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

12-1-1922 Volume 40, Number 12 (December 1922) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 40, Number 12 (December 1922)." , (1922). https://digitalcommons.gardner-webb.edu/etude/41

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. Theodore Presser Co. Publishers DECEMBER. 1922 Philadelphia, Pa. PRESSER’S MUSICAL MAGAZINE RENEWAL.—-No receipt krth °b"e Thirty-Fourth Annual Holiday Offer of Musical Gifts 7He Gift Suggestions for Teachers, Students or Lovers of Music. The best in ^u***'a. tv ature and Collections offered at Holiday Cash Prices that in most cases are from twenty- five per cent to fifty per cent less than the Publisher’s Price, and, m a * 1°"’ toSITIVELY charges are prepaid. The prices given are for Cash with Order. THIS OF EXPIRES JANUARY 1, 1923. Send All Orders to THEODORE PRESSER CO. PHILADELPHIA, PA.

MUSICAL LITERATURE COLLECTIONS OF MUSIC cal. history, biographies rs acceptable, and the compilati md in the works fisted re ideal gifts Cloth Bound, Unless other¬ Hymns Every Child Should Know— Bacon . For the Pianist Popular Parloi .. wise Noted Story of Lives of Master Musicians Popular Home Collection. , History of Music—Baltsell. «i a Advanced Study Pieces. Popular Recital Repertoire. Business Manual for Music Teachers Home Help in Music Study—Brower American Composers’ Album. Rachmaninoff Album. Vocal Mastery—Brower . Album of Descriptive Pieces. Salon Album Master Lessons in Pianoforte Play¬ Self Help Pianoforte Study- Bach Album of Favorite Pieces... Russian Album . ing—Bowman. Beethoven Selected Sonatas . School and Home Marches .. . Pronouncing Dictionary of Musical iterval Choi s and Ear Training- Selections from Piano Works by Sonata Album: 2 volumes each.. M“.lU^*6”ttlngWr 0lnCucaudTrW d^Esmeraldas me and Lohengrin were among the worKS per SSSMi Terms—Dr. Clarke. Sonatina Album—Koehl, r .... ?The “searcher 8for Emeralds) a poem ^ formed with great success. P (Paper)* /fT0£°u]'cine Dictionary Harmonic Analysis—Cutter _ Favorite Compositions by Carl Bohm Album for the Piano by Spauldii ninva Bilac, furnished the plot, which is lam Charles D.ekens- love for — may ^Qn^et. the Ft anciscc.Chamber Standard Advanced Album. Inathe Brazilian Interior and In the seven¬ Stephen C. Foster Day is to be cele¬ have been prompted by his stat Muslc of Music Society to come for it- Great Pianists on Piano piaying— The Lure of Music—Douses_ Celebrated Compositions by Famous brated throughout America, on January lS, come tor j, S i Standard American Album. teenth century. student at the Koyal^ Acaue^y^^.^^ poor ance - American Composers—Elson .. Composers . Standard Brilliant Album; Hi, Music Club Programs—Elson... Celebrated Pieces in Easier Ar¬ Standard Elementary Album. . Mromment to Gtullo Rlcordi has lfa3’ Wal London Listening Lessons in Music- rangements—Grades 3 and 4. Standard First Pieces; 7.’ Hasp Hi,, been 'unveiled In the atrium of the Rlcord^ This movement Is fostered by those Interested labels“be^Vnr^tng on blacking bottlesbottles. A^/theAt be(jn the Budapest, war this yea;; the winner ^ bergcr . Album of Selected Compositions by in Community Music. . vonuren 10 U Marshalsea Coolidge prize e Art of Singing Caruso and the Art of Singi: Chopin .. Dickens’ fathSi’„0^„ was in Marshalsea Coolidge prize of |1,00U, characterlzea as Lighter Compositions by Chopin.... longhbeen lading music publishers of Italy. nt weekly to Quartet, whic ■alist should read. Ecudes—Op. 10 and 25—Chopin. „k .SKsrs, s?™* 5*52 ,<*■?&awith him to having very harmonic ureas,sj * • Polonaises—Chopin . Tranquil Hours . diversified and modernP-Mwtinctly modern Preludes—Chopin . Modest ffiRfir. S«ndu^°ory cep£grits ipendUwTL.-ra'd 1“ pesoii. wholewhdl<: compositioncompdaltlon being distinctly mu Writers- Treble Clef Album.. ? . t i th anniversary season, byt>y a concertcunn at sp of- --Music ofnf £in feeling, without being bizarre,bizarre. Music Appreciation—Hamilton . Nocturnes—Chopin . Tschaikowsky Album ... gent let _ik nBpniina Sent ember 25. Waltzes—Chopin . Nutcracker Suite- - is,-hail otte, North Carolina, September 2o uundon wWeh has just becn cel^bra^ting^^thc ^ ^ Illinois J*a Cm ”o’ieAOc”o" Outlines of Musical History—lie Compositions for the Pianoforte by Very First Pieces. . Quartette Trleatlno has arrived tick. Sir Hen>_Hadow Sir Hugh Allen, lllim Woman Composers . Paul Wachs’ Album.. Italy and begun an extended tour of T^t^ that in 1884 the Professors elation convened at valuable Piano Teaching — Principles and Famous Compositions by Chaminade. Young Folks’ Piano Folio. Problems—Hamilton . Concert Album, Volume I, Classical.. Young Players’ Album; 70 s£SK®3Sa«5£aa cathedral, included such a ?iBtb“%Uss^s How Music Developed—Hende Concert Album, Volume 11, Popular.. Vovnes, the brilliant Brazilian by Lessons in Musical History—Fillt Music Lover’s Cyclopedia—Hu Album of Favorite Compositions by r an nbsencc of two years, is re- Pianoforte Music—Fillmore . Half-Hour Lessons—Iiotzschmai Piano Tuning, Regulating and Re¬ How to Listen to Music—Kreh the United States for a trans- pairing— Either. Famous Singers—Lahee_ Easy Engelmann Album...... - in the Interim she has aThe P*Anofo^etTe.chers.t8oe.e^y of ma , celebrated Diamond aft Gallery of Distinguished Musicians First Dance Album. 3 But the great event of tne occasmu Musical Accompaniment to K First Parlor Pieces. was the unveiling in the cathedral of a Mem (Port r^a i t Biographies)— Garbett. First Recital Pieces. S/ tS to8 HubertHubert_Parry,j;One_ol Parry, "one » Gallery of Eminent Musicians (Por- First Sonatinas . Sle sJSl pli^^e^Iarfy t£r'i'theySimday s^ces* ti'aitBiogiaphies)—Gorhcif. (Paper, Stor; Favorite Compositions by Godard... vpolio Clnh, of Cbicago, one of the ‘ ’ Lillie. Album of Miscellaneous Compositions Gallery of Musical' Celebrities '(PoV- States C*bosl starfm!"^‘movement ‘ to follows HUBERT PARRY Critical and Historical Essays—Mac- Album ^of Selected Compositions by Art Bound) .'. Foundation of *50,000. occur again in tbe early sp 1 j>lanlsta under hag long been popular, Violin Mastery—Martens Handel Album _" Anecdotes of Great Musicians—Gates. Opera Stories—.1/,won. From boyhood's eager19play called by the can Vocalists, Violinists ») le to compete In Praise of Music—Gales. Haydn’s Sonatas; 2 volumes, cacti... ^,?ndg°.“nd^o0r^“dst ha^hr'olg thirty years of age are e g Mch the first «viennn is Musical Mosaics—Gain. Primer of Organ Registration— Album of Pianoforte Pieces—Heins. English Muse Hungarian Melodies -Hartmann option and are Introducing into the Her flneBScholaT“io be then her Masters’ for the attractive prizes, o particulars dea(j people r- Grove’s Dictionary of Music and Leschetizky as I Knew Him—New- ’scenes or part scenes from opera. j^ay Me- Julius Steiner Musicians; 6 volumes (not prepaid). S Mississippi River Scenes---Hern. A SpirnTlect whom no unworthy Thought Music and Morals-Haweft ...... Left-Hand Recreation Album.1 How to Think Music—Scy™*— 1 iril Strnnss purposes soort direct Diction for Singers and Composers— Stories of-- ” • Liszt Album . i visit Asia Nor any'feVtoufh thee joyously o’er life’s Concert Album -Liszt .!. ' concerts in ^ ' Piano Playing with Piano'Sues Album of Wagner Opera Transcrip¬ politico, v vents permit, Answered—Hofmann. tions by Liszt... Cairo, and, on me Navlgattag'thy Soul Into her holy Haven: journey, “ His'P Life''and s Ta Musician,"file Art -- Tb,

nnta Simoni, who 'and ' Their ' Music". of Carlo Gozzl. China. The chi the masculine s the test of thret Suitable for Gifts to the Child Music Student unsolvable. The the others shall^, flatteHngly 6 their SSSp-SE ; there is a victor- 88§f« victims before the The Seven! What ^hey'in* Wondertowii sic Festival , May Peterson, . and Carolina IJ ties appearing sit§ A St ne -^rv£kLi,The ggill: ’ thePaauspic^of'th “ umTef„fSweIl0nwrme0n^tgtanhieesT01' CbM’s Own Book of Great Musi- tion, organized memory of Jenny ingale,’—famous « and noble

Sir Charie. Pictures from Fairyiand-mtrr "" i°n baritones, died . ^Sai^ii:?°° Blenheim Road, was for years i f toneB, holding i opera, oratorio - Child’s PFSTrBooPk'”of' Melodies- '4° triumphs were in in Mendelssohn s beautiful English f despair of all Spaulding.. The Mas* thm*at^he other Gifts for Music Lovers December 27-' O Master Let Me wan. p Ambrose 843 the topic ~ ’ 88 %‘£S‘Z ,K DECEMBER 1922 Page THE ETUDE THE ETUDE Page 798 DECEMBER 1922 (iJhtrtit-jfomtli Annual ijnlfoag lifter of (Eifts for iUuatr Cnurra SPECIAL HOLIDAY CASH PRICES=THIS OFFER POSITIVELY EXPIRES JAN. 1, 1923 THE PRICES GIVEN ARE FOR CASH WITH ORDER THE PRICES GIVEN ARE FOR CASH WITH ORDER TRANSPORTATION CHARGES PREPAID TRANSPORTATION CHARGES PREPAID Many Suggestions for the Teacher, Student and Lover of Music. 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Illustrated with 150 portraits of Stories of Standard Teaching Pieces Descriptive Analyses of Piano Works and beauty of illustration. European and American pianists. By EDW. BAXTER PERRY Regular Price, By EDW. BAXTER PERRY Regular Price $2.00 Gallery of Distinguished Musicians Holiday Cash Price $1.35, postpaid Holiday Cash Price $1.35, postpaid Music Masters Old and New Regular Price: Paper Bound, 75 c-nt* By James Francis Cooke Regular Price $1.25 A work that is a poetic, dramatic and historical analysis or description of some of the greatest Holiday Cash Price 50 cents, postpaid Holiday Cash Price 75 cents, postpaid and best-known piano compositions. These descriptions add much to the pleasure obtained by This work is another volume similar to the the concert goer and musician in hearing and rendering such works. two described above. These three work9 make a complete source of reference and offer more than^ two hundred biographies and as many o be found else* hereTn English. THEODORE PRESSER CO. mailorder MUSIC ROLLS and SATCHELS, MUSICAL CALENDARS, First Studies in Music Biography 1710 - 1712 - 1714 CHESTNUT STREET SUPPLY Music Life and How to Succeed in it By Thos. Tapper Regular Price $1.75 MUSICAL PICTURES, MUSICAL GAMES and Other Gift By Thomas Tapper Regular Price $1.75 PHILADELPHIA, PA. HOUSE Holiday Cash Price $1.20, postpaid Suggestions for Music Lovers will be Found on Next Page Holiday Cash Price $1.20, postpaid For foundation study in musical history this $4.00 will bring this balance may be paid in monthly installments of $2.00. A book of real value to all seriously inter¬ book is the best obtainable. A very appropri¬ ested in music. ate gift for an ambitious young student. Page 800 DECEMBER 1922 ANNUAL SUBSCRIPTION, $2.00-» THE ETUDE DECEMBER, 1922 Single Copies 25 Cents VOL. XL, No. 12

ss Men and High Art

George Henry Borer, diplomat, business man and founder for no more than the soul, vision and humanity of a comp¬ of the Union League of Philadelphia, found time to write five tometer, he must have something outside of the cogs of costs, notable dramas, one of which, Francesca di Rimini, is still re¬ discounts, interest and profits, to raise himself to higher levels. garded as the greatest drama written by an American; Samuel Many business men find only too late that they have suffocated Finley Breese Morse, inventor of the telegraph and business man, the bigger, broader side of their nature, the very things which found time during his life to produce many paintings and statues characterize the biggest leaders in the business world by stifling which are now held among the greatest treasures of some of our their native interest for beautiful, ennobling things. leading museums of art; Francis Hopkinson Smith, noted engi¬ “Business and High Art! Horrors! ! ” yawped the back- neer and successful business man, found time to write immensely woods “business man” of yesterday; while at the same time J. P. popular novels and paint pictures which are in several noted Morgan was spending millions for pictures striving to com¬ art galleries; John Alden pensate, in a more or less pa¬ Carpenter, head of a very theticway,forthe art instincts large firm dealing in railway which his business life had and vessel supplies in Chi¬ tried to drown out of his soul. cago, has found time since his One of the most practi¬ graduation at Harvard, to cal avocations is music. In place himself in front rank the welter of modern business among modern composers of life, the business man who can America, his compositions rest his mind and glorify his having been played by several soul by a few minutes of musi¬ of our great symphony cal expression every night has orchestras. the asset which men like These notable examples Charles Schwab, George of men, who have made it pos¬ Eastman, James M. Beck, sible in their business life to Owen Wister, Dr. Frank carry on matters of large Crane and Thomas Mott Os- moment without permitting ^HE ETUDE and its pub¬ burn have found invaluable. their natural art instincts to If there is the slightest mani¬ lishers, blessed for four atrophy, are by no means festation of musical talent in rare. We know of numerous decades by the friendship of the boy in your family, teach instances of the busiest kind him to play some instrument, a multitude of readers and of men who make a joyous give him a chance, it may be avocation and practical re¬ co-workers in all parts of the priceless to him some day. creation of the arts. world, extend Men must begin to real¬ Earl Balfour, for in¬ ize how closely music is bound stance, vested with the big¬ up with the social and indus¬ gest diplomatic responsibili¬ Hearty trial life of the country. The ties of Great Britain through old day when it was thought most of his life has never that the business man should missed an opportunity to Christmas Greetings take no time for music continue his studies in music or that the musician could and has even published ex¬ to Everyone not possibly be a successful cellent books upon music. business man, has fortunately Georges Clemenceau, the been ridiculed into oblivion. “tiger” statesman of France, Many of our best musicians business man, journalist and have proved remarkable busi- “saviour of his country,” ness men, not merely in the made room in his busy life publishing field where there to write successful plays, are some startling successes, novels, sketches and philosophical articles galore. but also in the great world of business. American business men are realizing more and more the Music lovers, teachers, attention! Every father in your need for taking larger interest in the arts. With some, in music, circle of friendship should read this editorial as it is merely it is limited to attending concerts or reading occasional articles a truthful statement of an actual condition with which every in the musical press or enjoying some of the excellent music- live, reasonable business man should be very glad to become reproducing devices. All this is splendid and will lead to more acquainted. A bigger business life, a bigger statesmanship, a practical acquaintance with music. It is not unusual for us to bigger America demand vision, and that must depend upon the receive a letter like this: “My husband (father, brother), souls of the Americans. Anything that will contribute to doesn’t know a note but he likes to read The Etude and keep this is of the first importance to all. in touch with important musical matters.” “WHERE THERE IS NO VISION THE PEOPLE In this commercial age, unless the man in the street aspires PERISH.” Proverbs xxiv., 18.

801 ' DECEMBER 1922 Page 80S THE ETUDE

—cl , „ . , , The performers were well trained and A Greeting at Forty Years lent and well selected. T P assia-ned to them. A sweet- worth; of farhetter music ha honiumi sang » few verses 1883—1923 ,„,ced smger who ‘of of the men. The drum We abe forty. You will probably hear a great deal about this during the next year. We cannot restrain our pride in “d wTcteredwith eoinsLd bills from the crowd who wanted Technique and Hand Training forty years of hard work, representing the accumulated effort of hundreds of our staff of editors, composers, writers, busi¬ ‘° ^Comparemrcha edrertservice with the cfagreeab.e jangle ness workers, artists, clerks, printers, binders, in and outside of Written Expressly for The Etude by the Well-known Polish The Etude offices. All honor to the splendid builders of the Composer-Pianist, Teacher past! With every issue, The Etude is re-born; but it is re-born b; being of the same stock, the same basic ideal of constructive musical PROF. XAVER SCHARWENKA beautiful. educational helpfulness. It is the spirit of youth clasping hands with experience which keeps us fresh and alert in the field. We have no room for age-old junk, no room for dullness, no room Am I Slipping Backward? [Editorial Note.—The Etcde is pleased to present this distinguished teachers of Europe. The enormous success of for partisan quarrels, backbiting, pessimism, the harbingers An anxious reader wrote us last month in the following unusual article from Prof. Schar wenka, convinced that it the Polish Dance, of Xaver Scharwenka, brought him to contains much that will prove immediately and directly great fame early in his career; but_serious musicians a— of journalistic senility. The Etude above all things must be manner: , . T helpful to thousands of readers, Prof. Xaver Scharwenka acquai—* — ably 1 t year for a course of lessons in Chicago.] young and vigorous. “Somehow I don’t seem to be progressing as I and his brother Philipp have been for years among the most Do you wonder that at the end of four decades of prog¬ think I am entitled to advance. I keep hard at work compass the technique of an art, that organ must receive Every work of art emanates from an interesting and hear from teachers and performing artists who seem to from early morning until late at night; and the more I ress and prosperous cooperation, all those at the home of absorbing idea which seems to demand expression in the be especially gifted in technique. But it -readily may be special training. The Etude welcome tliis opportunity to express their intense work the less I seem to get ahead. What bothers me most artistic and complete form. Especially is this the seen from the foregoing observations that this is only “The way to perfection is long, so long that our all- too-short lives can scarcely encompass it. Therefore, the gratitude for the years of unexampled support and inspira¬ most is that the original ideas, that used to come to case in music, the most intimate and the most intro¬ partly true. The instrumentalist touches the keyboard of the piano, or the strings of the violin, or the bow of chief question of the music teacher and the student is tion given by friends all over the world? It is a kind of friend¬ me all the time in connection with my teaching, rarely spective of all the arts. This magnificent art depends for its effects upon channels all its own. While the the instrument, not with the brain but with the finger that of finding out the shortest way so that time and ship unlike anything else we know. We value every one. In seem to come now. What is your advice? I am slip- painter and the sculptor speak directly to their public tips. It is apparent then that on the journey of the labor may not be lost. Technical study points out the the words of the Oriental sage— through a completed work, the musician on the other musical concept from the brain to the finger tips many shortest way.” “He who has a thousand friends,-has not a friend to spare.” obstacles and interferences are likely to be found. These In investigating this subject, the following questions We do not know all the circumstances; but it would seem hand must depend upon an artistically trained interpreter. His work is not finished when he places it upon paper. physiological obstacles make it impossible for the artist present themselves: that this friend had been either working too hard or had no! to express what he desires. Technique deals with the art (a) Where are the obstacles and weak points in the Salvation and Bass Drums Its value may be raised or lowered depending upon taken time from his work to restore his fonts of inspiration anil the character and the training and the talent of the one of removing these obstacles. hand and of what do they consist? A “painted lady” and a “lounge lizard” stood upon a idea-making factors. Many teachers make this mistake. Tin- who elects to perform the work. In the work of musical (b) How and with what means may they be success¬ fully combated ? curb smirking and giggling at a Salvation Army lassie pound¬ mind works in a very peculiar manner. It seems to require art there slumbers under the veil of notes and staves, a ing upon a big bass drum. An ex-service man stepped up and sleeping beauty awaiting the magic touch of the interpre¬ In reply to the first question we may say that the regular hibernation other than sleep. It needs periods of folly, obstacles and interferences may be found in the outer said: “What’s the big idea?” ter to bring all the loveliness to life. sprees of fun. On the other hand, the mind requires to bo The interpreter must first of all be a real artist; skin of the hand as well as in the muscles, the ligaments The “painted lady” pointed- to the lassie. The “lounge sharpened upon new grind-stones. Drop a pupil or so and take otherwise it will be impossible for him to liberate the and tendons. They are experienced partly in a kind lizard” guffawed aloud. The ex-service man said: “If either on some new study. Go at it with all the enthusiasm of young magical vibrations of the music. In the work of the of inelasticity of the middle layer of skin (the so- of you had been ‘over there’ you’d think different about her. creative musician there must naturally be more depend¬ called thick skin or leather skin) which is to be found manhood. Don’t make the mistake of trying to do this by If you want something to laugh at, take that.” ence upon intuition and individuality; while with the in¬ noticeably in the hollow of the hand and in the web be¬ studying music; if you are up to your neck in music every day. tween the fingers. This obstacle is to be felt principally His fist flew out into the center of the grinning counte¬ terpretive artist greater stress is laid upon the extent Subscribe for new magazines that interest you. Lose yourself of his interpretive knowledge. What is of greatest in the performance of widely spread or broken chords. nance of the “lounge lizard” and sent the scoffer sprawling in good fiction. Go to the theater and drop your reserve long importance to the interpretive artist is that he shall The ligaments and the tendons prevent very materially in the street. The'ex-service man went off with his head in the the freedom of the fingers unless definite exercises are enough to' laugh naturally and heartily. If other folks laugh know not merely the composer and his works but shall air feeling that his duty was done. The “painted lady” escaped comprehend the nature of the musical receptivity of the taken to prevent this. The weak points in the hand and you do not, don’t criticize the others for their inanity; find down the street to avoid trouble, but the Salvation Army lassie public mind for which he must perform. which becomes tired through practice and which some¬ out why things have ceased to amuse you. Above all things, times produce the various forms of muscular strain, knelt down in the gutter and with her own handkerchief stopped The artist who reproduces the works of others must don’t loaf with the hope of improving yourself. Loafing is one not only possess an exceptionally fine musical feeling known as piano cramp, violin cramp or ’cello cramp, are the flow of blood. to be found principally in the delicate and more or less of the best ways to unfit the mind for progressive work. In but he must also have in addition a high grade of artistic We tell the story just as it came to us. We don’t know dexterity or artistic facility which we term Technique. feeble stretching muscles which are located in the mid¬ short, cut out a little of your regular work and fill it with some just how accurate it is, but it speaks the spirit of the Salvation What shall we understand by the term Technique? The dle hand, as well as the somewhat stronger extensor new job that will stimulate you like a June breeze. Army, which has been a “Sacrifice Army” for nearly every one word is taken from the Greek and means nothing more rpuscles which are to be found in the upper side of the than “art.” Verbal usage, however, has distorted its forearm. who ever enlisted. The war crowned the army with glory and original significance, so that it means now, not merely art, In considering the second point it must be obvious, in put it upon an entirely new foundation in public opinion. What a Cork Did but artistic dexterity. Therefore, in technique we refer the light of the foregoing, that the obstacles and inter¬ At the same time, we have never been able to understand principally to the training of the hand and to the use of ferences mentioned make progress exceedingly difficult why it was desirable for the Army to continue with such an Once, after the editor had been teaching for several years, the hand as a means of artistic expression. and in some cases impossible. It is therefore impor¬ awful rumpus in the way of music when a little intelligent direc¬ he placed himself under the hands of a celebrated teacher in Every calling, especially that of the artist, demands a tant to seek every scientific means whereby these im¬ pending conditions can be removed. tion, time and zeal applied to the same work would enable the Europe. On coming to the piano at the second lesson he foum I certain degree of natural aptitude. For instance, the in¬ dividual who possesses from birth a slight, weak, frail Let us now attempt a practical search for the best Army to produce enough skill to lead to music of a better sort that his trusty servant, the damper pedal, could not be depressed. body is hardly likely to succeed as an athlete. The in¬ means of securing the remedies for interferences of with a far wider, far more powerful and far higher appeal to On examination he found, much to the amusement of the terpretive artist requires above all things certain quali¬ this kind. The restrictions to be found in the outer the mob of unredeemed which the Army seeks to reach. Can not teacher, a large cork under the pedal. fications for his art. He must have a fine central nervous skin and in the groups of muscles may be greatly re¬ the Army take a suggestion from the hordes that flock to public “I put it there, purposely,” said the teacher, who had long system. The organs which give expression to his art lieved in the following manner: A second person or trainer should take the hand to parks where good music is performed. These people do not, for been a pupil of the great Liszt. “You make a crutch of the must be in exceptional condition. Starting with his ILLUSTRATION I natural gifts, it is desirable to bring each organ to thfe be trained in his hand, grasping the entire thumb and the most part, come from the “upper” classes which the Salva¬ pedal and a very poor crutch at that. Instead of developing highest possible degree of efficiency. This, of course, can Physiologists discovered long ago that every organ in the entire little finger, so that the hand may be gently tion Army does not make so much effort to reach (but which a careful legato, crescendo, diminuendo, etc., with your hands, be done only through the proper artistic training. Tech¬ the human body is susceptible to development, under the but firmly stretched until a very slight sensation of pain probably need the S. A. spirit even more than the mob in the you depend upon your feet with your pedal crutches to help nique may be regarded only as a “means to an end;” but it right conditions. Those parts which are required in is felt in the hollow of the hand. In doing this neither street). you along. For the next month I want you to take these corks must be remembered that without this means there can playing the piqno are peculiarly susceptible to develop¬ the ligaments nor the sinews should be strained. This ment. It is not merely a matter of interest but a matter expansion should last about three seconds, and should Somehow the idea has been held that a rumpus of some home, put them under your pedals and learn for the first time be no end. It is only in this way that the real importance of Technique can be properly estimated. of necessity for the performing artists and the teacher be repeated three times with each hand. kind was needed to attract attention and that because of the how to make expression solely with the use of your hands anil To make clear the physiological processes in technique, to know something about the hand itself. In this con¬ To facilitate elasticity in the metacarpal joints of lack of musical skill it was best to stop with a few instruments, fingers.” the following means are employed: nection I have in mind the ideas of the well-known phys¬ the hand (that is, the joints connecting the fingers with reducing the music to little more than the rhythmic thump of That was a bitter month. Playing the piano without the (1) The activating moment in the brain when the iologist, Wolf-Schnee, discussed in his works on the the hand) as well as the joints at the wrist, the trainer the savages. pedal is hke a banquet without salt. Gradually, however, the thought center sends its commands through the impelling training of the hand. He says in part: should grasp the tip of each finger in his hand and force of the will. These impulses of the brain are re¬ “Although the origin of the human hand (as well describe circle-like curves with the finger held straight On the other hand, the Salvation Army does possess some wisdom of doing without a crutch, until certain indispensable as that of mankind itself) is obscured in the dim and and moving at the metacarpal joint only. This exer¬ fine bands recruited from the workers themselves. These bands peated again and again. phases of keyboard technique had been mastered, became (2) The conducting or directing apparatus, that is, the distant past, experience has taught us that the various cise should be repeated with' each finger seven to ten seem to bring a far greater response, draw larger crowds and com¬ apparent. nervous telegraphic system whereby the ideas and organs and members of the human body can with the times. First move the finger in a circle, going from mand far more respect from all grades of society. We recently thought impulses of the brain are conveyed definitely to proper amount of use in a given direction be completely left to right, and then in a circle going from right to heard one from Troy, New York. The players worked in the the keyboard. This resembles the works of the player- transformed. It is also obvious that with systematic in¬ left. mills in the day-time but at night put on the blue and red uni¬ smug io mane a iestiva of it—our piano in some respect although this comparison of a vestigation and training any normal organ may be per- The same principle of describing such circles is intro¬ fortieth year Very few papers ever last that long. The next t fected. duced with the whole hand moving upon the joints at form and went about the Lord’s business in the streets. There mechanical apparatus with the human body hardly con¬ few issues W!U show you how you will share in that festival in veys the right idea. i “The hand is apparently adapted by nature to be able the wrist as a kind of pivot. In this case, however, were some eighteen performers, young and old, girls and boys, he best articles and the best music obtainable for our purposes (3) The performing or executing apparatus. This to play the different musical instruments. As a matter move the hand ten times toward the left and then in men and women, white and black. The instruments were excel- in the world. Just watch The Etude for 1923. PurPoses refers to the muscles actually put into motion and all of fact the instruments were invented and constructed circles ten times toward the right. that pertains to them—bones, the ligaments, the pericarp, so as to fit the human hand. Therefore, it became a belief During these exercises the student should maintain the muscles, all moving in almost magical manner. that the hand is so adapted that special study is not re- the muscles of the hand in the most relaxed condition 802 “Technique is situated in the brain” is a remark we often • quired. However, if any organ is to be elevated to en¬ possible. Indeed, he must so concentrate upon his condi- THE ETUDE THE ETUDE DECEMBER 1922 Page 805 Page 80* DECEMBER 1922 It is the slow, muscle-against-muscle movement tion of passivity that at no time is there any suggestion from three to five seconds, and then bnng.it of resisting the movements of his trainer in the slightest former position for a similar time. This exercise s h“ . he sought. When the arms have reached the degree. In many instances the trainer will find it neces¬ be repeated from five to seven times, and may be pr r n^ nositfon stretch them a little farther until a sary to hold the hand being trained with his left hand ticed at four different periods daily. This exercise has h°nZtrails felt upon the triceps muscle. The fore- while he describes the circle-like movements with his two advantages. First, it brings about an expansion o shg U r»t„rns eently to the first position with the a stretching of the skin of the palm of the hand and right hand. hands oTer the shoulders. This exercise should also be Christmas Music, Past The movements have the effect of rendering the finger strengthens the ligaments of the inner middle hand, a joints elastic; that is, “smooth.” The effort which re¬ the same time making both skin and ligaments more reinaclosing, we‘^anoAer exercise which contributes sembles friction is lost hereby in some measure. It will elastic. In other words, the span distances between the 1tn ?{.e strength of the arm and assists in tone Present little finger and the thumb become much easier at the be readily understood that the movements of both the ?r6at tion as well as in developing the bow-arm of the keyboard. Second, this exercise will in time give formati , Again we assume the upright, strength to those muscles which every pianist must em¬ violinist and the ceim. ^ ^ previous ^ By EDWIN HALL PIERCE ploy in octaves, ninths, tenths, and in broken chords. dsTwith the feet a half step apart The hands drop While this exercise is particularly valuable for small “What sweeter music can we bring a the side, the hand held loosely, with the fingers touch- hands, it is also of very great value to large hands Than a carol for to sing L each other gently. Move the arms, with the hands which have relatively small grasp or expansion and The birth of this our heavenly Kingt" facing each other forward until they are directly in front weak muscles. —Herrick. of the shoulders, thus describing a quarter of a circle. Next move the arms until they are literally vertical “It must be that they celebrate Saint Sunday-nearest- the babe wrapped in swaddling clothes, lying in a condemnation of Christmas celebration, we ought in jus¬ Developing the Extensor Muscles (oalms of the hands facing inward), thus forming the Christmas 1” manger.’ tice to take this into account. To develop the extensor muscles of the hand and second quarter of a circle. From this position the arms Such was the good-naturedly ironical remark of an “And suddenly there was with the angel a multitude Many of us were perhaps a little startled recently to fingers, by which I mean the muscles which raise the are to move backward and downward to the starting Episcopal choir leader on hearing of an elaborate pro¬ of the heavenly host praising God, and saying, Glory read in the New York papers of a pageant in the Church of St. Mark’s-of-the-Bowerie, celebrating the festival fingers from the surface of the piano keys and from position, as nearly as possible describing a circle. Of gram of Christmas music which was given in a church of to God in the highest and on earth peace, good will toward men.” of the Annunciation, which included symbolic dancing the strings of the violin, the following exercises will course it is literally impossible to describe a perfect another denomination on a date which was to him the before the altar. Yet, historically, this is by no means be found very helpful: Take the same position as that circle in this manner unless you are double-jointed. The “Fourth Sunday in Advent,” and as such connoted quite Origin of the Christmas Carol a different mood of religious sentiment. such a novelty as one may suppose. Dancing was early described in the previous exercise. Instead of holding exercise is to be done by making a circle without stop¬ Many centuries now intervene before we have authen¬ the fingers straight up, hold the hand in the form of The exact date at which we may choose to celebrate associated with the singing of carols. Dante pictures it ping Intensive breathing is an important factor in tic accounts of any further Christmas music, either what can only be described as a loose fist. Then let Christmas is, however, of much less importance than the as occurring in Paradise. Fra Angelico is one .of his the execution of such an exercise. Meanwhile the arms angelic or human. Of course, there would be no special great paintings representing the Christmas angels as not the fingers spring into the position indicated in the spirit in which it is observed, and this is all the more “Christmas music” until Christmas was at last recog¬ upper design shown in the dotted lines in illustration keep describing circles without stopping until the re¬ true because, historically considered, there is doubt even only singing but dancing as well. quired number of circles has been made. The breath nized as a Christian festival of great importance; The third Council of Toledo, in the year 589, passed No. 1. This movement should be done with rapidity as to the season of the year, let alone the month or the namely, not until some time in the fourth century. The must be taken in or inhaled while the hands are ascend¬ an edict forbidding dancing in the churches on the Vigils and snap, but it should not be done rigidly or with day, of Our Lord’s Nativity. That other great event sacred music of that date and long after consisted of ing to the vertical position, and the expiration takes of Saints’ days—proof positive that it had become the strain. Notice that the fingers in this position are not which we commemorate in the festival of Easter, is the “plain song,” much like what is now known as Gre¬ in the position in which one shakes hands, but that the place while the hands are moving back to the original determined in time beyond the shadow of a doubt, be¬ custom before that time, and perhaps proof presumptive. gorian Chant, or like the intoning of the priest in the that it was still to be allowed on other more appropriate finger tips point in toward the palm of the hand. The position. During this exercse the arms must not lie bent cause it is recorded as occurring at the season of the Catholic churches. If there was, at that date, anything occasions. The Council of Avignon in 1209 placed knuckles of the fingers thus form three sides, of a in the least at the elbow, but held straight. The tempo Passover, a festival of the Jews, the date of which was resembling what we call Christmas “Carols,” any lighter further restrictions on the practice; yet traces of it are • right angle, as it were. Now, with the fingers in this of the exercise is gauged by the upward movement of fixed according to certain astronomical formula, de¬ and semi-secular style of sacred music suitable to the found up to the 17th century. The apprentices were ac¬ position, spread them apart as in the former exercise, the arms. If you inhale slowly the arms move slowly— pending on the spring equinox and the new moon. joyousness of the season, no record of it has come down customed to dance in the nave of York Minister, in Eng¬ but with the knuckles still bent instead of being out if you inhale rapidly the arms move rapidly. It is im¬ Christmas, on the other hand, was not celebrated in any to us. That was left for the age which was to bn straight, as in exercise No. 1. That is, the fingers re¬ systematic way much before the year 354 A. D., in Rome, land, on Shrove Tuesday, while in Echternach in Luxem¬ portant that the upward movement and the downward blessed by the lffe of that great-hearted and lovable man, bourg, every Tuesday in Whitsun week, the clergy, choir main in the crooked position. After this, as a third nor before 379 A. D., in Constantinople; and the date St. Francis of Assisi, who flourished in the twelfth cen¬ movement should both be identical in time. That is, do and people all danced to the church and around past the movement in the exercise, the fingers spring with a December 25, though chosen not without sound reason, tury. Realizing with dismay that the Christ idea was snap back to the loose fist position. This exercise should not move your arms upward slowly as you inhale, and altar, singing carols. In the Cathedral of Seville, in was more or less arbitrary. becoming too much of a mere theological abstraction, be done from five to eight times; with increasing strength then move them down rapidly as you exhale. Spain, a religious dance is performed by the altar-boys ILLUSTRATION II It may seem to the reader that we are not approach¬ he cast about for some means of presenting in a vivid of the hand the exercise may be repeated from seven This exercise must be done eight or twelve times, on certain Church festivals, even at the present date. It ing the subject of Christmas music very directly, but way the human side of Our Lord’s nature. His first to nine times. Since independence of individual fingers is not surprising, therefore, that many of the early carols hand and the fingers become more precise, more supple, always remembering to keep the elbows straight. Do this preface is absolutely necessary in order to under¬ piactical attempt was at a little Italian village called is of great importance, it is most desirable for the have an excellent dance-rhythm; for instance, if they proceed from impulses unrestricted by stiff not repeat the exercise, as a whole, more than two stand and appreciate several facts which bear on it in Grecia, near Assisi. Arriving there at Christmastide in student to endeavor to repeat the foregoing exercise joints. or three times a day. The best time for these exercises an important manner. the year 1223, in the course of a journey from Rome with each finger alone while the remaining fingers are Ex. I No expensive trainer is needed for these exercises. is in the morning shortly after arising. At night one to Assisi, and having obtained permission, he caused a motionless. (Note the accompanying illustration, No. 1.) “The Birthday of the Unconquered Sun” Any teacher may give them to a pupil. Indeed, a should exercise only when one feels in the mood. Never manger, an ox, an ass, and all the trappings of a stable I 1 I P rim This very important exercise cannot be done readily at friend or a member of the family may easily assist the force yourself to exercise at night when you are tired; The day which was chosen was the one which had to be prepared in the church. first, but must be practiced for some time before it 0 - ri - en-«a par-t i - bus, Ad - ven - ta - vit student at home by doing them at any time. work under such conditions is valueless. Rest will do formerly been celebrated by devotees of Mithras—a Quoting from Mrs. Oliphant’s Francis of Assisi, can be done to perfection. The practice of these exer¬ It is very much more difficult to indicate a plan you far more good. The foregoing movements are deity whose cult had succeeded the belief in the ancient “Francis and his brethren arranged these things into cises may be slightly laborious in the beginning; but gods of Rome and Greece—as Natalis Invicti Solis “the whereby the small and weak extensor, or stretching shown in the following illustration: a visible representation of the occurrences of the night muscles may be strengthened and made independent of the student will be well rewarded if he attains thereby birthday of the unconquered sun.” Belief in Mithras at Bethlehem. It was a reproduction, so far as they each other. These muscles are usually awkward and the complete independence of his fingers. was practically extinct by that time, yet some pleasant knew how, in startling realistic detail of the surround¬ a, - in - ua, Pul-cbes rarely receive sufficient attention from the student. and not altogether blameworthy customs of the day in Making the Hand Elastic ings of the first Christmas. . . . The population of It is physiologically impossible for the student to question still survived; and the Church very wisely and the neighborhood rose as one man to the call of St. Let us reiterate that these finger exercises have their play a trill, double trill, thirds, sixths or scales per¬ kindly, instead of trying to root them out, simply Francis. They gathered round the village church with main value in making the hand elastic and responsive, as fectly and beautifully if these muscles, and particu¬ turned them to a nobler purpose—the most noble pur¬ tapers and torches, making luminous the December well as disciplining the spreading muscles of the body Sar-cin - is ap - tis-si - mijb. .Hez sire JVs-mez Hez. larly the stretches between the fingers, are not properly pose possible, in fact. night. The brethren within the church, and the crowds of the hand, and also the extensor muscles which serve to developed. The incomparably smooth, well-rounded play¬ By a curious coincidence, which may not have been of the faithful who came and went with their lights, in lift the fingers from the keys. Early Carols in France and England ing (the so-called jcu-perle of the French) can only be altogether due to chance, the same date found an equal and out of the darkness, poured out their hearts in The following exercises for the arm as a whole are This carol which we have just quoted was popular at achieved by the interpreter who has complete command fitness among the northern nations of Europe, who, praises to God; and the friars sang new canticles, which of especial importance in developing the upper arm, Beauvais, France, where, in commemoration of the of these extensor (stretching) muscles. before their conversion from heathendom, held the win¬ were listened to with all the eagerness of a people ac¬ which is of such significance to the pianist as well as to Flight into Egypt, a donkey was dressed in gorgeous ter solstice to be a particularly holy and important time, customed to wandering jongleurs and minstrels, and Activated Hand Movements the violinist and the ’cellist. at which Odin and other of their greatest gods came to harness and a young girl rode on its back, carrying a to whom such songs were all the food to be had for the child in her arms, to the church, where the above old To attain this goal we may proceed in two directions. Assume an upright standing position, with the feet earth and busied themselves actively in the welfare of intellect and imagination. . . . We are told that The first consists largely of purely activated hand move¬ about a half step apart. Stretch the arms out at the humanity. This season lasted for twelve days, during Latin “prose” was sung, followed by noises imitating Francis stood by this, his simple theatrical representation the braying of an ass. The words are Latin, with the ments. Hand gymnastics, such as we have discussed, sides on a level with the shoulders, as indicated in il¬ which the ancient Germans held their “Yule feast.” With (for such, indeed, it was, no shame to him) all the will prove in three or four weeks that the technique is lustration 2. The arms thus form a straight line with the coming of Christianity the same thing happened to exception of the last four, which are old French, and night long, sighing for joy, and filled with unspeakable may be translated thus: capable of remarkable development along the lines of the shoulders. The hands are held in a loose fist posi¬ these old customs as had happened to those which were a sweetness.” freedom, smoothness and clarity. tion. With the upper arm remaining in horizontal posi¬ hang-over from the religion of Mithras—they were not “From eastern parts came an ass. Christmas Mystery-plays The second direction is perhaps more advantageous, tion unmoved, let the hands move with considerable en¬ abolished but turned to a new and nobler purpose. Handsome and very strong, but it would demand the attention of a skilled trainer ergy toward the shoulders, as indicated in illustration 2. Incidentally, before leaving the subject of the date of This simple performance was the origin not only of Well fit for burdens. familiar with the so-called Swedish Curative Gymnas¬ Do not make these motions in jerky fashion, but in mod¬ Christmas, we would mention two facts:—first, before the Christmas Carol, but also of the Christmas Mystery- Hey, Mr. Donkey, hey!" tics (opposing motions) for its fullest development. erate tempo. When in this position draw the lower the date was set as December 25, the early churches had plays, dramatic representations of the events surround¬ As we shall see in further quotations, the use of the ing the birth and childhood of Jesus, interspersed with The following description is, however, as good as it arm nearer to the upper arm, so that a slight strain is celebrated the festival sometimes in other months of the Latin language in carols was exceedingly popular, but felt in the upper arm. Return to the original position songs which were, in fact, all Christmas Carols. can be made in words: Sit in an arm chair with the year—January, or even April or May; second, Decem¬ generally mixed with the vernacular. Such verses are elbows resting easily on the arms. If you have no arm¬ with the arm extended. This is done more like a stretch¬ ber 25, being the height of the rainy season in Judea, These little sacred dramas served admirably the pur¬ known as "macaronic.” Even where the Latin is used chair, employ a table, with the elbows resting upon it. ing than as a quick, jerky exercise, as similar exercises would be a very unlikely time for the shepherds to be pose intended—that of bringing home to men’s minds without admixture, the versification is on an entirely The object of this is to rest or relax the upper arm. are so often done in the gymnasium. Repeat this exer¬ in the fields “watching their flocks by night.” the great fact of the Incarnation—but unfortunately different principle from that which was used by the Raise the lower arm until there is a right angle at the cise ten or twelve times. Its object is to develop strength The first Christmas music of which we have any ac¬ there is nothing whatever so good that it is not liable classical Latin poets, modem rhyme and accent taking elbow (very much as is indicated in illustration I).. The in the muscles of the upper arm—the biceps. count is that of a most remarkable sort, described by St. to be misused or perverted. In course of time the the place of the ancient “quantity” in the make-up of the Luke (II: 8-14) ; authors of these plays, in their search for variety, were fingers are, however, held perpendicular, with no inter¬ See Illustration II. verses. Such verses vere in those days known as “prose” vening space between them. The surface of the hand “And there were in the same country shepherds abid¬ no longer satisfied to stick to the true Scripture narra¬ —an entirely different meaning from our present one be¬ from the wrist to the finger tips should be as nearly The following exercise develops the triceps, the mus¬ ing in the field, keeping watch over their flocks by night. tive, but began to draw from the so-called “Gospel of ing given to that word. cles which antagonize or oppose the biceps. The posi¬ And, lo, the angel of the Lord came upon them, and the Infancy” and other spurious writings, long since re¬ flat as possible. The palms of the two hands are held ILLUSTRATION III By the fourteenth century, carols had become as popu¬ facing each other. Now, with a quick movement, like tion at the first is the same as in illustration 2, but with the glory of the Lord shone round about them; and they pudiated by the Church, containing many matters puerile lar outside of Mystery-plays as in them; but before the hands over the shoulders instead of stretched out¬ were sore afraid. And the angel said unto them, ‘Fear and irrelevant. Those carols which drew their inspira¬ a sharp snap, spread the fingers apart so that the dis¬ This exercise is valuable to the performer, not merely taking leave of the latter it will be of interest to glance ward. Now stretch the arms gradually outward to the not, for, behold, I bring you good tidings of great joy, tion from the same dubious sources are, of course, tance from the tip of the little finger is as far as pos¬ because it develops the shoulders, chest and back mus¬ at the program of one acted in London during the time horizontal position, with the upper arm remaining mo¬ which shall be to all people. For unto you is born this scarcely to be commended, and for the most part have of Queen Anne, shortly after the year 1700. This one sible from the thumb. Do this without serious strain. cles, but also because of the valuable training in breath- You will notice a sensation of tautness in the palm of tionless. In these exercises we have one set of muscles day in the city of David a Saviour, which is Christ the fallen into merited oblivion. When we feel disposed to is of the sort known as “Miracle-play,” but the differ¬ mg, the consequent purification of the blood-stream, and the hand in doing this. Hold the hand in this position resisting another; and it is in this that the strength qf Lord. And this shall be a sign unto you; Ye shall find blame the Reformers and Puritans for their wholesale ence is slight and technical. the excellent carriage it gives to the torso. DECEMBER 1922 Page 807 THE ETUDE THE ETUDE Page 806 DECEMBER 1922 a n- the greatest musical works specially appro- We pass by intentionally those carols based on certain Arto ffie seS, we would name Handel’s Messiah Ex. 2 false and foolish stories from the “Gospel of the in¬ Pna . .. l f;rst part), and Bach s Christmas Oratorio fancy.” Other subjects, of which we would be glaa 0 (eSPeCnvytfe “ cond day,” which may be had pub- give examples did space permit, are Lullabies of the in¬ r C enarately The last is quite difficult but not be¬ The boar’s bead in band bear I, be-decked with bays and rose-mdrfry. fant Jesus, Angels and Shepherds, Welcome to Christ¬ yond the powers of really, well-trained choirs having mas, Farewell to Christmas, and Epiphany (the visit good soloists, and a chorus of at least a dozen or twenty of the Wise Men from the East). S ■ But even the most humble volunteer choirs need p p.r rir rj J-i-r,« j n-»t j The Boar’s Head seems to have some illusion to "espair of appropriate and inspiring Christmas music, And I pray you my masters be mer-ry, Quot es-tis in oon-viv-i-o. Christmas legends, though explanations are conflicting as even the best Christmas hymns are not difficult to The Appeal of the Contralto and unsatisfactory. That given at Oxford has reference sing - and what better music could there be than 0 Come to a purely local tradition. The most popular, though “The Creation of the World” Mye Faithful or Hark! the Herald Angels Smg. An Interview Secured Expressly for The Etude Music Magazine, With the Celebrated Concert and Operatic Contralto 1. The Creation of Adam and Eve. by no means the only carol dealing with it, is one which 2. The intreagues (sic) of Lucifer in the Garden of is sung every Christmas at Queen’s College, Oxford, Eden. when the boar’s head is brought in on a lordly dish. The Music and the Arts SOPHIE ERASEAU 3. Adam and Eve driven out of Paradise. verses, which are for the most part in English, are sung by a solo voice; the chorus, in Latin, by all the students. By Earl Balfour time to this field. Her voice is a rich, powerful contralto 4. Cain going to plough, Abel driving sheep. [Editor's Note.—Sophie Braslau was bom in New York tion of her work, and later with Signor Gabriele Sibclla, of great flexibility and with a range of no less than three The words of the chorus signify “I serve the boars )T- ClUTUrea—■“—J KU88ian”-‘—- pwrenis,h nvrer fatherju-bnvi beinguewy au- *;/*£/*I-physi- withn whom she has been for the last five years. In 1913 5. Cain killcth his brother Abel. City. of cultured Rui she made her debut at the Metropolitan Opera House, as octaves. Prior to becoming a singer she expected to become head, returning praises to the Lord.” xotk_The great British statesman, Arthur „*«*,*. She was educated at the Wadliegh High School and she a piano virtuoso and was being trained for that career by 6. Abraham offering his son Isaac. himself a musician of ability, in opening a musical through extensive courses with private c'1’" rince Feodor” in Musorgslzy’s , r r l11 'Hr Hri-i human beings; which cannot be moved without difficulty all through her childhood. A little singing every day teacher. It is next to impossible for them to break a chines, descending in a throne, guarded with mul¬ finger or break an arm of a pupil, whereas the voice the public knows intuitively that it isn’t real. The range save us all from Sataa’s power when we bad gone a-strayO tidings of and without risk. would certainly prove beneficial. However, to settle titudes of angels, with the breaking of the clouds, down to regular vocal work at the age of fifteen may teacher in a few seasons may do almost irreparable of my voice is as high as the average soprano. I sing Music is independent of space. You can have a sym¬ High C in Trovatore and the Low D in Tod und Das discovering the palace of the Sun, in double and prove ruinous, and I advise very strongly against it. damage. phony of Beethoven played in every musical center Mddchen of Schubert, over three octaves apart; but it is treble prospects, to the admiration of the specta- Seventeen or eighteen is early enough to enable the of the world at the same time, if you have a sufficiency contralto straight through. of musicians capable of rendering it. Time does not student to get time to acquire the right foundation and Not a bad idea for a movie scenario of the present technique. Then the voice is beginning to settle into its ' day, but a far cry from the reverent and simple little touch it. Neither does that other great barrier to the Flexibility for Contraltos common artistic enjoyment of civilized nations, the dif¬ final quality and range. sacred pageant of St. Francis. But perhaps the most generally known of the old “Contraltos should develop more flexibility. Many ference of languages, affect it. The translator of a “Of course, the actual age is very largely a matter Of course carols were written on many subjects, English carols is the one beginning “God rest you merry have an idea that this is not necessary. Jus, as the masterpiece is not merely a copyist; his personality is of the individual; but the great thing, after all, is to though all centering about the same great events. Those gentlemen,” which is sung to at least two different tunes, ’cellist is expected to play pieces with lightning-like not merely interposed, like the personality of all copyists, escape the voice butcher, especially the one who is mer¬ having direct reference to the Virgin Mary were more of which we quote what is probably the original and rapidity, such as the Tarantelle and the Elfentans of between the spectator and the original producer. To cenary and dependent upon his fees. This does not numerous before the Reformation, and some were of older one. Pepper, so should the contralto have her voice as flex¬ mean that the high-priced teacher is always the best. great beauty, as poetry. We quote from one of the fif¬ compare painting with language, you are compelling him ible as Galli-Curci. Such a work as the Furibondo of Very often the opposite is more likely to be true. How¬ teenth century: to copy in tempera what was painted in oils, or to render Handel is a splendid example of what every contralto as a drawing what was originally a colored picture. _ ever, the very busy, high-feed teacher in many instances There is no rose of such virtue worthy of the name should be able to do fluently and No progress will make it possible for a masterpiece is more independent and will not accept a pupil, voice or As is the Rose that bare Jesu. easily. Flexibility adds smoothness and richness to the no voice. Alleluia. of one language to be in the same full sense a master¬ contralto voice and does a great deal toward eliminating piece in another. It must always be confined to the Where the Day School Falls Down that ‘baying,’ hoarse quality which in some contraltos country of its birth, and in the main to those who have For in this Rose contained was “The voice teacher often spends many valuable vocal reminds one of a dog serenading the moon. learned from infancy the language in which it is ren¬ Heaven and earth in little space lessons in correcting things which ought to be taught “Heaviness, then, is one of the things which the con¬ Res Miranda! dered. No such limitations attach to our art. All can to every child in the day school. By this I mean, frankly, This carol is said to be one of the stand-bys with the tralto should be careful to avoid. The voice will be understand it, whatever be their Mother tongue. And how to speak right. Listen to the children’s voices “Waits,” a name given from time immemorial to little heavy enough as it is; do not try to make it heavier. By that Rose we well may see, mow that the thoughts of so many of us are occupied in around you; go in any car and hear how they talk. bands of musicians, sometimes choir boys, who serenade More than this, the contralto often seems to be prone There be One God in Persons Three, extending widely among the whole community the high¬ They are permitted to speak a kind of jargon in many people at Christmas time with carols. The same custom to grow heavy herself. I do not know why this is, but Pares forma. est, the greatest and the best of pleasures, I am per¬ schools which not only bears but a scant resemblance to has prevailed in other countries under other names, but contraltos seem to be more often stout than do sopranos. fectly certain that of all the arts and of all the finer the English language, as it may be spoken beautifully, Another favorite topic was the Ivy and the Holly, so probably not with equal regularity. Singing is a healthy exercise, promoting the appetite; forms of imagination, that which choses music as its but also seems to unfit them for speaking any language largely used as Christmas decorations. . For instance: We have, perhaps, given a larger proportion of space one eats abnormally, and there you are. This I have means of expression is the one which has the greatest beautifully and articulately. When people sing they speak The holly bears a blossom than at first intended, to the subject of English carols; but combated successfully for years by means of at least future among the masses of all nations to music. How can a person who cannot speak well As whitest lily flower; it should not be inferred that England alone has them. twenty minutes of vigorous physical exercise every day And Mary bore sweet Jesus Christ Many fine examples exist in France, Germany, and other overcome the speech faults in a very few vocal lessons? of my life. Exercise until perspiration comes freely To be our sweet Saviour. European countries—some remarkably beautiful ones in Whole-Tone Scale in Interlocking “The first vocal lessons of the child should be devoted and you need never fear the ogre of fat. I know because Bohemia (now Czeko-Slovakia). In America they have Octaves to learning how to utter consonants distinctly but natu¬ I have tried it. been written in great numbers and put on the market by rally, pronounce the vowel tones with the best stand¬ The holly and the ivy Daily Vocal Exercises various publishers. While many of them are of rather ards of good taste without affectation, and, more than Are both now fully grown; By s. m. c. “To my way of thinking, the best daily vocal exercises flabby structure—too much like the so-called “Gospel anything else, to ‘speak forward.’ Most of the voices Of all the trees that are in the wood are those which are used to ‘warm up’ the voice in prep¬ Hymns,” yet here and there one meets with a really I hear in streets and cars seem to be forced out of The holly bears the crown, etc. In studying interlocking octaves from Mason’s Touch aration for actual vocal practice. In accordance with worthy example of good music Combined with good and Technic, Vol. IV, it was a pleasant surprise for the shape. The children squawk in their throats or whine this, my first exercises every day are taken very lightly SOPHIE BRASLAU Other popular carols have reference to the good cheer poetry. Several of the Christmas hymns in the Episcopal pupil to meet the whole-tone scale which Debussy used in their noses, say their vowels in a totally different man¬ and very softly. I start with two notes, like a slow hymnal are properly classed as carols, and are all good ner from what is understood to be good English. In and feasting at Christmas season. Some of these are, so extensively in his works, thereby lending them a pecu¬ “Vocal progress means constant striving day after trill, in the most comfortable part of my voice. Then other words, our speech is permitted to be distorted in we must confess, rather more Bacchanalian than Chris¬ ones, one of the best examples being It came upon the liar charm, especially owing to the absence of a decided day, year after year. It means waking up in the morn¬ I take three notes, then five notes, then the notes of the midnight clear (words by E. H. Sears, music by R. S. a sickening fashion. Please understand that I am by no tian, or combine both in an incongruous way rather tonality and harmonic repose. This scale, however, was ing every day of your life and wondering what you are major and the minor triads in arpeggio form; then scales Willis). All these are in accordance with our modern means referring exclusively to the children of foreign offensive to a truly reverent taste. One quotation will not exclusively invented by the French master, for Rus¬ going to do that day to improve your art. I often say and more extended exercises. In this way the voice is taste, both poetically and musically. One reason that the parents residing in the slums. Go to some of the col¬ suffice. sian composers before him had made use of it in their to myself, ‘Goodness, will I ever arrive?’ There always gradually warmed up and gets in condition to take up ancient carols sound rather weird to us is that many of leges and high schools and listen. That will be enough. works. Mr. E. R. Kroeger has made a systematic com¬ seems such a vast amount of work ahead which must more operatic studies. However, it is a great mistake them were composed in “modes” which are now obsolete, Noel, Noel, Noel, Noel; pilation of these scales and arpeggios based upon them, to imagine that your vocal practice must be done audi¬ being neither major nor minor but somefliing quite differ¬ Selecting a Teacher be done. This is the salutation worked out in all the keys of the chromatic scale. It bly at the keyboard. I often study my roles in operas ent from either—the Doric mode, or the Aeolic mode, “It is safe to say that most vocal beginners fall Freeing the Voice Of Angel Gabriel. will be necessary to note that the whole-tone scale has and oratorios on a walk or when riding in my car. It for instance. into very bad hands. How is the pupil or the parent to Tidings true there become new but six tones and proceeds as follows: “One of the hardest things for the possessor of a big pays to think much and sing little. The trouble with tell whether the teacher is a good one. He can’t know— Sent from the Trinity Ascending: C, D, E, FS, G#, AS (C) voice to master is real relaxation. By this I mean phys¬ many singers is that they never seem to think but want Christmas Music Other Than Carols that is the tragedy of it. Some teachers are fortunate in By Gabriel to Nazareth, City of Galilee. Descending C, Bb, Ab, Gb, Fb, Ebb, (C). ical and mental relaxation as well as vocal. They all to be everlastingly ‘working1 their voices. Americans, We have space here only to allude to the use of special securing a few good voices and make reputations through hang together. No singer with a body and a mind built A clean maiden and pure Virgin Building up triads on the steps of this scale a series of particularly, are a practical people and want to see music in churches during the Christmas season. In the them; but that does not mean that in all cases they will like a'fortress can sing freely and in such a manner that Through her humility augmented chords is formed, by means of which Debussy ‘something doing.’ Let us have a little more of ‘some¬ Hath conceived the Person Second in Deity. Roman Catholic and the Episcopal churches, the ritual be equally good, although it means a great deal. Others large audiences are moved. The voice must be free like produced such novel and charming effects in his music; thing thinking.’ music is specially elaborate, and embraces certain extra as C, E, GS; D, FS, AS; E, GS, C have been celebrated singers. They unquestionably have a bird on the wing. It must soar as though by its own Good ale, Good ale, Good ale, Good ale. numbers specially demanded by the occasion. For “The American public seems particularly fond of con¬ Th"fa'e as '} aPPears in Mason’s Touch and Technic, had a wide experience. But in what? Singing, not power, and must never be forced out. That is a condi¬ For our Blessed Lady’s sake— instance, in the Episcopal church, the canticle Christ our traltos. Scalchi and Schumann-Heink, both born abroad, Vol IV (interlocking octaves) is as follows: teaching. Sometimes we find a singer who is a great tion, however, which only results from a great deal of Bring us in good ale. Passover, in place of the Venite. For use in churches Ascending: C, D, E, FS, GS AS (Cl teacher, but the two d.o not always go together. Con¬ careful and deliberate practice, combined with the ‘know have made their biggest successes in America. America Bring us in no brown bread of all denominations there is a great wealth of solos, Descending: C, Bb, Ab, Gb, E, D. C. sult the history of vocal music and you will find the how.’ Relaxation with a controlled breath is the basis loves to hear the contralto voice in simple songs as well For that is made of bran, duets, anthems, cantatas, and all sorts of appropriate as in the more elaborate arias. It will not tolerate the enharmonic substitution of E and D for Fb names of many famous vocal masters who sang with of all good tone emission. For instance, the tongue it¬ Nor bring us in no white bread, for therein is no game, music. Even the organist bestirs himself to find some¬ and Ebb m the descending scale. only fair success. The whole subject of voice training self must be relaxed. No one can sing beautifully with masculine quality long, but seems never to get enough And bring us in no beef thing appropriately joyful for the voluntary and post- seems to be swamped in such a melange of thought that a tongue arched up or humped up when the voice goes of a genuinely feminine voice with the real contralto lude, and one comes across many such pieces in the lists cispo° PUP1'S ^ave p'ayed these interlocking exer- For there is many bones, toward the higher notes of its range. quality. prepared by publishers of organ music. were nlavinv rt, °f i!T6S without discovering that they I confess that I do not know how to give the pupil or But bring us in good ale, for that goeth down at once. were playing the whole-tone scale? THE ETUDE DECEMBER 1922 Page 809 Page 808 DECEMBER 1922 THE ETUDE “The American musical public, which is expanding so Department of Recorded Music rapidly every year, is taking a more serious interest in the art. The demand for concerts and opera in our great Search of the Best New Records and Instruments cities is already far beyond the supply. The talking- A Practical Review Giving the Latest Ideas for those in machine alone satisfies those thousands and thousands who never can possibly hear an operatic performance at Conducted by HORACE JOHNSON seven dollars a seat. Thanks to this wonderful invention, the great voices of the day are carried about to millions instead of a few thousands. Of course we shall have New Records of Interest to Musicians How Music Clubs are Helping more opera houses; but even then the music supply— first American recital in New York last season. His that is, the supply of good music—will be far behind the When Geraldine Farrar retired from the Metropoli¬ success here was instantaneous and he has already made American Music demand, which is spreading so enormously every hour. tan it caused many people much sorrow, for they felt an enviable name for himself. The selection wh.ch he Written Expressly for The Etude by “As one goes through the country one realizes that that perhaps the greatest American diva was leaving the sings is Weatherly’s ballad, Friend o’ Mine. It is a song study never ends and that great fame, like Rome, is not musical world for good and all. Indeed, their fears which demands fire, intensity and spirit, and Mr. Barclay MRS. J. F. LYONS built in a day or on a frail foundation. It is but too were unwarranted, for not only has Mme. Farrar begun has given it all. His tone is heavy, full in quality and true that— a concert tour which will cover every state in the Union, power and he sings with splendid diction, building up to President of the National Federation of Music Clubs “ ‘Art is long but time is fleeting.’ ” but on the recent Victor bulletin there appears also an a climax which displays all the force and musical richness addition to the list of records she has made. The selec¬ tion is the well-known concert song, Si tries vas avaient that his voice holds. Theo Karle also contributes a record of an English des ailes (Were My Song with Wings Provided). This The subject is one which is uppermost not only in tify, has an opportunity to hear a real symphony orches¬ opera scores and all that goes to make up a library of aria to the lists this month. The aria which he has made A Device for Teaching Notes to little French song is one of the most beautiful of all my own mind, but in the minds of many thinking people tra concert once a year. It may take work, and hard music, as well as the accustomed volumes of history, the¬ for the Brunswick is Then Shall the Righteous, from of to-day who are interested in America’s musical devel¬ work, to keep from losing money on such a proposition, ory and biography. Surprisingly few are the public Beginners modern literature, and Mme. Farrar has made a repro¬ duction of it that surpasses every disk she has ever Elijah. Although this record is up to the standard Mr. opment. The Music Club movement has grown so tre- • but in the long run it will be worth the effort. libraries having anything like an adequate music section. Karle has set for himself, his diction has not registered created. mendously’in the past few years that people are begin¬ And it would be erfmparatively easy work for any Music By S. M. C. A Public School Question On the same list John McCormack sings the old with the usual distinctness. This aria is one of the ning to realize its great power, and it is coming into its Club to see that this condition is remedied. It should greatest of all oratorio work and is the delight and often own as one of the greatest cultural forces and civic And in the public school music connection there looms ultimately lead to the establishment of sound-proof rooms Most teachers occasionally meet with pupils who are English aria which has been the test of tone and breath the despair of tenor vocalists, for though it is simple in assets of our present-day life. Correspondingly, it is up, most important of all, the work for and in the rural where students could hear records on player-pianos and not accurate in reading notes. They confuse the treble control of so many singers, O Sleep, Why Dost Thou expression, all interest is centered in the interpretation now the business of our clubs to “make good,” as it schools, particularly in those isolated hamlets where phonographs—great music by great artists. If the com¬ with the bass notes and, in general, get things badly Leave Me? He sings it in superb fashion, each phrase of it. Mr. Karle has colored his work perfectly; his wresting a living from the soil makes up the whole of munity has no public library, then the Music Club can mixed. perfectly turned, each syllable accurately enunciated. Mr. were, in their growing responsibility. The subject might McCormack has no rival in singing arias of this type, pianissimo tones are pure and cool, depicting accurately, well be discussed at length and still not exhausted; but, existence; where musical instruments are few and far see that these musical opportunities are placed in the A simple and useful device for getting pupils over and there is no finer example of his consummate art the heavy text given him to exploit. knowing that the readers of The Etude are practical between, and the joy of living has been overshadowed school libraries; or, if there is no school library, help this difficulty, as well as for starting beginners on the When Richard Strauss was here last winter he made people who are looking for practical suggestions, we to establish one. right path may be constructed as follows : than this disk. An orchestral record of Schubert’s Moment Musical several records with his orchestra for the Brunswick. shall try to speak briefly and to the point. Take a piece of cardboard, sheet music size. On one is a recent contribution of the Philadelphia Symphony The first of these disks, Der Burger Als Edel, is released “The Future of America, Musically,” “The Making of Recognizing the American Musician side rule the treble staff, on the other the bass. Add Orchestra. Mr. Stokowski has caught in his performance this month. This record is as interesting as most instru¬ a Musical Nation,” “America’s Musical Independence,” And when it comes to the recognition of the American leger lines at convenient intervals above and below the all the scintillant piquancy which permeates this fasci¬ mental selections. It is worth hearing for the tonal color and so on, are topics that greet us from the pages of musician—artist and composer—what agency can do staff. If properly done the board will look like this : nating little melody. It is a creation of perfect balance, and interesting technical construction of the composition. every musical magazine and many newspapers; evidently more to bring this about than the Music Club? If we careful shading and skillful tempi. In several places the It is surely more meritorious than many other orchestral many people are greatly interested and concerned—and are sincere in this one thing, we can establish the Ameri¬ oboes have punctuated the melody with an effect which that not without cause. And yet, unhesitatingly, if we can artist so securely that there will be ho further dis¬ is most stimulating to the emotions. This record is most Yvonne Gall, the soprano of the Chicago Opera Com¬ had a Music Club in every city and town in America and cussion about the matter. Certainly a very large per¬ highly ccmmended to your attention. pany, has made a splendid record of Annie Laurie for those clubs were functioning fully and properly, there centage of the concert business of America is handled Though the Victor records mentioned seem to hold the Actuelle. Though of French birth and education, would be no longer any concern or doubt about our by the Music Clubs. If, then, we insist on presenting a the highest honors for musical beauty and expert work¬ Mile. Gall has mastered the difficult Scotch burr beauti¬ musical future or independence, or the rightful recog¬ goodly percentage of American artists to our audiences manship, those here noted, which the Columbia publish on fully and sings this delightful folk-song melody with a nition of our own American musicians, artists and com¬ in our various concert courses, there will be no founda¬ The pupil is provided with seven buttons or pennies, their December list, attain the same perfection. simplicity and musical tone of exquisite purity which best posers. In other words, the Music Clubs can do every¬ tion for the complaint that America shows preference and with these he spells the words such as those given Pablo Casals, the ’cellist, has made a disk of Popper’s expresses it. Without exception, this disk is one of the thing, if they will, to help in American musical progress. for the foreign artist; a complaint that has truly, not in Sutor’s Note Spelling Book, Bilbro’s “Spelling Lessons famous Gavotte in D. In this selection his performance best records of Annie Laurie. True, they will need cooperation of others interested, but been without its just foundation in the past. We do not in Tune and Notation” and Morris Primer, Exercise is almost violinistic in effect, though always he sustains Claudia Muzio, a mezzo-soprano of the rival organiza¬ they can secure that cooperation through earnest effort mean to exclude the foreign artist; we have been most No. 2, placing the button or penny on the proper line the rich, warm tone which is the appealing charm of the tion, the Metropolitan Opera Company, also has made a and unselfish work. The National Federation of Music generous in this respect. But why can’t we give equal Clubs, as an organ'zation, has the machinery anti power or space. Children who are averse to writing notes ’cello. The selection carries the connotation of a folk¬ record which the Actuelle release this month. The selec¬ consideration and appreciation to our own Americans for doing much if the individual member clubs will con¬ enjoy this immensely and can be usefully employed while song, so simple and lyrical is its melody. It is merry tion is the famous aria, Vissi d’Arte (Prayer of Tosca), who have every right to it? As for the composers, if sider themselves directly responsible for the musical waiting for their lesson, or after the lesson period, if and graceful, and could be used for dancing the Gavotte. from Puccini’s “La Tosca.” This is the most lyrical the Music Clubs give due attention on their regular .club the teacher finds that they have not. yet mastered the Another instrumental solo disk of interest is the violin melody that Puccini has written. Mme. Muzio has ac¬ progress of their respective communities. programs to these Americans and insist on visiting artists and orchestras including American composers in their notes. It makes a really interesting game. record Toscha Seidel has made of his own paraphrase of complished a great deal with her reproduction of it. Paderewski’s Minuet. This quaint little tune is the most programs, truly a tremendous impetus will be given to Not only is her every syllable distinctly enunciated, but A Few Things to Do famous of any of the great pianist’s compositions, and American creative art. her voice has registered with surety. She builds to a Now a few things, definitely, that can be done—and we Mr. Seidel interprets it exquisitely. He first plays the climax of a full, round, clear, high tone that could be know they can be done because in many places they have air through as it is written, and then, upon repetition, Much Yet to be Done Musical Jealousy the envy of many artists. Her phrasing is carefully fin¬ been done. The Music Club can absolutely fix and embroiders and ornaments it with a pattern of florid We have merely scratched the surface as to the field ished and altogether she has created a disk which calls maintain the standard of musical appreciation of its cadenzas, trills and double stopping which seem but to of work for the wide-awake and sincere Music Club. By Emma U. Watrous forth great praise. It is recommended with the knowl¬ community. It can make a music-loving community out enhance its beauty. Always accurate in his performance, edge that it will please. of an indifferent or really antagonistic atmosphere. We Numerous critics have kindly said of the National Fed¬ Mr. Seidel has credited himself with high honors. Certainly the most destructive of human emotions have in mind one city that six or seven years ago was eration of Music Clubs that it is to-day the greatest There is a vocal record in spirit with Christmas which In company with these artists, Dezso Szigeti. a new is that of jealousy. With the exception of love and war musically dead, so far as real appreciation was concerned. constructive force for music in America. We are earn¬ holds a place on this list of releases. It is the reproduc¬ violinist to the realms of phonographic art, plays a nothing seems to be so provocative to the “green-eyed Such a thing as adequate audiences for musical attrac¬ estly striving to do our full part; but we must have tion of All Through the Night, the familiar hymn which double-faced record of Two Hungarian Poems of Hubay. monster” who seems to have the faculty of consuming tions was impossible; hence there were no musical at¬ unanimous, united and concentrated cooperation from all Margaret Romaine has created. She has caught admir¬ The first selection is a pensive, haunting melody of Hun¬ all those who admit him to their souls, as music. A list tractions. To-day, the leading artists of the world visit the Music Clubs in America; and we must have many, ably the quality of peace and rest which is the thought garian folk-song extraction. In it is to be discovered of the famous musical jealousies would be interesting. this city and are given large audiences and true apprecia¬ many more Music Clubs if we are to accomplish our expressed in the old song, and, with the aid of an orches¬ where the composer of Hearts and Flowers, the pride of It would run into the hundreds. Opera companies are tion. The city boasts of many splendid local artists and full work. Our membership is large and is steadily in¬ tral accompaniment of exactly the right weight, has pro¬ the movie musician, found his germ idea. However, with usually nests of jealousy. gives annually excellent performances of Oratorio and creasing, but there are still many fine clubs in America duced a record which will be of everlasting value. MRS. JOHN F. LYONS Possibly one of the most famous cases of musical all that, Mr. Szigeti interprets his work with much fire Opera. Band concerts are given in its parks during the who have not joined their efforts with ours in National The Brunswick publish the first record made by John Federation and there are many more communities that jealousy is that of Henry Cooke (deceased 1672). and enthusiasm and achieves interesting results. The summer season and many local concerts attract wide at¬ by the workaday living of each twenty-four hours. The Barclay, the English baritone. Mr. Barclay, who is one have.no Music Clubs. Cooke was a fighter who gloried in the term of “Cap¬ second poem is a vivace movement of great intensity, tention. The pioneer work of a Music Club is directly well-organized club of any community has within reach of the best known of all English concert artists, gave his spirit and dash. Does your club belong to the Federation? If not, why tain.” He joined the King’s Army and fought valiantly, responsible for most of this development and indirectly several rural schools which might be placed under its not? Our various departments of work are at your dis¬ it is said, but when the Commonwealth came into responsible for all of it. jurisdiction and the club members be made responsible posal and we are ready to help you do your part for a existence he was obliged to make his living teaching for putting music and some sort of musical instrument musical nation. Have you a Music Club in your com¬ music. Eventually he became “gentleman and master Music at the School Age into those schools. Success in one such venture will of the Children” when the Chapel Royal was established Feel the Rhythm munity? If not, organize one and join us in our march But, after all, a real musical America depends upon the surely bring success in others. The plan the California again in 1660. There he had as his pupils no less than of progress. Our Extension Department, Mrs. Cecil musical education of our boys and girls while they are Federation of Music Clubs has instituted in this work Purcell, John Blow and Pelham Humphrey. Frankel, Chairman, is anxious to help you in such or¬ By George S. Schuler might well be followed by others. in the public schools. And we have never yet had the ganization. Her committee is composed of the various Humphrey so closely imitated the work of his master proper recognition given to music by all our public that after some time he was able to supplant him in his district and state presidents, who will give you personal Has it ever occurred to you that rhythm is something schools; in fact, very few of them have even approxi¬ Junior Music Clubs state position. Captain Cooke flew into a rage of rhythm itself so that the pupil learns to feel it as a assistance. Are you really interested in the musical that can be felt? That it need not be heard? TJiat a mated it. The Music Club can render a very definite The organization of junior and juvenile auxiliaries to jealousy and this continued until in his death notice distmet thing disassociated with music and muen of the progress of America? Then don’t stand outside and person totally deaf could easily feel a rhythm tapped service in its community by securing, through enlight¬ Music Clubs will have a tremendous influence on the there appeared the significant line, “died of Jealousy.” difficulty dissolves. criticize, or even philosophize, but come inside and help! upon his arm or even see a rhythm with the eyes, such ened public opinion, the proper recognition of music in public school children and will greatly assist in edu¬ as the swaying of the trees or the flight of a swallow? the school curriculum. It can encourage the establish¬ cating appreciative audiences for the concerts of visiting wun a pencil upon a table. Place the piece on tl artists. The Junior Music Club movement is one of the One of the reasons why many students of music fail ment of music appreciation classes, classes for the study table before the pupil and let him tap it through with “Anything that you can begin and do right now is to comprehend rhythms and execute them is that they of applied instrumental music, and of public school just causes for pride in the National Federation. It Forty years of Progressive achievement—that is the pencil in the right hand. Then let him take another pe is gaining ground every day and its possibilities are not worth the doing. This idea that we must do a do not feel them. This in all probability is due to the orchestras which will ultimately provide the material for record of The Etude. .Literally hundreds and hun¬ cil m the left hand and while counting aloud in ve the symphony orchestras of this country and will un¬ tremendous. thing right now or not at all is one of the banes fact that in learning a piece of music with a compli¬ dreds of Music Clubs have been started as “Etude” strict time, tap the main rhythmic outline in the left han doubtedly make for the greater appreciation of music Again, the music clubs should see that a music section of America. What is the difference whether the cated rhythm their attention is divided among the melodic Clubs and have used the Etude as a medium for thing is done to-day or if it takes ten years, just so line, the notes, the harmony, the metre, the touch and 1 his makes an interesting game which is by no men as played by the visiting orchestras which come from is established in their various public libraries. The music simple. Establish rhythms so that you really feel the study and inspiration. The Etude believes enthusi¬ it is done right.” the expression marks. Make a separate study of the larger musical centers. And, by way of parenthesis, we student has as much right to information as has" the stu¬ and you will be delighted with the result. must say that we deem it the duty of the Music Club to dent of literature or architecture. This music section astically in the Club movement and has supported see that its community, wherever the size of it will jus¬ should include sheet music, books of music, oratorios, it unswervingly for four decades. TEE ETUDE DECEMBER 1922 Page 810 DECEMBER 1922 THE ETUDE Behind the Scenes with Artists A Particular Treatment of the Turn The Most Important Musical Step By Orlando A. Mansfield, Mus. Doc. By Harriette Brower Presumption is not always good pedagogy, but we are By the Noted Virtuoso-Pedagogue V going to presume (for the purpose of this short paper) that our readers understand the principal facts relating ALEXANDER LAMBERT Shall One Sit High or Low at the Piano ? to the composition and usual rendering of a turn. This leaves us free to concentrate upon a particular treatment Etude Readers who missed Mr. Lambert’s former article, “Getting the Right Start la Piano Playing” In attending piano recitals the sort of chair, stool or of the turn after the written note, the point to be dis¬ (November Etude), will find it a very helpful article for teacher and student. bench the performer uses excites little or no comment cussed being whether the first note of the group of notes in the mind of the listener; in fact he may not even lowned pianoforte teacher, Mr. Lambert has been the guide and teacher of mi virtuosos. Those forming such a turn should fall exactly upon the beat or for the right elementary instruction than he does in the higher de- notice the difference in the sort of support which holds In this, and in every subsequent case, it should be r Editor's more stress upon the need a little after the latter. noticed that the throwing of the first note of the turn who read h the artist. Paderewski may sit so low as to look almost That eminent editor and teacher, Mr. Franklin Taylor velopment ’ h difficult material.] after instead of upon the beat is expressed by tying the diminutive; most of the great ones may seem to be “on (1843-1919), unhesitatingly declares for the course last principal note to the' first note of the group comprising practicing, once they have learned the values of notes. The very young child beginner should not practice the level,” while occasionally a player will come along, as named, as thereby, he says, “the turn will be made more Having discussed the age at which a child should start the turn. But Ex. 4 shows a turn after a comparatively The student should be careful to play as he counts and over half an hour d day, and the time should be increased for instance the gifted young Hungarian, Erwin Ny- graceful than if it began precisely on the beat.” the study of the piano and having covered generally the short note as regards notation, but one of considerable not merely count as he plays; for if he counts in strict as its strength grows. Few people realize what exertion iregyhazi who has his stool screwed up so high that his Mr. Ernest Fowles, in his fine work, “Studies in Musi¬ rules to be observed in the selection of a teacher, we it takes to keep on striking the keys of a piano. It is arms descend almost perpendicularly upon the keyboard. duration because occurring in a slow movement, the time he will play in time. cal Graces,” says that “ a stiff and regular performance are now ready actually to enter upon the period of important that at no time a child’s strength should be This is an “eccentricity of genius,” in his case, and does Adagio in A flat, from Beethoven’s Sonata in C minor, It is impossible for me to say how long it should upon one of the time-divisions of the bar (measure) instruction itself. take a pupil to get through these elementary steps. taxed. Muscles and tissue as well as nervous habits are not follow the law of cause and effect. should be studiously avoided when the tempo permits of 10, No. 1. We show, side by side, the mechanical as well Some grasp quickly, some slowly. Nor does it mean, constantly forming in the young child, and it is possible On one occasion, when this talented youth happened to the ‘weighting’ of each sound.” as the artistic and vastly preferable method of execution: Get the Best Possible Piano necessarily, that the slower pupil will not eventually to make pianistic habits as much a part of the muscular be at the writer’s studio in company with other musicians, Lastly, Dr. H. A. Harding, in his useful treatise on Get the best piano you can afford and avoid jumping show as good results as the faster. Some start slowly and nervous automatic actions as walking and breathing. for afternoon tea, he consented to play. Before doing so “Musical Ornaments,” says that “When the turn is played at an ill-advised “bargain.” A good instrument is a and get faster; others reverse that order. Hence, slow¬ But to do this properly the element of fatigue must be he gathered up several large books and placed them on during the latter half of the principal note, it is better blessing to the hands and ears of the pupil. It responds ness in progress should never be permitted to discourage carefully eliminated. the piano chair, which other artists had found of con¬ not to commence it upon a beat or a division of a beat.” easily to the touch, it remains in better tune and is either pupil or parent. It must be borne in mind that the It might be advisable to repeat here that the child venient height. Finding these insufficient, he added one Of these three writers Mr. Fowles touches upon the constantly dependable. The poor instrument is mislead¬ or two sofa pillows to the pile, while the onlookers re¬ slow walker reaches his goal just as surely if not, in should practice on a good piano. A poor piano is not crux of the whole matter when he declares the method ing and unsatisfactory. To do good work you must have the best medium to bring good results from a pupil, garded tlie performance with surprised amusement. From of execution to be, after all, a matter of tempo. In other fact, a bit more surely than the quick walker. this lofty eminence the youth delivered himself of the big good tools. . . especially if the action of the keys is stiff. It is hard to words, if a movement be rapid, or the time allotted to the Parents not entirely confident of their ability to pick How Many Lessons a Week? strike, responds inadequately and gives secondary satisfac¬ Ballade by Liszt. Under the circumstances it was splen¬ turn after a note be very short, the first note of the turn a proper piano (there are many excellent makes) should didly played, but one could not help wishing to hear the In the matter of lessons, I advise three a week of half tion all around. Also, a piano that is not in tune and will have to fall on the beat; but if the movement be slow, consult the teacher they have chosen. The latter will work under more normal conditions. With a lower seat Ex. S shows a similar case from the Andante preceding an hour each for the very beginner. This is due to the kept in tune is a very bad influence indeed and is likely or the time allotted to the turn be considerable, then it is ordinarily be more than glad to assist in the purchase the tone would have been of much more beautiful quality, Mendelssohn’s Rondo Capriccioso, Op. 14: necessity for constant supervision and the short periods to affect seriously the pupil’s musical ear. better for the first note to fall after the beat—better, or rental of the instrument. I might say here, incidental¬ the arms could have been naturally relaxed, and the great As the child gets a bit older and stronger the practice because more artistic, or, as Mr. Fowles says, less “stiff of time which the pupil can practice. In fact, those effort used to produce power would have been avoided, ly, that it is far wiser to rent a good piano than' buy a time can be materially advanced. A young child—even and regular.” who can afford it would do well to have an assistant since the arms could have fallen of their own weight, re¬ as young as eight—who has been studying a few months Let us now descend, or ascend if our readers will, from teacher supervise the daily half hour of practice. In all inforced by impulse from shoulders and back. ^There is no sheet music for the absolute beginner. can begin to practice an hour a day. This time should be theory to practice. First we take a turn after a note events, not less than mo lessons a week is the absolute Some may be surprised at this; it may be a new thought Hence a “piano method” is almost invariably employed. divided into two periods of half an hour each with a so situated that there is only a very limited time for the This is a book containing exercises and little pieces in rule for the entire first year of study. that height of seat can make a difference in the tonal After the first year or two—two lessons a week are good rest time between each. For a very young child rendering of the ornament. Here are two examples, both graded advancement which carries a pupil to the point effects which a great artist produces. A moment’s re¬ sufficient. Once the pupil has gathered confidence and the time should never exceed this. from quick movements, the first being a turn after a when he is able to continue with sheet music. flection will serve to convince one this must really be the is begining really to know his instrument, it is advisable simple or undotted note, the second after a compound By “piano method” is not meant a method in the case. Why should Paderewski, the greatest pianist of to leave him plenty of time for independent work and Never More Than Four Hours a Day his generation, sit so very low? There must be a reason. or dotted beat. The first extract is from the Finale usual sense of that word. It is a misnomer for what_is (Prestissimo) of Beethoven’s Sonata in F minor, Op. 2 Lastly, in Ex. 6, we have illustrated the turn after a thought. . For older pupils, rules vary. But the most I ever Among the writer’s most cherished possessions is the no more that a group or collection of musical tid-bits No. 1; the second from the Allegro of the same com¬ dotted note of considerable length, really an example of Average and good progress should result in a pupil s permit even my most advanced pupils to practice is four very chair used by the Polish pianist when he practiced how we ought to have rendered the turn in Ex. 2 if we for the beginner. emerging from his “method” (or beginners’ book) in hours a day; this, even though they may aspire to become poser’s Sonata in E, Op. 14, No. 1: Unfortunately, most of these “methods are antiquated nightly at old Steinway Hall. The exact height of this had only possessed the requisite time: from eight months to a year’s time. Once through with famous as pianists. It is not well to think that art, and bulky affairs containing a great quantity of unneces¬ chair seat is seventeen and a fraction inches from the EXl1 Prestissimo the “method”, however, elementary instruction continues. although produced by hard work, is better or more floor. sary matter. Hence, a pupil is apt to become bored by Examples and Illustrations Neither parents nor pupil are to believe that he has now quickly produced by too much hard work. One’s fingers The precise height of chair or stool which the young having to work with the same book for an excessively entered the advanced stage. cannot stand the strain of five, six or seven hours’ practic¬ player uses at the piano seldom claims his attention; and long time. For this reason, I advocate the use of a He has really learned but a few things. He has an ing, day after day, without taking revenge by losing if it ever does, he usually elects to sit high, as high as he modern piano method which contains just enough but no idea how to use his fingers, hands and wrists. He has strength and surety a few years later. I have long said can screw up the stool. In the beginning it is the more than is necessary to carry the pupil to the point become familiar with the minor and major keys. His that a pupil who cannot accomplish much in four hours, teacher’s place to direct him, to put the piano stool at when he is able to go on with sheet music which can be hand is a little bit formed. He has learned time value. will not in six. I have never known this not to be true. just the right height and so accustom the student to selected by the teacher. Inasmuch as there are several For the intermediate student who has not the time to correct conditions. But does the teacher always know He can play the simplest of little pieces. And that is excellent modern “methods” on the market, no difficulty devote four hours a day to study, and who studies only what is right? In nine cases out of ten, no. Probably about all. But, at least, he has passed through the should be experienced in finding one. for pleasure, two hours or even one hour and a half the rank and file of teachers of piano do not know what difficult period of initiation and is now prepared to enter daily practicing will produce good results, provided he effect the height of seat has upon the player. Nor do Position at the Keyboard upon more interesting study. The foregoing extract is from Beethoven’s well-known practices carefully and systematically, following in gen¬ they know that an adjustable chair is much more com¬ Sonata in D minor. Op. 31, No. 2. There are certain cardinal rules for the beginner the It must be already clear to my reader that the study eral and proportionately my schedule for the daily work fortable and artistic than one of those wobbly affairs observance of which is imperative. From the start, a of the piano is an intricate and difficult one, not to be From what has been already said it will be obvious that of my advanced pupils. This is as follows: called piano stools, which “go with the instrument,” when correct position at the piano should be insisted upon. lightly undertaken nor indifferently treated. If a child the execution of the turn depends upon the tempo; On a basis of four hours study a day, the time should it is bought. These are a delusion and a snare. The only Here it will be noticed that the first note of each turn The student should sit far enough from the keyboard is once actually started upon it, in addition to the super¬ (and that while the placing of the first note of the turn be divided into an hour and a half in the morning, the good thing that can be said of them is that they can be falls upon one of the rhythmic divisions of the measure. to be able to move the arms with freedom. The chair vision which is invariably advisable, he must be treated after a note slightly later than, rather than exactly upon,) same in the afternoon, and one hour in the evening. raised or lowered, in every other way they are an abom¬ Our next examples show that when there is more time in should be so adjusted as to allow the elbows to be a patiently and with understanding. His task is no light the beat is a practice which should be followed where- Half an hour in both the morning and afternoon sessions ination. Yet in one school of music, which advertises which the turn may revolve or unfold itself, this “stiff ever there is room or the tempo will permit c f such a trifle above the keyboard. If his feet cannot reach the one, but genuine sympathy and assistance will go far to largely, the director endeavored to forbid the use of the and regular” method should not be followed. Example 3 make it easier. Above all, his piano work should be should be devoted to finger exercises and scales, half an rendering. Such a method is “worthy of all accepta¬ floor, a footstool should be supplied. hour to etudes and half an hour to the assigned sonata chair, saying students would have to use stools wherever is from the Prestissimo previously quoted and shows that, As the formation of the hands and fingers is the taken quite as seriously by the family as would any tion” because it avoids the mechanical and suggots the or piece. The evening hour should be devoted to review¬ they might go and might as well get used to them in the although the tempo be rapid, the time allotted to the turn artistic, without which latter attribute any musical per¬ matter of paramount importance to a beginner, close important venture by some older member of it. That ing the last lesson. school 1 No arguments in favor of artistic performance, is considerable because the latter occurs at the end of a formance will be in danger of resembling what Shakes¬ attention must be paid to their use. In striking the keys attitude will not only encourage the beginner but also comfort, ease or musical effect had any weight at all. The rule as to the speed of practicing is the same for comparatively long note: peare would call “Art made tongue-tied by authority.” the fingers should be slightly curved. Finger observation tend to make him take the work more seriously than The artistic fact is that the height of seat at the piano the beginner as it is for the advanced student, for the and training is best commenced with exercises based on he otherwise might. is governed by the length of the player’s arm, from amateur as well as the professional. One should always the compass of five notes. Every teacher knows the shoulder to elbow. In other words, the elbow should Regular Lesson Plan for Teacher and Pupil Parental Supervision of Practice practice slowly and carefully. If a difficult passage is value of those exercises and I need not consume space hang a little below- the line of the forearm. This position Unfortunately it is not possible in a limited space to reached, it should be practiced with each hand separately will give much more freedom to the fingers, allowing expounding upon them. repeating the passage, first slowly and with a certain I shall have something to say on the subject of practic¬ go very deeply or extensively into the difficulties of them to act with quickness, ease and lightness. amount of strength, and then faster and more softly until A mother once suggested that she would like her child correct practicing. All I can do is to treat of the general The great artists of the keyboard doubtless sit a little ing, later on; but I wish at this point to emphasize the to have one lesson every two weeks. I told her I could :_•_,• , “ iii luc pdbi to give dii)' rules which govern good practicing and which can be it is mastered. lower when they are at work in their studios than when value of keeping the hands quiet while practicing these not do this, and for two reasons. The first was that it au m,°St °f the useful suggestions of the five-finger exercises and watching attentively the action applied to almost everyone with good results. they come before an audience. Cortot is a pianist who eacher have been forgotten. So the pupil usually thinks I am most certainly not one to recommend that a The Loose Wrist would interfere with the pupil’s progress; and the other, of one’s fingers. Needless to say, practicing in this way finds sitting a trifle higher when playing in concert ad¬ beln ,S t0 Wait tiU the next lesson for new pupil’s parents should interfere with the course of his In practicing, the wrist must always feel perfectly visable. But the student will be greatly benefited by that it would necessitate a double schedule which would exclusively with each hand separately for a few weeks is be very inconvenient for the teacher. dl!‘ fmS °u 3nd °" 'n this way tiU his interest is pianistic education. That should be left entirely in the loose. The moment one feels the wrist stiffening it is using a low seat at the instrument, especially at practice. beyond rekindling by any method. essential. a sign that one is practicing with too much strength The pupil would lose interest in lessons so far apart. I must confess that this is the most uninteresting as hands of the teacher who, once chosen, should be trusted Watch the great pianists and note how this, as well as and that, instead of the fingers alone being used, the By practicing on the lesson the first week, he would per¬ more 1 f°posed an0‘her plan that would be well as tiresome period of piano instruction. It is one of until and unless he has demonstrated his incompetence. every other point attending a public performance, is whole arm is working. Finger cramps are often the haps get it well, but he would let it go stale the next Tnlv for thof°7VbUtV°f C0Urse’ this » he advised the supreme tests of a teacher’s abilities whether or not But, in the matter of practicing, parental supervision is thought out. Wilhelm Bachaus, the marvellous technician only for those feeling the stress of finances. It was:- result of practicing with a stiff wrist. Therefore, I week. Thus the lesson would not be properly prepared he can make it interesting to the student, and of the almost invariably a necessity in the early days of study. and truly great artist, told the writer that he is very repeat again—practice with a loose wrist' and relaxed when the time for recitation came. lessons "LrT *" ]""* for ° month ” so; then slop latter’s desire to accomplish results. It is wise to bear It is, therefore, for the parent to ascertain the time his particular about his piano chair; it travels with him °n? f°r thrce or four weeks. body. I am constantly emphasizing this to my pupils. Or, perhaps he—realizing that there were two weeks in mind that the rewards for passing bravely through it child is supposed to devote to the piano and see to it everywhere. The same can be said of Ei nest Schelling, and If there is the least fatigue, stop and rest. It suffices of many others. See to it, then, that your piano seat is till the next lesson—would think plenty of time remained ress ohf°thehnhe?ie temp°rary stops will retard the prog- are very great and repay more than adequately the that that is done. It is an old saying that “Genius is a gift for hard to practice but a few minutes with a tired wrist to adjusted to your particular physique. for practice. With this idea, he most likely would do up in interest A£* reSu,ar weekly lessons will make investment of time and patience needed. his practice in an undecided manner, also thinking that as comnared tlf0’^6 lnterva' °* taking and stopping, work.” Certainly inspiration is closely allied to per¬ incapacitate one from using it for weeks. if he should practice too much the lesson material might The Life of Music spiration; and without the one there is usually but little I have already advised even my most gifted students not to practice their entire lesson every day. One can learn grow tiresome. So, time soon slips by. A week is gone wm ? Another matter of importance is that of learning from of the other. But even the most talented child would Music forces me to forget myself and my true and barely an hour of practice done. He suddenly rather play than work. Hence the influence of a loving a page a day easily where two or three might be hard. state; it transports me to some other state which is childhood to play in time. Time is to music what life realizes that but a few days remain till the next lesson; their eye is usually very much in order. The putting together of the whole then becomes a simple not mine. Tolstoi SlttZ,1,1 is to one’s body All beginners should count aloud when and, mustering up courage, determines to practice more. possible. °nger 111311 they had supposed was THE ETUDE DECEMBER 1922 Page 818 Page 812 DECEMBER 1922 THE ETUDE task. I might mention here the necessity of avoiding the Just What Really Is Practice? tendency to slide more or less negligently over the A Clinic on Footlight Fever easy parts in practicing. They are as important as the A Practical and Interesting Discussion by the Gifted and Brilliant Australian Pianist and Teacher Distinguished Teachers Give Cures for Stage-Fright difficult ones and should not be ignored or treated lightly. Paul Howard To do so results in errors and habits which are baneful Emilio Roxas Lazar Samoiloff Frederick Haywood Bruno Huhn Ragna Liane and of which I shall speak later on. It suffices now the conscious deliberation can come to the aid of the Dudley Buck Oscar Saenger Stephen Townsend “Practice makes perfect” some one says; but a com¬ Arthur Hubbard Sergei Klibansky Mrs. John Dennis Mehan to counsel all pupils to do easy parts as diligently as subconscious habits which might otherwise scatter. Victor Harris the others. mentator remarks that only perfect practice makes per¬ Claude Warford Therefore, when you have finished your first learning The pupil, while practicing should always sit straight fect, and runs on to speak of thoughtless practice which of a work and can give a finished performance, start at the piano, shoulders thrown well back, and far enough results in finger perfection at home and chaos on the Prepared by VERNE RODERMUND and learn it in the manner described, until you have it away from the keyboard to be able to move the arms concert platform, when the mind cannot control the the best known and highest priced vocal instructors in the east. Some so well in hand and mind that you have no need for the [Editor’s Note.—The following article embodies opinions from many of with perfect freedom. fingers and does not seem to know the composition at swing of movement to save you; until you can stop on pupils, and this symposium embodies what may be called the very best Learn from childhood to listen to yourself. Many all. All quite right, the writer puts his finger on the are also known as conductors, authors and composers. All have had noted artist any note or spot in the work, answer the ’phone or write public for the first time and to many who have never recovered from the faults would be avoided if pupils cultivated this important vital spot, but without fully elucidating. Thoughtless current thought upon a subject which is of real concern to all who appear in a note, and continue on the notes following the last you rule more generally. Not only fingers but also ears and practice is not practice at all in some respects, because terrors of stage-fright.—Editor of The Etude.] played; until you can name each measure or phrase brain should be at work. Listen to yourself as you might the mind does not practice. In learning, i. e., memoriz¬ To seek the remedy for stage-fright, we listen to another. That is one way of becoming your through which you are passing as being this or that fright, except constant appearances before the ing a piece, a variety of faculties are called into opera¬ must first learn its causes which are generally own best critic. tion to fully acquire mastery. bridge or episode, what subject or, part of the develop¬ Some months ago, I was lured to one of those things public. Finally, I should advise all pupils not to attempt to The fingers, by playing, form the habit of that succes¬ ment. Be able, without copy, to go back to any other they call “student recitals.” It was a very terrible ex¬ Sometimes slow, deep breathing immediate¬ as follows: practice with expression or “feeling" before the piece spot whatever at will, just by thinking back to it, and sion of movements. perience, and I am not sure that I am fully recovered ly before performing will help. (1) Lack of knowledge of the subject. lias been first mastered technically. To follow this rule The eyes, by reading the copy, will photograph the continue again from there. even yet from the suffering I underwent. I heard good While playing at a normal rate a difficult or at all in¬ (2) Unfit physical condition. will invariably result in better subsequent interpretations printed notes on the brain and can in emergency visual¬ natural voices which had grown worse, and bad natural Stephen Townsend: than might be achieved otherwise. volved passage, slow down, thread out, and deliberate voices which had not been improved, through cultivation. (3) Premature appearance before the public. ize any passage to the mind without copy. I think “mental suggestion” is about the The hearing faculties, by repetition, learn the melo¬ on each note, and see if you can upset the train of But the singing, bad as it was generally, was not so (4) Nervous or disquieting environment. How Interest Stamps Musical Pictures dies and harmonies in detail, and the ensemble effect. thought or memory. striking or annoying as the fact that quite half of those only remedy. I have known it to be success¬ All, or a part, of the foregoing conditions Test every part of the work in this manner and build on Your Mind The mind—intellect—analyses, intervals, notes, phrases, incipient Carusos and hopeful Galli-Curcis were victims ful in several instances. may so affect a singer or actor that his or her up the faculty of visualising the next notes, so that of that bete-noire, stage-fright. Stage-fright is decidedly and all the data of construction. audience will immediately notice in him the your hands play them from the intention of the mind uncomfortable for the performer, and not much more Mrs. John Dennis Mehan: By Ella von Berg The emotional, aesthetic and poetic faculties learn their and not through the hands running away like bolting enjoyable for the audience. I have been, at different There are several things which, to my mind, ever-apparent signs of the malady in question. “You learn in proportion to the degree of your The eyes also, in performance, have to then be accus¬ horses. times, performer and audience, so I know. will partially, if not absolutely, cure “stage- To decrease to the minimum all signs and tomed to seeing the hands do their gymnastics, whereas In making this analysis of notation and phrase, also On my way home that night, I pondered the matter. interest.” fright.” feelings of stage-fright, I would advise the at first they gave most attention to the copy. make the same analysis of the muscular movements What are those students taught regarding stage-fright ? Why hasn’t some musical Euclid said that before? It Complete understanding of oneself; which performer, first of all to know thoroughly his is an axiom that every student should get at the first All the above must unite in a perfect ensemble in per¬ required to get the various groups of notes to blend Do they receive any instructions regarding it? What subject, and by constant study and rehearsal— lesson just as the student in geometry gets “The formance, otherwise there is a danger. gracefully at a slow pace, the widening out becoming does their teacher think? These, and other, questions means mental and physical poise. shortest distance between two points is a straight line.” equal in all respects. When you study serious works in I asked myself. A mastered, underlying technic of voice pro¬ for months if necessary—completely memorize House Performance Difficult When you see an advertisement in the paper for a this manner, and only then, will you be able to go on There is a sort of question known as a “rhetorical duction, which will allow perfect concentration that which is to be delivered to the public. suit or a coat at $21.49 you forget it or you remember Often performance at home is more difficult because the platform and take stage fright, the rattles, and question;” which simply means a question asked, not to on the mood and delivery of the text. Secondly, the artist should live a natural, it in proportion to your interest in getting a coat. If with guests there will be animated conversation in biting cold all with you if you like, after the manner of be answered, but merely for the pleasure of asking. My normal life, avoiding as far as possible, for a you really want that coat $21.49 will stick up in your course of entertainment, and some, at any rate, find it Marley’s ghost dragging a chain of cash boxes and questions about stage-fright were not rhetorical ques¬ Emilio Roxas: mind until you get it. difficult to attain, at a moment, all that recollection and safes behind him, and be at the same time insured tions. Therefore, I at once set about getting them short period before each performance, any un¬ You pass down the streets of a great city seeing the grip necessary for a collected and intentional perform¬ against breakdown or bad performance; for however answered. My method was to inquire of a dozen or so In my opinion, there is no complete cure due exertion. ance; whereas, before public performance they may re¬ faces of thousands of people, all of whom you imme¬ disturbed the mind, it will be so full of detail of the representative voice teachers how they dealt with the for so-called stage-fright, in view of the fact Thirdly, I would suggest that the young diately forget; but if you are a young man and see the fuse any interruption and remain secluded for some works from every angle that it will possess too much problem in their studios, or if they dealt with it at all. that it is present with all artists in one form artist arrange to appear before friendly and hours in thoughtful quiet rehearsal and enter the plat¬ I chose to question vocal rather than instrumental face of a young woman in whom you are interested her intention to be routed. The possession of such com¬ or another. It is possible, however, to mini¬ face will probably haunt you for hours. form hot with inspiration. mand, however, will usually result in immunity from teachers, because stage-fright, bad enough for any artist, less critical audiences, before presenting him¬ mise this affliction, so that ultimately it may be Therefore, your musical progress will be measured Some very clever and renowned artists, even at that fright in any degree, and at the worst you may play is a thousand times worse for the singer. For terror or self to an exacting one. largely by the mercury in your interest thermometer. juncture, have to be very careful, and take very little with deliberation and will at the commencement, until panic grip with a merciless, paralyzing clutch, the to a large degree, under the control of the Fourthly, it is wise at all times for a perfor¬ When you sit down to practice, read silently and notice of the audience, particularly at the commence¬ throat, tongue and lips (all of which should be abso¬ assurance and warmth enable you to surrender yourself artist. mer to keep as far as possible away from un¬ intently the composition you are striving to memorize ment. Others are different and can enthuse and smile to mood. To ask either student or artist to try this first lutely relaxed and free), and also make the all-important due excitement, and noise, for a reasonable as though it were the greatest thing in your life. By and gush, but they are few, and not to be found among on the Godowsky Sonata, 1st movement—and you will function of breathing difficult and painful. doing this you will notice many things that you would the pianists, and scarcely among violinists. never play it otherwise—is too large an order perhaps, The answers I received from these representative period prior to public appearance. not otherwise see when your brain is divided between Getting back to the subject; (there are passages in it where tigers used to chase me); teachers were nearly all instructive and helpful; and I set While stage-fright is generally more ap¬ After a work has been learned thoroughly, and can your eyes and your fingers. Note every dot, dash, rest but it is reasonable to suggest to you to apply it to the them down here in their original form, so that the readers reasonably be counted as repertoire, it then needs for a parent in the younger artist, there still remains and hold. Rachmaninoff C Flat Prelude, Op. 23, No. 10. consisting of The Etude may see how, in the United States today, year or two, if of any difficulty or importance, to be to be overcome by the older and more seasoned After this, not before, play slowly and precisely every of 11 lines, worthy of the repertoire of any arti-t. The a very hard problem is handled. frequently practiced in an analytical manner, pausing note. Concentrate your whole being for this period. dangers are in the 9th and 10th lines which need practic¬ It is very probable that, to many of my readers, the performer, the same symptoms in another here and .there slowing down parts, enunciating their You will grasp it more in that one playing than you would ing both faster and slower than the normal rate. Start problem is a very real one. I hope it is not improbable form. in fifty repetitions if your mind is not on the notes. detail, thinking of the printed notes at the time, and by rolling out the arpeggio chords of the right hand that what these teachers say will be of assistance. Lazar Samoiloff. otherwise, observing in doubtful points the name of the Get a mental picture of it. If you will concentrate, dead slow, listening to each note of them tumbling into next note, often a most useful ruse, observing what The only cure for stage-fright is prevention. thoroughly and enthusiastically, time will not erase what its exact place, employing the vertical, lateral, and rotary you have stored in your brain. If you have stamped it intervals this and that are, and by what means this or Complete and absolute mastery of the thing to wrist movements all combined, and with spreading fin¬ deep enough, it will remain there to the end of your that transition and modulation is made; in fact, you must Bruno Huhn: gers, the elbow giving a thrust forward to get the accent be performed will give one the assurance and life. The student may forget every school day but get absolutely and thoroughly saturated with detail men¬ with the little finger on the top note, and so forth I think that stage-fright is usually overcome self-confidence which will dispel any doubts as his graduation day; interest photographs that indelibly. tally and let the fingers demonstrate their certainty of through the two lines accelerate and retard the deliberate gradually by continued appearances before If you forget music there has probably been something habit also, by enunciation of detail both faster and slower to the success of the performance. Any lack performance of the muscular movements until you be¬ wrong with your interest. than the normal pace of the work. This style of study, audiences. of preparation robs one of this self-confidence come as sure of their detail as you do of the notation and infinite taking of pains, will give what is called con¬ and results in stage-fright. as described above. Another excellent piece for using Claude Warford: Foot-Stools and Music Teachers trol, control being no more nor less than the mental cer¬ Victor Harris: tainty and alertness to all the phases and details of the this practice in all its aspects is the magnificent canon Of the artists who work under my guidance, in Scriabin’s Allegro de Concert, Op. 18, though the I know of no remedy, either partial or com¬ Nonabell Bailey work, so habituated that the aesthetic emotional self to those who are inclined to be nervous I say may express itself through these means without upset¬ principles must be applied mere or less to every thing plete, for stage-fright except experience. Stage- you play. this: “Try to realize that if your audience is Miss Teacher, were you ever very much annoyed ting the barrow. fright is a loss of control due to panic, fear, Thoughtless Practice really listening to your interpretation, they, at because your youngest pupil persisted in squirming about If the mind be sufficiently schooled in this way of or self-consciousness. Stage-fright is in itself and actually sliding off the piano stool and climbing study, it will under any condition, off or on the stage, be S°. maintain that the expression, “thoughtless that moment, cannot really be conscious of you not a bad thing, arguing as it does a nature back again six times during the lesson? Of course you filled with those thoughts too deeply rooted to be blown practice” is really a contradiction in terms, for it means at all. Their attention is given to the composi¬ say you had a just reason for being annoyed. And yet away by excitement or distraction. to convey that a number of the members of your orches¬ tion alone; and if you lose yourself in the song sensitive enough to be affected. I know no you might have made it easier for the little one to be tral self are loafing and not practicing at all, just as worse artist than the one who does not suffer Schooling the Mind as you should do, your consciousness and nerv¬ still during the lesson. Suppose you were given a seat though in a great orchestral concert the bulk of the some stage-fright; and the best artists never very high up. Every time you moved a little your seat So that it amounts to this: that the study of a work, performers were to stop to stare open mouthed while ousness will vanish at that moment. Concen¬ overcome it absolutely. revolved. Your feet dangled in mid-air until they felt getting the music into one’s head so that it is quite famil¬ the piccolo and the big drum play alone. trate on the song; forget yourself.” heavy enough to pull you down from your high position. iar, being able to detect at once any mistake of a single Practice requires your whole attention, concentration, Life and living are the only remedies for Would you feel very comfortable? note anywhere in the harmony, and the fingers becoming heart, soul, and intelligence, and every fibre of your Ragna Linne: this weakness. Many little children take long music lessons under well habituated so that one can sit down and play the being to the exclusion of everything else. No absolute cure; but the experience of hav¬ similar conditions and yet their teachers expect perfect composition well and at one’s best without copy, is far And this need not be done in a tense or tiring manner, ing to face an audience as often as possible, Sergei Klibansky: attention. Suppose the next time that youngest pupil from a complete learning, at any rate for anything at u ijUlte "app^y> contentedly, genially and smoothly, even every day, is the best remedy I know of Stage-fright is a mental disease, the cure of comes you have a nice little foot-stool at the piano and all polyphonic or complicated. should all the members of your many sided orchestral When your teeth begin to c/l atter which rests entirely with the patient. The first give those tiny feet a rest instead of letting them swing The mind, the analytical intelligence, must be capable constitution give themselves up to the pleasant and for stage-fright. And your hands begin to shake about in mid-air. By all means, Miss Teacher, make of interfering with, prying and enquiring into the glorious task of diligently sorting, sifting, investigating and most essential requirement necessary is And your knees turn into castane:s your pupil comfortable! usually subconscious actions of the fingers and deliberat¬ and building, It is necessary to make for yourself a Oscar Saenger: absolute confidence in oneself and one’s ability ing on and directing what they do, and at the same time worthy temple for the abode of the gifts of the gods. Thorough preparation in any artistic en¬ And your spine begins to quake to do the thing in question. There are no short Nothing hurts worse than frivolity; nothing unfits be exercising its own aesthetic intention. deavor will overcome stage-fright. It's not a case of palsy cuts towards acquiring this confidence. It is for business more, or forms worse habits for success, With the mind rehearsed in the ups and downs and ins Art has no fatherland and all that is beautiful Fear is the result of unpreparedness. You are called upon to fight or wastes the time in which we might mould the fu¬ and outs of the notation, as well as the fingers, you only after repeated public performances, and ought to be prized by us, no matter what clime or ture, and nothing leaves less return. Geikie have grip and control under any circumstances; for Blind staggers is the proper name most likely many failures, that the student region has produced it, Weber. Dudley Buck: In my opinion, there is no remedy for stage- Or what you call st agc-frigh gets that grip upon himself which enables him THE ETUDE THE ETUDE DECEMBER 1922 Page 815 Page 8U DECEMBER 1922 A Home Town Musical Comedy to do his best before an audience. The teacher The Teachers’ Round Table works constantly to help the pupil to that By H. Loren Clements perfect poise; but the atmosphere of the studio CLARENCE G. HAMILTON, M.A. we had a very presentable drawmg-room. For wings, and the stage are so different that it is impos¬ Professor of Pianoforte Playing at Wellesley College This is the experience of a small town teacher of our town cabinet-maker made screens joined in sections sible to get the necessary experience in the music. I am an average teacher in an average town. of four. These were covered with canvas and tinted This department is designed to help the teacher upon questions pertaining to “How to Teach,” “What to Teach,” etc., and not technical studio. Untiring labor and persistency will in I have given the usual number of . pupils’ recitals with the same shade as the walls of the town hall. problems pertaining to Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered time overcome self-consciousness and stage- the usual amount of interest, or lack of it. When in despair over an artistic exterior, one of the At last I came to the conclusion *that, as far as the department. Full name and address must accompany all inquiries. fright. cast handed me a paper advertising paper scenery. In¬ town was concerned, I was not measuring up to the best to my piano pupils. X have pupils from Grade I to vestigation showed that this scenery came printed in Dear Teachers : drawn to each one of these notes; and after he has that was in me. I wanted to do something musically Grades VI-VII (Mathews’ Graded Course), and am Arthur Hubbard: colors on large sheets of heavy paper, said sheets num¬ thus learned to give them proper attention, the pen¬ anxious for them to begin the “side branches,” such that would unite every faction in town, that would de¬ In assuming at the Round Table the chair so long and as History, Harmony and whatever else they should bered and to be pasted on canvas as the numbers indi¬ ciled accidentals may be erased. My idea is that stage-fright originates in the mand the cooperation of singers, those who, played some devotedly filled by my predecessor, I want first to ex¬ have, at the proper time. Will you kindly advise cated. That looked easy and we ordered a garden scene. (3) It will depend upon the pupil and his degree of me as to what texts to use and when to use them? desire to be taken for more than one’s true instrument, those who enjoyed dancing and those who press the pleasure with which I anticipate an intimate We pasted the numbered sections on cotton cloth already proficiency, also on the nature of the piece. If he plays worth, and is obviated through an act of will were dramatically inclined. association with your work. One of the chief joys of It is possible and wise to lay the foundations of a stretched on a frame and shrunken; and we had a back with tolerable accuracy, it is generally best not to con¬ Finally, in order to do the greatest amount of good to my own career as a piano teacher has been in giving knowledge of musical structure very early in a pupil’s in excluding all thoughts not absolutely neces¬ drop which the majority of the audience believed we fuse him by irritating interruptions when performing the greatest number, I felt that the proceeds should go to such assistance as lay in my power to others who were course. By the time he has learned to play the major sary to performance, thus absorbing the mind actually painted, besides being beautiful and durable. a piece or section of a piece. In other words, get his some town enterprise. One day the thought came to grappling with the innumerable problems of the pro¬ scale of C through one octave, for instance, he may in the present task. For wings a package of “foliage” sheets served. These fession—problems which I often recognized as familiar individual conception of the composition; whenever this me “Why not try a musical comedy?” At first, I admit is not too twisted. If he is very inaccurate, however, be taught the nature of its intervals, and how to recog¬ were pasted on the reverse side of our screens. Our bugbears of my own experience. If I may, in the nize these both by eye and by ear. A little ear-training I felt that I was lowering my standard; but the idea especially if his rhythm is awry, he should not be per¬ Frederick Haywood: electrician who achieved some remarkable effects in our months to come, help you to face such problems with at each lesson, indeed, will produce surprising results persisted and finally I found a comedy especially mitted to flounder on to no good purpose. There are only three things necessary in written for amateur production, with music both catchy lighting, was the supervisor of the electric block system increasing courage, I shall consider my mission a suc¬ toward the comprehension of intervals, which may be on the railroad. I mention all these details to show how cess. dealing with stage-fright: and worth while. Then came the problem of where to Attention to Notes taken up in natural order, as they occur in the music the comedy drew upon almost every profession and trade Truly, the name under which we meet seems a most 1. Experience of facing an audience. give it. The only community building was the town hall I write for advice about a boy of eighteen who which he is studying. and it had no adequate stage, no scenery, no curtain. appropriate one. For just as, in the days of old, King has studied with me about two years. After the principal intervals have been learned the 2. Experience of facing an audience. '"Enthusiasm had by this time pervaded every home; and Arthur’s knights gathered about the Round Table for He memorizes from sound every exercise or piece Discouraging? Yes! but listen to how it worked out. before he has studied it at all thoroughly, and then common triads may be treated in order. As each one is 3. Experience of facing an audience. First, I approached my private pupils and was amazed there was no doubt about selling out our house several counsel and guidance before setting forth to cham¬ studied the pupil should be taught to recognize it by at their enthusiasm. Some theatrical producer once said times over. In other words we were destined to make pion the cause of whatever was noble and beautiful, so ear, and also to recognize the chord as it appears or Relaxation Tests that every man and woman has a sneaking idea that he/ money on our venture. This brings us to the grand finale we here seek inspiration with which to fight the good is implied in his music. From this point on his work or she can act. It certainly proved true in our town. of our tale. fight against the dragons of Sloth, and Carelessness, and in harmony may proceed as far as is found practicable, By Harold Mynning I admit I had a struggle at first to interest the men but The success of our enterprise so far was due, in a Misunderstanding. And to fight this fight we must be always closely applied to the music in hand. after we were fully launched, they proved themselves great measure, to my insistence that the whole town equipped with the armor of High Ideals, the sword Musical forms may be similarly presented. From the The importance of relaxation has passed the need of loyalty itself. Talent began to appear from sources of should be drawn upon, irrespective of race, station in of Self-confidence, and the invincible spear of Perse¬ very first, the pupil should be taught to recognize the emphasis to the music student; and yet there are those which we never dreamed. A young mechanic developed life or religious belief. So, when it came to the question verance. Thus protected, we need have no fear in enter¬ limits of phrases, periods, and finally their union in who fail to put it to practice. Relaxation merely says a glorious tenor voice, and our comedy man was at last of who should receive the benefit from the sale of tickets, ing the lists. the longer sections. in one word that there should be freedom from rigidity. supplied in the person of the pastor of one of the I insisted that it must be something that would benefit Let me then bespeak your hearty cooperation in The study of History may begin by briefly telling Let us say that you were to practice the Scale of A churches, to the consternation of some of the older mem¬ the whole town. Many ways of spending the money were grasping the opportunities that lie before us. I trust' the pupil facts about the composers whose works he major. Follow this formula. Play A; and after you bers but resulting in a splended increase in numbers and suggested ranging from a fountain on the public square that you will show this cooperation in three principal meets, together with some inkling of the special charac¬ have played it test the muscles of the arm and hand to added devotion of their young people. to buying new suits for the base-ball team. Then one ways: by presenting interesting and practical problems teristics of each one’s music. Later on the pupil may see if tension exists anywhere. Be sure that you do not An orchestra began to be built up. To our surprise the day while toiling to make the old town hall presentable for solution; by yourselves suggesting how these prob¬ purchase some good textbook, such as- the Standard make the common error of pressing the finger down on principal of our high school proved to be an excellent for the performance, the big idea presented itself full lems may be best met; and by bringing forward for the History of Music, and report each week on sections the key after it has been played. The whole matter, of violinist and was made concert master. Four other grown. Why not build a community house? good of us all any other ideas which you may have assigned for special study. course, is in the mind. As Madame Carreno used to amateurs made up the string section; an old gardener You know how it is in a small town! By night every evolved from your own experience and which may help Other textbooks on the above subjects which may say, “One must think relaxation before he can relax.” produced a flute and proved himself a master; the brass man, woman and child were discussing community house; others along the way. All such material I shall wel¬ profitably be employed are: Harmony Book for Begin¬ After the A, play B, and again test the muscles. Do was supplied with two cornets and a trombone, but we and the next day our wealthiest citizen not only offered come for the enrichment of these columns. ners-, Ear Training, by Arthur E. Heacox; Musical this after each note of the scale. Practicing in this way had no reeds. Then some one offered their reed organ a plot of ground but promised to match dollar for dollar With the above thoughts as an index to our aims, let Forms, by Ernest Pauer. will increase your technique enormously. of very sweet tone; and it was surprising how that in¬ any amount the town raised. us proceed to the consideration of some questions pro¬ Rigidity originates in muscles used without intelligence. strument gave color and solidity to the whole orchestra. In closing, let me make a short resume : - pounded in recent letters. Therefore put thought into their every movement. Of course we had a piano. One of the teachers in our I. The discovery of unknown talent in singing, acting high school had taken a course in folk-dancing and the and dancing. Careless Mistakes movements of the chorus were placed in her hands. II. The establishment of a permanent orchestra and (1) A number of my pupils are in the habit of ) the tenth grade: Are You Guilty of the Double playing carelessly. Even those that read notes ac¬ Movement? My hopes for community interest were being fulfilled band. curately away from the piano will strike wrong _IH_,_i, Clementl.’ far beyond my expectations and at last I turned with III. The awakening of a community spirit which was notes when playing. I teach them to play slowly, there are any special books or magazines renewed courage to my greatest problem, an adequate fostered and made permanent by the community house. but even then the wrong notes will slip in. a teacher should have along with these studies, By Sidney Vantyn (2) Some of my pupils have a hard time remem¬ you please tell me what they are? stage and scenery. IV. To me personally, the satisfaction of knowing that bering the sharps and flats in the signature. Some¬ times they hear the mistakes and try to correct Studies as a whole are of two varieties: those which One of the most common faults met with,—not only The comedy asked for both ah exterior and an in¬ I had done something worth while not to mention a them, with nerve-racking results. stress especially (a) technique, and (b) interpretation. To in pupils, but also in pianists of a certain standing,—is terior. The latter was comparatively easy; furniture greatly increased clientele. (3) When pupils take their lessons is it best to have them correct their mistakes as they go along? the first class belong such studies as those of Czerny and the double movement. There is not the slightest neces¬ collected from various sources, a few rugs, a few What we did can easily be duplicated in almost any Or should they go straight ahead to the end, and Cramer; while to the second belong such as those of sity for this. It arises from various causes. It may be pictures, draperies placed with taste and discretion and town. Try it! then play the piece again, while mistakes are cor- Heller, Burgmtiller and Chopin. A good curriculum for simply a nervous tic, similar to the twitching of the the piano student will include a judicious selection from mouth, or to stuttering, etc. Or it may denote merely (1) . Evidently these pupils need to cultivate more a certain hesitancy in the attack. In any case it is a Practicing Backwards for Results systematic and thorough habits of practice. Try requir¬ each class. grave fault which must be guarded against carefully ing the following method of practicing new material: The following list I have selected with the above classi¬ from the beginning, and promptly eradicated. This is By G. C. Eichinger The pupil starts by treating the first measure by it¬ fication in mind, and with the idea of alternating the especially the case when striking a chord or a series of self (always adding the first beat of the measure fol¬ two varieties. Some of the groups overlap in grades, so that all of them would probably not be used with the chords. The normal way of playing a chord is by strik¬ Occasionally a little kink in piano practice becomes time to the new movement. Then when you can play lowing). Let him practice first the part for the left cannot play with the music. One would judge that same pupil. I have added to your list some others ing the notes with a sharp downward blow. With the a short-cut that relieves one of much drudgery. The the new movement acceptably, practice the two move¬ hand alone, slowly and carefully, until he can play it he was playing from ear, as he seldom glances at whose works seem to me indispensable. Gurlitt, First double movement the action of the hand or fingers is writer once stumbled across one such kink and received ments together in the same manner as you practiced the at least twice through without a mistake. The right the notes after he has played the piece a few times, but looks constantly at his hands. Should he for¬ Lessons, Op. 117; Lemoine, Fifty Juvenile Studies, Op. very much more complicated, and quite uselessly so. such results as to drop the conventional method and resort last two measures. After a movement is thoroughly hand then practices its part in a similar manner; and get, he cannot start where he stopped, but has to 37, first book; Burgmuller, 25 Studies, Op. 100; Loesch- The hand is lifted; it then descends; the fingers fed to the kink alone. While the method might not get the learned it must be treated the same as if it were a measure. finally both hands play together until the measure is start again from the beginning. After finishing a for the keys; the hand is lifted again; and, finally it same results for everyone, it will undoubtedly prove satisfactorily completed. Each following measure of the piece and laying It aside for a short time he often horn, Op. 65, Books 2 and 3; Heller, 25 Studies, Op. 47; Perhaps this looks like drudgery; but it surely gets cannot play it at all, either with or without the Czerny, Op. 299, Book 1, School of Velocity; Bach, J. S., section assigned is then similarly practiced. descends to play the chord. We therefore have an up¬ worth while to most who have the patience to give it a results. One thing it does for the student—and this is notes—L,. D. Two-Part Inventions; Heller, 30 Melodious Studies, Op. ward and downward movement which has been unpro¬ fair trial. The next process is to practice each pair of measures too important to be overlooked—it gives him confidence in It seems that the trouble you mention may again be 46; Cramer, 50 Selected Studies; Clementi, Selected ductive, and consequently wasteful. After you have practiced a piece in the regular way first with the left hand, then with the right, and then his ability. Any piece practiced in this way will never referred to lack of system in practice. In itself, the Studies from Gradus ad Parnassum; Moscheles, 24 Char¬ Nor must we think that this preliminary feeling for long enough to get the fingering correctly, you are then with the hands together. Long passages may now be acteristic Studies, Op. 70. cause a pupil to dread playing the same before an youth’s ability to memorize readily is a good thing; the keys insures the playing of the correct notes. On ready to put the kink into practice. All you now have similarly treated, and finally the entire section which Following these, the pupil should proceed to the easier audience. The reason is easy to understand. There are only it must be brought under proper control. I sug¬ the contrary, this searching for the keys begets hesi¬ to do is to reverse—start from the other end and work no difficulties to anticipate. The first measures of a move¬ has been assigned. Review work should be studied in Etudes by Chopin, and thence to the more difficult ones, tancy; which invariably leads to incorrect playing. It backwards. Take one measure at a time, starting with passages, along similar lines. gest that you have a frank talk with him about formu¬ ment have been practiced least, and as the player gets lating a system of practice, and encourage him to plan following these by etudes of Liszt, Alkan, Rubinstein and also has a directly detrimental influence on the tone. It the last one of the last movement. Play it over and' over further into the piece it is better known and so more A variation of the above is to begin with the last is also diametrically opposed to the fundamental prin¬ until further improvement seems impossible. For the measure of the section instead of the first, and then to out such a system on his own account. Work with single certain The same applies to each succeeding movement. As to books, you will do well gradually to collect a ciple which should govern our technique. There must first few times you can practice from the notes, but you proceed backward by single measures, as before. There measures, such as is proposed in the first answer to the Ihe player gets his confidence from the fact that he useful reference library. Books especially referring to be absolutely no useless expenditure of energy. must compel yourself to rely on your memory as soon as is not so great an incentive for the pupil to wander aim¬ preceding letter, might well be made the basis of such knows that the hardest places have been passed. a plan. Boys, as a rule, like to work out such schemes, piano teaching are as follows: A' very little thought and calculation will prove to you find that the notes are not really necessary. Taking Generally the pupil starts out brilliantly and, as he goes lessly on by this method as there is when he starts at us the necessity of avoiding the double movement. Any it for granted that you have the last measure thoroughly the beginning. and to feel that they have a methodical and business¬ Piano Teaching; Its Principles and Problems, C. G. on, the piece becomes more and more difficult because the like basis on which to perform their practice. Hamilton; The Education of the Music Teacher, Tapper; important musical work will be found to contain several studied, now take up the one immediately preceding. first parts were quite unintentionally given the most With careless pupils, it is wise to spend a part of the thousands of notes. Practically, each of these notes Such a practice plan, which will require him to treat Musical Interpretation, Matthay; Studies in Phrasing, Practice this new measure in exactly the same manner as practice. The natural nervousness that is always present lesson period in practice work. Haye the pupil actually requires an upward and downward movement. But if, each measure as a separate unit, ought to necessitate W. S. B. Mathews (3 volumes). the other. This accomplished, practice the two measures at such times also helps to muddle one’s thoughts. perform several measures as described above, so that instead of one composite movement we employ two, the that attention to the notes in which he is so deficient. General reference books will include: together several times. Proceed similarly, always one By way of contrast, compare the results when a pupil there may be no doubt in his mind as to what you really number of useless movements may be counted by hun¬ measure alone, then with the one following, then the If, after he has mastered the individual measures in Pronouncing Dictionary of Musical Terms, H. A. plays a piece that has been practiced backwards, in the want him to do. It is often well, too, to sit at the piano dreds; hence, an appreciable waste of energy. This this way, he is quickly able to play the whole from Clarke; Grove’s Dictionary of Music and Musicians three, and on to the end. Play all you have practiced manner that has just been outlined. He may not start and yourself practice several measures, as an example fault cannot be corrected, like so many others, by any at least three times, and from memory. to the pupil. memory, so much the better! (5 volumes). definite exercise. The only way to eradicate this habit Each movement should be studied as a single unit. To k / Wdl: but’ as he advances, difficulties (2) Try having the pupil write a sharp or a flat in Books on history, biography, form and other subjects will have been better and better mastered, so that he feels Theory with Piano Lessons is by constant vigilance and unremitting attention.— illustrate, when you have completed the last movement of light pencil before each note that should be affected by may eventually be added to the above. Modern Pianoforte Technique, a"d.m°re..confidence enabling him to finish with I would like your advice as to the proper time a piece, simply drop it for the time, and devote your entire justice to both himself and the composition. the signature. In this way his attention will be forcibly for introducing the theoretical branches of music As to magazines, how about The Etude? THE ETUDE Page 816 DECEMBER 1922 A Musical Biographical Catechism Fifteen Minutes a Day—at Least Tiny Life Stories of Great Masters By Helen Tyler Cope FELIX MENDELSSOHN (BARTHOLDY) After spending twelve years and considerable means (1809-1847) on piano study, I married—just at the time I might have begun to turn my talent into a profitable career. By Mary M. Schmitz An Analysis Lesson on Edward MacDowell’s Witches Dance Most girls dot o designed Soon the duties of a home, with other newly acquired [Editor’s Not*.—We are presenting as n supplement to work in classes nnd clubs. Prepared in Collaboration With interests, so absorbed my time that I began to neglect Standard History of Music.'] my music and stopped regular practice hours.. 10 Q- What important work did Mendelssohn write MRS. EDWARD MACDOWELL Most young matrons dot 1. Q. Where and when was Felix Mendelssohn early in life and what inspired him to do it? When the duties of motherhood came, like every good born? A. The Overture to "A Midsummer Night’s Dream.” A. Hamburg, Germany, February 3, 1809. woman in modest circumstances, I found my time so It was inspired by the reading of Shakespeare’s comedy Introductory Note completely occupied that I gave up my music almost 2. Q. Was Mendelssohn a Jew or a Christian? "A Midsummer Night’s Dream.” It ivas written when entirely. A. The family was Jewish; but Mendelssohn was Mendelssohn was nineteen years old and is one of the By DR. ALLAN J. EASTMAN Most mothers dol raised as a Lutheran. Mendelssohn’s father was the best of his compositions. wealthy banker, Abraham Mendelssohn; and his grand¬ Such a mistaken sacrifice this is; for in a few short 11. Q. Name two oratorios Mendelssohn wrote. In 1878 he went to Germany, where he studied with father was the well-known Jewish philosopher, Moses (The following lesson upon the Witches’ Dance by Conservatoire, under Marmontel (piano) and Savard years gone are the babyhood days, you again have more A. “Elijah” and “St. Paul.” Louis Ehlert in Weisbaden. In 1879 he entered the the great American composer, Edward MacDowell, was (theory). At this age his talents were so manifest, in time for yourself; but, alas! your technique is almost Mendelssohn. 12 Q. Did Mendelssohn write any symphonies? famous Dr. Hoch’s Conservatory at Frankfurt, study¬ 3. Q. Was Mendelssohn a brilliant man in other lines prepared by an expert teacher of national fame, in col¬ gone and you find you must make that poor old excuse, A. Yes, several, among them the “Italian” and the ing piano with Karl Helmann and composition with Joa¬ laboration with Mrs. MacDowell, who has hesitated to "I’m so out of practice” when friends ask you to play. than music? chim Raff. In 1881 MacDowell accepted a position as A. Yes, he had a very fine education and he had a "Scotch.” write definite notes in person. However, all the ma¬ Young women of talent, do not make this foolish mis¬ 13. Q. Name some piano music Mendelssohn wrote. teacher of pianoforte at the Darmstadt Conservatory. special talent for landscape drawing. His father was terial is based upon her own suggestions. In many ways take. You can find time if you determine to do it! I A. “Rondo Capriccioso,” "Songs Without Words,’’ The following year Raff introduced MacDowell to Liszt, very careful to make sure Mendelssohn had more talent the writer feels that it will present new and very dif¬ know this from my own experience, for at the present who was much interested in the work of the young for music than for drawing before he decided to let him "Concerto in G minor.” ferent ideas upon the nature and interpretation of this time I am busier, doing more, accomplishing more along 14. Q. Tell the story about the “Spring Song. American and placed his Modern Suite (Opus 10) on become a musician. work, one of the most unusual successes in the history lines worth while, than ever before, and also getting A. It is said that Mendelssohn one day in spring went the very important program of the annual concerts given 4. Q. Where and with whom did Mendelssohn study of American music. in “fifteen minutes a day—at least” of good, systematic to call on some friends. He found the older people away by the Allgemeine Deutsche Musikverein, MacDowell work at the piano I theory? Prior to studying the work itself, the student will find A. In Berlin with Karl Frederick Zelter who was from home but the children were playing in the garden, himself playing the piano part. When I suddenly and remorsefully realized the fact Mendelssohn joined in their play until all became tired it advantageous to read the following notes pertaining In 1884 he visited America and married Marian Gris¬ that I had failed to take care of the talent the Lord a friend of the great German poet, Goethe. to the life and work of MacDowell. No American com¬ 5. Q. When did Mendelssohn pay a visit to Goethe? when they went into the house and the children begged wold Nevins. Miss Nevins was a brilliant and sympa¬ gave me, thereby showing ingratitude to my parents for Mendelssohn to play for them. He sat down to the poser in the field of symphonic, vocal or piano music thetic pianist, destined for the concert stage and very educating me—I resolved to make amends. In doing A. When he was twelve years old he was taken by piano and improvised a beautiful melody but the children of the higher class, has produced works which have met carefully trained for years by MacDowell. She per¬ so I am getting more real joy out of my music than ever his teacher, Zelter, to visit the great poet. He spent playfully pulled his hands from the keys After he with such international acclaim as has this tone poet. mitted her art to remain in the background during the before. In working up the favorite old pieces I loved several weeks with Goethe. went home he wrote the music as he remembered it and Edward Alexander MacDowell was born in New York, life of her husband, but since his death tours America . so, I get that deepened, really true interpretation of the 6. Q. What other composer did Goethe regard called it the "Spring Song.” December 18, 1861. He died there January 23, 1908, every year with notable success, contributing her in¬ masterpieces, which comes to those who have loved, unjustly? A. Beethoven. When visiting Goethe the second time, 15. Q. What famous conservatory of music did and was buried at Peterborough, New Hampshire, come to the MacDowell Association at Peterboro. known all the heart throbs of sorrow and joy which only where many of his greatest works were created and After again visiting Europe MacDowell returned to time brings. As to my personal practice time, I chose Mendelssohn told Goethe he must play the great com¬ Mendelssohn found? A. The Leipzig Conservatory of Music. where has been established The MacDowell Colony to America in 1888 and settled in Boston. Nikisch, Ger- (after several unsuccessful attempts at various hours) poser’s C. Minor symphony for him. Then Goethe 16. Q. What great composer and pianist was associ¬ provide for workers in all the creative arts the best work¬ icke and Pauer were enthusiastic over his works and my first “fifteen minutes—at least,” immediately after recognised the greatness of Beethoven and teas much ated with Mendelssohn in the Leipzig Conservatory? ing conditions. Already notable results have been given gave him every facility for public presentation with the breakfast. If I even started my busy day’s routine, often affected by the music. to the world. Boston Symphony Orchestra. In 1S96 Columbia Uni¬ I never could get back to the piano! I determined to 7. Q. What other great musician lived and died A. Robert Schumann. 17. Q. What great pianist was Mendelssohn s friend In his childhood, in New York, MacDowell’s instruc¬ versity of New York called MacDowell to the Chair of let things wait that long, and the habit once established, in Leipzig? tors were J. Buitrago, P. Desvernine and the great virtu¬ Music. The next year he became the director of the like all others it clings. I have improved my faltering A. Johann Sebastian Bach. and teacher? 8. Q. What great work did Mendelssohn revive A. Ignaz Moscheles. oso, Teresa Carreno, who at once recognized the re¬ Mendelssohn Glee Club of New York. fingers much in a short time and can play credibly a few markable talent of the boy and gave him especial at¬ MacDowell stands easily at the head of American selections which I once did so well; for the same old about one hundred years after its first production in 18. Q. What name did Mendelssohn add to his own tention. Later this brilliant woman introduced into her composers, because of his innate musical gifts, his grasp Liszt, Chopin, etc., are ever new and beautiful, since Leipzig? and why? programs many of the notable works of her one-time of musical forms, large and small, his facility and logical they last, when the modern, so-called popular stuff is A. J. S. Bach’s "St. Matthew’s Passion Music.’’ A. Bartholdy, because his aunt’s husband adopted the 9. Q. What influenced Mendelssohn to revive Bach’s name of the former proprietor of a business he had pupil. Upon one occasion she told the writer that the means of expression and his rich, poetic soul. His muse old! greatest artistic thrills of her career came when she is, at times, as bold as the mountain tempests, and again Get back to your scales, five-fingers, arpeggios and great oratorio? acquired. Then the Mendelssohns adopted it. was playing the works of MacDowell. as delicate as spring zephyrs in the waving iris. some specially difficult passages early in the day if pos¬ A. Mendelssohn had studied the works of Bach very 19. Q. Where and when did he die? In publishing the following lesson on the Witches’ sible, then spend more evenings at home with your solo thoroughly with his teacher, Zelter, and had learned to A. Leipzig, November, 1847. Forty thousand people MacDowell Abroad different directions, that it was uncertain whether he Dance the main body of the text follows certain pedagog¬ practice! Do not think forty years old, but forty years love Bach’s music. joined in his funeral cortege. In 1876 we find MacDowell hard at work at the Paris should become a painter or pianist. ical suggestions made by Mrs. MacDowell.) young—few have ever done anything in the artistic world much younger—certainly most of the “great” are in The Individuality of Touch their prime then! Remember that technique is not all; and, if you By Doris McIntyre despair sometimes over your stumbling fingers, try to A Lesson on the Witches’ Dance modifications of the original, and the following sug¬ In the first measure, at A, I would like to call atten¬ make up in your heart and soul’s expressive playing Each person has a characteristic touch at the piano. nothing need be said about the pupil’s finger tips except While printed lessons upon a pianoforte composition gestions given, I am following the precedents set down tion to the fact that Mr. MacDowell practically always what your fingers lack! Recently I crossed in an old This touch is as indicative of his personality as is his as to position; for through practice they will uncon¬ must, at best, be wholly analytical (there being no oppor¬ by him, and in this way I have felt at liberty to do away played the passage so that the grace note in the left note-book an anonymous quotation which so beautifully voice. It will always be distinctive of him and peculiar sciously develop a feeling for the keys. The position at- tunity for the teacher’s criticism), much can neverthe¬ with one repetition and also to eliminate one extremely hand came first, and not with the first’note in the right expresses the thought:—"Music After Supper.” to him, but it may be improved or it may deteriorate. the piano is important. A pianist should sit well back less be said which will help the active-minded student, awkward passage, which makes the whole work need¬ hand, as it is ordinarily played. In other words, he Just as a person with a naturally shrill voice may by from the piano so that his arms and hands are free and who may not have the advantage of a carefully trained lessly difficult for many students, and has doubtless played the grace note as though it were a part of an practice tone it down and modulate it, so a pianist by not in a cramped condition. instructor. placed it beyond the grasp of many who would other¬ imaginary preceding measure, making the first chord as Behind every composition there is always a back¬ wise be able to play it with pleasure. These changes in arpeggio, thus— High Hurdles careful listening and practicing can soften and overcome Any good pianist uses different methods of attack for the defects of his touch. It is essential that a pianist different types of tone. One way of obtaining a beauti¬ ground which, when understood, contributes much to no way injure the artistic value of the work. Indeed, hear his own shortcoming. If he can hear his imper¬ the proper interpretation of the composition. Innumer¬ they are the very changes sanctioned by Mr. MacDowell Marjorie Gleyre Lachmund ful singing tone is to hold the fingers close to the keys fections he is on the way to mastering them. and then drop them with a dead weight on the keyboard. able people essay to play this composition without the and often played by him. There are different ways of developing touch. A The whole weight of the arm and shoulder is behind that slightest idea of what Mr. MacDowell had in mind What greater error can there be than that of giving good one is to develop the imagination. In teaching, this touch and if one desires depth in his tone this is an when he wrote the work. Indeed, many have a totally The Lesson Begins the average pupil-too difficult music? Teachers do this is one of the best means of getting a desired result. different conception of the piece from that intended by Well, let us begin with the lesson. The metronome continually with the very best of intentions. Often it effective way of getting it. For instance, if you are teaching a lullaby you might im¬ the composer. makes 126 equal a dotted quarter note, a fair speed, but is due to the fact that the teacher imagines that in If one wishes a loud ringing tone the hand should start press upon the pupil’s mind a picture of the mother rock¬ The first error that most people make about the unless you have a remarkable technique, you will find it order to attain lofty ends the music must aim high. They a long way from the key board and descend rapidly. ing her baby to sleep. Most children have keen imagina¬ Witches’ Dance is that they have a different kind of desirable to begin the study very much slower, possibly, are thinking perhaps of Browning’s lines: “Better to The more rapidly the hand falls the bigger the tone tions and if they can realize just what the music is Witch in mind. They think of some old hag, like the have failed in the high aim, as I, than vulgarly in the will be. This is not a dead weight drop but a live counting at first three beats to the measure, with the portraying the picture will unconsciously induce the right low aim succeed.” But this quotation is not always we:ght drop and the inclination of the hand is to spring witches in Macbeth, or, the witches which the good folk eighth note equaling, let us say, 72 or 84. Most teach¬ When the performer has a fine grand piano, it is de¬ tone. Or if you can appeal to the pupil’s emotion he applicable. back from the keys after they have been struck—just as of Salem feared when they nightly barred their doors ers find there is an advantage in studying any piece sirable to use the middle pedal to sustain the bass will strive to put his feeling into his playing. Every teacher should make a mental catalog of just a rubber ball will rebound when thrown to the floor. to keep them out. That is not at all the kind of sprite that is to go very fast ultimately, at an aggravatingly chord for the first four measures. If you have not such A pupil must learn to listen to the tones he is produc¬ what constitutes difficulty. Some teachers are woefully Another type of touch is used in scale work and rapid which Mr. MacDowell pictured. It was rather the mis¬ slow pace at first. Indeed, it is impossible to study this a pedal, employ the regular damper pedal here, be¬ ing. His ear must be cultivated until he hears the right ignorant upon this point. It comes, of course, with ex¬ finger work. This is a quick rapid finger stroke—the chievous demons or elves who fly in clouds through the at first with a high finger action, although when It is cause that chord must be heard delicately sustained. tone. If he does not recognize a poor tone when he air, like pixies. They were light gossamery nothings, perience. arm is relaxed but has nothing to do with the touch. really played, Ihe notes trip off in groups from fingers Throughout the composition some students will won¬ makes it, he will not care about changing it. However, mischievous, but delicate as a feather, wafted by the swift “How can I gain that experience ?” asks the teacher. The different touches are cantabile, a singing touch, held almost as light as cobwebs. der why the pedal is employed, although the bass notes he may have the right ideal and still be unable to obtain March breezes. They soured the milk and put a blight Perhaps the best way is to remember that publishers of are marked distinctly staccato. How can a sound be on the piano the tone he hears in his mind’s ear. The staccato, a quick snappy touch, non-legato, half way upon the wheat, and did all sorts of antics which got Imagine at the start that the air is fairly filled with educational music go to great pains to have their music between legato and staccato and portamento which is sustained and be staccato? The pedaling in these, carefully graded. Get such a booklet as the Guide to mastery of a few technical details solves this difficulty. people into trouble, but there was nothing heavy or clouds and clouds of pixies, Whirling and posing and an exaggerated legato. In playing staccato the keys are played atmospherically, is quite necessary; and if the New Piano Teachers. Study the lists of music for each Certain conditions are essential for a beautiful touch. loathsome about them. Because so many people have playing about, bent upon mischief. Catch this spirit from struck but not pressed. A very pretty melodic staccato of the elementary grades in the rear of this booklet. Possibly the most important one is a loose and flexible pictured a malignant old hag, or crone, in association the start. Most of the editions of this work are quite staccato notes are struck lightly enough, their percussive may be secured by touching the keys and quickly draw¬ Endeavor to find out just why certain things are strictly arm. After one can relax his arms and shoulders at will, with the Witches’ Dance, the average student bangs without pedaling, but Mr. MacDowell certainly never value will give the suggestion of staccato. ing the hand away. Generally speaking a melody hand left out of Grade One or Grade Two. High hurdles for he finds it much easier, to produce a beautiful tone: away at the piece and tries to add a kind of tragic or played it without using the pedals. In this edition I At B the cloudy-like flight of the witches really be¬ is relaxed, while a coloratura hand is not so much re¬ little folks are often barriers which hold them back for while, if he' plays with a stiff arm, it is not only fati¬ morbid element to it. Mr. MacDowell never had any have endeavored to indicate the pedaling, and this con¬ gins. Here the melodic line surges up and down, and laxed-standing on tiptoe so to speak—ready for brilliant years. Pick out low hurdles and let them jump higher guing but also extremely difficult to obtain good tones. A such thought. He nlaved most of the work as though tributes to the gossamer effects of the piece quite as the dynamic effects for the most part follow the line. action. and higher every day. player’s finger tips must be sensitive too. However, it were made of thread lace. Indeed, in the following much as anything that can be done with the hands. That is, as the melody ascends the melody becomes ever TEE ETUDE DECEMBER 1922 Page 819 Page 818 DECEMBER 1922 Ao-ain let me enjoin the reader to observe the con¬ THE ETUDE so slightly louder, and as it descends, slightly softer. in measure U, as in measure V, always precede the bass tinuity of the melodic line. Mr. MacDowell made mel¬ The hands, after much practice, become very sensitive to note and are not played with it. ody one of the tenets of his musical creed. WHEN TWILIGHT FALLS CEDRIC W. LEMONT these swirls of tone. It must not be played like a Note the quick pedal in the last three measures and If vou would play any of the MacDowell composi¬ Czerny exercise with angular corners. also the final low B at W. This I find myself putting in tions as the composer would have you play them learn instinctively, as did Mr. MacDowell, although it appears to appreciate first of all the eloquence of their melodies. Little further comment is required until letter C is A modern song without words, by a very promising American writer.introducing- happily an old Frenchfolk song. Grade 4. reached. Here the wrist staccato should be as light in none of the editions. as possible. Indeed, the effect described by Dr. Mason, in which the hand seems to be lifted sharply from the How to Speed Up on Technic keys rather than struck, seems to be desirable. In the interlocking passage at D, endeavor to have the right hand and left hand as even as possible. The By Helen Maguire same is true at E and at F. Here again the lightness is produced by the illusion of playing as though lifting the Motor Car the hands away from the keys instead of striking them. A Lesson from of laboratory work and experiment. You must be your The Pedal and Staccato “Technician—one skilled in the mechanics of his art. own chemist, and make your own tests. At G do not be afraid of the quick pedal indicated on To become this—study the automobile. To do this you will need a watch and a notebook. the bass notes. These are marked staccato, to be true, You know that to be able to do anything at top speed, Take either a scale, arpeggio or finger exercise, anything but Mr. MacDowell always played them with the pedal to break a record, seems to be the most desirable thing vour teacher has assigned for your technical practice, and to avoid a “boney” tone. It is almost impossible to play in the world until you can do it yourself. After that time yourself to find how many times you can do this them in these low registers without giving a too brittle, it ceases to be wonderful, and like everything else, speed in one minute. Second, time yourself to see how many too thumpy effect. at the piano, once attained, quietly takes its place as only times ou can play this before feeling fatigue. Third, At H begins a kind of triumphant little march as time yourself to find how many mistakes you make in though the pixies were gloating over the accomplish¬ one part of the complete equipment of the pianist. Only one minute. Rapidity with mistakes is not speed; it is ment of their work. Watch the crescendos and the de¬ one part, but a very important one. And since no boy stumbling, and would not be counted m any laboratory crescendos here very carefully. or girl can ever get the right “slant” on speed until in At I make the effect with the right hand as much possession of it, the sooner it is acquired the better. (or on any campus, either). Then, having timed your- like a trill as possible. Indeed, for these four meas¬ self first as to velocity, second as to endurance and third ures the tempo may be slightly accelerated, gradually. Therefore—Learn the Lesson of the Motor as to accuracy, make careful record in your note book. All the left-hand notes in these four measures, may be Twenty-five years ago makers of motor cars believed Date it, and proceed to time ourself in the same way made more staccato and more dramatic if played with that the time had come for a trial of speed. They had every day, making careful notes of each day s findings. one finger, the second or third finger. In the next four a race—a grand affair—and the winner of this terrific If you do this you will find your note book interesting measures, if Mr. MacDowell had a pupil with a small race showed an average of seven and a half miles an reading, for there will be an advancement, I promise, as hand, he encouraged him to play the bass thus— hour! Compare this with the one hundred and seven of you study and improve your “parts.” There are as to-day. The point I wish to make is that the mechanism many “parts” to a pianist as to an automobile. You Ex. 3 of these two cars is the same. This on the authority have to work to make every section of your circuit com¬ of Waldemar Kaempffert, who says: “The old horseless plete and to keep it well “lubricated,” from page to eye, f i- » carriage was not any different in operative principle from from eye to brain, from brain to muscle, from muscle to the automobile of today. Scientific research and the finger-tips, and so to the piano keys; and then right over chemist have made all the difference in speed.” again, page to eye, eye to brain, etc., over and over and 11J 'j JJ J! over, endlessly as the turning of a wheel. Tremendous Gain in Speed And if a hitch occurs anywhere it is you who must instead of as written. All this tremendous gain in speed, then, has been find out where and why and correct it. No one can Ex. 3 worked out in the laboratory. Mind has made the car do this so well as you, yourself. Paderewski said: “The of to-day what it is, not mechanics. Speed has been ac¬ hand you play the piano with is the hand you never see, complished in the laboratory, made possible by chemical the inner hand, that can only be felt.” And no one can study and experiment. Take one item, the tire, of which feel this hand but you or know better its condition, you know the importance. Who would ever think of strength and weaknesses. If there is fatigue it is you rope being made the subject of chemical laboratory study who can best find out whether this is because you have and research? Yet one cord tire in use today is the neglected to flex or to relax or whether you are using a Indeed, he would often play it this way himself and result of a tremendous amount of laboratory experiment, wrong set of muscles or a wrong position. All these thought that it added color. by which is was proved that this particular cord would things are best worked out in your own “laboratory,” At J, a passage which seems to bother some pupils, flex nine million times before it began to ravel; that it and you can work them out yourself even as Chopin the difficulty will disappear if it is regarded as being has unusual stretch and the greatest tensile strength. worked out things for himself, not depending either upon written in f measure, without the intervening bar line. That is the difference between rope that is “just rope” teachers or books. He said: “In a good mechanism the This applies to all the measures as far as K. and rope that has been studied. And that is the differ¬ aim is not to play everything with an equal sound, but ence, too, between fingers that are “just fingers” and Ex.4 to acquire a beautiful quality of touch and a perfect fingers that have been studied, between speed minus t'ffi f $ shading. brains and speed that is the result of brains. People say “piano technic is just a matter of fingers.” Each Finger’s Role It is not. Fingers are important, just as the tire is For a long time players have acted against nature in T * - important, but speed at the piano is a matter of brains. seeking to give equal power to each finger. On the con¬ It is the work that is done in your laboratory that breaks trary, each finger should have an appropriate part as¬ records. signed to it. The thumb has the greatest power, being At K the pixies have worked up to a fine frenzy of the thickest and freest. Then comes the little finger, at Advanced Speed impish iniquity; and the one measure rest comes like a the other extremity. The middle finger is the main flash of silence. The effect is very dramatic if the rest Pianistic speed has been advanced about as rapidly as support of the hand, assisted by the index finger. Final¬ is not overheld. The attention of the audience is has automotor speed. German musicians lowered the ly comes the weakest finger. As to this Siamese twin smitten by this rest more than it would be by a crashing metronomic marks that Chopin placed on his composi¬ of the middle finger, some players try to force it to be¬ chord; if the crescendo approaching it is carefully de¬ tions, saying that it was impossible to play them clearly come independent; a thing impossible and unnecessary. veloped and the total silence come abruptly enough. at such a speed, when along came Godowsky, the ambi¬ There are, then, many different qualities of sound, just The theme is resumed again at L with thistledown dextrous, and not only advanced the rate of speed on as there are different fingers. The point is to utilise the lightness, proceeds to a fortissimo at M, followed by the Chopin compositions, but added hundreds of notes, differences, and this is the “art of fingering.” That is the martellato octaves, which should be judiciously retarded more or less. Then Isidor Philipp tossed both the right way one boy worked things out for himself, and so can as they approach the entrance of the little march theme. and the left hand parts to the left hand alone and played you. Take your eyes, brain, muscles and fingers and Again at N this theme should be played very delicately with one hand what had been considered too difficult for study them as you practice until, as you free your eyes and sweetly, but not mincingly or with sentimentality. two; and the end is not yet! by memorizing and toss the printed page aside, so, too, Note the crescendos leading to fzorandos at O and at It’s a good brain that knows its own hands! How you free your upper brain of all mechanical work, giv¬ P, and the still greater crescendo at W leading to the many million times will your cords (muscles) flex before ing it to the automatic brain, the medulla oblongata, and climax of the composition at R. they begin to get ravelly? Have your muscles unusual this makes room for the soul of the music you are to stretch and great tensile strength? And what is tensile express by means of nerves and muscles that are strong, A Quick Ending strength? It is as necessary to speedy muscles as to “quick,” tensile, ductile and compliant, until, “having Again the pixies commence to swarm in the summer cord tires. How much do you understand about your stored honey cell by cell in the dark, you are ready to night. Dawn is approaching and, like all good pixies, own motor? Of course you know that your “motor receive the ultimate gift that music has to bring; namely, they must soon vanish. Strive for this hushed effect area” is cerebral, that your motor is a nerve that passes the identification of it with all other noble effort, the from here to the end. Students familiar with previous from your central nervous system to your muscles and perception of its truth, which is one with the truth of editions will find that twenty-four measures here are by the impulse it transmits, causes motion. Therefore, everything that is beautiful and is lit by the light that eliminated which do not add any particular value to the your motor is not in your hand, and your hand is speedy illuminates the whole world and turns it into the garden work. Indeed, my impression is that by proceeding to only as your motor is a good one. And to speed up of God.” a quick ending the artistic effect is enhanced. your technic you must make your practice hour an hour Good speed and technic then will be yours. At T do not hurry the recitative nor make the fre¬ quent mistake of playing it heavily. Remember, these are not the witches of Macbeth. With the presstissimo at U, the first shafts of sunlight scatter the whole horde The entire vitality of art depends upon its being A careless song, with a little nonsense now and of pixies until they vanish in thin air. The grace notes full of truth, or full of use. Ruskin then, does not misbecome a monarch. Walpole Copyright 1922 by Theo. Presser Co. British Copyright secured DECEMBER 1922 Page 821 THE ETUDE THE ETUDE Page 820 DECEMBER 1922 MARCHE FANTASTIQUE _—l— PRIMO WILSON G. SMITH,Op.73 Allegro moderato M.M.*=108^ Allegro moderato jvi.mJ=io8

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British Copyright secured Copyright 1922 by Theo. Presser Co. DECEMBER 1922 Page 823 THE ETUDE THE ETUDE PBTMO Page 822 DECEMBER 1922

IN HUNGARIAN STYLE IN HUNGARIAN STYLE EMIL KRONKE PRIMO AllegroLM. M.J = 18

DECEMBER i922 Page 827 THE ETUDE

fs IMPORTANT EVENT ^ S 'V-: From Scenes from Childhood, pieces which are to be played to children rather than by them. Important Event may depict a Christmas house party with all the bustle of arriving guests and the consequent festivities. Grade 3. THE ETUDE Page 828 DECEMBER i922 ADORATION FELIX BOROWSKI Arr. by the Composer ) but also much liked as a cello solo or organ voluntary. Grade 4. Splendid and inspiring. Long popular in its original form (violin and piano, 5 4

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Copyright 1922byTheo. Presser Co. British Copyright secured DECEMBER 1922 Page 831 the etude THE ETUDE Page 830 DECEMBER 1922 A New Brunswick Record PEASANT DANCE ALBERT W. ketelbey A lively number in popular intermezzo style, by a well-known English writer. Grade 4 MARIE TIFFANY Singing Allegrettp pastorale m. m. J = so \/^a tempo -AJ# „ 4 ^- Ol’ Car’lina otw1 lvtusir hv .TAMES FRANCIS COOKE

A Song that touches the universal heart

Get it for your record library

IN SHEET MUSIC PRICE, 60 CENTS

THEODORE PRESSER CO., Publishers, Philadelphia, Pa.

TINDALE MUSIC FILING CABINETS Your music kept neatly in order, protected from IN design, this charming little Grand Piano damage and where you can quickly find it. presents an appealing combination of Nearly 7000 now in use by artists, teachers, schools, dignity and daintiness. Its pleasing propor¬ convents, professional musicians and music lovers. tion and architecture lend refinement to any 12 Styles to Select from, Oak or Mahogany home. Its tone is delightfully amazing—rich Send for Catalog I, and ask for our Easy Payment plan and sparkling clear in the treble; full and STYLE E sonorous in the bass. Its amazingly respon¬ TINDALE CABINET CO., 159 W. 57TH ST., NEW YORK Capacity 6S0 Piece* sive touch is a constant delight to both student and master. THE WILDER KEYBOARD is not a tuic-a.. w» — .. . ‘magic" produce pi primarily for the development of technic, though " Vir, uf--_;n,ta„rr the nerfectinz of a LEG A l iXTNERS is -*• . - . ,, . .. Everlasting Christmas Gift it will open the field to added thousands who desire lessons and it will mean invariably increased m< Our pamphlet “How to Organize Piano Classes” together with our Special Introductory lerms WILDER KEYBOARD COMPANY, Dept. E-4, West Newton, Mass. The Brambach Baby Grand answers the wish of every woman who has a home. It is the SUMMY’S C dream of every girl who hopes to have a ORNJZJt home. It is the Christmas Gift Supreme. The Brambach Baby Grand occupies only the LIVING PICTURES of the CHRISTMAS STORY space and costs only the price of a High- By Grace Elizabeth Stover (Just Published) Grade Upright Piano. An Unusual Christmas Pageant Music, Readings and Pictures Effectively Synchronized The Brambach Baby Grand is displayed and sold by Sii iple Stage Setting leading Piano Merchants everywhere. If you do not surrounding the Birth of The Pageant con know your dealer, let us send you a Brambach Cata¬ Christ, accompanied log and a paper pattern, which shows exactly the “Living Picturess,” though different, and as the ever popular “Children's Messiah”1 which tells the story. of the Christ Child through m lings and the stereopticon. small space requirement of this charming little instru¬ BOOK OF READINGS. .50 cts. ment. Both are free at your request. (With comple rections for perforn BOOK OF CAROLS. .12 cts. Other Successful Christmas Entertainments WHO HELPS SANTA CLAUS A two-act musical play.^. CHRISTMAS SONGS OF MANY NATIONS Comp, by Katherine Wallace Davis THE CHILDREN’S MESSIAH Comp, and Arr. by Mari R. Hofer. . Brambach Piano Company THE STORY OF BETHLEHEM Trans, and Arr. by Mari R. Hofer. Mark P. Campbell, Pres. BETHLEHEM’S STORY Comp, and Arr. by Caroline Kohlsaat. 640 West 49th St. New York City WHAT HAPPENED TO SANTA By Clara L. Lucas. Kindly send me the Brambach Catalog and Paper Pattern. CLAYTON F. SUMMY CO. PUBLISHERS 429 South Wabash Avenue Chicago Send for Descriptive Circulars Please mention THE ETUDE when addiessiag our advertiser*.

Copyright 1922 by Theo. Presser Co DECEMBER 1922 Page 833 THE ETUDE Page. 882 DECEMBER 1922

tBrunsxuxdvQ jStnnual

21 Distinguished Models This Year!

A Design and a Price to Meet Every Requirement

Whether your problem be an exquisite console, to blend its dignity with a drawing room reflecting The Louis Seize period, or an instrument to place on the nursery table, for the children’s musical hour, you will find a Brunswick to A Few Christmas Records meet it—delightfully. 20006—March of the Toys—From 'Babes In Toyland” Pictured here are 21 supreme instruments—a design to meet (Herbert) Brunswick Concert Orchestra Naughty Marietta Intermezzo (A DreamMelody) every home requirement. And a price to meet every purse (Herbert) Brunswick Concert Orchestra more than half way. 5174—Ring Out Wild Bella (Tennyson-Qounod)^ All embody the exclusive features which have made Brunswick dominant in the world of musical art. The in- strument chosen by the world’s critics because of its aston¬ ishing facility in achieving mastery of the so-called “difficult” sssvfifssa tones, and by famous artists of the New Hall of Fame as best fitted to perpetuate their art to posterity.

Yet—a Brunswick, as you will note, costs no more than an ordinary phonograph. Where to see—and hear For a demonstration, at which you will not be urged to buy, ComeAUYeFaithfirpc, call at your nearest Brunswick dealer. Joy to the World (Handel) Collegiate Choir The Brunswick phonograph plays all makes of records. And In Attractive Gift Envelopes Brunswick Records play on any phonograph. Play On Any Phonograph The “Beaux Arts” THE BRUNSWICK-BALKE-COLLENDER CO. Manufacturers—Established 1845 CHICAGO NEW YORK CINCINNATI TORONTO

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BRUNS PHONOGRAPHS Page 8SJf DECEMBER 1922 THE DECEMBER 1922 Page 835 the etude

D. Appleton and Company Present the Universally Popular Modern Piano Collection Gt. full without Mixture GRAND CHORUS Sw.full S Ch.full Modern Piano Pieces the Whole World Plays Ped.full ANGELA BECKER Coups. Sw.& Ch.to Gt. LIST OF CONTENTS Gt.Sw.&Ch.to P An imposing, ^ell- written postlude, for any festal occasion. A L’Eglise.Pierne Klavierstuck .Jadassohn Murmuring Brbok.Poldini Alla marcia Alla Mazurka.Nemerowsky Nachtstuck Op. 23, No. 4 Schumann An Album Leaf.Wagner Nocturne . Borodin Angelus (Scenes pittoresques) Massenet Papillon .Grieg At Sunset.McDowell Petite Mazurka.Sapellnikoff Au Bord du Danube.Wormser Petite Valse Op. 10, No. 2 Auf Stillen Waldespfad R. Strauss Manual Au Matin.Godard Pres de l’Eau. Barcarolle Op. 33.Jensen Reverie Op. 34, No. 5.Schutt Barcarolle Op. 62, No. 4 Romance .Rachmaninoff 256 Pages X. Scharwenka Romance Op. 2, No. 2.Raff Complete 70 Compositions Beim Kranzewinden.Weiss Romance Op. 44, No. 1. .Rubinstein Berceuse .Delbruck Romance Op. 5.Tschaikowsky “Whole World” Original Edition Berceuse Op. 16, No. 1 .VonFielits Romance Sans Paroles.Faure Series Catalogue Berceuse Op. 26, No. 7_Schytte Price, $1.25 Scotch Poem.MacDowell on Request Canzonetta .Cui Serenade .Borodin Chanson Triste.Tschaikowsky Serenade .Olsen Characteristique .Sinding Silhouette Op. 8, No. 2.Dvorak Consolation Op. 19, No. 6 Silhouette Op. 8, No. 4._Dvorak Leschetisky Song Without Words.Saint-Sacns Consolation No. 2.Liszt Souvenir .Drdla Cradle Song.Ilynsky Souvenir Op. 10, No. 1.. Karganoff Crescendo .Lasson Spanish Dance Op. 12, No. 1 Elegie Op. 1, No. 3.Youferoff Moszkowski En bercant.Schutt Spring Song.Merkel Erotikon .Grieg Sylvains, Les.Chaminade Gavotte Moderne.Tours Gipsy Dance Op. 20.Sarasate Gondola, La.Henselt Madrigal .Lack Mazurka Op. No. 1.. .Saint-Saens Valse Gracieuse.Dvorak Habanera .Chabrier Valse Lente Op. 12, No. 2.. .Schutt Humoreske Op. 10, No. 2 MelodieOp. 18, No. 1 .Moszkowski Melodie Op. 16, No. 2.Paderewski Villanesca .Granados Tschaikowsky Menuett Op. 33. Jensen In the Wood.Poldini Moment Musical.. .P. Scharwenka

For sale at all Modern Music Shops throughout the U. S. D. APPLETON AND COMPANY

Songs by G. ROMILLI G. Romilli, is an American Song Writer, who is rapidly REIMHERR taking a position among the best. His songs are full of melody and rhythm. Add these little gems to your WELL-KNOWN CONCERT TENOR repertoire. Says:- MARIETTA PjsLLOW TIME “ ‘Dear Little You’ is a dandy Price 50 cents Price 30 cents little song and I will be happy A Neapolitan love song with a graceful A dainty little “sleepy time” croon de¬ rhythm and full of spirit. licious in its unaffected simplicity with a to use it.” Sung for the Victor by drowsy humming refrain. GIUSEPPI DE LUCA A "dandy tong” this it! Mabel Kelly.Steinecker The Baritone of Metropolitan Opera Co. Kaufman Male Quartette. The Smith.Spring-Holmes Victor Record No. 66068 Price, $1.25 Orchestral Quintette and numerous others are using it. rJ-tlya i ■■ -n .; ■■, ■ ft ■ |t h n , r DEAR LITTLE YOU R^wS^S,M UVy°'M' • Higli Voice/ Price, COCem, :l' I'V Sw. Obot jonly Meno mosso fe'J J' rP°Tu ji.l ipt ^ ba - by, PH- - low time. your ^ ( . (TremU- - 6^— fflr- i iaVmf The Poem A real song lyric dad-d/ll soon be here; Pil low with an appealing JcL1 ^ reminiscent sentiment I ©3 — rit. P JUST WITH YOU LADDIE and LASSIE Price 50 cents Price 50 cents A love song with a graceful waltz rhythm, easy to sing and a splendid program A folk song with unusual charm for all number. Ped. Soft 16' -[d.j—p p i r—i iLTAJ Just with you where the lights are shin-ing bl b' * 1 ^ A ^ «

izici J“stwil>> y«“ and a love un-dy-ing,. By CLAY SMIT '*? Justwitbyou by the deep, blue bay_^ mem-ta In days (a, , nJ ^ Other Excellent Romilli Songs i— La Serenata Price 40 cents Angelus Price 40 cents = = LESSONe?wO„N[“TIME,, FQR piAJ Venetian Song Price 50 cents My Dream of You Price 30 cents Love s Token Price 50 cents Summer Idyl Price 50 cents truction8and i^LKu“,NG syncopation in time and with perfect rhythm.P Adapted'to^alFerad86 °* teachinS the piano student t THEODORE PRESSER CO., Publishers PHILADELPHIA, PA. 1 | Price tl.OO. At your Dealer’s or order from us dir f VIRTUOSO MUSIC SCHOOL, Buffalo, n! York Please mention THE ETUDE V ssing our advertisers, British Copyright secured Cppyrig-ht 1922 by Theo.Presser Co. Page 836 DECEMBER 1922 THE etude DECEMBER 1922 Page 837 HEART’S ENCHANTMENT THE etude SONG WITHOUT WORDS model drawing room piece, tuneful, ornate and richly harmonized. To beplayed in rather free time. Grade 3g T PpYrr* Tempo Rubato m.m. J - 7a i K

SIRENS WONDERLAND FOLK,No. 5 A seductive wait, movent, if characteristic style. The (groups of five) should be played like •«•* * mtb out accentuation.Grade 3 . JAMES H. ROGERS, Op. 50, No. 5 In slow waltz time M. M. Jr 132 J.

I

1 )

British Copyright secured DECEMBER 1922 Page 839 Page 838 DECEMBER 1922 WE ETIJDE THE ETUDE TWO FAIRY STORIES The Ugly Dwarf

Sleeping Princess montague ewing Moderato m.m. j = 84 Montague Ewing is a contemporary English composer who has had many successes to his credit. He specializes in teaching pieces. TheSe two numbers, from a new set “The Golden Window,” may be played in succession, returning to the first one. Grade 22.

International Copyright secured Copyright 1922 by Theo. Presser Co. HAPPY-GO-LUCKY WALTER ROLFE As a teaching piece this bright little number presents a melody alternating between the hands in two-measure phrases. Grade 3. ^ Allegretto con moto m.m. W=io8 ? 4 ^ - — * a Page. 840 DECEMBER 1922 „ , ™E £Tv^E To my friend George Mac Nabb. WHEN GRANDMOTHER DANCED

With the real old-time flavor. To be played daintily and precisely. CHARLES HUERTER Tempo di Minuetto m.m. J=ios

Ole Bull (1810-1880) the great Norwegian violinist pours into this gem in folk-song style his passionate love for the North and his cou y Originally for violin, of course,it nevertheless makes a beautiful piano solo. Grade 4. Ada$Adagio no M.M.m. M. J = 7273 _ __ _ _ ~~~5i 4iC'T, 4 » t 5~-?- g, 4r 3 ^ 5-^ Q U 5 < 4 f 4 * "TB. Jk

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Copyright 1922 by Theo. Presser Ci SNOWFLAKES British Copyright secured GEORGE E HAMER A very jJoderatOM M* j_ijj0ducil1* the combined melody and tri11- Play ia exact time and with automatic precistaJoiSf »*.

Copyright 1922 by Theo. Presser Co. r4 1 British Copyright secured DECEMBER 1922 Page 842 Page 842 DECEMBER 1922 ___ ^.-.--r-arTirTTi-n THE ETUDE THE ETUDE THE LAST ROSE OP SUMMER 0 MASTER, LET ME WALK WITH THEE A most playable and sympathetic arrangement of the good old tune, Transcribed by L. AUER WASHINGTON GLADDEN Adagio sostenuto . molto express^

VIOLIN

rail.

^ word of love; Teach me thejvajMvard feet to stay. And guide them in the home-ward way.

--r ^ 1 * r^~ r r r - m rail. eolla voce i ^ hf pli—t^Uqr

DECEMBER 1922 Page 847 the ETUDE Page 846 DECEMBER 1922 thB

A song forevery music-lover who is a musician. ALDEN BURRELL Lento conespressione These Articles With Delight

PRICELESS INFORMATION

“Priceless,’’because only one person in thousands can afford to pay the price of the lesson fees demanded by many who co-operate in making THE ETUDE what it is. Just take the leading articles in the ETUDE for one year and count up A Five Foot how many hundreds of dollars it would cost you Colonial Grand to secure just one lesson from each of the famous musicians who adopt this means of contributing our newest and smallest, is shown above. TJ 77 d ° -■—" In Antique or in English Brown Mahogany, to the musical advance of our country. Here are it is a delightful art object, and a piano of just a few coming articles: - „ coTPed. , t ritard. — remarkable possibilities. r-O-ftr 1---Y— ■- . J _ 1 1_ • | . 1 Sergei Rachmaninoff, on “New Lights on Piano Haying.” The great Russian, whom many regard as the greatest master for the piano Experience Ivers & Pond since Chopin and Schumann (with the possible exception oiE Grieg), Where soft- the scent of long a - go o - ver the bor-der light-ly blowT_ My soul is like— a gar-den in a brilliant interview, gives information of great value to students. PIANOS Emma Calve, the greatest of Carmens, on “Why Voice Study can never offer a complete line of grands, uprights be Standardized.” The great singer has strong original opinions and players—in but one quality—the best. which will interest you immensely. They enjoy a national reputation for de¬ Ernest Hutcheson, whose Master Recitals in.New York are attracting ja J’ p collavoceT ^ lightful, distinctive tone, attractive design national attention, on “Piano Study after the Age of Twenty. j * _ I7 and sterling structural integrity. Over 500 leading Educational Institutions and Giuseppe de Luca, leading baritone of the Metropolitan, on “The Art of 70,000 homes now use the Ivers & Pond. Keeping the Voice.” Critics say that de Luca’s voice has grown steadily better and better for years. ff Where no dealer sells the IVERS & POND Mischa Levitski, who at twenty-three ranks among the world's most ^ jj ^"f^copiummso ^ we quote lowest prices and ship from the factory tho your home be in the successful performers, on Getting a Start as a Virtuoso. most remote village in the United Spates, G Gatti-Casazza, director of the Metropolitan Opera House, on “Which jj Attractive easy payment plans. Liberal American Girls should Train for Grand Opera. allowance for old pianos in exchange. close._ Where some - Jimeshom-ingwin^at play Bear the fahrt fra - granceof % Every intending buyer should have our Elena Gerhardt, world-famous singer of art songs upon “Singing the Art rT-,HE experience of most new catalog. Write for it. _ _ Song.” •L people with O-Cedar Polish _Fill out and send this coupon to_• is simply this: 7v~ers & pcTnd piano co. 141 Boylston Street, Boston, Mass. They buy a 4" ounce bottle Please mall me Hour ncu) catalogue and valuable '^’’’Ameri^an’Mu^icaf PublkebasCbeen°Swindled Out’of Mn’iions’by’song information to buyer*- (costing 30c) simply as a trial. Sharks.” They use it according to directions m f— - - America’s Ten Favorite Hymns. The result of an Etude survey repre¬ senting over 30,000 hymns sent m by readers. and are delighted with the results. Their furniture and woodwork take H/3 —_s0 How I Earned My Musical Education. Active music workers all oyer the country tell how they went through every imaginable kind of on new beauties—cleaner, brighter obstacle to win success. and prettier than ever before. So satisfactory ft, i T A Little Lesson in Conducting. E. H. Pierce, in a few words tells what ten. rit. ire the results from every musician should know about conducting. the trial a larger sizebottleisbought.

rose: % soul is like a gar -den close Be - caU8e you chanced to Foo-Foo Music Next?

Is the successor of "Jazz” music to be The trouble was started, it seems, in the “Foo-foo” variety? According to a India by one Ram Dass, who bought up :or twice the second-hand instruments from British regi¬ press clipping this is within the bounds of mental bands: old euphoniums, cornets, possibility. “Foo-foo” music is a name trombones and clarinets. These he distrib¬ As the wonders ^ said to be derived from the French word 1 U-p-p,— -p-t---M_iff /coHa voce utes to the members of his orchestra, first —the utility—and “fou,” meaning crazy; and no one will deny superiority of the appropriateness when he learns that fortifying them with arrack, the fermented 0-Cedar are more in music of this kind each player of the juice of the palm. fully appreciated In spite of his foo-foo folly, this Ram band follows his own sweet will, playing ole buy the Dass shows gleams of intelligence. He Is when he likes and what he likes on any pmoltorit. said to collect his fee in advance quarts, half gallons instrument he gets hold of. and gallons effecting greater economies. Quarts are $1.25, half gallons $2.00 and The master-works of the past should Practice yourself for heaven’s sake, in gallons $3.00. be the standard of the works of the pres- little things; and thence ^°Cee^ t0 “nt R. Franz. greater. Epictetus.

I Zabel B J^thers Co. sy JOHN PRINDLE SCOTT O-C&iar I Music ^Printers V/ ^Polish Engravers and Lithographers O LITTLE TOWN OT ÐLEHEM “ Cleans as It Polishes ” ITEMIZED PRICE LIST and SAMPLES ■dlTH" 'JlOLIN O&QLIGATO 30c to $3.00 sizes—All Dealers Your perfect satisfaction ^guaranteed or Jong . Jhgh.med, /of. - Pott fr»d *.50 Duet. Soprano & Ulto, - Anthem^ Mixed — - - ■'%. Channell Chemical Co., Chicago PHILADELPHIA. P tfnthem— Tvo-part Treble_L__-_^r^^ Toronto - London - Paris - Cape Town * With kind permission of the author, from“The Rose Jar.” -S7 -V 45~ ST.N.y. Copyright 1922 by Theo.Presser Co. u Please mention THE ETUDE when addressing our advertisers. British Copyright secured DECEMBER 1922 Page 849 THE etude Page 8Jt8 DECEMBER 1922 THE ETUDE The Second Mile erature of singing—the songs of Schu¬ VIII Now, if the student has answered bert, Schumann a'nd Brahms; the Ora¬ more or less satisfactorily to himself the torios of Handel, Haydn and Mendels¬ foregoing questions, if, in other words, sohn; the operas of Weber, Wagner and he has taken the first seven steps, where Verdi. What a wonderful time it has KIMBALL upon the journey does he find himself? been! not by any means all sunshine, The Singer’s Etude He knows that he has passed the first but there is little that grows anywhere “Quality made the name—the name insures the quality” milestone, but that the second mile is without the need of some rain; and so it has been with our music-study. But Edited by NOTED SPECIALISTS directly in front of him! What shall he do? The words of the answer are if we have attended to our business as IFTS chosen with we should, there is no reason to doubt G easy to write, but the practice of them A Voice Magazine Complete in Itself is the acid test. The old story concern¬ we are feeling amply repaid for all distinction are cer¬ ing the great German composer, Felix the effort put forth. tain to register appreci¬ Mendelssohn, may be apropos at this ation. The KIMBALL time. It is related that on one occasion The Value of It he was heard to remark, if he did not “Ah 1” says someone, “all who devote Grand Piano assures a Nine Steps in Vocal Progress several years to the study of singing do not practice one day he was quite conscious lifetime of pleasure and of it; if he did not practice two days his become Carusos nor Galli-Curcis.” Quite By Stanley Muschamp friends were conscious of it; if he did true. Neither do all who study electricity satisfaction, and is the not practice for three days in succession, distinguish themselves as did Benjamin the student days and on out into profes¬ that kind of method, all promising re¬ musician’s preference When one listens to the voice of a Ma¬ complish wonders. But it means very lit¬ every one who heard him play was con¬ Franklin; neither do all who study medi¬ sional life there will be very little oppor¬ sults which in themselves sound well if rio, whose singing Owen Meredith said tle indeed to have the other gifts unless scious of it. What is the application of cine make such a discovery as did Harvey. because of its purity of tunity to give up to ills of various kinds. the results they claim have been obtained would melt a soul in purgatory, one is you know that you have the all-absorbing, this story at this step in our journey? One could cite instance after instance, but tone, reliability of con- During the student days there will be so under the spell of the singer’s art to the all-possessing propelling force of desire. by use of their particular prescription. To me it means that, from now on, the these two will suffice to make clear what is much ground one desires to cover that But unfortunately this not always is true. struction,andrarephys- extent that he forgets for the moment DESIRE! Let it be spelled with capitals. student must give himself over to the meant to be said: though all who take up he will feel there will not be a moment More than one promising beginner has the pathway over which the singer has It is safe to say that no singer ever be¬ arduous responsibilities of the years that the subject of singing may not scale the ical beauty. The ever to waste. After this period has passed taken so many, ofttimes weary, steps. The came great unless there was enough desire had his possibilities dashed to pieces must intervene between the day he com¬ loftiest peaks of the Matterhorn or Mont and the young singer is trying his pro¬ popular KIMBALL glamor of the lights, the sounds of the to consume the obstacles, both normal and upon some such rock as mentioned above mences his formal studies and the day Blanc, there are many places along the fessional wings, and even when he has orchestra, the scenery, and the general ex¬ abnormal. Work and Sacrifice: these are and been left with scarcely a single plank he makes his debut. In other words, his mountainside where the view is wonderful. Upright is always a citement of the performance, hide the past words to interpret in their largest and full¬ become a full-fledged artist, there will upon which he could float ashore. Yet, Half way between the railway station of be innumerable rehearsals, many of them days of daily practice have begun. treasure. KIMBALL for the time being, and all that goes to est meaning. Do not deceive yourself; let it be said here, to the credit of teach¬ These days, in some ways, will prove to Visp, in one of the valleys of Switzerland, make up the art of the singer is lost in the long and far from home, from which the instruments are built KIMBALL because if you commence the career and ers, that among those in the profession be the happiest of his life. Who has not and the stupendous Gornergrat, far, far enthusiasm of the night. singer will return worn and weary. It do not persist in working, you will have are some of the finest men and women heard friends talk with enthusiasm of the above in the heights and next to the Mat¬ complete in the KIM¬ Grand Pianos Reproducing Pianos But what is it that makes such a per¬ is then that his good health and phy¬ one of the bitterest of all disappointments found in any walk of life; men and days in college; who has not heard some terhorn, is the little town of Zermatt. Upright Pianos Phonographs formance possible; what has been neces¬ sique will benefit him most and enable BALL plant, and are awaiting you. women whose character is above re¬ artist friend enthuse about the time passed There is where most of the folk of that Player Pianos Pipe Organs sary that a man can appear before an audi¬ him to recover quickly, to be in prime II The singer must have some means of proach, at whom the finger of scorn has in the atelier of some famous artist or the locality live. Few are those who go higher, reliably guaranteed. Music Rolls ence and transport the listeners for the condition for the next day’s program. determining whether the native vocal ma¬ never been pointed. Ecole des Beaux Arts; or the delights of and fewer still who climb to the very top time being to another world? Has he ar¬ terial is adequate. My method of advice to young singers the years given to the study of song in of all. But midway between Visp and the Descriptive catalogs, also rived by a route permissible to all, or is This is one of the hardest steps A Pleasing Personality who have come to me for consultation has bella Italia? It may be that no success Gornergrat may be found many varieties nearest dealer’s address, the pathway opened only to the privileged to take. How is the singer to obtain A pleasing personality is an asset, when been to ask, “Have you really considered of later years will surpass the joys which of the lovliest flowers, and one may see sent to you on request few ? These are some of the questions that the right kind of opinion when he knows one considers the actual presentation of the what you should receive when you go for views the remembrance of which will re¬ surge through the mind after hearing the will come to him now. I OKIMBALLGrand Piano. □ KIMBALL Phonograph. himself that he is decidedly in the most song. The appearance of the singer af¬ a singing lesson?” If you have, then you main with him throughout his entire life. W. W KIMBALL CO. singing of a great artist. IX Between the last step and the present , DKIMB ALL Upright Pianos □ KIMBALL Player Pianos I elementary condition vocally. What is fects the audience in a large measure when will experience little difficulty in deciding one many months of study will have It is not necessary to have climbed to up¬ (Established 1857) | 0AI.0 mail paper floor pattern for “Bijou” Grand—free. I The Art of Singing is a subject about the right kind of opinion, anyway? it makes its final decision of the performer. whether you have gone to the right teacher. permost heights of the mountain to enjoy which all may learn something. It is not passed, several years of learning the use Factors and Executive Offices: Experimentation must be the method I remember the impression the late Aline If you have little or no idea what you its grandeur, neither is it necessary to be necessary that one be possessed of an un¬ of the voice, the laws governing music CHICAGO, U. S. A. adopted, which will assist most materi¬ Osgood made upon her audience. > As soon should receive at a singing lesson, then a Caruso or a Calve to have had the great usual voice to study voice culture; though which all musicians must learn to obey, ally in determining the vocal appeal as she came upon the platform, before she how will you be able to tell whether your pleasure which comes through the sincere the better the voice, the better he will find the rich experience of becoming inti¬ when the voice is young. This and the had even sung a note, the audience was study of the beautiful art of singing. the opportunity to succeed professionally. selection is a good one or not? You will mately acquainted with the standard lit¬ advice of musicians of broad musician- immediately charmed. A knowledge of singing is a delightful ac¬ see that I am inferring that before you ship will generally open the way fcfr V The fifth step to consider may be visited any teacher you had begun to listen complishment; and one who understands A VALUABLE PRACTICAL NATURAL something of the art can better appreciate this step. termed another view in the mirror of to singing with your mind and not only the efforts of others, One must be fair to one’s self at this the mind. This time the embryo-profes¬ with your emotional faculties. I f you have Christmas COMMON-SENSE period and not let the lack of expressive sional should look to see what interest in been attending musical performances of all Correct Tone Production at the First Lesson The Coming Professional quality be discouraging, if inwardly there general he has in the kindred subjects, sorts with this thought prompting your at¬ Present VOICE TECHNIQUE However, this article is directed toward is the great desire to express through the Painting, Sculpture, Literature, to which tendance, then you will have commenced to By George Chadwick Stock for Music Lovers By GUIDO FERRARI those who are contemplating a professional art of music. To compare one’s own may be appended Languages, and the gather some of the necessary requisites a Teacher of Singing young, immature voice with the warm, col¬ Drama. Are you moved intellectually, singer should have, and thus you will ap¬ only for a second, as in speech, then for career. After reading various magazine There is a way of getting a sure hold Thousands of Dollars The Only Self-Instruction Book Written Which orful tone of a Caruso or a Calve, places emotionally, when you stand before a proach the subject of selecting a singing two seconds, then three, and so on. Be sure articles about the marvelous rise from ob¬ on correct tone production at the very first are spent on singing Teaches the Development of a Beautiful the young vocal aspirant at a great disad¬ painting by Andrea del Sarto or a piece teacher intelligently. This too often is not that the one second of sustainment is per¬ scurity of Samuel Smith to the position of vocal lesson. By this is meant a tone that lessons that do not Natural Free Tone. vantage, and the question should be con¬ of sculpture by the great Michel An¬ the case. fect before attempting the longer periods. first tenor of the opera, known as Signor is musical and free from any throat strain. teach how to produce Salvatore Sananzarro, and that his unusual sidered in that light. gelo; are you thrilled when you read Perfect progress is measured by perfect a correctly placed Explains in a clear concise manner, easily understood It is imperative that the beginner gains talent enabled him to advance to these Thackaray or Stevenson, or deeply im¬ achievement not by ground covered. tone. Every vocalist, by anyone, the development of a good, clear and resonant The Ear and Rhythmic Sense pressed at a presentation of a play by The Pupil’s Responsibility at once a working knowledge of the prin¬ The idea is this: Get your cue as to whether teacher or voice. A complete study of tone production. Illustrations heights with comparatively little or no and explanations show fully and accurately the correct study, thereupon the young singer hies III Another step in this ladder of Vocal Shakespeare or Moliere; do you desire VII After you have selected a singing ciples of correct tone production, otherwise what correct production of the singing student, will- find this teacher should you relinquish further practical work one of position of the mouth and tongue. Fully explains breath himself to some large city (provided he Progress is the consideration of the Ear to have the ability to express yourself he will start in a stumbling way on his vo¬ voice is, through the medium of a correct¬ control. It teaches how to sing. Every word and note is personal responsibility? By no means, unusual value and one can beg, borrow or steal the money), finds and Rhythmic Sense. We would not in another language than your own? cal career. It must be remembered that the ly spoken syllable or word; then apply this of the most notewor¬ consider for a moment listening to a if you have a grain of common sense! principle of tone production to the sung an humble lodging in some hall bedroom, vocal student is wholly in the dark at the thy of vocal educational Christmas Cash Price, $5.00 learns a few of the more popular concert string quartette, the members of which A Drama in Miniature Your life work has barely commenced. syllable or word. Make remittance try check or Post Office money order to could not tune their instruments. So it It is now your business to see that from outset of the study and the teacher’s first songs, and then deceives himself into be¬ Did you ever think that every time you It will be to the advantage of singers must be with a singer: his ear, even at lesson to lesson the teacher gradually business is to make sure that he illumines lieving that it will be but a short time until sing a song, in reality you are enacting a young or old, to resort repeatedly to this GUIDO FERRARI, Presser Bldg., 1714 Chestnut St., Philadelphia, Pa. the beginning, must be keenly sensitive to unfolds the subject to you, beginning with clear and steady light the first few the entire world will be begging for ad¬ drama ? In it you not only are describing simple practice of speaking and then sing¬ the true pitch, and must feel decidedly with the simplest rudiment of articula¬ mission to hear him sing. the scene, but also upon your ability to feet of the path ahead. ing words as above suggested. Any easy disagreeable to any tone but that sound¬ tion, passing step by step through the The idea of the real purport of the art interpret the text depends your success in You may ask, “How can a singer whose word will do. This expedient should not ing irr the center of the pitch. It is not various points, thereby assisting you in of singing, accompanied with the deter¬ conveying to the listeners the lines which tone is faulty and perhaps pretty firmly fail at the first lesson to make clear to the ENGAGEMENT RING WALTZ enough that the singer hit the bullseye, mastering the problems as they present Melody of love, passion aud joy mination to work until success is assured, some composer has set to music. This im¬ fixed in faulty ways of producing tone student’s mind exactly what free, faultless he must hit the center of the bullseye themselves. If you cannot do this, then Night In The Lighthouse is rare. Therefore, the writer has at¬ plies that you have a good mental picture tone production sounds and feels like. Chimes. Dreamy Melody, Piano 25c each when it comes to singing in tune. you are not a good student and the truth quickly produce a faultless tone?” The tempted in this article to show the nine of the scene the song brings forward, and Do not fail to get a clear idea of this EMERICK ft CABADY, Boa 135, Sla. F„ New York City steps in elementary voice culture, which Then the Rhythmic Sense should be is not in you. answer is this: If he is able to speak a how will you be able to have the best simple principle of tone production and ap¬ may help some reader of The Etude in alive not only to the strong accent of a Here is where the teacher should meet single word, for instance the word ‘ man, mental pictures if you have not been inter¬ ply it time and time again as above directed. deciding his own problems. military band as it marches down the the student fully half way, if not farther. or “on,” or “rain” correctly as to tone and ested in the subject of pictures ? A moment’s Men and women who are obliged to do a I The singer must conscientiously con¬ avenue stirring the pulse of all within The student should come to the lesson intelligibility, he can be shown how to sing thought on this phase of the singer’s art great deal of speaking will be greatly bene- DO YOU STUDY SINGING? sider the following questions: hearing; but the finer gradations of ac¬ filled with questions and the eager desire a tone correctly and will so sing it, no mat¬ and one can readily see the importance of fitted by following out this line of vocal a. Am I really fond enough of music it¬ cent must become of interest and also ter what may have been his previous fault a deep interest in the kindred arts. to have them answered to his heart’s and ARE YOU MAKING PROGRESS? self to work out the problems as a pro¬ add their share to the beauty of the in¬ of tone production. For example, ask the work. mind’s content. If he goes away from the Extend the range of the voice half-tone fessional must; or am I merely like so terpretation of the composition. VI After the decision that your fondness student to say “on,” first with rising in¬ lesson with an unsatisfied feeling, then upon half-tone, going higher only as the If NOT, WHY? many thousands who wish to sing a Rhythm, the fundamental, the primitive, for music is real, and particularly so in something is wrong, and I would be in¬ flection as though asking a question, “on?” notes are sung with freedom and ease. It few popular songs? must be the foundation upon which all our regard to vocal music; that your ear is clined to think that the fault did not lie Then repeat it with falling inflection, “on. is best to keep practice between C and C Read—“The Secrets of Svengali” b. Am I planning to study singing just music study is built. Long before there good enough to tune your voice and that entirely at the door of the student. No Now see if the word “on” can be sung with for awhile, using various kinds of intervals By J. H. Duval to entertain at an evening company; was any melody, harmony or counterpoint, your sense of rhythm is keen,-—then teacher can make a singer even though the same case and naturalness of tone pro¬ and scales within this octave. Low voices and tp be complimented by those who there was rhythm. comes the momentous question, ‘Whom he says he can; but, by being filled duction on the pitch of middle C then D shall I select for my instructor in this can safely go lower than is here indicated have never studied? IV Good Health wedded to Good Phy¬ with knowledge of his subject and enthusi¬ then E and so on up to G second line treble And You’ll Find Out subject which is to be my life work?’ but voices whether high or low had better One can at once see that the angle of sique. This is almost obvious enough to asm for his subject, then a teacher may clef. Try to get the idea of “talking on a $2.00 al all Music Dealers and Booksellers “Aye, there’s the rub.” Of teachers keep within this limited range until correct attack practically means everything. If be passed quickly; yet a word concern¬ have what is perhaps the greatest of all tune” as F. Davies, a former instructor of Published by James T. While. 70 Fifth Avenue, New York City you are really downright in earnest, and ing these most requisite twin assistants tone production becomes an established nab- and teaching there is no end. Teachers pleasures in life, that of helping some as¬ the writer, used to say. have the other qualifications, you may ac- will not be out of order. All through with this kind of method, teachers with At first sustain the tone on this word it. piring, talented person to help himself. Please mention THE ETUDE addressing our advertisers. THE ETUDE DECEMBER 1922 Page 851 Page 850 DECEMBER 1922 the ETUDE Singing for Children a Valuable Experience pianologues 1 3 “DIAMONDS^!® I The clever pianologue merits a place on every enter- | FROM JASON WEILER & SONS | By George Chadwick Stock tainment program. For either platform or parlor use, “e especially recommend; the fofiow^which may be of Boston, Mass., one of America’s A tention of the older as well as the younger leading diamond importers M It is a valuable experience for a singer UKdD«i^N DE T^LIG8HTOT.aS. TWwert. Question and Answer Department to appear occasionally before groups of members of the party. Fiddlin’ in de Firelight . . . (Character) Preceding each song the singer talked to Hats.*.(Humorous) children; for, in order to attract and hold Keep a Smilin’ ..(Inspirational) Conducted by Arthur de Guichard “lESS their attention, she must live the song as the children about it, in such a graphic way Li’l Ole Brown Cabin .... . (Lullaby) lyr>/ malln,“" with cufitomere^r t i- j™ ■ as to arouse their interest and curiosity. Old-Time Wedding Day . . . (Character) well as sing it. She must bring her imagi¬ A Perfect Little Lady (Humorous Juvenile) native faculty into play and vivify the words She made so clear to her young auditors SpeIkYpIr YuaeseIp!' yohn (Humorous) Always send your ft is8. No questions will be with due accent, pause and inflection. Above the central idea of each song that the pic¬ ALBERTI Speak Up, Ike, en’ ’Spress Yo’se’f (Humorous) 1 all things she must be genuine in her desire ture represented was perfect. Each song In full sheet music form—price, postpaid, each, 35c. Only your Initials or a chosen nora de plume will be printed. and effort to please and entertain. It will came to the children’s ears like a revelation U3L/0 The set of ten $3.00; mention “Etude Collection Make your questions short and to the point. Complete list on request. Questions regarding particular pieces, metronomic markings, etc., i it likely to be of interest not do to come before these alert and dis¬ of something new and radiant with life, T. S. DENISON & CO. tto the greater number of ETUDE readers will not be considered. cerning young souls with a song only half enthusiasm and unmistakable meaning. Dramatic Publishers 623 S.WABASH AVE., DEPT. 98, CHICAGO Orlwin of Sol-fa Names. If we wish to Interpret the words by their learned. They know. Another thing, if To these children the singer was a play¬ BUTLER-REDFERNfSa () Some time aao I read with much in- metronomic number equivalent, we must evi mate just a little older than themselves who terest your account of the origin of the sol- acntly have riK-ourse to the metro^ome as at a conventional style or tone is adopted the fa names of the notes but I did not quite present marked, although that mar King is singer will make very little headway into had suddenly and unexpectedly come among gather how they were applied exactly to the very unequally divided and illogicaUy co - the hearts of her youthful listeners. Chil¬ them to fill the moments brimful of joy' Tale. Would you pleas? give me fuller in- puled. Instead of five divisions, as now the dren are quick to detect and resent insin¬ and happiness. She was their very own combs:r formation. H. P„ Detroit, Mich. ““did Mia’S? tiSf cerity or affectation. The singer who has play-fellow and as she sang the fascinating A Guv d’Are/zn (about 995 to about (b) 50 to 63; (e) 63 to 80; (d) 80 to 100, 1050) born nelr Paris (France) and edu- e 100 to 126; (f) 126 to 160; (g) 160 to a notion that she will be able to deceive a song stories she illuminated them with look, » C M ear Paris became a 200 and over. Instead of the Italian names child into believing that she is something gesture and delight-giving qualities of mind Benedictine monk in a monastery at Arezzo for speed of movements, it is suggested that ADDA C. Normal Teacher, Teacher’s Training in Tuscanv (Italy) and there he invented our own language be employed. There is no which she is not will find that she has and voice and heart., Classes in Dunning System of Improved Music the use of parallel lines for the staff or doubt in my mind that a. slipped a cog in her calculations. In an incomparably delightful manner EDDY stave and had the good fortune to stumble so logical and comprehensible a scale (instead upon a system for naming the notes of the of the scale now found on metronomes) would All things considered it is a pretty good she described flowers and birds and the hexachordal scale_forscale- the system then in command an immediate success both among test of a singer’s all-round ability to please habits of animals; she made them feel and use was a scale of --six notes (hexachord). It beginners and among the masters of the musi- FABRIZI may be purely, apocryphal,-„ a simple legend, cal art. the general public if she is a success with understand the curious way in which na¬ but it is both pretty and possible -nd, at ture works to unfold buds and leaves and auv rate, its claim to authenticity is greater children. than any other. Assisting at vespers on the all life. With fairy-like subtlety she made Ion. The Seymour School Singing for children is the most natural gilbert: eve of St. John the Baptist, Guy (also called them in turn smile and laugh and feel seri¬ Guido Aretinus, hisJ|____jej monkly nam-' remarked field in which a singer can work; and so ’syllable of each line, of the A lew weights and prices of other diamond rlnos: ous over their beloved toys and dolls and that t i carat . . $31.001 H carats . . $217.00 it affords invaluable schooling and prepa¬ St. John, fell upon successive notes | carat . . 50.00 1 2 carats . . 290.00 ration for the art of singing for men and pets. It is doubtful if any of those children GUICHARD“S=„_, women who, after all is said, are in reality MUSICOLOGIST, LECTURER, 72 Huntington Aw... Bouton, Muss. grown up children in sophisticated and con¬ had ever listened before to songs that so ventional guise. appealed to their imaginations and to their love for the things that lie closest to their HAWTHORNE ""-Egvl The above opinion has recently been hearts. Such golden hours of delightful greatly strengthened by hearing a gifted and instructive entertainment should be KRIENS saSKTl, and above. soprano give a program of songs for a provided for children regularly and fre¬ party of children. quently ' in homes and schools throughout It is not suggested, much less meant, that MOULTON a performer should keep slavishly to the Before singing she had grouped the chil¬ the entire land. beat of the metronome, measure by measure dren in front and around her while back of This is intended to give the prevailing speed At the close of the performance the sing¬ of the composition, which, by being adhered them sat the parents and older friends who er, one of the best in the concert field, NEW YORK to generally, is in its details treated with a had come to enjoy the children’s happiness. said: “Experiences such as these keep my certain amount of elasticity, according to At the close of the entertainment it was a the composer’s indications and to the per¬ emotions alive. Children are enthusiastic RIESBERGPIANO Dept N.Y. School oi Music and former’s sentiment. question whether the young people in all and naturally responsive. If my song Arts. 437 litth Ave., Tel. 4292 Murray Hill, N. Y. 0. MALDEN, MASS. their happiness, after all, had enjoyed it any pleases them they let me know it. They do Sanc-te Jo-han-nesl more than the older folks. not hide their feelings. You cannot know The syllable Ut has been changed to Do THORPE (except In France) as being easier to stag. Q. My piano teacher directs me to prac¬ The program was divided into three how much these young hearts help and in¬ tice the arpeggio of C, and its three inver¬ The hexachord scale of course had no seventh sions—also the arpeggios of G, D, A, n leaves^me^quite ‘‘flabbergasted,” The health of one who may be receiving muddled and (were it not for prohibi- the patient. As an exercise for the pro¬ ‘ CONSERVATORY OF MUSIC matter of metronomic indications is well _ fuddled! All the more so, because instruction in Piano, or Violin playing, worth the musician’s examination and study. there is• - the"ie faintest glimmer of a meaning in motion of health, there is scarcely any ex¬ DETROIT The most precise method for indicating the ... siion—though the “one flat more” may be in no danger even though the in¬ griped of any movement, a method which ercise so wonderfully helpful as singing, should read one black note more, never mind struction be of the poorest. Not so in the avoids aiy possibility of ambiguity, is that of whether sharp or flat! Such curiously inept matter of Voice Culture, this being a pro¬ when correctly done, and it is equally true KNQT^ Employing numbers, instead of words. For questions should be asked of the questioner's teacher, because they have no interest or cedure the success of which depends upon that there is scarcely anything more de¬ example: instead of Allegro, let J = 160; profit for the student or musical public in the exactness with which the pupil follows structive to health than singing when in¬ general. This reply may be applied to many Largo, let J = 60 ; Andante, let J = 132. questions, emanating from a like want of fore- the instructions of the singing teacher who correctly practiced. TOMLINSON: f thought. INSTITUTE Sernrtbef%efiCmtaStaPeThVet a°re“ --t to he observed in a set hara-and-: D. A. CLIPPINGER WESTERN 5e- Jose Coperario. Author of liDS Q. Can you tell me anything about a Spanish composer for the lute and voice, THE HEAD VOICE AND OTHER PROBLEMS, $1.25 t is named Jose Coperario? I have a piece by SYSTEMATIC VOICE TRAINING, $1.25 pie enough. The chief difficulty arises when BRYANTi A. Jose Coperario was not a Spaniard. PIANISTS, VIOLINISTS, The name was adopted by an Englishman, ’CELLISTS ptc How should these words be interpre¬ named John Cooper, who went to Italy to ts ted’ Composers, musical directors, per¬ study music in the beginning of the seven¬ Cut Weary Scale Practice CONVERSE COLLEGERS ■ fumers all seem to have greatly divergent teenth century (a very old custom, you may EVERY SINGER SHOULD HAVE ideas about them. Take, for example, the notice, that of going abroad for music study), Reading Music at Sight, Rapid Fingering, Flexi¬ ->y of DiCio’s Phonetic Italian. The m Learn to accompany WITHOUT NOT word Andante. Most music teachers will tell bility of Wrists and a fine Vibrato acquired by a etep to your ultimate succeea. A simple you it means: slowly. It does not. The who there took the name of Coperario and on the piano or organ who retained the name when he returned to Chicago Musical College mteed work that will enable you, in London policeman, in order to keep the crowd England. He composed many pieces for the rarnt'^NOAPPARATUs'’ "St/or*Free'lZ/us My Chordsystem will teach you. i or the individual from becoming stationary, trated Book (stating if a teacher) to PRINCIPAL . “Move on, there; move on; keep lute, the viol de gamba and the organ, also arranged for students and advanced player moving ” Your Spanish "cop” tells you; songs and masques. He taught music to the XAVERSCHARWENKA learn by notes. Price 32.00 postpaid. children of James I of England. His great¬ The COWLING INSTITUTE “A nda anda.”—also meaning, keep moving est distinction was that of having taught Master Piano Instructor of the World 500 Filth Avenue Room 427 New York City (Spanish andar; Italian, andare) There music and composition to Henry and William Detailed Announcement in January I.sue of ETUDE BUEHLMEYER, Dept. 3 you have it. It is neither slow nor fast, but Hoboken, N. J. 1302 Bloomfield ‘ keep moving"—that is moderato. Lawes. He died in 1627. Please mention THE ETUDE when addressing onr advertisers. DECEMBER 1922 Page 858 THE ETUDE THE ETUDE Page 852 DECEMBER 1922 Playing with piano accompaniment, violin keyed up to a high pitch, and sharpens the duets, trios, quartets and, above all, string ability to read at sight to a really remark¬ quartet work, forms a wonderful school for able degree. Looking back at my student sight reading. The violinist who would days, I can see where the opportunity I had read well at sight should thank his lucky of practicing twice a week in a string stars if he has an opportunity to play the quartet for several years gave me what first or second violin part in a string quar¬ ability as a sight reader I possess. / LARGEST MANUFACTURERS Truo-Tone ' OF HIGH GRADE BAND AND tet, where the classical quartets, such as The beginner can practice with a Sunday ORCHESTRA INSTRUMENTS Saxophone those of Haydn, Mozart, Beethoven and school or public school orchestra, in the Easiest of all wind instru¬ the other masters are played. Playing in absence of other kinds of ensemble work. The Violinist’s Etude ments to play and one of the most beautiful. You can orchestra, where there are many violins, These will at least teach him routine, learn the scale in an hour's prac- both first and second, is not so good, as, if steadiness of time, and help his ability in keeping his place and going ahead with the Edited by ROBERT BRAINE place in a band within 90 days, if he goes wrong, the sight-reading student 1 yon desire. Unrivalled for home others, regardless of mistakes. Easy vio¬ entertainment, church, lodge or can get his place again by listening to the school. In big demand foro.> others. In the case of the string quartet, lin duets are a wonderful help to the young A Violin Magazine Complete in Itself :ra dance music. however, it is a case of “survive or per¬ student in learning sight reading. Playing at Sight Free Trial fiSSPSKS Many violin students pursue their studies Practicing Bowings An excellent work for the violinist who exercises, scales, arpeggi, etc., are, of ish.” There is only one part of a kind, course, absolutely necessary if the right Sight reading is to some extent a gift; ndtry it six days in yoorown home, with- and in some of these classical quartets it without any of these helps, neither doing He who masters the bow, masters the wishes to master the many varieties of stac¬ it obligation. If perfectly satisfied, pay for kind of progress is to be made; but but the ability to read at sight can be cul¬ if on easy payments to suit your convenience. 75% of all is often difficult to find the place again, ensemble work, nor even playing with the violin.” The greatest teachers devote cato, saltato, richochet, arpeggi, with popular phonograph records are played with Buescher mstru- coupled with these it is the highest wisdom tivated to a really remarkable degree if when once lost. More than once I have accompaniment of the piano. In such a the most unremitting attention to the bow¬ springing bow, and the many varieties of to give the pupils also really melodious the violin student will only go about it in Saxophone Cook Free string! seen famous quartets break down, and in course such pupils are working under a ing studies of their pupils. Spohr, one of bouncing and springing bow, is Forty Vari¬ tlie right way. Many violinists are wo- public, at that, due to some member going great handicap. One does not learn by the greatest violinists and teachers, said, ations in Bowing, Op. 3, by O. Sevcik. In studies and genuine melodies. nationally1 popular°orchestrM. Our Free Saxophone Book fully deficient in this branch of their art. tells which Saxophone takes violin, cello and bass parts and wrong and being unable to get in again. working away at technic alone like a her¬ “Good bowing is the life and soul of vio¬ this work are many studies with many In the early stages, folksongs, national manv other things you would like to know. Ask for your They remind one very much of the story of copy. Mention.^h^ interested in and a com- mit, but by the “many-sided musical inter¬ lin playing”; and so it is. Sevcik, the variants. songs, familiar airs, easy melodies which The difficulty of playing a part correctly the great composer, Handel, who engaged course” which Schumann so strongly ad- famous writer of technical works for the My advice to every violin student would are known the world over, will be found of PletBUESCHER BAND INSTRUMENT CO. and counting rests in a difficult string quar¬ an organist at the last minute to play the vised in his famous rules for young musi- violin, has given us his famous “Four be, “Never a week without a bowing ex¬ the highest benefit to the young pupil. 32S8Buesclfer"Block" *" ELKHART.TnmANA tet, at the same time preserving the proper organ parts in a concert which he was to Thousand Bowings.” He attributes his ercise,” Many a little pupil gets his first real con¬ expression and ensemble, keeps the mind ception of violin playing from learning to direct. He was careful to ask the organ¬ success in producing world-famous artists Keeping Up Interest to the exhaustive study which he requires play a melody with which he is already ist if he was a ready reader, as there would of every possible combination and phase Call it an “exercise” and publish it in familiar. be little or no rehearsal for the concert. On the evening of the concert the man Control of Brain Over Muscle of bowing. an instruction book, or book of studies, and Some violin teachers refuse to give got fearfully mixed up, played wrong Every well-known instruction book and a melody will excite but languid interest their pupils anything but exercises for the shades of intonation; the fingers of the notes and wrong time, and completely The question, “Am I too old?” is prob¬ set of studies for the violin contains bow¬ in the case of a young pupil. first year or two, keeping them on dry FORTY YEARS left hand are being trained to execute the ruined the performance. Handel became ably asked more frequently than any other ing studies which are to be played with a Call the same melody a “piece,” and technical work and the insipid “recreations” of clean, conscientious busi¬ commands of the ear with the utmost ac¬ furious and, as was his custom when he by correspondents who write to this de¬ variety of bowings, which are to be sup¬ publish it in sheet music form, with an at¬ and dry-as-dust melodies with which so ness methods have brought curacy. If there was any instrument by many violin instruction books are filled. was enraged, snatched off his wig and partment of The Etude in regard to tak¬ plied by the pupil from memory. One of tractive cover and a pleasing piano ac¬ us a clientele of high class which the brain of a violin player cduld companiment, and the same pupil will By combining real melodies with technical threw it at the man. Rushing up to him he Violinists, Amateurs, Professional ing up the study of the violin. A vast Here’s Your Chance the most famous is the second study of number of people either do not have the be examined in comparison with that of Kreutzer, in sixteenth notes. In most edi¬ practice it with the greatest enthusiasm. work, they would find that the pupils’ reared: “I thought you said you could Teachers, Schools. opportunity of studying the violin in child¬ a person who had never played, the re¬ For Extra Money tions of Kreutzer, only about twenty-five The wise teacher will make use of this progress would be doubled. A great play at sight.” “So I can,” said the Always lowest prices hood, or else do not take sufficient interest sults of all this- development would be There’s a bigger demand than ever for players different bowings of this study are given, bit of psychology by giving the pupil ap¬ change in this regard has taken place with¬ trembling organist, “but not at first sight.” Best quality obtainable in the instrument to give it any attention. apparent. of saxophone, trumpet, trombone or tuba in but various writings have added to the propriate pieces in sheet music form, and in the last few years. The value of using In the .same manner we find many violin¬ In adult life they hear some great violinist, dance and theatre orchestras everywhere. number. Massart, the famous French easy solo numbers, at every stage of hjs world-famous melodies in connection with ists who cannot play even comparatively Prompt efficient service and then is born the passionate desire to Feats of Prodigies You can qualify for a well-paying engage¬ violinist and teacher, wrote 150 bowings progress. The most important thing in technical work is being generally recog¬ simple music without going over it again express themselves through the medium of We often marvel at the feats of violin ment, either whole or part time, through a for this study, which are of the highest violin education is to keep up the interest nized and has resulted in a tremendous up¬ and again, painfully studying it measure short period of pleasurable practice with a violin tone. Unfortunately, it is too late; prodigies who execute technical marvels value to the student. These bowings are and enthusiasm of the pupil. Technical lift in elementary violin teaching. by measure. VIOLINS Conn. in all grades OLD and NEW the golden period, when the necessary fun¬ which are hopelessly beyond ordinary play¬ published in pamphlet form and can be The violin student who would learn to Easiest playing instruments made, ex¬ damental technique could have been ac¬ ers. Such players are able to execute these obtained from music dealers. play well at sight, must first learn enough COMPLETE OUTFITS clusive features and improvements. Used and quired has gone, never to return. feats because of their extraordinary con¬ endorsed by symphony players as well as lead¬ The violin teacher should require his technic on his instrument, and enough of A Little Talk to Violin Students Violin study should commence at six or trol of brain over muscle. The cells of ing jazz artists, a few of whom pupils to practice one or more bowing ex¬ the principles of time and musical theory seven years of age. As a rule, after the their brains have developed in such a way are shown above. ercises daily, as there is nothing more val¬ to be able to cope reasonably well with the JOHN FRIEDRICH & BRO. By Jean de Horvath age of ten to fourteen violin study becomes as to give them perfect control over the uable for developing the bowing. The difficulties of the class and grade of music 279 FIFTH AVENUE, NEW YORK violin-playing muscles. which he wishes to read at sight. If he increasingly difficult to acquire a big tech¬ bowing of such exercises is not marked, as We have examples of such abnormal Has your teacher ever shown you how hoping at last to smooth away the rough has not enough technical ability and knowl¬ nique. People, as a rule, who try to learn the slurs or other required changes are control in Other things. Germany has a to practice? And if you are lucky enough spots. Now, when you come right down to edge of theory to play the music he is try¬ the violin in adult life, ascribe their fail¬ to be supplied mentally by the pupil with¬ remarkable prodigy in Fraulein Thea Al¬ out being marked. Many pupils will wish to possess such a teacher, do you think, it, is that not silly? For the spots do not ing to read, he will naturally fail. It is ure almost invariably to lack of flexibility ba, who has mastered the art of control of to mark the bowing with a lead pencil, but “Oh, that’s such a nuisance, I’ll just play smooth away, do they? like trying to build a house without the in their fingers. “My fingers are too stiff, 155 Columbus Ave. brain over muscle to a degree previously this should not be allowed, as half the it through two or three times;” or do you Now for a few hints. Find out just proper tools. We often find students with REG. U. S. I guess,” they will say, in finding an ex¬ unknown. This remarkable young woman value of the study consists in applying honestly buckle down to it and dig? where the difficulty is and then exercise no technic and ignorant of the commonest BOSTON, MASS. cuse for their failure. The fact of the sings a German song and writes an Eng¬ the various bowings from memory. As a child, living in a little country town your good but unused brain in seeing how principles of time values of the notes and matter is that it is a case of “stiff brain” where there was no music, even the spring more than of “stiff fingers.” It is true lish sentence with her left hand and a Some of the less talented pupils often many ways you can play that troublesome rests trying to play music two or three Make and Repair, arrival of wandering street musicians (you that the fingers must be flexible for good French sentence with her right hand at have great difficulty in applying certain of bit. Play it without slurs, martellato, spic- grades too hard for them, and becoming know the kind, two fiddles and a harp), Buy and Sell violin playing; but most people in the twen¬ the same time. She can write a sentence the more difficult bowings. They find it cato. (I hope you know all these bowings. discouraged at their lack of success. Let All Kinds of seemingly impossible to group 'the right was an exciting event. Their lugubrious VEGA ties have fingers sufficiently flexible for a backward in one language and another in the student who would learn to read well at So many violinists do not, you know). fairly advanced violin technique, even al¬ a different language forward, or calcu¬ notes under the proper slurs. In cases of rendering of Cavalleria Rusticana was a sight set apart a certain period of his time PAT. OFF. MUSICAL thing of beauty to me, but even to my un¬ Play the passage forward, yes, and back¬ though they have never touched the violin. lates figures with one hand, and writes this kind I have found the following to be each day for practicing sight reading. Mu¬ INSTRUMENTS critical senses it was apparent that these ward too. I can hear you sigh “Oh what a dictation backwards with the other. She an excellent plan which I recommend to sic should be chosen which is somewhat be¬ men were far from being fine musicians. long time that will take.” Not a bit more The Adult and the Violin begins a sentence at both ends and com¬ teachers and violin students. Take the low his ability to play. In the earlier stages □ Banjos □ Saxophones And I began to think, ‘if practice makes than you would waste in useless repetition. pletes it in the middle, writing with both following excellent bowing study from very easy compositions, consisting of In adult life it is impossible to learn the perfect, these men should be splendid tech¬ Try it and you will be delighted. □ Mandolins □ Clarinets hands. One of her most astonishing IVohlfahrfs Studies, Op. 45, Book 2, whole, half, quarter and eighth notes, in violin well, because the brain has not suffi¬ nicians." But they were not and my eyes One thing more I can not but tell you, achievements is writing with three pens which the composer indicates to be bowed easy combinations would be the best. Let □ Trumpets □ Flutes ciently accurate control over the great were opened to the fact that playing is not even though it has no actual bearing on at the same time, holding two in one hand, in twenty-two different ways. the student read these pieces without stop¬ number of muscles involved in violin play¬ practicing. how to practice and that relates to accent. and one in the other, and writing different ping for mistakes, trying to get the correct □ Trombones □ Drums ing. In speaking of the brain, in this con¬ To play is excellent; it is what one You know how attractive a clean, crisp, ac¬ words in different languages with each.. number of beats in each measure, at an Check Any of the Items Desired and Return nection, I, of course, include the active works for—enjoyment for oneself, pleasure cent is in violin playing; but do you know with Name and Address This German prodigy possesses a brain even tempo, just as if he were playing with brain, the sub-conscious brain, the reflex, to others—but one does not learn to play that one of the best things to develop this of wonderful complexity, capable of di¬ an orchestra, where he could not stop, but sympathetic, and, indeed, the entire nerv¬ really well and in a minimum of time by is to practice scales, a whole bow to each The VEGA COMPANY recting several dissimilar operations at The exercise is entirely in eighth nofes, would have to keep on regardless of mis¬ ous system. In childhood, the brain, nerv¬ playing. That comes through practice. note. Place the bow on the string at the 155 Columbus Avenue once. The ordinary observer marvels at in six-eighth time. In the excerpt from takes, to keep with the rest. After read¬ ous system, muscles, in short, the entire extreme frog. Give enough pressure to get BOSTON, MASS. these feats because he can understand their the study as given above, I have marked When you start a new etude or solo organism, is in a plastic state. The cells a firm attack; pull the bow very quickly to ing a piece through several times in this difficulty. The virtuoso violinist performs one of the bowings. In the original ex¬ what do you find ? Almost always several of the brain are developing and acquiring its extreme point; and rest with the bow manner without stopping, it should be gone achievements which are much more diffi¬ ercise, no bowings were marked, of course. passages of difficulty surrounded by phrases control of all muscular movements. As the over again once or twice, but this time cult than these, but fails to get credit for Let the student count six in each measure, of comparative easiness. Is it not so? on the string, relaxed. For up-bow, again little pupil practices, that fine coordination stopping to correct technical errors and Gemunder them because the ordinary individual does very evenly, one beat to each note. Then Well, what do you do? Unless you are a get a firm attack; then move very quickly of all the muscles involved in violin play¬ other mistakes. 1846 the VIOLIN NAME OF FAME 192* not understand their difficulty. Arranging and Correction of Mss. call his attention to the fact that when very unusual person you just play over the to the frog; and continue in the same man- ing is gradually built up. A violin-playing Orchestra and ensemble playing is the ALL KINDS OF VIOLINS The human brain might be compared to A SPECIALTY he says, 3-4, and 6-1, the notes coming on whole thing a considerable number of times, machine is being gradually built into great school for sight reading, since each For all Kinds of Players some small extent to cement, which is plas¬ A. W. BORST, 3600 Hamilton St, Phila.. Pa. these counts are to be slurred, and it is MODERN USED & ANTIQUE the brain, which is a thousand times more player must keep up with the rest, "sink tic and can be shaped in any manner when surprising how soon he will be able to ap¬ complex than the most intricate man-made or swim.” There can be no loitering on the soft, but becomes rigid as stone when it ply the bowings without having the music electrical machine. Bow must move with sets. Of course the brain never com¬ marked with the slurs. All the other bow¬ Mr. Albert Spalding, the notably successful American Violin way or stopping to correct mistakes; every finger, accuracy of finger movements must pletely loses its power of developing and VIOLINS ings can be taught in similar manner, the player must keep up with the others or be established. Brain cells must be devel¬ Deep, Mellow, Soulful Virtuoso has been interviewed by Mr. Otto Meyer (assistant learning; but as adult life comes on, it bowing being changed on the proper count drop out. This necessity for “keeping up” oped in such a way that every violin-play¬ to Sevcik and a pupil of Ysaye,) on Practical Violin Playing. in the measure. The counting each note sharpens the wits and improves the sight- ftlaga7ine — per year. Established 1892. ing muscle must have its proper control. gradually loses the facility and plasticity also assists the student in playing the study This interview is one of several violin interviews scheduled reading ability to a really remarkable ex¬ Looseness and elasticity must be estab¬ of youth, and learning becomes more dif¬ AUGUST GEMUNDER 8? 50N5 ficult. In any art like violin playing, in¬ in even time; as, when no counting is done, tent. Orchestra men are invariably splen¬ Violin Maker,. Repairer, and Dealer,, Eiclnslvely lished in one set of muscles, while pressure for future issues. volving both muscular and mental develop¬ the widely differing bowing combinations did sight readers. They have to be, since 141 WEST 42nd ST., NEW YORK is being exerted by another. The ear is ment, progress becomes increasingly more Please mention THE ETUDE when addressing often play havoc with proper time values. their bread and butter depends on it. being developed to recognize the nicest our advertisers. DECEMBER 1922 Page 855 the etude THE ETUDE Page S5J> DECEMBER 1922 trainer of race horses once told me that difficult when the age of childhood has —■ 4 a-J the power of speed trotters lay in the brain, and that training must commence It is not intended that it is impossible to early. Of two horses, both seemingly alike learn even a limited amount of violin play¬ from a muscular standpoint, the one with The Organist’s Etude ing after the ages of 18 to 20, say, are the finer brain and the best early training reached. A certain amount of progress is will show the most speed and win the race. always possible, commencing late, but the The late beginner in violin playing can Edited for December by the Noted Chicago Organist and Conductor attainments will be very limited. The accomplish a certain amount, but cannot same difference in brain control is met acquire an advanced technique nor become a HARRISON M. WILD with even in the training of animals. We real artist. He sometimes gets more pleas¬ all know the proverb that you “cannot ure out of his playing though, to be sure, An Organ Magazine Complete in Itself teach an old dog new tricks.” A noted than the more advanced player.

The Scales in Double Stops Organ Tone Quality The fingers must be kept down in prep¬ (HALFONTE- In conversation with the editor of this Reeds. Oboe Sw. mf. 8; Vox Humana department, Mischa Elman, the famous vio¬ aration for the chord. Mixing Colors J|addonHai.l It has always seemed to me that the As one pulled a stop, the other followed Sw. mp. 8; Cornopean Sw. F. 8; Clarinet lin virtuoso, stated that when cn tour he This same method of preliminary prac¬ it up, found how it acted, found where A still further step is to appreciate the ATLANTIC CITY, N. J. average young student of the organ has Ch. mf. 8; Trumpet Gt. or Ped. ff. 8; She did not have to go to the | found it very difficult to get regular prac¬ tice can be applied to scales in thirds, oc¬ it sounded, became acquainted with the effect of mixing colors; and this I have Combined in ownership and only a very hazy idea of the different Trombone Ped. ff. 16. trouble of diet or exercise. She tice. When, owing to long railroad jumps taves and tenths, as well as sixths. The sound close to and far away, and took out put to students in the form of visualizing management. Hospitable, quiet varieties of the organ tone, and when these Diapason. Open Diapason Gt. Sw. Ch. found a better way, which aids the and interruptions of all kinds, he was able benefit of practicing chords in this man¬ and examined a representative pipe of plaids. A great deal of red and but little homelike. Broad deck porches varieties should be applied with taste. mf. f. 8-16; Octave Gt. f. 4; 12th Gt. f. digestive organs to turn food into to get in only an occasional half hour of ner is that the student can get each note each and every stop in that organ. It blue would give us a red plaid; a great deal | muscle, bone and sinew instead of fat. overlooking the sea. Beautiful Could not an article be written in which 2%; 15 Gt. f. 2; Mixtures Gt. f.; Bells, practice, he found that to keep in condi¬ composing the chord in tune before he takes but very little time to fix the charac¬ of blue and a little red would give us a She used Marmola Prescription Tab¬ the varieties could be intelligently classed Harp, etc. tion there was nothing better than prac¬ plays it as a chord. Later, when he has ter of tone in mind, as we have color blue plaid. Then we can impart to a lets, which are made from the famous ticing scales in thirds, sixths, octaves and done much of this preliminary work, it so that the student could, at a glance, have sharp oboe or a strident gamba, the soft¬ It is essential that the character of a Marmola prescription. They aid the his palette so arranged that he could paint fixed apparently without effort. Contrasts tenths. Practice of this kind is of a highly will be found that playing the passages di¬ ening, chastening, or dulling quality of a composition be discerned. That which is digestive system to obtain the full as he desired? By this I mean, could he of color, if we may use that term to des¬ concentrated nature, and there is little rectly as chords will be vastly facilitated. Stopped Diapason, or a soft 16-foot chorus-like can be played on a Celeste—as nutriment of food. They will allow you not have all the flute-like stops grouped, ignate kinds and qualities, are easily ap¬ to eat many kinds of food without the doubt that twenty minutes of such work is The preliminary arpeggi form very fine Bourdon, or even a real mellow 4-foot from a choir far distant; on a Vox Huma¬ his string stops, his brass stops, his reed preciated. Reed against flute; reed : necessity of dieting or exercising. equal to a full hour on miscellaneous com¬ exercises for changing strings by wrist Flute, and this idea, carried into all voices na—a choir nearer; on strong reeds—an stops, and then classified as to the intensity against string; flute against string; diapa¬ Thousands have found that Mar- { positions. bowing. son against flute or string or light reed; on one manual, or solo playing needing a effect quite orchestral; on light Diapason— mola Prescription Tablets give of tone of each group? After this, could manual of accompaniment, unfolds the a small choir; on heavy Diapasons 8’s and In my personal teaching I have found Many varieties of bowing could be built string against flute. plete relief from obesity. And when I the scales in double stops of the highest up on this double stop scale work. One of he not have some practical plan whereby vastest possibilities upon even an ordinary 16th, a solemn cathedral-like effect; on the accumulation of fat is checked, efficacy in developing a pupil’s technic. the best is the following, where we have his mind could be directed toward the Experiment Obligatory more and more up to the limit of a largest reduction to normal, healthy weight j Such practice is a wonderful training for musical application of certain groups of Parenthetically, let us say here, it is Again a digression. I have heard Men¬ organ—the sum total of sound of a vast soon follows. constant changing from one string to an¬ the ear, for bad intonation shows up in a other by the wrist, one of the most impor¬ stop to certain needs? That is, what stops obligatory that experiment be practiced or delssohn’s Spring Song played by a chorus and large orchestra united. All All good drug stores the world over sell are most appropriate for certain things, Marmola Prescription Tablets at one dollar distressing manner in playing the scales in tant bowings in violin playing. If desired, indulged in. It may be assumed at first “Movie” organist with, I venture to say, of these stand as pure, but can be modi¬ a box. Ask your druggist lor them, or order chords. It is also the best preparation of this can be done with spring bowing. and that I do it in such manner as to that anything is right until it is proven no fewer than fifty changes of registra¬ fied in a thousand ways. As an example, direct and they will be sent in plain wrap¬ enable those who read to understand with per, postpaid. all for playing all sorts of passages in dou¬ wrong. I have had pupils who in a few tion. (The organist was reputed to be let us take the Vox Humana. By putting Ex.2 little or no effort, and apply with equal months had registration cunning of the receiving $300.00 per week, so was not a with it a 4-ft. Violin we secure a scintil¬ MARMOLA COMPANY ble stops. Again, it is a bowing exercise veteran, and, on the other hand, pupils tyro.) Such a distortion I had never be¬ lating effect; add a St. Diapason and the 252Garfield Bldg., Detroit, Mich. (! of the highest value, since the utmost steadiness andi accuracy on the part of the Much better if people can be taught of years who, because I could and would fore heard, and wish never to again. effect is the same as using a ground-glass ADVANCE OF PUBLICATION OFFER mmmmmsammm muscles involved in bowing is requisite in to draw comparisons, meditate profoundly, indicate registration for any and every Naturally, the time, rhythm, phrasing and lamp; add a sub-octave coupler and the causing both tones to sing steadily and delve for their riches and become strong organ they might play, would not make organ-like characteristics were violated effect is as though a choir of female voices MAX IXE LADIES’ In the preparatory stages of violin play¬ equally together. MAZAS’ 30 SPECIAL STUDIES because of self-effort. But there is every even a faint attempt at self-help. So, any from beginning to end. Quite on the and a choir of male voices are singing one SAFETY RAZOR In teaching these scales in double stops I ing double stop work is often much neg¬ reason why those who have wholly or composition could be played throughout on other hand, I heard on that same organ, and the same composition. The varia¬ for the VIOLIN, have found that it is very difficult for the lected, and this is a great mistake, since in part discovered, should chart the ground, either of these. Then follows the desire but from another organist, a simple mel¬ tions are so great that it seems unwise to pupil to play the chords in tune at first. I it is of the utmost importance. We often Op. 36,Book I that no effort be wasted, but that the later to make different in quality and quantity ody played throughout on a deep, full- give more. Experimentation will lead have found that it is necessary to use a hear double stops played atrociously out One of the books which nearly every violin discoverer shall begin where the earlier a melody and its accompaniment. Quan¬ throated, beautiful stop; and had it not into the inexhaustible mine. Where the preparatory exercise, where each tone of of tune by violinists who seem to have student has to take, is the set of studies by left off. tity is easily appreciable, although even been for his persistent use of a drum-like composition is pastoral in nature, we have reasonably good intonation in playing single Mazas, Op. 36. One does not have to lie very the chord is played singly and then as a far advanced to take these studies, but they Before anything is said of the use of here care should be exercised, because a staccato, popping accompaniment on a harp to choose between the flute and the reed. chord. The following example of the pre¬ notes. When a chord is played, the violin¬ serve as a splendid preparation for the larger organ registers, I would advance the idea too great as well as a too little difference stop, the charm of his treatment of the Not necessarily, of course, because Han¬ liminary method of playing the scale of G ist must listen to it intently, making sure works to be taken up later. Book I, wl ich is of the as near as possible perfect tech¬ should be avoided. melody, coupled to the beauty of the sound, del chooses to give his Pastoral Symphony to be added to the Presser Collection, con- in sixths will make my meaning clear. The that each note composing the chord is in nique; the perception and conquest of Also, in respect of quality, one should would have won me completely. Need to strings; Guilmant in his Pastoral Op. 42 notes of the chord are played as arpeggi absolutely correct tune, also that when the phases of finger technic, bowing, style, phras¬ the many touches; the discriminating sense not permit a taste not yet cultivated and I add the one who played the Spring Song chooses reeds; Dubois, in his Chant Pas¬ first, and then as a chord. When this can tones are played together as a chord, a ing, etc. Our new edition has been prepared of values—“Chronometric” Widor calls it exercised to pass judgment. It is told of was effusively applauded by the ignorant toral vibrates between reed and flute, as be done in good tune, the sixths can then public; the other had a polite acknowl¬ also does Wachs in his Pastoral in G. EASY ORCHESTRA MUSIC third tone (the sub-bass) is heard. If the —the ability to discern the sweep of mel¬ a committee of a church about to purchase be practiced directly without the prelim¬ separate tones of the chord are not in cor¬ Advance of publication cash price 30 cents, postpaid. ody and its demands; the intuition and an organ that when the organ builder edgment. Music Supervisors and Teacher inary arpeggi. rect tune, this third resultant tone is not learning to treat it with all the cunning proudly played a reed, the committee would Organists who employ manuals as sep¬ Broad Handling " school and class work with orchestra, for ■ heard when they are played together. of the fine singer who, consciously or un¬ have “nothing of such raucous sound in arate entities, one, the swell, with pre¬ Marches and like compositions may re¬ The student will find all the major and consciously, avails of quantity, quality, de¬ their organ.” Of the fine string, It set dominating reed quality, the great with ceive a very wide handling. Chopin Fune¬ light diapason predominating and the choir minor scales in thirds, sixths, octaves and lay, hurry, chronometric variation and the teeth on edge,” so nothing of that sort ral March, a very quiet, never noisy, regis¬ stress, and to bring over to our own in¬ was to be included. Of a big-bodied Open given to flute predominating, have a great tration; Guilmant Funeral March, quiet, and will afford a repertoire tenths in the work, Schradiecks’ Scales. VIOLINS and CELLOS strument all that we find of fine effect Diapason, “Nothing making such a noise.” success, for the playing is apt to be as flu¬ pronouncedly rhythmic, until recurrence of Sold on Time Payments from any artist whatsoever, or any instru¬ Of a Stopped Diapason, “Ah, yes, thats ent as the pianists, and the shifting of the theme, when then a rise into all any organ Violin Questions Answered GENUINE ITALIAN STRINGS ment, collection of instruments or ensem¬ lovely; we’ll have our organ of that color amply sufficient. Those who treat possesses. Some elf-like marches require Root’s Beginner’s Band Book No. 1, hai Send for Violin and Cello Catalogue bles. Hand in hand with this should go kind of stop only.” I’ve met many young the manuals as the making of one large only sheer daintiness, while others little scales and exercises in each book and twelvi By Mr. Braine easy pieces for ensemble playing. Arranged fo A. J. OETTINGER the fullest study of the means. organists of like mind. whole do not, as a rule, give the impression save great masses of sound. As a rule, all Saxophone parts. " Supply Company^ A next step is to appreciate the pitches of as wide a color scheme, but rather more such compositions are more concerned with Samples upon request• ) LaGra Beethoven Sonatas. —8 foot being normal, it follows that a 4- of a wider dynamic range. the use of a full-swell and corresponding E. T. ROOT & SONS M. D.—In justice to Its advertisers Thh William Nichols. Fantasy Must Rule 1530 East 55th St. Chicago, 111 Etude cannot recommend auy particular foot is an octave higher, a 16-foot an oc¬ pedal, the Great, coupled in, used p, mf or There are as many volumes on Organ The Organist’s Palette teacher or conservatory of music as the PhHadrtphiEn-^79L ’ seem’'to” have tave lower. Frequently in arrangements a ff. The choir stands ready, either to be “best." However, both of the musical in¬ Registration as on Orchestration. There The whole scheme is best worked out stitutions yon inquire about rank deservedly been of sufficient note to have his work solo (flute, for example) can be seem¬ used as a manual of accompaniment or Faust School of Tuning high, and you would make no mistake in at¬ recorded by violin authorities. However it Mother (JoogeFanM are as many who understand of the first away from the instrument, just as the adept is possible that you misht find some record ingly carried beyond the compass of the coupleed to Swell, as a pace for a softer tending either. 2—Beethoven sonatas for of this maker by consulting some work giv- FOR SOPRANO SOLO AND TWO PART CHORUS^ as there are of those who understand of orchestrator works out his problems. There STANDARD OF AMERICA violin and piano are all good. It is a mat¬ keyboard by the use of a 4-foot played an solo effect than might be obtained from ALUMNI OF 2000 ter of individual taste which are the most mg the early musical' history of Philadel- By Arthur Nevin Price, $1.00 the second. There are precious few who are so many volumes and organ methods pleasing. Of the more difficult, it is probable PhlJ- 5,011 could such a work A Beautiful Work for Use by Musical Clubs, Schools,Etc. have risen to the heights of either. Please octave lower than written. By the same the Great. Piano Tuning, Pipe and that the Krcutzer Sonata by Bee'hoven is m the Philadelphia public library. which give hundreds of names of stops, Reed Organ and Player understand that I mean few by compari¬ token, the idea is reversed when a 16- Just because it is so simple, so beloved Piano. Year Book Free played more frequently in public than any of Vuillanme. foot stop is used. The extension of stops their pitch, quality and manuals upon his violin and piano sonatas. son. Registration, like orchestration, can by all (thousands openly and the remainder 5:Ve^~7uma™e was one of the greatest up and down, the modem unison _ cancel which usually found, it may be well to Improving ’Cello's Tone. Jmakers of France. He copied the vio¬ only be taken so far by precept. Beyond set down a list of not over thirty, compris¬ secretly), so murderously played, let me lins of Stradivanus. Guarnerius, and other and super and sub couplers, furnish the F. C. F.—It Is possible that it would im- More Presser Co. SS^PMelpliia Pa. that, inventive cunning, taste, and fantasy ing those found in the ordinary organ, and the tone of your ’cello to scrape off the cremona makers with consummate skill. His aspiring colorist an enormous palette. call attention to the registration of the violins and labels have been extensively must rule and guide. from which one can subtract, or to which First Andantino in D Flat as Lemare gives ; furniture varnish . .. copied, so you ought to get the opinion of Beware of making of compositions, Jos¬ say it has been varnished. It would be 'dif¬ I have found it a good plan to make Kill The Hair Root ficult to advise without seeing the instru¬ ?s t° !Yhether yours is genuine eph coats. The greatest of the organists one may so easily add. it. Part 1—note the contrast of solo and before you try to dispose of it. an appeal through likening tone (organ Strings. Aeoline Sw. pp. 8; Salicional n.°Eaay, pa?nles?hirmieasLNc ment. There are a number of good violin rely upon time, rhythm, touch, clearness accompaniment; part 2—the wide spread makers in St. Louis where you live. Why Long Practice. registers) to ‘the use of four bolts of Sw. p. 8; Dulciana Ch. or Gt. p. 8; Gam¬ -X3 mB do you not take the ’cello to them and get MUSIC PRINTERS of melodic line and proportion, rather than of 8 and 16 against 4; part 3—the shifting H. B. MacD.—Ecidius Klotz was n famous cloth. For example, the reeds, red; the their opinion. You could get their addresses upon an ever-shifting color scheme and an ba Gt. mf. 8; Violin Diapason Sw. mf. 8; for solo to a Great Open Diapason; part . „ tt and Morning. from your city directory or from anv good violin maker of the Mittenwald in Germany ENGRAVERSandLITHOGRAPHERS j strings, white; the flutes, blue; the Open Geigen Principal ch. mp. 8; Violine Sw. *» Have Clean, Healthy professional violinist. A genuine Klotz is valuable but there are annoying accordion-like use of swell and 4—the choir-like use of Vox Humana and many imitations. 2—Four or five hours’ I PRINT ANYTHING IN MUSIC- BY ANY PROCESS I Diapasons, yellow. Those who have p. 4; Cello Ped. mf. 8; Violine ped. mf. 16. crescendo. These latter, with everlasting the “fade-away” of the Coda. But on a //•'iiiNss ft*Eyes, Ifif theyt Tire; A French Label. practice daily will not hurt von if you ore learned to think in color would change Flutes. St. Diapason Sw. p. 8; Melodia ® Itch, Smart or Bum, M. T. S.—The label in your violin is in strong physically and have a good', nnim- WE PRINT FOR INDIVIDUALS E tremolo, Vox Humana and Bells, are the very small organ, with the use of a dis¬ French, which, translated would read: “Re¬ these to conform to their own particular Ch or Gt. p. 8; Clarabella Ch. or Gt. p. 8; Vfiim C\/i:Qif Sore> Irritated, In- pair. d nervous system Do not practice too establishedI«74 REFERENCE ANY PUBLISHER 1 prerogatives of the lowest class of Movie creet rubato, with careful adjustment of paired by Pons, violin maker at Grenoble (a scheme. As one contrasts with cloth, so Doppel Floete Gt. mf. 8; Flauto Traver¬ TUIIR L.Y LJ flamed or Granulated, city in France) in 1799.” The label does not organists—no more organists than the fire¬ legato and staccato, with care to have the useMurine often. Soothes, Refreshes. Safefor state who made the violin. Cesar Pons was a"? I X with^ a period^of *rest can one with sounds. Very early in life a se Sw. mp. 4; Flute Harmonic Gt. mf. 4; men are who may be called to play upon an melodies carefully sung and phrased, such Infant or Adult At all Druggists. Write a violin maker of Grenoble. I cannot fur¬ i^lPienotstiffennyour0ref't1'lmnd^if*IyouPdo0not fellow student and I, using a large, three Flute d’Amour ch. p. 4; Bourdon Sw. or for Free Eye Book, Murine E/C RentdjCo„ Chicago nish yon details of his life and work as Play with your muscles in a state of rigidity. —ZIMMERMAN* organ. This is a gag, “gray-bearded, a composition can go through on one and violin authorities simply mention his name. 0x7 mnot be flexible, and care must be manual part tracker, part pneumatic Hook Ped p. 16; Piccolo Sw. ch. mp. 2. There are possibly French works which give to grip the • « and Hastings organ, did the following: wrinkled and bald.” DECEMBER 1922 Page 857 THE ETUDE THE ETUDE Page 856 DECEMBER 1922 particular choice cannot be the only one. Recent Works That Have the same registration and sound beautiful. Had Dvorak in his celebrated Largo given With less careful treatment, yet with a Met Approval the solo to a beautiful Viola, or even to a chameleon-like shifting of color, it can (AUSTIN ORGAN ’Cello, instead of to an English Horn, it s) be made ugly. would not have been wrong. It might not variety and uaefulnei TONE, con Registration may be likened to the use thought to include som Player’s Book have been to a degree as effective, yet * of_ behav lake Austin organs of words. As I look into a volume of Syn¬ School for the Pianoforte Volume III acknowledged generally as the most onyms I find one word with nine compan¬ the music itself, in its changed garb, would Rcliff V. Stratton. dependable and most desirable. The ions. All will stand for the one idea, more have borne the same message. firm makes no boasts for trade pur¬ Do not seek the bizarre at first. Learn I have examined “Original Four Hand poses. Any and every claim made or less; you may prefer one and I another, "WANTED and FOR SALE Pieces” with much pleasure. It is a great 8y THEODORE PRESSER for an Austin is supported by the re¬ or one may give a shade of meaning a trifle to registrate tastefully and simply. Do satisfaction to have these twenty duets under PRICE, $1.00 , cords of organs made in a thousand one cover. This volume ought to be added closer than the other; but not one is so not change in the middle of melodies; •WANTED—Reed < , second-hand, in to every student’s library. and no more use the kaleidoscopic system 3diom S. Stetzel, and cathedrals. far removed that, used, it leaves a false Penna. A Superb Offering for the A Work to Follow the Very than you’d tint the walls of your room six jedal, D-8 sets oi reeus, wuu oiuwer impression. Give furl description in first letter Successful Volumes inches green, three blue, ten brown, one . manufacturer. 500 F. L. & T. Album o) Favorite First Position Pieces re¬ Instruction of Progressing AUSTIN ORGAN We must be broad enough to know that ceived and am much pleased with it. It is [a CoTl these many registrations may be right. Our yellow, twenty black, and think it artistic. iux City, Iowa. an all good folio which is seldom the case. BEGINNER’S BOOK 158 Woodland St. Hartford, Conn. J B. S. Calvert, Young Players in the Kentucky. School ior the Pianoforte Volume 1 Various Phases of Piano A Passing Attitude FOR SALE—Concert Grand Chickering I find Tapper’s Child’s Own Boole of Music, STUDENT’S BOOK Pin no Scarcely used, good as new. Mahog- subject Grieg, excellent in every way. I am Fltcase • $875.00, at my home in Russell, using these miniature biographies with ail Technic: TTnnqas Address E. Louise Mohl, 130 South younger pupils who are invariably delighted GUILMANT Hill Terrace, Ithaca, New York. By H. M. Wild “Player’s Book” presents pleasing studY SALE—A Sweetland Schimmayer How long will vour ORGAN SCHOOL Ha^P Perfect condition. Will sell for $200, arranged in progressive order, the pedal ?nnsWerably less than half original cost. Musical Composition for Beginners is a detail trills, octaves, two notes against three, th p “Well, if there is an exception it is prob¬ After reading Mrs. Bloomfield Zeisler s Mm Geo. Frank Lord, Holly Oak, Dela, splendid book and is just what I have been and other matters necessary to technic. boy s Christmas last? Dr. wiiiiam c. cari, Dir. ably you, and because of that I’m here. looking for and have needed for a long time. In a month most of a boy’s presents have interview in a recent issue of Music News, POSITIONS WANTED It will be a big help in keepmg pupils in¬ A Distinctive School for serious students. Take my son, find a place for him to Throughout pleasing pieces, original and sekcted from the lost their first charm and Christmas is only bearing upon our preference for a mediocre . successful teacher of sing- a happy memory. Why not give your boy board, give him such spending money as terested. evalyn Quick Tyson. an eight months’ present this year—one that MasterClass. Free Scholarships. Students foreigner over our own superior artists, ttvc pxuerienced conductor and trained ex¬ never loses its thrill and one that you will aided in securing positions. and our unwillingness to grant musicians you think he should have, give him a les¬ ecutive who for the past several years has I consider the Orem Harmony Book the take a real satisfaction in giving him. wn at the head of a music school, desires a finest helD I have ever used. Write for Catalog. at least co-equal standing alongside busi¬ son a day, or one a month, send the bill to !e „or unening Best of recommendations An 8 months sub- CA me at the end of the year, and if in two In'd refer?ncesf' Correspondence solicited from snasa’ts.-J? s ness men, two incidents in my life were this grade. scription for only CHIC 17 East 11th Street, New York years you can knock the music out of him Rowing schools. Address Director, care The borne in upon me, and with the recollection Tapper’s Child’s Own Book of Great Musi¬ (This is way below the Regular Price) and business into him, I’ll pay gladly and Each issue of THE BOYS’ MAGAZINE con¬ came the «ame flush of shame I had when cians (Grieg) should certaibly be placed m thank you to boot.” „„„„ Mimical College wisnes iiosiuur the hands of every child student. It tenders tains from two to four splendid serial stories THE ART OF these were enacted. a wealth of knowledge, the absorption of and from twelve to twenty thrilling short I was successful, for that man’s son is assistant teacher in University °r C™serya- stories, besides special departments devoted I had given a concert in Memphis and tory Address Miss E. Louise Mohl, 130 which being a source of delight so charmingly to Radio, Mechanics, Electricity, Popular Pipe Organ Playing was on the train on my way back to Chi¬ a successful insurance man to-day. Never¬ South Hill Terrace, Ithaca, New York. Science, Athletics, Physical Training, Stamp theless, I blush when I think how low the Collecting, Outdoor Sports, Amateur Photog¬ cago. At one stage of the journey I found Book” covered the elementary study. raphy, Cartooning, etc. Beautiful big pages To Motion Pictures myself alone, in the smoking compartment, musician stood in his estimation, even ANNOUNCEMENTS with handsome covers in colors. Profusely By M. M. Mills, Organist, Stanley Co. Staff though he saddled upon me the care of his illustrated throughout. A big lot of Jokes with a very well-known and very wealthy A Complete Guide Designed to Aid son, and the bending of the young will into and Comic Drawings. Eight issues equal 20 Pianists and Church Orguniste to manufacturer of Chicago, whose name fig¬ MUSIC COMPOSED) manuscripts revised. come across. j’bbdeeick M. Rogers, big volumes, which would cost, as books, E .ter this Profitable Field. what the father looked upon as the only Canada. at least $20.00. ured as patron and supporter of art and Band and Orchestra arranging, Complete ami Critics and experts pronounce, this a most im¬ calling for a man. cnmrnnteed instruction in Harmony by mail, A special feature Is the award of $220.00 in large donor to one of our largest hospitals. Please send 5 more copies of SeMi-meris ««£■ - - cash prizes for the best amateur work in portant contribution to organ literature and in¬ Europe has made the musician a digni¬ f Rode Jacobsen, 2638 Milwaukee Ave., many subjects. There is no reason why I recognized him and knew his name. First Twelve Weeks at The Pianoforte. This necessary to its preparation. . . , valuable to photoplay organists and those de¬ fied, honorable personage; and we honor mnU-PB 14 roDies I have ordered. Like it so YOUR boy should not win some of these He turned with: , arranging— much that IPam putting it in the hands of prizes. Remember, only 50 cents for eight siring to become such. Covers in detail all the European musician. America ignores COMPOSING months. If you are not satisfied we will problems of playing to pictures and teaches “What line do you carry?” corrected and melo- all 1st year pupils. HlCKS Brace, make up this third volume. It ha . becom;ng proficient enough to the musician; why, is impossible to tell; and • ■ -*«, Cor- refund your money promptly and without the handling of the Unit Organ. I answered: “I’m a musician.” dies harmonized. . Words set Ridley Michigan. question. Remit in stamps if more convenient. hence Americans will have none, or little, respundence solicited. R- M. -TEAR OUT HERE- Low Introductory Price on First Edition Only His comment as he turned his back upon w*4*- M“y a’nCTi,! THE SCOTT F. REDFIEED CO., Folder detailing contents on request me was, “Aw, h-11.” pf natives. A newspaper man once told comments already have reached us upon thrs work. 8238 Main St., Smethport, Pa. For sale by Leading Music Dealers. Order of Local Dealer or That caused me, even in my most trium¬ me that their business manager had made m„v secure for examination any one or all three of th. volumes of I accept your special low price offer and WM. JAMES, 4437 Chestnut St., Phila., Pa. corrected. *****’ v v enclose 50 cents for which send THE BOYS phant moments, to wish that I had followed a study of circulation, finding that that Dr. Wooler, Buffalo, N. Y. ° ftMES. K. L. Street, “School for t MAGAZINE for eight months to North Carolina. Theodore Prei (Write name and address plainly) what Mrs. Zeisler says many of her most particular paper could afford to give three talented pupils have done. full sides daily to “Sports”; to music, one- ASTSSS&- 'EVSK'SK’SJ; Name .* The other incident was when an insur¬ half of one inch per week. ilton St., Philadelphia, Pa._ Naming the Musical Club Street or R. P. D... ance man entered my studio. “To allow more to music than that is LEARN TO COMPOSE MUSMJ—Acoiv m SUPERm‘‘0RG( By Lillian C. Martin City . State . Sturdy—Efficient “Are you Mr. Wild?” concession and an absolute loss of money.” “Yes.” I wonder if that per cent, of the es¬ 3 the musical club requires more THEODORE PRESSER CO., Philadelphia, Pa. Namin thought and consideration than “All musicians are d—mn fools, and I teem the masses hold of business man and Ml^KPUBUSHEHS AND DEALERS £sMUtrn 1710-12-11 CHESTNUT STREET ADVANCE OF PUBLICATION OFFER MOVING PICTURE PLAYING — "The many might imagine and the utmost care U*b»t svard In ev“ have a son who wants to be a musician.” musician holds good, and how long it will new^club. “You flatter me.” be before matters are evened up? feci a name that is both attractive and ap¬ Special “0RG0BL0 JUHIOR” for Reed and Student Organ. propriate, but simplieity ls generany more Forty-four Studies for the Organ THE SPENCER TURBINE COMPANY Organ Power Department, READ the Magazine That Discovered “Pollyanna” ’natTwXh ffU With Special Regard to Obbligato HARTFORD,CONNECTICUT Fools and Asses ficult to pronounce or which is not likely to Pedal Playing The CHRISTIAN HERALD be understood. _. Harmony Book for Beginners Editor, Dr Chas. M. Sheldon, AothMof^In HI. BUP* Most club leaders generally resort to tne Price, $1.25 By J. SCHNEIDER Op. 48 names of great composers, which are aj- By Preston Ware Orem By H. M. Wild * «“LSS! nropriate for a club of profession81 musi- PIPE ORGANS eians but if a club is composed of amateurs An Ideal Harmony Class Book HERALD discovered a more simple title should be applied. The names of localities make desirable names aN unequaled “success.” The main es- The Best design. Business foijnded^ra 1844. Many o: ^afiyfilSttha?abm^ for musical clubs, and are often more easily Teachers Za sentials of harmony are made under- and Most _concert organist. These stuc “It is very poor logic indeed to deny Peter’s Edition Bk. 2, No. 4, was requested. . * oVc nf gladness. are practically indispensable to every on another’s experience because it has not Of the phrasing of that the New York For” infta^ce^he ^ Sierra'CMSusical°Club,’’the Achieve XN standable in a clear, concise manner Practical student. After one has finished the first _ The Emmons Howard Organ Co. charming and everything is presented simply, yet in type are needed. been one’s own.” organist said: Speedy Work for an engaging and interesting manner. Teach¬ They are intendec ’ a thorough A certain young man who had studied Results pedal technic togei ipendence of “The one who phrased that was an ass.” Published in these districts. “The Music ers Will find this work lays a strong founda¬ Self-Study hands and feet and — wf,--- faithfully in Chicago was given oppor¬ With This The “ass” in that case was Franz Liszt. benf^^devotedet? m^earch^ork j*but™if”a tion for future musicianship and music lov¬ in standing of the true organ style. Ad CHRISTMAS MUSIC tunity to prosecute his further work in club is composed of great P'anists. The Gott Harmony ers not conversant with the subject will be Publication caah price 30 eenta, postpaid. Is it not “very poor logic indeed to deny Harmony New York. The organist of international schalk Club” is one of the most appropriate Book greatly enlightened through the self-study A selected list of Christmas Solos is pre¬ another’s experience because it has not been sented on the inside back cover of this issue. repute who was to be his teacher heard the that can be done with this book. We will send our circular of Christmas young organist in the Bach Prelude and one’s own?” Music on request. It gives Anthem, Can¬ Fugue in A Minor, Peter’s Edition Bk. 2, Query—who was the real fool and the SHlve toelthetepeoHe uSjVSt vartly THEODORE 1 . Sfc&M PH1UD tata, Solo, Organ, Sunday School and En- No. 8. Looking at the phrasing marked, ass? Let us be broad enough to realize ETUDE PREMIUM CATALOG tainment suggestions for Christmas. the New York organist commented: that there is many a right way, and beware Mr We^sfc^ £Mn« Many handsome rewards for securing eu' this manner. THEODORE PRESSER CO.. PhUa. Pa. “The man who phrased that that way is a criticism that is narrow, egotistic and ti0EtudeeMusic Magazine, Philadelphia, a fool.” false. Let us also beware lest, when fu¬ $3™ The man who was responsible for that ture enlightenment comes—a revelation of Total $4.00 J Save 76 cts. The 20th Century Musical Games phrasing was Theodore Kullack, who had truth—we go back in mind, to receive our * LOOK AROUND I Provide the necessary year-round reading mat¬ We Have All Waited For taught it to such as Moszkowski, Nicode, own self-inflicted punishment, and have ter which will bring count ess hours of delight r EVERYBODY’S USING Sherwood, Scharwenka and Liebling. not the means of the recall of our so and profit at the hearthside, at the reading The Bach G Minor Fantasie and Fugue, easily spoken verdict. table, at the piano:— Entertainment for the Whole Family Etude Music Magazine and Christian Herald wit WHITING ADAMS BRUSHES Pictorial Review.All three for $4.40 while robbing the musical page of its mystery. A Merry- §o -round of Brushes. Modern Priscilla.A J w 400 Play these fascinating games and learn to There are thousands of kinds and sizes of Parting With Two Dollars People’s Home Journal... .All three for 4.00 WHITING-ADAMS BRUSHES Patbthif national magazine) AH three for 3.75 read notes at the same time. Musicards Your dealer sells them or wiU^quicWy j)et them for you. A Humorous Etude Friend writes: “When I part with two dollars for n jy Etude McCall's .All three for 3■'= create an interest :n music and help the JOHN L. WHITING - jTj.*ADAMs'To., Boston, U. S. A. subscription the experience is very different from the usual agony that accompanies || teacher. The absolutely novel _ Christmas * - Bruch Makers for Over 113 Years and the largest in the^Wprld. Boys’ Life (Boy Snouts) .All three or 5.00 ., Complete $2.7S Musicard Gift for the children or “tired business man. the extraction of money. Why? Because I know that two dollars is a mighty little Woman’s World.All three for eccipt of price. “MUSICARDS” 305 Tilford Bk. price to pay for all the fun and profit I get from the Etude for a whole year. 1 get Youth’s Companion.All three for 5.25 cfioe terms and unique sales plan for more from The Etude for the price of a theater ticket or a couple of boxes of candy than The Etude, 1?13-1714 Chestnut St., Phliada., P». Please mention THE ETUDE when addressing oi Please mention THE ETUDE when addressing our advertisers. I can from anything else.” DECEMBER 1922 Page 859 TEE ETUDE tee ETUDE Page 858 DECEMBER 1922 Woodsy-Corner Thirty-One Elementary Musical Progress Pictures From Nature- tories, biographies, fiction, books on study, Characteristic First Grade Tales and Tunes Christmas interpretation, and other interesting sub¬ Etudes, Op. 161 By H. T. Finck By H. L. Cramm Music jects, each work being the concentrated By F. T. Liftl This is the eighteenth book from the Pieces for the Pianoforte “Stimulate the child’s musical imagin¬ essence of the experience of rich minds. Choir directors will find in our special We present for the first time a set of pen of Henry T. Finck, who has doubt¬ By Mae Aileen Erb ation and there will be no trouble about A good musical book has time and again Christmas folder, a copy of which we easy, melodic studies by one of the leading less written more successful musical books Miss Erb has the rare faculty inv¬ practice.” That is the spirit which marked the turning point in a musical will gladly send gratis upon request, an European masters. They are about the than any other American author. We esting very young students with her this second and third grade collection of career. If in doubt, settle on books and infinite variety from which to select second grade, drifting gradually into consider it one of his best, because of the pieces. Nowadays, the teaching of begin¬ charming pieces for children, by a famous your gift will be doubly welcome. appropriate music for the Nativity Ser¬ grade three, and contain an abundance of breadth and variety of the work. Every ners is made as attractive as possible in specialist, has been written. Words, are vices. new and original material. The left hand musical person knows of the great writ¬ contrast to the dry and tedious methods added, of course, so that the Uttle o Admirers of Mr. Stults’ excellent can¬ Make It a Merry Christmas is not neglected but receives attention in ing charm that illuminates everything Mr. of former days. It is always best to use can sing as he plays at the keyboard, if tatas will be impressed by his latest work With a Talking Machine almost every study. They are quite melo¬ Finck has touched. Once you start a chap¬ a short instruction book with bright and desired Thirty cents, postpaid, is the /ad¬ The Herald Angels, with solos for all and Some Records dic and have technical features as well. ter you will find it difficult to stop until appealing material and to give the young vance price; so that teachers can get t voices and fine stirring choruses. The the end. Musical Progress covers a great student as soon as possible some real at once upon publication, at the lowest cantata can be sung in thirty-five minutes The Theodore Presser Special Mail This combination appears even in the March, which is No. 17. You are perfectly many subjects, all dealing with phases of pieces to play. Pictures from Nature is possible cost. which is just the right length to be in¬ Order Talking Machine and Record Serv¬ our advance in musical life. It will in¬ just the sort of a book to follow, or to corporated in the regular church service, ice has been inaugurated to meet a special safe in adding this set of studies to your order for special offers at the first oppor¬ spire thousands. Send 80 cents now and supplement, any instruction book. It Sixteen Recital Etudes Among the new anthems, we especially demand. No matter how isolated or dis¬ contains just the right recreation material. tunity, and we are sure you will not be take advantage of the usual low introduc¬ mention Mrs. H. H. A. Beach’s Constant tant you are, it makes you neighbor to The special introductory price m ad¬ By Ludwig Schytte, Op. 58 disappointed. . tory price through which so many have Christmas. Mrs. Beach is America’s fore¬ one of the largest stock of machines and increased their musical collections at a vance of publication is 30 cents per copy, This is a book which will compare very The special introductory price in ad¬ favorably with the studies of Heller and 29 operatic compositions, all for the piano. most woman composer and her sacred records in the United States. Both Victor slight cost. postpaid. vance of publication is but 35 cents, post¬ other modern writers. In addition to their NEW WORKS. We might say, this is one of the most choral compositions are always in de¬ Victrolas and Brunswick Phonographs mand by the best choir organizations. and Records may be had on convenient paid. First Piano Lessons At Home technical value, these studies display a Advance of Publication Offers— complete collections in the world. We Newman Album of Classical hardly know what more to say. We will Mr. Halter has given us a new Christmas monthly payments if you do not care to By Anna Heuermann Hamilton finished musicianship and entertaining Carol, Mr. Baines a new setting of It pay cash. Catalogs and terms will be Dances melodic qualities. Their usefulness is December, 1922 deliver this work postpaid, if cash accom¬ Five First Position Pieces We will issue this work during the Came Upon The Midnight Clear, Mr. gladly sent upon request. Mr. Newman’s new book is the first of comprehensive, embracing technique, style panies the order, anywhere in the United For Violin and Piano present month and this is the last oppor¬ Stults has added to his well known list, Many make it a practice to remember its kind. In this work classical dances of touch, phrasing and interpretation. Ine States for $1.25. tunity we shall give to purchase it at another anthem entitled, Send Out The their relatives and friends at this season By Arthur Hartman various types, both for solo and for a harmonies are modern but without extrav¬ Choru The Child’s Own Music Book. Here is thq reduced rate. Throughout the book Crimson Eyebrows—Dodge. Glad Tidings. by a gift of some records for their li¬ Mr. Arthur Hartman, the well-known group of dancers, are exemplified com¬ agance. The practice of these studies a work which covers completely all phases the left hand part is played by the Easy Spaulding Album. We have also a new arrangement of brary. Below will be found a few records concert violinist, has made many success¬ pletely. Diagrams of the steps are given should prove a real pleasure. Etudes de Style—Nollet. of child life. There are piano pieces for ful transcriptions for the violin, several teacher. This is the easiest and simplest The special introductory price in ad¬ Exhibition Pieoes . little fingers; there are songs for little Gounod’s classic Nazareth for full chorus appropriate for the Christmas Holidays: and full instructions are added for work¬ of which have appeared in The Etude work imaginable for the smallest child. vance of publication is 30 cents per copy, First Piano Lessons at Home—Hamilton voices; there are musical games for the choir. ing out each dance in accordance with the Five First Position Pieces for Violin and Sample copies of our Christmas canta¬ VICTOR from time to time. He is also gifted as There are a number of pages that have Piano—A. Hartmann. children to play together; there are simple music. The music of each number is postpaid. Adeste Fideles. No. 87330. a composer. His most recent work, which only whole notes for the one hand and Forty-four Studies for the Organ—J. piano duets; Mother’s songs; nursery tas and anthems will be sent to those printed in full and it is marked to corre¬ Schneider, Op. 48 (See Organist’s interested, on our usual “On Sale” plan. (Schumann-Heink.) wc are now announcing for the first time, this is embellished by the left hand work songs; patriotic songs; nature songs; ani¬ spond with the printed instructions. There by the teacher or mother. A writing book Easy Spaulding Album Etude, Page 856). Frieda Peycke has written a musical Holt^ Night. No. 88561. is a set of five teaching pieces in the is an introductory chapter explaining the From the Far East—Tompkins.... mal songs; songs for girls and boys; sa¬ goes hand in hand with this work as a For the Piano Ghosts of Hilo—Bliss . cred songs and hymns; and 127 simple setting for the Christmas recitation The Silent Night. No. 16286. first position for the violin with piano various steps and poses. In this book we Golden Memories—Mrs H. B. Hudson. . Night After Christmas, for which we an¬ accompaniment. Although comparatively part of the study. If you have little tots Young students always welcome some¬ piano pieces by the best-known composers (Hayden Quartet.) have a veritable union of the arts. This be sure and procure a copy of this most Intermediate Study Pieces. ticipate a large demand. This recitation easy to play, these pieces are decidedly work is now well advanced in preparation thing by Mr. Spaulding. Even his easiest Let’s Go Traveling, Operetta, Dodge. ... of easy music. There are also included 39 It Came Upon The Midnight Clear. pieces display a certain youthful vitality with the musical accpmpaniment will original and they have real musical value. and it will soon be on the market. excellent work. , . . . Mass in Honor of the Holy Spirit—Marzo action songs. All together—424 different (Victor Chorus.) Our special price is but 50 cents, post¬ which has its direct appeal. Through all Maza’s 30 Special Violin Studies, Op. pieces of music on 536 pages, attractively n-.ake an excellent number for the Sunday These pieces are in characteristic style The special introductory price in ad¬ 36. Book 1 (See VioUnist’s Etude, School celebration. Scrooge. No. 35566. paid, for the combined books. his works there runs a vein of tangible, Page 854) . bound in limp cloth. A wonderful Christ¬ and are entitled as follows: A Frolic, vance of publication is 76 cents per copy, Mrs. R. R. Forman, the composer of (Recitation from Dickens’ Chrlstmuu Cradle Song, Dance of the Marionettes, easily recalled melody. In preparing the Musical Pictures from Childhood—Kopy- mas present for any musical child. Sent Carol.) postpaid. Popular Drawing-Room Pieces Easy Spaulding Album, the most popular postpaid anywhere in the United States, many popular children’s choruses, has Swing Song'and Song of the Top. They Musical Progress—Finck. written the musical numbers of Alleluia BRUNSWICK will be published together in one volume. For the Piano pieces have been selected from all of his Music Study in Germany—Fay. if cash accompanies the order, for $1.25. Etudes De Style lighter works. This is truly an album of Newman Album of Classical Dances. a Christmas Service of Praise, a playlet Holy Night. No. 10045. The special introductory price in ad¬ While it is true that drawing-room Oratorio Songs—4 Vols. (See Singer’s The Book of a Thousand Songs. 1004 that can be used in children’s entertain¬ (Mario Charalee and Chorus.) vance of publication is 30 cents per copy, By E. Nollet pieces represent the lighter form of music, gems. The pieces are all in the first or songs, almost everything that is good We are glad to announce that we ex¬ second grades and are well contrasted, Etude, Page 850) each. ments to bring graphically before the Ave Maria. No. 30003. postpaid. nevertheless, it is possible to make these Pictures from Nature—Mae Aileen Erb among songs. Every home can well af¬ Violin Solo (Max Rosen). pect to issue this set of studies during the consisting of little dance movements, char¬ Play and Sport—A. Sartorio. young, the salient facts of the Birth of so that they will have real musical and ford to have this book always present on Christ. No elaborate costuming is neces¬ Angels’ Serenade. No. 5022. present month. In this work the technical educational value. In our new volume, to acteristic pieces and very easy drawing¬ Popular Drawing Boom Pieces. Soprano Solo (Marie Tiffany). Sacred Song Album—(See Singer’s the piano. Every sort of song will be sary and a special stage setting is not re¬ Secrets of the Success of is combined with the melodic and the in¬ be printed from special large plates, will room pieces. . found included; songs for every purpose; Great Musicians— terest is held throughout every one. The be included some of the best drawing¬ The special introductory price in ad¬ Sacred Song Album—(See Singer’s quired. Send for a copy and look it over. Music Study in Germany college songs; children’s songs; sea songs; Christmas songs for all solo voices and Pirani studies are above the medium grade and room pieces that it is possible to obtain. vance of publication is 30 cents per copy, Science in Modern Pianoforte Playing love songs. This book is the same size as a list of oratorios, cantatas, anthems and By Amy Fay can be taken up by the student who is There will be nothing trashy or common¬ postpaid. —Brandt . the others, 536 pages. It has many more Very few writers could have written prepared to take Cramer, or who has t Musi- services will be found listed on another We have come into the possession of place. Most of the pieces are of inter¬ i of t' selections contained therein. We will send this book in the spirit in which Mr. Pirani finished Heller’s Studies, or after a pupil page of this issue and we urge upon the plates of the publishers of one of the has done it. In the first place he is a mediate grade and they are well contrast¬ Songs for Assembly Singing this book postpaid, if cash accompanies choir directors the advantage of making has finished the Czerny Velocity Studies ed. All are melodious and elegant in Seventeen Short Study Pieces—Green- most important works of music that has pianist, a composer and a teacher, widely and Rural Schools the order, anywhere in the United States, an early selection, as the express and ever been published in this or any other and desires something of a more melodic for $1.25. recognized and admired by his contem¬ character. They will find a place in our Book 1 (With Piano Accom¬ Sixteen Recital Etudes—Schytte. mail deliveries become congested later country. This work has gone through poraries for the very high character of &tThe special introductory price in ad¬ Songs for Assembly Singing and Rural These three works are a musical library causing disappointments which can be ob¬ curriculum of piano work. Nollet is one vance of publication is 30 cents per copy, paniment) Schools. Book 1. twenty-one editions, an amazing record his work. He has had a musical exper¬ in themselves. We know of no offer that viated by ordering now. foi a book on music. of the leading French composers of the postpaid. Book 2 (Without Piano Accom¬ Songs for Assembly Singing and Eural it ever has been possible for us to make ience of note in three countries. He is Schools. Book 2. The vitality of this story of Amy Fay acquainted with the best musical liter¬ paniment) Thirty-one Elementary Etudes, Op. 161— at any time that has more immense value. Calendars for Musical is just as applicable to the student of Our special advance price is but 35 Musical Pictures from F. T. Liftl . These three works may be truthfully said ature of Italy, France, Germany and the The need was there, and a great educa¬ Woodsy-Corner Tales—H. L. Cramm.... Christmas Gifts today as it was to the student of twenty English-speaking countries through a cents, postpaid. Childhood tor, assisted by able helpers, has under¬ to contain most of the world masterpieces years ago. The work was written by Miss of classical and modern music. We will Our calendar of last year was very suc¬ remarkable intimacy with their lan¬ By A. Kopy low, Opus 52 taken in this book to give just the kind cessful; very successful, meaning popular Fay when she studied under Tausig, guages; and he has had the good fortune Brahms’ Album From time to time some of the great and amount of material which the teacher Thirty-Fourth Annual make a special offer on the three; if cash Kullak and Liszt and finally with Deppe. Holiday Offer accompanies the order, we will send all and satisfactory. We have merely im¬ to know personally several of the musi¬ For the Piano composers have devoted attention to pieces in the elementary music section in the proved it this year, using the same general These letters are home letters and were cians about whom he has written. 1 his for the young. Schumann started this public schools must have to supply the In accordance with our usual custom of three postpaid anywhere in the United never intended for publicity. This makes This standard collection of the most- States for $3.00. plan of a photo board background, 6% 320-page book, illustrated with portraits played piano pieces of Brahms should with his Op. 15 and Op. 68. Mendelssohn children with the right kind of material. thirty-four years’ standing, we present a x 10 inches in size, with a portrait of a the book more unusual. of the famous musicians, is now on the Practical Public School Supervisors will fine array of holiday gifts. This year the have a place in the library of every followed on with his Op. 72. Later we great musician mounted within a printed The present generation will be glad to press. Order a copy at the advance rate have Kullak, Op. 62 and Op. 81; Reinhold, clamor for this work as soon as they see list is unusually large and rich with mate¬ musici n and student. Our new edition Albums of Music for border in the center of the card. It is have an opportunity of becoming ac¬ of 75 cents, postpaid. Op. 39 and finally Tschaikowsky, Op. 39. it. Be one of those to have one of the rial for the festive season. We must quainted with this work through the pub¬ has been prepared with the utmost care, Christmas Giving difficult to get an attractive calendar it will be printed from specially engraved Kopylow’s Op. 52 is the most recent work first copies from the press by ordering it urge early ordering, as the last ten days that we can sell at $1.00 a dozen and that licity it will receive by this house. It is in advance now at our customary advan¬ preceding Christmas the mails are crowd¬ Volumes of music are always accept¬ Science in Modern plates and the editorial revision has been of this nature and it is in no wise inferior is oujr aim—to have an artistic, worth¬ the most fascinating book for any music to those mentioned. In some respects it tageous introductory rate of 30 cents for ed to the utmost, and there are liable to able as Christmas remembrances. They student to read. Pianoforte Playing under the supervision of Mr. Louis while, small priced Christmas present for is the best of all. The student is always Book I with the piano accompaniments and be delays and disappointments. are of permanent value and usefulness. We will offer the work at a reduced By Mrs. Noah Brandt Oesterle, the well-known authority. The There is a great variety of such volumes the use of teachers and students of music; final proofs are being read so that the greatly stimulated by a work of this na¬ 15 cents each for Book II printed with We call particular attention this year we were very glad to be able to furnish so rate while it is going through the press. “On press” means that those who have the melodies alone, to aid School Boards to the elegant, bound volumes of the best and it is easy to select one or more to work is now nearly ready. Contrary to ture, since it tends to develop taste and satisfactory a one a year ago, so satis¬ We will send one copy of the work at 90 ordered this book will get it very shortly. real musicianship. These pieces are chief¬ in economizing where great quantities of there is in music, described in the note on fit the taste or the needs T>f a student or cents, postpaid, to any one of our sub¬ the popular opinion, not all of Brahms factory that we are going to repeat again We are pleased to see how interesting it ly in the second grade, a few of them in these books are used. If we are not mis¬ tliis page entitled Three Special Christmas friend. They are obtainable at reason¬ scribers who will send the money in ad- music is intricate and elaborate. A num¬ able prices and a group of several may this year, although we have improved it looks with its fine half-tone illustrations ber of his most charming compositions the early third grade. This will be a new taken, Book I will be found a welcome Offerings. The offer for these editions some. The price is 10c each, $1.00 a and its notation examples. It is very addition to the “music cabinet” in many will not occur again as we have purchased be purchased for less than the cost of are well within the range of the average volume in the Presser Collection. most conventional presents. dozen. “lesson-like” in its treatment and those good player. All of such, together with a The special introductory price in ad¬ an American home where young folks are the entire stock. Also read over on pages Let’s Go Traveling who buy it will have the value of several encouraged to sing. 798, 799, and 800, what we have to offer Our advertising pages (see “Thirty- few which are more difficult, will be found vance of publication is 35 cents per copy, Fourth Annual Holiday Offer of Musical Good Music Books An Operetta for Children lessons before they have done reading it. ’in this new volume. . . postpaid. for the holiday season this year and be Fifty cents sent now registers your name to sure to send in your order early. Gifts”) include a large number of such vol¬ Always Especially Welcome By Cynthia Dodge The special introductory price in ad¬ Mass in Honor of umes of all kinds. The prices, too, are less Christmas Gifts get’ 'the book at this special advance rate vance of publication is 75 cents per copy, Intermediate Study Pieces Those having need of entertainment just as soon as the printers let us have The Holy Spirit Three Special Christmas than those at which the same volumes From childhood upward there is one material for children to present will be postpaid. For the Piano the first copies. for Mixed Voices Offerings may usually be had. Any one inclined to fruit of the Christmas tree most eagerly more than delighted with this new offering. This new collection is to be made up By E. Marzo remember musical friends with musical received by musical people—good books A rainy afternoon and a spoiled picnic from the special large plates. In this man- Collection of Anthems This Mass is the most useful of modern Just for Christmas oflFer, we have made gifts will find the offer rich in suggestions on music—books that may be read again become a multi-colored pageant in this Seventeen Short Study Pieces ner a large number of pieces will be in- and Oratorio Choruses masses and, while not difficult, it is bright arrangements with one of the largest pub¬ and opportunities. and again, always awakening pleasant altogether charming play. No fairy tale for the Piano eluded. By a study piece is meant one lishers of books so that it is possible for Choirmasters today constantly require enough to be sung for festal occasions. thoughts of the donor. here—just a real musical story easy to which in addition to its musical interest us to give to our subscribers an oppor¬ By M. Greenwald more advanced material. Singers read Music and Morals by Haweis; Great costume, easy to learn and each number has at the same time some exemplification The use of violin and ’cello obbligato adds tunity to obtain any one, or all, of the Music Satchels for Mr. Greenwald’s studies have been very better, thanks to public school teaching; Singers on the Art of Singing and its a gem. The dialog is witty and the of a technical figure which renders it valu¬ to the melodic interest. following very valuable collections of mu¬ Christmas Gifts much appreciated in the past and this new they sing better, thanks to the modern companion volume, Great Pianists on plot sustained. Pen and ink drawings by able also for practice purposes. Many of It is a Mass for mixed voices and each sic at an extremely low price. collection is thoroughly up to his standar . intelligent voice teacher, and they demand voice is sympathetically treated. Written Nearly all articles under this heading Piano Playing by James Francis Cooke; Miss Dodge show costumes for the various The studies begin at grade two and pro¬ these pieces bear fanciful titles and are 220 Masterpieces of Piano Music. The music of the better class. in strict form and suitable for use in are now considerably reduced in price; Stories of Standard Teaching Pieces and Characters that may be easily made. The gress gradually; each one introduces some highly characteristic. Our new volume will world's largest collection of standard This collection is well suited to the the church, the musicianship of Mr. Marzo competition among the manufacturers has Descriptive Analyses of Piano Works by directions for all the dances and the special point in technique, and they are contain some of the best of such pieces piano music, covering all fields of classic, needs of choirs and choral societies who is everywhere evident. Organists and also brought about an improvement in Edw. Baxter Perry; Piano Playing with stage business are in the score. well contrasted in rhythm and tonality. that are to be found anywhere and it will modern, light and operatic compositions. do good things well. choirmasters should avail themselves of quality; consequently we do not hesitate Piano Questions Answered by Josef Hof¬ There are sufficient characters to make All are sufficiently tuneful to be considered prove of practical value in teaching as well 220 well-known compositions by famous In one bound volume are so many ol (he opportunity afforded and secure a to recommend our line of music carriers mann and Jessie Fothergill’s popular nov¬ use of a goodly number of young people as little pieces; so that they partake of the as attractive to the student. composers, 536 pages, handsomely bound the best choral numbers that the hook it¬ copy of this meritorious work at the as being not only dependable but also el The First Violin are books that any and one adult. The educational value of nature both of studies and recreations. The special introductory price in ad¬ in limp cloth, well printed. self is an addition to a library. The ad¬ special low advance of publication price reasonably priced—at least 25 per cent, musician or music lover will appreciate. the story is most important. The ad¬ The special introductory price in ad¬ vance of publication is 30 cents per copy, The work contains 53 classics, 113 mod¬ vance of publication cash price is only ol 35 cents, postpaid. below last year’s prices. For details see Turn to pages 798, 799 and 800 of vance of Dublication postpaid, cash price vance of publication is 25 cents per copy, postpaid. ern and light compositions, 25 sacred and page 800. this issue and you will find lists of his- is 40 cents a copy. 35 cents, postpaid. postpaid. DECEMBER 1922 Page 861 TEE ETUDE •HE ETUDE Page 860 DECEMBER 1922 Placing your order immediately does From the Far East Exhibition Pieces for not necessarily mean that the magazine Magazine Clubs as Six Orientals for the Piano Piano Solo will be sent before the holidays. Specify Christmas Gifts By George Tompkins One of the best-known concert pieces the date on which you would like it to We will be glad to enter your order of the present day is the paraphrase of This work is now in press but the spec¬ arrive and we will do all in our power for The Etude Music Magazine in com¬ Strauss’ Blue Danube Waltz by Schulz- ial introductory offer will be continued to see that it is delivered at that time. bination with any of the following widely Schools and Evler. This number will be found in our during the current month. It consists of We will be glad to send an appropriate read periodicals. Please note that these CHICAGO and VICINITY ^ a series of idealized tone sketches sugges¬ new volume of exhibition pieces together gift card bearing your name and good with other numbers of similar imposing are money saving prices. Where can you tive of the poetry and romance of the wishes if you will make the request at buy a gift more appreciated than by Orient. These pieces are not difficult to character. The pieces will not all be of the time your order is sent to us. equal difficulty, however, as the contents sending to your friends or relatives one play, lying chiefly in the intermediate ^ „_ ou . . of these splendid combinations? grades, but they contain some rather un¬ of the volume will range from grades sev¬ Do Your Christmas Shopping usual technical devices which make them en to ten inclusive. It is very convenient ETUDE MUSIC MAGAZINE. | ALL FOR to have a volume of this character when At Our Expense Modern Priscilla. all the more interesting to study. This f $4.60 volume will be gotten out in handsome players become somewhat advanced as it The Christmas holiday season is always Pictorial Ghicago Musical college furnishes admirable material upon which a strenuous one on the purse strings— , Dr F ZIEGFELD, President Emeritus style with characteristically illustrated I BOTH FOR >sident Dr. r. zuisiot nui* ^ i v -—- titles. to draw without the expense of high-priced our hearts are usually bigger than our ETUDE MUSIC MAGAZINE. FELIX BOROWSKI, President ur- * ^ ’ . A . , The special introductory price in ad¬ editions of single pieces in sheet form. pocketbooks. Oftentimes we would like McCall’s .. f $2.35 The Leading and Largest Conservatory^ ofr Musici\ /r andDramattcArtj si+ir A rt tn.Americain /i mpTira vance of publication is 40 cents per copy, The special introductory price in ad¬ to give to our dear ones a great deal vance of publication is 50 cents per copy, more than we can afford. Premium postpaid. ETUDE MUSIC MAGAZINE. ]I BOTH FOR postpaid. workers do not have this difficulty. You Pictorial Review. FALL TERM NOW OPEN can obtain almost any gift suitable for f $2-75 (Alphabetically Arranged) Play and Sport Faculty of More than 100 Teachers including the following noted artists: The Crimson Eyebrows anyone, from a pin seal wallet to a VIOLIN By A. Sartorio, Op. 1235 beautiful white gold wrist watch without | BOTH FOR VOCAL A Fantastic Romance of ETUDE MUSIC MAGAZINE.’ PIANO LOIS DYSON Here is a volume containing forty short one penny expense. This is how you can Boys’ Magazine. f $2.50 BELLE FORBES CUTTER MAX FISCHEL numbers suitable for study or recreation Old China MAURICE ARONSON EDOUARD DU FRESNE MAURICE GOLDBLATT do your Christmas shopping at our ex- MOISSAYE BOGUSLAWSKI RAY HUNTINGTON purposes that may be used to very good Musical Comedy in Three Acts ROSE LUTIGER GANNON ETUDE MUSIC MAGAZINE. | BOTH FOR EDWARD COLLINS MABEL SHARP HERDIEN ALEXANDER LEHMANN advantage in bridging the gap between By May Hewes Dodge HARRY DETWEILER LEON SAMETINI the second and third grades. For the Mother’s Magazine. r $2.15 DR. FERY LULEK Gifts for New LILLIAN POWERS ORGAN study of rhythm, style and touch these and John Wilson Dodge MAX KRAMM JOHN B. MILLER Subscriptions ADOLF MUHLMANN CLARENCE EDDY pieces will be found especially useful. Mr. The Crimson Eyebrows is ambitious in ETUDE MUSIC MAGAZINE. ]1 BOTH FOR ALEXANDER RAAB EDOARDO SACERDOTE HOWARD NEUMILLER that it occupies an entire evening for LOUIS VICTOR SAAR Sartorio’s studies are never dry but al¬ For each new subscription sent to us, gn ] 1 $3.10 BURTON THATCHER HELEN W. ROSS _ ways tuneful and interesting. As there performance, but it is so easy to produce, we offer standard, useful, serviceable C. GORDON WEDERTZ C. GORDON WEDERTZ are no great stretches, this book is, par¬ so tuneful and catchy in music and so merchandise. Some premiums, attractive BOTH FOR ticularly well adapted for small hands. bright in dialog and plot that it comes ones too, require only one new subscrip¬ ETUDE MUSIC MAGAZINE.) ) B. MARYOTT LAUKA u. hakeis *— The special introductory price in ad¬ within the reach of all amateur organi¬ tion, others two, three and up to twenty. Every Child’s.jr $2.50 vance of publication is 35 cents per copy, zations. It does not take salesmanship to secure TEACHERS’ NORMAL COURSES REPERTOIRE—INTERPRETATION CLASSES postpaid. A stage manager’s guide will also be subscriptions—showing the magazine is ETUDE MUSIC MAGAZINE. ) BOTH FOR published, giving all directions, so that no all that is necessary with the suggestion American Magazine.j HS,oco Schec cvi.au — aron.on Golden Memories professional help will be required. from you of its value to any one musically i $4.25 ic Art) JURTON THATCHER (Vocal) LEON SAMETINI (Violin) By Mrs. H. B. Hudson The Solo parts are written to sing eas¬ inclined. The rest is easy. ily, and are within the range of average There is plenty of time between now BOTH FOR In the first book of Mrs. Hudson’s ETUDE Ml SIC MAGAZINE ' SCHOOL OF OPERA voices. The stage pictures and costumes and Christmas if you get busy at once. St. Nicholas.j PUBLIC SCHOOL MUSIC series of teaching helps for young students, I $5.25 EDOARDO SACERDOTE are pretty and most attractive. All the A post card will bring our premium HAROLD B. MARYOTT entitled, A B G of Piano Music, the pupil characters are Chinese and wear Oriental catalog to you. If you do not know DRAMATIC ART AND EXPRESSION uses capital letters instead of the usual ETUDE MUSIC MAGAZINE.) ALL FOR dress. Our advance of publication price just what article you wish, let your sub¬ McCall’s . WALTON PYRE notation. In the next book, Melodies is 35 cents a copy, postpaid. scriptions come forward and we will i $4.75 Without Notes, the idea is carried out credit you with each one. You can then OF THE TOTAL VALUE still further. In the third book, which is BOTH FOR Works Advance of Publication make your selections on receipt of the ETUDE MUSIC MAGAZINE.] ___ OF $20,000 for four hands and named Twenty-five Christian Herald.j Special Offer Price Withdrawn catalog which offers a suitable holiday ' $3.25 FREE SCHOLARSHIPS Melodies for Teacher and Pupil, the pupil, gift for old or young, man or woman, playing the primo part, uses capital let¬ , awarded each year. Application blank on request. Mason & Hamlin Grand P.anc Alleluia! Christmas Service of Praise, girl or boy. Avoid disappointments by ters, while the teacher’s part is in the usual ETUDE MUSIC MAGAZINE. j BOTH FOR by Mrs. R. R. Forman. This little work is sending your orders early. See inside 1 "on cf... by Em,.. Musical EJuunm for oompatition m lh, Vo.nl D.p.r,m«»<. Thao. ' notation. Now, in the new volume which now published, ready to be sent to ad¬ back cover of this number of The Etude $3.25 we have in preparation, the pupil still Valuable Violin presented Chicago "befonTw^hi-renowried mu.ican. a. jusnd wilh Chisago Symphony Orchestra. Ope,, Scholarship*. 15 pme vance subscribers and to anyone who de¬ which shows a few of the many splendid plays from the capital letters, but the sires to examine it. It is rather a short premiums given free for new subscrip¬ ETUDE MUSIC MAGAZINE.) BOTH FOR SteffiiBtfl 5"iSSalii- S£ biamond. Gobi SBv - ■*£»„ regular musical notation is given also and service to be used in connection with other tions. Modern PrisciEt.f familiar tunes are used, harmonized in Christmas numbers. No particular deco¬ $3.40 CARL D. KINSEY,^nager,TH michiq^j AVENUE the simplest possible manner. This new rations or properties are necessary. Needs Let Us Be Your Magazine book leads the pupil right into notation. six boys, any number of girls and only ETUDE MUSIC MAGAZINE. j BOTH FOR 57th YEAR CHICAGO, ILLS. The special introductory price in ad¬ one good solo voice. Retails for 20c. Clearing House $4.75 vance of publication is 25 cents per copy, Well-known Hymns for Men’s Voices An attractive catalog showing the best postpaid. by Frederick Wick. This work contains magazines at reduced prices in combin¬ ETUDE MUSIC MAGAZINE. ) BOTH FOR twenty-four selections, all arranged par¬ ation with the Etude Music Magazine is Cosmopolitan .r Trinity Principle The Ghosts of Hilo (Heelo) $4.75 YCEUM ticularly for this book. Can be used for now off the press. If you have not re¬ The COSMOPOLITAN Hawaiian Operetta church or fraternal society purposes. ceived a copy, droo us a post card and Pedagogy BOTH FOR “LRTS for Young Ladies The work contains many well-known com¬ we will be glad to mail it to you. By ETUDE MUSIC MAGAZINE.) Physical Culture.| SCHOOL of MUSIC INNER FEELING ) EAR positions particularly suitable for men’s making use of this catalog you can not $4.00 AMERICAN H “observatory By Paul Bliss only arrange your own clubs with the SEB& (INCORPORATED) REASONING > EYE A play for girls, with bewitching cos¬ voices and so arranged as to be most and DRAMATIC ART DRILLS ) TOUCH attractive. The retail price is 50c. Etude Music Magazine but you can also DR. CARVER WILLIAMS, President A SCHOOL OF MUSIC AND DRAMATIC ART tumes and dreamy music. There are two save from 10 to 40 per cent.. A Really Valuable Renewal Applied to Seven Subjects in I Junior Collection of Anthems. This is Hula dances and the accompaniment of Offer on Etude Subscriptions An eminent faculty of 60 artists offers to , rheodore ’Harrison, Director of vocalueiPD5nick piano, gong and tom-tom adds much to a collection of twenty-three new, easy CONSERVATORY prospective students courses of study | numbers suitable for young people’s cho¬ How would you like to own a bright, ass ssraa*h~, “ the atmosphere. new collection of piano pieces for young based upon the highest standards of edu- 1 ithers of prominence. Hawaiians are great believers in Ghosts ruses and choirs. We know of no work Chicago’s Foremost School of cation, also courses in collegiate studies A thorough education is offered In « which has contained such a variety of IN folks, something really worth while? Iramatic art^lea^ng to diplomas, degrees and the plot brings in much about them. To those who renew during the current for students unable to attend university. I Quaint costumes of the old Hawaiians are compositions. The contents will be found -normitnriea and*studios in our own beautiful build- valuable, not only for Sundays, but for SANTA month, whether their subscriptions expired For information, address Dept. E revived and the pretty story of the lost during the past, present month or some Little Sister runs throughout the operetta all special occasions. Some very ambi¬ E. L. STEPHEN, Manager , tious anthems are included but not too future date, we will send postpaid, the MUSIC.lt! 16th Floor Kimball Building, Chicago, Ill. | until the dramatic end. The stage direc¬ CLAUS Young Folks’ Folio of Piano Pieces, upon ..._j. Dratam, tic Art, Expressl on, tions are printed complete in the last difficult for the average choi- The retail Modern Langur — , Dancing. Theatre Organ price is 50c. receipt of $2.20. This portfolio contains by 95 eminent artists, bu- pages of the vocal score. All dialog LAND 35 entertaining pieces in medium grades. inu School suppliersuppliesTeachers - —- and music is also in each copy. The play To all choir directors and those inter¬ engagements, Teachers . Lake Forest School of Music Any piano player will enjoy these num¬ for Colleges. Lyceui MARTA MILINOWSKI, JT ‘ may be extended to fill an evening or ested in the music of their church, copies A CHRISTMAS Certificates, Diploma ■ of the above three works will gladly be bers. Every piece is a gem. The fact I Courses In “,1 Af r shortened to a half hour of pretty shifting that more than 5,000 copies have been sold I Special scenes and haunting melodies. sent postpaid for the marked price or will PLAV FOR GIRLS £ Private Teachers be sent for inspection to any interested since the portfolio was published, only a Thirty free scholarships. Our special cash price in advance of AND BOYS few months ago, indicates its popularity furnished. Make eui, -- publication is 40 cents. party. 37th year. Students may enter now. K8uUr WORDS AND MUSIC and stamps it with the approval of dis¬ New catalog mailed free. I |_ mm write Registrar for catalogue E. H. SCOTT, Kimball Hall, Chicago. BY criminating teachers and players gener¬ Secular Mixed Chorus No Better Gift Than 571 KIMBALL HALL. CHICAGO, ILL. Lake Forest Sohool df Music, Dept. 14, Lake Forest, HI- - Gertrude Martin ally. Collection A Magazine Subscription Rohrer Send us one new subscription with your In this volume are many choruses, easy The Etude Music Magazine is for own renewal, total price for the two, $4.00, and medium in grade of difficulty. There everyone interested in music and musical and we will send this splendid folio to you PRICE, 30 CENTS NET are humorous and serious numbers, short affairs, whether a professional or ama¬ postpaid without any additional charge. STANDARD GRADED COURSE OF STUDIES and long, all suited for the many needs teur, student or teacher. It appeals to S 1 FOR the pIANOFORTE of the concert or special musical evening. every musical taste. With this, the This collection contains only choruses world’s best musical journal, you can Have You Heard This New Song Success? „ 1 d hv W S B MATHEWS. IN TEN GRADES (TEN VOLUMES). PRICE, $1.00 EACH GRADE which have proven their worth by their combine other high class periodicals at A LITTLE play admirabl Compile • ' e 11 are Now Using This Work with Splendid Results use among our patrons. Choirmasters can considerable saving. As a gift nothing amateur use in Sunday_!.oTm many years. Some of the music has been Branches in Unparalleled Success FACULTY OF arranged for the organ and is effective. West Philadelphia Tioga A SCHOOL OF INDIVIDUAL INSTRUCTION THIRTY. SPECIALISTS A Christmas Recital should above all Germantown Doylestown SEVENTH teaching represent the spirit of the day. What are Directors: Artistic, Reliable, Rapid more beautiful than the old Noels arranged Virgil Method: YEAR all its by Guilmant, which all Paris used to go to The Greatest of All Teaching Methods Opened October 2d ’ hear the Master play on Christmas Eve at Pennsylvania’s Leading School v branches .. Master Courses\ La Trinite, and in recent years to the Symphony Orchestra.. Reciprocal relation, with Umveraity ot Pennsylvania. 7 Y Octave Practice Instruments Church of St. Eustache to hear Bonnet VirgirTek” the less advanced play them. Bach wrote several Chorales (Dormitories for Women) Special Courses forTeachers\ for the Christmas festival, notably In Dulci A School of Inapiration, Enthu.iaam, Loyalty and Success I/!-, *1 Two and Four Octave Portable Instruments Illustrated Year Book Free For Catalogue and Circulars address Jubilo and In Thee Is Joy. His Pastorale V ** in Suit Case. Perfect touch. Graded weight Training Courses J. LAWRENCE ERB in F Major is also frequently played. There GILBERT RAYNOLDS COMBS, Director °ffiTro.Pd^t RUd ltfe.St .Udl0‘ Studies and pieces, grades I to VI Managing Director are Christmas Pastorales in large numbers; for Teachers 212 W. 59th St., New York City and among them those by Corelli, Merkel, Faculty of Specialists V §** Unequalled for teaching and recitals 56th Year Founded by CLARA BAUR de Lange, W. T. Best, Lemare, Perilhou ' in all Departments Child's pedal economical and durable. and Georges Jacob are well known. The Conducted according to methods of most progressive European conservatories V II <£§11 Send for Catalogs. Inquiries solicited. JTHACA (CONSERVATORY Pastorale Symphonies by Bach and Handel are naturally familiar numbers. Dramatic Art—MUSIC—Languages 1 DeWitt Park, Ithaca, N. Y. Pieces bearing the title of “Christmas” of * Faculty of International Reputation VIRGIL CONSERVATORY Special advantages to those X/TTJSIC by Dubois, Bossi and our own Arthur Heidelberg Conservatory of Music looking to educational or lYl Foote are each excellent. Une Vierge A STANDARD CONSERVATORY mt Exceptional advantages for post¬ 120 W. 72nd St., New York Pucelle, a unique number by LeBegue, and Confer. B. Mu.. Grant. Teacher.'Certificate. StudioMSI PeachtreeStreetin ■V" ( Incorporated ) graduate and repertoire work. Department Noel sur les Flutes, d’Aquin, both of the Piano, Voice, Violin Organ, Theory 9 ttared book?Address Thorough Teachers Rates Reasonable For catalogue and Information, addran of Opera. Ideal location and residence old French school, are unique and add a For Free Catalogue, address Miss Bertha Baue, Directress. Cincin department with superior equipment. BRENAU. Box T - GainesvUIe, Ga. touch of novelty. Otto Mailing, the Dan¬ President CHARLES E. MILLER Burnet C. Tutbill, Business Manage ish organist, has contributed several. Box 25 Tiffin, Ohio ESTABLISHED 1857 EASTMAN SCHOOL OF MUSIC Among the best known are The Shepherds in the Field, Christmas-eve and Bethlehem. Saint-Saens, when at La Madeleine, v DANA’S MUSICAL INSTITUTE DEARflriV CONSERVATORY three Rhapsodi WARREN, OHIO | r.APUU 1 BALTIMORE, MD. that will live : HAROLD RANDOLPH, Director of Dandrieu s THE SCHOOL OF DAILY INSTRUCTION IN ALL quaint and gi\ BRANCHES OF MUSIC One of the oldest and most noted Music School, in America. has written a Fantaisie sur deux Noels, a Selim Palmgren, Composition, Orchestral Direction Address LYNN B. DANA, Present Desh E, WARREN. OHIO Joseph Press, Violoncello Max Landow, Piano Vladimir Resnikoff, Violin a brilliant concert number of sterling merit, Atlanta Conservatory of Music Jeanne Woolford, Voice, Dezzo D’Antalffy, Organ Accompaniment for Motion Pictures Institute .i Musical Art OF THE CITY OF NEW YORK Rhapsodie Cantilene (with pedal solo), MR. and MRS. CROSBY ADAMS THE FOREMOST SCHOOL OF FINE ARTS Fall Term Opened September 18, 1922 120 Claremont Avenue, corner 122nd now well known here from the composer’s For Catalogue And Information, Address . Annual Summer Class lor Teachers of Piano Street, West of Broadway playing it during his American tours. Detroit Conservatory of Music for the Study of Teaching Material The Secretary, Eastman School of Music, Rochester, New York Frank Damrosch, Director The March of the Magi Kings (with the Write for Booklet Special classes in singing. Song guiding star) by Dubois is a popular num¬ is L. York M. A. Pres. 48th Year Elizabeth Johnson, Vice-Pres. MONTREAT, NORTH CAROLINA Peachtree and Broad Si if Atlanta, Georgia and Opera Repertoire under ber, while The Holy Boy, by John Ireland Finest Conservatory in the West GEORGE HAMLIN the English composer, comes as a novelty. courses in Pi.no, Voice, Violin, Cdlo, Organ, Theory, Public School Mmiic fNEW YORK SCHOOL of^Rrs Special classes for advanced To give added variety, the Capriecio-Pas¬ ^aTprmciples! 'Numwour^ecturesf^^^^^mi^^^dto^^^w^^^^® PROFESSIONAL DIRECTORY, Page 850 of this Issue torale by Frescobaldi, and the Choreic de 118-150 RIVERSIDE DRIVE, NEW YORK Ralfe Leech Sterner, Director pianists and teachers from Febru¬ LISTINGS UNDER THE PROFESSIONAL DIRECTORY O^Jf^EACHERS^ S'* Noel, by Pachelbel should be heard. The ary to April under most ooUu students may enter at any time Shepherds, by Lemmens and O Come All jf“gpupU8at‘pUPILS°CAN ENTERRANY DA?! h°me for refined' cultured students. Day and CARL FRIEDBERG Ye Faithful, by Clement Loret are interest¬ JAMES H. BELL, Secremy,”!” Are., DETROIT, MICH. Fro* ^Conservatory For full information apply to the Director YEARLY CHARGE. THE TWENTIETH ANNIVERSARY OF THE SCHOOL " ° C0mmem0rate ing selections. As a finale, the Fanfare of Those desiring to live in the s iol should make res-rvations now. Many eminent masters have been added to our celebrated faculty. Outdoor life and all recreational and social advantages. Lemmens, the Toccata from Widor’s Fifth VOICE, PIANO, ORGAN, VIOIIN, HARP, AND ALL INSTRUMENTS Symphony, or Alleluia!, by Marie Joseph MacPHAIL SCHOOL DRAMATIC ART, CLASSICAL DANCING, LANGUAGES. DRAWING AND PAINTING Erb, would either one give a brilliant con¬ DUNNING SYSTEM Pfor Beginners Send for Illustrated Booklet Mehlin Piano Used clusion to a recital chosen from the num¬ PIANO, VIOUn" VolckrORGAN? PUBLIC^CHOOL MUSIC The Demand for Dunning Teachers Cannot Be Supplied. Why? PIANO^ SCHOOL bers mentioned. „ time Low Tuition Rates. Room and Board $6.50 pet week. Students may enter any ^ too Teachers D3mai»nnfflnnjn CarnegieWaff, New York NORMAL CLASSES AS FOLLOWS: Crane Normal Institute of Music Nicollet ot 8 Street Mlnneopojw1JVlmnesota. MRS. CARRE LOUISE DUNNING, Originator. 8 We.t 40th St. New Y«k City. Nor mil Cla«»e», Lo. Angele., Training School (or Supervisors ol Music —College of Fine Arts—, Courses for PIANISTS Funerals and Festivals Calif., Jam 22nd, 1922; New York City, Aug. lit, 1922. BOTH SEXES Mary E. BreckUeu. 254 Irving St., Toledo, Ohio. Voice culture, sight-singing, ear-training, harmony, Syracuse University Probably no living musician has the ret¬ ACCOMPANISTS and LAWRENCE CONSERVATORY Hirriet Bacon MacDonald, 825 Orchestra Hall, Chicago, III—Dallas, Taras, January. Unexcelled advantages for the study of music. Fi rospect that is possessed by Sir Frederick Ann Craig Bate., 722 Pierce Bldg., St. Unit, Me. Bridge, who says that he began his public Valparaiso University Jeanette Currey Fuller, 50 Erioa Cre.cent, Rodieater, New Ye*. career tolling the bell at Rochester Cathe¬ Mr*. Jean Warren Carriek, 160 E. 68lh St. Portland, Oregon, March. TEACHERS dral at the memorial services of the Duke School of Music Mrs. Wealey Porter Maeon, 5011 Worth St, Delia., Terae. The SIGHT, TOUCH and HEARING of Wellington in 1852. Since then Sir Fred¬ (Accredited) Virginia Ryau, 828 Carnegie Hall, New York Gty, December. System of Teaching. Write for Booklet Carrie Monger Long, 608 Fine Aria Bldg., Chicago, Classes held monthly throe* the year (Outage). erick at Westminster Abbey has played VALPARAISO, INDIANA CARLJ. WATERMAN, Dew. - 554 Everett St. Portland, Oregon.—San Francieeo, Cal. Data, 1245 Diviaadero St, the funeral dirge for almost every great The University School of Music offers course, to Dec. 5,: STUDY AT MY HOME man who has died in England during the Piano, Voice, Violin, Organ, Theory and Public Ruhy Frances Jahn, Dalle, acaoem,[demy of™ Music, Dallas,---- Tara To a limited number of musicians I offer School Music. Students may attend the Music Maud Ellen Littlefield, K.naar City Con.ery.tory of Mn.ic, 1515 Lmwood Blyd., Kan... C.ty, Mo. home privileges while studying voice, dra- fymour 6rft(W- last fifty years. In addition, he has played School and also take the regular work at the matie^action, opera, concert oratorio and the music for the gayest weddings. Play¬ University. Cara Matthews, San Marco*, Taxaa. Also Church and Concert Engagements of Musical R?-Efniratnm Isabel M. Tone, 469 Grand View St., Los Angelo., CaL, April 16th and Jane 18th, 1922. Carn^e^BteU Studio, Room 120, onWednes- fan-let A. Seymour, Director ing for funerals of the illustrious did little the expenses are the lowest SIGHT READING CARNEGIE HALL, NEW YORK Tuition $50.00 per quarter of twelve weeks. MADE EASY FOR PIANISTS Mr.. Beatrice S. Eikel, Kidd-Key Cons., Sherman, Tea... Philadelphia Studio, Presser Building, on tp make the genial English musician sober Board with Furnished Room, $54.00 to $90 00 per Mrs. H. R. Watkins, 124 East 11th St., Oklahoma City, Okla. Tuesdays by appointment. since he has the reputation of being the quarter. Catalogue will be mailed free. Address PIANISTS can become perfect eight AddaC. Eddy. 136 W. Sandusky Aye., Bellefontaine, Ohio; Miami, Fla., Feb.; Columbus, Write for terms, pamphlet, etc. Valparaiso University,—Dept, 24, Valparaiso, Ind. reader, by studying my course on Ohio, June. The Courtright Wave Crest, Far Rochaway, New York TEACHERS’ COURSES in most famous wit in the profession. STUDENTS MAY ENTER AT ANY TIME •• The Art of Sight Reading. Sight read¬ ing i. not a "gift” and i. within the reach Mrs. Anna W. Whitlock, 1100 Hurley Ave., Fort Worth, Ton. System of Musical to^spedsUze 'i'n'tinsTm'iT of all pianist.—beginners and advanr-d Kindergarten Mr*. S. L. Van Nort, 2815 Helena St., Houston, Texas. GERTRUDE RENNYSON It tells you of the difficulties of sight readingre Mias Id. Gardner. 15 Weal 5th Street, Tolaa, Okla. Mrs. Lillian Courtright Card, 116 Edna Are., Bridaeport, I Lightning Minneapolis School of Music, and how overcome—overcome—method of reading and --e—faults made and how rectified— Dora A. Chase, Pouch Gallery, 345 Clinton Aye., Brooklyn, N. Y. Sour Music Teacher (to careless pupil) : ORATORY AND DRAMATIC ART Clara B.Lochridge, 1116 Cypress St., Cincinnati, Ohio, Feb. 17th, 1923. “My dear, do you know why you remind WILLIAM B. PONTIUS CHARLES M. HOLT Allie E Barcus, 1006 College Aye., Ft. Worth. Texas. Director, Dept, of Music Director, Dramatic An Complete Course Travis Sedherry, Grimland, M.mnhis, Tenn. For booklet, address Cl'dton, Taaas. When Seeking Information on Musical Educational Opportunities Consult “ETUDE MUSIC MAGAZINE”. me of lightning?” 60-62 Eleventh Si.. So. MINNEAPOLIS, MINN. Pupil: “No, professor.” LARGEST 8CH00L OF ITS KIND IN THE WEST Mra. Zell. E. Andrews, BOOKLET UPON REQUEST Leading Schools and Colleges Carry Announcements on these Pages Regularly. Music Teacher: “You never strike twice ALL BRANCHES OP MUSIC AND DRAMATIC ART danford hall in the same place.” 60 Artist Teacher, Tsar Book Free on Bequest PUxsa mention THE ETUDE when ad dragging advertisers. the ETUDE DECEMBER 1922 Page 865 THE ETUDE Page DECEMBER 1922 NEW PUBLICATIONS Vocal SECULAR SONGS FOR ++*++****+*********+***+********* PIANO: Solo and Four Hands Offerings VISIONS OF YOU PIANO SOLO | PIPE ORGAN VOICE: Solo, Duel and Chorus The * »t< •;< * » *4 »»» * VIOLIN-PIPE ORGAN for When Ordering any of these Publications it is only necessary to CHILD’S PLAY ALBUM OF TRANSCRIPTIONS Concert, Ten Miniatures for the Pianoforte And an Original Sonata Any of these new issues cheerfully sent for examination Most By George Tompkins Price, 75 cents Home and By H. J. Stewart Price, $2.00 LAWRENCE, May F. Although they are distinctively piano pieces in PIANO SOLOS 18370 The Path, E flat-g. None of the transcriptions in this splendid collec¬ PROTHEROE, DANIEL Church Use character, each of these little numbers has verses tion will be found in any previously published pipe Cat. No. Gr- P 18399 Cling To The Cross E-g sharp. Recent which may be sung if desired. The texts have ALKAN, C. V. organ album. They were made especially for this 18407 Prelude Melodique .314 18400 Cling To The Cross c-E. been selected from The Book of Knowledge. Young SAINT-SAENS, C. book by Dr. Stewart and haye met much success ANDRfe, CARL . _ 18373 My Heart At Thy Dear Voice (Mon students of the first and second grades will take to at his California recitals. In addition to the large Publications these pieces readily and practice them with a will. i8344CRMAMMSNDR:c.'c.^;;;!a"ia- * and varied assortment of transcriptions, a new 18374 My Heart ^At*ThyDear Voice (Mon original sonata has been included. Discriminating souvre A ta Voix) a-F. In Book Form NUTCRACKER SUITE STICKLES, WILLIAM the Best Sing organists will welcome this volume as a most valu¬ as13349 Through Sunny Fields, Op. 139.2X 18369 How It Happened, E flat-g. of the (Casse Noisette) DE LEONE, FRANCESCO B. STOUGHTON, R. S. By P. I. Tschaikowsky, Op. 71A. able addition to their library. 18402 Valse Caprice No. 2.4 18367 A Bowl O’ Blue, d-g . D1ABELLI, A. Price, $1.25 18333 Sonatina, Op. 168, No. 1 .2 HORVATH, GEZA VOCAL DUET CAT. No. Theodore Presser Co. This remarkably successful and timeful ballet- 17852 There suite, originally for orchestra, lends itself gratefully 'jOh’nSON,"WALLACE A.''. 16851 When New and Important Works to piano transcription and this new arrangement ! VIOLIN 18326 Easter Bells, Op. 69. No. 3 A Progressive Musician will be a delight to piano players of moderately VJ0LIN and PIANO advanced grade. In addition to being played as PLAYING FOR THE FOLKS Should Know pure music most all of the numbers are used for ENSEMBLE METHOD Six Characteristic Pieces for the Pianoforte 17145 Just With You, classic and esthetic dancing. By WALLACE A. JOHNSON 15483 Love Leads the Way For Class Instruction PIPE ORGAN 12643 Some Day When Yo By Oscar J. Lehrer Price, $1.25 Grade 1-1% 18318 Little Soldiers, (Keep Step) 25 The aim of this book is to provide material for 18319 Little Walts, (One, Two, Three) 25 17909 Each Thought of You, ! PIANO-FOUR HANDS I teaching the violin in classes. The exercises are all 18320 Evening Chimes. -30 17959 Each Thought of You, 18321 Slumber Time.« 17164 If Love Rules the Worl -**;;** in three parts of nearly equal difficulty and the 17166 If Love Rules the Worl ORIGINAL FOUR-HAND PIECES class, divided into three sections, should alternate in Mixed Voices playing each part, thus doing away with the objec¬ HANDEL-BL1SS , „ , , tionable designation, first, second and third violins. 18329 Silver Lake, The, Op. 69, No. 6 By Classic and Modern Composers KERN, CARL W. 20222 Halleluiah Chorus, “Messiah” (School Price, $1.25 The three-part harmony is complete and no piano 18310 Autumn Reflections, Idyl, Op. 4 Edition] FLOWERS AND YOU . m Space here does I KINDERGARTEN MATERIALf accompaniment is necessary. 18309 Playful Wayelets, Valse de Sal SPOHR, L. „ „ Every number in this album is an original com¬ 20227 A* Pants The Hart, “Crucifixion not permit showing » * ‘K‘ * *'t' * * * * ** * * * * * fr* * * ■> * * * * * position for four hands; there are no arrangements ALBUM OF TRANSCRIPTIONS Women’s Voices portions of num¬ CHILD’S FIRST BOOK OF MELODIES from piano solos or orchestral numbers. Experi¬ l8308KETELBEL ALBERT W. GOUNOD-BLISS enced duet players realize the value of this and for For Violin and Piano 18300 1 isant Dane 20225 Praise Ye The Father, Two Part ( erous other songs (School Edition). By Willia Eades Honska advanced performers, music club work, recitals, etc., By Arthur Hartmann Price, $1.00 18343MAR7rN,GGE6RGErDUDLEV that have gained this book is most heartily recommended. Brahms, Men’s Voices Price, 60 cents Moskowski, MacDowell, Schytte, Chaminade and These are transcriptions of songs and piano num¬ 18307morrison"r.s. GOUNOD-MORRIS great favor and 18342 Birds in Dreamland. 20199 Praise Ye The Father. This little book is intended as an aid to the others, are among the composers represented. bers by various composers, Tschaikowsky, Fibicli, 18313 Color Bearer. The, March those seeking vocal teacher in establishing within the child mind, a sub¬ Godard, Amani, Rubinstein, Dvorak, Schutt, Rameau ROBERTS, J. E. PART SONGS conscious feeling for rhythm, harmony and form. and Granados being among those represented. They material of any ROLFE, WALTER It may be used with the very youngest beginners are interesting and playable, none of the violin II Valse Mignonne.4 Mixed Voices character are invit¬ as the melodies are quite simple. Both clefs are I VOCAL parts going beyond the third position. All have SARTORIO, ARNOLDO WATSON, M. ed to send for the introduced from the start. been used with much success by Mr. Hartmann in 15 Rustic Jollity, Op. 1289 No. 1 Taran-^ 20226 Anchored (Unison). helpful catalogs his own recitals. STOUGHTON, R. S. Women’s Voices EIGHT SONGS FROM GREEN TIMBER 58 Parfum Exotique Valse Dc Ba.!»t . 5 Two Parts and circulars we 42 ETUDES OR CAPRICES WILLIAMS, T. D. PINSUTI-BLISS Lyrics by Charles O. Roos 96 Melody in D ...... 4 20229 Welcome Pretty Primrose Flower . can supply. For the Violin ZIMMERMANN, J. F. STULTS, R. M. Music by Thurlow Lieurance 55 Little Slovak Polketta.‘ 20203 A Pickaninny Lullaby. Price, $1.50 By R. Kreutzer Price, 75 cents 56 Silver Star, Reverie.* Three Parta In the valley of the St. Croix River of Wiscon¬ This is one of the most important sets of studies MOZART-GEST THE GRANBERRY MUSIC WRITING PIANO—FOUR HANDS 20202 Moon-Night. SACRED SONGS :: :: sin, Thurlow Lieurance, already famous for his for the violin and one, which, at some time or STULTS, R. M. These sacred songs BOOK wonderful melodies and harmonies in his studies of other, must be mastered by every aspiring player. FERBER. RICHARD 20221 Captain Butterfly... 54 Collegians, The, March.3 20219 Little Girl in a Cahco Gown. are suggested because For Developing Sight-reading Through Writing Indian music, finds a new source of inspiration. His The new edition of this splendid work, recently HUNGARIAN FOLK MELODY ? they have melodies By George Folsom Granberry original and colorful music and the poetic texts of added to the Presser Collection, has been carefully N917614 . BEND LOW DEAR LORD Chas. O. Roos make this a most delightful cycle of edited and will be found superior in all respects. 3°mozart—Moszkowski Men’s Voices that fit the sentiment Price, 50 cents 86 Minuet From “Don Juan .3 ADAM, A. of the words and they RENARD, PIERRE 228 Comrades in Arms. Although it begins with the rudiments, this work 93 Bugle Calls, March.ZH STULTS, R. M. are the style of sacred progresses further than the ordinary writing book 20204*’ A Pickaninny Lullaby. songs that a church VOCAL SOLOS and is especially valuable as an aid to sight reading | LITERATURE | SCHOOL CHORUSES singer can do at short for both vocal and instrumental students. The I CHOIR ARDITI, l. notice since there are i ❖**❖❖*** * ❖ *:• * * * ** ***** By IRA B. WILSON exercises are thorough, space being provided for * * * * »'!«* * * * * * * * * * * ■!' * * * 18377 The Kiss, II Bacio, c-b. 20190 The Dance ol the Leayes (2 Parts). no unnecessary difficul¬ writing them throughout the whole length of the HAMM0N, GRACE A. 20230 In May (Unison]. CHOIR COLLECTION MUSIC AND MORALS 18331 Dusky Sleep-Song, E flat-F. 20231 Spring Song (Unison). ties for either the sing¬ keyboard. 18332 Dusky Sleep-Song. c-D. er or the accompanist. By Harry Hale Pike Price, 35 cents By Rev. H. R. Haweis, M. A. Church singers de¬ Anthems for junior choirs and for choirs of Price, $2.00 Theodore Presser Co. 2X2 Philadelphia, Pa. siring to become ac¬ untrained voices are much in demand. This book Established 1883 Very few books in the history of the art have Music Publish quainted with other of easy, melodious anthems by Mr. Pike is well songs are invited to adapted for such. The incidental solos are short had more influence in stimulating an interest in and may even b? sung by the parts in unison. music than this work. It contains over four hun¬ send for the folder, dred pages of fascinating reading matter including “Sacred Song Gems.” essays upon musical subjects, biographies of the PREPARATORY SCHOOL TO THE An Opportunity to Ascertain the Real Worth great masters and an instrumental section in which a chapter on carillons is especially noteworthy. The SONATINA of the Publications of the Theo. Presser Co. Save Subscription Money new edition is a most excellent one. By Franz T. Liftl Price, 75 cents To afford a better opportunity of judging the AT. No. TITLE genuine value of the books listed on this page Make a list of all the magazines you 3276 I Heard the Voice of Jesus Say, Teachers who have had difficulty in holding we will gladly send any of them for examina¬ 3740 1 Heard the Voice of Jesus Say, their pupils’ interest when the sonatina was intro¬ tion. To assist our patrons in the selection desire to obtain for the year 1923 and 8094 Close to Thee, of music, we have catalogs covering each of the 7270 Close to Thee, duced, should give this work a trial. No better various classifications. We will gladly send send the list to Etude Music Maga¬ 8981 He That Dwelleth, introduction to the lighter classics could be found. any of these gratis. zine for Combination Money Saving 14803 He That Dwelleth, It may be taken up after the first year of piano 5326 Jesus, Lover of My Soul, . Subscription Prices. 5304 Jesus, Lover of My Soul, study. A SYSTEM OF HARMONY 12639 Ninety and Nine, Remember magazine subscriptions make 12640 1 PREPARATORY SCHOOL TO BACH For Teacher and Pupil Ideal Christmas Gifts. Send your musical friends Theodore Presser Co. a Christmas Remembrance in the f orm of a year s By Franz T. Liftl Price, 75 cents MUSIC PUBLISHERS AND DEALERS By John A. Broekhoven Price, $1.00 subscription to Etude Music Magazine The performance of modern piano music requires TALKING MACHINES AND RECORDS This is a comprehensive work in which the subject a thorough study of polyphony. As a rule teachers MAIL ORDER MUSIC SUPPLY HOUSE is treated in a scholarly manner along the lines of PRICE $2.00 the larger European works. It has been used with have waited too long before introducing this work. 1710-1712-1714 CHESTNUT STREET Liftl’s Preparatory School to Bach fills an impor¬ much success in conservatory classes both here and s sjrni Christmas Gift Announcement will pc sent by the tant niche in this line of work and may be used as PHILADELPHIA, PA. abroad. In this new edition there is additional THEODORE PRESSER CO. early as the second grade. material that greatly enhances the value of the work. PHILADELPHIA, PA. ETUDE MUSIC MAGAZINE, Philadelphia, Pa. DECEMBER 1922 Page 867 the etude THE ETUDE Page 866 DECEMBER 1922 Junior Etude Competition Famous Singers Puzzle •• syllable of this singer s The Junior Etude will award three ? is a 11 sart of a rail road train. Have You Studied Harmony? tty prizes each month for the neatest >nd syllable, take a word KvXH ‘‘make use 0!” and smb- You Need It To Complete Your Musical Education m and best original stories or essays and an¬ t the »t two letters. The third syllable «.-—-- — ~~ .* family, swers to puzzles. minus the last letter. Subject for story or essay this month, 2. The first syllable of this “Helen’s Recital.” Must contain not over -4- - liquid measure, - the last_ - Second syllable, one hundred and fifty words. Any boy or a verb meaning —» —— the last two letters. The third sylla¬ eiri under fifteen years of age may com- ble is a word often applied to a dog. SPECIAL! pete. The fourth syllable is composed of All contributions must bear name, age the first two letters of a certain dried and address of writer, and be received at s also the first syllable of one ui iuc —- Great Offer to Teachers -JUNIOR- the Junior Etude office, 1712 Chestnut ments in music. The second syllable Street, Philadelphia, Pa., before the tenth Is the opposite of good, minus the last letter. of December. Names of prize winners and 4. First syllable is something to and Musicians their contributions will appear in the issue wear. Second syllable, a living being. ETUDE Third syllable, a pronoun pins a dark for February. fluid. (Please put name and age on left-hand 5. First syllable, a part of a sur¬ name. Second syllable, a part of an upper corner of paper and address on right- apple, minus the last letter. Third upper corner of paper, and do the same on syllable sounds like the first syllable. ^ CONDUCTED BY ELIZABETH A.GEST each piece of paper used.) Answer to Instrument Puzzle Do not use typewriters. 1, Piano; 2, Organ; 3, Flute; 4, Oboe; Competitors must comply with all of the 5, Trumpet; 6, Horn ; 7, Viola; 8, Lute, as yet no direct personal knowledge of what it really means-for example- Lessons from Pussy-Cats 9, Drum; 10, Cornet; 11, Violin ; 12, Cello, The Nicest Way 3 Cfjrtetma* Hog above rules. 13, Banjo; 14, Guitar; 15, Harp. to study Do you ever have trouble making your Prize winners—Lueile Messersmith (Age 9) Indiana, Marjorie Conrad (Age 11) Ohio, By Marion B. Matthews hands, wrists and arms perfectly relaxed? MY FAVORITE SONG By M. A.'McT. (Prize Winner) , _ Audrey Eisenhardt (Age 14) Minn. Sherwood Normal Lessons The chances are that you frequently have Mv favorite song is the Star Spangled Ban¬ Honorable mention tor puzzles—Helen Ruth My mother has the nicest way Reed ; Irene Norby ; Evolyn Blowgiier ; Anna it, or else not at all; for relaxation is some¬ ner nnT it always will be. The beauty -of Geerdes; Emma Lee ; Patricia Fostei , Weeber Of making lessons pleasant, this song, which is concerned with our rree- for Piano Teachers Little George sat by the hearth study¬ music, so that he almost expected to see thing that is not apt to come, and go after ~pemS to me as a dream. Every school Skidmore; Marjorie Tipton ; Alary Margaret And introducing me to great Seal; Helen Crabtree ; Claudme Cook, Eva ing the notes of the Christmas music them drop right down the chimney at his it has been acquired; and the acquiring of «nS every man and woman should Dederick; Maxwell Meyer; Ruth Cacek ; Lou They contain the fundamantal principles of successful tcaching-t^ vital Musicians, past and present. feet, like the swallows sometimes come it is a gradual development. But a great Fmpstine Buck: Dons Mason; Gertrude which his poor little eyes could scarcely shomfit^well°Iwithy prhfe‘is a?hey''sing^h^^or ETnkelstSn ; ” Jassamine Tarver; Matilda. drifting down when the wind makes havoc many people, especially beginners, do have She cuts out gorgeous paper-dolls. make out in the dim candle light. He was Scommodam ; Harry Harlem , Alice 'J1.’.1!! 80! ,’ with their nests. some difficulty in acquiring this perfect and !Hl8"tnsonEs msss™ Elizabeth Dobson ; Ruth Sperro Edlth Al: Each one to represent so tired and sleepy after the last rehearsal, Then the sparks "n th* fire began to look absolute relaxation—they seem to be afraid gfflUedM«nf aSieSB%re?f; ^ Some person who has won great fame for to-morrow was the Great Day, and he, graphs, diagrams and drawings. to let go of themselves, as it were. You With voice or instrument. the youngest, but the very best and clear¬ strangely bright and C^-te lively, flying written by Francis Scott Key and the music 2£! WyLlfoUnee ? £ have often heard your teacher remind you 322 est, soprano in the church choir, was to about like tiny fays. The smouldering log bv Dr. Samuel Arnold. Jr • ’George P/ Walthall; Bernhardt Mandell; to relax, relax, RELAX. by VELMA IRENE DAVIS (Ag^)^ GeVtrude Bachler ; F. Lorraine Yost ; Helen Sherwood Piano Lessons And then to give a concert or sing two solos, besides the choruses. seemed to turn into a great page of music, Relaxing really should be easy, for it is Recital, we pretend; where all the leger lines were the upright v BFranz ?c£ey ; Wfe He was a nice little chap and quite dili¬ letting go of everything, which in reality MY FAVORITE SONG Moffatt; Alberta Lockwood; Juliet Soucy, for Students (And mother says, if you’re polite grajn of the wood, while the old andirons (Prize Winner) Clara Schumap; Frances Pitts; Helen Reu- gent when he could get his mind once is doing nothing; and, theoretically, doing You stay until the end.) on either side were the bars. Suddenly all There are many songs which I itee PM none land; Eleanore Ruvene; Lillian M. * ell > Contain complete, explicit instruction on every phase of.piano Paying- No started in the right direction for study; nothing should be much easier than doing Gladys Cheney, .Tean Foster; Mf rgaret Dam; stone has been left unturned to make this absolutely perfect. It would s the sparks stood still, every one in its aJ.e r‘,e„S° K^ong haT charmed "fy schek- Frances Polzfuss; Margaret Stewart, but somehow or other that little mind of something, should it not? ovorvone with its pleasing melody, and there Alice ’Melbye; Mary Rose Hurley; Jean Mor¬ prise you to know that Sherwood devoted to each lesson enough tune t„ earn Perhaps it’s Alma Gluck who sings. proper place, just like soldiers at drill; and e\oryone wiiu v that seGms to touch 1.«1fm no in teftchimr It is possible for you to get all this time ana his often played truant. It loved to wan¬ Watch a pussy-cat some time and feel is s°nietl»mg i:a t whoIlghear it No matter gan; Evelyn Yehle; Harriet Swinger; Jeanne Calve, or Emma Eames; energy for almost nothing, compared to what it cost. The lessons are i lus¬ its paw and notice how relaxed it is. It is She tells me who they are, and how der off on those fascinating little byways trated with life-like photographs of Sherwood at the piano, lhey are given said to be the best example of perfect re¬ I should pronounce their names. that seemed to lead right out of every les¬ ?f4eVr»^ with weekly examination papers. son book, and every page of music he be¬ laxation that can be found. See if you can at "The® hours'118 spent “with thee, dear heart, Letter Box make yourself as limp as your cat. A cat ..q o string of pearls to me. . A knowledge of Harmony abscriutely I learn about such famous men gan to study. So it was no wonder that Those lines appeal to me as no others, essential to round out your i has enormous strength, too, combined with DEA,n;ouah°RI hTaveEbeen rather slow in writ¬ As Kreisler and Cortot, tonight, of all nights, he was so sleepy, and and I hope every one likes ing “appreciate of Jhe Etude.J think tion. It adds wonderfully t_ ■- its relaxation; and that is just the com¬ HARMONY ment both as Teacher and Performer, Rachmaninoff, and many more the candle began to splutter, and the fire preparedness." We offer you a complete bination you must have to be a good pianist. The Etude two years and ?.an not tell how Without it you limp along on the crutch of ‘‘ut in the nrivacy of your own home, l nese Whom pupils ought to know. flickered and then smouldered, again sud¬ much help and happiness it has gwen rae course of weekly Harmony “fer fo^?er“a^,S sSSsT‘mdl^naucrorfl.I.IU. nnrl P.ASldllfffnP Andan pilpil You must have strength and firmness; but MY FAVORITE SONG denly starting into a bright glow, and the (Prize Winner) ?n^ana° “havffour b^t^rs°anc? Ijete?. ofSfSrandDr.yi^ielftSh^^minent Composer, Choral Director and Teacher, you can never get them in their proper My favorite song is Old BJach Joe, com My^bit’cr' and I playdIU in Thy, Etude. Of course, we have celebrities sparks flew up the chimney looking, very The Of other centuries, too; order if they are combined with stiffness. _ „ *i Amor can. St0"11011 "nRTpr- “Talhtemnrrorderly step in brilliant and strange against the sooty cav¬ So “loosen up” and let go of yourself and ____Told friends who I think, when study’s made a game, ern. Perhaps he thought they would join It’s fun to learn; don’t you? be a real “copy cat.” the lovely stars, and maybe fly as far, far Dorothy Barnett (Age 15), edge and firmly fixes the important principles' e hears these voices calling him to come as the Star of Bethlehem, and be able to, i, where they are, The years are .beginning Franz Peter Schubert look down on that peaceful little town it¬ 0 tell on him, and he answers ie imagine Rc©d OfQ&n by Frank W. Van Dusen, well known teacher and organist each one standing up exactly where the Letter Box oices and tells them "1 m c- ie, as-Dorothy did? So mi self 1 oust is full of melody and s think that summer is a ti note of the Christmas music needed it, un¬ ” and nothing else; hut t By Clara Louise Gray Dear Junior Etude : Then, just as he was speculating on how til he saw it all just as clear as on the I do not know why I n hought of wrlt- far they might fly, and thinking that they ing to you before;uej-uie , and.auu, nu lAlS 18 the first imething, whether they ci Choral Conducting :! D“!el Pr0,h"~ Ada came running in from outdoors sheet of music he held in his hand just a _, _ _e decided to tell you something in the summer o might grow tired, just as he was now, so itions—Alice with dancing feet and laughing eyes, she moment ago. Right there on the old log about myself. a R. Carey; Kindergarten and Grades'! by tired that the book fell from his hands, his I have been taking The Etude for two Dear Junior Etude : stepped over to her piano, sat down and was the “Gloria in Excelsis Deo,” “Oh, years. My mother took it before she died, 4 ; Bebe Al- I like music very t would like it Public School Music , „ , , , [ Frances E. eyes closed and he was quite still, sitting 1919, and we left it for a year. When William, better If It High School and pi u began to open her musical history book. Come, All Ye Faithful,” and “Noel.” Just my oldest brother and I began taking lessons ilease'give me some good advice that Supervisor s Course ) V^ictiK. “My teacher wishes me to be sure and there all alone; for the grown-ups were as he was going to sing, the old log fell in June, 1920, Miss Lueile Vail, who taught rnnid make me like scales better. I an Public School Music put making some last-minute preparations us, said that the best we could do in the Seen vears old and to teacher, study about Schubert for my next lesson apart and turned to ashes and the bright form of pieces was to use The Etude. So llrE Ji;ie Chafee” ; Lolita Wright | and I am so glad because I like him so for Christmas. sparks disappeared; and little George Daddy ordered it for us and we have taken Bethany Atwood ; Frances Rclyea; Margaret nvs^that^I good in all the rest of the Unprecedented Special Offer! it since then. Almost every time I can find Newhard. __ much.” All at once he heard the village bells opened his eyes as he heard the first sound an especially pretty piece and I learn it. I shouldsues do &ssssthem slowly spsts.a: Will vnn take advantage of our offer of 6 lessons which we offer to Etude “Let me see,” said Ada looking up from ring out and he thought he saw the mid¬ of the Christmas carolers singing outside William is sixteen years old and he is a graduate of Candler College. John, my Scales From your : reSers without charge or obligation on their part? We will send you 6 les- her book, “At eighteen Schubert wrote the night air sprinkled with notes of heavenly his window. youngest brother, is in the fifth grade; he „Fehlberg (Age ISO, ^ Erl King. His greatest instrumental work Is nine and a half years young. 1 am in the Listen, my friends. I’ll tell you a tale. sonsfromthe Normal Piano or Harmony Course or 6 lessons selected from «».ntW subiect if you prefer. We have courses in Piano (one for was the Symphony in C which was written second year of High School, and I am thirteen Of hoiv I learned the hardest scale. N. B. Julia is like a great many PupUjr- years and ten months old. students1 and one for teachers'), Harmony Choral Conducting, Public / thought scales were easy when I started w^NtKh?«°n "o^P^rd in the last year of his life. As a pianist I would like to see some American boys School Music, Violin, Cornet, Guitar and Mandolin. he was a very expressive player.” Ada and girls here in the month of December. on C It never snows here and it is never very cold And thought they zvere hard when I came are'*they *iio longer'disllke them. Her mother turned over the leaves in her history book because we are too near the equator for snow. Junior Etude, would it be possible for up to B. Tsxxls KASTfiS with eager eyes. you to put my name and address in the next for July, 191S, MaMarch,ph, J919,1919, and June, 1919,lain, “Franz Peter Schubert was born in Etude, saying that I would like to have a , interesting ways to practice But I tell you the B scale or F sharp or any i August, 1919, there is a Vienna on January 31, 1797; he was the correspondent, because I live so far away and cannot enter the competitions. Are not a bit harder with one sharp or son of a poor schoolmaster. He died John is almost through his practicing now. so I will have to close my letter and wish many. when he was only thirty-one years old, that every year may bring more subscribers They’re all just alike when you study, them and he wrote over four hundred songs. to The Etude and more Junior Etude friends. well Letter Box List One cannot refrain from likening his And that is the secret I started to Mil. career to that of the most natural of Yours sincerely, Lucy Ann Neblett, ha? Kldppen; Paul Schaaf; Mane Hacker; poets, Robert Burns, for both were the Emily A Dunsmore ; Ivonne Langlois ; Flora minstrels of the people.” Buenavista y Primelles, Playa Marianao, Pauline Cook ; Mildred Shaw ; Margaret Mary The history book slipped from Ada’s Since the last club list was printed, letters Dowling; Dianna Ellis ; Hazel Doman ; Lil¬ Havana, Cuba. have been received from the following telling lian Fehlberg; Mattie V. Ballard-Mildred hands on to the floor and then she saw of the formation of Junior Music Clubs— Pattison; Evelyn Byrn;, Virginia Milford ; that it was dark, the bright stars twinkled Lillie Weber, Junior Music Club, Miss.; Mar¬ Jeanne D. Pooler; Virginia Anderson ; Ber¬ nice Virginia Tyler ; Rachel Peterson ; Violet at her from the window and tiny shadows garet Hensel, Junior Music Club, Wis.; Mary Little hits of Music Claire Powell, Chaminade Club, Ala.; Ruth Socin; Mildred Elizabeth Trask; A. Ruth peeped at her from the dark room. Think¬ Dodson : Marguerite Mucciaro ; Barbara whit¬ Little hits of Song Thiel, B Sharp Club, Ohio ; Paul Bookmeyer. man ; Eleanor Morrow; Cleo Olive Larson; ing deeply of what she had read her dainty Chopin Club, Penna.; Aline Kaneer, Junior Keep the world of people Music Club, N. C.; Virginia Milford. .Tumor Vernon A. Hammond; Ruth Boyd; Esther Gilpin; Martha Celeste Pray; Harriet Sim- fingers touched the keys and made the Happy all day long. Music Club, Va. ; Ruth N. Wendemutb, Junior notes of Schubert’s Serenade sing as she Music Club, Mass. mons; Marjorie Young. Please mention THE ETUDE when addressing our advertisers. had never done before. THE ETUDE Page 868 DECEMBER 1922 r-^LET Etude Music Magazine Concise Index of THE ETUDE for 1922

(Only a few Leading articles are given. The Musical Inder is complete.) Solve Your Christmas Gift Problem. NUPOINT GOLD FILLED PENCIL—ladies’ ,e titles of many of the leading articles have been somevhat condensed.-BniToa's Note.] _ FOR ONE SUBSCRIPTION We offer rewards for new subscriptions which make mighty desirable Christmas Gifts. Select dainty"MIDGET FOUNTAIN PEN—ladies’. WATER PROOF APRON, neat and attractive. the articles you desire — send the number or w„„T1, p. Month Page THREE PIECE SHIRTWAIST SET—consists subscriptions required and have the satisfaction FOR THREE SUBSCRIPTIONS Month Paoe „ “ Anr. 253 /Fragment, "Unfinuherl Sym■ of bar pin and two small pins—gold filled, LITERARY ARTICLES .Feb.. 129 Concone—Run, Run, Run .... • •• ■ -Apr. do I phony” .let.. «78 of remembering your friends without one penny very popular. expense. O’CEDAR MOP. , . , .Apr. IU Chopin «• Schubert 693 PICTURE FRAME—oval or oblong—plain non- LAVALLIERE—solid gold, large amethyst and tarnishable—velvet back. 4 pearls with baroque pearl pendant. ENVELOPE PURSE—back strap; black leather. FOR TWO SUBSCRIPTIONS SALAD FORK—Sterling. BREAD KNIFE. REAL PIN SEAL PURSE—black. HAIR BRUSH—prophylactic—ebony finish. RELISH DISH—nickel plated—glass lining. INDIVIDUAL SALT AND PEPPER SHAKER CLOTHES BRUSH—prophylactic—ebony finish. NELSON BIBLE—bound in silk cloth. —set of two—nickel—very attractive. LINGERIE CLASPS—gold filled, pretty, attrac¬ COMBINATION SCISSORS SET. tive and serviceable. GOLD KNIFE AND CHAIN—12 Kt. gold shell «n§s! BOOKS FOR BOYS. CREAM LADLE—Sterling. BOY-SCOUT SERIES. CAKE KNIFE—Sterling silver handle. with steel blades. Under Sealed Orders. CHEESE KNIFE—Sterling. FOR FOUR SUBSCRIPTIONS On Belgian Battlefields. Choice of one BON-BON DISH—silverplated—gold lined. On the Canadian Border. HANDY NEEDLE OUTFIT—assorted sizes in LEMONADE SET—7 pieces. SSfe issrrr as ... Under Fire in Mexico. ROLLER SKATES—Boys or Girls—extension. BOOKS FOR GIRLS. BOOKS FOR GROWN-UPS. AUTOMOBILE SERIES. CAMERA—Premo Jr., 2%"x31A>". I ^IKrV-, The Auction Block—Rex Beach. THE FOLLOWING FIVE COMPLETE AR¬ At Palm Beach. Penrod—Booth Tarkington. At Chicago. Choice of one The Circular Staircase—Mary Roberts Rinehart. TICLES. Along the Hudson. Escape of Mr. Trimm—Irvin S. Cobb. Berry Spoon. \ In the Berkshires. Adventure—Jack London. C ravy Ladle. / AMERICAN GENTLEMAN’S 7-IN-l BILL Border Legion—Zane Grey. Cold Meat Fork. } Silver Plate FOLD—keratol leather. 20th Century Cook Book—Mrs. Harding. Sugar Shell. I TOOTH BRUSH RACK—French Ivory. PENKNIFE—12 Kt. gold shell, steel blade. Butter. Knife. / 1 W "*>_HI (EfluSSti rif HANDY SHOPPING BAG—folds into a com¬ MANICURE SET—fabricoid case, contains TOMATO SERVER.—Sterling silver handle. pact purse or opens up into «>omy carrier. everything necessary, white ivory finish. LADIES’ OR GENTLEMEN’S FOUNTAIN HANDBAG—black, brown, gray or blue fitted NEAT RE-FILLABLE CARRIER POWDER- PEN. PUFF. . , „ WIZARD CLOSET—GARMENT RACK—four PATENT LEATHER VANITY OR CANTEEN CUFF BUTTONS—gold filled—will wear indefi¬ BOX with puffbox, mirror, etc. folding hangers. nitely. Catalog of Bargain Send for Catalog $9.00 ETUDE MUSIC MAGAZINE $2^2 Magazine Offers May - Only Two Dollars a Year — Twelve Splendid Issues Showing Additional Be Had on Request Rewards THEODORE PRESSER CO., Publishers, 1710-1712-1714 Chestnut Street, Philadelphia, Pa.

Heralds of Heaven (Violin Obbligato) Schnecker high Holy Night .Gruber (0) Holy Child of Bethlehem ....Stults high Immanuel .Bochau high In Old Judea (Violin Obbligato). .Geibel high It Came Upon the Midnight Clear

Nation’s Adore .sneiiey mgn (0) Night Divine .Jordan high Our Saviour and King .Brackett high Prince of Humanity .Neidlinger high Ring, Ye Merry Chimes .Delafield high Saviour Christ . Bir

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BAKER’S BRKKFAST COCOA |

is universally liked, because it No chemicals are used ii

WALTER Established 1780 Booklet of Choic