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

6-1-1923 Volume 41, Number 06 (June 1923) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 41, Number 06 (June 1923)." , (1923). https://digitalcommons.gardner-webb.edu/etude/702

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Price 25 t.ents JUlMlL 1923 $2.00 a Yea Charles M. Schwab, Dr. Frank Crane, Hon. J. M. Davis, Lt. J. P. Sousa, Senator James Couzens o “Music and Labor,” “All About Wedding Music,” “The Perfect Piano Hand,” Eighteen Pieces of New Musi PRESSER’S MUSICAL MAGAZINE is paid up, which

im l subscriptions. ; should be addressed tc Summer Suggestions of the sheet only. Con- manuscripts or photographs eithttf wl 5r in transit. Unavailable manuscript L MONTHLY JOURNAL FOR THE MUSICIAN, For Teachers, Students and Music Lovers MUSIC STUDENT, AND ALL MUSIC LOVERS. Edited by James Francis Cooke ADVERTISING RATES w Devoting a few leisure hours during vacation to reading sotne helpful booh on n Assistant Editor, Edward Ellsworth Hipsher fol. XLI. No. 6 _JUNE, 19 ' Entered as second-class matter Jan c P. O. at entertaining and instructive musical literature for music lovers Philadelphia, Pa., under the j jf March 3, 1879. Copyright, 1922, by Theodore Presser Ct Great Singers on the „ , _ . r„„. Secrets of the Success of Great Art of Singing y, erinctinnal conferences with renowned Musicians The World of Music

ie article by Clara Clemens (Mrs. Ossip fabrilowitseh), in the May Etude. Mr. and ring stations, Mrs. Gabriiowitsch v 1 Publishers. The Stvift & Co in puny Male Chorus, i 1900, instead of 1 eliers’ Asso- I). A. C’lippinger, conductor, closed its sixth ■, those familiar « on these subjects. realized the absurdity of the American composer tal convention season by a concert in Orchestra Hall, Chi- womu‘ 'nave e earncarried Mr. Gabrilo- a Distinguished Service tt of April. cago, with Edward Johnson as guest artist, ni hers is the The chief choral item was Dudley Buck’s can-

aae Life Stories of Great C H - By R. A. S Music Study in Germany By Amy Fay gs themSelVeS W,t,, Mistakes and Disputed Points in M

Reminiscences of a Musician’s Vacation Abroad By Louis C. Elson

Old Fogy, His A ggg||s««a appifS®By J 3 iS-ISi?— Descriptive Analyses of Musical pyrri l F.NT ALBUMS OF PIANO MUSIC Piano Works By Elise F _ I Method By Edward^ Baxter Perj^ f Material for Summer CELEBRATED s, $2.50 FAMOUS Illustr Soundi Price, $1.50 thrVo?te

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OF REASONABLY PRICED ALBUMS POPULAR SALON Biography INTERMEDIATE SI popular PIANO PLAYERS’ POPULAR HOME STANDARD PARLI—- STANDARD AMERICAN ALI STANDARD BRILLIANT Aasst 8 Well-known Piano Solos; STANDARD ADVANCED ALBUM. STANDARD STUDENTS' CLASSIC MKf” irr“" IfK wS, and How to Play Them Price, 75c. YOUNG PLAYERS’ ALBUM. 70 P MUSIC LOVERS’ DUET BOOK 2 The Music Life; and How to OPERATIC FOUR HAND ALBUM. STANDARD DUET PLAYERS’ ALE Succeed in It THEODORE PRESSER CO. ESTABLISHED 1883 mmf Music Publishers and Dealers. 1710-1712-1714 Chestnut St., Phila., Pa. JUNE 1923 Page 363 . THE ETUDE

AMERICA’S MOST OUTSTANDING PIANO WORK The Original of all the Graded Courses of Piano Studies Earn a Teacher’s Diploma or STANDARD Bachelors Degree in Music GRADED COURSE OF STUDIES In Your Spare Time at Home IN TEN GRADES Compiled by W. S. B. MATHEWS Why don’t you, too, get new ideas to use in your teaching, Price, $1.00 Each Grade make your work a real pleasure and increase your income at the same time? One Hundred Thousand Students Annually are Now Using This Work with Splendid You can use your originality, adapt the lessons of a great artist to your teaching and gain independence. Results. Adopted as a Part of the Curriculum of the Standard Conservatories and Institutions of Learning Throughout the Whole Country Twentieth Anniversary now being celebrated! This is the first and best compilation of studies culled become a household musical word in America, it is but from the works of all of the world’s greatest writers and natural that many other courses, series, etc., should spring Founded in' 1903 and advertisers in the Etude columns since 1908. pedagogues, all selected with extreme care and brought to¬ up from time to time; but in spite of all this, The Standard To Etude readers we have offered sample lessons from our courses—many are using them with success. Graded Course continues to grow both in use and in popu¬ gether in logical and progressive order. Courses endorsed by. the world s greatest musicians such as. larity. No imitation ever equals or supplants the original. This is a work of to-day, not of the past; since, in addi¬ /. J. Paderewski, eminent virtuoso Theodore Leschetizky, Paderewski’s great teacher. Emil Sauer, of the Vienna Conservatory. Although this course is complete in itself, from the tion to the imperishable things of the past, the gems of Walter Damrosch, eminent conductor of the Alexander Guilmant, the world-famous very beginning up to artistic perfection, it may be used also modern thought and inspiration are being added contin¬ New York Symphony Orchestra. French Orgamst. as the basis for the most exhaustive study of piano music; ually, each volume being enlarged for that purpose. The Moritz Moskowski, famous Parisian composer and teacher. since each volume contains carefully prepared lists and active advice and cooperation of many of the world’s great¬ through every.phase of the study of Harmony; Protheroe gives his authoritative directions for expanding and supplementing the work of its No longer is it necessary for the ambitious musical student to incur the expense instruction in Choral Conducting; Frances E. Clark gives the most practical est teachers and players have been, and are being, enlisted respective grade. of leaving home to study at an expensive resident conservatory. By the methods in Public School Music; Frederick J. Bacon, the great ban joist; Samuel in this compilation. University Extension System the masters’ methods are taught in the home oy Siegel, world-renowned mandolinist, and William Foden, famous guitarist, give The Standard Graded Course may well be used as the easily understood lessons sent by mail. their methods for mastering these instruments. It has been said that “Imitation is the sincerest form back-bone of any legitimate method or system of piano The Piano student has the marvelous teacher Sherwood to demonstrate just how More than 200,000 ambitious men and women have gained proficiency in these of flattery.'’ Hence, The Standard Graded Course having he secured his incomparable effects. The Cornetist studies with the master various branches of music by the University Extension Method. And to you we instruction. Weldon; Crampton trains the voice of the singer; Heft shows how to interpret offer the same advantages which were given to them. the soul of music on the Violin; Rosenbecker and Protheroe take the pupil WHAT EACH GRADE DOES GRADE ONE. After learning no GRADE FIVE. The Trill is featured it Send Coupon for Special Limited work. But, best of all. an interesting ad vance is made into polyphonic playing. Bach Handel, Mendelssohn, Schumann, Sain 20th Anniversary Offer to Etude Readers .1 for first grade GRADE EIGHT. Serious technical work Working blindly, Tgroping in the dark, struggling against trained thinkers, is GRADE SEVEN. Develops velocity both classic and modern, leading towards pro’ Be progressive! Many people want success but don’t know hoiv to get it. placing a tremendous handicap upon the person who wants to succeed, but who GRADE TWO. ficiency in concert playing including etudes Most people seeking success are sincere enough in their desires but they lacks definite, certain knowledge of the fundamentals that underlie all music. by Jadassohn, Schytte, Beringer, Grondahl don’t know the way. Henselt, Raff, Moszkowski, together with a THESE VOLUMES and the supplementary material listed in each fugue by Bach. 1 THREE. Enlarges volume for every educational contingency, can be obtained from any music store anywhere for the regular list price and subject to the best professional GRADE NINE. Introducing the Bravurt style, With composers from Bach to Rach Opportunity Can Either UNIVERSITY EXTENSION CONSERVATORY, Dept. B16 discounts, or any or all of the ten volumes or the supplementary material iff represented, and including concer Langley Avenue and 41st Street, Chicago, Illinois. will be sent for examination and comparison to any interested teacher by Seiss, Seeling, Leschetitsky, Hen subject to return, with no cost but that of postage. The volumes are well d Godard. Make or Destroy Please send me catalog, sample lessons and full information regard¬ printed on good paper, strongly and durably bound for hard usage but sold ing course I have marked with an X below. 1 are Bach, Handc at our usual large professional sheet music discount. GRADE TEN. Some day, you say to yourself, your opportunity will come. And it will. 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Page 364 JUNE 1923 THE ETUDE —Are You Planning

A Summer Study Class?^ Announcing -— Many ambitious students will gladly devote a portion of their vacation period to the improvement of their musical education. TINDALE CABINETS These excellent text books enable the teach¬ equipped with the THE ETUDE VOL. XLI, No. 6 JUNE, 1923 Single Copies 25 Cents er to furnish a pleasant yet comprehensive NEW AND IMPROVED TINDALE TRAY course of study in a limited time. Nevertheless Tunes cf “Tut’s” Time for Shed Music and Phonograph Records What kind of requiem music sounded over the incandescent THE BOOK USED MOST FREQUENTLY IN THE STUDY The Paris Conservatoire refused admission to Liszt; never¬ theless, Liszt became just a little bigger than ninety-nine one- desert when they solemnly carried the body of great King Tut- OF MUSICAL HISTORY IS THE Ankh-Amen to his gorgeous tomb, accompanied by millions in hundredths of the graduates of the Paris Conservatoire. STANDARD HISTORY OF MUSIC The Milan Conservatorio refused admission to Verdi; never¬ funeral treasure. Alas, not even the Sphinx can answer this theless, he became the greatest of Italian masters of composition. riddle. That they did have music upon every manner of occa¬ A Text Book for Students of All Ages George Henschel told David Bispham that success as a sion thousands of hieroglyphic histories record. Musical in¬ By JAMES FRANCIS COOKE singer was impossible; nevertheless, David Bispham became the struments have frequently been found in the tombs of Egyptian Price, $1.50 CAPACITY monarchs. But what they played and what was sung to them (Each Tray) most distinguished of all American singers. A complete, concise, understandable and authoritative series Garcia told Jenny Lind that her voice was almost hopeless; we shall never know. of lessons in the development of musical art, handsomely 30 pieces of Here however is a record of one of the songs which may illustrated throughout. The work is so simple that any intelli- nevertheless, Jenny Lind became one of the greatest of prima be retranslated into words but not into tones. It was sent to gent musical child of eight or ten should understand every Sheet Music donnas. word; so fascinating that older students are delighted with it. Everything is Sir Arthur Sullivan refused to admit Melba even to the us by the daughter of the late Eugene Thayer, Mus. Doc., for clearly explained as the work goes along. American music, modern music Large enough for many years a contributor to The Etude. Dr. Thayer was and modern composers are adequately treated. chorus of tha Savoy Light Opera Company; nevertheless, Melba one of the most distinguished of American organists and writers 12 inch Records was the, most famous soprano of her time. THE MOST SUCCESSFUL WORK FOR TEACHING IN La Scala hooted and hissed when “Madame Butterfly” was upon musical subjects. His degree of Doctor of Music came “A Place for Every Piece; Every Piece in its Place from Oxford University. He was a pupil of Haupt, Wieprecht ELEMENTARY HARMONY CLASSES first produced; nevertheless,- and others in Germany, and made extensive concert tours. He JUST FIND IT HERE- Wc could fill the rest of this page with this editorial. The Harmony Book for Beginners truly great encounter failure with redoubled energy and was an editor of great ability and made extensive notes upon Brief, Simple, Vital and Practical triumph in spite of it. Most of the worth-while things of the musical historical matters. The following is from his note¬ By PRESTON WARE OREM world have been done, nevertheless. If Caruso had been con¬ book. tent with his first performances he would have sunk into oblivion. Egyptian Song Price, $1.25 At first he came very near being a “frost.” He became great, ‘ (Read from right to left) This book affords a thorough preparation for more ad¬ nevertheless. vanced study by giving the main essentials of the subject, scales, intervals, common chords and the dominant seventh One way to find out what kind of stuff really is in you is chord, in a simple, understandable and interesting manner ______to note whether discouragement, . hardships, rebuffs, insults, Rules, footnotes and cross references are dispensed with, everything being brickbats, serve to intensify your powers. If they do and you inserted in its logical place m the body of the text. Blank spaces are included right in the book, for writing the exercises given. have the talent, nothing in the wide world can stop you. You THEN GET IT HERE are bound to triumph, NEVERTHELESS. For More Advanced Students A New Work for Juvenile Classes A Musical Historical Museum A SYSTEM OF HARMONY MUSICAL COMPOSITION TINDALE MUSIC FILING CABINETS The city of Cologne possesses a little known musical histori¬ FOR TEACHER AND PUPIL FOR BEGINNERS cal museum with an extremely valuable collection of ancient in¬ By JOHN A. BROEKHOVEN By ANNA HEUERMANN HAMILTON struments and others of more modern manufacture. There are Price, $1.00 Price, $1.00 manuscripts of all the great modern masters and also some twen¬ This book has been used with much suc¬ ye|fs^t most noteworthy offering in recent cess in conservatory classes. It is a com- ty thousand autographed letters and records, affording price¬ prehensive work in which the subject is reated in a scholarly manher and contains less research archives for the historian and the antiquarian. calculated to further the n This museum was founded by a Merchant of Cologne in 1849 ^Hut1 / and has been expanding continually. *»»* jiL We have in America many excellent collections located in Over a Million Pupils Have Studied With These Piano Methods New York, Detroit, New Haven, Philadelphia and in other Beginner’s Book Standard Graded Course cities, but no National museum devoted to Music. Our own (Translation) musical history is developing so rapidly that we can hardly School of the Pianoforte, Vol. 1 of Studies Thrash ye for yourselves. In Ten Grades 10 Volumes keep pace with it. Important records are easily dissipated and By THEODORE PRESSER Thrash yc for yourselves. By W. S. B. MATHEWS destroyed. Let us hope that America will realize the need for Price, $1.00 Thrash ye for yourselves, O Oxen. Price, $1.00 this before the significant indications of our national musical Used ctensively that Thrash ye for yourselves. instructor. It takes the growth are too widely scattered. oughly delightfr' Thrash yc for yourselves. tudy up to, l When Grieg Smiles Measures of grain for yourselves. Measures of grain for your masters. There is a note in Grieg’s life which has always been an Student’s Book Player’s Book inspiration to us. Grieg never was a ponderous, deep thinker. The picture writing is fairly clear even in this day. We School of the Pianoforte, Vol 2. School of the Pianoforte, Vol. 3 Above all he was an emotional being, with a high sense of the can see the oxen, the measures with the grain spilling out, the By THEODORE PRESSER By THEODORE PRESSER fantastic. Even his friend, Gerhard-Schjelderup, admits this. thrashers, quite as though it were written today. There very STYLE E-S60 STYLE O—$50 Price, $1.00 Price, $1.00 But at the same time we know that he was a great sufferer. His probably was no way of writing the tunes down; and if there akes up the subject where the Beginner's Made in a large variety of Styles and Sizes physical complaints gave him great pain. His strength toward had been, as in the case of Greek scales, there would be no : stops. In addition to the scales various in P^frogress|ve ^order^^tr11 tl^'^ arra”^ his later years was so limited that he could give only a little Rosetta stone to help us tell how they were sung. _0gany or Oak Prices $35 to $200 time to creative work. Yet this beautiful soul rarely if ever complained. Indeed, he wove a veil of good humor and fun A Timely Suggestion Enthusiasm is contagious—contagious as the mumps. Teachers may obtain any of these books for examination AT YOUR DEALERS' over the daily tribulations of an invalid; so that many of his Catalogs covering any classification in music cheerfully sent v Tindale Cabinets are ideal as Catch it or you will never be a great performer, singer, request. Best discounts. Most liberal terms. [Have the convenience of this works are positively comic in their sparkling character. Some Graduation Presents and Awards conductor or teacher. The success of the The ETUDE ---Filing Method demonstrated of his pieces smile and even laugh in their humor. Yet, be¬ itself is due largely to the splendid contagious enthusiasm THEODORE PRESSER CO. Send for Catalogue No 1 hind those smiles was a heroic soul gifted marvelously in music * r t. CONVENIENT TERMS ARRANGED of its many friends, who communicate their loyal appre¬ Music Publishers and Dealers Mail Order Music Supply House and using his music to cover his earthly agonies. Of such was ciation of The Etude to others. 1710-1712-1714 CHESTNUT STREET PHILADELPHIA, PA. CO., 56 W 45th St., New York Edvard Grieg. Please mention THE ETUDE v JUNE 1923 Page 367 the ETUDE

Last and most of all it is within the art of the talking ma¬ Music and Labor Beauty Wins chine to preserve the music interpretations of our times. 1dies,- Beauty is eternal, everlasting. Not the honeyed, sicken¬ we consider the greatest artistic value of the instrument. \\ hat ing, sentimental beauty of the artificial salon but the strong, if every Rubens, every Rembrandt, every Holbein, every Titian Comments from Famous Americans upon the simple, rich, colorful beauty of the immortal mind of the great had been burned up immediately after it had been made. That is Need for Music in Business master. precisely what happens when the musician gives his music into the Recently your editor has taken part in several musical air. It is lost instantly no matter how many thousands of miles it contests as a judge—a difficult service, gladly stolen from a busy may be shot over the radio. But with the talking machine the life. Some have been contests for composers, others have been The Readers Attention is called to the initial article upon Music and musician found a canvas upon which he could paint his inter¬ contests for young artist singers, pianists or violinists. pretations with more ease than a Sargent or a Meissonier could Industry, by V. J. Grabel, in The ETUDE for May At a recent one the successful contestant did not have near¬ handle a brush. Prior to that the interpretative musician paint¬ ly so fine a hand action as some of the others. Her training ed on air. in the little niceties of relaxation, freedom of movement and It is for this reason perhaps more than any other that the CHARLES M. SCHWAB balance of the whole technical apparatus was easily excelled by HON. JAMES COUZENS little tinfoil and wax cylinders of Edison revolutionized the art of several. Her scales, runs, trills were more awkward and “diffi¬ DR. FRANK CRANE LT. COMM. JOHN PHILIP SOUSA music. Not merely that it enables Galli-Curci, Anna Case, Hof¬ cult” than her competitors. But there was something that won HERBERT J. TILY, MUS. DOC. mann, Casals, and others living to be heard by millions who will HON. JAMES J. DAVIS the coveted prize; and that thing was beauty inherent in her RODMAN WANAMAKER never see them, but that the great and wonderful art of Caruso, FRANK E. MORTON playing. It was not merely the beauty of a natural inclination Maud Powell, Bispham, Evan Williams and many others now for aesthetic expression but the beauty of the understanding and passed on is still audible for future generations, right in the appreciation of the principles of beauty itself. The climax CHARLES M. SCHWAB homes of the people. The talking machine has given permanence of each movement came in the right place and was properly to musical interpretations, as well as distribution. For this rea¬ @ HON. JAMES J. DAVIS prepared. The phrasing was intelligently observed. The ac¬ son if for no other we should b*e willing to declare that its ser¬ From the Gardens of Paradise to the cents were those which the composer evidently desired. The What Charles M. Schwab Thinks of vice to music will always be far greater than the radio which Our Secretary of Labor Talks on Great Industrial Plants crescendos were made with the comprehension of the effect the Music and Industry Music and Business creator had in mind in writing the composition. In fact the gives distribution only. . The Beginning of the Band whole playing was parlando; that is, the player realized that Charles M. Schwab, Himself a Practical Musician, Has Hon James J. Davis, United States Secretary of Labor there was an audience waiting for a message and spoke to that Always Maintained Musical Institutions of the Paganini’s Bows Highest Character at His Great Steel Plants, By Lt. Comm. John Philip Sousa, U. S. N., Rt. audience and did not merely mumble to herself. and Has in a Measure Fathered the Bach Heine, that Teuton-Jew-Gaelic flash of literary genius, • We have come to realize that there is a big field for A very great deal of musical effort is wasted upon the music in the industrial and commercial world. Modern Choir of Bethlehem, Which Has Become The conjectural gentleman who casually remarked that World Famous world because students “just play.” They seem to have no once complimented Paganini upon his playing. business colleges to-day teach their courses in typewrit¬ language owes its origin to man’s imitations and modifi¬ reason why they are playing; but if they were to hear anyone “Ah,” retorted the great fiddler, “but how did you like ing and other machine operation by the aid of metro¬ cations of natural sounds is to me most convincing. It It is a favorite saying among men that “music is for should follow as man saw the effects of certain articula¬ read a book or act in a drama with the same lack of compre¬ my bows?” nomes and phonographs, and it is claimed that the stu- women.” But is it? Why are not the refining influences tions on the part of animals, he appropriated them for his He was not the only virtuoso who lias made a fetich of dents accomplish more and become better operators in a hension or grasp of aesthetic principles they would turn away in shorter time than in classes where the older methods of of this wonderful art just as much needed by men and own use, as notes of danger, of defiance or affection. stage deportment (or the lack of it). The great truth is that disgust. teaching are used. I have two stenographers in my own as applicable to men? Some men seem to think they lose No doubt he gathered in the trumpeting of the elephant Make your playing mean something. Study the general the artist survives bv his art and not by his manners. We have office who learned their typewriting in that fashion, and a part of their masculinity if they confess to a love of as a warning, the growl of a dog for the possibility of a principles of musical aesthetics. Hear the great pianists, listen often seen performers doing execrable things upon the stage, both of them are good ones. music. Well, I love music, and I think I have held fight, the hissing of a snake to be on your guard. When A few years ago the Bureau of Labor Statistics of the on pretty well to the masculine side of my nature. In he anticipated the Biblical injunction that man should to the best records of their playing. When they introduce some largely through ignorance of good manners. In fact we re¬ Department of Labor made a survey of the welfare work fact, music has meant much to me in my life of affairs. not live alone, there came to him the very handsome cently saw a young Russian violinist conclude a solo with a change in interpretation, do not merely note it but try to dis¬ in industrial establishments, and for the purposes of its Again and again it has refreshed me when I was dog- young lady we call Eve. She probably started off imi¬ cover the basic principle of beauty which led the performer to breach of good breeding that made the audience of refined investigation 431 establishments representing 1,662,000 tired, taken me out of myself and away from the prob¬ tating the chattering of magpies and gradually went up make that kind of infinitesimal change in the text which deter¬ people wince. employees, were visited. The great variety of industries lems of business. A book can do that, too. So can a the scale until she imitated the caroling of the thrush. mines beauty. _ On the other hand there are artists who think that like covered practically the entire field of industrial endeavor. painting. But not so surely as does music. These first lovers must have resolved that it is not neces¬ sary that man should sing alone, and the world heard the Paganini one must resort to platform tricks for success. This It was found that musical organizations, such as bands, There is a “reach” to music that the other arts have first duet. Our first mother, no doubt, got up to a point Which Will Do More for Music ? orchestras and glee clubs were numerous. Fifty-six com¬ not; it seems to “get” to you in an exhausted mood and was truer in the past than in the present. Indeed, even Liszt of coloraturing equal to the canary, while our first Just now' folks are asking which may prove more beneficial panies reported bands which ranged from ten or twelve quiets and refreshes where a book or a picture is not so himself was not above considering very carefully the little drama pieces to organizations with 100 instruments. One com¬ father’s melodic imitation might have been a musical bel¬ for the art of music, the radio or the talking machine. sure. Of course, much depends on a man’s nature; on in which he was to be the chief actor. He knew that he had to pany having many foreign-born employees had four lowing, not unlike that of an adolescent bovine. The radio, the new marvel of the hour, transports music his temperament. But, speaking broadly, and knowing appear on the stage, sans scenery, sans stage effects, sans spec¬ bands, one of them being composed exclusively of Slavic Of course, about that time, they, just as any good everywhere. Thousands of people are listening to music to¬ and one exclusively of Hungarian players. The com¬ men as I do, I cannot help but feel that the average people who are opposed to race-suicide, became inter¬ tacular costumes,—that all eyes were focused upon him alone, business man would be benefited more than he dreams day who never had such an opportunity. In fact, it was just one panies contributed to the bands in various ways. Many ested in mathematics and began to multiply on the face watching his every movement. He knew what it meant to im¬ of if he exposed himself to music. It need not be the of the earth; therefore, after duets came trios, mixed year ago when The Etude presented its first radio article by of them contributed instruments and uniforms and hired press the audience with his graciousness, his smiles, his bows. leaders and most of them provided a place for the band long opera at first. Let him select the shorter concert, quartettes, quintettes, sextettes and ensembles, and then, the leader in the industry, Major J. Andrew White. Since that He knew it meant to receive flowers and is even reported to to practice. Even traveling is to become a continuous But few men immersed in business are right in turning no doubt, male quartettes giving to a delighted world, time millions of instruments have been installed and thousands the first example of “barbership” harmony. Man prob¬ have sent them to himself. Liszt was a personality. He had a vaudeville under the plan of the Pullman Company, which their backs upon music as a means of absolute refresh¬ of dealers have cropped up in all parts of the country. Great has undertaken the musical education of as many of its ment, mental and physical. ably, with his inventive skill, began to create mechanical role to play. The people came to see.the great Liszt as well mills are working overtime to supply the demand for new instru¬ 9,000 porters as have any natural talent. The time may devices to facilitate and widen his ability for musical as to hear him; and the virtuoso, for the moment, transcended come when we can order a special car and insist upon its expresson; and then came instruments of. gold, silver, ments, the very nomenclature of which is startling. The radio the great man and musician. Perhaps we are all so human that being manned by operatic singers. So it is not alone in Senator James Couzens Realizes Great brass, stone, woo'd or hide. All of them, in some way, boom is on at a furious rate. It has become a rage; and, like we unconsciously comport ourselves differently before an audi¬ our relations with our Government institutions that music Need for Music in Industry imitated some sound in nature; for even unto to-day we all things that develop in similar manner, it will burst some day must play its part. Every factory is a miniature repub¬ can liken the tenor saxophone in a Jazz Comedy Sex¬ ence than we do in our own drawing rooms. With Liszt, how¬ The following extract from a letter from the dis¬ and settle down to a conservative business. lic, and the responsibilities of its statesmen are as great, tinguished Senator from Michigan, Hon. James Couzens, tette in its unhappiest moment to the mournful sound of ever, we had a master so great that his success would have been The talking machine, on the other hand, never really had in proportion, as the responsibilities of those who guide former Mayor of Detroit, and partner of Henry Ford, the Demerara goat-sucker. Of course, the beginning had inevitable notwithstanding anything he may have unconsciously the destinies of the nation. In each of these miniature more to do with rhythm than sound, more to do with a boom. It has developed slowly and surely through three or is of great interest. noise than music; for we note among the savage tribes an thought necessary to do on the platform. republics throughout the land music has its function. United States Senate, four decades. Its points of artistic and educational advantage undue attention paid to drums, sistrums, stamping of Times have changed. The long haired, moon-eyed, senti Music makes for contentment, and a contented workman Washington, D. C., over the radio are: is a good workman, just as a contented.citizen is a good feet and clapping of hands. From these beginnings came mental performer of yesterday, who, lacking the genius of a April ll, 1923. You can have just the music you want. citizen. Music as an aid to the workman is nowadays the string family, the wood-wind family, the brass fam¬ Liszt, thought to compensate the public with antics, survives “Music has some indescribable value, in fact, a much ily and the percussion instruments, as we know them You have it when you wrnnt it, not when someone else de¬ pretty much of an accepted fact. The man who has spent greater value than I am able to express. I am not cides to send it to you. only when the public forgives his eccentricities as his talent in¬ the morning hours over a machine goes to his lunch hour to-day. sufficiently musical or sufficiently educated to say to As man is a social animal, so are musical instruments. creases. The hirsute; overtures of the virtuoso of yesterdav filled with the worries of the day’s work. He is under You can have it over and over again as many times as you you how much value there is. There is so much psy¬ They demand social standards. While there may be rare both nervous and physical strain. Good music during his want it. may have moved Lydia Languish to tears ; but they compel onl v chology to it that it is hardly possible for the layman instances where a single violin will permit the intrusion lunch time will wipe away the cares and worries of the to describe the value. Certain it is that any employer You have exclusive artists, retained by contract, who can laughter from the cigarette-smoking, bob-haired damsels of to¬ of a bass drum played double forte, as a rule the string morning and enable him to relax. It will inspire him who has the best interest of his workmen at heart will never be heard over the radio. day. instrument turns up its fiddleistic nose at the presump¬ with fresh vigor and energy and send him to his after¬ cooperate in every way to assist them in developing tion of a bass drum’s temerity in assuming companion¬ The public now wants music and it is inclined to oR-e its You have master records. That is, the talking machine noon’s task with a light heart and willing hands. bands, orchestras, etc. ship in such aristocratic company. Just as all sorts of James Couzens. puts out only the best. Look in the center of your record and patronage to the artists who, with or without glamor, bring a people are found in church together, or, in the theater you will find stamped a little 1, 2, 3, 4 or 5. This little figure real message. .This accounts for the great success of Hofmann, tEditqb’s Note.—Senator Couzens’ very frank and sin¬ together, or, at a political meeting together, so you will Five years ago The Etude printed a message from cere letter is interesting because it is indicative^ of^ the indicates the number of records made before the final record whose stage deportment is as simple, dignified, unaffected and find all sorts of instruments together, temporarily, but Thomas A. Edison which may well lie repeated in this not forever. We note in the Bible the combination of deemed worthy of public presentation wTas secured. Thus the charming m every way as he is himself. Yet he has under his connection: “Music, next to religion, is the minds Sueh°an°attitude*would have brought forth ridicule with the average executive of fifty years ago. There teas then string, wood-wind, brass and percussion in certain per¬ public secures only the best interpretations of the greatest quiet reserve that accumulation of artistic power that audiences greatest solace and also its greatest inspiration. When no sentiment in business; and art was as welcome in it as formances given by David, so musical combinations have artists. you attempt to raise existence to a higher plane you an iceman at. the North Pole. \ow the thinking, wide¬ identify at once as a great spiritual force. awake business mm are beginning to realize that there is existed lo, these many years. must nourish the. brain as well as the body. The man something “indescribable” but nevertheless wonderful, in The Saracens were the first to make the band a part who disparages music as a luxury and non-essential is Music that the everyday man needs in as copious quantity of military life or work; the Germans are accredited as it pan be given to him.] doing the nation an injury.” JUNE 1921 Page 369 THE ETUDE THE ETUDE Page 368 JUNE 1923 Rtudehaker Co. Band...... South Bend lndiana. The contrary is true. Music is essentially universal, Studebaker Motor Co. Baud.. Detroit, Michigan. Team Work With Pupils with the formation of the Village Band. Schools, semi¬ Dodge Manufacturing Co. democratic and human. Anybody can learn it. t Roiiri .Mishawaka, Indiana. naries, colleges and universities all over the world have requires no unusual gifts, and not even an education. General Electric Co. Band... Schnectady, New York. A Scries of Four Practica, Pedagogical Articles Dealing With a Present Day Musical Problem made the education of bandsmen a part of their cur¬ General Ee.tric Co. Band... Fort Wayne Indiana. James Hodson describes the musical activities ot the riculum. The industrial bands originated in Great Britain weavers in Lancashire, England. By CLARENCE G. HAMILTON, M. A and France and are fast spreading over America. In In Lancashire and Yorkshire almost everybody is an Europe there are contests among these industrial musical Shredded Wheat Co. Band... Niagara Falls, New York. Professor of Pianoforte Playing at Wellesley College Franklin Musical Association organizations that awaken as much interest as do con¬ amateur musician. The weavers there recently gave a ,,,i ...Syracuse, New loiK. tests in athletic sports. From these industrial bands are production of Balfe’s Bohemian Girl. A loom tackier Armour Co "Band Fort Worth, Texas. Harmony, Appreciation. The Editor of “The Simmons Bed Co. Band.Kenosha Wisconsin. ity known as “Gumption.” It does not, in graduated talented men who are found in the ranks of took the part of Florestine. A moulder’s laborer was [This is just such a series of articles as many Etude” is a strong believer in the use of the Count Arnheim and a weaver was Arline. The other most of its phases, demand any elaborate professional composers, conductors and executants. These Springfield.0 WatchBCod Band!! Springfield, Illinois. of our teacher readers have been looking for. principals, the chorus and the dancers were all mill hands, methods or special courses of expensive books. talking machine as an auxiliary. Only in this industrial musicians are doing a work that means the Mishawaka Woolen Mfg l « Mlshawaka. Indiana. Professor Hamilton has carefully thought out widening of the workman's hoop of intellectual horizon lx>y and girl mill workers. The catalogs of all high class publishers are way can the element of fine orchestral, band These workpeople, who arc all good union members, these problems in such a way that his con¬ and offers a variety that is the spice of life. replete with excellent books for class purposes; and choral music be made an adjunct of the Kable Bros. Co. Band.Mt- clusions will apply to conditions in all parts have given a number of the Gilbert and Sullivan operas, Fairbanks Morse Co Bind. . .Beloit, Wisconsin. and these may be purchased at reasonable besides very creditable performances of The Messiah, of the country. Class work may be done by work—Editor of “The Etude.”] Harvey Ilubbell, Inc., Band.. Bridgeport, Connecticut. rates, on such subjects as Theory, History, any teacher with that peculiar American qual¬ Prominent Executive Employs Music in Elijah and The Crucifixion. SLT.foPhen^ercS°BBa^: JinThlm^ Newark. Daily Work of Great Department The result is good fellowship and refreshing democ¬ racy. Often a subordinate in the shop commands his “Sy ^Marietta, Georgia. Store Rome Manufacturing Co. I. Informal Team Work -Meetings, Games and Musical Parties That Develop Interest superiors in the chorus or the orchestra. ganfl .Rome, New York. 11. Mendelssohns Wedding March. [The i lowing letter is from1 the General Manager of Some of the singers as well as the instrumental per¬ Impersonations ! largest Depart-*... Store enterprises in- the ^Rnrirf11 ^ .Cleveland, Ohio. The efficiency of team work in modern life is evidenced 12. Robin Adair. abridge & Cloth , of Philadelphia. ” formers learn their parts entirely by ear. That is a National Lamp Works Band.Nela Park, Cleveland, Ohio. An effective game to break the ice is Impersonations. i,,/nn,:ocri:ia ___ __than the Idealist s Imiration laborious process, but they enjoy it, and the results are by the formation of all sorts of social groups, from 13. Keep the Campfires burning- for music. He is a practical musician and ha PeBandVama .. RaUWay. .. — Tyrone, Pennsylvania. trades-unions to gymnasium classes. People are learning On the back of each pupil is pinned a slip of paper 14. Blue Bells of Scotland. years a church organist and conductor of chc surprising. Chicago Telephone Co. Band.Chicago, Illinois. inscribed with the name of some musical Performer has composed several works for chorus. Villa There can be no reason why the delights of music and Acme Motor Truck Co. Band. Cadillac, Michigan. that two heads are better than one : that cooperation m 15. Santa Lucia. versity conferred the degree of Doctc- Olds Motor Co. Band.Lansing, Michigan. any enterprise naturally results in a saving of waste who is in the public eye, such as Galh-Curci, ^arod 16. Home, Sweet Home. its civilizing and refining advantages should not be Durant Motor. Co. Band.... Lansing, Michigan. Bauer, Kreisler, Farrar, Josef Hofmann or Gadski. I he f'Philadelphia for years and has conducted enjoyed by every class of people. And if the workers in energy, a stimulation of ideas, and a consequent increase 17. Old Black Joe. , . „ concerts, assisted by the personnel of the players then walk about the room and question each other 18. Believe me if all those Endearing Young Charms. irehestra.—Editor's Note.] a factory or a mill were encouraged to take up this sort "ESF. . — !°n. .MU1.S . P.°-Newberry, goutii Carolina. in general momentum. The principle is a universal one, Eastman Kodak Co. Band... Rochester, New York. applying just as well to a class of music pupils as to the as to their indentities. As each one discovers his name, 19. Star Spangled Banner. of thing it would increase the pleasure of living, Butte Mines Band.Butte, Montana. he takes his seat, and the game continues until all the While I could not successfully maintain the position emphatically. Republic Truck Co. Band. . . Alma, Michigan. United States Army. To keep up the enthusiasm of each 20. Good -Night, Ladies. Menasha Woodenware Co. players have thus withdrawn. that there is a direct connection between the development (Copyright, 1922, by Frank Crane. Reprinted by permission.) T»an,i .Menasha, Wisconsin. one of thirty young pupils working severally and indi¬ An interesting variant of this game, to be employed and fostering of musical-activities in an institution and Douglas Shoe Co. Band!.Brockton, Massachusetts. vidually is a tough task, requiring endless proddings and with the older pupils, however, is to draw on a black¬ Paragon Button Corporation „ . „ Anagrams such business qualities as interest, initiative, co-opera¬ Mr. Rodman Wanamaker Tells Why Band .Waldboro. Maine. pushings from teacher and parents. "But give the same board the melodic outline of the beginning of each tune, tion and ambition, I am, nevertheless, firmly of the Wanamaker Spent Fortunes Dodge Bros. Band.Detroit, Michigan. pupils the consciousness of team work,—of emulation On the walls or other convenient places have been instead of playing it on the piano. For the Old Folks opinion that an institution which gives time and thought A,™„ Steel & " lr^, G°. Worcester, Massachusetts. and common interests—and the needed stimulus Will pinned certain cryptic signs that are now to be deci¬ at Home, for instance, the outline is this: to the careful development of any of the cultural activi¬ for Music Goulds Military Band.Seneca Falls, New York. become almost if not quite self-supporting. phered. Each player is provided with a pencil, and a slip of paper on which are the numbers from 1 to 20 lhe ties of life is gaining a lot in its business life because All my life. I have associated Commerce, Art and G°Bamiar.&. .K".Akron, Ohio. In this and the following articles, accordingly, I pro¬ of that development. Music. The installation of the noblest organ in the world Oneida Community Band.... Or.la. New York. pose to set forth some important lines of team work in announcement is made that fifteen minutes will be allowed White Motor Co. Band.Cleveland, Ohio. A real interest in the arts and sciences is as valuable in our Philadelphia Store, the jewel organ of the world Thomas Edison Co. Baud-Orange, New Jersey. music teaching, with suggestions as to how they may be to discover the piano composers whose names appear in the make-up of the personnel of an institution as it is ■ in our New York Store, affording the opportunity for National Car Coupler Co. followed out to the best advantage. Probably no one as anagrams in the signs. Immediately the children set Band .Attica, Indiana. to work, with much buzzing and knitting of brows, to in the life of any community; so, whereas, because of my really notable music events, the developments of our York Manufacturing Co. Band.York, Pennsylvania. teacher will find it posible of desirable to pursue all personal interest in music I am chiefly interested in the orchestras, bands and bugle corps, the gathering in the Home Te*i Co Band .... Cleveland, Ohio. these lines. To the individual, therefore, is left the solve the problems. Let due warning be given that each stores of worthy paintings, tapestries and other examples Bethlehem Steel Co. Band... Lebanon, Pa. development of some proficiency in this art among the Erlnnger Mills Co. Band.Lexington, North Carolina. choice of the kind of work which seems most practic¬ must do his own work, without assistance from the people for whom I am responsible, I do not feel that of the fine arts, were not to make an advertisement, but .1. I,. Hudson Co. Band.Detroit, Michigan. able, considering the conditions of the community and others. . . , . , undue emphasis should be placed on music, nor that those for the good that they may exert in the awakening of Here are the cryptic names, which you may decipher N°Baiid & !3t.Prl.'..!*'!.. °.Roanoke, Virginia. the means at his command. having control of large institutions should confine their all our people to a higher appreciation of such things. Virginia Bridge & Iron Co Roanokp Virginia for yourself as the answers will be delayed until the interest in the cultural development of their employees Rodman Wanamaker. Viscose Company Band.Roanoke. Virginia. An Important Rule to Follow article of this series: solely to musical activities. Chevrolet Motor Co. Band... Flint, Michigan. One general rule may be laid down at the beginning, 1. Sysebud 11. Bustcrnini The great value of musical activities, of course, lies Music in Tobacco Factories Cincinnati Telephone Co. , . Band .Cincinnati, Ohio. however, since upon its observance depends the success 2. Trozma 12. Ahincedam in that which has an ensemble significance, such as choral [Mr. F. E. Morton, a widely experienced executive, has New Departure Co Band.. Bristol, Connecticut. of all kinds of team work. The rule is this: 3. Swozmikko 13. Bagimats singing or orchestral and military band playing; because for years advocated music in industry and has introduced John Wnnamaker Co. Band.. Philadelphia, Pennsylvania. it repeatedly.—Editor's Note.] . . . , Let team work of all kinds be conducted with alertness 4. Chab 14. Threscub here, as in none of the other arts, there is a constant Phila. Rapid Transit Co. Band.I’liiladelphia, Peiinsylvuniii. The dashes may be drawn roughly in sight of the . In 1886, as an experiment, I introduced music in indus¬ Mount Vernon Car Co. Band. Mt. Vernon, Illinois. and definiteness. Let it begin and end promptly, and, 5. Nunchams 15. Kidspawrec development of the unification of interest, the following try by planting inspiring voices in the workroom where Graver Tank Works Cn. Band.East Chicago, Indiana. 16. Pichon players, and as nearly as possible in the rhythm of the Wisconsin Iron & Bridge Co. during its progress, let .no time be wasted or draggy . 6. Iggre of instruction and leadership, which are requirements in several hundred girls were rolling cigarettes by hand. tune. Rhythmic accents should be emphasized by heavier Band .Milwaukee, Wisconsin. Of these stipulations, perhaps that which prescribes 7. Nobheteve 17. Shramb business as well as in ensemble singing or playing. The The success of this experiment prompted the introduc¬ Solvay Coke Co. Band.Milwaukee, Wisconsin. promptness in beginning is the one most frequently 8. Colweldam 18. Venni lines. proper skill and subordination of the individual coupled tion of music into several tobacco factories in the South. Manitowoc Ship Building Co. Band .Manitowoc, Wisconsin. violated. There are always late comers, always some 9. Nedlah 19. Hendslemons with the incentive there is to bring out of the individuals During the past five years I have actively promoted Going to Jerusalem ^B.-ind"1?0. * ‘\V. ., "PP‘r..Bishee, Arizona. last details to arrange, always inertia to overcome—and 10. Stilz 20. Handy the best that is in them in ensemble singing or playing, and strongly recommended the adaptation of music to The party is now ready for more active amusement, Kay Consolidated Copper Co. . the beginning is delayed ten, twenty, thirty minutes, At the conclusion of the allotted period, the leader only suggests the importance of the same qualities and industry. Reports received from about one hundred and Band .Hayden. Arizona. which is provided by Going to Jerusalem... This game is with the consequent blunting of the keen edge of enthusi¬ reads the answers while each player checks up his list. opportunities in business life. It does not necessarily twenty-five corporations showed increased production, American Steel & Wire Co. . , so well-known as to require little explanation. A double Band .Joliet, Illinois. asm. Promptness is merely a habit, and one easily culti¬ A prize is given to the most successful competitor. teach those qualities, nor bring about a recognition of the decreased labor turnover and a highly improved morale American Steel & Wire Co. row of chairs, placed back to back, numbers one less vated for yourself and others, if properly managed. fact that what is true in this regard of choral singing is Band .Waukegan, Illinois. than the players. To the sound of music the players with attendant profit. American Steel & Wire Co. Some years ago I began a series of chamber concerts at necessarily true of business. Emotion is the driving power of humanity. The con¬ Band .Anderson, Indiana. Magic Music march around the chairs till the music suddenly ceases, a summer colony—a series which is still continued. And so my major emphasis as to the value of musical duct of mankind is determined largely by the condition Bethlehem Steel Co. Band. .. Heilman. Pennsylvania. After all this mental and physical exercise, a more when there is a scramble for seats. The player who General Electric Co. Band... Pittsfield, Massachusetts. The very first of these concerts was scheduled for eight activities in business would be laid upon its cultural value of its nerves; nerve tissue is the most responsive.matter. Illinois Steel Co. Band.Joliet, Illinois. quiet game may claim the attention, such as the old game fails to obtain a seat is out of the game, which proceeds o'clock P. M.; and, mirabile dictu, it began exactly at to the individual and the consequent development of all Disorganized nerve tissue will respond to organized Mason Tire & Rubber Co. of Magic Music. A player is banished to a distant room after one chair has been removed. In a similar way all Band .Kent. Ohio. that time, although the hall was sparsely peopled and the of those who take part in it in some of the finer things sound-r-music—and the motions will express construc¬ Pacolet Mills Band.Pacolet, South Carolina. and an article, previously agreed upon, is hidden. Re¬ the players are eliminated but one, who is declared the of life rather than upon any other phase of this work. tively or destructively directly as the sound is organized Consolidated Water Power & many late comers were obliged to wait outside during called to the room, the player then searches* for the ob¬ Paper Co. Band.Wisconsin Rapids, Wisconsin a long sonata 1 But a reputation was established; and at winner. When people can identify a progress in the arts with or disorganized. Music, therefore, is not only a means American Steel & Wire Co. ject to the accompaniment of music which grows louder their business home or working home, that business home of expression but an inspirer of further expression, and Band .Dekalb, Illinois. the next concert everyone was seated and waiting by as he approaches the object and softer as he recedes from Note-Hunting must have a higher place as an institution in their regard, Western Electric Co. Band... Chicago. Illinois. five minutes to eight. One or two sharp lessons in it For the music, someone may extemporize on the all growth, mental, physical and spiritual, comes from Uneeda Biscuit Co. Band_New York, N. Y. ’ This game is similar to a “peanut hunt.” Small pieces and even affection, than might otherwise be the case. promptness are all that are needed to convince people piano, or, better still, all the players may sing some giving forth. Sears. Roebuck & Co. Band. Chicago. of cardboard, each about an inch square and each with a Probably this last, after all, is the chief institutional Purlin & Oreudorff Co. Ru'd.Canton, Illinois. that you are not in sympathy with dilatory tactics. well-known tune. The game is rendered more compli¬ The responsibility of the composer, interpreter and Pennsylvania Ry. Co. Band.. Pitcairn. Penna. musical note or rest inscribed upon it, have been pre¬ business asset for musical activities in industry fostered There are various degrees of formality in team work, cated and amusing if the searcher is blindfolded. purveyor of music is plainly indicated. Moline Plow Co. Band.Moline, Illinois. viously secreted about the rooms. A search for these and developed either by the managers themselves, or by F. E. Morton, Delaware. Lackawanna & from the freedom of a merely social gathering to the Western Ry. Band.Scranton. Penna. is now made, and the player who has found the greatest the encouragement which the management gives to President Tower Automobile Corporation, fixed lecture or programmatic recital. Let us for the Memory Test Jersey Shore R.v. Co. Band. .Jersey Shore. Penna. number at the end of ten minutes receives a prize. workers in the industry in such matters. Chicago. Samson Tractor Co. Band.... Janesville, Wis. present consider what may be done in the social field. For this game, the players are again provided with Very truly yours, Westinghouse Air Brake Co. The game is made more complex if different values Band .Pittsburgh Penna. numbered slips and pencils. The leader then twice plays are assigned to the various notes and rests, a quarter Herbert J. Tily. Famous Industrial Bands Hamilton Mfg. Co. Band_Two River's. Wis. A Pupils’ Party a fragment—two or four measures—of a familiar air, Stetson Shoe Co. Band.E. Weymouth, Mass. Nothing is anticipated by the younger pupils, at least, note receiving one point, a half note two points, and a Following is a list of noted Industrial bands. Some Worsted Co. Band_Lowell. Mass. allowing a half-minute for it to be recognized and its whole note four points. Rests count the same as their of them are among the finest bands in the country. Oil C more eagerly than a real “party”, at teacher's home or name to be written. After a number of other tunes are Dr. Crane Tells Why Organized Labor . Band! on. Tex studio; and one or two, at least, may well be interpo¬ corresponding notes. The eighth note (/ point) and It frequently happens that an applicant playing an Pullman Car Co. Bni 111. similarly suggested, the pupils 'check up their lists as the sixteenth note (% point) may also be used, if de¬ Needs Music instrument stands a far better chance of employment Morris Packing Co. Band-Morrison, Illinois.' lated into the winter’s curriculum. Perhaps it will be under the game of Anagrams, and a prize is awarded. Chicago Elevated Ry. sired. The player who accumulates the greatest number in the firm maintaining a band than one who is not best to restrict the age limit for such an event within The following list of tunes may be employed: Organized labor ought to turn its attention to music. „ Hn'ul ,.Chicago, Illinois. of points is then the winner. musical; although no worthy firm would keep a worth¬ copies (ins. Light & Coke Co.Chlengo. Illinois. reasonable bounds-say from nine to fifteen years inclu¬ Music is perhaps the best recreation in the world. It lyle National Co. Band.Chicago, Illinois, 1. Old Folks at Home. less employee in a band just because he could play sive; although older or younger pupils may be admitted cheers, inspires and. drives away the gloom. Yeilow Cab Mfg Co. Band... Chicago. Illinois. 2. Annie Laurie. Partners well. Thousands of workers are coming to know this to “look on”. The party may occur in the afternoon or It is also the best unifier in the world. It is the best . ..Elkhart, Indiana. 3. Yankee Doodle. Claire ( ..Marysville, Michigs evening, as may be most practicable. After the strenuous activities recorded above, the bond of comradeship. and realize that the ability to play is an asset which neriem Steel 4. How can I Leave Tliee. often shows big interest in the pay* envelope at the Bn If your pupils are not well acquainted with each other, children are ready to take partners for refreshments. We speak of music particularly in reference to groups dale' Mill's Y . Alabai 5. Drink to me only with Thine Eyes. end of the year. .Birmingham, / here is a capital chance for them to meet and share For this purpose the teacher has written fragments of of laborers because theirs may be the finest music in the 6. Old Kentucky Home. Company . Location mutual interests. Of course, games will be the principal tunes on music paper. Each boy is given the first half world, which is choral singing. Anglo-Canadian Leather Co. ’ Chicago. Illinois. 7. America. diversion. While these may have a musical basis, of a phrase and is told to find its complement among We have somehow fallen into the erroneous notion that i, Canada. 8. Coinin’ through the Rye. Rolling Mills Co. .id!:: i however, the educational element should not be so evident the girls. (Some of the girls will doubtless have to music is a luxury and an accomplishment of the idle; .. Middiet, Tnlmw «!’’"! I!1’- H"'»*.Chicago. Illinois. 9. The Lorelcy. Crane C- Co' J .Indiana Harbor, Indiana. as to prove forbidding. Let us follow the course of take boys’ parts 1) or at least it is something that can be taken up only by Company Band.5"'"1 .Chicago, Illinois. 10. Marching Through Georgia. i. Band! Pontiac Hurley Machine Co Baud such a party—the first of the season. a favored few. N. Sncllenburg & C0. Baiid! Philadelp JUNE 1923 Page 311

THE ETUDE

Page 310 JUNE 1923 The Correspondence Column Keeping at the Ftont as Hard as Getting There may be classed among these. Paste upon stiff card¬ For instance, Willie Jones receives this part of the board a copy, either manuscript or printed, of a short tune Blue Bells of Scotland musicaf selection—a folk-tune, hymn-tune or Ufegno By T. L. Rickaby By MME. SIGRID ONEGIN piece Cut this cardboard into irregular fragment , Transcribed by Harriette Brower which are to be fitted together by the players, in proper array. If a jig-saw is available, a more substantial I have unconsciously formed the habit of turning first f C a nno the Year’s New Centers at the Metropolitan. Her Own Remarks Are foundation of wood may be used. Portraits of com¬ of all to the “Correspondence Column,” “Questions and posers, of musical instruments, etc., may be used for Answers,” “Round Take” or whatever it may be called Mme. Onegin, the Famous ^ which he eventually matches to Susie Smith’s part: the puzzles. in the magazine, not because it is the best feature but dismay, that it did not apply in the least. So you see Ex. 2 Letters because it has a unique value; and yet this is a page the raw recruit to the language of this great country ca “The true artist must always study and also must work The familiar game of Letters is well, adapted for that is often overlooked by students who need it most. fall into many a pitfall unwittingly. It seems to me very hard. I, for one, have learned the value of hard musical uses. It may easily be made by cutting card¬ It is a safe assertion that few who read the magazines however that to anyone used to grappling with new work There is no resting on one’s laurels, even if they board into small squares and printing a letter on each, realize how much information of the greatest valiK may languages, English is not a difficult tongue, even though are possessed; one must always keep up to the mark. giving predominance to the most common letters, such be extracted from these columns which exist because there are so many words that sound the same and mean I give at least a full hour or more every day to vocalizes as a, e, s, t, etc. Two ways of playing the game may some people know enough to ask questions and someone entirely different things. t' prolong this first party to undue limits else knows enough to answer them. It is a sort ot tri¬ and breathing exercises. This does not mean, nf,course Refreshments over, two or three pieces may be played he suggested: that I work a full hour without stopping. No, I break 1. A series of words—composers names, or better angular lesson-giving. Somebody asks the questions Opera or Concert by the teacher or some of the pupils, after which good¬ up the hour into quarters, doing fifteen minutes at a time; still, Italian marks of expression such as tempo, someone else answers them-we get the information. byes are said. All depart with vistas of another musi¬ then I rest a bit and do something else. I soon begin “It is difficult to decide off-hand which I really like crescendo, rallentando—are formed. To each player Yes, it is a style of wire-tapping which carries with cal party in the future, and with the consciousness of again Working for short periods should be kept up, better. If I say it is the one I am doing at the moment, is given the letters of one of these words in irregular it a reward instead of a penalty. new musical bonds between them. and if they are varied with some restful occupation, you I may come nearest the truth. One is a miniature, the order, and it is his problem to form from them the A Treasure Box of Varied Knowledge will not become tired. other is impressionistic. One may be a delicate pastel, Games for Future Parties proper word. the other has colors laid on in broad masses. I am very 2. Ten or fifteen minutes are allowed for making I have just just picked up a bound volume of The Breathing Purposely, the games for the first party have been fond of singing in opera; there is so much freedom* musical words, such as those listed above, from a pile Etude. It happened to be that of 1890, printed over a made very general in character, so that the pupils may “Yes the breathing is extremely important. Before move, to act and portray a part. It calls into play a 1 of the pasteboard letters. The player wins who forms quarter of a century ago, when, valuable as it was, it had become thoroughly acquainted with one another. Con¬ really beginning the study of singing, one should give one’s powers of emotion, characterization and vocal art. the greatest number of words in the given time. nowhere reached its present plane of usefulness and sequently, at future parties the games may take on a undivided attention to acquiring control of the breath. On the other hand, the song recital requires more more intimate note, and may perhaps require more influence. „ I was obliged to do this for several months before i was subtlety, perhaps; more delicacy, refinement, and con¬ Other Games A mere glance over the “Questions and Answers musical knowledge. Some of these games will now allowed to sing, and can recommend such a course to summate mastery of every detail. In some respects, Doubtless the teacher’s ingenuity will devise other column proved that here was a rich mine of information be described. anyone who expects to make something of the voice. lieder singing is the more difficult art. The singer must simple games, in which musical notation, terminology concerning a multitude of subjects. These included “As to the method of breathing, I am asked sometimes depend absolutely upon self for every effect, for every Progressive Conversation or history are involved. For additional materials, the Harmony, Transposition, Ear-training, Vocal Methods, artistic result. I love to sing songs, and have made a At the beginning of the party the players are arranged reader is referred to the lists of the Theodore Presser Schools of Technic, Time, Rhythm, Fingering, Orna¬ close study of a very large number. Indeed, I have in pairs about the room. A subject is given out, and Company, which include such games as Musical Au¬ mentation, Sight Reading and many others. There were explored the whole field of foreign song. Naturally, I upon the sounding of a bell each pair must begin to talk thors, Musical Dominoes, The Great Composers, and a illuminating thoughts on music lessons by mail, study sing more in German, because the literature in that together upon this subject. book of Games and Pussies. abroad, the importance of State Associations of Teach¬ language is richer and more voluminous than in any The conversation lasts for from three to five min¬ It may also be interesting to introduce at the pupils’ ers, annotated editions of classics and studies, history, we sing. Languages other. But many French songs are beautiful, too. utes, when the bell is struck for its cessation. While parties some of the folk-songs and dances which have biography, touch, phrasing and interpretation. “So, as I stated just now, it is difficult to say which I the conversation is in progress, a monitor passes about recently received much attention, and which may easily There were much advice and many suggestions re¬ “On the subject of language, a great deal ought to be prefer, opera or concert, or which I can do better. 1 the room, and if he detects any lapse in the talk or the be procured, with directions for their performance. garding the problems that continually confront the said. The study of languages, for the singer should be throw myself heart and soul into the thing I am doing. talk is about a different topic from the one announced, teacher, on the care of the piano, the size, specifications paramount. And by study I do not mean merely knowing There is one prime object in these parties which should If it is to impersonate a character vocally, I am that he demands a forfeit from the offending couple. and tuning of the pipe organ. Valuable hints on first the words of a song, which anyone can learn to repea be constantly remembered. By their means the pupils person for the time being. Or if it is to depict various One of each couple then takes the place of a player lessons to children were found, on the use of the metro¬ in parrot-like fashion, but real study of the grammar and should learn that there is a real pleasure to be derived Copyright by Mishkin moods in song, I try to feel those moods to the fullest in the next group to the left, and a new topic is as¬ nome, the pedals, and on the use and abuse of mechan¬ construction, so that one may understand the rules and from music; that, if properly applied, music will con¬ MME. SIGRID ONEGIN extent. Therefore, it must be to me the greatest thing signed and discussed, as before. The process may be tribute materially toward the joy of his existence. Con¬ ical aids to technical efficiency. Much was said of the learn to speak. The singer must naturally have a very continued till the moving players pass around the room,, at the time I am doing it, whether it be a role or a song. sequently the routine of music study will take on a reed organ and its uses, together with the music suit- sensitive ear to differentiate between various shades ot Other Points in Study or till the interest flags. new significance, and will appear as a direct means table and available for it. sound, and to hear whether he is making the right ones “I am asked sometimes if soprano and co«tra'* How I Learn a Role or Song Topics such as these may be assigned: toward a host of social diversions. Furthermore, he in musical speech. It is so easy, if one is use the same tone production. Yes, absolutely Whether How to practice. may thus obtain an insight into the larger attributes, Supplies a Lack of Details careful, to blur the vocals—or you call them vowels and “If it is an opera part, I make myself thoroughly the voice is a little higher or lower in pitch makes no How to memorize. may come to realize that musical structure, history and thus make the words impure. I notice this eiPecia J ' familiar with the story by reading everything about it All this, remember, is merely a casual and incomplete difference in the manner in which tones are produced. Do you prefer instrumental or vocal music? notation are worth looking into. Thus the parties may America. A little twist of the lips or tongue will make and trying to visualize the plot. Then I read the text list of subjects treated in a single volume. Each suc¬ Another thing: Either a high or a lower voice should What is your favorite piano piece ? whet his appetite for general musical knowledge, which the vowel, which should be one clear sound, seem like through several times to get a good idea of what is said. ceeding one has contained as much equally valuable mate¬ cultivate the trill and other coloratura effects, even though What composer do you prefer? may be supplied by more formal class-work. We shall two sounds. People who speak in this way are qqite After this is done I am ready to start the work in good rial; so that a few years of such a magazine may be the voice is lyric or dramatic. Every singer should study Do you prefer quiet or brilliant music? investigate this work in the next article. unconscious of the fact. I am sure; but it is very notice¬ earnest. I do not separate words and music, as some the source of a genuine education in musical matters. these effects for the sake of greater flexibility and com- able to a singer who is daily trying to create perfectly singers do, for I believe in learning both together For Some of the information was, of course, nothing more Anecdotes Team Work With Pupils if the music expresses or illustrates the thought, they than what would be included in any good course of uure tones or pure vowels in speech. m“Stillfagain!irtheS question has been put whether it is The pupils have been asked to bring some musical “I hold that the singer must study several languages should undoubtedly be studied together. I often work The answers to the Anagrams in the preceding article instruction. But in this single volume an amazing num¬ possible to cultivate a voice sufficiently for a career when anecdote, preferably taken from the life of some com¬ besides her own. In my case, Swedish is my home with the accompanist while memorizing, though I play ■e as follows: ber of matters were treated that for lack of time or the singer has reached the age of thirty or over. This poser or performer. As each one’s name is called, he 15. Padcreivski tongue, as I was born in Stockholm; but as my girlhood the piano sufficiently to render the simpler accompani¬ 1. Debussy 8. MacDowell suitable opportunity might never receive attention at a is a little difficult to decide, but it seems to me, if the narrates his story. 16. Chopin was passed in Paris, French comes as naturally to ne as ments. But the singer never feels so free to give out 2. Mozart 9. Handel lesson. This is the day of the performer. Things are voice is there and one has the right W of a teacher Charades 10. Lisst 17. Brahms my own language. I also know German thoroughly, and tone or interpretation when obliged to play her own 3. Moszkowski done well with the voice, at the keyboard, or with the and is industrious, that it would be possible to make a Divide- the players into two groups, each of which 11. Rubinstein 18. Nevin can sing in Italian as well. I hope soon to add English accompaniments. On the other hand, when she is able 4. Bach bow; but so many supposed musicians know little or career even under such circumstances. But one must acts a charade in turn. The words chosen for the 5. Schumann. 12. Chaminade 19. Mendelssohn to the list. Although I have been in America but two to play for herself, she can often dispense with the nothing of the thousand and one things that belong to work for it! charades are names of composers. After each syllable 6. Grieg 13. Sgambati 20. Haydn true musicianship. months, I have made some progress with the language, services of the coach during study hours. of a given name has been acted, a piece by the com¬ 7. Beethoven 14. Schubert so that people sometimes think I know more than 1 do. American Songs “In learning a song I follow the same plan; first the poser is played, to illustrate the entire word. Prefer¬ They imagine that because I have so long trained the ear reading of the poem several times through, to learn its Specially Welcome in Remote Places “I am much interested in American songs, and if you ably, of course, this composition should be typical of to distinguish various shades of tone, and also have con¬ meaning; then the study of verse and music at the same were to look at my piano at this moment, you would the composer, but one with which the pupils are un¬ Origin of Marks of Expression In these days of Conservatories, Lectures, Books and stantly trained myself to make the vowels pure, can time Only in this way can one arrive at the complete find it heaped up with them. I find many young writers familiar. Study Clubs, much is being done to attain this real pick up a language in no time. What I have learned of effect as the story unfolds. The music should express in your country have composed excellent music. Ot Examples of available words and their syllabic By Lynne Roche musicianship. Even where these advantages exist, the English so far is the result of hard work. the feeling and meaning of the words, and if we learn course one should not expect exactly what one finds on divisions are as follows: “Question and Answer” columns may be studied with “It seems to me Americans have more need to study the other side of the world, where musical composition these separately, unity is hampered. Schumann _ Shoe-mar As is indicated by the language in which they are advantage. But there are remote small towns and dis¬ foreign languages than Europeans. Over there, different has been flourishing for three or four hundred years. Mozart . . M-oats-heart written, our words of musical expression are of Italian tricts, where music teaching is sincere enough, so far nationalities are constantly coming together and people Do I Always Use Full Power of Voice? When this country has matured to that extent, there Mendelssohn . Men-dell-zone origin. At first used only as notations on the text by as the efforts made are concerned, but where it falls far are almost forced to know other tongues besides their should be wonderful and original music here. Even now “When studying a song or part I do not use full Handel . . Hand-L teachers for the guidance of their pupils, they gradually short of what it ought to be, because the teachers them¬ own. But America is isolated and has not the same it is most interesting and attractive. I am making a power, except occasionally when I wish to determine Chopin . .... Show-pan found their way to the printed page. As music grew selves do not know enough, having had little or no necessity or incentive to learn other languages For this study of songs froih a quantity of vocal music which has the effect. When singing in public I must adapt the Rubinstein ... . Rube-inn-stein in dramatic qualities, by means of new harmonic and opportunity to learn. To them this source of knowledge very reason, the need is greater if one would become a been sent me, and shall hope to bring out some of the power of tone to the size of room or hall where I am to Massenet ... Mass-neigh orchestral developments, these directions became more is of the greatest value. singer. An extra effort must be made to acquire the compositions which especially please me. For this reason sing For a small, intimate space, great power is not Purcell . . Purr-cell numerous. - The writer is indebted to many teachers for much needful training, which means not only to be able o For loud and soft effects, the Italians began to use my English studies must keep pace with my musical needed; it would be out of place. If I know I am to of what he knows; but right here he wishes to acknowl- pronounce the words of a song, but to have a working sing in a large hall, I choose some songs that are big Appreciation forte and piano about the middle of the seventeenth edge his obligations to those inquisitive folks who made knowledge of the language in which it is written. desires. century. The number of these words of expression has and powerful; whereas, for a small hall I arrange the The pupils listen to several piano pieces flayed by the Questions and Answers” department a permanent Learning English program accordingly, using songs that are more quiet either the teacher or one of their own members. While greatly increased, and the list still grows. feature of the magazines. The Etude has always The Piano In lute books, as early as 1638, piano and forte are “It is a little odd how a foreigner—if I may make a and do not need great force of tone. the piece is in progress they write down the answers to promoted the Question and Answer idea. Questions “Every student of singing should be able to play the little digression-in trying to acquire a new language, found; also, V for mezzoforte; -==T^=— for crescen¬ piano. The piano is the most necessary of all instru¬ one or more questions, such as the following: are the symbols of the progressive, active mind. often happens to hit up on the humorous side, or, if 1 Do I Really Hear Myself? do and diminuendo: p. f; and presto, adagio and similar ments for the singer. Without some knowledge of it, 1. What is the name of the piece? (Invent a name may say it, the—what do you call it—the slang side. which seems to fit it best) words for rate of movement. These, at first, were used she is greatly handicapped. Think what it must mean “I am asked the question sometimes if I can actually almost exclusively in instrumental music. This was “If you hear from a distance two people speaking, A little incident recently amused me. A young friend hear the full effect when I am singing. I must answer 2. Who is its composer? (Guess-work) for the singer to be always at the mercy of an accom¬ was telling me something, but added jestingly. Now, especially true of the organ and harpsichord. In his you may get an impression of a quarrel of anger, panist! Not that she must be her own accompanist in both yes and no. Can the violinist hear the effects he 3. What is the prevailing measure? (Duple or triple) keep it dark!” That struck me as a pretty little idio¬ A prize is given to the one presenting the best an¬ organ works Bach employed few signs of expression; or of affection, without hearing any of the words that public but familiarity with the piano enables her to study makes when his instrument is held so close to the ear. while Handel used few except p and f. matic expression, and I learned and remembered it. the I know, mentally, the effects .1 wish to produce, and I swers. are spoken; and unless you go nearer that is all her voice far more profitably, for she can know to what next evening, at a dinner, I thought the little idiom I had hear, in a general way, whether I am making them. I Picture Puzzles you will hear. This is precisely what most of us get she is singing, she can play over new music, and be just learned would apply, and used it, only to find, to my A number of musical table games are not only in¬ Patience is a necessary ingredient of genius. from music—a general emotional impression.” much more thorough in her work. teresting, but of real educational value. Picture puzzles —W. J. Turner. JUNE 1923 Page 373

TEE ETUDE THE ETUDE

Page 372 JUNE 1923 No word has the same value and force in two different A Study of the Hand in Piano Playing to criticize, and such will fail to get the spirit of what I sentences. The same thought expressed by two individ¬ can remember the sensations I experienced when studying seek to convey. Others, fortunately a good many, are uals will be so expressed in entirely different verb,age In these effects in the studio; therefore, I know whether the By E. A. SCHUBERT the same way the composer has discovered an entirely dif¬ feelings are the same when I sing the role or song in not listening merely to discover faults, but to find vir¬ ferent use of the dissonance than in times gone by, and Plain, Direct Advice Upon Hand Position and Hand Development public. But the full effect as the audience hears it, aided tues. To them I can deliver my message and they will by distance, space and acoustics, that I may not hear. we may seek out many unexplored fields of music, but them are exposed, they may be cut, pricked,-or even know and feel it, for they are responsive to the spiritual music certainly cannot become a cold mass of dissonance But remember that each listener in the audience listens • burned without the patient suffering the slightest pam message of art.” no more so than could an essay be principally constructed Thf hand is the most wonderful member of the human copvwitlon’^o^'tbe^^totc* Teachers' ^Satlon«r^S»9ct[itlon from a different angle or viewpoint. Some only hear since they do not receive previous warning through the of verbs As it must contain other parts of speech, so body Few people stop to think of its importance. skin. The skin is alive to every possible harmful .mpres- music must contain the milestones of consonance and mel¬ The hands, together with the mental powers of man beneficial. Editor's note.) sion likely to be made upon it. The interna par s Abnormal Music Versus Sane Music ody, if it is to endure. . . . are the distinguishing features between him and the Consonance is a reflection of stability of mind, and brute creation. The sense of touch calls forth an man is dependent upon his hands and brain for the supply possess sensibility, which, however, warn us only hence it has fallen into disrepute with many modern immediate response from the brain, the senses and the of his needs and comforts, as well as his protection. _ such injuries as might affect those parts directly. By V. R. Grace composers. All is unrest. The content is of little im¬ emotions. The deepest sentiments are brought forth by In studying the illustrations of the hands oi the various Hand Sensibility portance, but the richly-gilded harmonic structuie must means of “touch” upon musical instruments—sentiments artists, it will be seen that it is not necessary to have fore the war at least, there was more opportunity for which words would fail to express Hypnotism and Sensibility of the hand to the varieties of temperature Musical discussions do not progress very far before attract and lure the hearer, as it were, by dazzling rich¬ a long-fingered hand to become a successful pianist, al¬ relaxation, for the pressure was not as high as it was in ness of tone-color, or enticing dissonance. It is the case mesmerism depend upon the combined power of mind though it is an advantage. Liszts hand was not large, i. rf . dW«’ ^ previously or the end of" a measure. Why then do we have dotted ments, after which total relaxation should follow. what part of his hand needs training and development. ffamed. The rendition of good music is an art which Ex.l bars, or bars made up of little dots rather than straight There are seldom any two persons who can be trained and with the upper not- black, we have the chords of lines? These are merely editorial conveniences which Swedish Movements m the same manner or by the same exercises. While Wr, greatef deraand 011 muscles, etc of the C and F. fingers—-moving them up and down and expanding them clever arrangers have devised to make certain things there are many general difficulties, such as in the fourtli The rotary (or Swedish) movements of the fingers, Ex. 9 clearer. For instance, in five-quarter time, some editors hands and arms are of great value in making all the finger movement, lack of thumb-control, etc, still almost Following these we have with the bottom note black, have a way of inserting one of the dotted line bars movable bones or joints loose and strong. The bones are every pupil must overcome an individual difficulty, such «iu" “cl"'ical ”rk “ “">"»»- the triad of B-flat major; and, with the top note black, between the second and third beats, thus indicating that moved around from right to left, and vice versa, in the as a weak or stiff wrist, or a lack of finger control. The the triad of B minor, the third beat has a slight .accent. This serves to make various joints in such a manner that beneficial ’ results teacher should show the pupil exactly where the diffi- and'Wr! rSC,leS’ ,igaments and tendons of the hand We next consider the chords using two black notes and the rhythm a little easier until the passage can be played are realized in a comparatively short time. cu ty lies. ^ With the aid of the illustrations, it is advis¬ 2nd^Th u 1CaSt eXerC‘Sed’ therefore’ ‘he weakest, Ex. 2. find those with the first and third notes black occurring without this additional accent. In the Presser Edition of Massaging (rubbing, kneading and pressing) the able to point out to him whether his weakness be of the cises ^ haVe neV6r recelved Physical culture exer- the famous B. Minor Nocturne of Chopin, the last meas¬ muscles of the hand and arms are of great value in muscles joints or fingers. This should be explained so on D-flat and C-sharp. ures, which were originally written without bar lines, developing them, as it relieves numbness and proinotes thoroughly that he understands the cause of his difficulty Ex. 10 nuroos7lfhetPraC!,Ce at the 5nstrument alone for the are indicated with dotted bars so that the student can better circulation in general. Where one suffers from as well as the purpose of the exercises, and the reason and after these, the chords with the middle note black, and makinfT ,enng‘he ^ and Reeled muscles play them with more ease. cold and perspiring hands, massaging is especially bene¬ they are indispensable. It will help him to persevere which include D, E and A major, and those of G, C, ,1,“,,h'm and ota Often the student will find a double-bar in the middle ficial, as it promotes circulation. in his work and make it interesting. and F minor. of a measure. This is usually nothing more than the The thumb as used in piano playing is of far more Ex.: With the first and fourth notes black we have the chord ending of a distinct section of the piece which terminates importance than many students imagine. Some do not Exercises Adapted to the Performer stretZlbLtnnSV€?e ligaments have "ever been strain " ^ therefore> P,aced under unnatural on B-flat. use the thumb from its first finger joint, but use the Owing to the difference in hands, there are scarcely in the middle of a measure. The Gavotte, for instance, whole hand instead; this is mostly due to the muscle any two persons who can use the same exercises. Con¬ begins normally upon the third beat of a measure of sequently exercises must be given according to individual caltv7tTo;anthejm,USCleS are Pr°Per,y and gymnasti- four quarter beats. Therefore, it must end upon the being weak between the thumb and first finger and the We are now ready for the chords using two black finger not being accustomed to the movement. Proper requirements. Many weary hours are spent at the piano t’ie fingers a ^ the bgamen,s and tendons stretched, second beat of a measure. It then might be the com¬ notes. Of these we have, first, the triad of B-flat minor, ekercise of the thtimb will loosen and strengthen the poser’s desjre to change the key signature. In doing this of moving freely oter'^ “d ^ give" the faCU,t>' with the lower two notes black, and the triad of B major muscle so that the thumb will move freely Tthe hand is nh, . ree'y over the instrument. The more the Also, with the second and third notes black there is he could insert a double bar in the middle of the measure. with the upper two notes black. the chord on B. Usually the bar lines in such cases are much lighter. Sir Charles Bell in his “Anatomy” savs: “It is upon gether with the nervous strain of hearing the satm notes RememlJr noaty Ve'0ped,’the **»«■ the touch becomes over and over, have caused many pupils to give un in The heavy bar lines are reserved for the real end of the the length, strength, free lateral motion and perfect everyone has t,-W° pers?ns hands are alike; therefore, Ex.12 despair or become nervous wrecks. The object of these wjtl, ls own’ mdividual difficulties to contend composition. Schumann in his Novellettes uses the double liar when he changes thp key in the middle of a measure (See Opus 21, No. 8). Page 376 JUNE 1923 TEE ETUDE THE ETUDE JUNE 1923 Page 377 What is the Best Fingering? Later in the same piece, the left hand, in its ascending you would not attribute the least importance to the figure has a sequential passage which would be fingered: number of listeners. If you are able to satisfy or even By Hazel Gertrude Kinscella Ex. 2 to enthuse the one severe critic, you may as well be sure that you can please the large audience. What it the best fingering? The best fingering is That all the trouble is in your imagination is proved that one which allows the simplest and most reliable "W,'1 MU by the fact thA, if you could be assured that all persons means to a smooth and musical performance of the are not attentively listening to you, but that their atten¬ composition in hand. Every passage of every com- Finger patterns may also often be useful in the play¬ tion is attracted by some unusual happening, say a cat • PlOS't,K1)n, sbou,d llave its own definite fingering, which ing of cadenzas, as in the short one in Paderewski's or a dog running through the hall, you would in a moment J should be decided upon at the very earliest study of the Minuet in G, the simplest fingering for which is—(I have recover all your wits and render the work faultlessly work. Wrong fingering or irregular, changeable finger¬ inserted division marks not in the printed music, so as and artistically. ing, causes a large portion of the hesitation and uncertain¬ to illustrate my use of a finger pattern),— It would not be necessary that the public attention be ty which often accompanies the playing of students. really diverted from you. It would be sufficient that Good and “comfortable” fingering is an aid to elegance Ex. 3 “Here Comes the Bride” and finesse in piano playing, is of the greatest help in you believe it. As a matter of fact it may be that you memory work, as right fingers help to get the right notes were deceived in that point. You may have heard or seen A Junetime Story of the Great Wedding Music of Yesterday and To-day for the Church and for the Home ls.a means by which one phrases well. It gives the player something which, in your judgment, was liable to distract a feeling of confidence and' security; economizes time the attention of the public, for instance, the pounding of By EDWIN HALL PIERCE and strength in the daily practice. It is of great assist¬ Jff^irrriffTirrrrfrfr a hammer of some workman in another part of the build¬ ance mr sight-reading; is a means to the acquirement of ing. That was sufficient to free you from the incubus of June being the most popular month for weddings, about ready to fight for her. The night before the trial, in march,” as it might cause confusion, or if not that, would velocity. All these, and many more reasons may be Finger patterns may be found in a large per cent of fear and from that moment your rendition became in¬ this time countless prospective brides must be consider¬ a dream, she sees her destined champion, coming in a result in a slight lack of contrast. given why a pupil should adopt a definite fingering for the compositions which a pupil will study. spired, superb. It was, however, only a mistake on your ing all the delightful little details of an important cere¬ boat drawn by a swan. This dream comes true when Very often the bride, especially if herself musical, will each musical passage and then continue to use it. In the sixth place, recurring passages in the same com¬ part. The public did not for a moment leave you out of mony in which they are to play a leading part. the knight, Lohengrin, so appears, at just the critical have a choice of pieces and will furnish the organist Nearly every composition of worth may be had in a position should be played with the same fingering. The sight. You were just as attentively watched as before. Probably about ninety-nine in every hundred, in spite moment when her hopes seemed vain, and he vanquishes beforehand with a list of what she wishes played. In standard edition, which, of course, includes finger in- musical memory is strengthened by such uniform finger¬ Only the changed attitude of your mind brought about of a slight, but growing tendency to strike out in new his opponent, Telramund. In accordance with her prev¬ most cases she will show good judgment, but sometimes this wonder. dicaticfns. But sometimes these editions are' not obtain¬ ing, for memory of a passage should always include the paths, will decide to have the Bridal Chorus, from Wag¬ ious intentions she marries Lohengr\n, although he is she will set her heart on some trifling little sentimental able. Also the teacher must always take into considera¬ fingering as well as the melody and notes. In the Chopin Another instance. You play or sing before a musician ner’s “Lohengrin,” and the Wedding March from Men¬ unknown and refuses to give any account of himself. ballad, endeared to her perhaps for personal reasons, tion the size and shape of the hands of each pupil. Nocturne in G, there occur two principal passages which upon.whose judgment you put a great value. You be¬ delssohn’s “Midsummer Night’s Dream,” used as music Immediately after' their marriage, enemies begin attempt¬ or on some piece which it is impossible to render effec¬ Many an edition has been fingered by some one whose are nearly identical, and which are transposed into come excited and do not do your best. Suddenly you before and after the ceremony, respectively. ing to poison her mind against him, and despite his tively as organ music, though otherwise unobjectionable. discover that he has closed his eyes and you believe hand may be large and broad. Such a fingering will various keys in the course of the piece and should have Several little problems in the culture history of the warnings, she plies him with inquiries as to his origin The introduction of any secular sentimental song, him fallen asleep—a rather depressing discovery. How¬ not fit the needs of the unusually small hand.' Older the same finger application in the various transpositions. human race, though not of any overwhelming importance and home. At length, overcome by her entreaties, he either sung, or played on the organ, is wholly out of The right hand figure of measure 3 in the key of G, recurs ever, knowing that he does not hear you any jnore, you and more experienced pupils may suit the fingering to one way or another, furnish a fertile field for interesting reveals his secret- He is a Knight of the Holy Grail; character in a church wedding, but (to those who like at measures 9 and 77 in the keys of G flat, at measure feel relieved and continue to play like a great artist. He best fit their own hands; but the less advanced student speculation. For instance, how did the ancient Greeks and it is the nature of his vow that wherever he appears that sort of thing) is not so bad at a home wedding. 80 in the key of D, and also at measure 126. The other has only pretended to sleep and, with closed eyes, he should always have it indicated by the teacher. One might and Romans manage their cooking, when sugar was not on any knightly errand he must remain unknown; other¬ The writer has played at several home weddings where, passage differs but a trifle, and occurs at measures 6, 17, listened the more keenly to your performance. What write chapters upon the significance of little, seemingly yet invented? How could men ever manage to light their wise he must depart at once from those who have learned before the ceremony, interspersed with piano pieces of a * unimportant things. Many a little thing used as cir¬ 74, and 129 in various keys, and should have the same blessed mistake was yours! pipes on horseback (as they are represented in some old his secret. Accordingly he bids farewell forever to poor, light and cheerful character, a vocalist sang several cumstantial evidence has hung a man, or has set him fingering in all. The following instance is also characteristic. You per¬ novels as’doing), before the days of friction matches? remorseful Elsa, but makes some amends by restoring secular songs, the selections being often the choice of free. Piano students will find correct- fingering the In the end the pianist will have to discover the set or form to make a record for the phonograph. Before the the bride. On another occasion, a trio combination, con¬ pair of fingers which, with his own hands, enable him to How were formal weddings conducted before the year to her, just before he departs, her lost brother, who, “little thing” which will set them free. machine is released your production was highly artistic, sisting of violin, ’cello and piano, was used with great get the best results. Nearly everyone has a natural but, as soon as the machine starts, you feel nervous and 1850, which was about the time the two marches above under enchantment, has been none other than the swan It was Philip Emanuel Bach who said—“All facility satisfaction. There is a vast amount of beautiful music combination, which if not awkward, may be indulged. do not half as well as you could. mentioned came into use? which drew Lohengrin’s boat hither, but who now re¬ depends upon fingering.” There are several general composed specially for that combination, not to men¬ The other fingers, however, must be systematically Sometimes a sheer mechanical remedy delivers you from In a volumj of old marches (German' French and sumes his proper human form. rules which suggest themselves, the observance of which tion numerous “arrangements,” both classical and pop¬ will sweep away all finger difficulties. drilled, as the work done by any one finger indirectly ben¬ the insidious grip. I had, myself, the most humorous English), there is practically nothing that even purports The play is very evidently an allegory, hinting that ular. The string quartet—two violins, viola and ’cello— FiVjf, the pupil should have indelibly stamped upon efits the unused fingers. experience. It was on the occasion of my first appear¬ to be a wedding march. There are a few fine funeral perfect trust is one most necessary condition for endur¬ is another beautiful form of music; but its repertoire is his mind, the regular fingering of each major and minor ance in St. Petersburg!! with Alma Webster Powell, the marches, by Handel, Beethoven and others, a few marches ing love. Not a bad thing for a bride to remind herself. less extensive and it does not take so kindly to “ar¬ scale, and of each arpeggio—whether of major, minor, renowned singer. Before going out for my first num¬ of a solemn priestly character, from Gluck and from Planning Wedding Music rangements.” By adding a double-bass, however, to or seventh chords. A student will presently begin to How to Overcome Nervousness ber I felt unusually excited and I was about to send Mozart; but the most are military marches, pure and string quartet, a great deal of orchestral music becomes reedgnize in compositions, scale passages, and their ap¬ somebody to announce that I felt indisposed and that the simple, and that of a very empty and threadbare sort— Nearly all organists, and occasionally also pianists available for use, and this combination is very desirable parent identity, as scale of C, scale of E, etc. These By Eugenio Pirani piano number would be omitted. My partner saw far inferior to our own Sousa. Anything uniting tender¬ and other musicians, have occasion from time to time where a piano is not convenient. will, naturally, be speedily learned, the fingers already directly what was the matter with me and, with a sudden ness with a stately, but modest pride, as does the “Lohen¬ to give thought to the proper planning of wedding mu¬ It is a matter for devout thanksgiving that in these knowing their places. The regular fingering of any One of the most inexplicable psychological phenomena inspiration, without saying a word, pinched me in the ami grin” march, or filled with triumphant joy, like the sic. No fixed set of principles can hold good in all days of “jazz” we do not as yet find it in connection such scale passage will be used, unless it is otherwise is the laming effect which the performer feels before the with such superhuman strength that at once I saw all the Mendelssohn march, was simply not to be found; so it cases, because the wedding ceremony is itself regarded with wedding ceremonies. Perhaps I ought to “rap on indicated, having been changed for reasons of phrasing, public. He would be able to interpret the work of art stars of the firmament. I was first incensed at die is not to be wondered that these two marches, when in such a different light by different types of people; wood” when I say this, however. or jo allow the stronger fingers some unusual opportunity with technical perfection, with deep expression, with dra¬ brutality of the attack, but in the same moment mv per¬ they appeared, were so quickly and universally adopted and it should be the musician’s aim to furnish such music matic power, w.ith all delicate shading required, with un¬ as will agree with the character of the occasion, even for melody work, or accent. An example of regular plexity had disappeared. I went upon the stage, mt at as filling a long-felt need. Formal Weddings scale fingering in a piece is the Scherzino by Moszkowski, daunted dash—but for the presence of a numerous public. when they have allowed him a free hand in the matter. the piano and, thinking only of the severe pain in mv Formal weddings, either “home” or “church,” are m which the scale of F major is constantly .used. Many I have known, personally, distinguished players and Two famous Marches To some, it is a solemn, though joyful, religious cere¬ arm, I forgot the public and played with perfect ease and usually rehearsed, and particular attention is given to etudes require rather certain and intimate knowledge of singers who were paralyzed the moment they had to ap¬ Perhaps it will be interesting to observe what we hap¬ mony ; to others, a brilliant social function; to others, indifference, only from time to time meditating some kind the matter of the wedding march, with its appropriate all scale fingerings before they can be completely mastered pear before the audience. Theodore Kullak, one of the qi reprisal against the frightfulness of my fair partner. pen to know of the origin of these two marches, and we merely a civil contract. The last-named we may dis¬ music. Of course it must begin at just the right time, and effectively played. In the Fantasia in C, Op. IS, by greatest pianists of our age, admired by Rubinstein, by Afterwards I had to own that her merciless pinching was will begin with the Mendelssohn, as slightly the older. miss with few words, as they need no music, merely and some signal is agreed upon with the organist. The Schubert, the left hand plays simply scale and arpeggio Liszt, by.Tausig, was not able to play in public without the best service she ever rendered me! Shakespeare’s plays have long been immensely popular going before a justice of the peace, or at least a min¬ passages for several pages. losing control upon his memory and upon his fingers. ister, with little ceremony; but between the other two organist is also expected to hit upon just the right tempo . with the German public, owing partly to the fact of ex¬ • OUgbt not t0 forget another point. Everv single 1 for the marching, and to come to a close just when the Second, the student should thoroughly master at least He •commenced his rendition like the grand artist he cellent translations into modern German; whereas, in classes a distinction should be drawn. individual in the audience attributes very little impnrmnce : wedding party reaches the place wher£ it is to stand— one standard fingering for the chromatic runs which so was, but after a few measures, he made a mess of to your production. It is only a matter of relaxation to their original form, their English is now so old that many When a wedding is held in a church, it is at least sup¬ not an easy thing to do, without some musical butchery. abound in all piano literature. The most usual fingering everything. Adolph Henselt, the great pianist and com¬ words and expressions have become unintelligible to Eng¬ posed to be a religious ceremony; and nothing should or c.y,en onl-v a Pleasant way to ease his digestion. In many cases it will be found much easier (supposing for such runs is: The third or middle finger on all poser,. suffered in .still higher degree from this treacher¬ It is indifferent to him if’you prove a great or only a lish-speaking people, other than the learned. Mendels¬ be permitted in the line of music, either vocal or instru¬ ous ailment. the line of march is short) to take a strain or two of black keys; the thumb on all white keys, except at E sohn, at the early age of seventeen, attended many mental, which would be out of keeping with a sacred mediocre artist. Your failure does 'not affect his repu- j the music and repeat it over and over again, rather than ami F, and at B and C, where the second finger will be Even Hans von Buelow, the celebrated pianist, was tation, your success does not add a jot to his fame. I performances of Shakespeare, and wrote his very fine edifice. The Roman Catholics already have this matter used, following the thumb and third finger in the order in troubled with tremendous nervousness before the public. pretty well standardized on a correct basis, so that to attempt to play through the whole march. In case x --I his conviction . ‘ should, "u,u arouse in you the same indifindif¬ Overture to Midsummer Night’s Dream; but besides an they wish the music lively but the pace dignified, then which it is a part of the hand. This rule applies to Little things were liable to endanger the perfection of ference concerning his presence. You mav be sure also overture, there are numerous places in the play which any remarks of mine would be superfluous; but I will both right and left hands. his rendition. The sight of a lady fanning herself in play a 4/4 march at a rapid tempo and have them take that of a hundred lictpnorc call for special incidental music, and seventeen years say a few words in regard to the Episcopal Church, in one of his concerts disturbed him so that he had to stop , n . r ^ ninety-nine would not b.. only two steps in a measure instead of four. These Third, repeated notes should be played by constantly after, in 1843, at the command of the King of Prussia, which, of all the Protestant churches, the wedding serv¬ changing the fingers toward the thumb, as—321, 321 or in the middle of his performance and request the lady « yc;ur merits or .to detect your faults. The directions are given because organists must suit their lie completed the task already begun, by adding some ice is of the most dignified and religious character. 4321, 4321. to cease the motion with her fan. Wend a!!dT!-haS-PcrhapS n0t half tbe value of the one patrons. Personally, I think far too great importance 2 the distinguished artist who expressed to vou his dozen or so other pieces including the famous Wedding Where the help of a choir is available, there are several Fourth, a simple rule for fingering broken chord pas¬ It was in Cologne, as Buelow gave a recital in the is placed on the matter of marching—a wedding proces¬ delight-o—« with".hi yourjuui work.wunc. March. It is quite a long march, by the way, and is all hymns (in the standard hymnal) specially provided for sages, with reference to the third and fourth fingers is Concert Hall of the Conservatory, that, during the first the occasion—the favorites being O Perfect Love and sion is neither a military drill nor a form of ballet- v»L at times! well worth hearing; but the majority of the people who that when the distance to be reached between any of number of his program, he discovered sitting in the eas”yWw!thy’?We.,may be ^ times! How The Voice That Breathed O’er Eden. There are "also, dance : it is sufficient if the wedding party simply pro¬ these fingers and the fifth or thumb is more than a first row Ferdinand Hiller, the composer, with whom he - a little logic, could we be freed of < listen to it at weddings never hear more than the first ceeds in an orderly manner from the place where it ir worst enemies! two strains, owing to its being cut short by the exit, or although the choice is somewhat limited, anthems of a third, or when a black key is to be reached, the third was in somewhat strained relations. As a matter of fact starts to the place where it is going, without giving suitable character, which may be found by searching finger should generally be used. If the distance is but Buelow, owing to his excessive irritability, was on bad in some cases the entrance, of the bridal party. thought to feet and legs. a third, use the fourth finger; as, right,hand, D, F sharp, terms with the most of his fellow musicians. Buelow The “Lohengrin” number is from Wagner’s opera of publishers’ lists, especially those from the press of No- A, D, would be fingered 1, 2, 3, and 5 (or 1, 2, 3, 1 felt like an evil eye was cast on him. He could not that name, first performed at Weimar, in 1850, under vello or H. W. Gray. There is a custom recognized, Musical Joy Within As intimated in the opening paragraphs, in spite of if continued more than an octave) ; D, G, B, D, would stand it. He left suddenly the stage and returned soon Liszt’s direction, while Wagner was in exile abroad though far too rarely practiced, of following the wed¬ because of his revolutionary activities. It had been com¬ the almost universal vogue of certain excellent but per¬ be fingered 1, 2, 4, 5, (or 1), and so on. with two robust fellows wbo turned the piano so that By M. L. Michaels ding ceremony with the Communion Service, at which A. fifth helpful suggestion is that sequential passages he had no more to face the hated Hiller. posed several years previously. In the opera this is a the bridal couple make their communion. Where this is haps rather too hackneyed marches, there is occasion¬ ally a call for something more novel. This call has require that each passage should be fingered alike, re¬ I remember Benjamino Cesi, a splendid Italian pianist chorus sung by the bridesmaids, and is a beautifully light done, any one of the numerous briefer musical settings him<;EI|fH'ou must create in the ideal an hour before the time set for the ceremony it is quite occasion where variety is an object. Grieg’s Norwegian the figures, should be fingered thus: Of course it is the consciousness that hundreds of criti again, keep it properly graceful and tender, but fail to separation- tu yoi?rse,f ” Many musicians seem to be customary for the organist to begin to play while the Bridal Procession is one, though much better for piano inv Tl,g hemselves from the delights of solitary play- make it crisply rythmical as they should. The story of' ar C01.,centrated «Pon the performance guests are assembling. A great quantity of organ music than for organ . Gounod’s Marche Romaine is another. the opera runs as followsF.lsa. princess of Brabant, out of order g m''nd ^ b™gs ^machine exhibition TZ,0 fr1 that p,aying shouId be for is suitable for this purpose, and only a few pieces are The Bridesmaids’ Chorus from Weber’s "Freischiits” discovered , v *h,mg .of. ‘he sort. Not until you have has reason to mourn the loss of her brother, who has mentioned—such as Dubois’ Cantilene Nuptiale; Jensen’s And still, if you could realize that often but one per would be a lovely number,- sung before a wedding by a arm chail W j3t .,f ,s to take a book of music in an mysteriously disappeared, and she is overwhelmed by Bridal Song; Wolstenholme’s The Question and The son listening to you, ,s possessed of a keener artfstl' chorus of girls, while, for a large mixed chorus, where timbres m read, il as you w°u1d a novel, conjuring being also accused falsely of witchcraft. According to judgment than the hundreds assembled in the aud n Answer; Borowski’s Adoration. The March from Tann- such happens to be available, what could be finer and Ian renrod C than any you °r any oilier mortal the mediaeval custom, her trial is to take the form of a haiiser is another splendid piece for this purpose, only more appropriate than the Bridal Chorus from Gowen’s P uce, can you reach the real heights of music. duel between two knights; but she knows of no champion it should not come immediately before the real “wedding “Rose Maiden”? fHE ETUDE Page 378 JUNE 1923 THE ETUDE> JUNE 1923 Page 379 That sudden access of patriotic self-consciousness Appropriate numbers by American composers are Wood¬ A Musical History Intelligence Test which was noticeable from the time that America first man's Epithalamium, loud and joyful, and Matthews' entered the late war, had, as one of its manifestations, a Epithalamium (Schirmer Edition). In Barnes’ new Or¬ Questionson the Lives of the Great Composers THE PUBLIC SCHOOLS AND MUSIC EDUCATION tendency to encourage the use of American music. This ganist’s Guide (Schirmer), you will find a number of was most commendable, but unfortunately, as a certain things for organ at weddings. Some joyful little dance Arranged by Eleanor Brigham prominent critic (Dr. Sonneck, I believe) has expressed numbers are appropriate. For instance, there is the it, it does not always follow that because a person is delightful little Forlane, by Aubert, in Dickinson’s His¬ [The Etude will present during ensuing months , a good American and a composer he is a good Ameri¬ torical Recital Series (Gray). of questions similar to the following. They mag i bg the student for a home self-help quia. They mag Testing the Musical Intelligence of Children in School can composer. However, we really do have a number “You probably have in your library innumerable Idyls; by the teacher for a “musical spelling bee’’ club n of American composers whose works are of sufficient for example, Noble’s delightful little Elizabethan Idyl the idea being to drop each student from the liir excellence to be recommended, without the need of any failing to give a correct answer and to sec which (J. Fischer). Then there are a host of joyful pieces: can stand up longest under a fire of questions, t By PROF. CHARLES H. FARNSWORTH chauvinistic boosting. For instance, there are excellent Webbe’s Ecstasy (Gray), Cole’s Rhapsody (Schmidt), mag be used by the private teacher, with the imi wedding marches by H. Englemann, R. deKoven and pupil, for special auxiliary work. The answers to I Teachers’ College, Columbia University, N. Y. Seth Bingham’s Roulade (Gray), occur to me at once of questions will appear in The Etude for next m John Philip Sousa. The Englemann number is strong as attractive—these three happen to be not particularly Editor of The Etdde.1 and dignified, and not difficult: it is published for piano, easy. “The Etude” has long been conscious of the growing importance ual success of the pupil becomes more and more closely linked with but could be easily adapted for organ. The deKoven Series No. II “If you can get extra instruments, there are a host of of Public School Music in America. Only inadequate space has pre¬ that of the musical work being done in the schools. Therefore, “The composition is published in both piano and organ ar¬ things. For example, H. A. Matthews' Romance 1— Who composed The Huguenots? vented us from giving it more consideration in these columns in the Etude” will have in every issue for some time to come articles from rangements, and is quite tuneful. The Sousa number is 2— Who composed the very famous Jewel Song? (Schirmer) and Dickinson’s Exaltation, for organ, violin, past. Every day the work of the private music teachers and the individ¬ the best-known Music Supervisors of America. to be had for piano solo (also in a “concert edition” for ’cello and harp. Or use romantic trios like Ganne's 3— Who taught Marie Antoinette to sing? piano solo), for piano four hands, and for organ. The 4— Who composed Lucia? ' Extasc, and Widor’s Romance; both of these are in Car! A common sense question would naturally arise in organ arrangement demands a good player. Curiously Fischer’s Artist Trios volume.” 5— What great pianoforte teacher was born in Vienna Measuring the musical intelligence of children, then, is they are, we have a way of judging what are probably enough, although a joyous and brilliant piece, it has 1791? the minds of most persons concerning testing the mu¬ not merely finding out what a particular child can do in the natural capacities of the individual. This does not sical intelligence of children. They would say, “Why none of the singable or ivhistlcable quality of his well- 6— Who composed The Passion of St. Matthew? the way that any good teacher can do for himself, but mean, however, that one who after measurement shows test? Send the child to a good teacher, and he will as known military marches, but almost the breadth and con¬ How Long Shall I Hold the Pause ? 7— Who composed Wcrther, an opera? it is discovering with reference to a standard, independ¬ the proper marks is necessarily a successful musician. tent of a, symphony movement. 8— What composer wrote the Columbian Ode for the far as any particular pupil goes be able to find out what, ent of any teacher, whether the particular Mary or John Far from that; for it very often happens that a person he can do, and how to cultivate the ability he has,” and Among songs suitable for a soloist at a home wed¬ By Charles Y. Cattell dedication of the World’s Fair, Chicago? has average musical ability, and so is justified in spend¬ with unusual natural ability may in childhood be so ding (as we have already spoken rather against their 9— Who composed Narcissus? if a person reading this title is familiar with what is ing an average amount of time and money in cultivating lacking in any musical stimulus that the capacity has not going on in schools, colleges, and even, to a considerable employment at a church ceremony) are O Perfect Love “When I find this sign ^ over a note, how long shall 10— Who composed a pianoforte piece. To a Wild it; or if this one has especial musical ability and would developed as it normally should, and owing to the lack Burleigh; / Love You Truly, Bond; At Dozening, Cad- £ hold it?” Rose? extent, in business, he would perhaps say, “Isn’t this be justified in investing a large amount of time and of use of his powers, may even have lost in ability to question of testing rather a fad that everyone is talking man ; The Year's at the Spring, Beach. “Properly speaking there is one general rule. Hold 11— Who composed H. M. S. Pinafore? money; or if his ability is so far below average that it improve. The reverse might also happen. A person For music to be played while the guests are assem¬ the note or the rest twice as long as its indicated time 12— Who was one of the great composers of waltz about just now, and which will be dropped for some would be much better for him not to try to become a without particular natural capacity may, because of un¬ bling, the variety is almost unlimited. We have space value, when it has a Hold or Pause sign over it.” other fad in a few months?” musical producer, with the idea of p'easing himself or usually favorable childhood environment, make such ef¬ to mention only Nevin’s beautiful suite of four pieces “Yes, but do I hold the notes in both hands equally 13— Who composed Madame Butterfly? It is the purpose of this article to show that while others with his playing or singing but rather to work fective use of what powers he has that he surpasses what under the title of A Day in Venice, which may be had long?” 14— What English composer was knighted in 1904 ? testing may be treated as a fad by superficial people, the the natural indications of his capacity would seem to either for piano or in an excellent arrangement for “The answer here is “no,” unless there is a hold in 15— Who taught John Field, the composer? principle underlying it is one of the most important and suggest. We must make allowances for such differences. organ. The third of these pieces, Venetian Love Song, both the treble and in the bass. .Careless editors some¬ 16— Who composed Tramncrci? practical in everyday life, whether in education or busi¬ At the same time, sufficient investigation and study of is a special favorite. times fail to put the hold ih both places, but it should 17— Who composed the Pathetic Symphony? ness. Especially so, in music; for in this subject parents the relation of inheritance to training has been made to A most convenient collection' for organists is the* be there if both parts are to be held.” 18— Who composed the Beatitudes? and pupils do not have the protection of standardized show that even a slight advantage in inheritance gives an book entitled Wedding and Funeral Music, edited by .“But,” inquires Miss Inquisitive, “what if I come 19— Who perfected the violin model? institutions to the extent that exists in most lines of increasing advantage to the one who possesses it, under E. A. Kraft. This contains, besides the familiar Wagner across a passage like this where the notes are of un¬ 20— Who appeared before the public as a pianist for study. The work is largely done privately, and at the favorable opportunities for study. Under the ordinary and Mendelssohn marches, several others less familiar; equal value in the right hand and in the left hand?” 60 years? same time, there are not those legal requirements that conditions of life we are safe in saying that everybody also a variety of music suitable for playing while the 21— What musician was a torch-bearer at Beethoven's protect the public as in law, medicine and many other is justified, without reference to talent, in improving guests are assembling. It does not, however, include funeral ? professions. The major portion of the advice accepted his capacity for music, but the time and money put into the inarches by Englemann, deKoven or Sousa, to which 22— Who composed the Invitation to the Dance? is necessarily an interested one; for, however honest such an improvement should vary according to the ca¬ we have alluded above. These may, of course, be ob¬ 23— Who composed a very familiar Humoresque.' and upright the teacher may be, his desire would tend pacity possessed. tained in sheet-music form. 24— What Polish composer has written a very popular to affect his judgment. The thing most often neglected in deciding the questions of music study is the nature Minuet ? Grape-Arbors and Sky-Scrapers Music During the Ceremony 25— Who composed the Peer Gynt music ? and extent of musical capacity the pupil has to start The author remembers once looking down into a huge 26— Who composed a set of well-known Hungarian There is one little detail yet to be mentioned. At pit over which now stands the Woolworth Building with some church weddings the organist is desired to con¬ dances ? “The only sensible solution is to prolong the last half its summit seven hundred feet above the side-walk. For tinue playing during the entire actual ceremony fur¬ 27 Who composed nine famous symphonies? Capacity at the Start of the measure artistically something after the fashion weeks men were boring down into the earth to lay foun¬ nishing an almost inaudible background of soft'music. 28— Who composed the Magic Flute? of Example 2. In this way the length of each note in To illustrate: A young person sees some friend play dations deep and strong enough to hold the towering If the organ has a stop or stops sufficiently soft, the 29— What musician was born the same year as George the left hand is doubled. If this is done mechanically or sing effectively. He not only likes to hear the music structure. It stands to reason that if a man were only effect may be very pleasing; but if not extremely well Washington, 1732? it will be abominable. The hold is thus merely sug¬ this person produces, but he realizes that the skill to pro¬ going to put up a grape-arbor,.he would not spend time managed, there is danger of the musical tone appearing gestive.” 30— What German-born musician is buried in West duce it gives the performer a certain attractiveness, es¬ and money digging foundations that would be necessary intrusive. If any doubt is felt it is best to try it out minster Abbey? pecially from a social standpoint. People like to have for a Woolworth Building. Variations in musical talent 31 What little boy took a hammer and tried to break j* -a16 ruhf,arsal and then let the Persons concerned him come to their gatherings, and to have him as a are as great as the foundations necessary for the above decide whether or not they wish it. The effect is best «P1web^fehe COuld not find a mai°r triad: ' friend because of the delightful way in which he can illustrations, and parents and pupils should consider it tf the organist is one who has a gift at improvising, “f-Whose Habanera” made Emma Calve famous’ entertain them. Naturally, the listener says, “Why the most practical question for them to decide when and takes for Ins theme some one or more strains from oo Who composed Parsifal? can't I. by practicing like him, possess the same fine ac¬ starting music lessons as to just what the natural talent music he has already been playing-not, however the. 34-What Russian pianist founded the Russian Musi] complishment ?” The same person might go a step of the student would justify. For the student’s interest wedding march, but something of a more subdued and cal Society m 1861? farther and say, “Now, this friend of mine goes to Mr. quiet character. Where a piano is used it is almost im¬ may, after all, be largely due to vanity or a desire to years?What Italian ConiI)oser wrote 20 operas in eight Smith for lessons. He must be a fine teacher, because possible to keep the tone soft enough for the desired show off, while the teacher’s is that of gain. How many “Here is a hold over a double bar. What shall I do my friend plays so well. The thing for me to do is to pathetic cases there are of years of practice and thou¬ background, hence it is best to confine this effect to 36—Who composed the opera Electro f take lessons from him, also.” Then, naturally, he will organ music exclusively. with that?” sands of dollars spent with almost nothing to show as “If a pause appears over a double bar, either at the imagine himself as having taken lessons for a few PROF. CHARLES H. FARNSWORTH In the course of preparing this article, the writer con¬ ludeTr Wr0te 3 n0ted b00k 0f Twenty-four Pre- a result! It is vain to say that discipline and culture end of a complete measure or in any part of the measure, years. He sees himself producing beautiful music, and sulted a number of other organists, in order to compare have resulted. Discipline and culture can result from pause for a time equal.to the measure or part of the the center of an admiring circle. He is thrilled at the toward becoming a musical appreciator, so that, how¬ notes and extend his field of information, but for the doing any worth-while thing, and if there is no other measure which immediately precedes the double bar.” prospect, and he urges his parents to allow him to take ever low his power of production may be, he still will most part found their repertoire of wedding music to product of the work, one would have to admit that there lessons. have the capacity to enjoy what he hears. In other be much like his own. At the last moment, however a was a serious waste in what was done. It makes no difference, for the purpose of our illus¬ words, not keeping anyone from music study, but ad¬ letter arrived from Harold W. Thompson, of Albany Edward Etear^Paderewskf' r V Let us now consider some of the ways of-finding That First Lesson Again tration, whether these three situations come to the pupil, justing the study to the real need of the pupil. When dean of the Eastern New York Chapter of the American out the favorable conditions for music study. The most or appear to the parents. The latter may be the way we realize that all over the country pupils and parents Guild of Organists, which contains so many valuable complete working out of such tests has been carried on By Hope Waters it more often happens. In either case, there is a process have to decide such complex questions, upon the deci¬ suggestions that, with his permission, we shall transcribe by Professor Seashore of the University of Iowa, though of reasoning from experience, but with this grave omis¬ sions of which hundreds of dollars, as well as years of the problem is still a very live one and many are work¬ it almost entire. He says: When starting children in music, often there is a sion : the one who is going to succeed equally well practice are expended, the ability to find out fairly ac¬ ing on it. Professor Seashore .has had some tests put “Whenever matters are left to my own discretion, I period during which the pupil “wakes up” as to why he must have similar talent, or musical equipment, to start curately what one’s natural capacity is would seem to on phonograph records so that they can be given very use one of Elgar s Pomp and Circumstance marches for is taking music lessons. with, or the same result will not take place. For, what be one of the most practical questions that the music- easily, and yet have this value, that they indicate more the march out; either the familar one in D, or the one To begin with, it is better to start slowly and work ’ ^ Mozart, 40-Hay,In, 41—Ilandel. 42—Bach. the friend has accomplished that so attracts the observer loving public should consider. or less accurately the inherited capacity for tonal per¬ in G. My favorite vocal number for weddings is gradually up from one lesson to the next. Nothing is that he wants to do likewise, is due not only to musical The question will now be raised, “What are the signs ception. not musical itself, but possessed in large amount ever gained by crowding and pushing the child or by Schubert’s Du bist die Ruh (in English translation of education and practice, but also to capacities with which that indicate such capacity?” Before mentioning some, by those who are musical, and are thus a good indica¬ course). I had this at my own wedding. ■ It seems to giving too hard or too long lessons for practice. One Teachers everywhere have learned that he is born as well. Some modern investigators value let us consider our attitude towards tests. If you want tion of what we wish to know. One of these tests is exercise learned well is worth more by far than an me the finest of love songs. It always seems to please. THE ETUDE MUSIC MAGAZINE cooperates this natural equipment as worth at least fifty per cent to know how slow or fast water is flowing, all you need called, “The Pitch Test.” It consists of two hundred “For the ceremony itself I usually play very softly entire page carelessly played. with them in the difficult matter of keeping towards the attainment of the final result. So, if the to do is to throw something in that will float, it makes questions, each presenting two different pitches to the The first lesson should usually consist of teaching the some appropriate romantic composition while the service op the interest of the student during the friend, whose example has stimulated the pupil, or sug¬ no difference what, and watch what happens. Not what hearer, those widest apart less than a half tone, and pupil the different notes of the .scale of C. Middle C is going on—for instance, the middle section of Grieg’s gested the idea of music lessons to the parent, is twenty- we throw in, but what the water does with it is the thing those nearest together so small that the keenest ear will should be located and then other C’s D’s and so on Summer. Our Summer Issues will be Bridal Procession—very nice on a soft “string.” Before five per cent better born musically than the one who to notice. In other words, things that indicate musical¬ have difficulty in noticing the difference. All that the should be found on the keyboard. Then these notes especially fine in the presentation of fresh, the service I always play fifteen or twenty minutes. wishes to imitate him, the latter, even by putting forth ness may themselves be utterly unmusical, or most trivial listener has to do when tested is to notice when he hears Elgar’s Chanson dc Matin (organ arrangement in No- should be found on the music page and special attention interesting, readable material and charming the same effort, is twenty-five percent worse off. This called to lines and spaces. in nature; and yet through some association be very the two whether the second is higher or lower than the vcllo Edition is joyful and also romantic. The first num¬ pieces, just the thing to bridge the torrid sea¬ is not all; for as time goes on, the one who has the valuable in indicating the things we wish to know. first. Later the pupil may learn to spell such words as he larger amount of natural ability will gain so much ber in Lcmare’s Arcadian Idyll, goes well; it is dainty son in a delightful musical manner, keeping So in trying to find out the natural musical capacity It will be seen that such a test has little to do with can from the scale of C; such as g-a-b gab- cab faster that at the end of a few years’ study the actual ■ and pretty. Oliver King has a Wedding Suite, all the music lover keen to begin the work in the of an individual, things can be taken that in themselves music. Its very unmusicalness is its value; for, if it cab; g-e-e, Ree. Children enjoy this spelling game and difference in the accomplishment of the two will be pretty good; there is also a Wedding Suite by Dubois. faff with renewed vigor. mean little;'but if we can get them in certain combina¬ were a musical test, those who had studied and had it helps to make the lesson interesting. even greater than it was in the beginning. tions, and are able to measure how strong or how weak musical experience would far surpass those that had not Page 380 JUNE 1923 *■*" D$ had such opportunities; and the object of the test is to the etude JUNE 1923 Page 3S1 sometiqies resembling a conversion, stimulated by the find out what equipment a person is born with 1 not What Makes for Accuracy? influence of some unusual inspiration. what he has recetved as a result of training and favor- To illustrate how combinations of capacities affect By Leonora Sill Ashton th s“awtt°Pfh0rtUnitieS- This test is throwing success: A person may have only average musical abil¬ The Teachers’ Round Table ity, but inherit a very remarkable vocal apparatus with especial capacity for its control. Such a person would How often we hear ourselves telling our pUJ);i Conducted by PROF. CLARENCE G. HAMILTON, M. A. probably become, under favorable conditions, a very accurate! How seldom do we accomplish in reality1' prominent singer; while another person with the same of which we are talking so frequently ! Accuracy • This department is designed to help the teacher upon questions pertaining to “How to Teach,” “ What to Teach, ” etc., and not technical musical talent, but with exceptional motor control of of the most valuable habits a teacher can give to a S ■ I sir problems pertaining to Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered his hands, would produce a fine violinist or pianist. On What is the most practical way to secure it ? pup'b department. Full name and address must accompany all inquiries. o" ,!,cU\L‘ md “ ”a" He”“ *« •the other hand, a person might have exceptional musical The very first step is to eternally beware of »• ■ Take another of these tests. Its obiect is to . ability, and be unable to produce music as an executant too much material in too hurried a manner to the sch^8 Concentration in Practice Much more subtle, however, is the agogic accent, in Supplemental Material, Sight-Reading, Etc. whether a person can tell which of two tones is^ liule in any line. Yet he might become an excellent composer be he young or old; a beginner, or a seasoned perform The following comes from a young man of nineteen; which the swing of the rhythm is felt, rather than driven s a beginner in piano a young man or critic. So with the combinations of capacities needed Think of every lesson as a large white page, on wVl upon the hearer’s attention. The agogic accent, too, t twenty-fi ■e years of age who is very anxious to make a fine teacher. High musical capacity will you are to place several distinct signs which’ are to™h Sometimes when I am practicing, it is impossible |-r music for pastime. I am using should be so delicately expressed that the auditor is not s Beginners’ Book, but would li’— - ■- always give an advantage, but even with average ability photographed forever on your pupil's mind. Lay st “e to concentrate, and I cannot got into the work i’Srr* as deeply ns I wish. What would you suggest conscious of its existence, and only realizes its satisfy¬ mid u with t ■ going on t ^so^th^ ? a person might inherit such keen mental endowments, upon these, till they are very clear in his mind even’] as the causeV Might it be lack of exercise'; I do He t; whose hearing is vcry keen can te„ ing effect. as imagination and power of verbal expression, that he you have to go over the subject again and again’ ' not take gymnasium work, as it toughens my hands. The two kinds are also frequently interacting, since would make an exceptional teacher, far beyond what Many illustrations can be given to aid the punil • (2) I have another pupil, a boy fourteen years just the musical capacity might 'justify. Again, how Concentration in piano practice, as, indeed, in any increase in force may be accompanied by a slight time- old, who has been studying music for four years, accuracy. Among these would be, for a little girl in'1 stress upon a given note. Good examples of pre¬ ■'"■ ”"T "•”'e for it, although he practices his often a prominent teacher is largely prominent because matter of sewing. Ask her what would happen if L other study, is furthered by (a) a healthful mental full a _t every day._ __He plays his scales a advantage muTatl “ovefone whJTs'not ^ ^ the his ordinary attainments in music are combined with un- dominance of either kind are, for the dynamic accent, correctly, and Is now using the first book of C stitch was taken in a hem, then a small n,ie the,, „ condition, (b) interesting material for study, and (c) Op. 2»U; •>— *>» *•-- - *—•>••• usual business ability. He knows how to organize his Chopin’s Military Polonaise, Op. 40, No. 1, and for the Riven to uT i,lustration and insider a test proper organization of this material. playing a which was only pulled loosely. There would be , agogic account, Schumann’s Des Abends, Op. 12, No. 1. lie. Ho you tmuK u auvisai work and to bring it before the public so that he gets (a) As to the first condition, one’s mental health is time durations. The test''co^s'isL^o" h™ * Se"Se °f strong hem to be seen, only the frayed, uneven edges, Accents may also be classified as regular or irregular his music when he doesn't u..„ ™ ... and the nrohlem ; * i C01lsistsi of hearing three clicks, attention, and his success is oftentimes far greater than certainly favored by exercise, especially in the open air. ave also a pupil who is unusually talent >d of one carelessly held together. So it : with a n' the former occurring when they emphasize the regular in playing by t that of others who may, from a purely musical point of I suggest that you begin the day with simple gymnastic ~ ear, but cannot read correctly at view, be his superiors. When one measure has incorrect time, th« next incur™ beats of the measure and the latter when they contradict twenty-two years ^of age and has 4« ss ri ,”Siw'5ick“ r exercises near an open window, and that you take a or tager ,h.„ to the 1“' SJ>"“ fingering, the next a blurred pedalling, i! ;s no [ ct these. Often the agogic accent is best employed for the the only instruction It will thus be seen that the measurement of musical brisk walk before your practice period, or even that the first questions are verv , ' "gam at all, but a ragged, flimsy, useless comp„iiion regular, emphasis, while syncopated notes or other un¬ player ^wishes to play fi capacity is by no means the only question in the problem. you interrupt your practice for such a walk, if your the vaudevUl 1 that notice to the Thir/iXS If your pupil is a boy, ask him what be would think expected effects are given a dynamic stress. There are might come t this t Alt we can say is that a person with low musical ca¬ brain becomes foggy and your interest weakens. Long ■, thereby increasing b pacity might make a passing success of some types of of a man who was building a cabinet, am! t,,rgot to nut so many such interactions, however, that one’s artistic s absolutely necessary that she should But h,°or™' '1“ h‘",U S'C,’n‘, lh" continued periods of practice are not advisable, and should in sight-reading, since there is prac- music work, if he had high powers in other directions nails in the right place, or knobs on the drawers or sense must determine just the kind and quality of each e for rehearsals. What would be the hinges on the doors. Even if the maker thought’and be replaced by periods of not more than an hour, or even accent, as occasion requires. best plan for me to help her along out not as great a success as he would if his musical less, in length. Practice early in the morning, when this li capacity were also high. On the other hand, one might said it was complete, it would be unfmi ,| and useless the brain is rested, is also especially conducive to inten¬ would be able to answer correct TgaS have exceptional musical talent, but combined with it because of indifference to-details. jus. so, , composite Theory and Note Spelling (1) A young man who begins piano at the age you .muf, '^studied in every point, and wen poim per¬ sive work. my pupils are studying Press' mention needs considerable inspiration in the way of (b) You should spend the most of your practice time ginner’s Book and - iser’s Student’s Book. We s^ tUr* re -a$ *° make faiIure inevitable' fected before it can be said to be mastered. What shall I give . varied and interesting material, in order that he may not cWMW> -H g h S,tmg the musical intelligence of after the Student’s Book is ^tCrCt£hlnd‘T^dg^° ^ ^°^U^Coacr?nsw Train your scholar from the very first t„ habits of on material of real musical value. Put your' purely finished? Do you thinl begin teaching grow discouraged. It is especially important to foster ® “ ’s n°t a complete solution of the problem, but them theory and if accuracy; in habits of thinking clearly, distinctly, and technical work at the beginning, when your mind is er v u StCVaken ln a more intelligent way for ac- recommend ? Shall I j his sight-reading, so that he may proceed to music of a h,urr£;-SESaS* n the proper manner of each separate tin . which helps especially clear; and afterwards attend not only to require note writing-; more advanced grade as soon as possible. One way to do t rr ^ Tm°n SCnSe ‘S aIways trying do- technical details, but also to the musical points, such as to fit the individuals training to his capacities. t0 to make up a musical performance. \ hart for each this is to have him play duets, preferably at sight, both phrasing, accentuation and correct tonal values. There Two books which follow well after the Student’s Aristocrats and Plebeians week of Things to Specially Remem will lie of during his lesson time and, if practicable, at regular in¬ invaluable assistance. is certainly enough to think about to occupy one’s whole Book are The Nczo School of Velocity, Op. 61, tervals wth some friend. He may begin with the easiest attention, if one wishes to interpret even simple music Book 1, by H. Berens, and Twenty-five Studies for still 2 k^ 116 St0°d SS'in^ofSaJ wemigh" - For the earliest beginners one or two • these things Rhythm and Expression, Op. 47, by Stepheii Heller, the collections of duets, such as the Very First Duet Book, Signs of Touch will suffice, and the chart would read a ,llows. * correctly! (c) As to organization, vary your program enough so former for purely technical work, and the latter for and then Tone Pictures by Low. interpretation. It may be well to employ both books, Little pieces, too, may be introduced together with the steal ability, and we should find out what per cem of 2 By Alfredo Trinchieri __ . nrFit st Week that it wil not become monotonous. After the technical Position of hand. drill suggested above, change the order of the practice alternating them from week to week. Beginners’ Book, some of which may be studied thor¬ Yes, I heartily recommend an early study of theory, cnT^om”','!,1^ ” ?.”S. s, Care about right notes. items from day, giving your first attention one day to oughly, while others are assigned for sight-reading. Dots as the sign of staccato were first used in the which can easily be combined with the even more im¬ rfr t a Care about correct fingering. an etude, then to a new piece, then to a review piece; Among collections adapted to this purpose I may mention srv: sr”' **“ the next day, first to the new piece, then to the review, portant subject of ear-training. For this purpose, the Standard First and Second Grade Pieces, by W. S. B. then to the etude, each day vary the order of practice Harmony Book for Beginners, by Preston Ware Orem, Mathews. Selections may also be made from Schu¬ Second Week. br capacities. ,0 k , ^ in some of its details. In this way the interest of nov¬ may be combined with Ear Training, by Arthur E. mann’s Album for the Young, Op. 68, and later the Sona¬ Watch for different kinds of notes Heacox. The curved line i%“ S elty of procedure each day will brighten up the routine. tina .llbum (Presser Collection, No. 49) may be taken up. Accent first note of each measure. I advise you to furnish each pupil with a small music In the same letter from which I have just quoted, (2) If you'can only keep this pupil interested enough "AClTS'."i ” «” writing book, which he brings to each lesson and in -SL-StoAri-aSS in combination. ' t0 USe staccato and I am asked for advice regarding materials for study. to continue his regular practice, I feel confident that in Third Week which memoranda of exercises, work to be performed, The nineteenth centurv saw an ^ “My teacher,” the writer says, “is very young, and I the end he will wake up to the advantage of knowing Strike both hands as have to offer all the suggestions myself as to studies.” or suggestions to be especially remembered, are kept. Count out loud. In this book he may also write his exercises in harmony how to play the piano well. Try to inspire him by giving In reply I would say that since one of the most im¬ him bright and attractive music, without too many dull | 5 portant functions of the teacher is to furnish just the atid ear-training. temCfrleaandmtry C°,lstitu^°"“All men'll exercises; by interesting him in other branches of music, right materials for the pupil’s special needs, my advice ownhpupilsmeardy 3 Sl?«t0n idea' Doubt,l"s «ith your Self-Help in Music Study such as the lives of composers; and by having him put would be to change to a more experienced and wiser in¬ selves from thP .d,fferen' ,0P''« will suggest them- I have recently received a letter from a lady, who has s*fa:KK!»s structor. You certainly would not continue to employ his music to practical use by playing for friends or for specia’l a^on°f ,he ,CSSOn' wl"dl wil1 n«d a doctor who relied on you to prescribe the right medi¬ spent many years in earnest study of both piano playing recitals. Urge him also to attend concerts, particularly cines ; neither can a music teacher inspire much confi¬ and musical theory, with reputable and well-known piano recitals, if any are available. Hearing others per¬ Don’t Be a Musical Kill J0y rule0rwil!droldPtianJicrr^adh^ T U,e ^d dence who cannot diagnose the pupil’s case with good teachers. It was ultimately, however, through her own form with ease and surety is always a great incentive to judgment, and provide the proper nourishment for his efforts that the instruction which she received became young aspirants. By C. W. Clay musical faculties. correlated in her own mind, and that she “found her¬ (3) I should say that this young woman needs much And having secured the right type of teacher, put self” by reasoning out a logical system of technic. In more musical training before she can hope to fill the While talent with which any one person is born ;« yourself unreservedly under his directions, since your her teaching, therefore, she tries to develop, above all position you mention. She should be drilled in piano hu^dtrtteahov;ryshrhtd s toid r frthe own suggestions and preferences may be a positive things, the student’s power of individual thought. “I technique and in the principles of artistic performance. Si otSETS srtrra? hindrance to him in carrying out the plans which he spend much time,” she says, “with his reaching his own Meanwhile she should labor unceasingly to increase her r1’”’ " -hi • gto deallt^i, I, i,0;”,?' limited powers of sight-reading, especially by playing should make for your progress. conclusions, rather than just to tell him things which he duets, by accompanying the voice, violin, etc., and by forgets when he leaves me. Where it is necessary, I re¬ systematically reading solo piano music. To be a good S-s ssaJissi rs “! Futuristic Aphorisms Accents in Music veal ; but where he has a certain foundation on which , Plfiise explain the different kinds of accents used sight-reader cne must go through an extended course of “-Mi re sr£4 in piano playing. I am anxious to know how these to build, he should set in motion for himself the laws practical experience, just as one must actually talk in a This likewise seemed to me a pose until T f i may lie classified, and under what circumstance governing the acquisition of knowledge.” By Arnold Schonberg each kind should be employed.—C. E. new language and depend upon it for months before s*‘? and seemed irritated when outlook on life Is not this advice which we should all take to heart? gaining proficiency in it. with mediocre ability in any line an e ma,Ce one Accents may be grouped under two general heads— The main object of our teaching should not be to secure Transposition represents a different phase of the sub¬ in that direction. Whiic e,^" “ time. It taught me a lesson Wh haV"lg a good P'ieTrheaT* »>.v the Futuristic com- have attracted world win’ "hextravagant compositions the dynamic and the agogic. The derivation of dy¬ a parrot-like performance of certain compositions, how¬ ject which must be cultivated by learning to read intervals of the above statement, to carry it out in . e,truth wholesome pleasure from music IL not ha'rmffi6 ‘■«nal si„e as isWOa"d'*'de notice. Sch.inberg has his r- namic, which is from a Greek word meaning force, is a ever accurate such performance may be; for a pianola rather than individual notes. Let her begin by playing harmony, which appewiMn n, '>!lrli,'r s”"as ""d by 1 so simple a question as the measurement of tllemin o^e &,te' ™ic ^ l>P<.ni in... thelue German language.] sufficient clue to its meaning. A dynamic accent, in could do as well or better. We should induct the pupil a simple folk tune or hymn, and then transposing it a erection might imply. For success.depends „ot o“ ode J ALENT is thp K*t* other words, occurs when a note is sounded with more into a knowledge of music itself and teach him to think half-step higher or lower. The next adjoining keys The worst thing about Tazz ic it., to develop. 3 l lty to ^earn- Genius is the ability force than those with which it is immediately associated. out the principles which underly both his performance may then be employed, and so on, until the piece can be harmful things and the possibility of its 1“™ ^ The word agogic, (suggested by H. Riemann), comes and the music itself. These are worthy objects indeed, played easily in all keys. Other simple compositions grammar. But, on the other k of mus'cal from a Greek word meaning to move along. According Why yar IS the most Pi’rn>mitive'mitive expression form in music.music, and objects impossible of accomplishment by mechanical may then be treated in the same manner, and the diffi¬ intporto, i„We”to Lto to'trS,“d s have horrible grammar^S ^ ** **>* to this species, instead of enunciating a note by special culties may be gradually increased, until facility has been Don’t make the mistake of not n,- d are happy, sighted? detestable women almost always short- means. Let us therefore emphasize self-help in music ‘he. ,dck of a raore definite word, we might call it => 6 force, the player suggests its prominence by sustaining acquired. spiritual” one Some people have an intense desire to mafces some one else gleeful. Mac!“ it slightly longer than its time would regularly allow. There are, of course many gradations in the use of do or accomplish along certain lines that makes them The Puritans hated bear-baiting not because it ^ I am cert*131 haS llVed: the artist lives what he ?«• The publisher of The Etude has prepared for Pam to the bear but because it gave plea" rp gaVe either species. A note may be given only a very little “In true art, the hand, the head and the heart of gratuitous distribution a “Guide to New Teachers of ‘uin, through" I* ^ Se.cond ha,f of my century will sacrifices.sacrifices° This desirede ^ may ^ be awakened “** at theany « time, spectators.” A great deal of the opposition to '° th? extra force, or it may be explosively rendered, as indi¬ man go together. But art is no recreation; it can¬ the Pianoforte,” which some of the older teachers may festive music comes from the same source a"d cated by the sign of sf (sforzando)—the latter occur- not be learned at spare moments, nor pursued when read with profit. This is sent entirely free upon postal !lng m?st frequently in highly rhythmic dance music, or we have nothing better to do.” request. It is especially helpful to those who desire Iitrospwtion ig the one best road to knowledge. ■n music of an intensely dramatic character. —Ruskin. graded lists of standard studies and classics. Caere 382 JUNE 1923 ''UP DR\fr"tRLES ll’- ELI0T AND EATING AND LISTENING 1 MUSIC IN THE SCHOOLS Just how to listen, to get the m THE ETUDE JUNH 1923 Page 383 Db. Charles W. Eliot, president-emeri¬ of really fine music is of no smalH °Ut tus of Harvard University, has long been in est to the concert goer, Just how aJSl tavor of music as a means of education. THE LANCERS AHORSE The Musical Scrap Book stomach may influence our enjoyment T Speaking recently before the Boston Cham- Anything and Everything, as Long as it is Instructive symphony is worth our thought A °f 1 i u r <70n,mcrcc' he further emphasized gent paragraph from YV I ' r PUn' ns belief in the following statement: and Interesting Another thing which should be intro¬ “Music and Life” has a key-'thoujfoj Conducted by A. S. GARBETT almost every sentence. >» duced into our American schools is the 81 art of music, for through that we can “There , seems to me little, doubt give every child a chance to enjoy one of most of our audiences go to the hall or theater more or less fuddl i’Cert' much better, Spower to'gfv^pteaTure to MASSENET’S ADMISSION TO THE PARIS CONSERVATOIRE food or drink. They have iS 'v,«| other people. Singing in a chorus or play- ,• *N !“'s "’^resting book, My Rccollcc- prolific of all whd made the opera and drunk to excess, merely t„ repletion” J mg an instrument in an orchestra requires i°llS \copyr,^ht, Small, Maynard & Co.), opera comique of that time famous, as every athlete knows, it js : ’ ,'a disciplined cooperation—what we call team- ,, , Massenet, composer of Thais, gave “When my name was called, all of a to do good work immediately afTef' '''Orv and that is what the industries of ° owmg account of a momentous day tremble, I made my appearance on the heavy meal. a 1 this country need more than anything else. p '\aS a ch,W* he was admitted to the stage. I was only nine years old, and I had “People seem to think that they Such music also calls for a leader—a man * J? Conservatoire, of which he was after- to play the finale of Beethoven’s Sonata, listen to music in a Man- i„ wh4C with a baton in his hand directing the ua™s to become a distinguished Professor Opus 29. What ambition! first-rate composer would dream ScPerf“C£Tand in 3,1 America" „ „ “They stopped me in the usual way, after pci* w beiicv, a, rirr business great results, would follow if ;n„ ! £P fd’ be te,ls us> on the morn- I had played two or three pages I was required of them; but i. ;• does not tak quite so much mental . ■■ > to listen to a Brahms’ symphony as write it, yet jt « KTiz takes far more than th we went into an adjoining room which led 10 g6t d°Wn fr0m the Stage 1 had t0 de' ■rage listener is capable of. Large > < rs of people >uto the hall through the ‘fateful’ door and S.Ce"d tw0 0r three steps’ 1 paid no attep" sit through the “Pronin i; I was obliged to strike out a little path w ',ch was 011 ^ a sort of dusty, disordered tlon to tllem and would have gone head 111 a state of blissful stupor, digesting of my own or people would never have' g31ire‘‘ _ first if Monsieur Auber had not kindly ’heir dinner to been aware of ms/ existence. , "The jury, whose verdict we had to face, cahed out: ‘Take care, little man.’ Then the sound of music, li u s something like Tschaikowsky’s '! ■ Emanuel Bach. c°wp°sed of Halevy, Carafa, Am- he immediately asked me where I had Overture to make much of an effect i —- HrhZl h°™as’ several professors of the studied so well. After replying with some 1 them. Their senses are not bright i keen enough to perceive the wealth < HOWER7A„“-“VN J?fL’S MANVSA7 IV useCRIPTS KIP ^’Cws^vato^J^^AS'we Edhe^? Zt Tu^’^wli^Lvi ideTed musical beauty Ik ERE SAVED FOR ENGLAND that is in any first-ran i " k. No one Handel neverSAVEDP married,i Kbut he had one M could wish to debar tlni iimn the plea- whom he regarded as a son, in John sure they get, but it is ' cry tame and Christopher Smith (Schmidt), the son of primitive sensation comp: d with the in- an old friend of the same name who, like tense and passionate real 1">ii of musical himself, was born in Halle. Handel COMPOSITION A CONSCIOUS ART beauty which comes with , nitration and the exercise of sensuous i !,r°ugh‘ V 6lder Smith to Londo" and u; ination.” instan? M^hirWiLs^^ ^ ^ n wliich to the B/RMINGII l •’ MUSIC festivai Wb™ ™as J°bn Christopher, the younger! n--«*3Sks °f- HandeI for this young man st&M stpps I -lied In 1841. a man becomes interested in natural music hi to , S3ys Schumami- m one of was the affection of a father for a son ” Monday, Blr. Miwlc* . . cnli; mini,. f„r lh). H(„,1 . ! Ordered a says Newman Flower in The Bookman to such an extent as to be led to develop ™Jn ‘ wish to know what the landed awk- (London). “Smith fils, was his son in its forms for their own sakes. For in- ° pof hlmself cannot tell them wnrdly: run ngiiliiHt n , trod oil his stance, one in an absent-minded way may ?°d heavens ! Will the day ever come i!"',:i Kav<*. "O’ P'lrtmnin. but blood-tie. He worked for Handel, in th^ *Ur'.' ’ hiul tin- \ZoKZ- so much as an employe, but as ; member s*ngmg or hstemng to others who are When people W,U cease to ask us what we told I mu»t In- aiiro to . i ■ ket." Was of^ the^ family Wdvvouia work:work for its’ts head.head gjg' -Suddenly some feature of the I"63" by our divine compositions’ ^always did like aometlilim ■ allow for the The affection between them was life-long._' SOUnds attractsa.ttracts hhis.is attention and he startssfartc Where-cij a youth of eighteen hears a world Tuesday. Attended r.i, hull: grand Interior igl.iri!., stamped‘ as U,'"■l very droll; took the'llma’in' ■ Wednesday. Town crowded thatth* ent.,re!y due to the younger Smith centuries^and7 it31^1 a16" f°r 3 few he happened to feel just then* AndM^ that the majorityTS ,of the; Handel“al,ua autographsducograpni elaboratf t , 1 Iead "Warily to delssohn says- ‘If Z, t And Men- jJn.'tefLrrfen'"..,' are still..... in„i England,’England.” sayssavs Mr. Flower.piX svste " °f ?"’ the development of thought on the Ll ^ What 1 Til ii rsday I"** fVat I raf over. Handel left lum all his manuscripts, his system accordance with which they should sav J °n w ^estion, I harpsmhord on which nearly all his music y be composed, and the invention of all stands' ” * ^ S°ng ‘tSeIf’ precisely as it had been composed, and the portrait of him making music for the movies by Denner. ... It was Handel’s wish that all —r-r~' The well-known American composer. his manuscripts should go to the University Henry F. Gilliert. was rcc-utlv invited to Library at Oxford, but he having named T , MASTER MANUSCRIPTV P epare incidental music for an important tie younger Smith as the inheritor of them, o. N the London Mercury, A. H. Fox thinlrfncr i .i moving.pic(ure film, and recounts some the situation was difficult. So he ap- S,ra,f'vays thus muses on four manu- S a WIth Some natural hPM amusing experiences in a recent issue of proached Christopher Smith one day and ?,SCriptCnpt fac-;s"niles oof Bach, Mozart,Tee- Z’ Z agains‘ time e Musical Courier.” Among other suggested that he should leave him three lh"ven and Wagner, "gS>he bad to time the music to coincide ”housand nnnnd^- inefon,? him tW„ thoven*‘With and the Wagner. anfno elbow out Th' ^ ^ tab,e with his thousand pounds instead of the manu- the apograph the Cantata hikT °Utfand his wrJst r >und Th Wdb tbe action on the film. scripts. But Handel did not know Smith LtoS °T infnCtively compares the ta t ev f't Z P3per fu" "f haTrs fv ,V£ stop-watcli business, the timing of for the ardent disciple he was. He refused n ^ of the Messiah ** * * * l ♦ Ld °‘check the dow of his Tt’ we different episodes, was all clone for e Jy a most able assistant, so I didn’t r,t‘0 xyorry alxiut that. But when I ,„fc, s„„„rck I » 5^ M got (He tnne-hlot in my hands, the fun gan. I would take my no{e.ix)ok) con. !!f n,y time-plot, and say to myself: ‘Let nf +!eC> got to ^ave forty-five seconds pher Smith _ ^_ Pher Smith two thousand pounds for the and refused to write In such ^ the’V experience by bavf bought *u a"?u,ll'ty in G major, say 4/4 time— tnen thirty seven seconds of suspense, say manuscriptsm“ But"'-it Smith did^not‘intenddid not intend iiaps,'the'voice^ps, the voice wasw accommodaHirr"’accommodatinel' whetherwheth- he meansmeans a notenote-Ld^ hen/"" ^know that they should go out of England.England He to have rests or two TTt,TT d3t,ng*"g e,n0Ugh10uffh «tocato dot.dot- or wbeil,„-whether thl ,., 6adk or. a stac-s‘ac- irrito*-°r ^ t 11 me—then fifteen seconds of fiftv fi0n 2^4’ '"determinate key—then refused the offer and gave them to the could he got'onto me stave'6 H™/ PartS °f 3 ^ ^ htman^mSfrt-111'61'6"'"® rty-tive second., of fight in, say, G minor, Kmg of England. This generosity and brm bar-line through all ihe paJtsTt P3pfr-raanufacturer’s or the Wh ^ sense of fairness to a country and a royal through each separately, with an ’occa g T, u °f was m' a’,’d ,S° on- Af,ev this the music dynasty that had befriended his master, are f'0naT' curIy h’ne to keep them together' ^ d -then Wa^er’s-the most b. v mmds fP'Cued °Ut with relation to the of i/ °f t"e resPective scenes—sequence alone responsible for the manuscripts- bke.Handeh On the other hand hifnotl - Seen' * i* hfSfc harl ♦ yu contrasting times, etc.—it then which include the autograph of the Mes- .'eave 11 “imes in doubt, as Han- to do well'whafeverV' mately Tf ‘° fi* ,he ti,ne‘plot appr0X!' matell • , can ""'y he done. approxt- ZMSdSL'ZSS* thear i'", tbe studio. Everyone in the of i b"siness knows that two hours week’!3 r^he.arsing « worth more than a ■* p*“age» - r*trt «££?** •» mvself W°r,k ln ,hc studio. Years ago, I Page 384 JUNE 1923 TH* ETUm THE ETUDE JUNE 1923 ' Page. 385 A WOODLAND RHAPSODY ADAM GEIBEL A drawing-room piece in pastoral style, the latest composition of a most popular writer. Grade 3^

Andante quasi pastorale M

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f From here go back to * and play to Fine then nlav Copyright 1923 by Theo. Presser Co. ’ V 7 ^‘

British Copyright secured THE ETUDE JUNE 1923 Page 387 Page 386 JUNE 1923 THE ETUDE FLOWERS AWAKENING RONDINO A dainty waltz movement. Play lightly and with delicacy, tirade 3^ WALLACE A. JOHNSON ING L. van BEETHOVEN Tempo di Valse M. M. «l = 132 Con delicate a 4 i a

^ From here go to the beginning and play tothen play Trio. Copyright 1923 by Theo. Presser Co. THE etvde Page 388 JUNE 1923 THE ETUDE JUNE 1923 Page 389 GIPSIES GIPSIES GIPSY IDYLS GIPSY IDYLS ZIGEUNERIDYLLEN ZIGEUNERIDYLLEN jjj ED. POLDIM, Op.86, No.3 III ED. POLDINI, Op. 86, No.3 PM MO Real“Gipsy Music”, written by one who knows. Note the use of the so-ealied ‘-Hungarian Scale’ and the oriental ef inthe J>/0 A A Coil fuoco M.M.J=126 =& SBC0ND0 ... It 1

^ ( 2d /imp. 'P ft; rit. cresc. > —« > > ?* >*'>Sf

V ' 4 "f 3^/3 “ 1 3 4 5 ! 1 5 3 ~~ r- i Si Page 390 JUNE 1923 the etude THE ETUDE JUNE 1923 Page 391 BOBOLINK POLKA BOBOLINK POLKA J.TRUMAN WOLCOTT A lively“bird polka’,’ brilliant but not difficult to play.

TRIO

British Copyright secured JUNE 1923 Page 393 THEETVDt THE ETUDE Page 392 JUNE 1923 WEDDING PROCESSION MARCH W M- BELTON A „,« wedding march by an American compeer. (See an article on Wedding Mole on another page of thin U.ue.) In ntarch.n of the proe«,i.n>1 type it is neither necessary nor desirable to keep in strict step. G rude 4 AI19 pomposo w.m. J = 108

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the etude JUNE 1923 Page 393 THE ETUDE Page 394 JUNE 1923 HUNGARIAN DANCE Nq 5 JOHANNES BRAHMS The Brahms’ Hungarian Dunces, originally written for four hands, later arranged for piano solo, stand supreme among all transcriptions or i - The Latest! dealizations of folk music. No.5 is much played. Play in free, rather capricious style, following the composer.: mar 8 Allegro (Not too fast) SHEET MUSIC PUBLICATIONS Piano Solos and Duets, Piano Studies, Songs, Vocal Duets, Pipe Organ Numbers

When ordering any of these publications it is only necessary to mention “Presser Catalog” and give number

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poco rit. (Hold back) * te>npo_ £>'1 T-"1 ‘T""1

G. Please mention THE ETUDE addressing our advertisers. THE ETUDE THE etude JUNE 1923 Page 397 keeping up with the timed —musically ?

THE NEW HALL OF FAME of Concert and Operatic Stars World-Great Artists on Double-Faced Records Wherever cultivated people gather, in reproduction—a record years ahead Of supreme importance to every current music is a topic of general of its time—that Brunswick was chosen family with a phonograph, is the conversation. as the most fitting means to perpetuate recent decision of Brunswick to offer the musical achievements of this day Famous Artists’renditions on double- Especially is this true of the present. faced records. to coming generations. For the pages of musical history are It marks the first step of Brunswick’s rapidly turning and the great names of Play On Any Phonograph nation-wide movement to place yesterday’s concert and operatic stages greatest artists and greatest music are rapidly being supplanted by new. Brunswick Records play on any phono¬ within the reach of every American home. World’s critics have acclaimed a New graph. Thus, regardless of which make Hall of Fame. of instrument you have, you can bring Brunswick Gold Label Records the entire New Hall of Fame into your I>o you know them ? Know Chamlee, Just twice the music as before! Two home. selections in place of one! An inex¬ Easton, Danise—great stars of the pensive way to quickly acquire a dis¬ Metropolitan Opera of today ? Note, too, that all Brunswick Records tinguished musical library. Start by are double-faced. Two selections on obtaining three or four of these Are you conversant with the current each record—a radical departure from records from the new release each triumphs of Onegin, Huberman, Ney, the old single-faced celebrity record. month. Willeke, Dux, Karle—Strauss ? Leopold Godowsky, Richard Strauss, Hear— Compare Elly Ney, Giuseppe Danise, Mario To bespeak the common knowledge of Chamlee, Max Rosen, Bronislaw music which the social world expects If your ear is accustomed only to or¬ Huberman, Florence Easton, Tino of a cultured person you must be. dinary phonograph records, you are Pattiera, Claire Dux and other inter¬ urged to hear a Brunswick Record. It nationally acclaimed artists of the New Hall of Fame will contribute On Double-Faced Records will prove a revelation. continuously and exclusively for the Now Brunswick offers the most distin¬ new Brunswick Gold Label Records “Mechanical” suggestion is refreshingly —the world’s truest reproductions. guished recordings of these great artists absent. Tones are sweeter, fuller and of today, on double-faced records . . . more beautiful. Even the upper register Play On Any Phonograph the world’s truest phonographic repro¬ of the female voice is achieved without ductions slighest tremor. All the world is turn¬ ing to the Brunswick Record. And to Every shade and subtlety, every note the Brunswick Phonograph. and intonation is brought out crystal clear on these amazing records. For it Your nearest Brunswick dealer will was because of superlative new quality gladly give you a demonstration.

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© B. B. C. Co., 1923 BRUNSV p H ON O G R. A P H S A TV D I c Ko R.E C O HDS TEE ETl Patje -398, J USE 1923 THE ETUDE JUNE 1923 Page 399 BAS IA 1922-1923 Your Money Is MAZURKA CAPRICE Etude Prize Contest FOR Worth More NOW! PIANO SOLOS-VOCAL SOLOS A Summer Subscription Magazine Selection At Special Summer Rates ANTHEMS — PART SONGS

$1,250.00 in Prizes ETUDE, the Most Bought Musical Journal Combined with Standard Fiction-Fashion WE TAKE pleasure in making the following offer instituting our Etude Prize Contest, being convinced of the real value of a contest of this . . .$2.00l Remit f, nature in arousing a wider interest in composition and of ■. ■ 2.50 • —°j $3?40 TTZ) $3.60 stimulating the efforts of composers. In this Contest all - ■ $4.00) SAVE $0.6 are welcome and we can assure the contestants a respect¬ SAVE $0.90 ETUDE MUSIC MAGAZINE. ful hearing and an absolutely impartial final judgment. "To' both "- $2.75 ONE THOUSAND TWO HUNDRED AND FIFTY DOLLARS .. .$3,50/ SAVE $0.7 will be divided among the successful composers in the following manner: ETUDE MUSIC MAGAZINE.. both PIANO SOLOS Motion Picture Classic Regular $3.60 CLASS 1. C°r t/jo three best Concert or Drawing ETUDE MUSIC MAGAZINE.$2. Room pieces for piano solo both FIRST PRIZE.$90.00 ETUDE MUSIC MAGAZINE...... $2-S 'U-mit for both SECOND PRIZE.. . 60.00 TEi" Cnl SAVE$3-2 $0.25 Shadowland. THIRD PRIZE.. 35.00 $4.40 CLASS 2. For the three best Intermediate Teaching SAVE $1.10 Pieces for piano solo 2-°o $4.20 ETUDE MUSIC MAGAZINE Remit for FIRST PRIZE.$90.00 Boys' Life. both SECOND PRIZE. 60.00 ...$s.so)SA',E*1-30 Regular Price. $3.50 THIRD PRIZE.35.00 • $2.C0\Remit for CT \ 3 For the three best Easy Teaching Pieces o. Qf any stylefQr piano solo ETUDE MUSIC MAGAZINE 1M( $4.25 Sunset . !;Tothfor FIRST PRIZE. . $60.00 SAVE $1.25 $3.50 SECOND PRIZE. 45.00 Regular Price. ..Us THIRD PRIZE. 20.00 SAVE $1.00 VOCAL SOLOS ETUDE MUSIC MAGAZINE.. Fashionable Dress both CLASS 1. For the three best Sacred Solos FIRST PRIZE.S90.00 Regular Price. $3.50 WE $1.50 SECOND PRIZE. 60.00 . ..$2.00\ Remit for THIRD PRIZE. 35.00 ....2.50 both ETUDE MUSIC MACAZINE... Remit for 4sipi both For the three best Secular Solos — $3.75 Christian Herald. CLASS 2. FIRST PRIZE.$90.00 SAVE SO.75 Regular Price .. .. — $3.25 SECOND PRIZE. 60.00 ETUDE MUSIC IV .$2.00] Remit fo, 1 SAVE $0.75 THIRD PRIZE. 35.00 Lz. f# . 1.00 h01*1 ETUDE MUSIC MAGAZINE... .. $2.0 Remit for CHORUSES —l $2.15 both Tf~h= .^.00/ SAVE $0 g „i . For the three best Anthems for Mixed $2.25 \ 1 iJ'i 1 U ’i. Al CLASS 1. Voices Regular Price ...... 717 ’ SAVE $0.75 FIRST PRIZE.$60.00 l.OOl both SECOND PRIZE. 45.00 ETUDE MUSIC MAGAZINE ; both THIRD PRIZE . 25.00 ±L5 $2.85 Mentor. 54.25/ SAVE $1.4' For the three best Part-Songs for Mixed Regular Price. $5.00 if f-ri.rtr.Ji Mi •’ f i't— ‘hfi Voices with piano accompaniment ETUDE MUSIC MAGAZINE . SAVE $1.0° Pictorial Review. Hr- F ^ 4 t+■ -^-1— CLASS 2. FIRST PRIZE. $60.00 ETUDE MUSIC MAGAZINE... ^ - p U-U-^eT ZJ : Youth’s Companion. SECOND PRIZE. 45.00 Physical Culture. THIRD PRIZE. 25.00 For the three best Part Songs for Treble Regular Price. T Hfl Voices in two or three parts with 1-4—r , cc - piano, accompaniment CLASS i>. FIRST PRIZE. $60.00 Will r!J ip }J ip SECOND PRIZE. 45.00 Continue for Summer Months Only THIRD PRIZE. 20.00 8 -s 4 ^ ' I If Your Subscription for Any Magazine Expires ir /r&-$ *| 5rrri rTrib.ts ,M CONDITIONS the Fall, Better Renew at Once and Save Money

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1710~1712-1714 CHESTNUT ST., PHILADELPHIA, PA the etude piu animato

ANTICS SCHERZEETTO GEZA HORVATH A lively number of the type sometimes called ‘‘finger twist” When practiced accurately such pieces have much technical value. Grade 3. Aileerro brillante M.M.J=144

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CODA Page 402 JUNE 1923 THE ETUDE ON THE GREENSWARD Edited by H.Clough-Leighter SUR LA PRAIRIE VERTE ALEXANDER KOPYLOW, Op.52,No.4 Fri)tn Musical Pictures from Childhood. This pastoral number has all the joyous lilt of a chorus from one of the good light operas. Grade 3.

This beautiful melody appears in the song The Wanderer and also,in more extended and elaborate form in the Fantasia,Op.is. Grade 3 Adagio 63 sosfenilfo assai 4 5

Copyright 1923 by Theo.Presser Co. THE ETUDE Page 404 JUNE 1923 A SOUTHERN SKETCH Sw. 8'and 4'(without Reeds) Gt. Dop.Flute (Sw.and Ch.coup.) “COTTON BLOSSOMS” WILLIAM C. STEERE Ch.Clar.and Mel. Ped. lO'and 8'

MAZURKA BRILLANTE ANNA PRISCILLA RISHER

British Copyright secured Copyright 1923 byTheo.Presser Co. JUNE 1923 Page 407 the etude OLD-FASHIONED DEAR Words and Music CECIL OSIK ELLIS Moderato

You’re an old - fashioned dear of a quaint 6y-gone year But, Moth-er mine, it al-ways seems to In your old - fashioned way of a lost yes-ter- day You’ve loved me well and giv - en all to me ^

sweet smil - ingface, And your old - fash-ioned grace, You’re the kind of a moth - er a dear gen - tie heart! May the years that de - part, Leave be - hind on - ly sweet - ness and

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i poco rail.rah molto sentimento Jl i1 ||J' |» = moth-er ought to be. It seems the years have missed you, For time has gen - tly kissed you. lov- ing mem - o - 2=3 m im * b* * ^ppip P JHiT f tt J I J-f ^ [1 ^ J J 1 f Your sil-ver tres-ses, sweet ca - ress - es,, The__same old smile that cheers.— —I In all my dreams I’m hear - ing QjTTjpif^ I ’tLf-jJ-i'g h LLFfirr^ J m m l MM in* *0 i % -.!f f poco nt.

=fF==' * 1 r 1 1 k r..-:r .y =M » ■ «. rr:-T'"J') J L ~ ^ J Your lull-a-bys en - dear - ing. As each year greets you, Heav-en keeps vou just an old-fashioned dear. J> | , t j^3nj | ( gglTF J Jj3 j £ -r-E itef =f4-4 &P lar t*±=*f=l [4'r 1 r 1 4=4 1 Copyright 1933 by Theo. Presser Co. British Copyright secured THE ETUDE Page 408 JUNE 1923 Page 409 MY CASTLE OF DEE AMS THE ETUDE HERBERT RALPH WARD BETH SLATER. WHITSON With deep feeling y Not too fast

TEET .* * * '■ *■ * SAVIOUR DIVINE I HEAR THY GENTLE CALLING WILLIAM BAINES Andante moderato

Some - times when my tears are fall - ing And no light through the dark-ness gleams, Then I steal a - way ie, I hArhdar Thy gen-tiegen-tle call-ingcall Some - times when my heart is ach - ing For glad days, for the days of yore, In the cas - tie of my le, 0 let Thy light shine o’er us, w gfiP mm i did J a m twi-light To the cas - tie of my dreams. ~ Sweet - ly it falls up - on my wait-ing e Bid-ding me come ere life’s dark night is fall - ing, “Come thou yet nearP’ dream-ing, I can find them all once more. _n- er- ul place is my cas-tie of dreams, Where Sun of our light O shed Thy quick-’ning ray; Star of our hope, Thy soft-en’d light be-fore us, Turns night to day, /Tu- j-r r ^ d j fiml j ^ r-Jir r i a tempo Ft r p pr 'I-p-aJt' pip m “Come thouW yet:yet near!”. Guide mene and give me at Thy side a place, Smile onOn my ev - ’ry hour, de-part all fearfear, Draw me and keep me Turns night to day, Send ThouThy peace to wea-ry world dis-trest, Pro-tectringpow’r,all sup-pli-ca-tions hear, And fill our hearts with

by Thy sav-ing grace,. ’Tis sweet to know,dear Lord,that Thou art here. Thou art here. ’Tis sweet to know that Thou art near, love and righteousness, ’Tis sweet to know.dear Lord,that ^ ^ j Ia|>jTi irrnuirjTOitf ss

Copyright 1923 by Theo. Presser Co. secured British Copyright Copvright 1923 by Theo. Presser Co. British Copyright secured the etude JUNE 1923 rage 1,11

Page 410 JUNE 1923 THE ETUDE MO ON-MARKETING The Etude Monthly Musical RICHARD LE GALLIENNE HORTON CORBETT Test Questions

Musical Questions You Can Answer 6. What is the “principal difficulty in A complexion as fair Through This Issue of The Etude. learning to play any musical instru¬ ment?” (374.) Each month The Etude will contain a as the roses in June 7. Who said, “All facility depends list of these practical questions which our upon fingering?” (376.) readers will find answered in the text. can so easily be yours 8. How old is Mendelssohn’s “Wed¬ This will be of especial interest to Music ding March?” (377.) Clubs. T~\0 you know how truly beautiful 9. What is “Agogic Accent?” (381.) ID your complexion can be—what 1. Who were among the first to make 10. How were Handel’s manuscripts delicate freshness, what fineness of the band a part of military life? (367.) saved for England? (382.) texture you can gain for your skin? 2. How may the playing of the pi¬ 11. Name the first two requisites for You can attain a complexion a~ anist be affected by temperature? (373.) a singer. (414.) radiant as the roses in June, if you 3. What is a good remedy for the pi¬ 12. What ruler gave Wagner a yearly begin at once the use of Ingram’s anist whose hands perspire? (373.) stipend, and how much? (415.) Milkweed Cream. 4. What Swedish prima donna made 13. Name three organ teachers of Ingram’s Milkweed Cream, you a sensational success at the New York Beethoven. (416.) will find, is more than a face cream. Metropolitan during the last season? It has an exclusive therapeutic prop¬ 14. What was the first bowed instru¬ erty that serves to “tone - up”— (371.) ment of European origin? (419.) revitalize — the sluggish tissues. 5. Where is the largest organ in the 15. How many strings has the Ara¬ Pored by Lots Wilson Applied regularly, it heals and nour¬ motion picture star. / world? (368.) bian fiddle? (421.) ishes the skin cells, soothes away redness and roughness, banishes slight and endorse Ingram’s imperfections — achieves for you a The History of a Practice Hour complexion that is genuinely beau¬ tiful. Begin the use of Ingram’s Milk¬ weed Cream today. Buy it in either the 50 cent or $1.00 jar—the dollar How Not To Do It How It Should Be Done size contains three times the quantity. P. M. P.M. 4.00 ■ Decide to practice. “Oh dear, how 4.00 Spend one minute,. and one minute Frederick F. Ingram Co. MUSICIANS! long will it take to get anywhere? only, in getting out music and met¬ Established 1885 Ingrains Milkweed Cream Wish I could jump right into the ronome, adjusting everything in 43 Tenth St. Detroit, Mich. rubbed into the finger tips lOill pieces, and skip the technic. No, I soften hardness and toughness order and seeing that the seat and In Canada, Windsor Ont. —will keep for your fingers the must not do that. Why can’t tech¬ position at the piano are correct in nic be made more agreeable just as every particular. It should never they serve castor oil in sarsaparilla? take more than a minute to do all L hjturns 4.01 Repetition of the previous thoughts these things. with variasioni ad libitum. 4.01 Commence playing on the dot. De¬ MilKweed 4.02 Hunt for the music and discover a vote first attention to five minute copy of Scribner’s. Sixty seconds exercises; then scales; then arpeg¬ of contemplation to determine "how gios; giving the most minute and Cream Scribner's Magazine could possibly concentrated attention to every de¬ be in the music cabinet when I was tail, never playing more rapidly than certain that I left it on the table in I can play excellently. the hall. 4.10 The telephone bell rings. I am so 4.03 Discovery of an interesting article absorbed I hardly hear it. Some upon “The Life of the Honey Bee.” one answers the bell who has been Special Summer Realization, that bees have nothing coached, to talk in a manner so that to do with music. my attention will not be taken from the keyboard. 4.04 Dust off the keyboard. 4.20 Commence work on studies and 4.05 Commence scale playing. “Get Acquainted” Offer make it a point to see that I play 4.06 Telephone bell rings. them smoother, cleaner and better 4.07 "Wrong number. Excuse it, please.” than I played them yesterday. 4.08 Resume scale playing. 4.35 Mark difficult passages in studies Treat Your Musical Friends 4.09 Realize that I am playing without for special study to-morrow. metronome. 4.36 Commence on pieces. Go at once to to a Delightful Surprise Wind it up and adjust it. most difficult passages and analyze 4.15 Open up Czerny studies with the them carefully, playing them over same important interest that a and over until mastered. WE WILL SEND THE ETUDE MUSIC MAGAZINE Chinaman would break into a census 4.50 Play all my pieces through, mark¬ report. ing the passages which still remain TO ANY ADDRESS FOR difficult, for future practice. 4.20 Czerny done. Requiescat in Pace. 4.21 Bach Inventions. Race through 5.00 Now let us have some fun and do a THREE SPLENDID MONTHS FOR ONLY 35 CENTS! little sight reading by using the number one and number seven. pieces in The Etude. 4.25 Discover that I* can play number THINK OF IT! one with my eyes shut and marvel “Meter” in Hymn Tunes Over 50 Excellent Pieces Over 200 Inspiring Articles at myself. Of course I miss a few notes and the time is wrong; By Sidne Taiz but never mind. FOR ONLY 35 CENTS 4.30 Look at the clock and realize that Meter, as applied to Hymn Tunes, is a (Stamps acceptable) half of my practice hour is gone. term derived from the structure of the Thousands think nothing of spending dollars for the most trivial 4.31 Start on my Chopin Waltz. words, from which the music takes its 'type. With this in mind—Meter is the things. Why not give your friends a musical treat by introducing them 4.32 Disgusted to find that Chopin has rhythmical arrangement of the syllables of to the world’s most widely demanded musical magazine. put in many difficult passages in an words in verse; it is poetical measure, de¬ otherwise simple waltz. pending on number, quantity and accent 4.40 Have mastered all the easy pass¬ The amount paid will be credited toward a full year’s of syllables. ages. Play the difficult passages, The unit for determining meter is the subscription on receipt of the balance ($1.65). as the teacher suggested, but forgot quatrain or four-line stanza of verse. If to play them slowly. Result, I re¬ each line of these four contains eight peat them dozens of times, dupli¬ syllables, it is said to be in Long Meter. cating the original mistakes nine Of this form Old Hundred is the type and times out of ten. Become deeply for this reason often is called the Long Etude Music Magazine concerned about the clock. Meter Doxology. But two or three gen¬ 1712-14 CHESTNUT ST. PHILADELPHIA, PA. 4.59 Oh dear, the practice hour is gone erations back, our provincial ancestors had and, I haven’t even opened the this one, Duke Street, and a very few The biggest musical “buy” of the times Schumann Nachtstiicke and the others, to which they sang all Long Meter Haydn Sonata. words. Please mention THE ETUDE when addressing our advertisers. THE ETUDE Page 412 JUNE 1928 the etude JUNE 1923 Page 413 forced discipline which must be his por. Thinking, the Singer’s Asset aspect of the singing business. It must IT IS only to the mysterious law of pre¬ tion? be met and answered from a unique stand¬ destination that we can attribute the His teacher felt that a severe course It is not supposed that many who read point. In short, the taste of the individual seemingly chance circumstances that a must be entered upon; and he set ffis this article will take it seriously: but as child has a voice. We are using the oppor¬ face unflinchingly in that direction. As they approximate to the ideas contained must be ignored and a group preference substituted for it. The singer who wins the tunity that the life of such a child affords The Singer’s Etude stated above, his first step was an exam¬ herein they will be strengthening them- largest number of audiences and the great¬ us, to emphasize some of the all-important ination in the direction of the fundamen¬ selve- in the attainment of their require¬ phases of development and study that are ments The value of thinking has not as est number in audiences is the one who has KIMBALL Edited by Vocal Experts tals of music. He found the pupil ilmfa_ made the closest study of the groups that incidental to a vocal career. A small child miliar with the key signs—the major and vet begun to be one of the chief assets of It is the Ambition of THE ETUDE to Make This Voice Department comprise them. “The Instrument of Yesterday, Today and Tomorrow” comes to live in this world, endowed appar¬ minor scales—the technic of scale forma¬ singers. As an example of intelligent In an audience of five hundred, we will ently as are thousands of others, with “A Vocalist’s Magazine Complete in Itself ” tions and intervals. A careful test was thinking, answer the question as to the com¬ say that there are fifty who cannot detect intelligence and capacity for expansion. In made of his reading, to which he made parative value of different modes of songs. differences in melody. There are a hundred IN your garden of delights, his general equipment there is concealed but a feeble response. Here were two of Such a question as that does not lead the Edited for June by HERBERT WILBUR GREEN who have little or no discrimination be¬ wherein the hours are as something that quite lifts him above his the fundamentals that could not be passed student to any definite conclusion; but apply fellows. It is nothing which he has earned, tween what is good music and what is not. a string of rare jewels, let by. Then he was examined upon his the question to a specific example to a par¬ or for which he is in the least responsible. Half of the remainder have a taste for knowledge of the literature of the vocal ticular song, selecting one of the difficult us place for you a Kimball It would be very difficult to attribute it to good music and some musical intelligence. art. The teacher knew the direction in songs from the classics, Schubert’s Erlking, Grand Piano through the prenatal influences; but the fact exists for example. This thought process must The artist should be able to bring to his which he wished to lead the young man’s medium of which you may that without any choosing or any effort The Making of a Singer—An Experiment in Art lead from the composer to his product; work such variety that he will make an thoughts and placed in his hands the fol¬ appeal whether he be appearing before an hear at their best, Josef on his part lie is marked for a career to society to give these questions considera¬ he .could at the present. There would be lowing works: before attempting to make an intelligent audience composed only of cultured musi¬ Hofmann, Busoni, the great as a singer. The avenue of his life is tion; but the deciding factor must be the two years in the Western College, which analysis of the Erlking we must know cians, which would constitute the one chosen for him. He follows that avenue development of the gifts with which he was was near his home, gfter which time the • .Finck something of the composer. In this case Paderewski, and many Voice BuUdiny and extreme, or whether he is singing to people and goes his way independently, unaccom¬ endowed and for which he must hold study of music-would be begun in New the student has a half-formed estimate of others, all at your own voli¬ Holbrook Curtis who know nothing of music, this the oppo¬ panied by the comrades of his youth, himself clearly responsible. She felt the York in earnest, and with all the concentra¬ IntcrpretatioInterpretation in So nr/, Harry Pliinkott the character of the man, what he has TheThe Singing Voice and its Training, e tion, and employing the destined to make his way alone; and all importance of the moment, the value to the tion necessary. accomplished in composition, what is the site extreme; and there are the many inter¬ because he has a voice. He does not even vening stages. Kaleidoscopic is the term matchless Welte* principle profession of an accession to its ranks of Once out of the slough of indecision, . motive power of his writing, how did he recognize it. Neither do his friends. They The Lost Vocal - that best describes the many grades of of reproduction. that kind of mind, and entered upon her the two years of college life sped happily happen to be a composer? Is it a matter also have voices. They use them in their i’siiaw musical receptivity. work of helping, with a devotion to the and pleasantly by, furthering the student The Psychology of Singing. .David c? Taylor of chance or inheritance? studies and in their play. The only con¬ The Art o) the Singer.\V. .1. Ilia art to which she had consecrated her life. in a theoretic knowledge of science and Health, Speech and Song. . ..Inna Bail- The student has gained all of this infor¬ We promise you a bloom so dition that could excite comment would be Teacher and Genius literature, as well as French and German. mation from reading. His next source rare that neither shall time the fact that they were deniecj voices. The Teacher Influences the Boy Artistic Tone Production finongh V«; of information must be in the song itself. Now, strange to relate, this teacher was Breathing.Goonri* \uii,..n< iii not only a good technician, but also a breathe upon nor custom Providence in this instance it seems had Philosophylosophy of Voh In what particular is it unusual? What A Voice Is Discovered al Economy and Exp make stale its steadfast added another gift to that of a voice—this requirements does it make upon the singer ? genius, a man who did not regard worldly It was not until he was eighteen years l 1 mini Aldrich fame and the making of money as the sole gift was his guide. What could have been As the boy took farewell of his family The Singing of the Future What is the source of the legend, and where colors. KIMBALL of age that the fact of this exceptional aim and end of existence. He was conscious more opportune to a young life, strong in and the friends he had made in college, he iiigcou-Davles did the legend first appear? “What quali¬ Qrand Pianos Reproducing Pianos voice was brought to his notice. In his Eyrie Diction . of the inherent nobility of the human race, its purpose to succeed in the art of singing, felt very sad; but his depression was only Duality of Voice. . I'.mll Sutro ties of the voice must the singer employ in We have a representative Upright Pianos Phonographs High School, the last year or two, the the abilities lying dormant in every human than the introduction into the problem of temporary, and as he drew near to the order to paint the imaginative picture, and near, or you can obtain par¬ voice that he has used so naturally and There is a book that is looked upon as Player Pianos Pipe Organs a woman consecrated to the cause which is gateway of his land of dreams, sadness portray the dramatic side of the story?” soul; and he had reached that stage of commonly, made an impression upon the of eminent authority on the subject, which ticulars by sending us your Mr.sic Rolls her life work. One can imagine how the gave way to a hope unbounded. This is only a mere suggestion as to the progress where he regarded art as the teacher of Public School Music. It stood treats technic in a most In-lpful way, by address. soul of such a woman would expand under Advised by his teacher of singing, he attitude the student must Jiold to his study greatest motive power for the ennobling of apart from the rest in such a marked Behnke & Brown, of London, entitled humanity. In his own soul he was seeking manner that it forced itself upon the the influence of a voice and nature like the placed himself in the hands of able teach¬ of a song. “Voice, Song and Speech." which should The following is an example of the way for a way to lift singing out of the clap¬ attention of the teacher by its sonority and one we are describing, after struggling ers of piano, and harmony, and then be¬ Gentlemen: Please mail catalog and information on instru¬ with the hopelessness and drabness of un¬ gan the real foundation work of becoming probably head the list given above—from in which the teacher led the boy’s mind in trap of professional tinsel and gaudy dis¬ ment marked X: beauty; and, knowing its value, she began the standpoint of usefulness. play to a level of noble striving. And to □ KIMBALLGrand Pianos □ KIMBALL Phonographs inspiring pupils. But under the teacher’s a singer. a detail study of that interesting subject, □ KIMBALL Upright Pianos □ KIMBALL Player Pianos to take a deep interest in its possessor, First, his teacher decided iliat he should make of his pupils not mere producers of direction the boy entered upon a line of Here we are confronted with a boy of “The Psychology of Audiences.’’ His ob¬ | □ KIMBALL Reproducing Pianos endeavoring to ascertain what kind of a have two lessons each week from the tone with its appealing sensuous beauty, but reading which gradually led into a' world twenty. We find him possessed of excep¬ ject Was to hold up to the view of his pupil | Na mental and musical equipment was associ¬ conveyors of the highest inspiration! There of new wonders. He read of Beethoven, of tional gifts, an excellent voice, a clear master of theory to whom lie had sent him, some of the real obstacles which must be ated with it. was no sentimental blue law devotion in all Wagner, of Berlioz, of the trials and vicis¬ picture of what is confronting him as a in addition to his vocal lessons, two lessons encountered on the thorny path that leads this striving, but a fearless virility. situdes through which these great masters whole, but none of the details of that pic¬ each week in piano and two hours of piano to success in the realm of art. First, he knew he must awaken a taste had struggled and toiled to make of them¬ ture worked out. practice every day. He was sure that he Many artists sing well, but do not know In order to discover, if possible, whether selves living instruments for the Divine was not trespassing upon ilu reserve of how to be elastic and adaptable enough- to for the best in music in his pupils, so that BUZZI-PECCIA’S some of the more important things were in Hand—transmitters, if you will, of the Enter the Teacher the pupil’s vitality. His time was thus far appeal to all types of audiences; hence the whenever the audience possibly allowed of the make-up of the boy, that must be there riches of the Divine worlds to the mundane, We must leave him for a short time, apportioned as follows: Two hours daily real crying need of giving attention to the it, the best music would be rendered by the to supplement the value of the voice, she material sphere. All this seemed to inspire and make ourselves acquainted with the piano practice, two hours daily musical subject. Many failures would be averted singer. Secondly, he was convinced that the pupil must be aroused to an apprecia¬ taught him a few songs. They were se¬ him with a certain humility, a willingness, man, his teacher, to whose hands he has theory and the fundamental., two hours and needless heart-breaks avoided if from A Little Brown Owl tion and understanding of his great respon¬ lected with the hope of getting him to nay more, a desire to make of himself a been guided; because nothing is more daily vocal study. He was also compelled the beginning the student even in his studio “One of the Season*s Artistic Song Successes” express certain qualities, such as power to servitor, if not a leader/ in this realm of art. certain than that this turn of the wheel to outline an entire course of living, every life would try to appeal to various audi- sibility as an artist whose will and taste, describe, to delineate, inviting him to un¬ Thus he was able through the ideas re¬ that is grinding his destiny, even at this moment of which must have a bearing upon whose unconscious influence is through the PUBLISHED IN TWO KEYS age, must decide the rule by which he medium of his art to be exerted over the loose his imagination. She 'found, to her vealed to him to choose quite' definitely his future success. Thus we have planned High Voice in G minor (F sharp to G) joy and gratification, he was not wanting and consecratedly as to the future of ca- shall be measured. The narrow question for six -hours of study, one quarter of the Why So Few Artists? audience before which he is appearing. Low Voice in F minor (E to F) in many of the things that should be of method is not one that will interest us day. Why are there so many beautiful voices There is so much that is common and unin¬ spiring, drab and monotonous in many lives associated with a good voice, to insure suc¬ here. While unquestionably it cannot be How should the other hours be spent to and so few great artists? This question PRICE 75 CENTS to-day. Could not the artist raise himself cess as a singer. She found that he The Question of Continuing College Arises ignored, we are dealing with the problem the best advantage? First, he insisted that will bear analysis. How many who listen Noisouu A LITTLE BBOWN OWL* to the level of true inspiration and so carry Price, 75 Cents approached songs of a religious type in a New problems are always rising as old in its larger form. The presumption has he walk five miles each day with speed and to singing are capable of distinguishing his audience with him? Can he not send Also published for Low Vojop. reverential mood, of dramatic import with problems are solved. »The question of the been that the voice was a rare instrument, energy. Between the necessary eight hours between the singing and the voice, the the people away with a new desire and a deep understanding, and revealed a cer¬ boy’s continuing his school course, as plan¬ that it revealed a certain opulence of tone of sleep at night and the attendance upon melody and the harmony, and all of this impetus for living and working because he testa l=STrn tain abandon in songs of a lighter vein, ned, or turning all his time to music, came that precluded the necessity of measuring oratorio, concert, recital and operatic per¬ in the process of singing from one measure A LL has been able to inspire them by his light, which required lightness and imagination. up for discussion. it by such a term as method. The wise to the next? How capable is the average formances. he must account his days well by the breath from the heavenly spheres His teacher of mathematics told him that teacher must see Clearly that its greatest listener of tracing the source of his 1 i i outlined for progress. His teacher placed which does pervade and hover over all A Career Is Decided Upon the more attention he paid to mathematics ■need was the increase of its wealth by great emphasis upon his being present at pleasure, conceding that lie is receiving great music? Becoming acquainted thus far with the the better singer he would be, as mathema¬ development. In this particular, the every concert where acknowledged artists pleasure? Is the listener beguiled by the potentiality on the part of the boy, the tics developed a certain control and power teacher was not wanting. He was a man were to appear, and as far as possible to sweetness and charm of a legato? Does Cecil Arden teacher tactfully approached the question of thought. His professor of literature well past fifty years of age—at one keep the programs of each with annotations he pulsate with a rhythm or is he aroused ADVANCE OF PUBLICATION OFFER insisted that he needed a training along Mezzo-Soprano of a career asking him whether the idea time was a singer of great prominence— in them for future reference. and awakened by a spirited interpretation? of making the art of singing a life work literary lines to develop his appreciation of a product of one of the masters of the Metropolitan Opera Company On one occasion the teacher wrote for And then, as for the singer, how can he be appealed to him. The question thus asked the words of his songs. The teachers of early part of the preceding century, who is regularly programing this dainty ,;LtM ‘pjTiff the boy a florid cadenza in easy compass, ■sure that his work is acceptable? Upon \r opened an entirely new vista in the boy’s language were insistent concerning the brought to his work a single purpose of ORATORIO SONGS little number. i j -*-T demanding agility and color and ending what does a singer depend for his own self- FOUR VOLUMES mental life. He had hoped to be a lawyer, value that they had to give, in relation to devotion and keen sense of his responsi¬ with a Mcsza di Vocc. The student made satisfaction? Of what kinds of natures mm md m to develop the power'of swaying audiences his chosen field, and indeed they were right. bility. It was such a teacher that this We will issue shortly four volumes of ora¬ iMi is the average audience composed? How torio songs, one for each of the four voices, Lewis James Howell at will to familiarize himself with logic The conviction at last forced itself young man required. disheartening work of it at first; but his teacher, making a pencil mark after each many units in an audience are there to be soprano, alto, tenor and bass. They will and with the problems of greater import upon him that he would be too old to begin Every step must be builded upon the effort, kept him at it. At the expiration of found precisely like any other units ? contain the best only and will be edited by THEO. PRESSER CO., Phila. Pa. relating to law and rules prevailing in the to devote himself to his voice and general steps that have gone before. In the Questions like these almost stagger the a leading authority for each voice. The Music Publishers and Dealers 1710-12-14 Chestnut Street musical study—twenty-four, in fact—if he the 125th trial, he said to him. “Now rest commonwealth. At first the life of a teacher’s mind there was the first and credulity of the investigator. It probably volumes will not be large nor expensive, but waited until his college career was finished. your voice, but take it home and practice it- will include a number of arias that have singer made no appeal to him. He looked great question—the answer to which was never occurs that no two audiences are Thus his mind was shaped through investi¬ Work such as you have just been doing never yet appeared in similar volumes. The upon it as both weak and effeminate. He to determine his success with his pupil perfect duplicates of each other. Now, if gations in one groove and another to realize will dominate your future success, for per" late David Bispham was to have been the l study opportuniti vaiting them this i had heard only the stray concert and recital Would he be able to yield to the require¬ the make-up of the audience as a whole is that the possession of a voice was a mighty sistence on difficult places will land you at editor, but we will now have a special editor programs that had been given in the small ments of routine sufficiently to attain the never duplicated, and if it is impossible to for each volume. Every singer should pos¬ responsibility. To equip himself for a sing¬ the top. \*ou will develop the power to town where he lived He made thoughtful necessary progress, and after this was at¬ find duplicates among its units, the poor sess one of these volumes. They may be Faust School of Tuning ing artist was no light undertaking. Upon master such technical difficulties only by inquiries into the status of a professional tained, to be brought to realize that the singer is indeed hard put to it if he hopes ordered singly, each 50c postpaid if ordered D. A. CLIPP1NGER the approval of his faithful friend and keeping continually at them.’- career, asking whether one met his obliga¬ hardest part of his journey was yet be to meet this conglomeration of needs, in advance of publication teacher, he compromised on the educational He told him the well-authorized story fore him? In other words, did he have tastes, and temperaments. Advance of Publication, cash price, 50c. each tions to society'and to life as fully by plan, and decided to devote two years to of Madam Lillian Nordica’s making more Reed Organ and Playe the caliber that would be required for him Is listening to singing an active or passive adopting music for a livelihood as in a college, after which the condition of his than a thousand repetitions of difficu to step out of the bed of roses in winch function ? Is it a mental process or merely business life. The teacher agreed with him, voice and its needs at that time would phrases to secure the facility which she rs, 1710-12-14 Chestnut St he had been comfortably taken care of. an act of receptivity on the part of the 617-618 Kimball Hall, Chicago that one owed it to himself, as well as enable him to make a wiser decision than felt was necessary to their perfect render- on to the hard and thorny road of en¬ senses? Clearly this is a most discouraging mention THE^ETUDE when addressing advertisers. r the etude Page 414. JUNE 1923 the etude JUNE 1923 Page Jf15 The artist has not 'finished when lie has First, a voice; second, most careful de¬ merely selected the best in music. He must liberation as to the desirability or advis¬ Get the B,sst Sermons make it a part of his own soul, must give ability of pursuing singing for a livelihood; A danger signal — some self-denying hours of thought to third, the importance of great “untech- Programmed with Success By THE getting the character and the spirit of the nical” equipment; fourth, even greater [HrosfiM WORLD’S tender and bleeding gums song. technical equipment or the insured oppor¬ Tirereal test of « song is in its appeal to foremost in IfUL1 • Not only was the young man encouraged, tunity of acquiring the latter. All of this singers and discriminating audiences Here are GREAT but he was also required to make observa¬ with the expectation of making not only a PREACHERS HEdtSYtirh ss tions along the two most important direc¬ career as a singer but a great career. with Pyorrhea are dangerou Fnr not only are th tions in which music expresses itself. Mediocrity is rampant in every town it Pyorrhea germs and city in the country, and all because the !nS thfl''CHRISTIAN On the occasion of the presentation of an HERALD," which a jy, lowe- oratorio, his teacher sent him to the per¬ vocal work has not been entered upon with Dusky Sleep-Song Pyorrhea begins v the same thoughtful preparation that ed¬ ary rerently^ewlfto formance with a copy of the score, dwelling Words by PAUL LAURENCE DUNBAR as “the strongest inter- bleeding gums. Th< as far as possible on the points of which ucation in other branches has received. cede, the teeth dec he wished him to take notice, and giving Probably more than half of the examples Music by GRACE A. HAMMON him as clear an idea as he could of the to which the term mediocrity can be justly High Voice, Range E flat to F (optional a flat) particularly strong and valuable features of applied could, by treatment commensur¬ Low Voice, Range c to D (optional 1*) THE CHRISTIAN HERALD the oratorio. He followed this by question¬ ate with the talent, have been lifted into A new song that immediately won favor with many A Favorite Family Paper Since 1878 ing as to its effect, the numbers he most prominence if not into eminence. is throbbing with interest, for it believes in practical by using Forhan’s For the Gums enjoyed, and why, incidentally assigning A Resume Christiamty--somethmgitp^LIVE^W Frwhan's For the Gums wil Tit Pyorrhea—or check its to boys’ repertory the selections best adapt¬ We have fabricated a situation for the ELEANOR PATTERSON toecooqwr'wrongs,ytoraIleviate suffering and°to add ed to his compass and style, paying special to the sum of human happiness. Issued every purpose of provoking thought on a sub¬ week—52 times a year—lor all denominations. attention to the recitative, and forcing upon ject that is rarely thought out. It is hardly Contributors include Margaret Slattery, Margaret his notice the fact that all of the art of E? Sangster, Wm. T. Ellis, I.L.D; Sherwood Eddy, to be expected that an eighteen-year-old Wm. Jennings Bryan, Dr. Samuel D. Price, Bishop singing is concealed in the recitative, that person would be keenly alive to all or Wm. T. Manning. Rev. Wm. (Billy) Sunday, Dr. J. one has only to place a recitative before H Jowett. Rev. D. J. Burrell, Rev. Paul Rader. even a part of the requirements that com¬ Senator Arthur Capper, Wm. G. Shepherd, Wm. E. a singer to exhaust that singer’s resources bine to make an ideal preparation for a (Pussyfoot) Johnson, Dr. Charles M. Sheldon, etc. in regard to the subtle phases of vocal career. But it is done in many other Price, alone, $2 a year grooves of action and why not in music, bargain club offers Wagner s “Die Walkure” A Test of Versatility especially singing? Price 40 cents (The Valkyrie) The other direction for him to test boys’ The example is given of the first requi¬ The Etude (12 Issue.) J2.00) U. FotEmf Df D. S. musical versatility was in the opera. It is site, a voice; next, of the importance of its Christian Herald (52 Issues) $2.00 f Snre J6c When Richard Wagner commenced to a messenger at once to Wagner to sum¬ fo£DyTcN discovery, then the appearance of a self- astonishing what a wide difference there is Over Jordan Christian Herald ) ALL 3 Christian Herald ] ALL 3 write his magnificent poem of Der Ring mon him to his capital, bidding him between the appeal that music makes in appointed guide in the person of the public des Nibelungcn _in 1848, he, singularly “Come here and finish your work.” Wag¬ xWrEMeWorl 1 ^3.55 ThfEMe f $3.75 opera and in the oratorio or concert and school teachc.. We are next introduced By HORACE CLARK enough, approached the subject in reverse ner was then in his fiftieth year and was kindred efforts. Those who have become to the teacher of singing, upon whom it High Voice, Range c to g Price 40 cents Christian Herald ) ALL j order, writing the sections thus, “Sieg¬ on the point of despair. He wrote to a devolves to perfect the voice and to place infatuated with the operatic phases are A mammy song of exceptional merit TheEtudM^OO fried’s Tod,” “Siegfried,” “Walkure,” friend, “I can hardly expect to find unfitted for musical thought and study in him by line for the real work of singing. Th :Jsr*}** “Das Rheingold.” The poem was finished The singer with a little humor or imagination will be able to leisure to complete the music and I have the abstract. Everything in music that does Now, it is not to be expected that con¬ Christian Herald j ALL 3 Christian Herald ) ALL 3 in 1852. He was not able to get at the The Etude Munich premiere. The star at that justified the existence of the public school MINNIE CAREY STINE Teachers of singing, as well as all singers and are now so familiar to all opera goers. surprise to hear the reply: time was Mme. Pappenheim. It was re¬ system. Singing teachers like that of our students of singing, should i More important than the pension was the “Well, if this is an example of the opera, The vived in 1885 by DR Leopold Damrosch, young’man are not easy to find, but they means to present the very expensive pro¬ I want no more of it. The music of the exist. It is the misfortune as also the actually interpretive of th with Brandt, Schott and Materna. It ductions, requiring much newly contrived opera and the orchestra was delightful. Of fault of the student if he falls into the then commenced to take a firm grasp upon scenery and enlarged orchestras. The tri¬ course, in the very nature of things, all hands of an incompetent. An inquiry as American audiences and rapidly became umphs at Munich paved the way for Bay¬ operas cannot be alike, and I presume I to how to select a voice teacher is un¬ one of the most popular of the Wagnerian reuth and made possible the greatest musi¬ shall want to hear others; but I was answerable. Strictly speaking, voice operas at the Metropolitan. Nordica, Leh¬ thoroughly ashamed last evening, not only cal dramatic works in the history of the teachers are born, not made; meaning that mann, Ternina, Gadski, Walker, Matzen- of myself, but also of all the scores of well- a combination of qualities seems necessary auer and other famous dramatic sopranos dressed ladies and gentlemen who attended To most opera goers "Die IValkiire” is to enable one who would teach singing to that performance and seemed to be enjoy¬ have become famous in the role. the most melodious and pleasing of “The cope with all of the innumerable obstacles Dear Little You ing themselves. I did not think that such It was to the famous poem of Der Ring.” The story is beautiful and com¬ ENGAGEMENT RING WALTZ in voice, temperament and disposition with By CLAY SMITH Ring dcs Nibelungcn that Wagner owed pelling; the dramatic situations alternately exhibitions of the lower level of humanity which ’he is confronted. would be tolerated on the stage.” Words by ROSCO GILMORE STOTT much of his later fortune. In some man¬ thrill or move by their pathos; while the Night In The Lighthouse It will be observed that purposely we ner the mad King Ludwig II of Bavaria music accompanying the mythical adventur¬ Chimes, Dreamy Melody. Piano 25c each have not alluded to the technical phases Price 60 cents With Violin or’Cello Obbligato EMERICK & CABADY, Boa 135. Sla. F., New York City Measuring a Student’s Character Hlgh Voice Rangeid to F Low Voice, Range b to D came across the work and it so excited ers is easily grasped and appreciated by The teacher had not had opportunity be¬ which naturally go hand in hand with the Also published as Duet for Soprano and Alto his spectacular imagination that he sent the average listener. growth and development of the boy we fore to measure the character of the boy; created; but are confident that we. shall T u Wlde aPPeal- Thousands have he and, being a man of the world, with much find him singing leading roles at the experience, he was able to see that his selec¬ MARy' BRYAPripOWERs'" Metropolitan Opera House; and, if we ask Prima Donna Soprano, American Grand Opera Co. of Chicago tion of an opera was not a fortunate one. him to what he attributes his success, he Kursheedt HAND EXPANDER The Story of “D/e Walkure” Our readers who have followed the Endorsed hy great pianists and foremost teachers will say, “Hard work and years of it.” Other Recently Published Songs that are “Going Big” REDUCES THE HOURS OF PRACTICE The second opera of Wagner’s great Tetralogy of the “Nibelungen Ring.” young man, his patroness and his teacher, j_interior of Funding’s Hut in the Forest. Sicgmund, rushes __ to this point are wondering, and rightfully The upper register of any voice will , hv the fire. RiegUnde livings refreshment. Funding7 enters !_and recognizes. his so, what it is all about; or, speaking in the come easily with beautiful quality if you ..William Stick nv Sieglinde drags Handing and, returning to Stegmr"i. tells him .... - of the garden Close , d to E .. E. B. Kursheedt, 1182 Broadv Vr'.A e Swor l how n stranger had suddenly appeared at h wedding and thrust i vernacular, what is the great idea? let it sing itself. It resents assistance. 18146 Soon a Will B, Magic „ .. o,vord which should belong only to L_ _ __ A Bowl o’ E l411„„ .e a magic s’ We have followed so many voices from It may be very small on its first appear¬ R. S. Stoughton.. mund. approaching the tr e, wrenches from it the sword by a mighty effort. The reunited ance, but if fed judiciously on vitality, ...Ura. brother and n Funding, entering the moonlit forest as the curtain falls. first lessons to what those first lessons have TheDe itoD... it will grow to be both big and fine. i My Memoi ia Mats Halle d Rocky Pass. Wotan sends his favnrit Walkiir led to, that we are in a position to comment ! The Wind. . , Rob Roy Pee _ almost satirically upon the genuineness of ...William Stickles. - rflight and stags her ‘famous Brittle dry. Fricka, guardian of “Nature’s Own’ “The right accents in music depend very . .H. Wakefield Sm MUSIC PRINTERS Wotanand insists that Sicgmund no nmdahaA ttienmundSicgmund and Sieglinde,tttuMmA* fleeing, t the protestations of sincerity so volubly .William G. Harm much on the exact time. Tone artists, taken by Funding.4_„.. In' the”" ensuing*“ combat Wotai —jears, causes Sicgmund to ..William G. Ham. f kills Funding. Briinnhilde flees in tei carrying Sieglinde with hei expressed. while still making all their desired effects . Purdon I ENGRAVERSa-LITHOGRAPHERS I We would like young vocal students to horse, Grane. in apparent freedom of style and delivery, I XS^™ha,'iI EA9HERS We,u-- take advantage of our eiaimm ■ PRINT ANYTHING IN MUSIC- BY ANY PROCESS | Aet in_The Summit of a Rocky Mountain. The net begin! with the famous Ride. Liquid Silmerine realize first the futility of attempting a nevertheless do not lose sight of the time. -—. . »»sgc»»ons maqe'e and specialspecial selections mmade up when deureo^j | WE PRINT FOR INDIVIDUALS nf the Valkyries. Briinnhilde approaches, fleeing from *• m whom the Valkyries study of the art with' an idea of reaching d-re not protect her. She bids Sieglinde flee alone, and that h Those who do are usually apt to be ama¬ established ,e„. REFERENCE. ANY PUBLISHER | d„ . not sirnirirdno M l Wotan condemns BriinnhildeRrfmnhildr to a sleenKiel from which only a great hero professionalism, without at least a few of teurs, and are not to be imitated.”—Caru¬ shall free her and bids her a fervid farewell. Briinnhilde sinks, transfigured on Wataris the following requisites: so, in The Gentlewoman. SSI!®,®' Phila., Pa. hrenst He imprints a long kiss on her eyes, she sinks in his arms, her powers slowly depart- -ESTABLISHED 1883 Mail Order Music Supply House_ tag.1 ’ HeTI(, tenderly helps...... her to a mossy lounge and covers her completely with the shield of the Walkiire. Pointing . ..rock. Wotan summons Flames issue from the stone.d leap wildly about Wotan. With a t Briinnhilde rocks, Wotan disappears in the flames Please mention THE ETUDE when addressing as the fire encircles ” - TEE ETUDE fllE ETUDE JUNE 1928 Page 417 Page 1^16 JUNE 1928 Is an Organ Recital “Bunk? »* 1st should announce the piece to be played to play it at the Sunday service. Do not On the Tempo of Tunes and the composer. Personally, I find it do it unless it really fits. How often has By Roland Diggle, Mus. Doc. 'AUSTIN ORGANS helps to give a short synopsis of the piece a fine church service been spoiled by just £J and a few words about the composer; and By L. D. Eichhorn I am tempted to ask this question with w— nR°ERS wer<; I** this sort of thing; and how often has the I have a box at the door for request The Organist’s Etude a great deal of trepidation for the reason ing the Great Organs of Colorado orate organ recital been spoiled by using music Occasion : A service where many children that only lately I was told by four of the University of 115 Stops, and the Cincin¬ pieces. If the organist is wise he will written and intended for church use. and young people are present. Time: nati Music Hall Organ of 87 Stops, not attempt to give all the recitals him¬ big business men of one of the largest The Eastman Conservatory Organ of About nine P. M., a Sunday in June. self but will arrange with some of his It is the Ambition of THE ETUDE to make this Organ Department cities on the Pacific Coast, that not only 229 stops shines conspicuously among Play Well or Not in Public Place: In a church where the tendency modern organs. friends to take the duty say once a month. were organ recitals “bunk” but that they Tonal and mechanical features are of Do not play anything until you can play had been to drag all singing. “An Organist’s Magazine Complete in Itself’’ Of course it is missionary work; but were—-• I might say that the remarks equal excellence in large and small or¬ it well; and do not play anything out of The closing hymn was “Onward, Chris¬ gans. Send for list of Austin installa- what is. life for if we can’t do something were made in all seriousness by men who all proportion to your Organ. I remember tian Soldiers.” to help the world in general? were considered quite fond of music; and once hearing a quite famous organist play A large illuminated cross at the back of it does not matter if we like it or not we In other places where the noonday the Overture to Tannhauser on a one the platform received the focused atten¬ Edited by Well Known Organ Experts (AUSTIN ORGAN CO. have to face the fact that thousands of recital is not practicable Saturday after¬ manual seven stop • organ. It is this sort tion of the entire congregation. As the I 165 Woodland St. Hartford, Conn. I educated people feel just the same way noon is a good time; and if you are in a of thing that makes one say that organ last two lines of the chorus were sung, about it. Let there be a free concert with place where there is little activity on a “With the cross of Jesus going on before” recitals are “bunk.” No one would dream a mechanical piano, and the place will be Sunday, the vesper recital is by far the of giving a series of recitals on a onri —the service came to a proper climax. A filled to the doors; but give a free organ best. I suggest following the same plan woman of the congregation said to the Beethoven as an Organist manual organ; but for the average two recital, and you know what to expect. GUILMANT as outlined for the noonday recitals, leader, “I never heard it sung so fast; manual instrument there is plenty of good Would you have any larger attendance if except that one might make them a little organ music and any amount of excellent you’ll set us all dancing.” By Edwin H. Pierce the organ had a player attachment? I am more educational, in which event do not transcriptions. The leader would have explained, “There Organ School inclined to think you would not have as be afraid of repeating these works three You cannot afford to overlook the are many children and young people present Beethoven and another young man met Every reader of musical history knows many. With the self player most of the Dr. William C. Carl, Dir. or four times during the season. You American Coriiposer. It is impossible to and they should usually sing faster than him while out near the church at Marien- that Beethoven, in the earlier years of organ recital’s critic’s pet theories go to cannot expect the average listener to give a list; but I feel I must call atten¬ adults; -they are quicker in all their move¬ forest (a cloister in the woods near Godes- A Distinctive School for serious students. his career, and indeed up to the time the wall, viz—lack of rhythm, uninterest¬ appreciate or enjoy a work like Reger’s tion to some works that have been found ments; the hour was late; weariness was berg), and Wurzer informed them that Master Class. Free Scholarships. Students when his' deafness interfered, was as ing music and, so on. Then the old ques¬ Benedictus at a first hearing;, but I ven¬ of special interest for recital work, judg¬ manifest; spirited singing vitalizes” —all the organ in that church had been rebuilt aided in securing positions. noted for his performance on the piano as tion comes up, “What is the matter with ture to say that at a third or fourth they ing for requests for the same. The Second this in an effort to get the woman to and was in fine condition. The company for his compositions; but few are ac¬ the organ recital?” Write/or Catalog will hum it on the way home. Sonata, and two organ Suites of J. H. see the matter from his viewpoint. It was begged Beethoven to give them the pleas¬ quainted with the fact that he devoted To my mind there is nothing the matter. 17 East 11th Street, New York As to music, I would say play every¬ Rogers; the last two movements of the futile. All she would say was: “I know ure of hearing him play on the instrument, very serious study to the organ, and was I have found that wherever organ recitals thing within reason. Your first aim must Barnes Symphony; the In Fairyland and something about, music myself; it was too and he good-naturedly consented. The no mean performer on that instrupient. have been tried out on a good organ by be to interest your hearers, your second to Sea Sketches of R. S. Stoughton; the fast,” and she was gone. prior had the church unlocked for them, Thanks to certain valuable biographical a wise organist, (and note that I say wise lift them to a little higher plane and your Ralph Baldwin Sonata; the middle move-. Here is this leader’s sober thought. The and Beethoven improvised beautifully on researches, which after long delay, have and not clever) and continued long third to educate them. It is your problem, ment of the Sonata in A minor of Mark singing of this tune on this occasion was several themes which were given him by enough to educate the listeners to appre¬ and no set rule can apply. For instance, Andrews; the Overtures of Maitland, not primarily a matter of “knowing some- been put in available form and published, the party. Poor laboring folk, who were ciate them, the organ recital is one of the I used to be asked to play the Pilgrims Matthews and Fricker; and the splen¬ tiling about music/’ but rather of knowing we are furnished a number of interesting cleaning up some debris which had been Song of Hope, and I played it. I have did Sonata, The Chambered Nautilus in about folk, their nature and needs, some¬ little details in regard this subject. left by recent repairs, were so greatly finest means we have of educating the ORGAN NUMBERS not been asked for it for over two years. four movements by Dr. H. J. Stewart. thing born of experience, simply a little Beethoven’s first teacher on the organ affected by the music that they put down masses to an appreciation of a better class Played Bwently on the Balboa Instead, last week I had two requests for The last one of the finest organ works psychology and common sense coming was the old court organist Van den Eeden. their instruments and listened with obvious of music. The big trouble with most of DR. HUMPHREY J. STEWART the Berceuse from L. Vierne’s “Twenty for concert use that has been' published spontaneously to meet the needs of this It is thought that he gave the boy lessons pleasure. us is that we want a big attendance; USpecial '‘ORGORLO JUNIOR’* | Four Short Pieces.” Here is a piece that for many years, is published by the Theo. particular occasion. at first gratis, out of old friendship for During his mature years, although he if we don’t get it, we are discouraged Hero’s March-Mendelssohn-Stewart and shut up shop. I know of scores of THE SPENCER TURBINE COMPANY even few organists know; and yet by Presser Co., and I am sure will have a Catalog No. 18270 Price .60 A song—hymn and tune—is a tool. It his grandfather, already deceased, but had completely given up organ playing, HARTFORD °r8"" P°"tr ^"'^‘"CONNECTICUT | repeated hearings I have quite ordinary tremendous success. Then there are men Hawaiian Fantasia.Stewart must serve. It is a means to an end. Tools that afterward lessons were continued by instances where this has happened; and Catalog No. 17337 Price .80 he seems to have kept a warm spot in his people asking for it. like Jepson, Yon, Frysinger, Gaul—all of are dull or cheap or of a poor model, or the command and at the expense of the heart for the instrument. To Karl Gott¬ yet if twenty organists arc each playing Marche Melodique.Diggle Elector. The boy was at this time eight to fifty people it would mean that a thou¬ whom have written many splendid things Catalog No. 17894 Price .60 handled carelessly and ineffectively. Here fried Freudberg (later head organist of Keep Up to Date was a good tool and excellent material years old, and by the time he was eleven sand people would be spreading the gospel PIPE ORGANS that your audiences will enjoy hearing. Bouree in D (In the Old Style) . . Sabin Breslau), after speaking of Bach as “the Keep up to date with your library; nothing Catalog No. 16274 price .60 upon which to work. or twelve, Van den Eeden used to send of the organ recital. What would that Our organs have ever been^ijoted for their pure My plea then is that all of you who ideal of an organist,” he said: "I too pays quite so well, sustains your interest Bells of Aberdovey.Stewart Question is, what do you wish to ac¬ him to accompany the Mass and other mean in ten or twenty years? can will carry on this work of proving played the organ a great deal in my youth, and helps keep you out of a rut. And right Catalog No. 16834 Price .60 complish? You may, indeed, “know some¬ church music on the organ. His playing that the organ recital is not “bunk.” It but my nerves would not stand the power here I would warn you not to mix your Barcarolle .. Rockwell thing about music,” as the fair critic (or was astonishing, especially his power of London Recital The Emmons Howard Organ Co. will take perseverance and courage; but Catalog No. 13420 Price .50 of the gigantic instrument. I place an recital selections with your church pieces. UNfair) asserted she did; but do you know improvisation on themes from the church One of the difficult problems is the mat¬ as Hugh Walpole says in his wonderful Moonlight Serenade.Nevin organist who is master of his instrument, It is a great temptation, if you have Catalog No. 12079 Price .50 what music is FOR, what it ought to DO, ter of time. We can scarcely expect book “Fortitude,” “It isn’t life that mat¬ first among virtuosi.” worked up a piece for your weekly recital, Kamennoi-Ostrow .... Rubinstein-Gaul and what it CAN do for folk? Do you Another of Beethoven’s early organ- people who have been working all day to ters, it’s lie courage that we bring to it.” Catalog No. 11776 Price .60 give up their evenings to attend an organ MRS. W. M. SIKES know how to use the tools so that they may teachers was Neefe, and still another, {Formerly May Lipscomb, oj Richmond, Va.) THEODORE PRESSER CO., Philadelphia, Pa. help and not hinder This too, is “a con¬ Willibald Koch, who was a friar in the The Real Service recital; and yet I suppose that ninety per Member American Guild of Organists summation devoutly to be wished.” cloister of the Franciscan Monks, at Bonn. cent of all organ recitals are given in the CONCERT, PIANO, ORGAN, VOICE Suggestions for the Organ Recital Program Traditional rendering of tunes is very Accounts are somewhat conflicting, and A story I once read, I do not remember evenings. In England the noonday recital TEACHING, PIANO and VOICE 1 far from being the chief consideration^ it is impossible to know which of these when or where, made such a vivid impres¬ always draws a good crowd. In London MISSES MARGARET a^RUTH SIKES Your We must not pin our faith to a hard and teachers taught him the longest or the sion, and for long was so helpful in my there is rarely a day when there is not THE SIKES STUDIO MONTREAT, N. C. By Frank Howard Warner fast method, a fixed, unvarying tempo, but best. Friar Willibald soon accepted him work, that I shall pass it on. a recital in some church; Thursdays at Boy’s get a larger vision. “Onward, Christian as an assistant but feeling the wish for “A Monday morning found a clergyman St. Stephen’s, Walbrook. \Y< dnesdays at A SOUTHERN FANTASY 1. Begin with something the audienpe tions written originally for other instru¬ experience on a larger organ, the young St. Mary-le-Bow, Cheapside. Tuesdays at For Pipe Organ can be expected to like. They will enjoy Soldiers,” sung by a large congregation of seated in his easy chair, going over in mind ments and for the orchestra. Happi= Beethoven made friends in the cloister of St. Nicholas Cole Abbey, are perhaps the By Ernest F. Hawke Price 75 cents the rest of the program more. adults on a formal occasion like a General the wonderful morning service of the day 9. For those who like “lots of organ,” Conference or Assembly, should have a the Minorites, and “made an agreement” most noted series, having been kept going Theodore Presser Co., Philadelphia, Pa. 2. Appeal to your audience with an select a composition which begins and ends ness to play the organ there at the six o'clock preceding. An angel appeared and asked: attractive title for your first number. stately swing at a moderate tempo. If for twenty years and more. The last ff. Many of these have a fine contrast in morning mass. In one of his note-books ‘Why was riot service to the Lord ren¬ 3. Musical audiences are of all tastes. the occasion is a rally, an inspirational program I had from Mr. Herbert Hodge, a quiet middle section. For those who pre¬ convention, or the congregation is smaller there is a memorandum of the measure¬ dered in your church yesterday ?’ Try to reach all by variety of style and the organist of St. Nicholas, was the fer soft music, something employing only and composed largely of children and ments of the pedals on the Minorite organ. “ ‘Why,’ said the clergyman, ‘we had the 1705th recital, a record hard to beat. My a beautiful soft stop throughout, or nearly young people who are growing a bit weary, An interesting side-light is thrown on most wonderful service yesterday we ever readers may be interested to know what Freckles 4. Arrange your program with a view so; but it should be not too long. then the singing should be brighter and the matter by certain letters of a fellow- had in our church. Signor Doremini sang sort of music is used. Here is an average to variety and contrast; avoid several 10. If trying to educate your public considerably faster, and perhaps in a higher pupil of Beethoven, one Auguste Grimm, the offertory and the church was packed.’ program as given at St. Stephens. Now Is the Time to Get Rid of These pieces of the same mood or style in suc¬ under Zenser, organist of the Miinster- Ugly Spots cession. with a composition of the highest order key. Set your metronome at say 126, and “ ‘Queer,’ said the angel; ‘we have no Rhapsody in B minor.Alfred J■ Silver kirche at Bonn. (This makes still another no lonser the slightest need of feeling 5. Work out a plan for your program. musically, do not place it first and dis¬ try it, counting two in a measure instead record of it in heaven. Contrariwise, the Pastorale in E..E. H. Lemare An 8 Months’ Trial Sub- CA f ENTC teacher!) He admits that the ten-year-old is grSrante^i0 to f^Ckles' M Othine-double strength— For instance, first a soft number and work courage your audience at once, nor lastj scription for only . . J)V vELl 10 cf four. Sunday before is registered a red-letter Overture " Tancredi’’.Rossini arwffaS? ,anG(>52e0 of eOthin?-from°any druggist Beethoven surpassed him, the twenty-year- up to a climax with the last, or toward when they may be tired. (This is ’way below the regular price) Oh, you “never heard it sung so fast”? day.’ At Evening.Ralph Kinder soon see ythat evo°f 11 night and morning and you should old ; that the boy composed pieces already the end, and finish with more quiet pieces; 11. If you can play a showy composition Each issue of THE BOYS’ MAGAZINE contains Good; you have then heard something “ ‘Oh,’ said the clergyman, ‘that was one Overture in D minor.H. Smart disappear while the lighter ^nes havifvanShed*entirely. from two to four splendid serial stories and from twelve too difficult for his own hands, and that comnifi?°m. t lat more than an ounce is needed to or, for a short recital before a church with rapid technic (comparatively few different just now, and this may do you of the worst days we ever experienced. It Sonata in G minor (First movement coS|Kyn.Clear th° 8kin and gain a beautiful clear when Zenser remarked “Why, you can’t ) service, start with a big number and Church organists can), give the audience a ments'devoted to Radb, Mechanics’, Electricity, Popu¬ good, provided you are open-minded and was raining hard, we had few in choir and C. Fink lar Science, Athletics, Physical Training, Stamp Col¬ play that, Ludwig,” he answered “I will gradually diminish to a very soft one. taste of speed with a toccata,, caprice, final lecting, Outdoor Sports. Amateur Photography, Car- unprejudiced. Remember that a tune is a congregation, the music was poor, and we The Noonday Recital ^remove*freckles.guaran4ee 01 m0nf9’ &ack “ 14 klls tool and that it should be permitted to do when I am bigger.” 6. Remember that the general public movement of a sonata or suite, or some¬ had no flowers.’ Nor is the noonday recital confined to what it can. Do not make sober-faced dog¬ In February, 1784, Beethoven received likes sweetness and power in organ music; thing of that style. fokes and Comic Drawings. Eight is? ‘Perhaps,’ said the angel, ‘the explana¬ London; but in nearly every city of any matic criticism of methods born of many the appointment of assistant court organ¬ therefore, the most effective compositions 12. Nervousness is sensed by any audi¬ size the same sort of plan is followed- Vspeda?feature Ts°the award of 3220.00 years of experience before all kinds of ist. This meant assisting Neefe, and the tion lies in that yesterday you worshiped tty This on Your (for the general public) are those which ence, and is usually caused by lack of Is it gny wonder that the organ is appre¬ eason^why YOUR boy should congregations, large and small, from ocean time of the latter was so occupied with Signor Doremini, while the Sunday be¬ contain both and have a fine climax. familiarity with the music or the instru¬ ciated ? to ocean and from gulf to lakes. This the theater and other duties, that young fore your worship was of the Lord.’ ” 7. All but the musically surfeited and ment. (Organists are not frequently of This plan is certainly feasible in z\\ Adi Hair leader does not claim to know the last word, Beethoven had practically all the organ¬ musical snobs like to hear the-celebrated the nervous temperament.) Be restful in our larger cities, and where there is no and is frequently changing his mind about playing. His duties were, in fact, quite favorite pieces by standard composers, no your playing. -TEAR OUT HERE- municipal organ it would in time, I various things. Perhaps you can profitably confining, and the salary absurdly small. “Your pupils cannot too early p matter how old they are. 13. Cater to the public without playing he SCOTT F. REDFIELD CO., Inc. believe, create an interest for one. A 9238 Main St., Sme * do the same. After Beethoven’s removal to Vienna, the stage of that dilettante style wh 8. There are many effective transcrip¬ unworthy compositions. It will be better recital should be given once a week on a Th®Ji Days rhfceP No, music is not a mummy, dry as dust, we hear nothing particular in regard to is so akin to affectation. They shoi Mi-®? ,eJI y°ur mirror prove results tions for the organ of favorite composi¬ for you musically as well as professionally. td THE BOYS’ MAGA- stated day at a stated time. Change ot to be regarded merely as something in it¬ any more organ-playing. His time was on the contrary, be taught to for JS'ij nld^thi^oat Free/rial OHer day or time is very unwise. The length plainly) self, an end instead of a means, but a thing fully occupied as a piano virtuoso and as their own insignificant selves, and of the program is a matter of local con¬ “Like all powers, art possesses its recognizing their deeper meaning have of abundant life, which can walk, run, dash, a composer—later on, as a composer alone. think rather of the importance of out ofThi s™ ard differ< "eless hair, baldness, gray hair, In the summer of 1790 or ’91, however, ditions but should not be more than an now” t3oShi t"1'11? a^^roion^e"1fteofonging life of Uthe’the ,hair.ha‘irJ SendSent! laws of propriety, its etiquette; and to submit and to pay them a respectful or R. F. D. stop and company with folk, serving them work they have in hand.” AYHce J® 400 la4e f»r the lf-days’15-days* fr&ofree trial nffer.offer. according to their needs, so a certain Prof. Dr. Wurzer wrote, hour in length. It is not at all necessary -JMES CO.,3932 W, Robey St^M-3T5. Chicago even those writers who are deficient in attention.” F. Liszt. City. .State. —Moschele to have printed programs; but the organ- HeasePlease mention THE _ETUDE wl: addressing77 "777 our advertisers. the ETUDE JUNE 1923 Page 419 THE ETUDE Page 418 J U A E WJ3

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.t. Price 35 cents. THEODORE PRESSER CO. Music Publishers and Dealers, Philadelphia, Pa.

They $et best rest WHITINC BRUSHES Made and mirror I__ WHITING-.A Send for Ill JOHN L.WHIT1NG-J.JJ Brush Manufacturers for Over 113 the etude Page 1,20 JUNE 1923 THE etude JUNE 1923 Page 1,21 The Jazz Fiddler Knots in the Board called it, and who had taken as their model all sorts of demoralizing rubbish, written The “Jazz” fiddler—you have heard him ome country fiddler, who would do all in the worst possible taste and examples By Brian Barnes —you hear him every day, at dances, hotels their shifting with one-finger slides, and of The lowest type of music. restaurants, vaudeville, and sometimes in would even slide the fingers .'between notes If jazz was only beard occasionally by Dear Evelyn, The Violinist’s Etude regular theatrical productions, whining, jn the first -position, frequently. They con¬ our young people as a burlesque on what Since you will not be able to come here yowling and shrieking like a lost soul in sidered this sliding a great beauty, and it true music should be, it would not be so for some time, I want again to emphasize Edited by ROBERT BRAINE the feline hades. was often very difficult to wean them away bad; but when they go to one or two dances the necessity of your concentrating all The United States has the doubtful honor from the habit. a week and listen to it from three to five Primitive people and savages like this your energies on overcoming the “knots” f is the Ambition of THE ETUDE to make this Department of having given birth to a new school of hours in one evening, besides hearing -it violin playing—the jazz. Starting as a sliding. The Chinese fiddle has only one frequently at parties, receptions’ and other in the pieces on which you now are work¬ “A Violinist’s Magazine Complete in Itself” ing. Be sure to play the notes exactly as novelty a few years ago, the jazz band and string, and no fingerboard, so naturally, social gatherings, as well as at the theaters, written by the composer. There is ab¬ orchestra have multiplied like the rabbits Chinese fiddle technic is a case of “slide- it cannot but have a serious effect in a solutely no sense, nor use in practicing in Australia. Unfortunately the popularity slide-slide.” Still I know of not a few musical way on the growing mind of the wrong notes; they do not belong to the of this type of music has grown in like musicians who would as soon listen to a young. piece, and they not only waste your prec¬ Acquiring the Vibrato in ’Cello Playing ratio. Every little while we hear that Chinese orchestra as an American jazz or¬ The only possible Use I can see in jazz, to ious time but you also are memorizing mis¬ “jazz” is dying out; but this does not seem chestra with its whining fiddles, moaning the young violinist or music student, is takes, which is inexcusable. By G. F. Schwartz to be the case, and its popularity still seems saxophones, plunking banjos and whanging that when listening to it he should try to The Prelude you are studying now to be in the ascendant. The great majority cow-bells. impress on his mind to avoid as far as should be memorized by the next time you The vibrato is an effect indispensable At first the movements of the arm are of the dance music of the American people The Primitive Fiddle possible the style and execution of the came; and it will be if you concentrate to the stringed-instrument player who has likely to be stiff and awkward (like the is of the jazz -description. When a dance The Arabian fiddle; and those of many music he is listening to, and he ought to upon it, playing it slowly until you arc sure passed beyond the elementary stage in his first stroke of an inexperienced skater); orchestra is to be engaged, even our society Oriental countries also have but one string listen to very, very little of it even for this of it. Look for the “knot” in it, there is study. It is not easily acquired; consider¬ but they will come under control with a people almost invariably engage the “Syn¬ and no fingerboard; so their manipulation purpose. If a young person associates with really only one and not a bad one. Prac¬ able patience and intelligent practice are reasonable amount of practice. It is best copating Snorters,” instead of the Mozart is also very much a case of the slide. refined, cultivated people, who talk good Sextette. The young people seem to pre¬ tice it slowly and it will cease to be a necessary for the mastery of the vibrato, to commence with the second finger The present vogue of jazz will surely do grammar, with pleasing, well-modulated difficulty. When a carpenter planes a fer to dance to jazz. The applause which and as a result it is not as often heard as stopping the a string, as this position a great deal of injury to the musical taste tones, he instinctively grows like them. If board he does not work around the knot, • greets the efforts of jazz performers, at might be desired. of the rising generation, and to the develop¬ he associates with rough boors, whose con¬ leaving it alone, but instead he makes affords a more secure anchorage for the hotels, restaurants and vaudeville shows, The true vibrato in ’cello playing in¬ ment of our young violinists. In addition versation teems with bad grammar, pro¬ sure that his plane is sharp (concentration hand and arm, and there is less danger of proves that it is extremely popular with the volves not only the movement of the left to the outlandish noises produced by the fanity, and bad taste, he will also come to is your sharp plane) and takes that knot hand, but includes also the cooperation of the muscles tightening unnecessarily. jazzers, the style of compositions produced be like them. It is the same with the off just the same as he smooths the rest the entire left arm, and the movement Eventually the vibrato should be mas¬ Clissando ad Nauseam by the composers of “jazz” of the present tered with these fingers: the first and young musical student who listens to jazz of the board. This simile is not perfect, should be so brought under control that The art of the jazz violinist, if art it day is banal and demoralizing to the last many hours a week; he will likewise lie- but it shows you the necessity of working the rate may be modified at the will of fourth. They can wait, however, till the can be called, is founded on the continual degree. How can a young violinist or at the “ knots” in all pieces until they are come corrupted in musical taste, and his the performer. movement is made with ease and con¬ use of the glissando, that is, unbroken one- other music student listen to this stuff con¬ conquered. By eliminating the “knots” the performance on his instrument will thus As a means of acquiring a satisfactory fidence with either of the two middle finger slides, ad nauseam. Now, nothing stantly, without having his taste corrupted. piece becomes yours, a beautiful possession Front Row, Left to Right: Simone Mantis; Isham Jones; Paul Biese; W. S. Mygrant. vibrato, the following suggestions are fingers. is more sickening to the ear of an educated We have this “blues” and that “blues,” and Second Row: A1 Sweet; Ernest Pechin; H. Benne Henlon; Bohumir Kryl. not for you alone but for all who are to offered. Place the left hand on the a Advantage may be taken of “sympathe¬ violinist, or the refined ear of a real musi¬ . Third Row: Ralph Corey; Richard Stress; John Dolan: John Kuhn; John J. Perfetto; hear you in the future. The more you are Robert E. Clark; Pietro Cappideferro; Gardelle Simons. , , string of the ’cello in a position to stop tic vibration” to produce the vibrato, or cian, than the constant use of these un¬ Fourth Row: Lillian Seiger: Joseph DeLuca; Jaroslav Cimera; Cora Y. Corson; John Letck; in earnest, the sooner and the surer you c (setting the first as well as the sec¬ at least the vibrato effect with the open broken slides. It is true that the glissando Eugene Cioffi; Mabel Leick; Pedro Lozano; Charles Randall. will succeed. ond finger). With these as a pivot or strings^ This is sometimes desirable is occasionally introduced in artistic and One Proof of Age Of all the arts which have been developed anchorage move the hand and arm slightly where a sustained open-string tone is re¬ legitimate violin playing; but this is only The little article in the October issue, Does not .this explain the mysterious little by the human race, music is the highest, forward—away from the body—then, as quired—often at the close of a composi¬ at rare intervals, and in passages where it “One Proof of Age in Violins,” by Mr. round hole? As I am writing this letter the nearest approach to that beautiful the bow is drawn, bring the hand and arm tion. To accomplish this effect, stop the They Built Their Fame With Conns heightens the expression and is accceptable George M. Van Buskirk of New York city, I have before me on the bench, one of world beyond. In a sense it is a'link be¬ back again to the normal position. Repeat next string above, an octave higher than L^AMOUS concert soloists in every civilized country use the celebrated Conn to a cultivated ear. has created a great deal of discussion these plugged fiddles. This fiddle is old, tween this life and the next; and those, this movement, at first three or four times the tone to be heard; play the required instruments. The great American soloists and musicians are almost unani¬ The jazz fiddler does all his shifting by among violin owners and makers. In his but has all the ear-marks of the old Ger¬ who by gift and appreciation feel and to each stroke of the bow; gradually in¬ note, but vibrate the octave above—the mous in their use of them. In the group above you will s<$ a few of the great the one-finger route, and even at times article Mr. Van Buskirk quoted from the man trade fiddle, and it certainly is not know the exquisite thing music is, are crease the number of movements to 6, 8, latter will be transmitted “sympathe¬ “Conn family.” This is but a small number of the famous artists who appear in slides between notes in the first position, well known work on “Old Violins” by the work of a master violin maker.” responsible to their fellow-beings to make 12 and finally 16. Reckoning 12 or more tically” to the tone of the open string. our advertising continually. These artists, having achieved the pinnacle of fame, where no shifting is involved. Rev. H. R. Haweis, the English violin H. M. McGohan, another violin maker, the most of their talent and opportunities vibrato movements to one bow may be This may be done also by stopping the Expressed in notation, the jazz player authority, in regard to a small plugged writes; “Every German factory-made attribute their success in a great measure to the perfect playing qualities of Conn to all whose lives they touch. accomplished by mentally grouping the next string below at the unison of the Would make the shift given as below: violin has this plug in the top, both in the instruments. I think and feel this obligation, and movements in fours. On account of the tone to be played. Though necessary in hole which is sometipies found a few end block and neck block. These plugs therefore I am sure you will do your very different position of the hand in the use order to produce the effect with the e inches below the nut, in very old Italian The perfection of the instrument determines the success of the player. Conn best to perfect your expression of the of the ’cello, it is difficult to carry the (violin) string, the former method is violins. Rev. Haweis states that the emi¬ of wood are either placed in the “factory quality, with Conn exclusive features, may be obtained at no greater cost. Free music there is in you by diligent, painstak¬ movement beyond the elbow. The upper likely to give better results in the case of nent violinist Oury first called his atten¬ fiddle” to mislead, or as a means to hold trial; easy payments. Send for literature, mentioning the instrument in which ing, thoughtful, loving care with your tion to these plugged holes and gave the the top in place while the violin is being arm should, however, be sympathetically the three lower strings. you are interested. studies. reason for their existence. According to responsive to the movement of the fore¬ The string player will also do well to clamped together. Perhaps the writer who Very faithfully your friend, In both cases there would lx? a one-finger Oury, in the days when, yiolinists marched arm and hand. In other respects the listen attentively to the vibrato (not made the statement referred to, has not Brian Barnes. slide to the top note. study of the vibrato will be carried on tremolo) produced by a good vocalist, and and played in religious processions, they handled many factory-made or cheap vio¬ The educated violinist would play such had their violins attached to a button, MUSIC TEACHERS ATTENTION Sr,p'ow“™ in the same way as with the violin or the attempt to reproduce the same effect in lins, as no hand-made violin of tfae present a passage as follows; screw or hook, on their clothing, by a small books “The Teacher’s Guide” and “The Universal Teacher” for Band viola. his instrumental tone-production. day has these little plugs of wood in the The Sticky Season chain secured to the violin, so that at the and Orchestra instruments. Both immensely valuable to you. elevation of the host they could let go of top.” T he sultry days of July and August are Plugged Holes in some ways the most disagreeable season Positions for Small Orchestra their violins and drop on their knees. Dealers and agents throughout the country This practice having been discontinued, This opens up quite an interesting dis¬ of the year for the violinist who is obliged The violin department recently published there is a director and two first violins Factory branches in all large cities to fill engagements. The perspiration of It will be noted in this manner of shift¬ the little hole in the violin where the chain cussion; and, as is the case in so many a diagram showing the position of the the'first violins would o#upy positions controversies, each party may be correct the left hand saturates the strings, causing various instruments for a large symphony No. 2 and 3, and the seXl violin and ing that the second finger slides only to was attached was plugged up, so as to C. G. CONN, Ltd., 613 Conn Bldg., Elkhart, Indiana them to lose their tone or break; and the orchestra. In the case of a small orchestra viola would A to their , { Jf . B, when the fourth finger strikes the note be hardly perceptible. from his own standpoint. There is no hand sticks to the neck of the violin in the arrangement is somewhat different. 11C , -. - . , . ., p,° D forcibly. The slide is thus broken at Following the publication of the article question but what there are many inferior the most exasperating way. The diagram below gives the positions ■ ,P , , m *he centef> wlth the the note B, and there is no slide from B in The Etude, a number of readers wrote violins which have these plugged holes, Many players carry a bottle of alcohol most commonly used in the case of a V.‘°!lnS t0 the left and the wlIld *° to D, thus obviating the whining effect of that they had discovered' little plugged placed there in the process of manufacture. in their cases, with which to bathe the hand right. small orchestra used for stage perform- the unbroken slide. As the shift is made holes in their violins. A number of violin On the other hand there is little doubt of just before playing. The rapid evapora¬ The arrangement in the diagram above very rapidly, the small note B is not heard, makers also wrote that plugged holes are the custom of the olclen minstrel attaching tion of the alcohol dries the hand and almost universally used, when No. 1, first violin; No. 2, second violin; and the effect on the ear is that of a clean common in violins, but are put there for his violin to his clothing by a little chain, stops the trouble long enough for a short No. 3, viola; No. 4, violoncello; No. 5, t*le orchestra plays in the orchestra pit legato from G to D. The effect of the a quite different cause than that named so that it would not fall, when he fell on solo to be played. Many use silk strings double-bass; No. 6, flute; No. 7, clarinet; Mow the stage, as it has been found to continuous slide is broken, and the result by Rev. Haweis. Messrs. Dowey and Not- his knees when he was marching in a in the summer, or even wire, when they No. 8, first cornet; No. 9, second cornet; the best results. Of course when a is most artistic. have to play in the damp night air or near tage, violin makers at Framingham, Massa¬ religious procession, at the elevation of the No. 10, trombone; No. 11, trap drums. larger orchestra is used in stage perform- a body of water. Saturating the strings Imitations Host. It will be noted that the Rev. If there is a director, he would sit in ances, as in grand opera, different ar- chusetts, write: “It has been the whim with oil of sweet almonds, or other string Some jazz fiddlers also introduce bird Haweis limited his proof of age to violins position No. 1 and the first violinist would rangements are used, different directors of some violin makers for a long time to oil (except for the portion of the string calls and imitations of animals in their insert a small dowel through the plates which were old Italian violins to start to which the bow is applied) gives relief sit to his left. In small orchestras the having somewhat different ideas as to the playing, together with all manner of gro¬ with. He did not make the general state¬ first violinist often acts as director. If arrangement. at each end-block, seemingly to make them A X VIOLINS in many instances. tesque noises which they are able to imagine. ment that any violin which had a' little more secure; although, with the use of any Gemunder Deep, Mellow, Soulful The violinist must dress in the coolest It is likely that the jazz players bor¬ good fiddle glue, this is unnecessary and plugged hole is a genuine old Cremona. 1846 THE VIOLIN NAME OF FAME 1922 possible manner for summer appearances. rowed their ideas of this continuous sliding in fact an annoyance at some future time It is also well to remember that the ALL KINDS OF VIOLINS appreciated b, the greatest artiste. JKass Also, it is well for him to shun alcohol from the old-time country fiddlers who violin counterfeiter is a busy and versatile For all Kinds of Players and malt liquors and drink lemonade and when the instrument must be opened. I MODERN USED & ANTIQUE were strong for the slide, and never lost individual. A hole is easy to make and it “""cpsTAV V. HENNING other acid fruit drinks. have found these small dowels in quite “ IIOW TO SELECT VIOLINS FOR PERSONAL USE” 0424 Cay lord St., Denver. Colo. an opportunity of employing it. There is is equally easy to plug it, so we strongly © © ® © something in the taste of uneducated musi¬ a few instruments, in many of the lower AS EXPERT VIOLIN MAKERS AND PLAYERS our © ® © advise Etude violin readers not to buy cians, and their hearers, who are capable priced fiddles as well as in some of the For Tone old violins solely for the fact that they VIOLINS and CELLOS ORCHESTRA PIT of comprehending only the lowest types of higher grade; and it is quite probable that Sold on Time Payments Try playing a scale every day, drawing have little plugged holes “a few inches “THE VIOLIN WORLD”—the instructive Violin music, which seems to find keen delight in Guarnerius himself employed this means GENUINE ITALIAN STRINGS the bow very slowly, counting twenty at Magazine — $1.50 per year. Established- 1892. The Theater Orchestra these continuous one-finger slides. We find of securing his plates to the end blocks. below the nut.” . Send for Violin and Cello Catalogue the rate the clock ticks, to each stroke. Small orchestras arc arranged in various ways; but the arrangement ehn,c,„ , the same grace (?) employed by the jazz HU5U5T EEMUNDER & 50NS A. J. OETTINGER There is no better tonic for a poor, un¬ seems to be’best for the theater pit In making phonograph records the payers, slide-trombone players. I often have had Musicians’ Supply Company manifestations of life: self-conscious 141 WEST 42nd ST., NEW YORK 60 LaGrange Street Boston, Mass. even tone, and unsteady bow arm. often placed upon different heights, for special effects. r ™en c pupils apply for lessons who had learned to “What is the highest in art? That frhich is also the highest in all other freedom of spirit.” Play the violin by ear, or “air,” as they Please mention THE ETUDE when addressing our advertisers. THE ETUDE Page J,22 JUNE 1923 THE etude JUKE 1923 Page m Advantages of Piano Study for Violinists i New Recorded Music

STRGER SONG By Horace Johnson Professional On many occasions the writer has been comparably richer and more varied than questioned: “I wish my little son (or that for “violin duet." BOOK John McCormack has made a Victor gained much interest here this season, sings Directory record of Sullivan’s famous song, The the famous Brahms Auf dem Kirkhoefe daughter) to learn the violin; don’t you Reasons Against Lost Chord. This announcement means (In the Church Yard). Her German is think it is best to have a year or two 1. The technic of the piano is no help 111 Favorite Selections at the piano first?” Then Yankee-like, much, for, without exception, this disc exceptionally fine, and her interpretation to the technic of the violin, but in one pCommunity Singing is one of the most perfect records that of one of the most difficult of German this question is answered by “Why?” It respect, at least, a slight hindrance. In is very seldom that any plausible reason /brf Home Happiness has been made. Mr. McCormack has lieder is intensely satisfying. She has playing scales on the piano one has to ‘^School Exercises is forthcoming, which shows that minds made a reproduction which will stir the caught accurately the tragic pathos ex¬ ALBERTS pick up each finger cleanly as the next heart of every living soul. He sings pressed in the words of the text. Onegin’s are a little cloudy on the subject. Per¬ one strikes; on the violin (the duration haps it will help to an intelligent con¬ with fervor, with absolutely accurate dic¬ top voice is reminiscent in quality of Schu- - faculty of ten teachei of the tone being entirely under control The songs you remember, BEECHWOODs sideration of the question if we review tion, accompanied by an orchestra and mann-Heink—smooth and dark, yet warm- of the bow) the fingers must be held and those you’d like to remember—old and the reasons, briefly, for and against. organ in perfect balance. As for the in feeling like the taste of chocolate. down on the string as much as practic¬ new favorites close to every heart—you’ll find selection, it is probably the best known For an operatic selection the Brunswick BUTLER-REDFERN: Reasons For able. them all in this happy collection of tunes. of any sacred song. offer the aria Una furtiva lagrima (A 1. The violin being, in its earliest stages 2. If a young pupil is already anxious Complete with words and music. Easily It may interest you to know the story Furtive Tear) from “L’Elisir d’Amore,” of study one of the most difficult instru¬ to begin on the violin, it is a great dis¬ readable! Well printed on paper of selected grade. For home, school or club use this of how The Lost Chord came to be writ¬ sung by Mario Chamlee. This aria, one ments, it is a help to be already versed in appointment to have to wait a couple of book is ideal. ten. Sir Arthur Sullivan, the composer, of Caruso’s favorites, begins with an or¬ the rudiments of music, viz., notation, years and do something different first. COMBS Send for a Copy TODAY had found Adelaide Proctor’s lyric and chestral prelude which sets the correct r. time-keeping, signatures, meaning of ac¬ “Hope deferred maketh the heart sick.” PRICES: 100 copies, 7c each [t o. b. Chicago], baj tried several times to set it to music. atmosphere. The voice enters with the cidentals and formation of the scales. Best begin while the interest is keen, and $1.00 per dozen, prepaid. Single His efforts had been unsatisfactory; and melody, one finely etched lyric phrase after copies [and less than do—" lorsl While any good violin teacher is just as take up the piano later on. 10 cents each, prepaid. he had discarded them. One night he was another expressing the heart-rending grief ADDA C. Normal Teacher, Teachor'a Training competent to give instruction in these 3. In some cases, a divided interest and sitting by the bed-side of his brother, of 'hidden tears. Chamlee’s record is ex¬ points as a piano teacher, his task be¬ divided effort results in mediocrity on STEGER 8c SONS EDDY •piano £Manufacturing Co. who was critically ill, when the melody cellent. It is not the equal of Caruso’s, comes much simpler if (the pupil being both instruments. The cure for this is to 311 Stegec Bldg. Chicago, It of the now famous song came to him. but that could not be expected, yet he gives already versed in them) he can put his decide clearly which is to be your main He found ei piece of paper and, entirely If it's a splendid performance and a fine interpre¬ FABRIZI whole attention on the matter of violin subject, and give that the greater share s the n oblivious to his surroundings, feverishly tation. His final high notes and the ca¬ RUSSELL’8 Practical lnstractl technic at the start. of time and effort. Usually it is not diffi¬ wrote. As dawn came he finished the can play—and it wholly satisfies that craving everybody has the world. denza have charming qualities ct and simplified that it is the easiest of all musical instru- 2. Practice on a well-tuned piano is a cult to determine the direction in which song. Only then it was he remembered To continue with the numbers of GILBERT 3S le first 3 lessons, which are sent without charge, the i few weeks you can be playing popular music. valuable training to the ear, helping the one’s greatest talent lies, though there his duty to his brother and turned anx¬ the song-cycle, Amy Woodforde-Finden’s pupil to recognize correct intervals on have been noteworthy exceptions—Harold For 58 years these little ms iously toward the bed of the patient. The “Indian Love Lyrics,” which he began, Free Trial—Easy Payments the violin where the pitch of each tone is Bauer, for instance, meeting with but to better quality and value invalid was sleeping the sleep of con¬ Louis Graveure sings Less Than the Dust GUICHARD.^Is»— under his own control. valescence, and had passed through the MUSIOOLOHIST, LECTURER, 72 Huntington Ave., Bo«ton, Ban. .Trumpet or Trombone slight success as a violinist, turned his at¬ ^ Everything for the/ for the current Columbia list As usual 3. Piano music being complete in har¬ crisis toward health. his diction is superb; and, with the aid of tention to the piano and became one of • BAND PLAYER! mony the pupil acquires an appreciation There is another record of paramount an orchestra of fine proportions, Mr. the world’s greatest pianists. HAWTHORNE Saxophone Book Free of chords and of the combination of importance, on the May Victor list. This Graveure sings with intensity and great Mutual Reactions -U iv,V;,KS7*a!^ - is the disc Amelita Galli-Curci has made stmments are almost Entirely displaced Sby Saxo- themes in a polyphonic structure. This display of tone and emotion. His is a So,u 07 of Rimsky-Korsakoff’s Song of India. Of big voice, vibrant and heavy in force, and KRIENS' SK? Saxophone Book tells°which Saxophone takes same thing would come to him ultimately, We have already mentioned some of the LYON & HEALY, 76-81 Jackson Blvd., CHICAGO violin, cello and base parts, and many other perhaps, from quartet and orchestra play¬ advantages to a violinist of piano study. all the many works of this famous Rus¬ he makes much of the opportunities for things you would like to know. Ask for your copy. ing, but that is several years away from It remains to notice some of the effects sian, Song of India is the best known. its expression in this song. If you wish MOULTON l To the general American public it is Buescher Band Instrument Co. a beginner. of violin study on a pianist. These are ~ BUNIONS a disc which will command spontaneous familiar in its adulterated form; for this applause from all who hear it, this record 4. In case the pupil should in later briefly summed up, but nevertheless of NEW YORK’ v. is the melody Paul Whiteman arranged fills the bill perfectly. years become a violin teacher, it is of great importance: a fine accuracy in for dancing about a year and a half ago, Of entirely different texture and pattern very great value to be able to play his phrasing, and a feeling for beauty of tone. SENT ON TRIAL I. Pine St., Lewlatown, Pi which swept the country from coast to is the reproduction which Tandy Mac- PRETTYLEAFS pupils’ piano accompaniments. With all We have intentionally avoided any dog¬ The finest stock of everything coast. Galli-Curci sings the song in its Kenzie, the tenor, has made of God due respect to Pleyel, Viotti, Spohr and matic conclusion, as each person should KAY LABORATORIES, Dept. A-6GB original form, and truly marvelously. This Touched the Rose. Mr. MacKenzie has a RIESBERG that can be desired by the 86 No. La Salle St.. Chicago, Illinois PIANO Dep t N. Y. School ot Mnsic an other writers of excellent violin duets, the be able to decide for himself when once record can be compared with any repro¬ voice spirituelle in quality, which' is splen¬ Arta. 437 Filth Ave., T«I. 4292 Murray Hill, X. Y. O. repertoire for “violin and piano” is in¬ the data is clearly presented. duction of any phonograph company. It didly suited for the singing of this song. ID, Instruction In the Art end Sci- Bulletin of the Presser Home for has no defects. Galli-Curci sings with It is much the same type of voice as Gigli ROYCE,i_ sxSsUSStSSH: y.£M== VIOLINIST a cool, pure tone. Her cadenzas give at the Metropolitan, who is called the id Arts, 150 Riverside Drive., Tel. 4804 Stuyvesant Featured Retired Music Teachers in fully described in our new elabor¬ Violin Questions Answered Personally the sensation of dropping pebbles from “Golden-voiced tenor;” though Mr. Mac¬ With Great ately illustrated catalogue. Copy Germantown the arch of a bridge into a dark, green, Kenzie is yet a young singer and has not By Mr. Braine THORPE I sent free on application. April proved to be a most interesting month limpid pool, and watching the circling the fine expression which Mr. Gigli has Success con; servatory^of ^music^ For over forty years we have at the Home, largely through the Introduction rings move outward to the shores, catching achieved. There is fine nuance and shading as they move the reflected glint of sun in this disc. A ’cello solo as an interlude State Street, Trenton, N. J. catered to the discriminating L. H. Q.—The last line of the Magginl W. P.—I have repeatedly explained in The of a fine radio apparatus, capable of receiving TRENTON class of teachers, schools, label Is “Brescia 16—Brescia is a city in Etude that lumps and sore spots on the chin messages from long distances. This was the through the motionless leaves of the bend¬ also sustains interest. CHARLES Correspondence Instruction, Italy, and “16-—” Is the date when made, ARTHUR HARTMANN and amateurs, and our name or neck are caused by pressing the violin too personal gift of Mr. Edmund Driggs, of New ing trees. This is a record that breathes Eddy Brown, the violinist, plays his Musical IfWod&r WrUino' On His Recent European Tour with the last two figures omitted. A genuine hard against the neck, or pressing the jaw VEON stands for the square deal Magginl violin is very valuable, but there too hard against the chin-rest, at'the same York. The radio has already proved a most of peace and rest, of soft, gentle breezes own transcription of Forsaken, the Ger¬ iyable one-half in and honest values, both in —e thousands of Imitations. 2. Consult Sir i—STATE NORMAL SCHOOL, time swaying the violin to and fro from side delightful innovation. The sermons on Sun¬ and the buzz of a distant locust. man folk-song, this month. His first few Adagio and Allegro A. Corelli new and old violins. ... jorge Grove's Dictionary of Music, in your to side instead of holding it quite still. If day night are heard in the large parlor of the Arranged and Edited by Arthur Hartmann public library, and you will find a long article Fritz Kreisler introduces one of his the skin is violently rubbed for a long period Home, by a most interested group of listeners, phrases have a ’cello-like quality most in¬ of time on any part of the bo.lv a sore spot new compositions this month entitled Toy teresting and very pleasing. Then, with VIRGIL imbPer?°rOne of the splendid series ofP master or lump will form. Hold your Violin lightly, some of whom have unfortunately been unable eces Mr. Hartmann has arranged for violin JOHN FRIEDRICH & BR0. A. N. ( ““^Perfectly still, and you will have no to go out at night for some little time. The Soldiers March. It is piquant, fragile, and the entrance of double stops he soars to VIOLIN MAKERS AND IMPORTERS performance of the Wagner “Ring des Nibel- simple in harmonic construction. He plays higher positions. Toward the end of the Catalog No. 13025 _____ Price, 60 cents Many violinists are troubled with these ESTABLISHED 1883 ns large as a robin’s egg, ungen" by the German Opera Company visit¬ it in strict march time, accurately depict¬ selection Mr. Brown introduces a counter¬ Variations for G String Solo (Prayer from possibly be found in some German work. 279 Fifth Avenue New York would not be classed as a great violin maker. which form from pressure and rubbing of the ing Philadelphia was heard by the Home fam¬ ing the stiff, rigid movements that the melody of his own invention, which he AMERICANS As the work of makers of this class is not for it against the neck- There is no necessity ily with real joy over the radio. picture of a red-coated little army paints uses to advantage in a striking cadenza. often Imitated, your violin is probably genu¬ Mrs. Mary K. S. Smith, President of the So¬ on the imagination. There are some Mr, Brown’s reproductions are well worth ine. I could not give a guess as to its value cial Club of the Home, reports that on the without seeing it. D-—Some violinists memorize much clever imitation passages between the vio¬ the attention of every violin student for BURROWES' SSS. easier than others. As you have such great twelfth of the month the Rev. Dr. Thomas, lin theme and piano accompaniment. The a Sale, difficulty in memorizing, I would suggest that pastor of the First Methodist Church of Ger¬ there is much to be learned from them. I (a city in Italy).” you try very easy music. Start by memoriz¬ ing the scales, and arpeggi; then the very mantown, gave an address upon “Lloyd disc is the usual splendid reproduction Silver Threads Among the Gold appears CHICAGO I simplest exercises yon can find; then little George and the Welsh” for the Home that was which Mr. Kreisler always makes. on the Edison list as a piano transcription melodies, especially familiar songs and pieces. immensely appreciated. On another occasion Another selection from Toyland, the played by Franz Falkenburg. Mr. Falken- containing excellent suggestions of in As nature comes to your aid in developing Artist Violinists and Violin Teachers. bridge would __ - , the memory,-.... »gradually try more difficult com- Mrs. Edmund Driggs, teacher of mnsic at a play-land of our youth, is the disc Irene burg plays the song through as we know CINCINNATI SfS Occasionally we find violins with Positions.no«iH„n„ As .on]y a beginner in bar- school for young women. Fifth Avenue, New Williams has made for the Brunswick, it and then proceeds to adorn it with necks. 2. Sorry that in justice to -, v, v— expect much help from York, played piano solos and also accompanied decorations and florid garlands. The mel¬ H — - press opinions that branch just yet, although later on it will of the famous air from Victor Herbert’s DETROIT! on modern violins. her son, of thirteen, in ’cello solos. ody is handled deftly and expertly, never helpt,oiA you x-norize.ti Later In the month the Home Family was operetta, “Babes in Toyland.” This song, entertained by the House Committee at the Toyland, has one of the most beautiful hidden by its heavy embellishments of KNOX’ entley. Director installation of the newly-elected president of melodies of the light literature of America. trills and arpeggios. Those who love the I ADVANCE OF PUBLICATION OFFER j One of the books which nearly every violin the Home, Mr. Edwin B. Gafrlgues. Mr. Gar- It has an ever living value. A short time old songs will be pleased by this disc and student has to take, is the set of studies by rigues is a Philadelphia business man who has ago it was found tucked in the midst of it will add another fine pianistic re-creation Mazas, Op. 36. One does not have to be very TOMLINSON i VIOLIN STRINGS served upon the Board of Directors of the a collection of “Heart Songs” with Annie to their library. ETUDE BRAND MAZAS’ 30 SPECIAL STUDIES far advanced to take these studies, but they Used by the Leading Artists of the serve as a splendid preparation for the larger Home for several .years. Mrs. Garrigues, who Laurie, Ben Bolt, Old Kentucky Home, Yvonne Gall has sung Gounod’s Ave Philadelphia Orchestra works to be taken up later. Book I, which is INSTITUTE OF MUSIC for the VIOLIN Old folks at Home, and Oh Promise Me. Maria for the Actuelle. It is a superb Etude “E” String, 3 lengths-$0.20 net to be added to the Presser Collection, con¬ tired from the presidency of the Matinee Musi- tains 30 studies and these studies cover all It well deserves a permanent place .in our record. Her voice has registered with a WESTERN Etude “A” String, 2 lengths- .20 net phases of finger technic, bowing, style, phras- enl Club of Philadelphia (fourteen hundred Etude “D” String, 2 lengths.20 net iSfi.*??’ 0ur new edition has beeq prepared members), one of the largest musical clubs of song literature. Miss Williams has made purity and evenness that deserves com¬ Etude “G” String, 1 length.20 net d orchestras. Send for catalog o; with the utmost care. the country. The program of the evening was a fine record. She sings with a splendidly mendation. A violin obbligato helps to Bundle Lots (30 assarted Strings) 4.25 net REPAIR ALL INSTRUMENTS Advance of Publication Cash Price. 30 cents, postpaid arranged by Mrs. Grace Welsh Piper, one of balanced orchestral accompaniment, and make this disc a meritorious reproduction. 80TJTHERN CONSERVATORY OF MUSIC Trices Given Arc 5Vcf—fAfo ‘Discount the Home Directors; and the performers were upon repetition the refrain is played as a The shading and phrasing are carefully THE CO. I THEODORE PRESSER CO., I BRYANT THEO. PRESSER CO. VEGA *'c Pu 1)1 lsl'«rs and Dtalen, 1710-12-14 Chestnut St., Philadelphia! Mrs. Ruth Kennedy Cross, soprano; Mr. John violin solo. This selection will afford drawn. This selection has an interest and 1710-1712-1714 Chestnut St., Philadelphia, Pa. Clothier, tenor; Miss Katharine Loman, pian¬ many happy moments for all who hear it. appeal for everyone. It is one.of the most ist. The critical audience, composed entirely Sigrid Onegin, the contralto who has beautiful melodies of song literature. CONVERSE COLLEGE?; Please mention THE ETUDE when addressing advertisers. of former teachers, was very enthusiastic. JUNE 1923 Page 425 The World Of Music rB

parts, however. There are Quotations from such standard writers as de Beriot, Wohl- School of Violin Technic fahrt, Leonard, Bach, Beethoven and Exercises in the First Posi By O. Sevcik; Op. 1, Part 1 ?ifiv£”I^HSrgsl 1 1 dents. They have become a permanent at the same time test the^ability of the (whose father was an A S -Il?h coml>?8 Portraits of the Twelve isters of Mu fliorough^xp/oitatlon^o^the^firs^positicm6 and ^“ry 1™ ^did SSSSStI

All orders for these small photographs in combination with the various bowings- work or Choral Club directors will wel- California, of the great masters have now been filled now in use. This is a new volume in the COme this comprehensive and varied com- „ „ . „ .

teachers to get a set of these at the pres- postpaid. !>ub"c“,“ pr'“ - ent time so that they will be ready with Musical Progress eons” tin “of*a nigged granite boulder wfth

First Grade Book

IrMafenib, The Golden Whistle uuickiv. ciubs. Page 426 THE ETUDE JUNE 1928 the etude JUNE 1928 Page 427 Melodious Elementary Church Orchestra Newman Album of Classical Dances. By Premium Workers’ Albert W. Newman. Price, $2.50. This Etudes, Op. 161 Collection Vacation Needs work furnishes quite a departure from the The following articles have been espe¬ By Franz J. Liftl We are continuing this month the spe- usual publications of a music publisher. Tliis work is now on the press but . cial introductory offer on our New Orches¬ cially selected for our premium worker The music is furnished with a splendid friends to slip in their week-end bags special introductory offer will be con¬ tra Collection for church and Sunday series of classical dances but far and be¬ during the summer months. Not too many tinued during the current month. These School use. The very great success of our yond that are the complete directions and subscriptions needed to secure them and studies are devoted almost entirely to , Popular Orchestra Book serves to demon¬ diagrams given for working them out. The Schools and Colleges touch and mechanism. They are melodious strate that there is a very large demand always a source of pleasure and comfort: CHICAGO work has been prepared in response to Ivory Tooth Brush Holder, one sub¬ to a degree but the rhythms are plain and for orchestra music which is easy to play the constant demand that has been grow¬ straightforward in order that the attention and which is scored in such a manner that scription. ing more and more for dancing of this Manicure Set—Fabrikoid case, fitted of the student may not be diverted from opportunity is offered for the largest pos¬ character. A single number has been sup¬ the technical side. A thorough practice sible number of amateurs to participate. with mirror, scissors, buffer, etc., two sub¬ plied in the past for a price twice the scriptions. JUNE 25 to AUGUST 4 of these studies will prove ery beneficial. The new collection will have the same price of this book. They are for the student just preparing instrumentation as the Popular Collection. Nu Point Gold Filled Pencil—lady’s or Summer Master School (SIX WEEKS) 58th YEAR for Third Grade work. It will contain music which is appropriate Etudes De Style for the Pianoforte. gentleman’s, two subscriptions. The special introductory price in ad¬ to play on Sundays and in church or at By E. Nollet. • Price, $1.25. Here is a Lady’s or Gentleman’s Fountain Pen— vance of publication is 35 cents per copy, general gatherings. • set of studies in grade four and five self-filling, 4 subscriptions. postpaid. The special introductory price in ad¬ made especially to develop modern Handy Needle Outfit—always useful, PROF. LEOPOLD AUER RICHARD HAGEMAN vance of publication is 15 cents for each technic, style and musicianship. Any and something which every woman, or Master Violin Instructor of the World one of them can be used as a separate even man, can use, one subscriptioh. Noted Coach and Accompanist Etudes Miniatures instrumental part; 30 cents for the piano part, postpaid. number. Nollet Studies are about as Premo, Jr. Camera—takes a 2'/4" x 3%» Easy Study Pieces musical as those of any composer. Sub¬ picture, roll films—just as practical and PROF. XAVER SCHARWENKA By Frances Terry ject to sheet music discounts. serviceable an instrument as far more ex¬ Master Piano Instructor of the World In the Forest PERCY RECTOR STEPHENS This new book of studies is now about pensive kinds; only four new subscriptions. Notable Teachei of Teachers ready but the special introductory offer Nine Nature Studies Three Months Introductory HERBERT WITHERSPOON will be continued during the current By Homer Grunn Offer of Etude for Only 35 Cents Swindlers Famous Singer and Teacher month. This is one of the best sets of studies in the Grade II—III group. They A sure way to keep the interest of We don’t like to, but we must again CLARENCE EDDY pupils alive during the summer months caution our music loving friends against OSCAR SAENGER are well diversified in melody and rhythm These nine little characteristic pieces are Dean of American Organists and they are unusually well harmonized is to give them three copies of The Etude. the usual crop of summer fake subscrip¬ Celebrated Vocal Instructor and Operatic Coach useful for a variety of purposes. As piano Many teachers have found it of valuable for studies of this degree of difficulty. solos they make good teaching pieces. tion agents. Beware of the man who offers assistance in bridging over the summer an unusual proposition. If he is honest, As a preparation for the more difficult They will prove attractive as juvenile FLORENCE HINKLE LEON SAMETINI period by having the pupil take advantage he will be glud to take your order and modern studies, these new studies will songs, and they may be recited to piano America’s Foremost Soprano Renowned Violinist and Teacher prove especially good. of our trial subscription offer. Three let you send your money direct to us. accompaniment. Used as a group, they splendid issues for only 35 cents (regular The special introductory price in ad¬ might be produced with action and cos¬ Do not pay any cash to those not per¬ And the Regular Faculty of Over 100 Brilliant Artist-teachers in Attendance vance of publication is 35 cents per copy, price, 75 cents). Thousands of teachers sonally known to you. We are in daily tumes. Just right for elementary recitals. give a three-months’ subscription to each _Also Private and Class Lessons with all Teachers postpaid. The special introductory price in ad¬ receipt of letters from our friends who student, thus showing their interest in the think everyone is as honest as themselves vance of publication is 25 cents per copy, pupil and more readily gaining the atten¬ Six Pianoforte Pieces postpaid. with the result that some smooth-tongued UNEXCELLED NORMAL COURSES IN PIANO, VIOLIN, VOCAL AND tion of the parent at the beginning of the scoundrel has swindled them out of a By Charles F. Huerter season in the fall. They realize it is an year or two years’ subscription price. SPECIAL PUBLIC SCHOOL MUSIC COURSE This set of pieces, although of but mod¬ Golden Memories excellent business investment. We will erate difficulty is written in the modem By Mrs. H. B. Hudson gladly furnish special three-months’ trial Grove’s style employing the various harmonic de¬ subscription coupons for distribution. TEACHERS’ CERTIFICATES AMD DEGREES vices, sometimes bizarre, of the present This new book is very nearly ready but Write us at once how many coupons you Dictionary i fathers’ Certificates and the Degrees of Bachelor of Music, Master of Music, Doctor of Music, Bachelor of Oratory and Master of Oratory will be day. Several of the pieces are grotesque the special offer will be continued during ran iisp How are you making on t with the conferred at the end of the summer session upon candidates who show sufficient knowledge and who take the required studies. the current month. It will be an inter¬ in character, all are in characteristic vein, Grove’s Dictionary canvass? Remember, Full details in Summer Catalog. Complete summer catalog on request. Lesson periods should be engaged now. hut each one has a well defined melodic esting novelty to find both the ABC Summer 20 new subscriptions, und the: scheme. This set of pieces will prove a Notation and the regular notation upon did silk cloth-bound volumes of Encyclo- Professor Auer, Profescr Scjharwenka, Mr. Saenger. Mr. Witherspoon, Mr. Ht in, Mr. Stephens, Mme. Hinkle, Mr. Same .i and Mr. Eddy, have valuable introduction to the works of the the same page, but in this manner the pedic musicul information of inestimable .. .---rive examination is found to possess (he g> test gift for singing or connection between the capital letters, as playing. Free Scholarship Appli Dl ~ mer catalog on request. Lesson periods should be eni ged now. Private and extreme modern writers. If you wish The Etude to follow you on value to any student, teach; FREE SCHOLARSHIPS Ciass Lessons may be arranged w Degrees Conferred at Close of Summer Session. The special introductory price in ad¬ used in Mrs. Hudson’s other books, and your summer outing, be sure to let us have lover are yours. Don’t hold ip the sub- Fall Session Opens September 10 Dormitory Accommodations Complete Catalog on Request vance of publication is 30 cents per copy, the real notation is definitely established. your temporary address at once. Always scriptions but send them in a: postpaid. In this excellent primary book the ma¬ give both the old and new address. We them. We will keep a record ; md ship the terial consists entirely of well-known melo¬ should have the change at least three dictionary as soon as the 20 st i ml to your 620 South Michigan Ave., dies arranged in a very easy form in weeks before the date of issue which is A New Instruction Book credit. Remember that Canadi; in postage. two-part harmony. about the first of the month. 25 cents and foreign, 72 cents. CHICAGO MUSICAL COLLEGE CHICAGO, ILL. For the Piano The special introductory price in ad¬ By John M. Williams vance of publication is 25 cents per copy, postpaid. There is always room for a new and Musicians’ServicestobeSought or Offered, Instruments or Libraries for thro• H?JVr?ny ?t.!1|r M.u.si5al Problems of a Personal Nature Cared for well-written instruction book. Mr. Wil¬ thro the Use of “Special Notices”—See Page 432. liams’ new book starts right off with both Advance of Publication FIVE WEEKS the clefs, it is intensely practical through¬ Offers Withdrawn out and thoroughly up-to-date in all re¬ D. L. CLIPPINGER June 25 to Works Now Issued SUMMER MASTER SCHOOL July 28 spects. The material is all well selected WILLIAM S. BRADY, of Net York City and none of it is dry or uninteresting. The following works have appeared Summer Lessons for Voice Students from the press and are now for sale It is the work of a practical teacher, one Special Course for Teachers DELIA VALERI who knows how to get results. through ordinary channels, introductory prices at the cost of manufacture are now The special introductory price in ad¬ FIVE WEEKS COURSE, BEGINNING JUNE 25TH. vance of publication is 40 cents per copy, withdrawn. We shall be glad to have Summer Normal Session Free Scholarships Six Weeks, June 25 to August 4, 1923 postpaid. any of our patrons look these over at Profitable Summer Study with a Recognized Authority on the Voice. arded by Josef Lhevinne, William £ merely the expense of transportation. These special offers have never disap¬ ADDRESS—D. A. CLIPPINGER, 617-618 Kimball Hall, CHICAGO, ILL. SEND FOR APPLICATION BLANK ' MODERN TUITION RATES New Four-Hand Album pointed a patron. Any word of criticism For the Pianoforte or commendation from those who ordered DETROIT EXCELLENT DORMITORY ACCOMODATIONS Our new four-hand album is well along these works in advance of publication will in preparation. It is a miscellaneous col¬ be thankfully received. Lyceum arts anna m. TOMLINSON American Conservatory John J. Hattstaedt lection printed from special large plates The Song Hour for Assembly Singing 571 Kimball Hall, Chicago rKtaiUtrt I and includes a variety of interesting num¬ and Rural Schools. Pupil’s Edition. With¬ CONSERVATORY CONSERVATORY Teachers’ Normal Training Classes (INCORPORATED) bers, chiefly of intermediate grade. This out Piano Accompaniment. Price, 15 cents, JUNE 26th to AUGUST 4th will be a good volume for recital work, postpaid. Per Hundred Copies—Price, A SCHOOL OF MUSIC AND DRAMATIC ART Information and Circular Sent an Request Lake Forest for practice in ensemble playing and for $12.50, not postpaid. OF MUSIC Elias Day Anna M.Tomlinson,300 Fine Arts Bldg. Chicago COSMOPOLITAN sight-reading purposes. The material is Teacher’s Edition, With Piano Ac¬ President and Director of Dramatic Department School of The all bright and new, either specially written companiment. Price, 35 cents, postpaid. SUMMER 47Ui Year ANNOUNCES SCHOOL of MUSIC A SUMMER MASTER SCHOOL Music or newly arranged. Here is a book for school use, perhaps the SIGHT READING The special introductory price in ad¬ best selection that is contained in any book MASTER Francis L. York, M. t.. Pres. Elizabeth Johnson, Vice-i June 18 to July 28 (Six Weeks) MARTA MILINOWSKI and DRAMATIC ART THEODORE HARRISON MADE EASY^F^R PIANISTS DR. CARVER WILLIAMS, President vance of publication is 30 cents per copy, of its character and made especially for QFFERS oour.es 1i, |> postpaid. use in rural schools, for which purpose SCHOOL- ftrCourses in all brant_ ....______An eminent faculty of 60 artists offers to no other book exists. This work can also Interpretation and Repertoire Faculty of collegiate stan ing andtraining. Numbered prospective students courses of study be used for any assembly singing. June 25, to d\Albfrthejra^rta MiUnowski.^ Eugen^ Carreno based upon the highest standards of edu¬ Gallia Stevens,^Composition; ^Enuory L. Gallup,^Organ; ’^Hana Hess, Short Study Pieces in the Second and cation, also courses in collegiate studies For Mixed Voices August 4— for students unable to attend university. Third Grade for the Pianoforte. By M. For part iculars o/ DANFORD HALL, 4817 Christiana Are:,Chicago,III New music school building off campiis; By Charles Gounod Greenwald. Price, $1.25. This is an SUMMER SCHOOL—June 25th-July 28th A short sacred cantata suitable for any Six Weeks excellent work to add to the easy piano JAMES H.BELL, Secy,, B 17,5035 Woodward Aw., DETROIT, MICH. summer normal. W( Address Registrar for catalogue. For information, address Dept. E time of the year. This new edition of the miner will be credited E. L. STEPHEN, Manager studies in use by any teacher. It is not Diplomas and Degrees BURROWES COURSE LAKE FOREST SCHOOL OF MUSIC immortal motet by Gounod is prepared possible to have too many sets of early 16th Floor Kimball Building, Chicago, III. particularly for the ambitious director grade, melodious piano studies. Subject OF MUSIC STUDY or conductor who wishes to advance his to sheet music discounts. organization to the presentation of better musical programs. Any good amateur Pive First Position Pieces for the Violin Private Teachers *£>■ Kathryn Jamieson, 119 Powell Ave , Ottawa. Ont bership in the Western Conservatory may provide r musical body with a fine soprano can With Piano. Accompaniment. By Arthur w°lcotFconservatory' Write for booklets to Katharine Burrowes, D. 246 Highland Ave., H. P. Detroit, Mich. Conservatory advantages for their pupils at home. render Gallia very effectively. It is a work Hartmann. Here is a new set of pieces E. H, SCOTT. Kimball Hall, Chid that should be in every choir leader’s in the first position of actual value, even as small recital numbers, musi- lursuing your musical study. Special courses for ?I„!u!d ?ur 0001 and invigorating climate wbll< Our advance of publication price for cianly, melodious, original compositions Summer term, July 2 to Aug 4 FmY’o "d ‘l'°Se w1,0 are preparing to teach, WHFR F Tf! CTI TOY ? At any season of tlle year the best assistance on this problem is to be found in THE ETUDE. pecial summer bulletin and fall catalog. 8 * F^EDWHSI °Pens°pens Sept.SeP»- 17. Write for ou one copy only is 15 cents postpaid. by this well-known composer. EDWIN J. STRINGHAM, Directoi * Id . Each issue of THE ETUDE carries the announcements of the leading study opportunities throughout the country. Please mention THE ETUDE when addressing o 11 THE ETUDE when addressing our advertisers,

^l Page Jt2S JUNE 1023 TEE THE etude JUNE 1923 Page 429

Schools and Colleges £3 Schools and Colleges Pennsylvania and Middle West, (except Chicago, Denver and Detroit) NEW YORK—Also Continued on Pag'e 430

FOUNDED 1867 By Clara Baur for Beginners A Complete School of DUNNING SYSTEM ffiticitmati U Musical Learning. NEW YORK SCHOOL OF MUSIC AND ARTS V Faculty, of Intema- The Demand for Dunning Teachers Cannot Be Supplied. Why? 148-150 RIVERSIDE DRIVE Ralfe Leech Sterner, Director Halls NORMAL CLASSES AS FOLLOWS: Siiii SIX WEEKS SUMMER COURSES for Teachers and Professionals, also Beginners and Advanced students MRS. CARRE LOUISE DUNNING, Originator, 8 West 401 i St.. New York City. Normal Clasae., New York City, Aug. l«t, 1923. May 15th to September 1st Rates: $250 and $300 <»“»««

DANA’S MUSICAL INSTITUTE Ithaca Conservatory of Music WARREN. OHIO MRS. A. M. VIRGIL THE SCHOOL OF DAILY INSTRUCTION IN ALL BRANCHES OF Ml Director of the and ^ Vocal,^ Herbert Witherspoon, Director. John Quine, Bert Rogers Pinoo.^ Leon Sampaix, Director, pupil of Leschetizky. Seven assist- Our concerts are hroaaS^ Ti PIANO CONSERVATORY auncements on Page 427 VIRGIL Violin, W. Grant Egbert, Dean, pupil of Sevcik. Caesar Thomsc t Announcements on Pa£e and Affiliated Master Teacher, and six assistants. is Quarles, Direc Organist Cornell Univc >ry, Academic, Post Grac d Special C School of Public Performance ipment of eleven buildin Schools ■ority and COMBS CONSERVATORY Announces a d by tl PHILADELPHIA Six Affiliated Schools Normal Course for Teachers, also r Expression and Dramatic Art, George C. W urses efncludl! T'vr”m" *“* * Residential »d D„ SJ-e, et—— - ■ "*« 1— Special Technic Course for Pianists Ithaca Academy of Poblic Bchcol Music, B. H. Richards. Dean. Private Ji1 t1*0*1 T01i‘e Piano. Methods of Conducting, Violin Classes, Band Instruments, Presentation of School Operas, Cantatas, etc. A SCHOOL OF INDIVIDUAL INSTRUCTION US JUNE 20th TO JULY 28th SUBJECTS—Virgil Technic, Interpretation, Practical ssSSSS** Harmony, Time, Accent, Rhythm, Sight Reading and Ear Training.

WRITE FOR FURTHER DETAILS SUMMER SCHOOL 120 West 72nd Street, New York City

SPECIAL SUMMER COURSE fcPML BM Effa Ellis Perfield New Address INSTITUTE 121 Madison Avenue OF SCHOOL (30th Street) NEW YORK CITY MUSICAL ART NHnNneapolU^Mi"nn! BACHELOU OF 1 Block off Fifth Avenue COURSES IN CITY OF NEW YORK Music, Musicianship Crane Normal Institute of Music INTERNATIONAL 120 Claremont Avenue, Cor. 122d St. Training School (or Supervigors of Music GILBERT RAYNOLDS COMBS, D and Pedagogy BOTH SEXES SUMMER MUSIC SCHOOL FRANK DAMR0SCH, Dir. August 20th to September 8th Also Church and Concert Engagements Send for catalogue F| II I Slimmer Term LAWRENCE CONSERVATORY k CARNEGIE HALL, NEW YORK Long Island Shore Schools Lld’SSf I The Weigester Summer School of Vocal Music F. L. WILLGOOSE, Musical Director *“ Youngstown Ohio. .Inlv Ifith tn Ancruct 9QfL IQ?*? /C Mus. Bas. (Durham University) Youngstown, Ohio, July 18th to August 29th, 1923, (6 weeks) A course of intensive musical study with renowned The Entire Ground of Vocal Study is covered by means of Minneapolis School of FULLINWIDER teachers, combined with a glorious vacation. Michigan State Normal College Conservatory of Music ■I PERCvV, OLINIST IY AND DRAMAT Residence and studios right on the water-front in one Lecture, Class and Private Instruction VACAfiSNS of the loveliest parts of the North Shore. SUPERIOR TRAINING AT MODERATE RATES IS |§f§P’ SEND FOR ILLUSTRATED BOOKLET TO h St.. So. MINNE4PC Write for Booklet E Carnegie Hall, New York Mrs. f. l. willgoose, 1 ‘Grey-Gables,” Centreport, L. I., N. Y. City I Michigan State Normal College Conservatory of Music, Dept. 9, Ypsilanti, Mich. T.Sriz.-'.S L Page 1,30 JUNE 192, THE ETUDE JUNE 1923 Page 1,81

=C2= Schools and Colleges New YorK (continued from 429) and Southern

Great Man Said: “There Is No Doubt That The Fletcher Music Method Has Been Summer Music new piece so well. Why the time just The Miss Pearl’s Secret Oh summer time’s a gladsome time Incentive "I ni glad you learned how so soon,” The suggestion When all the wild birds sing, By Ruth Freund Of And up the hills and down the hills Miss Pearl said. “It took me months Every Their songs such gladness bring. to learn it.” Other “Margaret ! You would better come By this time Margaret’s words were When Margaret started back to the Musical home and practice now.” tumbling over each other. piano, she found herself eager to try some¬ Reform Oh summer time’s a gladsome time When brooklets gayly flow Margaret dropped her croquet mallet and “Margaret,” Miss Pearl said calmly, thing new. She was eager to learn more And over stones and over rocks turned reluctantly toward home. “did you ever practice to see how much about expression—more about music as a whole. They sing as on they go. “Aw, Margie,” complained Mabel, with you accomplished? Did you ever practice whom Margaret had been playing, “Do to see how far you progressed? Don’t How glad she was that she had learned Oh summer time’s a gladsome time you have to go now?” watch the clock. No wonder that you how to practice! Is get nervous and high-strung. So When breezes shake the air “I suppose so,” answered Margaret. “I’ll Why GI And through the trees and through come back when I finish practicing—if “Now, when you go back to practice, The Symphony Not the woods mother will let me.” take your finger exercises, play them over Investigate IT PIAI\ The wind sings everywhere. She slowly walked across the road to several times, slowly at first, Then very Those of you who live in the large Before her home, thinking very deeply for a gradually play them faster. See if you cities have probably often heard good or¬ Camesfiei Deciding ten-year-old mischievous girl. can feel your fingers growing stronger. chestras play great symphonies. But so On many, many people live far from large A- R P- £. G - 0- 1* 0- S . “Why is it I don’t like to practice ? Why “Practice your scales and pieces in the Your or even small cities and never have such docs my hour seem so long? How can same way. Pay no attention to the clock. Summer School? SUMMER opportunities, and can only hear “records” Miss Pearl practice so much?” her And get interested in your music, dear. of these works of musical art. Records, ADDRESS thoughts ran. Don’t let your mind wander. Think how on this account, are very good things and Miss Pearl, who lived next door, was you are playing. Watch the expression EVELYN FLETCHER-COPP conservatory bring the world's best music to those who Arpeggios <3ywi things Margaret’s teacher. She was young, but marks. Get in the spirit of the music, 411 West 114thSt., New York City —College of Fine Arts— BALTIMORE, MD. have no possible chance of hearing it at was a splendid pianist and was just start¬ and try to interpret the meaning of the Syracuse University first hand; but it is to be hoped that every¬ HAROLD RANDOLPH, Director. ing to study the violin. piece. If it is a march, think of soldiers Unexcelled advantages for the study of music. Facul like that one will have an opportunity sooner or Recognized as the leading endowed musical conservatory of the count , It seemed to Margaret that Miss Pearl marching; if it is a dance, think of fairies to the degree of Mus. B. Special certificate courses. later of hearing these things and can un¬ Special students may enter at any time of the year. O O • T__l o practiced just about all day. How could dancing; if it is a piece full of runs you THE CHARLES TAMME VOCAL STUDIO might think of it as a brook. You’ll find derstand both the orchestra and the sym¬ For catalogue and full information, address 2 Think are lots af she practice so much? phonies they play. 264 W. 93rd Si., NEW YORK CITY Registrar,Syracuse University, Syracuse, N. Y. Margaret slowly walked upstairs to the practicing much more interesting and you SUMMER COURSE Summer Session July 2nd to A symphony is a long composition writ¬ Aug. 11th drawing room. Equally as slowly she will do much better if you practice for Offers an efficient schedule for each pupil's needs ten more or less according to a fixed pat- . ( For the Pupil—Method Staff of eminent European and American Masters including entered the room, walked to the piano and the music and not for your horn:. Instruction For the Professional-Coaching The Courtright a,d”atTppolmiV!trfortrS"” ern, to be played by a standard combina¬ (For the Teacher-New Ideas System of Musical toSopU°aS»r i"tills m,limited BARRON BERTHALD ELEAIET.H GILBERT MARGARET RABOLD sat down, rather heavily, on the bench. Ki ndergarten FRANK BIBB . CARLOTTA HELLER tion of instruments known as a symphony METHOD TECHNIQUE^ INTERPRETATION She opened her book, looked at the big Although X cAh* t play orchestra. These instruments include first Mrs. Lillian Courtright Card, 116 Edna An.. Bridgeport. Coon. viMXKflLM u. HERBERT KNIGHT clock on the mantel, then began to practice. VIVIENNE CORDERO-FRIZ OTTO ORTMANN and second violin, viola, violoncello, dou¬ She practiced what seemed to her a half- ble bass, constituting the string group or many yet, hour at least, but, after looking at the Tuition $15 to $40, according to study choir; the piccolo, flute, oboe, English VIRGIL SCHOOL OF MUSIC clock, discovered that only ten minutes had credits’1'^! ^er^nTbranches horn, clarinet and bassoon, constituting the Founded by the late A. K. Virgil gone by. She was already tired. Suddenly e Pianos and Organ!Ada^U^' S‘ .Because I've just bejtnq. wood-wind group or choir; the trumpet, an idea popped into her head. trombone, French horn and tuba, consti¬ FIVE WEEKS’ SUMMER SESSION Circulars Mailed “I’ll just go over and talk to Miss Pearl FREDERICK R. HUBER, Manage, tuting the brass-wind group or choir; and for Teachers, Players and Earnest Students of all grades, beginning Monclay. July 9th. Arrange its for classes now being made and ask her how she does it,” she decided. then the “battery” including the drums, For all particulars address: MRS. A. K. VIRGIL, 510 West End Avenue, New York. So away she went. She found Miss cymbals, triangle, gongs, etc. One or two Pearl at her piano, fresh and not the harps are generally used, and this whole Atlanta Conservatory of Music least bit tired. combination makes a symphony orchestra. Margaret dropped into a chair and ex¬ the FOREMOST^SCHOOL^OF FtNE ARTS The number of players in each group de¬ claimed, “How do you do it, Miss Pearl?” “Now, run on home and practice your pends upon circumstances, but a good bal¬ COLLEGE Those Found Anywhere Miss Pearl never frowned when inter¬ new piece and I’ll call you when you have ance must always be preserved, and the rupted, but always made one feel at ease practiced it enough for to-day.” CONSERVATORY Uniat. GEO, F.^JOroHER, Director number of players in a modern orchestra by greeting with a smile. “Well, I’ll try,” Margaret promised as patronage Peachtree and Broad Streets, Atlanta, Georgia runs from about seventy-five to a hun¬ “Why, hello!’’ she said, cheerfully. she arose. “And you be sure to call me.” WHAT THE WORLD S GREATEST PIANO She ran over home and up to the piano. dred. — . tandard . ,5. “Whatever is troubling you, child?” G special advantages “Hoiu do you practice all the time?” She opened her new piece and looked at The composition called a symphony is -TEACHERS DEMAND_ oratory, art, it very severely. Then she started to prac¬ written for such an orchestra to perform. science, physical MR. and MRS. CROSBY ADAMS Margaret asked desperately. The most famous piano teachers of musical history from Cherny to the tice it slowly, deliberately, intently. It is written in three or four movements, present day have always demanded a thorough drill in scales and Annual Summer Class for Teachers of Piano “Why, I don’t practice near all the arpeggios from all their pupils. She played it over and over again, very the first movement following more or less pool. Catalog • 20th SEASON time,” was the answer. ■ Several of the most distinguished teachers and pianists of the present tratedbook. Address slowly. It was a march, so she tried to the pattern of the “sonata form,” which June 20th to July 5th, 1923 “But almost,” protested Margaret. “You _ended.,.j “Mast. geales ana Arpeggios,” by BRENAU, Box T, Gainesville, Ga. picture soldiers marching. It reminded her you already know about. The form of James Francis Cooke, in the m MONTREAT, NORTH CAROLINA just practice and practice and practice, but Mastering the Scales and Arpeggios, while a complete bonk of exercises still you are fresh and don't seem a bit of Decoration Day, and soon, unawares, the other movements is left to the com¬ begins with the simplest possible kind of material which the smallest she was playing it in time, and making poser’s choice. child can take. tired. How much have you practiced to¬ Entirely new and original Ideas and exercises found in this book make day?” she asked abruptly. it gradually louder, softer, quicker just as Some of the great symphony composers scale and. arpeggio study a pleasure. S. C. I. and school of music And that I ean't taKe “Why, I don’t know exactly—” Miss the expression marks indicated. were .Haydn, who was called the father of The sale of the work has increased every year—the best possible test Pearl started. “Oh, I like that," she breathed as she the symphony, as he did so much to de¬ JUNIOR^ COLLEGE work Mastering the Scales and Arpeggios will he- sent to any recognized Urfers every advantageI nf Qdo fnr o „ J every day “There’s another thing, Miss Pearl,” worked on, deeply interested and making velop it; Mozart, Beethoven, Schumann, teacher on sale or on receipt of the price. $1.50 postpaid. Music Course preparing for Supervisor d^IH^31 Education- Public School interrupted Margaret. “You never know pleasant discoveries along the way. Schubert, Brahms and Tschaikowski. You will soon see why Gahrilowitsch, Liebling, Jonas, Goodson and nor worry about how much you practice. It seemed to her that she had practiced other famous masters of the keyboard ltave eulogized this work. Piano, Organ, Violin, Clarionet Voice Why, I just watch the clock, almost all the only a very short time, when Miss Pearl and Art. Band and Orchestra. ’ Harmony and Theory, Expression Is »vty only sorrow, 11 / heard the voice of the old clock say Rates most reasonable, pupils from 17 . time, and when my hour is done, at last, I called her to the telephone. Published by the THEODORE PRESSER COMPANY Tick, Took; Tick, Tock; burg or Washington. P ,rom 17 states. Six hours from Harris- I am obliged to zvork; and whoever feel sort of nervous and shaky, and another “How did you get along?” came Miss 1712 CHESTNUT STREET PHILADELPHIA, PA ADDRESS S. C. works as I do will succeed quite as well hour goes by before I really begin to feel Pearl’s words over the wire. ’Twas telling me to keep time that way, , DAYTON, VA., BOX 93 as I.”—Bach. natural again.” “Fine,” Margaret answered. “I like my Tick, Tock; Tick. Please mention THE ETUDE when addressing our advertisers, Page 432 JUNE 1923 THE ETUDE During the Summer Months the SPECIAL NOTICES Miniature AND PETER PAN Photographs FROM THE FAR EAST ANNOUNCEMENTS of By MRS. H. H. A. BEACH Great Music Masters Recent i :K=-:~£ieS SsisiS; Publications MgaggiBs-g gsysyiiuas for women's club choruses, col- 1— ■* ™ty C-opi'eS °9U-no4'»rt8 CeceKa songs b'ifthere'If there is^ something big.°“ in. its path it ?d’ -contraue(i the- teaehe-r' ■1 "m 8nr? er^BMg; tries to th_™gh *, and thus makes a

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