T1. muits couldn’t sing a phonograph record of this ADVANCE OF PUBLICATION OFFER One of the books which nearly every violin student has to take, is the set of studies by Composer of the successful cantatas difficult and sinister aria any better than Mazas, Op. 30. One does not have to be very ana Death unt°ute" far advanced to^take these studies, but they this new disc of Jose Mardones’. He has MAZAS’ 30 SPECIAL STUDIES Price, 60 cents caught the spirit of evil and doom which works to be taken up later. Book I, which is for the VIOLIN to be added to the Presser Collection, con¬ permeates the whole music of this opera ; tains 30 studies and these studies cover all he sings with a power, intensity and forti¬ Op. 36, Book I tude that sweep you completely from your This camatais^particulhrly^suited8 T' feet. At times, he completely obliterates Advance of Publication Cash Price, 30 cents, postpaid Time of performance, about30 minutes Ch°irS' any sound of the full orchestra playing fortissimo, which accompanies him. yet e THEODORE PRESSER CO., Music Publishers and Dealers, 1710-12-14 Che,! it St., Philadelphia THEODORE PRESSER GO., {M™TpHILA.', PA. Please mention THE ETUDE when addressing our advertisers. MARCH 1923 Page 209 Page 208 MARCH 1928 TEE ETUDE tee etude body of singers. Choir leaders who Etude Prize Exhibition Pieces The Song Hour Intermediate Study Pieces organize choral societies with volunteer Easter Contest For Piano Solo Book I and Book II For the Piano choirs as a nucleus will find this book Music The special introductory offer on this a great help in buUding up a repertoire. Choir directors who have not yet se¬ We have an important announcement There is a certain type of piano piece As we have been looking over the fin¬ to make in regard to the Etude Prize which is sometimes called a “big piece.” ished proofs of this book, which will volume will be continued during the cur¬ Secure a copy at the special advance cured music for the Easter Services are rent month. By a “study piece,” we do of publication cash price of 35 cents. urgently requested to write us at once. Contest. In order to bring this contest This does not refer so much to its shortly go to press, we realize how re¬ to a satisfactory conclusion, it has been length as to its effect upon the listener. markably this will fill the need long not mean an actual study, but we refer The new cantata: The Living Christ, by to a piece which is so constructed as to Etudes De Style R. M. Stults, has been accorded a fine decided to continue its duration and at All exhibition pieces come in this class; recognized by teachers in public schools, the same time to add to the total amount they are intended to display the capabil¬ particularly those located in rural dis¬ have within it a certain amount of prac¬ By E. Nollet reception by leading choirs throughout tice material which makes the piece the country and we can recommend it to be distributed in prizes. This amount ities of the performer and to impress, tricts. We can already see the smile of This is a fine book of modern studies; will be increased from One Thousand ,nd at the same time, delight the listener. satisfaction with which the experienced profitable for study in addition to its each one of them is a finished effort thoroughly as a fine musical work and musical interest. This volume contains worthy of presentation by choirs large ($1000.00) Dollars to One Thousand Two In this new volume we have gathered to¬ supervisor will note the nature of the worthy to be played as a separate piece, Hundred and Fifty ($1250.00) Dollars gether the best possible exhibition pieces collection made by experts of the De¬ a splendid selection of just such pieces, but at the same time each is based upon and small. partment of Education of the State of all in point of difficulty within the limits Other attractive cantatas are Dawn of and the additional amount will be ap¬ after a very careful examination of all some special technical figure or musical Pennsylvania. The book is designed for of Grades Three to Five. The volume is the Kingdom, The Greatest Love, Ini- portioned among the prizes in the several those available for the purpose. In device which is worked out completely. national use, but was first prepared almost ready. mortality, From Death unto Life, The classes. A complete announcement will point of difficulty the pieces are about These studies will prove useful alike for under the supervision of a State Board The special introductory price in ad¬ technic, style, touch and interpretation. Wondrous Cross. Sample copies of any be found on another page of this issue equally divided among the latter grades, to represent the most advanced step in vance of publication is 30 cents per or all of the above will be sent “On Sale” of the Etude. from Seven to Ten, inclusive. The best This book may be used in the work ot an all-round book for group singing in copy, postpaid. Grade Four although the latter studies for perusal. The following anthems A very large number of manuscripts composers are represented. the school and in the home. The work in the book might be classed in Grade offered to choirs are of excellent musical was received and these have been gone The special introductory price in ad¬ vance of publication is 50 cents per copy, is published in two ways—Book I, with Elementary Etudes, Op. 161 Five. It is one of the best books of its NEW WORKS. many small advantages that we offer— material and not at all difficult to sing: over very carefully a number of times. self-addressed envelopes, postal cards, Those which have not reached a certain postpaid. accompaniments (special advance intro¬ By F. T. Liftl class to be found. Advance of Publication Offers— And When the Sabbath Was Past, ductory price, 30 cents) ; Book II, without The special introductory price in ad¬ order blanks, catalogs for every pur¬ standard established by the judges are This set of studies begins in Grade (Violin obbl.) Jones; Easter Day, Ber- Popular Drawing-room Pieces accompaniments (special advance intro¬ vance of publication is 35 cents per copy, pose and for every classification, advice ward; Alleluia! He is Bisen, Stults; being returned to the Senders as rapidly Two and progresses towards Grade ductory price, 15 cents). on every subject in music. Let us send Christ is Risen, Sheppard; Glory be to as possible. The contest is still open to For the Pianoforte Three. The studies are written in a postpaid. if^Easy Study Pieces—Terry. . to everyone interested our first catalogs God, Baines; King All Glorious, Stults; all, however, with the exception that, This new book will be entitled Pop¬ Five First Position Pieces scholarly manner, but at the same time A New Instruction Book or full explanation of the “On Sale” sys¬ while any composer may still he repre¬ ular Salon Pieces. It is now off the they have melodic interest. They are in¬ of Anthems and Oratorio Thanks be to God, Ambrose; To the For Violin and Piano By John L. Williams tem or, better still, all of this in connec¬ Place Came Mary Weeping, Baines. sented in any or all classes only one con¬ press and copies are ready for distribu¬ tended to develop the hands evenly and tion with a first order. It is sometimes These are only a few taken from our tribution may he submitted in each class. tion. As special large plates have been By Arthur Hartmann at the same time to induce a certain In the Publisher’s Notes of the last unbelievable at what distance and in large Easter list and with one or two The contest will close finally on July used the book contains an unusual num¬ There is always a demand for first amount of independence. Various rhyth¬ issue of The Etude we announced for Exhibition Pieces . what a short time a postal card order exceptions are new this year. We have 1, 1923. ber of pieces. They are drawing-room position pieces as it is necessary for the mic effects are introduced together with the first time this work by Mr. Williams First Piano Lessons at Home—Hamilton sent to us can be returned satisfactorily five Easter Anthems suitable for men’s We take this opportunity of extending pieces of the most attractive qualities young violinist to remain some time in contrasting touches. There is also some and gave quite a description of it. The ~ it Position Pieces for Violin and filled. voices alone and two suitable for treble our thanks to our many friends who and all of intermediate grade. These this position before going further. In wrist work, and some passages in arpeg¬ special feature of this new instruction book is that the pupil starts with both Forty-four Studies for the Organ—J. Reduction in Prices voices. Write to-day for a selected group have been represented in this contest. pieces will not be found in other vol¬ these particular pieces Mr. Hartmann gio are introduced. It is a very useful Schneider, Op. 48 (See Organist’s to be sent for examination. We will be umes. Only the best modern and con¬ has written good music as well as at¬ clefs at the same time. We have no Etude, Page 202). of Musical Jewelry book. glad to include Easter Solos, Duets and An Alphabet of Easy temporary writers are represented. tractive music. The pieces are well con¬ The special introductory price in ad¬ similar work in our catalog at present, Golden Memories—Mrs H. B. Hudson. . and there is quite a demand for it, as In the Forest—Grunn. On page 201 of this issue we show a Organ Compositions. Study Pieces The special introductory price during structed but they are real violin music. vance of publication is 35 cents per Intermediate Study Pieces. sharp reduction in the prices of two very Remember the Theodore Presser Com¬ the current month is 30 cents per copy, Piano parts are harmonized in an inter¬ copy, postpaid. many teachers prefer this method of Let’s Go Traveling, Operetta, Dodge. . . . By Frances Terry starting the beginner. Mr. Williams has Mazas’ 30 Special Violin Studies, Op. popular clasp pins, 60F and 62F. We are pany desires to be of the greatest service . postpaid. esting manner and afford good support °° 1 (See Violinist’s Etude, able to reduce their prices from $1.00 to to choir directors and organists and a There are twenty-six studies in this to the melody instrument. Teachers and Sixteen Recital Etudes published other works of this character book, one for each letter from A to Z, and they have met with enormous success. 75 cents. These prices are also subject to statement of your problems will at any Let’s Go Traveling students alike will welcome this new con¬ By Ludwig Schytte, Op. 58 the professional discount of 15% when and while the name might suggest a very tribution to violin literature. He comes from the Northwestern part time receive our best and thoughtful at¬ Operetta for Children This is one of the best sets of studies pins are ordered in quantities of six or elementary work, this is not the case, as The special introductory price in ad¬ of Canada and is a very successful piano Musical Progress—Finck. tention. By Cynthia Dodge by any of the better known modern : Please mention THB ETUDE when addressing our advertisers. MARCH 1923 Page 218 THE ETUDE THE etude Page 212 MARCH 1928 Be Enthusiastic Yourself Rich Rewards for Genius Schools and Professional By Earl S. Hilton By D. G. Woodward 1922-1923 Colleges What occasion is there now to pity Directory MIDDLE. WEST As teachers we all know what a monoto¬ nous way it may seem for the pupils to musical genius when it does, not get its Etude Prize Contest Have You Faith come for their lesson, week after week, proper reward ? Surely never in the ristory and usually find the teacher in a semi-pas¬ of the art were musicians making so much FOR The COSMOPOLITAN sive or sometimes negative sort of mood. money and never'was there a time when The fact in such a case is that the pupil anything like outstanding genius from PIANO S0L0S-V0CAL SOLOS SCHOOL of MUSIC will automatically fall into a similar mood. Irving Berlin up the scale to Richard ALBERT 'aw,1?; and DRAMATIC ART And we know what the results in their Strauss was so lavishly compensated. In Yourself? The days of Scfiubert, Mozart and. other ANTHEMS — PART SONGS DR. CARVER WILLIAMS, President studies would be during the presence of BEECH W 0 0 D SBF3&K such a condition of mind in a pupil. unfortunate folk are past; that is, if the An eminent faculty of 60 artists offers to The question is: How shall we prevent music worker wants them past. There are prospective students courses of study now and always will be music workers, of BUTLER-REDFERN |.§ based upon the highest standards of edu¬ this state in the pupil? The answer is $1,250.00 in Prizes Are you satisfied with your outlook in the profession—don’t ability who will suffer threadbare exist¬ SSr^”ciaSX cMtaa. West th St.', It. Y.Cl£ cation, also courses in collegiate studies direct: The teacher must not fall into a *245 64 you feel that you could establish yourself in a position of great¬ for students unable to attend university. passive state of mind, or negative mood; ences, not because they are music workers but largely because they are indifferent to er responsibility and incidentally enjoy a better financial future For information, address Dept. E and tile pupil will follow his spirit, provid¬ E TAKE pleasure in making the following offer material gain. Possibly society should pro¬ W ing he is not too far “gone.” if you had a good, practical musical education instead ot mere¬ E. L. STEPHEN, Manager COMBS instituting our Etude Prize Contest, being Another question arises. What sort of vide a nurse for such folk to see that they 16th Floor Kimball Building, Chicago, III. ly knowing how to play one instrument? mood should the teacher sustain during the are fed, clothed and entertained. Society convinced of the real value of a contest of this lesson in order to improve the pupil’s is, however, not built that way. DUNNING nature in arousing a wider interest in composition and of If for instance you understood Harmony, Counterpoint, On the other hand a musician of normal stimulating the efforts of composers. In this contest all Composition, Orchestration—if you could play some other in¬ mind and rational behavior, who has genius, EDDY a'gSHg Valparaiso University Be enthusiastic yourself; then the pupil arewelcome and we can assure the contestants a respect¬ strument like Piano, Cornet, Violin, Organ, etc. Have you will imbibe the same atmosphere. Explain can secure a really enormous income in ful hearing and an absolutely impartial final judgment. School of Music everything as if it were the most important these days. The “top-notchers” pass the sufficient faith in yourself to try to improve musically and at the (Accredited) thing in life. Ask the pupil questions to million mark. Others have splendid in¬ FABWZ[pSaS£SK ONE THOUSAND TWO HUNDRED AND FIFTY DOLLARS same time financially as well ? Will you take advantage of our VALPARAISO, INDIANA see if your explanations have made an comes of which any successful doctor or will be divided among the successful composers , in the following manner: free offer for six lessons which we offer to readers of 1 he Etude The University School of Music offers courses in impression on his mind. Proceed serious-. lawyer might be proud. Surely in this Piano, Voice, Violin, Organ, Theory and-Public ly, but pleasantly. Appear" always with a day of the teacher who can earn from GILBERT mmm, absolutely free of charge in the hope that they may be the means PIANO SOLOS School Music. Students may attend the Music $3000 to $40,000 a year, depending upon School and also take the regular work at the kindly and interested countenance. For the three best Concert or Drawing of starting you upon a career which will pay dividends in.in¬ his standing, reputation, opportunity and CLASS 1. By this method you acquire a mood of GuicHARD"-a=).. Room pieces for piano solo creased cash earnings, earnings which you couldn t possibly THE EXPENSES ARE THE LOWEST enthusiasm, and in turn it reflects and activity, there is no reason to whimper. FIRST PRIZE.$90.00 Tuition 350.00 per quarter of twelve weeks. The writer recently heard of what is be¬ obtain under your present condition ? Board with Furnished Room, 354.00 to 390.00 per abounds in the pupil. SECOND PRIZE... 60 00 quarter. Catalogue will be mailed free. Address lieved to be good authority of one teacher THIRD PRIZE. 35.00 Valparaiso University,-Dept. 24, Valparaiso, Ind. who through himself and his assistants HAWTHORNE For the three best Intermediate Teaching We are purely selfish in offering them to you gratis—We^have they STUDENTS MAY ENTER AT ANY TIME Retaining What We Learn received an income of over $100,000 a year. Pieces for piano solo If you are not making money at your KRIENS FIRST PRIZE.S90.00 musical profession, you are probably in¬ SECOND PRIZE. 60.00 By E. L. Winn they wereMAJUNG°MOIu|8 MWEY^INTHEIRPROFESSION. Tree bulletin- different to money or are not employing THIRD PRIZE..35.00 IJ II | moulton For the three best Easy Teaching Pieces ^• t ':7„“h“r she You ask me how I keep up my reper¬ the substantial, legitimate means to get CLASS 3. your just deserts. The writer learned a lot of any style for piano solo SCHOOL °f toire. That is easily answered. I go over FIRST PRIZE. $60.00 it constantly and add to it. I do not ap¬ from Bender’s “Musician’s Business Man¬ NEW TORIjflt&SaSr SECOND PRIZE. 45.00 in “"k"B ~ *** ,h‘ ”up°” ^ y MUSIC L prove of writing down what a teacher says ual.” While the musician does not enter THIRD PRIZE. 20.00 I Address- PETEK* LCTkSjT Bmii about a piece. It is too parrot-like. his profession with a money-making intent a is the thief of I think everyone should study the piano eclipsing his artistic aims, he should not mmmm VOCAL SOLOS permit himself or his family to suffer from For the three best Sacred Solos money. Select the course you want and sign coupon NOW 1 first as a basis of true musicianship. You FIRST PRIZE.S00 00 Lake Forest School of Music know the piano is the basis of so much neglect of some very simple principles of business without which almost any busi¬ SECOND PRIZE. 60.00 A MILINOWSKI, Dir. beautiful literature. At eight years of age ROYCE si&lil THIRD PRIZE. 3:5.00 ■ Courses in all branches of music. the child may learn to play the piano. ness man would fail. PlSlIlO Students’ Course by William H. Sher ■ Special “Public School Music” For the three best Secular Solos Class lessons may be good for some, but I THORPE FIRST PRIZE.s*|.00 Facufty7of collJgiLlS standing do not like the system. SECOND PRIZE. 60.00 lmodati'ons DesiraWe Dormitory The “Magical Echo of Pisa” THIRD PRIZE. 3:5.00 _ ite Registrar for catalogue At the L. Conservatory, I had twenty BSSSSSSSiSS? minutes in which to tell all I must tell to Lake Forest School of Music, Dept. 14, Lake Forest, III. By Alfredo Trinchieri CHORUSES , J the pupils. Often I was in the midst of a For the three best Anthems for Mixed very important explanation, when the time Normal Piano Course wmiam h. Sherwood PERCY FULLINWIDER Voices VIOLINIST was at an end. Now I must make the Almost every school child knows of the TCOtllS&rgggH FIRST PRIZE.$60.00 These Normal Lessons for piano teachers contain the fundamental principles of Head of Violin Department pupil understand fully what I am explain¬ “Leaning Tower of Pisa.” Not so many SECOND PRIZE. 45.00 successful teaching—the vital principles—the big things in touch, technique, melody, LAWRENCE CONSERVATORY ing, and it requires forty minutes or longer. know that it is the Campanile (bell tower) VIRGIL THIRD PRIZE. 25 00 nhrasimr rhythm tone production, interpretation and expression—a complete set of APPLETON. WIS. That one unsettled problem exists and must of the local cathedral and stands almost For the three best Part-Songs for Mixed nhvsicaf exercises' for developing, strengthening and training the muscles of the fingers, A MASTER TEACHER Voices with piano accompaniment Unusual opportunity for the se- be met. I love to teach, in fact, I do not directly in front of it, in the piazza. hands wtdsts arms and body, fully explained, illustrated and made clear by photo- •«» student of violin. Write Quite as interesting to the musician is FIRST PRIZE.$60.00 graphs, diagrams and drawings. • free catalog and information. think I shall ever cease to love it. Knowl¬ CARL J, WATERMAN, Dean. edge, like the possession of money, is a the marvelous echo of the baptistry, a K'S1::::::::::::::::::::: S:SS trust. I find pleasure in transmitting my great dome-crowned rotunda standing well AMERICANS^"-5®: For the three best Part-Songs for Treble Harmony by AdolPh Rosenbecker and Dr. Daniel Protheroe. knowledge, but I like receptive material. back of the Duomo. From a certain point Voices in two or three parts with This course includes Counterpoint, Composition and Orchestration. A knowl¬ Minneapolis School of Music, in this the vaulted ceiling has the property BURROWES'SSS,. edge of Harmony is necessary for every advanced student and teacher. The Rosen ORATORY AND DRAMATIC ART of catching up the three tones of the minor becker-Protheroe Course in Harmony excels in completeness—simplicity—practicability. WILLIAM H. P0NTIU8 CHARLES M. HOLT My compositions are built on classical triad, echoing them with repeated cres¬ Ample original work in connection therewith stamps the principles on your mind in¬ Director, Dept, of Music Director, Dramatic Art 60-62 Eleventh St., So. MINNEAPOLIS, MINN. lines; all real music must be. I believe in cendo and diminuendo, each time slightly delibly. LARGEST SCHOOL OF ITS KIND IN THE WEST the old masters; for Mozart, especially, I fainter till finally the wonderful mellifluous ALL BRANCHES OF MUSIC AND DRAMATIC ART have a great love.—Richard Strauss. chord seems to float away into space. 60 Artist Teachers Year Book Free on Request CINCINNATI CONDITIONS Reed Organ b7 Frank W- VatfBusen, well-known teacher and organist. DETROlTZ^SKSal LAWRENCE CONSERVATORY Michigan State Normal College Conservatory of Music Choral Conducting b>'Dr Daniel Protheroe- Courses in singing, piano, organ, violin and theory. Courses for training supervisors and teachers of public school music. y ____ly one composition Ineach class. Kindergarten and Grades'! by st be addressed to “THE ETUDE PRIZE CONTEST, 1712 CHESTNUT Public School Music , , } Frances E. Dormitories. Free Catalog. High School and pi i ’ ’ - “ten at the top of the first page: Supervisor’s Course J \_-iarK. Michigan State Normal College Conservatory of Music, Dept. 9, Ypsilanti, Mich. Public School Music CARL J. WATERMAN, Dean Appleton, Wisconsin be written upon the first page of Only the classes of compositions mentioned above will be considered -GOOD FOR SIX FREE LESSONS- Most Successful Schools started years Duets, Organ Pieces, Violin Pieces or Orchestral Works, etc. ago advertising for their pupils of to-day. Involved contrapuntal treatment of themes and pedantic efforts shot avoided. UNIVERSITY EXTENSION CONSERVATORY, Detroit Conservatory of Music To-day they are advertising for their Dept. A 219 Slegel-Myers Building, Chicago, Ill. 48th Year No restriction is placed upon the length of the composition. y part Six (6) Lessons of the Francis L. York, M. A. Pres. Elizabeth Johnson, Vice-Pres. No composition which has been published shall be eligible for a prize se send me FREE without the slightest cost or obligation i Finest Conservatory in the West BRYANT SSSrS Compositions winning prizes to become the property of the Publishers of ETUDE mentioned below. Also quote me your Special Limited 1 Offers courses in Piano, Voice, Violin, Cello, Organ, Theory, Public School Music INTFRNATIONAI musical and edu- MUSIC MAGAZINE and to be published in the usual sheet form. and Drawing, Oral Interpretation, etc. Work based on best modern and edu¬ 11N I CIU\A 1IU1NAL CATIONAL ACENCY The Publishers of THE ETUDE reserve the right to withhold prizes if the standard Nan cation^ principles. ^Numerous Lectures, Concerts and^ Recitals throughout the MRS. BABCOCK set by the Judges is not reached. CONVERSE COLLEGESSw Street No.. R. F. D. or P. O. Box. QFFERS Teaching Positions, Col- ^ leges, Conservatories, Schools. ETUDE MUSIC MAGAZINE, Phila., Pa. Students may enter at any time Far Mallei information address Also Church and Concert Engagements THEODORE PRESSER CO., PUBLISHERS JAMES H. BELL, Secretary, Boa 7, 5035 Woodward Aye., DETROIT, MICH. CARNEGIE HALL, NEW YORK E. H. SCOTT. Kimball Hall. Chicago,. Please mention THE ETUDE when addressing our advertisers. Please mention THE ETUDE when addressing our advertisers. THE MARCH 192$ Page 215 Page 21fi MARCH 1923 the etude Helpful, Economical and Convenient Service to Teachers The Task of Securing the Best Publications for Teaching Purposes is not a Difficult One for the Teacher Taking Advantage of the Liberal Examination Privileges of the Presser “On Sale” Plan. Decide on Material Tried in Your Own Studio. Thousands of Teachers of All Branches—Piano, Voice, Organ, Violin, Theory and Other Branches—-Have Found the Presser “On Sale” Plan and the Other Features of Presser's Mail Order Service to Music Buyers the Most Con¬ venient and Most Economical Method of Securing Necessary Materials. Best Professional Discounts on All Publications, Liberal Examination Privileges, Convenient Charge Accounts, and Prompt, Accurate Service as Given by the Theodore Presser Co., Save the Teacher Time and Money. Details of the “On Sale” Plan as Well as Graded and Classified Catalogs on any Branch Desired Will be Furnished Cheerfully on Request. Memory Props Schubert’s Unfinished IPauUna Sees Some antique Historical llnstruments Material for Strengthening and Modernizing Piano Teaching Systems Symphony Does memorizing come easily for you, By Rena Idella Carver cr do you have to work pretty hard for FIRST GRADE STUDIES PEDAL BOOK FIRST STUDIES IN OCTAVE PLAYING it? A few lucky people can memorize By J. M. Blose Price, $ 1.00 By Theodore Presser Catalog No. 14590 Price. 80 cents be ready tomorrow afternoon after school,” By L. A. Bugbee Catalog No. 7718 Price, Paulina struck viciously the keys of almost without trying; but they are the An unusually popular and interesting se ; of first studies uable offering giving a systematic course of study c Studies that pupils in the second and third grade may he replied. have accompany- take up. This work was carefully prepared and tire n suit the beautiful baby grand piano. exceptions, and besides, that kind of a is an unusually fine teaching offering for the first octave play¬ The “Unfinished Symphony” by Schu¬ Grandfather Linn’s automobile was wait¬ nearly like little ing at the keyboard. “If I only had lived a long time ago! rapid-fire memory is not always the most 1 to practicing them. A set of bert is one of the most famous of his ing at the school building on Friday after¬ used to good advantage in con- I bet there were no pianos then. I wonder reliable. The best kind of a memory to compositions, and is very beautiful. Have noon and soon Paulina was being led THIRTY-SIX SHORT MELODIC STUDIES EXERCISES IN DEVELOPING ACCURACY if there were any musical instruments at have is the one that works well when it is you ever heard it played by an orchestra? through room after room of pianos until WITH SPECIAL CONSIDERATION OF THE PEDAL By Gustav L. Becker Catalog No. 12952 Price. 80 cents all?” she concluded. concentrated, can memorize a piece without ‘ ‘ need studies of this character. If you do not live where you can hear a they reached the old instruments. GENERAL STUDY BOOK By Felix Smith Catalog No. 2683 Price, $1.00 Grandfather Linn heard Paulina’s solil¬ Paulina spied a little oblong box with real orchestra, you should at least hear wasting any time about it, and that does By Mathilda Bilbro Price, 75 cents They are thoroughly pr oquy. He laid down his paper and turned brass strings extending lengthwise. It selul is mingled with the entertaining . in this work, ry useful. The attention given to the pedal at this stage ies^nught t" graded—jaJ as" jjintermediate, t a “record” of it. The theme given as an not easily forget what it has once mem¬ study is too often neglected and these melodic studies take to the little girl. had no legs, but was supported on a table. ies interspersed with short pieces containing re of the pedal in addition to their technical value. o the i example is one of the best known melodies orized. So .anything that will help to are strictly first grade. Throughout this is a “I have seen some ancient musical instru¬ A polite gentleman began showing the in the symphony, and is the second theme give you this kind of. a memory should instrument which he called “The Spinet.’ CONCENTRATED TECHNIC in the first movement. It is in the major ments,” he announced. be tried. INTRODUCTORY LESSONS ON THE ART OF By Alois F. Lejeal Catalog No. 11139 Price, $1.00 Pauline displayed such enthusiasm that the key although the symphony begins in minor “Oh, have you, Grandfather? Where For instance—do you ever take a four THE PIANO BEGINNER POLYPHONIC PIANO PLAYING man invited her to play a piece. By Louis G. Heinze Catalog No. 9651 Price, 80 cents (b minor). The rhythm is 3/4. Ordi¬ did you see them? Please tell me about or eight line piece of poetry and try to By Theodore Presser them,” coaxed Paulina as she climbed up “The tone is very weak,” said Paulina A compilation of excercises in progressive order and in¬ ind including every phase of technic. Grade 4-G. narily there are three or four movements memorize it in two minutes? Take out tended for the beginner who has mastered the rudiments of A definite course on polyphonic r part-playing in the chair beside him. when she finished playing. m the very beginning. There is ;htaCl°drUinthan to a symphony, but Schubert had written your watch and time yourself. Perhaps musics These easy studies have been selected chiefly from “You know what an interest I take in “Yes, it is very weak, but d'd you no¬ the works of standard masters. e. Th. be given to THE NEW GRADUS AD PARNASS.UM only two movements to this one, intending grade By Isidor Philipp In Eight Books Price, $1.00 Each my collection of antiques. While talking tice that the tone is capable of different you can do it in less than two minutes. to write the rest later, but died before student that has b An academic course of selected studies. o„ti,o fir,.,, to an old friend who has a piano establish¬ degrees of intensity, and can be varied to How often do you glance at the front THE FIRST TWELVE WEEKS AT THE PIANO ing of educational piano literature was doing so; hence it has been called the to select the best possible material ««•' ment, he suddenly exclaimed, ‘By the way, some extent even while sounding ?” the page of a newspaper, do you suppose? “Unfinished Symphony.” However, these ir Catalog No. 17581 Price, $1.00 treated. The studies in each part arranged in you might be interested in some antique man explained. ■After looking at the front page, lay it resents the excellent instruction ideas o and progressive order covering grades two movements are so beautiful that the a finely icher who had on< RHYTHM AND TECHNIC musical instruments which I have in the “That was why Bach preferred the clav¬ down and try to recall the headings to By M. Greenwald Catalog No. 13932 Price, $1.25 Book 1 Left Hand Technic Catalog No. 6690 need of another does not seem to be felt. delphia conservatories lor ir ^studies store at present. They are the property ichord, was it not?” Grandfather Linn the eight columns. short and thoroughly practical Early grade studies of a melodious nature designed for Book 2 Right Hand Technic “ “ 8691 Schubert wrote this symphony at the age special purposes. Each is devoted to some special feature Book 3 Hands Together “ “ 8692 of a well-known musical society. A fa¬ asked. Look at an advertising page in a such as double notes, wrist work, repeated notes, velocity, Book 4 Arpeggios “ “ 8693 of 25, but he never heard it played. It mous pianist has been giving historical lec¬ “Exactly. The intensity of the tone can staccato, embellishments, ! a2-3. . magazine. Close the book and name the SECOND GRADE BOOK OF MELODIC STUDIES Book 5 Double Notes 44 44 8694 was not published until 39 years after his ture-recitals with some of the predecessors be varied by this peculiar pressure on the Book 6 Octaves and Chord* 44 44 8695 death. Schubert was born in Germany key. Notice also that the keyboard con¬ advertisements on the page. Can you By L. A. Bugbee Catalog No. 13041 Price, $1.00 Book 7 The Trill 8696 of the piano. I have the honor of exhib¬ name more than fifty percent of them? A teacher can find use for these studies with almost any INTERPRETATION STUDIES Book 8 Various Difficulties 4 8697 in 1797 and died in 1828, being only 31 iting them now and I should be glad to tains about four octaves and each key has second grade pupil. Pupils welcome a change from the best How often do you go down town in a By Franz C. Bornschein Catalog No. 15246 Price, 80 cents years old. He is especially famous for his have you drop in and see them.’ The in¬ a separate string. This instrument was Studies intended to incite the pupil’s imagination and HAND CULTURE songs, having written over five hundred. vitation was so tempting that I went at used until the nineteenth century,” con¬ street car and stare blankly at the adver¬ h Flint Catalog No. 7906 Price, $1.00 once. It was a rare treat,” he finished as tinued the man. tisements over the windows in the car? -- -suble-note finger training. They are designed he stroked Paulina’s pretty bobbed hair. “Oh, was this the instrument for which Close your eyes and see if you can name ETUDES FACILES ilop the fingers to equal strength. The ideas embodied Bach wrote the ‘Well-Tempered Clavi¬ ie studies are based on physiological laws. Grade 6. Whistling “Do you think you could take me to more than one-fifth of them, and those By Albert Franz Catalog No. 17671 Price, $1.00 see them, Grandfather? It would be so chord’?” said Paulina excitedly. will probably be in the wrong order. These studies start in the second grade and progress ii Any of the Study Material TEN BRILLIANT OCTAVE STUDIES Everybody, and particularly a boy, en¬ wonderful,” and Paulina’s brown eyes * “Of course, dear,” answered Grandfather How often do you go by a store window They really give nt By A. Sartorio Op. 1044 Catalog No. 11480 Price, $1.50 joys whistling; and a whistling chorus, glowed with interest. as they thanked the man for his courtesy and look at the articles displayed? Try ;h a set of studies as Streabbog Op. 63. On This Page May Be Successfully if well done, is very effective. There are and departed for home. “I think I could arrange it, if you will to recall as many articles as you can as o precede this group and w h these, this group e also professional whistlers who make their Used in Conjunction With These a thorough course in octa playing. These stui you go down the street, and on your way TWENTY PROGRESSIVE STUDIES IN ustcal and are just right f advanced pupils aro living by whistling on the vaudeville stage. six to eight. back, stop and see how many you forgot. THE SECOND GRADE Successful Teaching Courses. In some countries, particularly in Arabia, Sharps and Flats it used to be considered wrong to whistle, Do you recall, without looking at your By M. Greenwald Catalog No. 16920 Price, $1.25 BEGINNER’S BOOK MASTERING THE SCALES AND ARPEGGIOS watch, what kind of a figure six it has? Easy, melodious studies that are very helpful to young some people even considering that it was By Lida E. Voight By James Francis Cooke Price, $1.50 Take a good look at these figures— students. They are in a characteristic vein, most of them SCHOOL OF THE PIANOFORTE, VOL. 1 Complete treatment is accorded scales and arpeggios in a sign of being “possessed.” being like little pieces. But flats are dark and eerie gnomes, 1762953817. Close your eyes and repeat By Theodore Presser Price,'$1.00 thm volume. With this work the teacher is enabled to start Sharps speak to me in joyous thrills, scale study with very young pupils and carry it on to the As summer sun on daffodils; That speak in deep and solemn tones; them. Did you do it correctly? A truly Beginner’s Book in every sense. Teachers have TWENTY-FIVE MELODIES FOR EYE, SlvMoeddrtudeentsf profleieney as they Pr°gress and become As lively, merry little sprites; Sonorous cadences of sound, Then look at these letters—acjsdkaiwn. This is the first A Counting Rhyme As fairies in a glow of lights; With somber joy their tones abound; Close your eyes and repeat them. Which EAR AND HAND TRAINING Pianoforte. The ually popular and L’ART DU CLAVIER—THE ART OF THE PIANO As dancing motes on sunny beams; With tragedy and portent rife; was harder for you, the letters or the By Mathilde Bilbro Price, 75 cents With peaceful quiet after strife. These may be regarded as second grade studies. They By Theo. Lack Op. 289 Price, $1.50 As lovely thoughts in happy dreams. figures? There are exactly one hundred, short exercises covering all By Olga C. Moore are intended to establish the position of .the hand upon the ThTthir Then glance at this: g freedoir ird volun voh,men°ThePmS.eS a.nd £?,cuIti.es °f P^no technic, in this n staff pos and cultivating a volume. The ,rte, Of pian0 ia not lorgottell s after two or Father Whole-note’s round and fat, STANDARD GRADED COURSE His face is like a platter, When he is sad his friends all ask, TEN STUDIES ON A GIVEN THEME OF STUDIES FOR THE PIANOFORTE FINGER GYMNASTICS By Herbert Ralph Ward Catalog No. 17831 Price 60 cents By I. Philipp Op. 60 Price, $1.50 “Why, what can be the matter?” By W. S. B. Mathews Try to play it on the piano from mem¬ A set of easy velocity studies (grade 1-2) that will aid in „3°dCTat('ly a Bessie Fulcher (Age 15). = 1883 FORTIETH ANNIVERSARY CLUBBING OFFER! 1923 YOU SAVE MONEY on : » if you order TO-DAY! Your m Boy’s Happi= 4||l ness s?v2i£ A little bird perched on a tree And sang a lovesome song. If I could sing like the little bird I’d be singing all day long. 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