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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
2-1-1929 Volume 47, Number 02 (February 1929) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 47, Number 02 (February 1929)." , (1929). https://digitalcommons.gardner-webb.edu/etude/764
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PRICE 25 CENTS February 1929 $2.00 A YEAR FEBRUARY 1929 Page 77 You can lick a SORE THROAT —if you start early INDOORS one minute, outdoors the next— it’s easy to develop a sore throat or a cold— around a farm. Don’t neglect them. Unchecked they may prove serious—even dangerous. At the first symptom of either, gargle with Listerine, full strength. Keep it up. You’ll be amazed to find how often—and how promptly —it checks the trouble. That is because Listerine is a powerful germi¬ cide when used full strength. And sore throat, like a cold, is usually caused by germs. Why don’t you, too, get new ideas to use in your teaching, You can appreciate Listerine’s potency when make your work a real pleasure and increase your income at the same time? you realize that even such virulent germs as the B. Typhosus typhoid and M. Aureus (pus) germs are killed by it in from 10 to 15 seconds. This data is on file in 3 laboratories of national repute which conducted exhaustive tests. University Methods for Home Study Yet Listerine is one of the safest of antiseptics. Founded in 1903 and advertisers in the Etude columns since 1908 Moreover, it is healing in effect. Don’t hesitate to use it full strength at any time. Lambert To Etude readers we have offered sample lessons from our courses—many are using them with success. Pharmacal Company, St. Louis, Mo., U. S. A. Get these lessons, without obligation, and see for yourself h«Jw great a help they would be to you in your teaching. Courses endorsed by the world’s greatest musicians—such as: LISTERINE I. J. Paderewski, eminent virtuoso. Theodore Leschetizky, Paderewski’s great teacher. Emit Sauer, of the Vienna Conservatory. Walter Damrosch, eminent conductor of the Alexander Guilmant, the world-famous The Safe Antiseptic New York Symphony Orchestra. French Organist. Moritz Moskowski, famous Parisian composer and teacher.
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SUMMYfS CONNER :Musical Education NEW TEACHING MATERIAL for the YOUNGER VIOLINIST which will prove interesting and stimulating to a desire for further progress m the Home and will build surely and sanely for a genuine musical culture. VIOLIN SOLO With Piano Accompaniment Conducted by DANCE SUITE Gr. 2-3 By Rudolph F. Reisa . Margaret Wheeler Ross PASSEPIED . S0-5° SARABANDE .50 GIGUE ...•••••••, -50 Unusually attractive pieces for this age. They are written in the old Classic Dance forms and are delightfully spontaneous and fresh in their mel¬ ■ed in The Etude unlejs accompanied by the full name odic line. Only initials, or pseudonym given, will be published. CONCERTINO, No. 1 Gr. 2-3. L25 By Rudolph F. Reisa , . . , . human quality A most interesting number in a somewhat larger form. It is entirely, in the first position and offers abundant opportunity to work out technical problems in thisi position. It is tuneful and will make a fine appeal. the Vtfeager Fee in its tone
ANDANTE AFFETTUOSO Gr. 3.60 A correspondent, in the course of her your lessons. You do not actually need the By Handel-Hagen .. „ , A splendid concert setting of a theme from Handel s “Xerxes, arranged letter, raises an interesting question. money from your, teaching, but you must that appeals for Violin by Oskar Hagen. It is excellent recital material and is of real Should a person teach the neighborhood remember there are those who do—many, children in a farming community, some indeed, in such communities as yours who especially SOUVENIR ESPAGNOLE Gr. 3.75 distance from town, for a fee as low as really suffer from the necessities of life twenty-five cents an hour?. just because of the activities of persons A hand-made Masterpiece. By Rudolf Kvelve . ^ A definite Spanish rhythm Style B in^ Mahogany, only >(P Dear Madam : in your position who can so lessen the to the singer”. and color is stressed throughout, making it highly effective. You will find no better material than monetary value of art. F.O?I! New York S. 675. ♦Violin Studies the books named for beginning students, Books that will help you are; “Harmony CAROLINE ANDREWS Book for Beginners,” Preston Ware MELODIC FOUNDATION STUDIES for Violin Beginners and you are entirely correct in your method of having an exercise well mas¬ Orem; “Theory Explained to Piano Stu¬ By Russell Webber .. ■ • • ... • • ■ • •••;•, -75 says of the.... J For Private or Class Instruction. Especially adaptable for Public School tered before proceeding to another. That dents,” H. A. Clarke; “Standard History is one of the main faults of too many of Music,” James Francis Cooke; “Life CAS book which will make foundation ’ work really interesting. It includes right-hand gymnastics for bow control; separate left-hand drills to establish teachers—undue haste and half-learning. Stories of Great Composers,” Streatfeild; correct position: rhythmic training—time-beating drills; ear-training exercise; You are also correct in your reasoning “Music Masters Old and New,” James second Violin parts for Class or Ensemble work. Painting With T^otes .that every child is a law unto itself con¬ Francis Cooke; “Psychology for the Mu¬ cerning the period of time it may take to sic Teacher,” Walter S. Swisher. All of BRAMBACH CLAYTON F. SUM MY CO., Publishers By Patricia Blackstone complete a given grade. Certainly music these books may be obtained through the 429 South Wabash Avenue Chicago, Illinois teaching must be standardized and graded service department of the Theodore Presser Each piece, no matter how simple, is a Robert’s picture is a scene of battle or a just as is any other science. But children Company. Let us send you our complete list of Music for the Violin. We shall be glad to send hero receiving a medal. There are many you the above numbers on approval if it is not possible for you to look over them at beautiful picture to be painted with the differ in musical ability. Some take les¬ BABY GRAND your local dealers. notes a box of paints and the little fingers ways of describing “A Soldier’s Dream.” sons more frequently, put more time in Family Orchestra a set of
T5he Musical Home Reading 'Sable WRITE US TO-DAY FOR THIS NEW Anything and Everything, as long as it « The Most Interesting FREE 1929 “WHOLE WORLD” CATALOG Instructive and Interesting
Just off the press, this booklet will be of in¬ Conducted by finite service to you in the selection of music Book of the New Tear A. S. Garbett collections. One of the most attractive cata¬ logues ever issued of standard music for SEVEN piano, voice, violin, organ and other instru¬ ments. Every book illustrated, and de¬ scribed, together with its complete contents. Elizabethan Song If you are a teacher, student or lover of of music, and numerous madrigal writers MUSICAL “The song was almost universal through¬ music, be sure to write us today—a postcard appeared, among them Byrd, Morley, Dow- out the reign of Elisabeth,” says George P. land, Gibbons and other great composers of brings it. (Not sent to Canada or European Upton in his book, “The Song, toi which the period. The Civil Wars, which extin¬ countries.) he adds, “and how highly mus.cofaH kmds then be divided into beats of 3-4, 4- . TRAVELOGUES guished all art efforts in England, were and 9-10 respectively, that is to say, the was considered may be inferred from the Ineater number of notes at the end of the statement in contemporaneous history that fatal to the madrigal, and it was gradually group? For example, in a group of seven, THIS NEW FREE CATALOGUE CONTAINS supplanted by the glee. should I count ‘'one" to the first three notes a shoemaker was pronounced an imposter and “two” to the other four notesf (2) DESCRIPTIONS AND CONTENTS OF ALL THESE BOOKS ' “The madrigal was sung by a small cho¬ because, he could neither ‘sing, sound the rus without accompaniment, and the sub¬ What does this sign indicatef (3) When trumpet, play upon the flute, nor reckon up FOR THE OPERA LOVER jects were usually pastoral. Though the Grand Opera at Home .$1.21 his tools in rhyme.’ Even servants were ex¬ madrigal disappeared, madrigal societies Light Opera at Home . 1.21 pected to be of ‘toward qualities in read- Modern Opera Selections . 1.21 were formed in England and still exist. . __ _ at “A,” the roll¬ Recital Piano Pieces . 1 Gilbert & Sullivan at Home. 1.2f yng, wryting, grammer and musike.’ ing motion begins with the lowest notes and Concert Piano Pieces (Paper) “The most important phase in the prog¬ Some of the more famous songs of Eliza¬ continues without break up to the highest Concert Piano Pieces (Cloth) .... FOR THE HOME VOCALIST note in the treble. Where there is a break, ress of song in the days of Elizabeth was beth’s time are ‘The Carman’s Whistle, as at "B,” the bass and treble begin together Schubert at Home . Ballads Whole World Sings .$1.2E on the same beat and roll together. Tschaikowsky at Home . - the introduction of the madrigal. It was ‘The British Grenadiers,' Death and the Piano Duets . 1 Lady,’ ‘The Jovial Tinker,’ 'The Children Dance Music . Sacred Music . invented in the Netherlands in the middle of “The Moonlight” Sonata (Beethoven) in the Wood,’ ‘It Was a Lover and His the fifteenth century, and its first publica¬ Q. Will you please tell me whether 1 — FOR YOUNG PEOPLE Lass,’ ‘Willow, Willow,’ ‘Coine, Live With Children’s Piano Pieces. tions were made in Venice, whence it was SS is the generally accepted metronome carried to Germany. In the latter part of Me and Be My Love,’ and 'Green Sleeves,’ speed for Beethoven’s “Sortata, Op 27, No. which even to this day dot, qood service —Rose, Mt. Carmel, Pennsylvania 2t” My copy is marked thus, but I have Violinist’s Book of Songs . the sixteenth century many collections of A. The interpretation of these groups of usually heard it played more slowly.—G., "-ncert Violin Solos . Standard Organ Pieces (Paper) them were published in England, and from as a dance tune, not only in England but uneven or irregular numbers of notes de¬ Elkins, West Virginia. andard Violin Concertos . 3 Standard Organ Pieces (Cloth) also in this country. pends entirely upon their rhythmic, melodic Operatic Violin Pieces. 2 Saxophone Pieces . and harmonic construction. Such groups A. The correct speed is MM. I = 52. Encyclopedia of the Violin. American Home Album . may be subdivided into duplets, triplets (duple and triple time), quadruplets, sex- For Sale at all Music Stores (except in Canada) or sent direct on receipt tuplets and so forth, according to the melod- _ long letter,_ signed’igne- merely “E._. . ___ of marked prices He Who Got Slapped ic accents and the harmonic foundation sug- taining__ many„ „_iions about instruction, has gested by the bass or supplied by chords. _- *jj—placedJ in the “waiting" drawer. It cannot be answered until the correspondent Minnie Hauk’s “Memories of a the occasion, and we two were singing sends his or her bona fide name and address. D. APPLETON & COMPANY 35N,* £tsC Will other enquirers please take notice?— The Minuet Singer” contained some interesting remi¬ that sweetest of ducts ever composed, La TViVi (de
Page 90 FEBRUARY 1929 ^ EDITORIALS ^
The Piano as a Home Investment
First in d Series of Frdn\ Editoridls upon the Gredt Educdtiondl dnd Sociologicdl Importdnce of this Indispensdble Instrument
Institute of Music JOSEF HOFMANN, Director A broad cultural background is an essential factor in the making o an ar • To provide such a background upon which students can build in the future, e Curtis Institute of Music, in its Academic Department, offers courses of study supplementary to the major work in music. THE 1904 PIANO Pupils of The Curtis Institute of Music may avail themselves of exceptional opportunities for study under the direction of instructors of high standing in the educational world. A (Contrast in Values A PIANO costs just about as much as an auto¬ enjoyed it hugely. In the same period this same Special emphasis is placed on the study of English literature and composition, mobile. Having made that vague and some¬ family has owned no less than twelve automobiles, history of music, and world history. The library has unusual facilities for collateral what stupid statement we shall make clear some ten of which have disappeared entirely. In the reading in these subjects. Languages forming part of the academic course include points of difference which are of economic concern piano market there are no “yearly models.” Of French, German, Italian and English diction. Psychology and lectures on the to the general public. There are pianos which can course, one does not go cavorting around the land at forty or fifty miles an hour on a piano, but fine arts offer further scholastic opportunity. The list of academic subjects and be bought for very small sums, comparatively speaking. They compare with certain invalided nevertheless the average piano of fine make is made the faculty is as follows: motors sold on the market under the euphemistic to stand a terrific amount of “punishment.” title of “used cars,” Other pianos, with decorated All a fine piano needs is careful attention four History of Music Dr. Jean B. Beck, University of Pennsylvania cases bearing the signatures of great artists, like times a year by a really good tuner. This incurs an World History Dr. Roy F. Nichols, University of Pennsylvania that made by Sir Alma Tadema, may bring as high annual operating cost of probably $25 at the most. English Composition (Dr. William Page Harbeson, University of Pennsylvania as $20,000. However, the average good piano costs No gas, no oil, no battery trouble, no tires, no about as much as the average good automobile in repairs. The operation and deterioration of a series and Literature l Dr. Elbert Lenrow, University of Pennsylvania the respective classes. The “fixins,” that is, the of cars during the life of the piano we mention would English Diction Dr. Samuel Arthur King, Bryn Mawr College case or the body, are extra. have cost a small fortune—-certainly not less than Psychology Dr. Samuel W. Fernberger, University of Pennsylvania Both the piano and the automobile represent $25,000. French Dr. Jean B. Beck, University of Pennsylvania important investments in these days of cyclopean A fine piano is one of the most “worth-while” German Dr. Hermann J. Weigand, University of Pennsylvania progress. Automobiling is one of the favorite investments in our, interesting modern life. As the Italian Mme. Eufemia Giannini Gregory sports of your editor, and he has driven cars a center of the home of culture, it brings mental stimulus, imagination, inspiration, entertainment, Lecturer on Art Mr. Leo Katz distance equivalent to six times around the earth. A fine car, an excellent road in our endlessly wonder¬ solace, poetry, color, love of home, and a hundred Academic Tutor Mary B. Wesner, A'. B. ful country and a party of appreciative companions— and one priceless advantages without which our these give a thrilling opportunity for enjoyment. much mechanicalized and “forced-draft” existence Recently, while whizzing through our lovely might lead to a mere whirligig of restless activity southland, it came to us to compare the investment with no ultimate elevation of the soul. What the values in automobiles and in pianos. A fine piano automobile does for physical betterment and enter¬ THE CURTIS INSTITUTE OF MUSIC we know, bought in 1904 and used in a home of a tainment, the piano does for the exaltation of the Rittenhouse Square, Philadelphia very musical family is today quite as stately in Mind, the Spirit and the Home. Where are the appearance and as beautiful in tone as when it was automobiles of yester-year? The fine old pianos purchased. A generation of different players has are still in service, filling a noble role. |||^ FEBRUARY, 1929 fthe ETUDE MUSIC MAGAZINE Vol. XLVII, No. 2 THE ETUDE FEBRUARY 1929 Page 98 Maddy and Mr. Thaddeus G^8^g”5t^d,^I]i °The SMILES BY WIRfc most astonishing ed^c^tlofn hundred and thirty high school tt' I 'HANK you,” came with a smile over the wire from the orchestra was composed of on the United States, telephone girl at the central. The lady on the other end boys and girls whof gj at sight for the first had been very much,upsct over an irritating incident; but the When we state that we hea tn Meistersinger in a girl at the switchboard smiled; and that smile in the tone of her voice traveled five miles over cold metal and bubbled out s ^ a. of ** at the other end. The lady was ashamed of herself, and soon her frown turned to a smile. Music folk—who are, after all, missionaries of beauty- had become a Mecca tor Hundreds of active music have a wonderful opportunity, in their numerous daily con' senting north, south east■ d£nterprise in the future, and the tacts, to turn unpleasant situations into happy ones, with a smile. The teacher who sends her pupils away from the studio in o»r country will tel its with a smile may do more good than she realises at the time. Few people go through life without troubles which make them „f ,11 however. The Etude Music Magatine is do things on an impulse which they all too soon regret. Human anxious to see the work of sumtner Oudy pron^^tlariy sympathy is very close to the divine. A sincere friendly smile byprivaKte^inttan™— THE STREET OF ELEANOR DUSE, ASOLO ASOLO, THE CITY OF “PIPPA PASSES” is its finest manifestation. The Bell Telephone Company, in teaching its huge staff to meet the flood of impetuous orders, Si «££«*£ The private teachershould plan now all to be executed with almost superhuman speed, has set the whole world an example in the value of courtesy. Without ?^"So“tdalb “Venice, the Qity ofcDreams” smiles, the telephone industry would be hampered by a friction the whole matter of the enormous opportunities Prc“'“d ^ that would make modern business communication impossible. summer music study should actively be agitated. It may take Fifth in the Series of Musical Travelogues—Pilgrimages to European Musical Shrines some time to acquaint the people of your community with these RECLAIMING WASTED YEARS advantages, but all effort in this direction will prove most Part II CENTURIES of priceless study opportunities have been valuable. wasted every year in America, owing to our hapless Early Education for Girls in Venice.” Venice should adopt this usual plan. The family received all the Wagner, worn out with his labors in Bay¬ American method of over-indulgence in vacations which make THE ECONOMICS OF MUSIC LESSON FEES T TNLIKE many other Italian schools, lovely set of melodic masterpieces in light¬ revenue from the box holders, while the reuth, sought to regain his health by taking for stagnation rather than for happy and profitable change. E was the kind of a man who never looked at a car below girls were admitted to the conserva¬ er vein as its very own, and should give singers and players depended upon their up quarters in this magnificent residence, H return from the sale of seats in the or¬ Last winter The Etude enlisted the cooperation of teachers the Lincoln class. Anything that cost less “was not an tories. The rule required that they be its visitors less Broadway jazz and Strauss in the autumn of 1882. His health was chestra and the gallery. sufficiently good to permit him to conduct and music dealers in a campaign to urge schools and private automobile.” When he was told that the Lincoln was about Venetian by birth, in ill-health and of waltzes. The Strauss waltzes one hears teachers to institute more summer courses so that the usual proven poverty, three peculiar qualifica¬ in hotels and restaurants are no doubt Of the two opera seasons that at car¬ a performance of his “Symphony in C” at as fine a car as could possibly be made at any price he said he nival time was the one to which the Vene¬ summer educational Sahara might at least be scattered with tions for the music student. The instruc¬ designed to please Teutonic visitors, for the Liceo Marcello on Christmas Eve. knew better because he had paid twice as much for some cars. tian public took with keenest zest. Then The effort proved too great for him and oases. The response was prompt and magnificent. The out¬ tion was considered so excellent however, Venice is the Niagara Falls of German He admitted that they had not lasted as long as his Lincoln, restraint was thrown to the winds and his health grew continually worse. Late standing publishing firms, Oliver Ditson Company, Clayton that girls with extraordinary voices, in brides and grooms. Scores of blonde could not travel any faster, did not look any better, cost more good health, and with means, might by in¬ good-natured fun held full sway. This, in the afternoon of February 18th, as the Summy, G. Schirmer, Inc., and many others, joined actively couples, speaking the language of Goethe to run and did not ride any more comfortably, but they had fluence succeed in securing entrance. When and Schiller, exchange, for the nonce, according to Henry Prunieres, even in¬ crimson sun was sinking behind the domes in the promotion of the idea, and a fine foundation has been laid. cost more and therefore must be better, particularly those that the girls married or entered a convent wuerst for sphagetti. Even they would cluded in those days the priests who, in and towers of the gorgeously beautiful It will take many years, however, before the summer can keeping with the spirit of the times, donned had come as emigrants from the other side. (the two chief feminine careers of the find Nevin’s magic tunes more to their city, the soul of Richard Wagner passed be reclaimed for educational service. We urge teachers every¬ carnival costumes in their gondolas. Many people judge music lesson values in much the same day), they were given a dower by the on to its Walhalla. The Palace is marked where to promote this most important matter with all possible At night armed bravi (the gunmen of with a simple tablet and is held in great way. The lessons that cost the most are the best. Of course Venetian state. The maestri who test and enthusiasm. There is hardly any movement more | the day) with their identities safely reverence by the music-loving Venetians. in some cases this is absurd. Some of the finest teachers in the taught the girls in the different con¬ auspicious in the field of education at the present time. If the servatories wrote motets for them j concealed by fancy dress, readily dis- world have been ridiculously timid in asking even a just com¬ Summer is properly utilized America will make better progress to sing. These were performed on | posed of their enemies by sending pensation for their services. Others with “poker faces” and I them punctuated with stilettos into the A Modem Venetian Music Master in musical education than it has done for decades. Saturday and Sunday evenings, at slim talent actually command attention by the audacity of I blackness of the canals. A/fUSIC IN modern times in Venice From the Atlantic to the Pacific there have been built up Vespers in the different churches,' and their fees. the competition between these choirs 1 The opera at Venice was conducted -*•*-1 may have lost some of its great a chain of Summer Schools of high character, which have done prestige, but the people are devoted to the How is the public to decide? The infallible test is “results.” became matters of municipal interest. I very economically. There was no extremely valuable intensive work. Chicago with Carl Kinsey art. The most eminent figure in the How do the pupils of the teacher play? Are they representa¬ The singing was done behind screens. 1 budget to permit the thousands of of the Chicago Musical College and John J. Hattstaedt of the I candles and lights which made the musical world of modern Venice is Fran¬ tive of the finest piano playing of the time? Do they have Applause naturally was prohibited. In American Conservatory were in a sense the pioneers, but place of applause the auditors inhaled j royal private theatres seem like pyro- cesco Malipiero. He resides, not in the greater grasp of the art, a finer conception of its spiritual Minneapolis, Kansas City, San Francisco, Seattle, Denver and audibly or moved their chairs around I technical settings. In fact, because of city itself, but in the delightful mountain nature and its possibilities? other centers have followed in fine fashion. on the stone floor so that the concealed j lack of funds, the Venetian managers town of Asolo a few miles back on the Your editor decided to take his own medicine, and, during The economic law of supply and demand in many cases virgins might know that they met resorted to a custom now universal mainland. Asolo was immortalized by Robert Browning in his “Pippa Passes.” the past year, has travelled some sixteen thousand miles (seven adjusts music fees in much the same final manner in which it with approval. I in the great opera houses of the world. There on the hillside, in a cottage centuries thousand by automobile) in order to become more intimately determines the price of wheat. Certain teachers because of Moreover the girls, in addition to That is, during the acts, the great lanterns which lighted the auditorium old, Malipiero and his charming English acquainted with our musical educational conditions, particularly their years of successful output of distinguished pupils, acquire singing played all of the instruments of the orchestra. The conservatories were extinguished and the audience wife work and live out their ideals. Mali¬ in Summer Schools. great distinction and fame. Leschetizky was such a teacher, as was also Marchesi. The demand for such a teacher’s services were originally housed in hospitals—- sat in comparative darkness. Com- piero is a man of distinguished genius and July found him at the remarkable Summer School con¬ the most famous of which were the 8 parative, because the patrons had the increases, but the instructor’s teaching time cannot increase. great scholarship. When we visited him ducted by Mr. George F. Granberry at Athens, Georgia. Hot! Incurabilli (the incurables) the Pieta I habit of buying little wax tapers at we found him engaged in the gigantic task Therefore the fee expands, as it properly should. In this case he Of course it was hot, but that did not in the least dampen the (the pity) and the Mendicanti (the j the door, in order that they might of editing the ‘splendid manuscript of is just like the bibliophile possessing one of the four folios of enthusiasm of the enormous group of enthusiastic young folks beggars), names that would hardly do read their programs during the per¬ Monteverde, which he had uncovered in who had made educational pilgrimages to the classically beauti¬ the works of Shakespeare, which, because of their rarity, ascend for modern music schools. The last formance. Thus the audience pre- thb library of Bologna, in order that the in price every year. ful little city, in which is located the University of Georgia and named hospital was founded in the I sented the appearance of a field of world might have a modern edition of the its remarkable Summer School under the direction of Dr. There was only one Leschetizky, one Dr. William Mason, thirteenth century and was designed I fireflies. works of that great genius. as a home for lepers: These were re¬ Stewart. one bbnglia. And the impossibility of duplicating certain ■ It was not until the coming of Rich¬ Malipiero told us that while many re¬ moved to an island known as San Laz¬ ard Wagner that the idea of darken¬ On the first night your editor addressed an audience of kinds of instruction alone warrants the huge fees which some garded him as an ultra-modem in his own zaro, in 1262. (The name comes from the liking as a background than the alien ing the auditorium was widely reintroduced. world-ramous teachers receive. compositions, he was really quite, the con¬ over five thousand people. The address came between the acts parable of Lazarus, see Luke XVI, 20). genius of Strauss. Opera, as everywhere in Italy, reached trary and was learning from the great of an operatic performance (one of four operas) that was so This famous conservatory went out of exis¬ unusual heights in Venice. Imagine sail¬ unusually fine, in the singing of the metropolitan artists and tence, but the buildings still form part of the The World’s First Opera House ing up to the opera house in a boat 1 fundamental harmonic achievements of Italian masters of bygone centuries before of the local chorus, that it was a revelation. municipal hospital. So great was the re¬ ' | 'HE VERY first public opera house While the Teatro Venice can not rank with L°°k for the best in all types of music. We \now the time when Italy lost itself in the more August found us at the National High School Band and nown of the Venetian music school, that in the world was opened at Venice in La Scala at Milan or San Carlo at Naples some country ditties that have in them more of in¬ ephemeral art of opera. Greater things Orchestra Camp at Interlochen, Michigan, where Mr. J. R. many of the most celebrated musicians of 1637. Opera prior to that time had been or the Costanzi at Rome, in the number of spiration than some great symphonies. are sure to come from the genius of this the day sought positions in them as direc¬ the luxuriant private monopoly of the no¬ important operas produced there for the master mind and his renown will con¬ tors or endeavored to have their works per¬ bility, and the public had known of this first time, it did serve to launch Rossini’s tinually spread. formed by the “celestial voiced" choirs. new fascinating form of art only by hear¬ “Semiramide” and Verdi’s “Ernani,” These included Scarlatti, Galuppi, Jom- Malipiero is a philosopher as well as say. The name of the first opera house “Rigoletto,” and “La Traviata.” melli, Cimarosa, and Hasse. a composer. His “I Profete di Babilonia” was San Cassiano. As is the custom to (Prophets of Babylon), a collection of this day the boxes were allotted to the Wagner in Venice criticisms and satires, reveals him as a man America Interprets Venice select few (mostly nobles) who rented npHE MOST significant operatic event of the broadest views and the keenest mind. OF THE modern composers none have them by the year and not by the perform¬ -*■ associated with Venice, is the death Malipiero’s home and gardens are un¬ made, tone pictures which connote ance. The house belonged to the Tron of the great Richard Wagner. The forgettable, largely because of his wholly Venice to the average un-Venetian mind, family which frequently managed the op¬ Palazzo Vendramini is one of the most unique collection of pets. Pigeons, chick¬ like those of Ethelbert Nevin in “A Day era season according to the following un¬ imposing edifices on the Grand Canal. ens, dogs, cats, a fox, turtles, and, most THE ETUDE THE ETUDE FEBRUARY 1929 Page 95 Page 9J, FEBRUARY 1929 How I Use fthe Etude interesting of all, a pair of owls that discriminate. Singing or humming the danced ridiculously for our moving pic¬ phrase often helps. One can easily cut a By Helen Oliphant Bates T3he Tor ail of a Jongleur ture camera, have provided huge amuse¬ phrase and still maintain its melodic con¬ ment for many American friends. tinuity, if a little common sense is used. into The October isue has an artircle on “Sight For an instance of two extremes m Dividing all articles in The Reading”; perhaps the January and March By The Hon. Tod B. Galloway Grave of a Great Actress short and long phrasing, look at the fol¬ lowing (Mazurka—Meyer-Helmund): TOGETHER we made a pilgrimage ZXS’JSS': “xh*8 Teachers’ Jta-J Tab,, * A Fascinating ‘Gale of Wartime tMusical Experiences to the grave of Eleanora Duse, in teaching material, studio sugges ^ tonal page, or any of the department; the quaint little cemetery on the hills. Malipiero pointed out the Alpine range Jtical ami interpretive P1-" ,) might also have hints on this subject. It over which the Austrian aviators flew on piano and organ (or any othe lD^ ref- this matenal ,s listed concisely, but com- A JONGLEUR, according to the cried, “Go ahead—we can stand it if. you “Central Park.” All its winding paths were and master lessons on P'^es to wh. ^ p)etely> on one card, the teacher can see their war-time mission of destruction. Century Dictionary, is a minstrel marked with the names of New York Fortunately fate protected Venice. Of crence is frequently made,_ may J h_ a{ a glance where to find all the informa- who in “Medieval France and in In all that wonderful experience I never streets and places, Times Square, Broad¬ the great number of bombs dropped, Where the theme is broken up into mo¬ the first class and marked A. ™ » tion in his library on this branch of music England under the Norman Kings, went met with the slightest manifestation of way, Fifth Avenue and so forth. Of ical sketches of composers Stones study. To make TllE Etude useful ^ only a few did any serious damage to the tives, the pedal can safely be used at the from place to place singing songs gener¬ discourtesy, rudeness or indifference. On course the boys had their zop which they priceless art treasures. Again Malipiero beginning of each measure. The short operas, and all artic es of broa,“ fu. the greatest degree, it is advisable to list ally of his own composition and to his own one occasion I went into a forest where showed with great pride. The collection reverts to his favorite theme of restoring motives which are very 'widely used m interest, which may be used at so alphabetically, .under subject heads, the accompaniment.” It was, indeed, by the one of our lumber camps was located. consisted of six foxes as tame as puppies, the great choral music of early Italian the modern fox-trot are typical of most ture time but which are not ot “ * various topics which come under the gen- distinctly medieval method of war that I Before I started an officer was not en¬ four eagles and a solemn owl, all captured composers—commenting all the while upon dance music. In the Loin du Bal of Gillet, fulness, may'be placed in tue sec era, classifiCation of departments, editori- was thrust into the role of jongleur. couraging. He said that after their hard there in the woods. The sign on the zoo their modernity just as we comment upon much lonsrer nhrase is found: and marked with the letter B. d ais 0r letters to The Etude. Music in the Having found myself in the winter of day’s work the men were too tired to assem¬ was characteristic of their humor—“Don’t the modernity of the thought in the which hold no specific ln 0 r r.nce supplement can be indexed in three ways: 1918 in Paris ready to aid in any kind of ble to. hear an unknown person talk and feed the animals; they are no worse than Bible and in the works of Shakespeare. are not likely to be required for according to composer, title of piece and war work which it lay in my power to per¬ sing to them. They were “roughnecks” we are.” At the dismal little village, Les He points out with enthusiasm that even may be graded “C.” - ;nE grade, or musical and technical value. It form, I speedily realized that something I could not interest anyway and I would Islettes, on the edge of the Argonne Forest, in the sixteenth century there was ia After reading and gradingmb ;s necessary to place on the card not only must be done to give the doughboy a proper have a small audience. Fine prospect 1 On a sign over one billet announced “Bored of piano in quarter tones invented by Nicola the teacher may add to nis ge the page> but also the month and year, understanding of the unknown land in my arrival I waited until a football game Trade,” another, “Nut Hotel.” On the Vicontino. He condemns the operatic art of all past numbers those arti s ^ This cataloguing requires time and which he found himself so suddenly and was finished and then the “Y” hut was crowded road to the front one of the While the phrase does not properly end which has misled Italy into standards “A” and “B. ■ The^card syste J ^ troub)e BlIt The Etude is worth the en- unexpectedly, and especially to make him crowded with a splendid lot of lumberjacks traffic signs read, “The Way to Win the until the A flat in the eighth measure, the lower than those of Palestrina, Fresco- the most convenient tne ^ ergy expcnded because it makes one of the understand that he was seeing France un-. from Maine, Michigan and Washington. War is by Action. Keep moving.” pedal fnay be used every measure and still baldi, Scarlatti and Monteverde. “Any der conditions not normal but abnormal. No reception could have been heartier and One day near Verdun, while watching maintain the musical sense. Longer growing index. Each m practical encyclopedias obtainable, little tenor who gets up in a tavern may be inserted at any point in the Ufib* ^ js a u(.w volumc lo this ever. Therefore I elected to talk to our men a baseball game, I asked one of our col¬ phrases are to be found, of course, but, un¬ and tries to imitate Caruso is overwhelmed bet without disturbing cards a y c»r>r<> of information and inenira. about France, its history, past and present, Armed with gas mask and helmet with¬ ored soldiers, “Well, Sam, what do you. less they are made carefully and played with applause, while Italy is turning its its folklore and traditions, specializing on out which one was forbidden to go to¬ think of this war?” He listened for a carefully, they are quite apt to prove bore- back upon its great heritages,” was his the local history wherever our troops might wards the lines, I was taken daily to moment to the incessant cannonading, some to the listener. comment. be stationed and, to take out the bad taste several points, speaking and singing in the glanced at the airplanes hovering over¬ The pedal plays a great part in the And Malipiero is no pessimist, as his of this dose, so to speak, to sing to them open where the platforms, if provided, head, and then drolly replied, “Well, boss, proper interpretation of piano music, but smiling countenance proves. More than were shielded by trees in order that the if it wa’nt for dis yere boomin’, and shellin’ it should also be secondary to the musical The Gypsy Trail, Your Flag and My Flag this he is working upon his Monteverde Gateways to Accomplishment Boche might not see us and so favor us dis war would be a fine place.” meaning to be brought out. If pedals are and other of my compositions. which is to appear in ten volumes, of At first the thought of trying to interest with a few shells. Each day brought its At one of our large base hospitals, in to be studied, they should be studied under which only two are completed, expect¬ varied experiences and thrills made doubly the front row of my audience, were two the instruction of a competent instructor. By Frances Caverly the rank and file of our men in this way ing that the real art lovers will come to was not reassuring. However, I had my so by the kindness, affection and interest young men who were particularly cheerful their senses and be glad to pay fifty dollars But if, however, one has to study alone, a By teaching children to make tallies definite number of times, it will become “try out” at one of our aviation supply of our splendid soldiers. and jolly, joking and laughing with their for the collection. book by an authority may be used although a game may be made out of the practice of smooth often at one sitting The tally is camps outside of Paris, and the eagerness companions. As I was about to commence We reach the grave of the great Duse, it can never supplement personal instruc- a picture of progress—so much effort, so with which the men listened was positively I noticed that one of the men had lost his TOD B. GALLOWAY queen of tragedy, marked by a simple hard spots. When a figure, measure or The Thousand and One Flights phrase presents a difficulty the pupil may much accomplishment. thrilling. From that time on I never had right leg and the other both of his hands. PICTURE TAKEN IN FRANCE DURING slab of Italian marble. What romance, O CHEHERAZADE’S tales may have be asked to play it five times with the right When tallies are made at the lesson the any doubts as to what the men wanted. The sight so upset me I could hardly be¬ THE GREAT WAR what drama, what beauty of soul lies ^ lasted one thousand and one nights, hand alone, drawing a small perpendicu¬ pupil should always be allowed to draw They wanted the best that they could be gin. To cover my embarrassment I there! Somehow in the career of Duse, but they were not more interesting or won¬ the good-natured boys had fixed up their How the Scale Grows lar line on a piece of paper after each of the marks. Relaxing the attention proves given in talks and music; they desired glanced at my wrist watch. The gesture as in that of Malipiero, we feel that we derful than the experiences of this jon¬ was not overlooked by the boy who had mess tent for the occasion. All went well the first four times and an oblique line restful, and students are more conscien¬ nothing cheap or tawdry. meet the true spirit of Italy, not the Italy gleur. Then, when the meeting was over lost his hands, for he said with,a broad until I began to sing. To save the piano of the moderns, but the greater Italy of By Joseph George Jacobson through these four lines after the fifth tious about recording only perfect per¬ On the gypsy trail that I followed, from formances when they themselves do the the Atlantic to the Vosges and the Pyre¬ and darkness had settled down, there came grin, “Gee, I wish to thunder I knew from dampness they had raised.it and Dante. Yet Malipiero is in no sense If you find the tonic triad chord of any time. Next he may be told to make a the ride to the rear, in the ramshackle where my wrist watch went!” On this the piano stool likewise on stilts. I found drawing. nees to the Front, the most poignant mem¬ archaic. He and d’Annunzio are the great¬ scale, whether major or minor, and fill in tally for the left hand, and finally one automobile through the inky darkness of same occasion another soldier came up to it some acrobatic feat to play, sing and That tally-keeping stimulates ambition ories which come leaping to my mind are est of friends; and he keeps keenly in the intervals between these tones with for playing with hands together. the poplar-shaded roads where no lights or me and said, “I just want to shake hands keep my balance at the same time. Need touch with every modern movement. This little figure, which looks like a is proved by the story of a little girl those of the eager, attentive audiences— passing tones, you have the scale. Add horns were allowed on the machines. The with you.” I braced myself, modestly I add that both performer and audience We motor back to Venice, or as near gate, has become, in fact, the gateway to whether three or four men gathered to¬ the tones of dominant and subdominant who had been told to make one tally each experiences of negotiating one’s way past wondering how I could receive the forth¬ lost their equilibrium several times? as we can get to Venice, in an automo¬ gether in a trench or a thousand assembled chords. For example, in C major, use the accomplishment for the pupils of one day for a certain four measures but who the long trains of artillery or marching coming compliment, when he added, “I One of the most enjoyable and amusing bile. Then we take a boat to the Hotel on a hillside. Though they met together tones, of the dominant chord, D and B, to teacher who proved by means of it that, if made two instead because, as she said, she troops, past huge motor trucks transport¬ just want to shake hands with an old man memories of my trailings is the time when Danielli where we find one German groom in the mud and rain and in the storm and fill in and F and A of the subdominant a certain passage is played correctly a wanted “to learn the piece faster.” ing munitions or supplies, dodging cars of who can put it over.” Could anything be I was billeted with a charming French asking another, “How would you like to stress of the battle front under circum¬ officers dashing from point to point (and more characteristically American than the family in Brest where for the first time in live in Venice and have a fish for a stances calculated to try patience and tem¬ Take the tones of the tonic chord of A- the French officers always drove like mad), subtle humor of the sign which greeted a year I had a piano—and a good one— pet?” How can one live in Venice and per and make one unwilling to listen to a come so near the mundane ? Go to Venice, minor and fill in with the tones B and G jongleur, never did these men show inatten¬ and the dispatch riders on motorcycles me at a village in the Argonne Forest—- of my own. I shall never forget our musi¬ to dream, or you will never see Venice. sharp which belong to the dominant chord ‘Big “We” Wagner tion or listlessness but always the utmost who without warning smashed out of the “Entertainment Postponed on Account of cal evenings. With the family gathered and D and F of the subdominant. This consideration, respect and enthusiasm. Fre¬ black to pass you like the wind, held the Battle,” which was in truth the fact ? around before singing my songs, I would The Paris office told me that I was their gives the harmonic minor scale. As the By Victor Bowes quently after speaking and singing the nerves taut and were not soon to be for¬ endeavor to translate the words of each interval between the sixth and seventh of allotted time, I would say, “Here, boys, gotten. Shell fire and bombing, were not most mobile asset, as I required neither poem into French, during which process T3a\e Tour Foot of the Pedal! the minor scale was considered unmelo- evening the libretto of “Kheingold” and you will have to clear out or you will be nearly so nerve-trying. scenery, orchestra or accompanist; but if we made frequent and hilarious journeys dious, the F was raised to F-sharp. This he did nothing o a small scale. Neitl “Die Walkurc." The next morning his after hours!” They would only grin de¬ I always introduced myself as from my they could have seen me in a huge army to the dictionary, when a word proved par¬ truck with a piano and six husky soldiers ticularly elusive. The words of The Gyp¬ By W. Francis Potter gives the melodic scale. Descending the his operas nor his prose works wtic c patient friends listened to “Siegfried” and lightedly and say, “That’s one on . you I native state, Ohio, in order that any home¬ scale, G-sharp, which was the leading tone short or incomplete. He acquired early sick boy from that locality might have a to handle it, careering over the hills of sy Trail, I Arise from Dreams of Thee or The tendency among many pupils, who by midnight Wagner had finished reciting We’ve got an extra half hour. So speed to A, is played G natural, and F natural is life a habit of reading to his friends' bit of home touch. Often men from Indi¬ Lorraine, Champaigne, Burgundy and A Little Song for Two were not difficult, are not under the immediate guidance of an "Gotterdammerung.” A few weeks later up.” the leading tone to E. In this manner are ana, Kentucky or Pennsylvania would come other of the bibulous sounding provinces but to put into appreciable French such instructor, is to use the “tre Corda” pedal librettos, essays or whatever he happei lie read the entire trilogy again to his sounded, one way or the other, the natural Listening Under Difficulties up and say .“I’m not from Ohio but I am of France, I would not have been consid¬ too much. Many a pupil uses this right to be working upon. Regardless of tones of all main chords. friends at the Hotel Baur. a neighbor and would like to shake hands ered quite so easily disposed of. Ah, mah rose ain’t white, an mah rose pedal to increase the sound, but it is an length of the book, he always insisted uj /ANE EVENING I drove to a little As Wagner grew older this mania for yvith you.” One night a man said quite all-too obvious fact that this does result. finishing it. In his autobiography, “M village where the troops newly arrived reading aloud became even stronger.^ In seriously, “I’m not from Ohio. I am from An mah rose don’t grow on de vine on What happens is that the dampers are re¬ Leben,” Wagner admits this weakness in France, in the strenuous preparation to The Jongleur Becomes Acrobat 1879, thirty years after completing “Op¬ South Dakota. But we are both west of de shed. leased from the strings so that the tone In 1.851 he read the whole of “Opera ; move to the front, had been hiking and Keep Studying era and Drama,” he reread it to friends. the Alleghenies.” Another time I had been A FRENCH piano, at best, is none too or from the Pickaninny Lullaby the words : may be prolonged. But pressing, hitting, Drama” which he had completed two ye maneuvering all day in a pouring rain. And at Bayreuth he read not only his own talking on American Folk Song in the fine an instrument; but those which An he am chucklin’ at de great big bite or even banging the keys produces noise, before to a group of friends in Zuri They were drenched and had no place to By Edna Kalisch works but whatever happened to interest course of which I mentioned the Omaha during the war were acquired for use in He’s gwine to haf outen dat pig to¬ He compelled them to listen to him twe dry themselves or change their clothing. him. He did not consider the enjoyment Indian music. Afterwards I noticed a big our army certainly must have been from night. The command, “Put the pedal down at Every teacher should know more than consecutive evenings. In 1853, hav In addition their supply truck had broken nor the endurance of his listeners. He husky hanging around to speak to me. He the backwash of the French Revolution. was something that can be better imagined the beginning of a measure, and release it one instrument for his own benefit as well completed the poems of the “Ring ” he \ down and, instead of having their mess was entirely obsessed by the pleasure of said, “I just wanted to say that I am from I have attempted everything from an old- than described. But the kind souls were at the end of that measure,” is obviously as for the pupil’s gain. If he is a pianist, ited his friends and read to them in , at five o’clock, they did not have it until hearing his own voice. Omaha, Nebraska.” The mere mention of fashioned, wheezy Sunday school melodeon so responsive they would applaud gener¬ incorrect. If, in conversation, one ac¬ for instance, he would do well to embrace after seven o’clock when they had to eat the name had given him a bit of home. to a concert grand, but the pianos I was ously and request their favorites, as, for cented a word or stopped to catch the the study of the violin or cello. Let him it sitting on the damp ground in the open. forced to use on my trail as a jongleur example, Chantez Je vous prie. Der lee- breath every four words, regardless of become a pupil under a musician who ex¬ Their uncomplaining demeanor and cheer¬ surpassed anything in my previous experi¬ tle gurl, don creel the sentence structure, what would be the cels in the instrument he wishes to study fulness was touching. Under such con¬ Central Par\ a la France ence. One night I was laboring with one Near this camp on the historic ground effect? Surely not a pleasing one! The —someone above himself in the music ditions I demurred at attempting to enter¬ TTOLUMES could be written about the which had sixteen missing keys, Turning where 1400 years ago the Franks defeated pedal should be used at the beginning of life. Vanity, cot , / ,,'t'p'n"andkccpadcccntr' tain the men, but their Captain said that ’ unquenchable American sense of hu¬ to my audience I said, “Boys, I am having If his . pupils be his accompanists they Attila, “the Scourge,” and turned back the a phrase and released at the end of it. Poise and se j-Z$™TPC\ * ** *** harm than lack of they would be sorely disappointed if I did mor. No matter how trying the conditions an awful time 1” With one shout they will enjoy the work and profit by it. The Huns, and where in the first battle of the But if the phrase is so long as to make not. For three quarters of an hour those or how desperate the situation it would al¬ answered, “We know it!” On one occa¬ teacher, through continued study, will from all the rest o f mJiZ °" n” arlist *"» VT* Marne the French had again turned back ineffective a single pressure of the pedal, splendid fellows stood and listened, and ways come to the fore. In the midst of a sion I was whisked away to an aviation avoid stagnation. natures who have never had a chmr^V^ °f °"‘CrS "rt “ M ° did I venture to stop. Even then they of our engineers which they had christened sur-Mame where there was no “Y” hut, buf hillside cemetery where six of our boys w so. —Herbert Witherspoon. m the etude FEBRUARY 1929 Page 97 THE ETUDE nd their wounded five times at the front and had FEBRUARY 1929 Page 96 fn set into some clothes an been reUeved from strenuous service, r After the services, as I Back to Old Virginny, while tte mann fromtrom ^sister £to Scantyg array through my- me t0^ wish that the RnichpvinBolshevik, and tI. \*rW. ...W ,.s Part of the was walking away, a soldier came up and Kentucky would suggest My 0ldk°'l‘*cH jj" 0f a room, all of themi u g comic in America might have heard the grati. Why jtytusic is (Really a Necessary asked if I would as a favor autograph his Home. Always good mus.c instead ot noie^ ^ was as funny as tude and love of America that that yoUng copy Of The Gypsy Trail, on the battlefield trash, and, as a rule, when *e j°M g j was lad expressed so simply and eloquently of the Marne. It was to me a touching sang among themselves, they j positively declined t0 lea ' bout an The humanizing, broadening effect of the (Child’s Education incident, and I devoutly hope that that boy of sentiment and character rath«r “a “bomb-broke,” so to speak. In was manifested m many different came “outit of the grim and the gray” and those which were humorous or 1"volous-fr volous bomb or danger had Ppassedassed ythe® wn"loth- ways. Especially:-n» with those 'who- - erentwent returned safely from the war. Music and mus,cians amongouroldters houra *’■ ^ more^ ^ ^ was a ^wen By Charles Knetzoer 1 Pvpils often wonder whetlier tlu- middk DEPARTMENT OF pedal on their piano is a tonc-sua^^H or merely a practice pedal. There is , vital difference between the two |M.„ ind 1Bands ahd Orchestras a piano may be fitted with cither. The Biographical Sketch characteristics of each may lie dimmed s IS DENMARK, usd clu¬ Conducted ‘Monthly ‘By (snoot be scoured (he part may be taken up briefly. ed (or ihe Uw. Carl Busch, tike by a capable alto saxophonist, the part The practice pedal has the effect o( B hununn and Sibelius, forsook k- Victor J. Grabel bring cued for such purpose. deadening sound when an almost dumb **l practice for that "f the musical art. The kngth) introductory matter ex¬ instrument is required for practiefafl » As a itsrrc child he displayed his musical FAMOUS BAND TRAINER and conductor tending practically to figure 6 is tile inott The tone-sustaining or sostenuto pedal tcuilcueir* by karnin* to perform quite ac¬ difficult, involving constant change of time prolongs the vibration of such tone* ** ceptably upon thr flute Ihn in later years and rhythm. It is meant principally to are held down at the moment wln-n it is chose the violin as his favorite instrument create atmosphere and. at the same tunc, pressed, but not of those played lat. r, even III* first serious study was undrr the to prepare, by fragmentary references, for though the pedal is still in us- The tutelage of tlic Danish cumposcr, N'lel* tlie complete theme. practice pedal has no sustaining power but (iadr tie later was enabled to niter thr A Qhant from the Great Plains— Such references occur m horn (measure* merely deadens the sound of the piano and Ri<>al I’oturrvatory of t opetihagen and 5 and fi), in solo cornet: eliminates the annoyance caused by prac¬ lecamr a memlier of tile orchestra of A Symphonic Episode Is 1 fct.carao ticing- .,. Brussel*. The sostenuto pedal is primarily used Iksiruus of wider experience he went J I to sustain tones in the bass or any part to Paris and met the French composer- Carl Busch of the piano, while the performer it at Conductor, Godard, who accepted him as a cBy at the seventh measure precediii* figure J, lilicrty to release the keys which art to pupil and a* a player in the symphony or- ogam in oboe and flute at tlie second meas¬ be kept sounding in order to manipulate clsrstra of which he was the conductor. French Units to which I never lo*t an ing of victorious brave* returning from ure after Fig. J. and the third measure other parts of the instrument. It i*t im¬ In addition to thr advice of Goslard, lie opportunity to listen while I was studying war and bringing with them their dead after 4. in cornets and baritones at figure portant to remember that the tones which in Paris. There for the first tune I saw and wounded is wafted into the village S, and finally in solo cornet at thr third arc to be prolonged must be played im¬ of Gounod. and heard the alto clarinet, tlie bass clari¬ from afar. Their gradual approach to measure preceding Fig. 6. All these the¬ the village takes place in form of a solemn In* Folk S«•« mediately before the sostenuto ixtdal is Attracted by reports of the New World, net. the ophideidc. and the families uf matic suggestions must he presented with Hu.tsir. depressed. The damper pedal may then lie came to Kansas City as a member of saxophones and sarrusophoncs Employ¬ procession in the course of which they extreme clearness. lie taken without danger of mingling; the thr (iaile String Quartet. After a number ment as an arranger for big amateur pass oti to the burial ground. Then the The first section up to Fig. 1 must be tones sustained by the sostenuto pedal with of years this quartet lircamr a nucleus hands also helped me in obtaining knowl¬ Igistoral life, interrupted and brought to kept in strict tempo, but a certain freedom a hall by the procession, is once more Dvr* those sounded after it is depressed. of the Philliarmonic Orchestra which was edge and routine in bund arranging. of movement from I to 3 would be inter¬ A Dutch Lullaby . *■ « SMB• This pedal is likewise very useful in pro¬ organized in IK95 and which Mr. Busch Before attempting an analysis of tile taken up. Tlie principal motive em¬ esting and would afford individual treat¬ ducing pure legato effects by using the conducted. A few years later this was work I shall quote verUtim tile descrip¬ ployed for the gradual development of ment. Measures such as: Oiisotal hands and pedals alternately and in com¬ enlarged and strengthened and became the tive notes which appear on the Und- this Symphonic Episode is an idealization Is.2 S»| of India .V RimtkyKorsahaf bination. Beautiful choral effects, some¬ Kansas City Symphony Orchestra. score: “This Symphonic Episode lias been of a theme from Alice C. Fletcher'* A Hywn l» the Sun ,V. Rimsky times called “phantom chords.” can be In 1905 Mr. Busch went abroad for fur¬ inspired by an Indian scene from an out¬ Study of Omaha Indian Music." Coll of the Nik < M'. C adman obtained by the use of the sostenuto pedal. ther study with the composer, Englcbcrt door pageant, illustrating early life in tlie While the instrumentation is for full liand, there arc a few instruments which CI-, Cor, 8ss. Htswkw Son H Remh*.* The following example, from Mason’s Humperdinck, and appeared as guctt-con- West. The o|>etting measures recall a may lie omitted, if necessary, without j| Ml. Moon of My Delight “Touch and Technic,” Book IV, will illus¬ diictnr with a mimlier of famous European quiet summer's day in the village with seriously impairing tlie total results—for (from JV*«m t.Wra) . />*—- trate the use of this important pedal. orchestras. Hr has appeared as guest- tlie children engaged in playful pastime example, the alto and lass clarinets which In the Garden »f Wun.C, H' fWw• The chords marked />/>/> are not sounded conductor with tlie Chicago, St. Louis, De¬ ami the old men standing as interested, Cow Hi «i* Your Totehe. ./-'J- arc not found in every High School band. but arc merely pressed by placing the lin¬ troit and other leading orchestras. amused spectators. Suddenly the chant¬ Oil. Rn«li«m gers gently on the keys. The arpeggios Mr. Busch's compositions cover a wide s The |^m With lli« Delicate Air Ame must be played //, and all other directions range, but he seems to have chosen Ameri¬ When I awe l. Kiwi i I must lie carefully observe,1. Otherwise can subjects ns his greatest source of in¬ ■ Pinir IMIty Oliver Tm4,n*sml the desired result cannot be attained. spiration, as attest his llmieitha, his |»olly Willi* ... . A * nn> Rhapsody and his Indian Rhapsody. He i> a great lover of nature and the Do not fmr the difficulty «f mokln* great outdoor*, receiving the inspiration **■*■£* Ih* mtumn A link home ingenuity lot his latest composition, Osarkia Suite. 1 lbup mu he nw.1 or the reader may ***ll him- while on tramps through the Ozark Moun- must be given special attention in order wlf of (hr llntlefkk Pattern* for spe- to obtain satisfactory ensemble. rkl costumes, *ikIi ■» are illustrated on His Chant from the Great I’lains was At Fig. 3 the movement becomes light thi* page with Ih* mimliet* given m ihst awarded the prise in a contest, sponsored and carefree (the introduction of tlie tri¬ by Kdwin I'ranko Goldman, for original angle being important) and this mood may compositions for hand, thr judges being well lie continued up to Fig. 5. Here a Many fine (mtumn may he ma.k l»y Victor llrrlicrt and Percy Grainger. slight accelerando and crescendo is in or¬ I hr uiili mum of er*pe paper, nrhrr* thr It has hern selected as the contest num- der, concluding with a strong outburst in rmtnm« It Intmlnl (or only on* special ' foi an I las* A bands m the National octaves and followed in turn by a dimin¬ High School Band Contest for I9J9, and uendo and rilardando in which the solo cor- Cott limn bandmasters will lie greatly interested in nrt is Iteard in the final suggestion of the i be article which lias lircti prepared by tlie composer of this symphonic episode. Beginning at F'ig. 6, the entire theme is now introduced by the F'nglish horn, t \1TTK A little story is connected with ami this solo sltould be played in a chant¬ V A Chant from the Great I'lains. ing manner. Something of the correct Alxiot twenty-five years ago I decided to mood will lie felt. I think, when noticing write the music for an outdoor pageant the responses in flute and clarinet later on. illustrating early life In the West and he- The supiurting harmony must at all times "Ah! /m/vriui Majesty f gau collecting material and making lie siilxlued (piano) so as to give the Eng¬ sketches. These, together with all my lish horn opportunity for full expression. By Mart M Pluarant* manuscript compositions, were later lost "An our tunrr ha»m« pul tontr atrlnc* when our Studio Building in Kansas City I.. Moran * KarptuhoH. Mo«*rt mid to was destroyed by fire, ami only a few him. ’My fr»»l friend. how much An I water-soaked sheets were recovered. our you? I kart thia plat, bmtoffow * I tried to forget my misfortmte and did Thr poor man re*anlin* him rathrr a* a not give the pageant music further thought until otic day in 1919 when I read Edwin err inf. humhk.1 and stammering. Impr I'ranko Goldman was offering a prize for rial Majesty l/Miirw U MMre 4e ( ha an original composition for band. My petit 4* a* Unjetit imperial* ... I ran mind then reverted to the pageant. My not ... It it true I ha** turn frr*p»»otl» enthusiasm for the band also returned here . , Writ, *iwt m* a crown' * - practice pedal make a icsi u. _ and 1 set to work writing from memory ’"A crown!' taid Morart. 'A pond (al¬ ercisc. He will find that, when using * anil using such of the manuscripts as had low like yourself dw»r*r* n»«f* than * practice pedal, the chords will cease to been saved. The Chant was the result CTntm V ami hr gat* him several dural• sound after the keys have been released. of those labors. 'Thr man retired rrfwatin# Mill with a That 1 was successful in this contest I low how. ’Ah! tmprrial Majesty !"'• "Music is fundamental—one of the Sre0} lay principally to my early training—self- ■Man « "Kmtitapofta id *•*’ sources of life, health, strength and W' taught as t was in this field—in the in¬ iifw.”—Luther Burbank. tricacies and the possibilities of the great CARL BUSCH TEE ETUDE THE ETUDE FEBRUARY 1929 Page 109 Page 106 FEBRUARY 1929 CLASSIC, MODERN AND CONTEMPORARY MASTER WORKS School Music Department Conducted Monthly by GEORGE L. LINDSAY TOR OF MUSIC, PHILADELPHIA PUBLIC SCHOOLS when we go abroad to find perfection it THERE ARE a great many students, is another case of having been “too near now in the senior and junior high to the forest to see the trees.” schools, who have definitely decided A Vocal Music Course in Since home-making and community upon the vocation of professional music. building are objectives of the 4-H Club Many of these students may be unfitted for educational system, music training has its the work and should discover their lack of the ‘Public High School part in the curriculum of activities. Jazz capacity before it is too late. It should may be winning its devotees in the Ameri¬ be the duty and privilege of the public can city, but classical and cultural music schools to give these students standardized By George L. Lindsay are prevailing along the country-sMe. It tests for musical talent and so inform may be; that the jar and noise of city life tion for admittance to the large field of pro¬ them of their strength or weakness. In fied will have opportunities for entering the are more suggestive of ragtime and that the event that the students show promise profession with every chance of making fessional music. the beauties and quietude of nature lend The local board of education will be and aptitude in instrumental music, they all possible success. Large cities have had themselves especially to appreciation of should be permitted to enter a vocational called upon to equip the orchestra with a to depend on foreign musicians who have the finer musical productions. music course and receive intensive training had, in general, the real vocational prepara¬ limited number of non-solo instruments, in technical and related musical subjects tion, while the native-born have not had such as bass viols, tympani, and drum sets, as well as in certain required subjects. the proper training. The time has come and whatever wind instruments will be A Music Appreciation “Round'Up” The Cass Technical High School of De¬ needed for the band, such as clarinets, when the public 'schools should offer a vo¬ USIC APPRECIATION Contests troit has a splendid vocational course for melophones, and baritone and bass horns. M cational course in order to give the Ameri¬ are conducted in several of the the training of professional musicians. can boy or girl an equal or better prepara- A suggested outline of the curriculum: Cleveland, Cincinnati and many other states, the final contest being staged and prizes given at the time of the 4-H Club places have recognized their obligations by Grade 9 A Grade 9B Round-Up, annually at the Agricultural offering vocational music courses, and it is Orchestra .. 8 Orchestra . ® College. Kansas 4-H Club members have fitting that all commercial and cultural cen¬ Band . 4 Band . 4 ters should do likewise. From a commer¬ Chorus . 3 Chorus . 3 the advantage of a powerful radio send¬ cial point of view the amount of money Theory and Practice 1. 5 Theory and Practice II. 5 ing station at their disposal, and three spent on music for amusement and cultural Music Literature 1. 5 Music Literature II . 5 evenings in the week, about supper-time, purposes and also received by the music Academic . 5 Academic . 5 the boys and girls hear in their own homes trades ranks it high in the list of the na¬ the pieces of music that are to be studied tion’s commercial activities. 30 30 in preparing for the contes t. Grade 10 A Grade 10 B Professor M. H. Coe, in charge of this Preparation for the Course Orchestra . 8 Orchestra . 8 work, gives great credit to this phase of A VOCATIONAL music course can be Band . 4 Band . 4 the curriculum. He says that it helps give introduced in a vocational school or Chorus . 3 Chorus . 3 fine tone to the entire movement. He calls in some accessible high school with little Harmony I . 5 Harmony II . 5 attention to the fact that there is practical¬ actual expense, as the pupils will come in Music Literature III. 5 Music Literature IV . 5 ly no rowdyism around the ■■■■liege at the from all of the junior and senior high Academic . 5 Academic . 5 time of the Round-Up when thirteen hun¬ schools and relieve the overcrowding ac¬ dred of the boys and girls eat, sleep and cordingly. Four teachers of music can 30 live there for a week—and he feels that handle upwards of sixty students. The Grade 11 A Grade 11 B much of this commendable restraint is due curriculum can be arranged in order that Orchestra . 8 Orchestra . 8 to the cultural influence of the type of fifty per cent of the time is devoted to Band . 4 Band . 4 music studied. The list of twenty-five practical music study. Each student en¬ Chorus . 3 Chorus . 3 numbers for the year includes productions Harmony III . 5 ters the course with sufficient instrumental Harmony IV . 5 by such masters as Verdi, Strauss, Rubin¬ Form and Analysis 1 . 5 training to pass an examination of mod¬ Form and Analysis II. 5 stein, Grieg, Mendelssohn, s Hubert and Academic . 5 Academic . 5 erate difficulty on an orchestral instrument. Beethoven. In addition to this, he should pass the Sea¬ shore tests for musical talent. Regular 30 30 daily orchestra rehearsals should be held. Grade 12 A Grade 12 B The Educational Plan Regular band rehearsals should also be Orchestra . 8 Orchestra . 8 INSTRUCTIONS are given to each Band . 4 held and each student assigned to study Band . 4 *■ member, both by mail and over the Chorus . 3 instruments of the band. Class lessons of Chorus . 3 radio, telling the story of each master¬ an hour in duration, given once a week by Counterpoint . 5 5 piece. Here is a sample of such a story: professional instructors, can be procured Composition I . 5 Composition II . 5 “Morning,” (Peter Gynt Suite) at a cost of $2.50 an hour and will cover Academic . 5 Academic .. 5 the needs of musical students who are Grieg, Norwegian. studying wind instruments. All pupils 30 30 “The boy, Peter, leaves his home in should take regular training in sight sing¬ Norway to search for adventure out in ing and ear training. the world. After wandering alxiut he goes These three activities provide the practi¬ to Egypt where he is awakened at day¬ cal side of the course and produce players T5he Biggest cRural School of Music break before the statue of Mcmnon. The who will be of great commercial value in story is that the statue sings as the first that they will have had intensive work in in the World rays of the sun fall upon the sleeping ensemble playing and in orchestra and world. The music is expressive of the band routine. Opportunities are open for P>y Walter Burr freshness of morning with the awakening those with experience who can “double” on orchestra and band instruments. of all things of Nature and of Peer him¬ self.” The group of related subjects will in¬ This description precedes the rendition clude elementary theory and practice, har¬ T IS NO longer necessary for the I It has been a favorite practice of h of Morning from the broadcasting station, mony, music literature, form and analysis, farm boy and girl in Kansas to go years for Americans to go to Denma for the more than ten thousand boys and counterpoint and fugue, and composition. away from home for education in to study their Folk Schools, and to co girls who are club members. Can you music appreciation. This has been brought back enthusiastic with plans to duplic; find, in relation to the whole population, Vocational Opportunities about by the setting aside of certain hours these foreign institutions within buildin a like percentage of city school children T IS assumed that any student who is in which Radio Station K. S. A. C. is I on our own soil It may safely be pi who are organized for receiving this type properly prepared shall enter the field used for the members of the 4-H Clubs dieted that in a few years Denmark a of cultural education three times a week of professional music whenever the oppor¬ in training for their music appreciation other foreign nations will be sending re during the . entire year ? Yet many are tunity arises. There is no doubt but that contests. Since there are ten thousand, resentatives to the United States, to stu five hundred club members in rural homes deploring the lack of “music in the rural the vocational music department will re¬ the marvelous Out-Of-Doors School whi ceive requests for the services of compe¬ scattered all over the State, this is doubt¬ schools.” Is it not as much a part of “ beln,g developed by the rural peo, tent players from local and other sources, less the biggest School of Music in the rural education as if it were cramped into themselves with the assistance of th. the four walls of a rural school house? and that the students who are best quali- Federal and State governments. Perh; British Copyright secured (Continued on page 143) TEE ETUDE Page 111 7 *TVDt Patre 112 FEBRUARY 1929 the ETUDE FEBRUARY 1929 Page 113 HARL MEXICAN RHAPSODY McDonald poco - a - poco - ritard - it sensible to eliminate all key-signatures. Owing to the frequency of key-changes in this composition, the composer has thought i g Therefore, all sharps and flats affect only the notes of the measure in which they are written. Allegro moderato Copyright 1928 by Theodore Presser Co. British Copyright secured THE ETUDE ■ FEBRUARY 1929 Page 117 OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES MEMORY MOON SHIRLEY DEAN NEVIN GORDON BALCH NEVIN Moderate not too fast _r K-I_Y Y ' T y —I-,- close of the day that is done, And the world is a- sleep in a si - lence deep, While the ros - es will soon droop and die, But my heart knows no fear, For our pledge shines clear, And_1^ A --- --raU /'Chorus with animation i ^ i r i r *- m ii y v \ ■ 1 h i r r stars are a-twink-Jing one by one; Far a - bove the hills I see: The Mem-o-ry Moon is light-ing Her know you’ll be com - ing by and by, Far a - bove the hills I see: iT 17 J |7~;J n \ * ' w3 T. W 13 W m^p | rail. - rpj } J m i K'j5tnj Jn r* 1 m W 'r 1 Lif'Up i § r' l-P-LT r r It *tf siJ- ver-y lamp on high, And the Mem-o - fy Moon brings yearn-ing For hap - py daysgone by; But ^ glad-ness ’Neath the Mem- o - ry Moon olr love! _^ 2. It is love! ' /C\ u-Ji_4-4—l-44-i^i-i -j- m//. •* -F fS $•€ r mf If ij r^,ri f : * j - ll pifa "'*• Other Music Sections in this issue on pages 81, 109, 149 British Copyright secured FEBRUARY 1929 Page 119 THE ETUDE the ETUDE LITANY J. G. Jacobi FOR THE FEAST OF ALL SOULS Translation by E. A. Barrell FRANZ SCHUBERT ) '' cresa^ mm*** ) q m q J31 7 *]a 7m 4^ / | ' 0 • w m m J W--0* ^ ” 's-' — ■* FEBRUARY 1929 Page 121 Page 120 FEBRUARY 1929 THE ETUDE THE etude GRAND YALSE BRILLANTE GRAND YALSE BRILLANTE RICH.KRENTZLIN, Op. 108 SECONDO . RICH.KRENTZLIN, Op.i08 THE etude FEBRUARY 1929 Page Educational Study K[otes on Vtfusic iMet ) IN *5his Etude By Edgar Alden Barrell A Hillside Romance, by George S. ‘wo slurred and are not staccato. This be emphasized. *«? sffwsss ss: « S'■ In French Period Design Embellished by hand'chisel work in solid mahog' any, the lovely little grand above delights both eye and ear. Our catalogue shows this and other favorite period models of built to order distinction —without its expense. Ivers & Pond PIANOS How to Buy Dansons la Valse, by Louis Victor 'paJ^e.ayUfa« IVERS &* POND’pi Ivers & Pond Piano Company 141 Boylston Street, Boston, Mass. the etude FEBRUARY 1929 Page 127 Page 126 FEBRUARY 1929 the etude A Song (parable By Sophie Lammert A singer and a song are like a house¬ likewise sees two cuts of meat. She, how¬ keeper and a piece of meat One house¬ ever, sees possibilities in the cheaper cut, Edited for February by wife will go to market to buy meat for buys it, takes it home, cuts it up fine, adds dinner She sees some cheaper cuts of a little onion, a little seasoning and makes When this “combined placement” is WITH THE BREATH under con¬ meat but thinks, “Those will not do. I must a glorified hash of it. Eminent Specialists rightly done, and the sensation of tonal vi¬ trol and the vocal instrument free buy an expensive cut.” She buys an ex¬ Just so a singer may take a beautiful from rigidity, we have the pri¬ IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VOICE DEPARTMENT bration located in the face is retained, con¬ pensive cut and, without careful seasoning, song and sing it carelessly, or he may mary conditions for the correct generation “A vocalist’s MAGAZINE, COMPLETE IN ITSELF.” ditions and positions of the parts for cor¬ take a simple song and so study it as to of tone at the vocal cords and for the ex¬ rect tone generation and resonance are se¬ make of it glorified music. tending of tonal vibrations in every direc¬ cured indirectly. No matter how many and tion, wherever there are open spaces, from rapid may be the changes of syllable or the vocal cords upward. Upon the foun¬ ■ pitch or both, the flow of tone is free and T5he Open Lohroat dation of breath control and the responsive continuous. freedom of the parts the student can build. Later the student finds himself able to By John C. Wilcox The next step is to acquire skill in the will the “combined placement” on the vowel thoughts About Placing HE “open throat” for vocalization one “drinks in” the breath gently through development of power and of compass without actually singing the preliminary T and in general in the management of the is not a stretched throat. The soft- the mouth the throat will open sufficiently consonant, and when singing words begin¬ vocal instrument for the purposes of ar¬ palate (back roof of mouth) should to relieve a usually tenacious habit of mus- ning with consonants other than M, N, and tistic song. Power of voice is secured as By Frederick W. Wodell never be consciously raised; nor the back cular constraint.—From “Vocal Guide for Ng. much, or more, through the use of reso¬ of the tongue held in a low position. When Song and Speech.” nance resources as through the increase of particularly the larynx, and in making a student’s ability to concentrate upon the Lessening of Vibration breath pressure. fuller use of the resonance spaces of the willing of the reappearance of the sensation ‘ Trice, $1.00 single copy, postpaid 80 cents when ordered in quantities. Carriage addit PIANISTS f cr^^TSaxophone TEACHERS iAtZ 1 . Fig. io S£s‘sjss.i:£s,s . A returnable s< Fig. 10 to Fig. 11 a gradual increase from D°“h harmonic support must be held ™'' w/ to ff must be worked out carefully, but £Mhe grm^e^upp^ ^ may tO be heard distinctly . _ Play HYMNAL urlsh of'the0Englis0h torn solo leading to Ed: PRESBYTERIAN BOARD OF CHRISTIAN EDUCATION mmm St the 'iltroductiom tO I 120 Witherspoon Building, Philadelphia, Pa. The coda follows at Fig. 16. This is built over an organ point on B flat, and care fc.. must be taken to have all inner voices ic Loving Frilends about THE ETUDE a the privilejige of sending in their sul Ask for Catalog of .. m&swm “Make” the I Musical Education in the Home With a CONN (Continued from page 87) FEBRUARY 1929 Page 138 the etude tHE etude Page 182 . FEBRUARY 1929 Aged Fiddlers Ar m o u r M-aster titiring the past season the country with the vigorous rhythm and lilt which an nounces Tke C o ncert fiddler has “come back” as never before. the humble country fiddler gives them. The VIOLINIST’S ETUDE Thp whole country, from Maine to Texas How is it that the fingers of these old resounded to the merry lilt of the fellows have not grown too stiff for all a sensational ackievement in edited by Turkey in the Straw- and Money Musk, this rapid fingering? The answer is that ch as it used to do when the country they have been playing for dances all their crafts man skip lives, and their fingers have not had time violin string Robert Braine Alto—French Horn fiddler had the monoply of furnishing the dance music for the back-woods of Arner- to get stiff. Continual exercise has kept Tenor—T rombone ■,a There have been contests galore for them supple. It will be found that most Impartial experts have pronounced this new IN THE FIRST few years of violin ,T is the «,,moN OF The Etude to th« Bass—Bass Tuba, euphonium, 0r ' «country fiddler” championship of of these old men are hale and hearty and Armour product to be the finest violin string playing the student runs into all kinds “A VIOLINIST’S MAGAZINE, COMPLETE IN ITSELF. trombone. township, county, city, state and section. have excellent health, and good nervous ever produced. Distinguished violinists— of difficulty in stringing his violin Any instrument in the foregoing list has The papers have been filled with pictures systems, an important consideration in play¬ among them Fritz Kreisler—have accepted properly. The first requisite for a prop¬ a much wider range than the correspond¬ of aged fiddlers, and not a few have se¬ ing these rapid dance tunes in which there “The Concert Master” not only as a string of erly strung violin is that each string should ing voice. cured engagements at high prices in vaude¬ must be a perfect coordination between incredibly beautiful texture, feel and finish; be attached to its proper peg. The ar¬ The commonest arrangement of an or¬ ville Anyone who can saw off a few bars finger and bow, each stroke Of the bow but one whose freshness and strength are rangement of the pegs is so simple that absolutely dependable in concert performance. chestra is to have the first-violins sitting of the Arkansas Traveler, and Pop Goes attacking the string when the proper fin¬ it seems incredible that any one should Under the bow, "The Concert Master" by twos on the conductor’s left, their the Weasel, is in great demand for con¬ ger is on it. To have bowing and finger¬ make a mistake in attaching the right sings in tones that are clear and pure, with a violins thus tilted in full view of the audi¬ certs and entertainments. ing thus synchronize, the nervous system string to the right peg. Yet we find that depth and richness of color that charms the ence. The second-violins form a similar The remarkable part of this revival is and the brain of the performer must be beginners and people who know little Strings and Pegs ear. The finish has that smooth pliant texture string formation stretching away on the the age of these old chaps. They are in the finest working order, a condition about the violin sometimes string the G which the virtuoso loves. In the fifth position conductor’s right hand. Violas come be¬ mostly in the sixties, seventies and eighties, unattained, often, even by violin students string to the D peg, the D string to the the register is perfect. It is a fitting comple¬ most frequently in gut strings, as steel and one old fiddler is going strong at who have devoted much time and prac¬ G peg, the A string to the E peg or the hind the first-violins, and brasses behind ment to the most expressive of musical E string to the A peg. It should hardly strings run more uniformly in size. In the seconds. Then right across from left ninety Youth has the call for almost tice to the art. an average bundle of gut strings of the every other form of entertainment, but in However, let not the aged man who has instruments. t need to be said that the G string should be £ldfZyX/S* of these same to right of the conductor, at the sides of Only the finest of sheep gut from Armour s same kind, some will be slightly thicker this instance the public wants its country never played the violin imagine he can strung to the lower left peg, the D to the the violins—if it be in an orchestral pit, vast supplies goes into “The Concert Master.” than others. It is of great importance that gauges. fiddlers “old,” the older the better. The start at the age of sixty or seventy and upper left, the E to the lower right and facing the audience with their backs to the Specially designed machines turn this material a violin be strung with strings of the young country fiddler must wear a white become a proficient performer. It cannot the A to the upper right peg. I have stage—are double-basses, 'cellos, wood¬ into finished strings so accurately gauged that proper size, for every violin sounds best wig and an “old” makeup if he expects be done. Here we have a case not only come across violins on which all the strings winds and percussions. variations in thickness, from end to end, are with strings of a certain thickness. Thus of genuinely stiff fingers and arms, but of were strung to the wrong pegs. The orchestral student’s next step should to get by with it. less than 1/6 the diameter of a human hair. a violin with a very harsh, rough tone We often hear old and middle-aged stiff brain and stiff nervous system as well. The next requisite is for the string to be to pick out and listen to particular in¬ When you examine and hear this amazing can often be improved by being strung The old main who commenced playing the be coiled on the peg, so that when the peg struments during the performance of a people say that they cannot play the violin, new American product you'll understand how with slightly thinner strings. To give its violin in childhood, and has kept it up is turned away from the performer it composition. Suppose one determines to because their fingers have grown too stiff, much it has added to the beauty of the violin best possible tone throughout its compass, AflOLQf ever since, has much of his old time tightens the string and raises the pitch. listen to the bassoon. It will be found: but here we have the spectacle of these every violin should have each of its four power because he has a life-time of prac¬ and the art of the virtuoso. There is a com¬ Again, it seems incredible that anyone dark, shining wood, slanting across the old country fiddlers sawing off extremely plete line of Concert Master strings for violins. should know so little about the violin as strings of the size which has been proved ^v-albe*H rapid jigs, reels, “hoe-downs” of all kinds, tice and playing behind him. Brain, by experiment to give the best tone in player’s body somewhere at the back of muscles and nervous system are trained Your dealer has "The Concert Master." Try not to know which way the pegs should the orchestra to the right of the conductor. which, however little merit they may have it yourself and see. Armour and Company, turn; but this happens, and not so seldom, quality and resonance. 1|0O|N5tusL from a musical-student’s standpoint at for the art; and, if he escapes certain PA-r MARCH The specific woodwind tone will now be Chicago, Ill. either. I have had prospective pupils bring An experienced violinist can give a forms of muscular rheumatism, he. can sorted out from the medley of sound and least require great fingering agility. Most violins strung so that one, two, three and pretty good guess as to the size of strings continue his fiddling as long as he lives. J QZ the parts separated until the bass is dis¬ of these country fiddlers do very little even all four pegs turn in the wrong di¬ giving the best results on his violin, but 4 3 “Finished” violinists naturally sneer at cerned. That is the bassoon. in the way of position work, artistic shift¬ rection. Remember that the peg must turn the beginner cannot possibly do so. How¬ ing, and the various solo graces of violin the humble country fiddler, but one thing th eA away from the performer to raise the ever, it is best for neither the professional Or, supposing it is desired to trace the is certain; he has done his share in mak¬ Since in the first few years of violin viola, it will be seen as a large fiddle, simi¬ playing; but what they do excel in is pitch of the string, and towards the per¬ nor amateur to use guess-work, for in the strongly marked rhythm, and perfect even¬ ing the violin popular in the United States, playing the student lacks the experience larly played at the shoulder, behind the Concert Master former to lower the pitch. We often string gauge, a little contrivance for meas¬ ness of rapid technical passages. Many and has given millions of people unbounded uring accurately the thickness of strings, necessary for judging the tone of strings first-violins. The string tone will be sep¬ speak of “screwing up” the pegs of the an advanced violin student who is study¬ pleasure; for, whatever its shortcomings, IRST LESSONS IN VIOLIN PLAYING by Henry Hoare Books I, II flit Pos.), Book 111 we have a means of always selecting of different size, it is greatly to his ad¬ arated in one’s mind from all the other violin. This expression gives us a hint ing Kreutzer, Rode and the concertos can¬ his playing radiates gaiety, good humor, old. ^onciw—-Meiodkus—E,afc(^y*G«SS--ModOTi*]^gttk^!Ja^wlnRn«! strings of the required thickness, once this vantage to have his teacher or some good sound, and then the alto part distinguished. HO ARE as to how the peg should turn to make not play these old time rapid dance tunes and dean, wholesome fun. the tone higher, that is, in the direction of has been ascertained by experimentation. violinist experiment with his violin by If all this is done intelligently there will CHICAGO EDUCATIONAL MUSIC LIBRARY, 3209 N. Ashland Avenue, Chicago, Illinois Fhraring/' “Concerto In Free Introductory Copies to Teachers Sending Their Professiona Cards—Liberal Discounts a screw or gimlet as it is screwed into a String gauges are made in different using strings of different thickness until be little danger of confusing the low treble piece of wood. styles. Some have four slots of varying the best size has been found. These should of the second violins with the rich alto of After the beginner has learned the right sizes for each string and others have a then be carefully gauged and the sizes the viola. If the viola chances to have a Analyzing VWusic peg for each string and the proper direc¬ single tapering slot, with a graduated, given to the student, so that he may always bit of solo work, and the student has never VIOLINS By Sidney Grew tion to turn each peg, he must learn to numbered scale. By inserting the strings get strings of the same size. The violin¬ known the beautiful instrument before, he Deep, Mellow, Soulful use the correct strings. The wrong strings in the slots the exact thickness can be ist who does the experimenting should be will feel thoroughly repaid. “The analyzing of music is often con¬ understand and appreciate a work of are being continually used by the inex¬ ascertained and recorded. When a violin¬ paid for his time, and the student will find Speaking generally, musii al compositions demned by teacher, critics, highly esthe¬ art. . . . Moreover, the process of dis¬ perienced violin player, a gut D being used ist finds that a string of certain thickness that the money is well spent. For he will have three parts: the melody, the bass and tic amateurs and composers. They say incorporating a flower is a destructive one. for a gut A, a gut A for a gut D, a gut gives a particularly favorable tone to his thus always be able to string his violin the middle or filling-in part Suppose, that such disintegration of musical sub¬ It leaves broken fragments, which no man E for a gut A or even a D, a G for a D, violin as regards brilliance, quality, and with strings of the correct thickness. for example, that a small string combina¬ stance is unnecessary, if not bad. They can reassemble; whereas the process of a gut G for a wire-wound G, a wire-wound tion is playing a simple waltz: the first perhaps point to a flower and remark that analyzing music is actually creative. We Faust School of Tuning G for an aluminum D, a gut A for a gut violins have the melody, the middle part, analysis of the flower, which is a process take the corporate body of music and, after E. Also in using steel strings we find Appreciating the Orchestra or "chuck-chucks,” are put in by the STANDARD OF AMERICA of pulling it to pieces and naming its we have observed its structural elements, ALUMNI OF 2000 mistakes. Thus, a steel A will be used for second-violins and viola; and the ’cello or parts, does not help us to enjoy its beauty, we bring these together again, reforming Piano Tuning, Pipe and a steel E or a steel D for a steel A. These By Sid G. Hedges bass have a solid note on the first beat of Reed Organ and Player while it certainly does destroy the flower. the work, and thenceforward regarding it mistakes sometimes happen through igno¬ each bar, which preserves rhythm and Piano. Year Book Fret To appreciate the orchestra properly it “This analogy is not good The in¬ with a quickened understanding of its na¬ rance of the player, through the fact that eyes on it. Strings are all shaped like the makes a firm foundation to the whole. 27-29 Gainsboro Street the wrong string has been placed in the is necessary to understand something of it, stinct by which we find pleasure in natural ture, both external and internal.” BOSTON, MASS. violin. Woodwinds are usually of dark, These broad divisions hold good in most The Strad. string envelope by the manufacturer, the beauty is not the faculty by which we and the acquiring of this knowledge may polished wood, with metal keys. They music and it is very helpful to distinguish dealer, or the pupil himself, or through the be a very pleasant, interesting task, par¬ all, of course, are held to the mouth. to which section particular instruments are fact that the strings run larger than they Brasses are customarily of brass or silver- ticularly for. a violinist or string-player. contributing. MUSIC ENGRAVING should for the string required. An orchestra contains four classes of in¬ plated-metal. Percussions include prac¬ When Left and Right Vie Piano, Band, Orchestra and Octavo work. We But of course melodies or solos are not specialize in book work; also engraved titles. struments : strings, woodwinds, brasses and tically all which cannot be classified under invariably taken by the treble instruments. rwaVFCTC lf Vou Are huy>nZ the other three heads. By Esther Lee P Music Take Advan- Send your mss. for estimate. The Right String in the Right Place percussions. Representatives of the classes And in such music as opera, where melo¬ VOCAL1STS tage „f 0ur Liberal As everyone knows in singing there are VIOLINISTS Discounts and Fx- OTTO A. C. NULSEN, IT IS HARDLY necessary to dwell on are: violin, oboe, cornet, drum. dies are well-defined, it is most fascinating of a second before the fingers have pre¬ P. O. Box four types of voices determined by their When, in playing rapid passages, the ORGANISTS amination prlvl- 774 the great importance of having the Each class of instruments has its char¬ to follow the airs as they are continued by pared the strings to sound these notes. CHOR1STERS leges. 124 Government Place Cincinnati, Ohio pitch: soprano, alto, tenor and bass. Or¬ violinist has a sense of being left behind, right string in the right place. Suppose acteristic tone, and a first step for the one part of the orchestra after another. The only way to overcome this difficulty chestral instruments can be roughly classi¬ it is usually the left-hand fingers which TLIEIXJRe'PRESSER'CO. IpHLLA., PA. an attempt is made to use an A for an E. student is to obtain a recognition of this. In listening to a piece of music one is to give the left hand much silent prac¬ fied on this same basis, and a very useful The A is thicker than the E, and the Strings are all played with the bow and should try to discover for what purposes are doing the lagging. For these fingers tice, letting it go over its part alone with¬ method of analyzing an orchestra will re¬ chances are that it will break in the at¬ so have the same timbre as the violin. a composer uses the various types of tone, have the trills, runs and arpeggios to ex¬ out any attention being lavished on the sult. The following lists give the instru¬ tempt to screw it up a fifth higher. But Woodwinds have a round and reedy tone. and how he varies and combines them ecute while the right hand has the lazy right. Then, with its handicaps already if by any chance it can be got up to pitch, ments approximately equivalent to each of An orchestra always tunes to the oboe. to get his effects. There are, for instance, man’s job of straight up and down sweeps foreseen and to some degree overcome, the it is impossible to produce a good tone the vocal parts. By listening for the long oboe notes during Strings: two ways by which a crescendo can be —a wide, smooth road as contrasted with left hand will form a more fitting mate on it, and the string can hardly be played for the right and may expect to complete on. The same happens when a D string is a tuning-up the typical woodwind tone will Soprano—Violin produced: either by starting with one or one scattered with pitfalls. In consequence the passage abreast of its partner, its be distinguished. Alto-Viola two instruments and gradually adding to the bowing of any given set of rapidly used for an A. , strength unimpaired. Conversely, when a thinner string is Brasses have a metallic sound. Tenor—’Cello their numbers until the whole orchestra played notes usually takes place a shade used for a thicker, an E for an A or an Percussions are extremely varied—drums, Bass—Double-Bass. is involved and loudness achieved; or by A for a D, the string has not enough triangles, pianos—but they have this one Woodwinds: the entire orchestra first playing softly characteristic, their notes are struck. and then each individual player increasing weight and yields too easily when the bow Soprano—Flute "Throughout all history music has been known to ""J* Besides recognizing tone it is of great is drawn over it, giving a thin, scratchy, Alto—Oboe his tone until a fortissimo is reached. subtle way what we think and do and hence arc. Yet th ff f P feeble, unsatisfactory sound. help to know instruments by their appear¬ Tenor—Clarinet Along such lines as have been described, life has never been sufficiently studied and experimented with on «r large Next we have to consider the slight ance. It is much easier to listen to a par¬ any musician may soon acquire a genuine scale. We may have our theories of what a. larger and wiser use of art ticular instrument in an orchestra if you differences in size which are met with in intelligent appreciation of the orchestra, would do for life in general but we have no school system to which we are able to pick it out and keep your strings of the same class. This occurs which will immensely increase the pleasure can point as) proof.”—Peter W. Dykema. derived from listening to music. Please mention THE ETUDE when addressing our advertisers FEBRUARY 1929 Page 185 the ETVDE THE etude Ghe Qlear Singing 'Gone By Ruby Archer Gray Tivo New Piano Teaching Pieces! Byl. ROBIN MacLACHLAN—He Author of “CLIMBING” HAROLD FLAMMER, Inc., Ghe Ill-Prepared Performance Songs oF uniwrsa I appeal In both words and n ic Com' finds response in the emotions ot tnousar In, “Omar, the Tent maker", a poem o:of un- usual color by Oliver Murray Edwards, is. bined with music by William Berwald, that interprets the true spirit of the Orient. Hear it at your dealer’s...or write us for Question and Answer Department THE OLIVER MUSIC COMPANY DEPARTMENT 8, JAMES STREET (Continued from page 89) Syracuse, NewYork, ic Catalog of Easy Piano Pieces, Grades 1 to 3. Contains Excerpts of over 200 re compositions that will be of value to the piano teacher in early grade work. [eodore Presser Co., 171244 Chestnut Street, Phila., Pa. FEBRUARY 1929 Page 137 THE ETUDE i'BS etude Page, 136 FEBRUARY 1929 Mas ter School June 24 To Aug ust 3 (Six Weeks) HERBERT WITHERSPOON LEON SAMETINI VICTOR KUZDO FATHER FINN WST.NGU1SHED TEACHER AND EDUCATOR MOUS VIOLINIST AND TEACHER EMINENT VIOLIN PEDAGOG AND ASSISTANT TO NOTED AUTHORITY ON LI EDWARD mi I INS MOISSAYE BOGUSLAWSKI LEONARD LIEBLING ALEXANDER RAAB FAMOUS RUSSIAN PIANIST RICHARD HAGEMAN EMINENT HUNGARIAN PIANIST RENOWNED AMERICAN PIANIST FAMOUS CRITIC AND MUSICIAN (Mar. 1 to Sept. 1) NOTED COACH AND ACCOMPANIST demorest ALFRED WALLENSTEIN W. OTTO MIESSNER AURELIA ARIMONDI CHARLES R CLASS PIANO AND PUBLIC SCHOOL MUSIC CELEBRATED THEATER and CHURCH ORGANIST AMERICA’S FAMOUS CELLIST ROSE LUTIGER GANNON WELL KNOWN VOCAL TEACHER EMINENT SINGER AND TEACHER OPERA CLASSES (Repertoire and Action) VIO Members of the Faculty Not Teaching Summer Are Not Listed o Christian Lyngby Harry H. Ryan Mary Towbin Lois Dyson Juy Hartle Victor H. Jindra LITURGICAL MUSIC COlK^ ““^USIC ^^URSE^ (Arranged Alphabetically) lav Huntington Victor Kuzdo John McKenzie Leon Sametini Anah Webb CHORAL TECHNIQUE COURSE MUSICAL LITERATURE COL K Mrs. John L. Eckel L. Dean Sands PIANO Ellis Levy Rudolph Reiners Father Finn Leonard Liebling Max Fischel ACCOMPANYING CLASSES (Vocal, Violin, Opera, etc.) Vera Kaplun-Aronson Laura Neel CHURCH AND CON CERT ORGAN Mrs. Hal Holt Peel Richard Hageman Maurice Aronson Charles H. Demorcst C. Cordon Wedertz Lillian Powers TEACHERS’ NORMAL COURSES Willa Bee Atkinson Myrtle Hahn URE ORGAN PIANO T . „ Eudora B. Harbers Eugen Putnam MOVING PICT Viola Cole-Audet Henry Francis Parks Helen Greenebaum John J. Blackmore JeweU Harned Alexander Raab Charles H. Demorcst Bess Resseguie VIOLA MZatW9ki Alexander^Raab ' V“ Otto M^ssne^ Moissaye Boguslawski Frederick Harwood VIOLONCELLO VIOI IN VOCAL Mabel Wrede Hunter Estella A. Striplin Max Fischel Lillian Boguslawski Alfred Wallenstein Goldie Gross Leon Sametini Herbert Witherspoon Frances Bohannon Herbert Johnson Troy Sanders Vera Bowen Florence Booco Johnson Adelaide Sanford HARMONY, COMPOSITION, COUNTERPO INT, ORCHESTRATION, CANON AND FUGUE Gaylord Sanford MaX CLASS VIOLIN INSTRUCTION Paul Breitweiser Gustav Dunkelberger Laura D. Harris Wesley La Violette Franklin Madsen Clarence Loomis Jane Waterman Mary Rives Brown Walter David Smith Gordon Campbell Dorothy Kendrick Alma Steedman REPERTOIRE-INTER PRETATION CLASSES piaNO Mrs. L. I. Taylor ORCHESTRA AND BAND ENSEMBLE R Julia Lois Caruthers Max Kramm VOCAL . VIOLIN Anna Ring Clauson Grace Levinson Gertrude Towbin Rudolph Ganz Alexander Raab Maurice Aronson naymona uvoraK J‘ C‘MCLARINET, SAXOPHONE ' , Mary Voorhees Herbert Witherspoon Richard Hageman Leon Sametini PUBLIC SCHOOL MUSIC Edward Collins Clarence Loomis Manuel V. Santos Kenneth Cummings Celene Loveland Jane Waterman CLASS PIANO INSTRUCTION DOUBLE BASS—Otto Hyna Gustav Dunkelberger Louise MacDowell C. Gordon Wedertz SCHOOL MATERIALS COURSE MUSICAL APPRECIATION Merle McCarty West BATON TECHNIC AND CHORAL CON¬ Marjorie Dwyer Mollie Margolies SOLFEGGIO Evalie Martin Fisher Della Tully Matthews Stephen B. Williams DUCTING Giula Williams Franklin Madsen Faye Forsythe Bess Clair Murray W. Otto Miessner EUROPEAN HISTORY Rudolph Ganz Louise McCoy Gertrude Williamson HISTORY AND APPRECIATION OF ENGLISH LITERATURE—Eston V. ’Tubbs MUSIC VOICE CONCERT, CHAUTAUQUA, LA CEUM Herbert Witherspoon Mabel Lewis Howatt Aurelia Arimondi Maude Gutzmer Lillian H. Polley DENT FRENCH—Frank Vaulry Stu TOE, BALLET, INTERPRETATIVE, CLAS¬ Mrs. C. M. Robertson Arch Bailey Richard Hageman GERMAN—Captain Steubel SICAL AND FOLK DANCING Gordon Campbell Mabel Sharp Herdien Troy Sanders CHAMBER MUSIC AND ENSEMBLE Clark E. Snell Rudolph Ganz (Two Piano Music) Libushka Bartusek Ella Cave Charles II. Keep SCHOOL OF THE THEATRE L. N. Dailey Elsie Kincheloe Ellis E. Snyder Alfred Wallenstein (String Chamber Estella A. Striplin DRAMATIC ART AND EXPRESSION Myrtle Dunn Julia LeVine Music) Walter Pyre David W. Gavin Beatrice Dyke Albert Lukken Lucille Stevenson FLUTE—Justus Gelfius ITORIE3 ARP—iwi,,.» Gelfius Mabel L. tlowattHowatt neieuHelen Striblen Pyr*' Florence JeppersonMads George Sutton Dorm HARP—Henriette Gelfius Ernest Edwards Willis Fleetwood Minaperle Maxwell Grace Terhune Artistic and comfortable dormitory accommodations for men and women in CIHCAGO MUSICAL COLLEGE SYMPHONY ORCHESTRRudolph Ga^,JW«ctor Mrs. Willis Fleetwood Allene S. Miller Herbert Witherspoon with each room. Prices reasonable, *11 ment* not named above are taught by members of the Clucago Symphony Orchestra Pauline Castleman Morris Helen Wolverton college building. Piano furnished Effie Cline Fones Make reser vations early. k Rose Lutiger Gannon Jessie Waters Northrop Carl J. Waterman A Teachers’ Certificates™ Degrees Fre-e Fellowships^ rnQ , , ,, TW..OP,, nf Bachelor of Music, Master of Music, Bachelor of Music Education, Bachelor of Oratory and Mr. Ganz, Mr. Raab, Mr. Boguslawski, Mr. Witherspoon, Mr. Collins, Mr. Hageman, Mr. Fischel, Mr. Sametini, Mr. Kuzdo, Mr. Parks Teachers’ Certificates and the Degrees of Bachelor me» gession upon professionais, who have the required knowledge, fulfill re- and Mr. Demorest have each consented to award Free Fellowships to the students who, after an open competitive examination, are MasterPiaster orof uratoryOratory are conierreuconferredl mat the end of ea^-;„ rpnilirpmentsmi!ramonia . ando„d nawDass satisfactory examinations. Full details in Summer Catalog. quired number of Summer’s study to meet residence requirements, and pass found to possess the greatest gittgift torfor playing or singing,singing. Freer ree Fellowshipt enowship application blank on requestrequest. murea number ot summerssiuuy - ■ f _ni; IVTITCTr Established l»t>7 RUDOLPH GANZ, Vice-President Chicago. rsne.ws.___ _ Mus' icalA ITIVTVFRfiTTY III1 JVllJMt CollegeCARL, D. KINSEY, Manager 60 EAST VAN BUREN STREET (COLLEGE BUIUHNcf) CHICAGO. ILL FEBRUARY 1929 Page 189 0E ETUDE the etude Page 188 FEBRUARY 1929 Have Faith in Your Ability 3fj? g’tarn’tt f^rljnol By Florence Belle Soule COSMOPOLITAN CONSERVATORY of MUSIC Franklin Stead, Director Each one of us possesses a special tal- For a number of years Zane Grey wrote His teeth SCHOOL MUSIC* Renowned faculty—Concerts, Recitals. ent, some more than one’. The man who stories and articles. All came back regu- rSUMMER d Degrees confei °fSHIRLEY GANDELL-Pt«>dent. . s’ Certi finds his real work finds himself. larly. Nothing was accepted. The pub- ; facultyculty 01of ou60 Artis'*m » Concerts, -JZ^EACH you this profitable After a person has discovered his spe- lishers told him that he would never, be a B. Students’ Orchet odoFESSION at home during spare time cial gift, let him make up his mind to de- writer. One person believed in his talent, were white, Diploma.. Deqreeq and Teachen ^^Masicsl Piano, Voice, Violin, Organ, Theory, Harmony, pgurcG olthe30th anniversary MASTER Departments—Piano* v01 « llo Qrches- velop it with the best that is in him. Let His faithful wife turned over her own him be determined to succeed and not al- fortune to him in order to give him another Dept, for Children. All athletics. Horseback riding. 0^TUNF^HONEnand JVHY^our^adMt^ Fireproof buildings with ample grounds. Two beauti¬ low ffiend or foe to change his course, start. When the money was nearly g°ne> ful dormitories on campus. For catalogue address head 1’™^®',?," ‘devices! ^olSj^charM^and^les- Let him compare his work with that of Zane Grey met a Westerner who wanted but . . . the Director, SCHOOL-] Students may enter at any time. 5ns, ?a®‘earnlnlomas* granted?8 MONEY BACK others; try to put originality into it; be a man to travel with him ana write true F ticulars addres.-Edwin L. Stephen, Mgr. The Starrett School Conservatory sure that it is good, and then go ahead, stories of Western life. He chose' Zane ... He is among the 4 persons out of 5 June 24th to August 3rd, 1929 (43rd Season) COSMOPOLITAN SCHOOL Ot MUSIC Let him have faith in his ability and keep Grey who has since then become one of after forty and thousands younger who 80s E, 16th Floor Kimball Hail Bldg., Ch.cago that faith unshaken. the greatest writers of Western stories m think they are safe when teeth are white Years ago Lalo wrote some beautiful America, only to discover that Pyorrhea has taken music. Little by little his melodies took De Pachman achieved greatness only heavy toll of health. This dread disease Northwester Public School Music— \tlPARAis--5 ~ Piano, Voice, Violin, form until an opera was the result. Lalo by his devotion to his art. He often spent which ignores the teeth and attacks the — ^ w _ 3 highest standard. Ideal locatic iikllVERMiy Organ,^Orchestra^l In- was sure that his music was good, but he six months shut away in a monastery gums need never worry you—if you brush N.U/ found no one who agreed with him. The where he could work without interruption, gums vigorously with the dentifrice made ThevinI -fijnservatoryof JOSEF opera score was carried from one pub- Paderewski became a world-renowned for the purpose. SCHOOffSr^#: -—[C Many free advantages. World Renowned Piano Virtuoso. Repertoire Teacher’s Classes. Auditor Classes lisher to another for twenty-five years, artist after years of hard work, heart- music *r.rlbebcher,*. MUSIS Forhan’s for the Gums is this dentifrice. NORTHWESTERN I Picture the disappointments and discour- rending sorrow and extreme poverty, Start using it every morning and every UNIVERSITY I 1 agements that he met day after day and If a person writes a composition- and Year 1928-1929 night. Soon you’ll notice an improve¬ year after year! The music was finally the publishers refuse it, let him write a ment in the appearance of your gums. ASK FOR OUR CIRCULAR OF published and today we can enjoy its beau- better one. Let him keep on working, They’ll look healthier and more youthful. OSCAR SAENGER Educational Music Books ties. keep busy and hold fast to his ideals. In addition, the manner in which Forhan’s for Schools, Academies and Colleges Bachelor of Music ^Degree. Diploma, and Certifi¬ Corot has been called the greatest land- After a while, he will write a !°)nPos*t*or[ cleans teeth and protects them from Internationally Famous Master of the Voice. Opera Classes. Teacher s Classes cate in Piano. Voice, Violin. Organ. Public School scape painter in the world, and yet he that is good enough to be pubhshed. But acids which cause decay will delight you. Repertory Classes. including Text Books, Reference Works Music Methods and Music Kindergarten Methods. painted pictures for thirty years before at all times he will need the ability to stick, and Collections Get a tube of Forhan’s from your drug¬ he made a sale. He knew that his work like a postage stamp, until he arrives, it THEODORE PRESSER CO. W. ST. CLARE MINTURN, Director. gist, today, 35c and 60c. HENIOT LEVY 1712-1714 Chestnut St. Ph.Iadelph.a, Pa. was good, and he continued to work know- his enemies call him a third-rate musi- ing that success must come. cian, let him keep right on working,_ learn- Formula of R. J. Forhan, D. D. S. Forhan Company, New York When Caruso was a young man he was mg something new every day, keeping his KURT WANIECK CONSERVATORY OF MUSIC Atlanta Conservatory of Music Brilliant pianists and eminent instructors. Repertory and Teacher’s Classes. told that he could never be a great singer mind open and his heart full of loving OF SHENANDOAH COLLEGE on account of defects in his voice. He kindness. Three requirements for develcp- for the KARLETON HACKETT LVVu?rcotLh^^ Advantaiei Equal I. Thoie Found An,where. felt certain that he could sing and little ing a talent and making it great are: hrst, Forhaii's gums by little climbed the ladder of success, the ability; second, the hard work; and Distinguished vocal instructor and critic. Repertory and Teacher’s Classes. Organ. for Calalogut fame and fortune until he became one of last, the confidence. By combining these EDUOARD SACERDOTE SHENANDOAH COLLEGE :: DAYTON, VIRGINIA Peachtree and Broad Streeta, Atlanta, Georgia the world’s greatest artists. three, success is certain. Eminent Teacher of Voice. ESTABLISHED 1857 JACQUES GORDON Musical Home Reading Table Famous violin virtuoso and Concert Master Chicago Symphony Orchestra. DPARnnY CONSERVATORY fContinued from page 88J rij/\DvM-r 1 BALTIMORE, MD. HERBERT BUTLER OTTO ORTMANN. Director New Book listener does not really hear a work of any nies without ever hoping to exhaust their , complexity the first time that it is per- limitless reserve. Again, we are not such Eminent teacher of the violin. e of the Oldest and Most Noted Music Schools in America. formed in his presence; he apprehends creatures of pure logic that an effect once on Voice more or less of it according to the degree produced in us is incapable of repetition, Faculty of over one hundred artist teachers of his ability or experience, but there will \ye may know our Shakespeare by heart, of Improved Music Study 30 Days Free Reading No Obligation to buy! certainly be effects that escape his notice, an(j yet ke moved by the humor of Falstaff Special Summer Courses: DUNNING SYSTEM for Beginners and, if the composition be truly organic, an(j tjle pathos of Imogen, by the subtle you^joetpa those effects will be vital to the apprecia- questj0nings of Hamlet and the frenzied Public School Music—O. E. Robinson, Director The Demand for Dunning Teachers Cannot FACTS ~that tion of the whole. self-accusations of Othello. Dramatic Art, Expression be Supplied — Why? “Indeed, we have here one of the most ^ ^ listening tQ great mus;c we often •. i: < * N obvious tests of a great work allow ourselves to be carried away by the Children’s Musical Training—Louise Robyn, Director NORMAL CLASSES AS FOLLOWS: «££££* j 2 “L* rsr»t £n; »,»>,« «< >6* ” to”a MRS. CARRE LOUISE DUNNING, Originator,8 W. 40lhSt,New York City. as stagle hearing; but we may spend our lives know what is going to happen, or expect it School for Theatre Organ Playing KATHARINE M. ARNOLD, Arnold School of Music, 93 Midison Street, T.liin, O. Frank VanDusen, Director ALLIE EDWARD BARCUS, 1006 College Are., Ft. Worth, Tor-4314 Viete Terr.ee over Bach’s fugues or Beethoven’s sympho- m a new mood and from a new standpoint. ELIZETTE REED BARLOW, Bos 1244, St. Petersburg, Fie. SHOULD BE IN EVER HOME CATHERINE GERTRUDE BIRD, 658 Collingwood Are., Detroit, Mich. Class Piano Methods (Oxford) GRACE A. BRYANT, 201 10th Are. N., Twin Falls, Idaho TheFamousSimplified and Carefully Edited MRS. JEAN WARREN CARRICK, 160 E. 68th St, Portland. Ore. George Rosey Piano Arrangements Tbhe Honor of Theodore Thomas Chas. J. and Gail M. Haake DORA A. CHASE, Carnegie Hall,New York City, Pouch Gallery,34S Clinton Are., of Popular. Classical Pieces are now Pub- ADDA C. EDDY, 136 W. Sandusky A,e„ Bellefontaine, Ohio, Dec., Wichita, Kana. lished in 5 Volumes. Lectures by Eminent Educators, Recitals by Distinguished Artists BEATRICE S. EIKEL, Kidd-Key College, Sherman, Tea. The memoirs of Theodore Thomas writ- clause which releases the management from IDA GARDNER, 17 E. 6th St., Tulsa, Okla., throughout die t>; Paris, France, Summer. Write for Complete Lists and Prices. GLADYS MARSALIS GLENN, 1217Bow t„ Amarillo, T, Classes, June 3rd, Amarillo, July 22 tenby his wife reveal that the founder of financ.al responsibility in case of extraor- New York the Chicago Symphony Orchestra had a dinary accidents, such as fires, floods and -——, Michigan State Institute of Music, Lansing, Michigan. free scholarships HARRIET BACON MacDONALD, 13434 Detroit Ave., Clereland, 0.; 6010 Belmont Are., Dallas, 1. lense of honor that overrode all legal con- the like, and he could have claimed the re¬ MRS. KATE DELL MARDEN, 61 N. 16th St., Portland, Ore. To talented and deserving students awarded after competitive examinations. MRS. WESLEY PORTER MASON, 302 Mid City Bank Bldg., Chicago, 111. Kill The Hair Root tracts It was at the end of a financially mission of all the salaries and other ex- Josef Lhevinne will award one scholarship for private and two for repertory MRS. LAUD GERMAN PHIPPEN, 3435 Asbury Are., Dallas, Tex.; July 22nd, 1115 Grant St , Denr* successful concert tour with his orchestra penses for the two weeks of enforced idle- ELLIE IRVINGi PRINCE, 4106 Forest Hill Aye’, Richmond Va. Jmu.J^NoI. td e“h Ye«. class lessons. Oscar Saenger will award one scholarship for private lessons VIRGINIA RYAN, 1070 Madison Aye., New York City oday enclosing 3 red stamp3. We teach B< hat the following event took place. ness on this ground. Nor could anyone and five scholarships in Opera Class. Apply for application blanks. STELLA H. SEYMOUR, 1219 Garden St., San Antonio Tea. J. Mahler, 142-A Mahler Park, Providence “As the train bearing the orchestra have blamed him for so doing, in consider¬ GERTRUDE THOMPSON, 508 W. Coal Are., Albuquerque N. Met Normal Classes dur.ni the Yr ISOBEL M. TONE, 626 S.’C,ta!ina St., Los Xngel^cT ed Chicago on the morning of Octo- ation of his own personal lack of financ.al MRS. H ,R. WATKINS, 124 E. 11th St., Oklahoma City, Okla. Superior Dormitory Accommodations. Rates of Tuition Moderate ber », 1871“BTh; ^wilting to tie adv™,W INFORMATION AND BOOKLET UPON REQUEST PIANO JAZZ rCmiTH will be given for summer courses taken, toward Certificates, rapid teutons tor adult beirinnere. 3°SopS Horn ™ already to aha. of this legal technicality amt would not LlttUl 10 Diplomas, Degrees—granted by authority of the State of Illinois. __a" iKiSSSS t wt thev had arrived just in time to ask his company to bear their share of witness Ih^TerriWe conflagraton which so the loss with him but assumed the whole learn jazz piano playing a Vpi Christensen’s wonderful instruction book shows how Summer Session prospectus, regular catalog and Public School Music circular m latest Radio ana Record Style. Wnte for free neadyS wiped Chicago off the map alto- burden of the salaries and expenses of mailed free on application. For detailed information address Permanently Adopted by Foremost Teachers Waterman Piano School, 1836 W. tiams St.. Los Angtles. Cal aether and of course, the concerts which orchestra, soloists, managers, and all other Thomas had expected to give there for two functionaries connected with his large or- ihoma werg canceie(J. ganization just the' same as if the concerts AXEL CHRISTENSEN SCHOOL AMERICAN STANDARD HISTORY OF MUSIC y6“A less ° scrupulous man than Thomas had been given. But to make good this Suite 462. 20 E. Jackson Street, Chicago. III. By JAMES FRANCIS COOKE PRICE, $1.50 ,. w come out of this catastrophe large sum out of his private earnings meant whhout such rdnous results as it brought financal ruin for him and it was many ENG RAVERSAND LITHOGRAPHERS I because in the traveling contracts of years before he was able to recover from CONSERVATORY A FIRST HISTORY OF MUSIC FOR STUDENTS AT ALL AGES PRINT ANYTHING IN MUSIC-BY ANY PROCESS I concert and operatic troupes, there is a the disaster,” so*bMrbb|hthatra“uto areXtcSrmedldw^h‘tery ,d“r * chiId understand every wor WE PRINT FOR INDIVIDUALS illustrations, map of musical Eurooe 400 'vor<*8 “self-pronounced.” 150 excell shed ter. REFERENCE ANY PUBLISHER "A Beethoven symphony is seldom pretty, any more than a cathedral or OF MUSIC gilt stamped. Any teacher may use^t without prevfou?experien« Strong,y 1,00nd in maroon clc a mountain or the sea is pretty. It is an experience, not an entertainment, and at its conclusion we know the thrill of having crossed vast spaces to a 571 KIMBALL HALL Chicago, Illinois K.hs m a** *«i THEODORE PRESSER COMPANY :: PHILADELPHIA, PENN distant goal.”—Deems Taylor. rs always mention THE ETUDE. It identifies you In touch with the higher ideals of art and life. When you write advertisers always mention ETUDE. It Identifies you e In touch with thehigherideaisaf art and life. 0E ETUDE FEBRUARY 1929 Page HI THE ETUDE Page HO FEBRUARY 1929 Master Discs Tftroit conservatory o/music ('Continued from page 102J NEW YORK SCHOOL of MUSIC and ARTS * n’7'|2ed Pre-eminent as a Conservatory of Attainment New York’s Oldest Music School The other work which engaged cfur at- his last appearance there. Remembering Aefcnowl god ^ ^ Students may enter at any time 310 WEST 92nd STREET RALFE LEECH STERNER, Director [(Cincinnati (fonscroatort} °fXUusic Unrivaled" Free Advantage, tjon was the recording of Brahms’ this one cannot help but observe that it was “Fourth Symphony in E Mifior. It is a most poignant and fitting conclusion to Many new and wonderful features planned for the coming season II projected with the spaciousness of a his public career. by this institution Affiliated with the University of Ci Endorred by over 60 years of accomplishment Same celebrated faculty headed by Ralfe Leech Sterner, Arthur Friedheim, Wncert hall in evidence and a flexibility The following discs are recommended Piano, Violin, Voice, every solo and en¬ Paul Stoeving, Frederick Riesberg and other celebrated masters f instrumental delineation which makes to the attention of the discriminating semble instrument, full symphony orches¬ 55 Studios. pegrees. Desirable Hoarding Accommoda Frank Stewart Adams, Director of Motion Picture Organ Department tificates. Diplomas an ofTHeatrE ORGAN PLAYING 0 re reading a pleasure. It is admirably music-lover: Sokoloff’s perfect song-like tra, opera all branches of theory, Dramatic ■ . V... For Catalog and Other Information, Address For seven years organist of Rivoli and Rialto Theatres, New York City Art, Languages, Dancing, Public School .- 5035 Woodward Avenue, Boi 7, Detroit, Mi st’>reted a classical manner. Brahms’ reading of Schubert’s “Unfinished Sym- President JAMES H. BELL, Secretary, Individual Instruction. Entrance at any time. Music (accredited). !t phonies scarcely need any analysis phony” which is the best on discs to date wadays as most of us are familiar with (three Brunswick records Nos. 50150-51- SEVERAL FREE AND PARTIAL FREE SCHOLARSHIPS Ul credits apply t OPEN FOR COMPETITION degrees.egrees. Faculty ccomposed of outstanding and i them They are in truth admired and 52) ; Karl Muck’s magnificent reading of nationally known artists, | ved because, conceived from a supreme the Prelude to “Parsifal,” a true apprecia- Dormitories in School Building. A real home for music students. id other buildings owned and conducted by the Conservatory Ten acre wooded campus. All dormitc 'ntellect, they embody beautiful thoughts tion of the religious mysticism of Wag- Many Free Classes and Lectures. Diplomas and Teacher's Certificates. Public Concert BERTHA BAUR. President and Dir«.~.. BURNET, „ C.. TUTH1LL, General Mana Focal, Piano, Fiolin and all Instr--__ . .1c Schoolc'‘—' Music•" Departme,r ic Art, Drawing For Catalogue and information, address Registrar. Dept. E.. Highland and Burnet A' united with perfect forms. They are in ner’s music (Victor discs Nos. 6861-6862). g, Interior Decoration, Dancing and Lant Detroit Institute of Musical Art themselves absolute music which has been Two life-like piano recordings are avail- Illustrated Catalogue on Request built upon two solid foundational influ- able, Walter Rehberg’s masterful playing ■" M.CH.OAS-sc fossmost SCHOOU or MUSIC eS_those of Bach and Beethoven, of Brahms’ two piano Rhapsodies in B QUfaf lanb JnatitirtE of fl)ustr :is L. York, M. A., Mus. Doc., Charrm ”warJ g Manville, F. A. G. O., Mus. Doc., P, When von Biilow, the famous German Minor and G Minor, Opus 79, Nos. 1 and usic and Dramatic Art conductor, referred to the three Great 2 (Polydor records Nos. 90015-16) and INSTITUTE OF MUSICAL ART PRIVATE LESSONS IN ALL BRANCHES OF MUSIC Student. May Enter at Any Tune. ^^^ctLtToF '84 ARTISTS B PRELUDE PRELUDE mp Piano":' Romance hTlJlF* Kohlmann Piano":' Long^g '.'.'.'.'.'.'.'.'.'.'.'.' . A»“ s Music of the IVaves, by Mathilda Bilbro. (a) Hold Not^Thy Tongue, OGojP^ 5 2 5 2 5 3 1 i (b) Seek Ye the Lord.?Fkg!er If * w 5 Love Divine .. .. ^.Rockwell The Wondrous Cross....Roberts 5 --- 1 } slowl y » 1 2 1 l E (a) Softly Now^ithe^ Light of Day ¥ (b) Eventide .Lambrecht Y F o Love that WihNRJ°rMe Go I I POSTLUDE Letters from Etude Friends %££ ISfno in' D'iai.'C.ULeTa^ C°nCTe„delssohn-MosZkow,ki After the children were all gone the place Christmas—And an “Etude” seemed lonely without their music. But T there was an old violin in the house which they had left behind and she began practicing fc ^o'in'B mino^S on it. In time she taught herself to play. She I was over sixty years old when she started on December fifteen! to learn the violin. Her example ought to (a) Thy Life Wa!™ for Meerwau (a) They Who slek^Throne of be an inspiration to others who love music ¥ not possible for me. I must content myself but who were in their youth denied the oppor¬ Y (M Lead, Knly LighL ::::::Canciark with the warmth of “Old Sol” instead. But tunity to learn. (W WBerwald with an Etude before me, I forget for a Jesse A. Feeble. E while that I am deprived of the comforts and pleasures of home, and enjoy the com¬ I Search Me, Tg™." . .Neidlinger pany of all the fine characters presented |pi- —«*ag therein. POSTLUDE I hope that this year will prove to be most s successful and satisfactory t- s Answers to subscribers. :s.) C. H. Kablson, Qan Ton Tdell ! n*°m 3 ♦ Anyone interested “eSal^a^ ™ ^ * * Think It Over! * 2 3 4 5 To The Etude: 3 4 5 , 2 3 4 5 1 J3U 1 I have a pupil v 1. Johann Sebastian Bach. 3 - 2 3 1 II2 hurt and deforme >y. Since 2. E-sharp. have know ner irom mtancy I persuad 1 luuLiia lO permit me to give the chi 3. Accent is greater stress on piano lessons as a stepping-stone to on some tones than on others. » coming her deformity. 1 gave her proper e 4. Reorganized from an earlier ^ mp ^ 7. * Teachers! ercises both at and away from the piarn 2 pieces requiringrequiring ueiieacydelicacy orof toucttouch. I Philharmonic Society found¬ \ Let us send to you without cost Booklets seen a- marked improvement in 1 duri ed in 1820, the present one two years she has been with r Wl £ and Lists giving information upon the sue piaysplays one cannot see thatti her arm is gave its first concert in the any way different from any other child's Apollo Rooms of New York r-Ff.inu it,.over' parents, and see if vc 2 l MOST EXTENSIVELY USED TEACHING MATERIALS child s handicap cannot be overcome bv hi City, December 7, 1842. g==rT v 5 | t _ ing her study piano. Mae sorin 5. Adelina Patti. Every Teacher will find this information Valuable and Helpful 6. C-sharp minor. i very long wave: comes_ 8,___ Taking Up Music at Sixty 7. Gioacchino Rossini. To the Etude: Just ask us for our “booklets and lists giving information upon the most 8. From Schumann’s Trauinerei. i rTTli u i 2 3 13 9. “Flora; or Hob in the Well,” extensively used teaching materials” and if there are any particular th^eepnblleTarhelTtafT?pekrtnoV1.rm^ 3 3 teaching problems now confronting you do not hesitate to ask for our greatest inspiration I received from t a ballad opera, was given at meeting was from a violin solo by a whi the Courtroom, Charleston, suggestions solving those problems. Always remember that the Theodore haired lady, Mrs. (}. T. Bainbrldge seven nine years old In talking with her a f South Carolina, on February Presser Co. stands ready to give the teacher every possible service. 8, 1735. o -_- =7P /*P after the meeting I learned she h -- fr-—— had^always * 10. In 1838, at Boston, by Lowell fr- We also carry the World's largest stoc\ of music publications Mason. and our direct'bymail service is unequaled leffchaSetM^ and ™ » So, when she had children of her on WATCH FOR THESE TESTS OP YOUR STORE OF KNOWLEDGE, APPEARING IN EACH THEODORE PRESSER CO. ThevThey glMalll ilearnedthem toa playg00d themusical piano, educath and 0 5>°y. 1S a concert violinist. By watching ov ISSUE OP "THE ETUDE MU8IC MAGAZINE." 17124714 Chestnut Street Philadelphia, Pa. their shoulders while they were taking® tin lessons she ii>a,nn,i j.ea(| the note. Copyright 1829 by Theodore Presser Co. ,,,n „„ British Copyright secured Other Music Sections in this issue on pages 81,109, lw THE ETUDE 'nj'me —z - . > * ->= '5 *‘ tHe etude FEBRUARY 1929 Page 158 THE ETUDE Page 152 FEBRUARY 1929 PLAYTIME ‘Direct {Method for Scales and Arpeggios A. LOUIS SCARMOLIN By J. S. Parks R. H. 1-2-3-1-2-3-5 Tempi di marci a A certain lady went to a well-known hand on B and the left hand on D.” letter after (E). Do this with another UQJi| teacher complaining that she was prac¬ When she had finished, he said, “Now, set of letters (E-G). Do these look the L. H. 5-4-2-1-4-2-1 j) „ > 1 ml l HI i * j * J l J1J* LULL) UUL| J*. -) ticing two hours a day on scales and ar¬ taking the starting key for the C scale, same distance apart on the keyboard?” “Here is the fingering for arpeggios Triangle 00000— c- 0 0 0 ■ iU J J -ft—H—r— 0 - L-. t . peggios but could not get correct fingering. where does B (the fourth finger note) The lady shook her head, No, and played in succession: s „ > i 1 > I i 0- JUJi —j t J=Li- -J t - come, in relation to C? Isn’t it a minor pointed out that C and E have two black R. H. 1-3-S -1-2-5-1-3-S Tambourine -ft—r—t— # J *■ - a 0-+— He said, “Madam, give me a few minutes. Li-- ULfi- I can show you how to master these second down? And D is a major second keys and one white between while E and C-E-G-E-G-C-G-C-E > H j i 1 1 i 111 1 j fljl ! J J J_ 1LLL 111 up. Now you have the secret of using the G have one black key and one white be¬ 5-3-1-5-3-1-S-2-1 Sand Block 0 000 k- 0 400n 0 0 0 0—0— scales.” His first question was, “With ft fi *■- ^ ^- fourth finger in these five scales, right tween them. “With regard to the Dominant Seventh J l Lt- your first five scales, C, G, D, A, E, on „ lUj i u * JU-^I-G i f-j s hand and left.” “Very well,” her professor continued, Rattle ft r .. gr^ r & 0 0— t '- -— what notes does the fourth finger come let us begin on C (the dominant of F). S n > 1 j li i J J l 111 J llll j J JJ- III Li-- LLJ t Next she asked, “What about the B, F “we shall call the intervals with three C-E is big; E-G is small; G-B flat is small. Cymbals 0 4 4 0 0 4 0 0 r 0 0—0— LJJ J into use?” sharp and C sharp scales?” between big and those with two between ft ft *- ■ She said, “Wait until I play them.” To form, the diminished seventh all big 1 n l I > J * 1111 J1 jt — LUL JL ■ Li - “Easy! B has two white keys, B and small. Now consider the triad C, E, G. intervals are made small, the ones that are Drum 4 0 0 + 0-0— -0-0——— JX Then she began on the C scale and tried C-E is big. E-G is small. A triad with ft A -0 » ■- -- E. The third finger is used in the two already small being left so.” the fourth finger on B and then on F. the first interval big and the second small black key group on the black key next “This is my advice to you,” the teacher Tempi 3 di marci a After doing this several times she saw it to the upper white key (E in this scale) ; is called major. A triad with two big concluded. “Practice with serious thought y , did not come out even when the fourth and the fourth finger is used in the three intervals is called augmented. A triad A * on these matters. And soon, just as the finger came on F. So at last she said, group on the black key next to the upper with the first interval small and the sec¬ eye is enabled to fly over the words with¬ “B.” In the same way she found the white key (B in this scale). The scales ond one big is called minor. A triad with fourth finger in the left hand came on of F sharp and C sharp come under this the first small and the second small is out pausing to read the separate letters, ■0 f- so will the fingers skim through the scales ) f ^ “D.” “With regard to arpeggios,” he went on, called diminished. The teacher said, “Play each hand sepa¬ “Take a note name (C, for instance) and “Here is my fingering for arpeggios in and arpeggios without hesitation over a rately and slowly four times, the right then skip a letter (D) and name the next every scale; single note.” l 1 llll 1 ru* llll Ji J l J i i J Jiill i| j n j u ium.i i-JULl Accompanying Singers #-r 000-0— -0-0-0-0- i d ^ J 1 1 0 - 'iZZj i— 0 -- jix i LLLU UQLi- By Leslie E. D unkin -ft-rT # 0— i J l l H 1 l f J l J 1 n j 1 J l 71 J i Jit i $ J3J U2J t In accompanying singers there is a dis¬ to give the singer an opportunity to .get The accompanist should follow the ac¬ No two singers or groups of singers are ft1-0, 4 r 4 0 0— - *0001— 0-0—0—0— l 11* ¥ j 1 j 1 ml \ l 11 \lll J l ij Jii i l fj.il U'jL t in to perfection as an accompanist. A few inject their own personalities and thoughts 0 0 *—0— 0 000 0—- 0-0—0-0— -0-0—4—0— As soon as it is time for the singing to should be true to the name—one who “goes into the singing. The accompanist should helps to be remembered will change the along with”—and not try to lead the solo¬ n 1 j U UJt LLUL begin, the musician should soften the play¬ help them to do this. Those parts of the l J* 404 j 0 ■0—rJ t—"- - J ^ J * J i J u -JXt i J..Li- effect of the playing. ing, remembering that the people are more ist. A previous practice is necessary to w-0-0—■- — — song which are difficult to catch should be When beginning, the accompanist should interested in the singing than in the ac¬ do this well. At this practice the musician played a little louder in order to get the strike the opening chord distinctly so that companiment. The perfect accompaniment should give the singer an opportunity to singer on the right track without the pub¬ the singer will be sure to get his tones. directs the attention of the listeners to the show how he wants to sing and what ex¬ 1 1 i -t= This will be followed by a brief prelude singing. pression he would like to give to the piece. lic noticing the difference. 1 Vine cresc. jfctt 1 1 1 -L= THE SCHUBERT BOOK l l f 1 l mn \ J1J \ ill 1 li - lUU LM iJ1L L_L UK. 4 LU Ui-Ji-| By ANGELA DILLER and KATE STEARNS PAGE -1 * * r # 0 0 f - I l J l mil l l $ J ^ j ^ f-J t L KJOT an arrangement for toy instruments, but a ■W-^—4—0-0J — 0 0 4 4 0 J - S—-j collection of piano-pieces with simple parts for mn ij2 1 l l J J l r 0 0 i $ t J ^ J j i - j -LOLL. UiL-i -JLLi llll -0—0 0 0— DRUM, GONG, CYMBALS, ^ t l i-L J - -a TRIANGLE, TAMBOURINE 11*11 $ l tj i i Jl i l l 1*11 *-0 0 j "j l ft i - Ijji j j* J : J J Jil ■W-r 0 0 0— - ~ - t J J First of a fascinating new Series of Rhythmic l l l PI 11 J l i i It i ta - . -tP-*—4J —0J -0— ^ 0-0 ) J J J - 1 J* - J* J Ensemble Band Books for Children, arranged for Piano (to he played by the teacher or an older student) and the orchestral percussion instruments. - _ «i■ y2. a “ Ballet Music from “Rosamunde” - f a-IU,..**,. For Children’s Rhythm Band a ® FOR the cultivation of musical taste, This FIRST RHYTHM-BAND and the development of the sense of BOOK contains: Five Vaises Nobles, Entr’acte from “Rosamunde,” Ballet D„m I • 1 , , , , i j— 1 rhythm and of group consciousness or t, t a.Jr t- ji-L ensemble. Music from “Rosamunde,” Ecossaise, There are pictures showing the way to Minuet, Landler, Scherzo, Marche [ ® 3 aSL. hold the instruments, and instructions Militaire. r-*y '■ pi urn how to play them. The descriptive Conductor's Score and One Set of Six Parts Preface contains many other helpful {Piano, Drum, Gong, Cymbals, Triangle, suggestions. Tambourine). net $3.00 irj$) Any number of children, from five to Extra Separate Piano-Parts.net .50 n n twenty-five or more, can take part. Other Extra Separate Parts.net .25 nsL i-j- First Edition Sold Out Three Weeks After Publication 1 , 1 , J. J-L Next in this Series of Rhythmic Ensemble Band Books (soon to be published) will be the FOLK-TUNE BOOK, for very little children. © Send for Complete Descriptive Illustrated Booklet See other SCHIRMER advertisements on pages 88 and 130 3 3 East 43rd St., G. SCHIRMER, Inc., New York Please mention THE ETUDE when addressing our advertisers THE ETUDE Page m FEBRUARY 1929 2'HE ETUDE FEBRUARY 1929 Page 155 Fiddling for Fun or Playtime Blue Ridge Idyls Sonatina for the Organ World of Music for the Young Violinist Suite for the Pianoforte By James H. Rogers . , „„ , A Method for t e Youngest Beginner By Lily Strickland It is a privilege for a publisher to (Continued from page 79) By Rob Roy Peery The gifts of the writer, poet, painter and announce that a new work by James H. THE RUSSIAN THEATER is being abandon- As the title implies this method is in¬ musician as they take things that come to Rogers is being added to the catalog, ed by esLnisiaWskyl tended to hold the interest of the young their notice and like the diamond cutter, because he is one of the foremost living * ho created the Moscow Art Theater; Alexander uirnil from the very beginning. The first bring out of the rough gem the beautiful American composers. It will be a com- Granovsky, director of the Jewish Art Theater; studies are illustrated with stories in lights that’the average person would not paratively short time before the engravers Vsevolod Meyerhold, of the new rhyme. The finger position for the tones on otherwise realize existed, bring to us many and printers are finished their work, ® Pg/i/r countries where they will have more the G string (second and third fingers beautiful things in literature, drama, art necessary to the issuance of this Sonatina, fr„„,ir,m =nH more satisfactorv enmnensation for close together) is used as a finger pattern and music. Lily Strickland ’ gives us in but prior to its publication orders will be for all the other strings. The book goes these Blue Ridge Idyls piano compositions accepted at 40 cents a copy, postpaid, along delightfully throughout and the which musically tell us of the beautiful. This advance of publication price, how- Plan Now for Summer student accompanied by the teacher is fascinating scenes and interesting char- ever, will be withdrawn when the Sonatina Easter Music acters observed in intimate contact with appears from press and is ready for OPERA IN A TENT, after STRAIGHT LINE MUSIC BUYING Teaching playing little melodies almost before he the traveling circus, is tile 1 Yes, everyone of you choir directors, that far .famed section of the country in delivery. The work is in three movements, Germany. Singers, orchestra, stopping to read this paragraph because As we look about us each Summer and The special introductory price in ad¬ the South known as the Blue Ridge each highly satisfying in its originality. _ .... its heading brings the realization that see the enthusiastic teachers who have vance of publication is 40 cents per copy, Country. These Idyls are most delightful The entire Sonatina is written in true wagons drawn by traction engines. in theirr. descriptive, ... 3 and■ . melodic, qualities6,.,. „„„„„organ style, being a.. most /..dituhlocreditable mn- are to be adaptable for railway use, i early thought should be given to Easter conducted Summer Classes that have had postpaid. :arry all the parapherna music as Easter comes along quickly on such success as to be highly gratifying, and will take well with recital audiences tribution to organ literature, as well as :o be erected in the the calendar this year, will do well to we cannot help but feel that these teachers or with pupils studying them in the upper American musical composition. We highly take immediate action toward the secur- ^ come from those who might be set apart A New Piano Album for intermediate grades. recommend this to all organists and to all as true pedagogs. The special introductory price in ad- organ teachers seeking suitable numbers Young Players for serious students. There is an economic side that is highly 5 of publication 'is 60 cents. We have on one of these pages notice ..^7«=>HE shortest distance between two points is a straight line. From time to time it has been our attractive to the teacher who holds Sum¬ custom to issue new albums printed from of the new cantata “Life Eternal,” by ( <") Thousands of teachers have found this Euclidian axiom a huge mer Classes instead of accepting the Light Opera Production How to Master the Violin Norwood Dale, that we are issuing and saver of time and money in buying music. This applies particu¬ the special large size plates. It has been enforced idleness, but the truest success By Frederick E. Hahn some of the most recent anthem publica¬ larly to teachers living where they do not have an adequate music store some time since we have published an For School and Community and the greatest pleasure enjoyed by the In this volume, Mr. Frederick E. Hahn tions for Easter from which a selection available. , , ,, , album made up in this manner and as By Gwynne Burrows one who views the calling of a teacher; there is an abundance of material on hand has produced aa work’ that we ’believe will” might be made are: Some 62,000,000 people in the United States are so located that they Great is the exaltation of all partici- take its place among the important peda- ••mactfu tutti t Christ, the Lord, is Risen Today, by cannot reach a great musical establishment such as that of the Theodore properly, is found in the benefits others we are now engaged on a new collection gain through development in the art of this type. The pieces will be exclusive¬ pants in an amateur light opera produc- gogical works In all violin literature! st£ics wkhi tora^l^f and tower imported H. P. Hopkins. Price, 15 cents. Presser Co. without traveling scores of miles. To people in this group tion when the curtain has gone down on Written by one of the most successful of to be under construction on Riverside Drive, at Hymn of Gladness, by R. M. Stults. our service has proven invaluable. Great as is the good done by education ly in the first and second grades, nothing a tremendously successful performance. American violin teachers, this book places 103rd Street, New York City, for the housing Price, 12 cents. The straight line from publisher to purchaser has been made far shorter in general, music undoubtedly surpasses harder. All of the best and most popular Behind.all of the fine work and sincere before the pupil and teacher a wealth of contemporary writers will be represented Day of Resurrection, by E. A. Barrell, in these days of telegraph and air mail. Rush orders are often on their all other branches in possible benefits to co-operation of everybody in the pro- practical knowledge gained through years ballet, drama and lectures), the Roerich Museum, Jr. Price, 12 cents. way back to you five minutes after their receipt at 1712 Chestnut Street. humanity. It most closely approaches the and there will be a very large number duction there is usually the guiding hand of experience both as a concert soloist the Corona.Mundi (International Art Center), The Lord Now Victorious, arr. from Once you have*tried the Straight Line method of music buying as developed spiritual realm, and every music teacher of pieces. The special introductory price in ad¬ of one who has labored hard, figuring out and as a teacher. The book is in no sense ^°fe?ence°nrooms 7nd* muskand art "studios Mascagni by Philip Greely. Price, 20 cents. by the Theodore Presser Co. you will be surprised with its great conveni¬ should feel it not only an honor, but a all the details of staging and production an instruction book. It is much more, and apartments. ’ All of these are for mixed voices. ence and its money-saving advantages. Remember, the huge staff of duty, to be equipped to bring young and vance of publication is 35 cents, postpaid. and who has spent considerable time and and wi]l prove to be a valuable aid both Anyone interested in a substantial list musical experts, the immense stock and the great number of years of old under the influence of music. effort in leading the performers to the to the pupil and teacher. Using the prin- ’3 of Easter anthems, Easter solos, Easter specializing in “sales by mail” is not to be found combined in any other Instead of sitting back and letting music Easy Compositions for the perfection witnessed by the audience. ciples as expounded by that master tech- COMPETITIONS cantatas, Easter services and organ num¬ musical supply house in the world. students round about lose musical attain¬ Development of Technic Any individual who is likely to be called nicjan, R. Kreutzer, -the author proceeds THE HORATIO PARKER FELLOWSHIP bers suitable for Easter, may have such If you are in a great hurry telegraph “Send Music by Air Mail.” upon at any time in the future to under- to gjve valUable hints on the practical with total allowances of two thousand dollars, for a list for the asking. ments through Summer idleness, the teacher should endeavor to arrange music and Tonality take the responsibilities for the success of application of these principles in master- the study of Composition at the American Academy classes that will be helpful to their further For the Pianoforte “-"- ^'-**v****“**'-'- " “ -“‘Mer1 — mgins- theliic uuncuiucsdifficulties iuin »uurcsome uiof the oiauuuiustandard positions must ¥beal filed” °pe noi” hanpe AprilUtion 1, 1928.Com- Spring Entertainment investment to put money in a copy of this works of violin literature. Judging by Full particulars may be progress, in addition to arranging other By N. Louise Weight idemy in Rome, : Material book. It covers the many points all the tbe number of orders received for this -c **•- *—;— Advance of Publication Offers—February, 1929 classes to direct to music those of kinder¬ This is another one of Miss Wright’s way from the selection of the work to its work at the special price In advance of lew York City. A radio announcer in the United States garten and school ages who have sufficient very attractive volumes for young players. financing, publicity, rehearsing, directing publication of one dollar per copy, post- Paragraphs on These Forthcoming Publications will be found under These Notes. can tell his story to millions of people time in Summer months because of release It is a common custom in most easy and production. Even those wishing to be paid> violinists are quick to sense the THE PRIZE OF ONE THOUSAND DOL¬ within a radius of several thousand miles, These Works are in the course of Preparation and Ordered Copies will be from the routine of school work. volumes to remain in the easiest keys, LARS, offered by Alfred Seligsberg, through the delivered when ready. successful performers in amateur light value of such a volume, because the same language is understood There are special Summer piano courses but in this book the very pretty pieces opera productions would do well to be Society of the Friends of Music, for a sacred or by all. In Europe the announcer would Algerian Dances—Piano—R. S. Stouc'hton.60c Necessary Jingles for the Piano—Blanche that can be started with such a fine venture into more remote keys without fully acquainted with this book. gIX STUDY PlECES Blue Ridge Idyls—Piano—Lily Strickland.60c Fox Steenman . tfo/.'/s “gaii* fcompItitK)nthtm0Novem- have to use a half dozen or more languages instruction guide as “Music Play for becoming difficult to play. In this way The special introductory price in ad- Foa THE Left Hand Alone ber 1, 1929. Particulars may be had froni in order to be sure that everyone within Book of Trios for Piano, Violin and Cello.75c New Piano Album for Young Players. .. Classic and Modern Band and Orchestra Our Little American Cousins—Lallj Every Day.” Then, also for the young, technic and tonality may be developed vance of publication is 60 cents per copy, Richard Copley, 10 East 43rd Street, New York a radius of a thousand miles fully under¬ fascinating classes in history and musical hand in hand. postpaid/ By Fresco Berger stood each announcement. Pirate’s Umbrella, The—O; The special introductory price in ad¬ It is a great pleasure to commend these R. R. Forman. biography can be arranged with such aids When we go to speak of Spring enter¬ vance of publication is 25 cents per copy, Turoun n A xTr-uc bijou Hfntrv VTTT left hand pieces to the attention of teach- IN PRIZES are offered to American tainment material to readers of The Requiem Mass for Two-Pi as Cooke’s “Young Folks’ Picture History 1 HREE JJANCES FROM lTENRY V ill ers and st£dents The carefui practice of $25,000 will be given for the best ...c.H0.edsTT35 of Music” and the booklets in the series postpaid. ’XfnrSa_- fc-oi within the playing scope of Etude, we realize that we have more than ), The—Musical Play —Mathilde For Piano Solo these intermediate grade numbers will full symphony orchestra: $10,000 and $5,000 one audience to which to talk. There is the known as “Child’s Own Book of Great By Edw. German result in a considerable strengthening and will be the best and second best com- Easy Compositions fl- - -- Musicians”, by Thomas Tapper. le playing scope of the Ameri- great group of Music Supervisors who need Technic and Tonality—Piano—Wright..25< dy Pieces for the Left Hand Algerian Dances -Berger .25 Attention need not be focused entirely The Three Dances from Henry VIII development of the left hand and the P< ’ choruses, cantatas, musical plays and Fiddlin’ fur Fun.—Rob Roy Peery.40< Suite for the Pianoforte navehave aiiameuattained great pupmanty.popularity. Written fpieces--~- — -w ,»ne’1 wifWwritten that the musical §&- ^pioATcoZlsFcloSs »- other material for the Spring exhibitions How TO Master the Violin—Frederick E. -James H. -Rogers.4C upon the little tots, since harmony and October 29, 1929. to demonstrate accomplishments in the Hahn .$1.0< composition classes are easily handled By R. S. Stoughton m rte Victor Talk- Lehrer’s Ensemble Method, Viola, Cello hS^IH developed.6 This boTwlll'soon^be read/ Full ”* Jersey. fields of public education. Then, there and Bass Parts—Will H. Bryant—each.35c with text books as interesting as Orem’s No matter how practical we Americans is the host of piano teachers wanting piano Life Eternal—Easter Cantata—Norwood ^ ■Children’s Cantata—Carl “Harmony Book for Beginners”, and may appear or how domesticated we may .30c “Theory and Composition of Music” by seem to be, our innermost selves are be¬ solo and piano ensemble numbers for the Light Oi a Production—Gwi 5.60c Tunes for Lit e Folks—M. L. Preston. . .35c Spring Pupils’ Recitals, also we must not the same author. trayed as having somewhat of the dreamer moving picture houses with their very postpaid. wa/received with great acclaim. forget all the active music workers who Then, of general interest to all music and the roamer in the way we enjoy being excellent orchestras of symphonic propor- <(J.___j* promote entertainments, or the production lovers are special Summer classes in the carried off by music having an atmosphere tions. Each of the three dances—The STORIES TO SlNG TO . ... . - , , of plays, for the benefit of a community, Life Eternal Requiem Mass for Two history of music, for which Cooke’s “Stand¬ that breathes of peoples and customs far Morris Dance—The Shepherd’s Dance— N Easy, Effective and Interesting rjAonsd^i^derajion of’ Music8 cfubsf for I The Torch Dance—is highly characteristic Method of Developing The Sense ™ ”— x— —~— ~:”- choral organization, church or some other Cantata for Easter Part Chorus ard History of Music” is extremely removed from those with which we daily -1 for solo worthy purpose. popular. mingle. This suite, “Algerian Dances,” and may be used to good advantage as a Pitch in Young Children chestra, to take fifteen to forty- By Norwood Dale (Soprano and Alto or Tenor performance. Particulars malay - vbe- had fro: Space would not permit telling here of This may seem like an early suggestion furnishes unique and fascinating novelties concert or drawing room number or for By Gladts Taylor T. C. Donovan, 1633 Shady all the things we have to offer these We have practically ready for immediate and Bass) to give thought to Summer classes, but for the pianist’s recital program and at various groups, but we can assure all that delivery a fine new Easter Cantata. This By Geremia M. Fabrizi prudent teachers, particularly those who the same time supplies musical material Cl A^ew^dition of these immensely pop- TJ'is, n’)™1 little. wopk 1S a’nJ?^_ we have a wide variety of things to offer may be regarded as a companion number There is a real dearth of easy and never heretofore have conducted classes, of great value to those in the terpsichor- Clafi ued/lAs one of the very few works for THE ELIZABETH SPRAGUE COOLIDGE each, and our experts will be glad to make to the highly successful Christmas Canta¬ effective Requiem Masses for general use. will do well to get acquainted with helpful ean and motion picture accompanying suggestions for any specified needs. If ta by the same composer which was pub¬ The new one which we have'now in prep¬ material at this time and lay plans for fields. These numbers were originally desired, our Catalog Department will be lished during the past season. It is aration should meet with instant success. insuring the success of special Summer created for oriental dance scenes featured glad to send classified catalogs and folders a compact, well written and very melodi¬ In the first place it will have the endorse¬ by Ruth St. Denis. It is also easy to h:cents a copy, postpaid. p"b,,“*ion 40 great»1-4 aid in establishing definite pitch and sprize sis/s of $500 is offered for a suite or similarlyjye listing and describing choruses, cantatas, ous work with the usual solo parts, quartet ment of the Society of Saint Gregory of measure these piano numbers as being this is the general idea of the book. extended composition for two pianos (two play- musical plays, operettas for juveniles, Katydid ers), open o~ * and chorus numbers. The organ part America and it is exactly in accordance extremely useful with pupils in about the To A The special introductory price in ad¬ f the United States. competition closes musical recitations and pianologs, piano throughout is effective, interesting, not with all of the recent rulings regarding Our Little American Cousins fourth and fifth grades. Cantata for Children’s Chorus vance of publication is 20 cents per copy, __pril 15, 1929. Partici from the Chief of ensemble music, etc., etc. the Music Division, Lit >f Congress, Wash- difficult to play but affording good suj)- liturgical music. Six Characteristic Pieces For the The special introductory price in ad¬ By Carl Busch postpaid. Above all do not delay planning early port to the voice. The chorus work is vance of publication is 60 cents per copy, ington, D. C. This work is written so its two parts Many know the poem by Oliver Wendell to insure complete success in any Spring very smoothly written and telling through¬ may be sung either soprano and alto or Pianoforte, with W ords postpaid. entertainment undertaking. out. The entire cantata is not difficult of tenor and bass. The parts flow along , By Lalla Ryckoff Holmes, used as the text for this new Tunes for Little Folks splendid cantata for children’s voices by rehearsal and it will prove a popular very beautifully in measured music but For the Pianoforte This is an interesting set of six re¬ Book of Trios Carl Busch. We need only point to the Necessary Jingles number for any special Easter service. there is an occasional touch of the Greg¬ creation pieces for young players. Those By M. L. Preston _— --— —— — — The special introductory price on a orian all correctly set. For Piano, Violin and Cello success of other Carl Busch works in this For the Pianoforte who have completed first grade work and field, such as Bobolinks, to give ”—- “** This little book is now on the press. conte™t°is international,5 wTll expire November ’ lgle copy for this month only is 35 cents, The special introductory price in ad¬ are about ready for the second grade can This will prove an ideal collection for By Blanche Fox Steenman of t’h exce lence ani possibility of this It will be ready very vance of publication is 35 cents, postpaid. take up this book to very good advantage. players of ensemble music. The numbers , rr„ „ 7^tunes start out from miuuic v,, »ui. ----- While this is primarily a technical work The pieces are of unconventional type and contained will be such as are not found ”7t rtrflten for two-part chorus and through the five finger positions first, and 1 *■ it is nevertheless gotten up in a manner in characteristic vein. Their titles are as in other books and while not difficult none It IS written ' then a llttle further. Musical knowl- which will be very appealing to young follows: Indian Rover Joe; Eskimo Tom; of them are trifling. All are exceedingly whether it be a small group ot a single g established bv easy stages, class or an amalgamation of many classes edge is thus established by easy stages Magazine Catalog students, so that the working out of the Dinah, in Dixie; In Hawaii; Si’s Barn well arranged and they are by standard make a great mass chorus of several The pieces are all highly melodious and necessary technical features becomes al¬ He is great who confers the most benefits. Dance; Tango Cubana. The composer, and comtemporary writers. No better hundred Children ““voic^s^’this cantata the book will prove a valuable supplement The new magazine catalog is now ready, most a matter of play. Each of the Lalla Ryckoff, is new to our catalog but introduction could be found for the larger will be found highly desirable for showing to JPT elementary course. showing the best magazines published. Jingles is accompanied by appropriate —Ralph Waldo Emerson we feel sure that her work will be much trios by the great classic and modern Attractive combinations are made with text. appreciated. writers. £ iTS ™ fS'iSta “MS'VVm The Etude Music Magazine where any The special introductory price in ad¬ The special introductory price in ad¬ The special introductory price in ad¬ ts&fe lover of good literature can make a de¬ vance of publication is 30 cents postpaid. vance of publication is 30 cents, postpaid. vance of publication is 75 cents per copy, ^»iP"“',4SrP“i*‘PrlCe PO’ P“?CraMnued.nWe .56) cided saving. A post card will bring copy. postpaid. Advertisement These Splendid Articles May Easily Be Yours Absolutely Without Cost! Just Secure "Hew Subscriptions for The Etude From Tour Friends and Send the Orders to Us Make Your Spare Time Profitable! Begin Today! BRASS VASE TOAST SET CANDLESTICKS Useful and most attractive this nickel-Dlated TWOm» NEW^u.'vte SUBSCRIPTIONS. &*x£s $2.00 A YEAR Piano teacheks now HAVE A CHEAT NEW OMNIKTHNITY" A s a result of the qrowth of Class Piano Instruction, in the Public Schools, the, future of the American Piano Teacher is perhaps briqhter than it ever has been Co-operation by Piano Teachers The spread of the idea of Class Piano instruction in the public schools depends to a large degree upon the support that is given by piano teachers. The piano class idea was not originally designed for the public schools. Progressive piano teachers today are New Piano Idea forming their own piano classes. It has been their experience that in piano classes the chil¬ HE spread of this new idea in the music education of T dren whose exceptional talent merits more advanced individ¬ children is of great significance to piano teachers. Educa¬ ual study, are more easily recognized and, in addition, their tors have recognized the value of Class Piano training to the class training prepares them for private study in such a child, and are making it an important part of public school manner as to make their progress exceedingly rapid. education. For this reason, it is certain that piano teachers are about to enter upon a new era of prosperity—particularly for those who are preparing themselves to take advantage Investigate — Then Act of the opportunities thus presented. We urge the piano teachers of America to investigate the pos¬ Commercial and Artistic Aspects sibilities contained in the group method of instruction for This new movement has two aspects of interest to the piano beginners. Without question, it has many distinct advantages teacher — one, commercial—the other, artistic. From the over the individual method, both for the child and the teacher. standpoint of greater business there is no question that Class There is a great deal of helpful information for piano teachers Piano Instruction in the public schools will stimulate interest on this important subject. We urge you particularly to send in playing the piano. More important, perhaps, is the possi¬ for a booklet which contains complete details of the aims bility of developing piano talent that might and methods of operation of Group Piano otherwise remain undiscovered. An embryo Instruction as it is given in the public schools concert pianist discovered in piano classes, -"GUIDE FOR CONDUCTING PIANO must necessarily study with a private CLASSES IN THE SCHOOLS.” teacher in order to become a finished artist. This publication was prepared by a Special The piano teacher residing where the Piano Committee of the Music Supervisors public schools offer piano instruction to National Conference for the use of public children, is indeed fortunate. She has schools. But it also contains much informa¬ found that piano classes in the schools tion of benefit to the private teacher. Send once begun have a decided tendency not for it today to the National B u reau for the Ad- only to increase business, but also to dis¬ van cement of Music, 45 West 45th Street, New cover talented children. York City. It can be obtained without cost. NATIONAL PIANO MANUFACTURERS ASSOCIATION, 247 PARK AVENUE, NEJV YORI -—-T