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Home , December 1934, Ernst Pauer, Funeral march, Hulda (opera), Max von Schillings, Music of Philadelphia

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

12-1-1934 Volume 52, Number 12 (December 1934) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 52, Number 12 (December 1934)." , (1934). https://digitalcommons.gardner-webb.edu/etude/53

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE s CMCusic S&gmim December 1934 Price 25 Cents

"xl3}/2") ■ The notes are of interesting comment before each composition, and TWELVE PRESENTS FOR THE large; 224 pages in each volume. In form, forty authentic likenesses of the . The book these 48 pieces would cost $125.00. Be sure to read contains 192 pages (9"xl2"). Be sure to read the Contents given below. PRICE OF ONE Coming ETUDE the Contents given below. Coming ETUDE Index Composer Index - Features - .Valse (Suite Op. 15) Lalo.Andante (Sym. Espagnole) Arne. Gavotte Debouches.Sarabande Loeillet... .. Courante - Features - Aria (Orchestra Suite) Liszt.Rhapsody No. 2 Aubert. Forlana Durante.Gigue Lotti. . . Pur dtcesti .Toccata and Fugue MacDowel! Scotch Poem Bach, J. C. Allegro Farnaby.New Sa-Hoo Lully. .Gigue .Adagio "Moonlight" Massenet. . Aragonaise (Le Cid) Bach, J. C. F. Rondo " .Toye, A Marcello...... Presto After the candles burn out on the CLAUDE DEBUSSY .Turkish March Mendelssohn. . .. Rondo Capriccioso Bach, J. S. Aria Frescobaldi. Courante Marchand. . . . Gavotte Froberger. .Auf die Mayerin Marpurg . .. Badine, La LAWRENCE Christmas Tree isn’t it a wonderful Bizet . . . ."L'Arlesienne” Minuet " • • •• . Nocturne Noted French Composer Borodin. .Au Couvent Meyerbeer. . . . .Coronation March " Bourree Galuppi.Gigue Marti ' ... Gavotte TIBBETT thing to have the Christmas thought Brahms. . .Andante, Op. 34 bis Moczkowski. . Spanish Dance No. 1 " Chorale Geminiani. Allegro Mattheson. "A Posthumously Published . .. .Rondo alia Turca " Fantasia Gibbons.Queen’s Command Muff at.. Rigaudon revived every month for a year. ... Hungarian Dance No. 5 Mozart.... Metropolitan Star . .Waltzes Op. 39 (Mosaic) Rachmaninoff. . . Nuit L"Amour, Op. 5 Gluck.... Andante ( Orfeo ) Paradies. Minuet Interview." .Espana Rhapsody " • • • • . Prelude in CS Minor " ..... Prelude fnC " _Caprice (Alceste) Pergolee.Aria "Nina” "Should 1 Change Thousands have done this for decades .Funeral March Op. 35 Rameau. .Gavotte & Variations Bach, P. E. Rondo " . .Gavotte (Iphigenia) Purcell.. .Harpsichord Suite By Maurice Dumesnil . "Military" Polonaise Rimsky-Korsakow ..Scheherazade " Solfeggio " ...Musette (Armida) Rameau.Gavotte & Var. Teachers?" by giving The Etude as a Christmas /'Minute” Waltz Op. 64 Rubinstein.Romance, Op. 44, No. Bach, W. F.Minuet Gossec... .Gavotte (Rosina) " .Tambourin Graun. Gigue Rossi.Andantino gift. Clen .Sonata in Bb Major Sai Le Cygne (The Swan) Blow .Courante Debussy .L'apres midi d'une faune Scarlatti ... .Pastorale Bohm. Presto Handel. Bourree Sammartini.Vivace _Slavonic Dance No. 1 Schubert. .. .Marche Militaire Bull.King's Hunt " Harmonious Blacksmith Scarlatti, A. Minuet GRETE Franck . ...Finale () Stavenhagen . .. Caprice in C Major Byrd.Carman's Whistle " ....Largo (Xerxes) Scarlatti, D. Capriccio OSSIP Gluck. . .Gavotte (Iphigenia) Tarenghi... . Serenata Campra. Passepied " Sarabande " Pastorale STUECKGOLD Godard. .Second Mazurka Tschaikowsk; .En Troika Corelli-Folies d'Espagne Hasse.Adagio & Gigue " .Tempo di Ballo GABRILOWITSCH Grieg. . . . .Wedding at Troldhaugen Wagner. o. Act III (Lohengrin) Couperin. .. .Bandoline, La Kirnberger.Lutine, La Tartini. . . Andante It’s so easy, so satisfactory, so inexpensive, so Star Handel .Vivace and Largo " . .Magic Fire Scene " ...Soeur Monique " Polonaise Verac . Gavo Pianist - Conductor Henselt. .If I Were a Bird Widor. Adagio.. (April.. Tale) Dandrieu.. Sorrowing Maid Kuhnau... .Prelude Bourree appropriate. "If You Were ' ' ande, r " Daquin.Cuckoo, The Leclair.Sarabande "Progress in Ippolitow-Iwanov .Procession of Sardar Wilm.Sarabande,■ Op. 62 My Pupil." PRICE $2.50 Piano Playing." Just send us the names and addresses of as many PRICE $7.50 (Complete in two books) friends as you want to delight with a subscription THE DAYS OF CORELLI AND BACH PIECES FOR ALTO at Christmas time. Enclose two dollars for one WALTER This is the first volume of a series to be known as This volume, for Eb Alto Saxophone with piano ac¬ MISCHA ELMAN subscription, $3.00 for two gift subscriptions and “The Violinist’s Music Shelf.” It contains 75 companiment, contains 69 pieces by more than fifty thereafter $1.50 for each additional gift subscription. GIESEKING melodic compositions by more than fifty famous Eng¬ classic and modern composers. Each arrangement has Celebrated Violinist lish, French, German and Italian composers in the been specially prepared for the saxophone. The range Then we will immediately notify each friend by Piano Virtuoso period from 1600 to 1725. Most of these composi¬ of technical difficulty is wide—more than fifty of the "Practical Violin sending this charming Christmas gift card in four "Increasing the Resources tions were originally written for the violin; a few compositions are melodic in character, and can easily Study." colors. of the Piano." are arrangements of masterpieces written for other in¬ be mastered by the average player. The book is full struments. Each number is preceded by an informa- sheet music size (lOJY'xl3J/2"), engraved in extra This offer is limited strictly until December 31st, tory note, and there are more than thirty authentic large notes, 96 pages in the solo and 216 pages in the 1934. pictures of great violinists. 256 pages (9"xl2"), accompaniment part. There is a paragraph of inter¬ separate violin and piano accompaniment parts. Be esting information on each piece. Be sure to read the MORIZ TOBIAS sure to read the Contents given below. Contents given below. ROSENTHAL MATTHAY Composer Index Composer Index Piano Virtuoso .. Soeur Monique Lully.Canaries Aitken.Serenade Fibich. Poem Rameau.Tambourin Renowned Piano Pedagogue " Courante Arensky.Serenade Franck. Allegretto Rimsky-Korsakow. Romance "Lesson on Chopin's . Courante Martini. Gavotte Bach, J. S. Air Garcin. Chanson " to the Sun "Music in Education." .Gavotte Nardini. Adagio ” Allegro Gaubert. Caprice " .Bumble Bee Funeral March." .Adagio Pergolese.Siciliana Genin. Polacca Saint-Saens. Prelude . Allegretto Pugnani. Largo " Chorale Giordani.... Caro mio ben Sarasate.... Caprice Basque Purcell.Cebell Bachmann. .Song of Spring Gluck. Gavotte Schubert. L’Abeille . Minuet Beethoven.Adagio Godard...... Canzonetta " .Ave Maria DR. HOWARD .Andante Rameau.Tambourin " Romance Grieg. Berceuse Schumann. Nachtstuck DR. PERCY " . Bourree . Gavotte Rebel.The Bells Boisdeffre... .By the Brook " Romance HANSON " . Chorale . Musette Rossi.Andantino Brahms.Cradle Song Handel. Bourree Sibelius.Valse Triste GOETSCHIUS Bach, P. E.Andante . Gavotte Sammartini. Vivace Cesek.Barcarolle " Sarabande Spohr. Barcarolle American Composer and Espressivo Scarlatti, A.Aria Chopin. Mazurka Hauser.Rhapsody Strauss, R.Reverie Distinguished Theorist Bach, W. F.Larghetto .Tambourin " Minuet " "Minute” Waltz Haydn.Gipsy Rondo " Andante Educator .Bourree Scarlatti, D.Pastorale "Rules and Exceptions " .Allegro " .... Nocturne, Op. 9 Lalo. Andante Svendsen. Romance "Radio Music Benda.Minuet " .Tempo di Ballo " .. .Nocturne, Op. 37 Leclair.Tambourin Tschaikowsky. . Canzonetta in Composition." Biber. Gavotte . Sarabande Senaille.Vivace " .Waltz, Op. 18 Liszt.Liebestriium " Melodie Everywhere." Bonporti.Lamento . Sarabande Tartini.Andante Corelli.La Folia Lotti. Aria Vieuxtemps. Ballade Boyce.Country Dance . Tambourin " Gigue Cui.Allegro scherzoso Mendelssohn. Andante Wagner.Album Leaf Burney. Pastorale .Adagio Torelli.Prelude Dancla.Simple Histoire ” Violin Concerto Wieniawski.Legende Campra.Passepied .Allegretto Veracini. Minuet Debussy.Reverie Meyer-Helmund.. Melodie " Romance Corbett. Sarabande . Largo " Gavotte Delibes.Passepied Mozart.Minuet Wormser.Reverie " Courante Vivaldi.Adagio Durand.Waltz, Op. 83 Paganini.... Moto perpetuo MUSIC . . . MUSIC . . . Corelli. . . .Suite in F Major Dvorak. Ballade Poznanski.Serenade ... in each issue that, ... in abundance PRICE $5.00 at sheet music rates, for the student For sale at all music stores in the sells for more than for the layman double the price of HARCOURT, BRACE AND COMPANY—383 Madison Avenue—New York for the child a year's subscription for the teacher THE ETUDE

SPECIAL NOTICES AND ANNOUNCEMENTS THE ETUDE if SPECIAL NOTICES zMusic zJXtagazine Copyright. 198i. In Theodore Presser Co. for V. S. A. and Great Britain FOR, SAFE—Saxophone self instructor and songs, unpublished. Write Box 24 A MONTHLY JOURNAL FOR THE MUSICIAN, THE MUSIC STUDENT AND ALL MUSIC LOVERS Kiel Post Office, Wise. Editor published by Associate Editor FOR SAFE—Conservatory uL> JAMES FRANCIS COOKE 1712-1714 chestnut street, , pa. EDWARD ELLSWORTH HIPSHER \ \= POSITION WASTED—Organist, piano teacher desires location in college or pri¬ vate work in community desiring musical development. Address H care of THE ETUDE. BAND BIASTER WANTS POSITION: Member American Bandmasters’ Associa¬ THE WORLD OF -MUSIC tion. Five years 1st flute—Major Sym¬ phony Orchestra, play and teach all wood¬ winds, thoroughly schooled musician and experienced conductor. Full library—ar- mpose. Age 29, gentile, very best Interesting and Important Items Gleaned in a Constant Watch on Happenings and Activities Pertaining to Things Musical Everywhere

HEINRICH ZOLLNER has celebrated his THE CHORAL SOCIETY MUSIC IN JERUSALEM has received a THE CENTENARY of St. James’ Episco¬ eightieth birthday at Freiburg, . has made its first public appearance, with the real impetus through the fine organ installed pal Church of was celebrated by There were a series of concerts of his com¬ assistance of the Shanghai Municipal Orches¬ in the beautiful Young Men’s Christian Asso¬ special musical services on four Sundays, for positions and a performance of his opera, tra. And it gave not a few oratorio choruses ciation Building. On it Mrs. Douglas H. which special compositions were written by ANNOUNCEMENTS | ‘ The Sunken Bell,” in honor of the event. and part-songs but the monumental “Mass in Decherd has been giving a series of recitals T. Tertius Noble, Healy Willan (of Toronto), The artist will be remembered as having been, B minor” of Bach. The program bore'a page which have drawn immense audiences. Mrs. Clarence Dickinson, David McK. Williams HARMONY, Counterpoint, Correcting, from 1890-1898 the conductor of the German of analytical notes, said to have been “better Decherd is a native of Oberlin, Ohio, where and others. T. Tertius Noble was a guest Accompaniments. Traverse Music Studios, Liederkranz of New York and as the com¬ than their equivalent in certain pro¬ she received her masters degree in organ on October 21st and David McK. Williams Traverse City, Mich. poser of “The ” which took first grams,” and presented the text of the mass study at the Oberlin Conservatory, as a pupil on November 4th, on which occasions these FOR SAFE—Over 5000 copies sheet prize at the Cleveland Sangerfest. in Chinese, English, French, German, Rus¬ of the late Dr. George W. Andrews. composers’ works were important parts of music, mostly Century Edition. Violin, ■

if any unwelcome twig happens to be grafted upon the family tree CHARLES S. JEKYLL- it is certain at some future time to bear poison fruit. Therefore, everything imaginable had been done to intensify the atmosphere the aisle of old Grace Church. set sanctity that might protect Life had been very different since John Addington from the disas¬ ters of heredity. Alas, the poison to explain e which had1 come from it all, she iigf loved more than anything else was “hopeless.” Not that he was in the world, and now he was not uncanny in his keenness, for a boy of eleven; but his keen¬ JEW ITT- -13. KAREL BOLESLAV . ness was of the kind which daily the awful news that he had been Aunf Mercedes.6 hT'wT too arrested. Imagine, a Symonds ar¬ rested! Arrested just at Christ¬ Why, mas time. Horror of horrors; John Addington had actually been 1 taken in hand by the police, for vagrancy! h Vagrancy/// Olyf original siri "oh," that terrible

totothe Rector‘and had Incited dle-everything! "what If he^fd the Junior League and their male have an education and did call barnacles! When she entered the himself an artist? His “fame”! drawing room, there was John “mfrry < Really, now! It was nothing but Addington (how he hated that notoriety in & family with the tra¬ name!) convulsing the party by MAN' ditions that Aunt 1 giving an imitation of Aunt Mer¬ cedes, herself, dressing for the day, barred from social 1: combing her hair, powdering her nose, and even getting inti England had the preposterous habit of k unrelinquished Victorian lingerie. John Addington rep< It was too t ” . a. child couldc possibly SUP “Naturally, these traits could not be derived from jail for singing and begging in the streets! V, Symonds family,” mused Miss Mercedes Symonds, as s AndthSloft the Square in great confusion upon discovering that J and the beery faces of the filthy fathers and mothers-the pudgy, political heelers—the insolent police. Really, it was too much! Too much! Far too terrible even to reveal to the impeccable up from t family attorney! What would Benham, Bartlett and Benham (could it be sixty y . think, if they knew what had happened to John Addington? ’ d by skyscrapers, she had v Especially the venerable Phineas Benham, who still wore Ascot - work, ferns, wax flowers, whatnots, Land- ties and cultivated asthma. tgs and all the paraphernalia of the blessed “Madam,” said the Judge, “this child was found on Thirty- thoroughly proper era. Gradually she had sixth Street near Fifth Avenue, singing Christmas carols and watched New York work itself into a steel strait-jacket appro- collecting money. When he was taken in by the officer he had absobtHyr hansoms0 hadUgfven wJy to bel^wing'taxkabsTkandseer’sXgt SwK^^lTwi notu“hen _ to Corot’s dancing nymphs; the beautiful, complacent past had found his fine underwear that we realizedid that he wasn’t a been ruthlessly drowned in the new and irresistible deluge of a beggar. It was also not until you looked him up tha,that we had “>■ * 3 Whe was.woo. xI muoumust ody,say, nuwcver,however, that he is an ex- Electric street lights began to pierce the gaseous fog of endless nary youngster—a regular little sport—that is, the way motors, tugging people to their cave-like dwellings. Here and he tried there, people, loaded with the spirit of Christmas, staggered tSakmS«E"0r lny 0< h‘S ^ °Ut °f “■ H“ he *

THE ETUDE DECEMBER 1934 Page t f DECEMBER 1934 Page 701 THE ETUDE cProgress in ‘Piano Playing and teaching “AH, unless the little fellow wants to sing a carol for us.” “Your Honor,” replied Aunt Mercedes, with a frigid smirk, John Addington raised his eyes as though he could look A Conference with the Famous Fianist'Qonductor “I do not see what that has to do with it. This is strictly our straight through the massive, lofty ceiling of the courtroom and own family affair. State the fine; I will pay it, and we will sang: get out.” Ossip Gabrilowitsch “Wait a minute, my lady. Wait a minute,” snorted the Judge. “We don’t handle things that way in this court. No, SECURED EXPRESSLY FOR THE ETUDE MUSIC MAGAZINE not even with people whom I happen to have met socially. This case is a little deeper than that. Here is a boy who, you say, has By H. V/oilstein been singing solos in one of the most fashionable churches in sT^ lent night, Ho - ly night, All is- town. He also has been brought up in a typically aristocratic by a naturally inadequate technical equip¬ HE PIANO TEACHER’S chief found in this piece, leaving the others until capable. It was discouraging. Then I home. Suddenly he takes it into his little head to disguise him¬ T ment. The enthusiastic child, eager for problem, as I see it, is that of guid¬ such a time as they can be normally related went to Leschetizky, fn Vienna. He heard self and to go out into the streets and beg. He is such an actor self-development, is likely to fall into the ing his pupil to penetrate into the to the study of another piece. Such exer¬ me play and at once completely reversed that he gets away with it to the extent of three dollars a day.” arms of a dilemma. Either he will grow musical core of the pieces upon which he cises would then have value, not merely as my order of study. He had me to begin “I’ll answer for him in every way,” bitterly pleaded the all is bright Round yon Vir-gin Moth-er and Child, discouraged with the simple beginner’s is working. Perhaps this sounds too simple finger warmers, but as the keys with which my day, when my zest and my energies little old lady from Washington Square. “Please have the and obvious to need special discussion. to unlock actual musical meaning. For were freshest, with the important piece it¬ pieces which do not delight him, and his goodness not to keep us in this horrible place any longer. I'm What else would one penetrate, you ask, if example, the student who is studying self, detaching technical passages that work will lag; or he will demand better sounding music, which is beyond his state his aunt. He is my sister’s child. I’ll be responsible for him.” not into the music at hand ? And yet years Chopin’s Walts in G-flat, with its wide needed special work, but always building “Hurvey? Hurvey?” mused the Judge. “A very unusual leaps, should be given exercises in master¬ up the piece as a musical whole. Pure of advancement. Shall the teacher, then, [o-ly In-fant so ten-der and mild, Sleep in heav-en-ly of experience have shown me that precise¬ name. Didn’t we used to have a famous actor of that name? ly this vital element of piano study is the ing those wide leaps; while the student technic, as such, was to be held in reserve force him to grow slowly, regardless of his pleasure; or shall he stress the purely Wallace Hurvey? He was a wonderful figure at Daly’s. What first and the easiest to be lost. who is learning Daquln’s Le Coucou, until after supper! I did not need my freshest, most thoughtful energies simply technical progress which will hasten the an Othello! I can hear him now. 'But the pity of it, Iago.’ ” What is most likely to happen is that should be given exercises in close, even finger work. There is small point in be¬ to keep my muscles flexible. My best work advent of more interesting music? The little fellow’s face beamed, as he raised his eyes and the teacher is so sincerely eager for his ginning the lessons of both these pupils went directly into the music; and then I The best solution, I believe, lies in a little looked keenly at the Judge, clasping his hands and saying, pupil to make encouraging progress that he may overstress the purely technical or with an unrelated performance of the D felt myself beginning to live! I can con¬ of both methods, judiciously blended. The “ 'Oh Iago, the pity of it, Iago.’ ” Sleep in heav - en - ly peace! pianistic problems of the music, with the major scale. scientiously pass on these results of my conscientious teacher will want to aid his “I thought so,” grinned the Judge. result that the larger musical meaning is I have come to hold this view as the own experience as the best way of making pupil on his technical journey, and still “Wherever did he learn that?” gasped his aunt. progress, not in finger work alone, but in keep his vision fixed on the goal of genuine Officer Mulcahey, whose forty years had seen so much of but hazily caught and ^displayed. Along result of bitter experience. When I was “Better tell everything, young man,” said the Judge, good- a youngster in the Conservatory of St. music. musical worth. First of all, the teacher human misery that they said his eyes were as dry as marbles, with this, the pupil, eager to satisfy his naturedly. teacher • and to have a good lesson, works Petersburg, I was held pretty closely to must make it his business to see that the whipped out a handkerchief, none too clean, and whispered to Lending Inspiration John Addington found himself in tears. almost exclusively at the finger difficulties the older, more rigid order of schedule— pupil not only gets piano lessons, but that the tipstaff, “Sure, God in His heaven nivver made any more “Come, come, kid,” urged the court officer. “Do what which give him trouble, thereby obscuring so many hours a day for scales, simply as AFTER ALL of our talk about musical he also has plenty of opportunity of hear¬ beautiful music than that.” progress) however, there remains the ing good music, regardless of fixed lesson His Honor tells yuh.” his vision to the music itself, the real end scales; so many for exercises, and so many And (now do not repeat this to anyone) Miss Mercedes for studies. The result was that, while my vital pedagogic problem of guiding the assignments. It is a good plan to set aside John Addington tugged at his handkerchief and said, “I towards which those seemingly so impor¬ Symonds, descendant of at least seventeen notable pre-Georgian tant finger difficulties are merely a means of finger muscles were in fairly good form, I pupil according to wholesome methods, yet a few moments of each lesson, simply to didn’t know I was doing anything wrong, sir. Honestly I families, was seen by three (possibly more) witnesses to turn arrival. In both cases, the forest is hidden never got around to practicing the pieces in such a way that he does not become dis¬ play for the pupil some brief but not too didn’t. I knew all of the Christmas carols. At home they couraged. Advancement is bound to be difficult piece, like a Beethoven Minuet, and smile directly at Officer Mulcahey and exclaim: by trees 1 All of us are so eager about how I had to study until late afternoon or made me sing them over and over. Aunt Mercedes told me the evening. Then I was tired and did not slow, particularly in the earlier stages of or a Brahms Walts; so that he may hear “Merry Christmas!” we play, that we become dulled to the story of the Christmas waits and how they went around the music we are playing. And that, to my make the progress of which I felt myself piano work, when the pupil is handicapped good things and be stimulated to work “Merry it is for them that makes it,” laughed Officer Mul- streets of London singing to help the poor. Well, sir, last mind, constitutes the most serious problem towards better playing himself. cahey. “Sure, music’s a wonderful thing, it is that. Do ye summer I saw a gentleman in the Square who looked at me so of music study. It is also a good plan to secure the sadly that I spoke to him. I met him every day after school know, Mum, I wouldn’t mind ownin’ that lad meself. Merry child’s parents as allies in this cause. They and he told me wonderful stories and all about the great plays— Christmas to ye, kid, and many of them!” The Teacher a Pilot are the ones who guide the child’s tastes and habits, and they can contribute greatly ‘Hamlet,’ 'The Merchant of Venice,’ 'Othello,’ and all that. THE CHIEF responsibility in solving towards his development by giving him Did you ever see Ada Rehan or Mansfield, sir? They must it lies with the teacher. The average piano student, especially in the early stages, personal music at home, if that is possible; have been wonderful. The gentleman was lovely to me. Then STRETCHING THE CONCERT HALL does very well if he practices faithfully. and, if not, by providing him with a reason¬ one day, when the leaves were dying on the trees, he asked for He should not be expected to direct his able number of good concerts, good records, my name, and he told me who he was and made me promise I ✓^ARNEGIE HALL, New York, where Dr. Walter Dam- own studies as well. It is the teacher’s and worthy radio programs. They can would never tell anyone at home. I kissed him, but I was (J) rosch has done most of his public conducting (apart from privilege not only to hear correct notes at materially aid the teacher in inculcating the awfully frightened, sir. Just after Thanksgiving he got sick, opera and radio concerts) seats three thousand people, or there¬ lesson time but also to guide his pupils’ idea that music is something pleasant to be lived with, and not merely an annoy¬ and one day I walked back with him to where he lived. The abouts. On the occasion of the conductor’s seventy-second vision, to impress upon them the fact that they are working towards a musical goal, ance reserved for piano lesson days! next day he couldn’t come out, and he hasn’t been out since. birthday, he commented upon the fact that for eight years he He’s awful poor. The lady at the house said she couldn’t keep and that even the most troublesome tech¬ had been conducting radio concerts and was grateful for the Creative Leading him there any longer and would have to send him away. What nical difficulties must remain subservient privilege. On Friday mornings he reaches six million school HE NEXT STEP is to point out to could I do? The very first day I took in seventy cents. That T children. Think of if; six million! He regrets that the number The best and quickest means of arriving the pupil that merely passive listening was ten days ago. I took the money to the lady. I took some¬ is not twelve million, but why fuss about a few millions? at a musically wholesome, and not merely even to the best of music, is only half the thing every day, but, honestly, sir, he never knew I was doing As a child and youth in New York, your editor looked for¬ mechanical, technical equipment, is to study fun. Just as, in the playing of games, those it. That’s the truth, sir.” ward with the keenest delight to hearing the Thomas, the Dam- technic in close association with music. who participate derive the greatest enjoy¬ The Judge tapped his desk with his pencil for some time rosch and the Seidl concerts weekly. Of course there was the Indeed, the two should never be separated. ment from the sport (and, indeed, remain and then said, “Madam, your identity is unknown to anyone thrill of going to the great concert hall and watching the per¬ Take, for instance, the question of the even the envy of those who merely sit by and scale. I have heard many a discussion on look on), so, in music, the one who does but myself, the court officer and this child. I take it that you formers, but the main thing was the music itself. Only a com¬ want to keep it so?” how scales should be played, but I have the actual playing himself has the most paratively few youngsters in the entire country could ever hope never heard a really satisfactory answer; pleasure from it. So much for developing “If you please, Your Honor,” said John Addington’s Aunt, to hear these great masterpieces. covering her face with her handkerchief. because there is no one correct way to play an attitude of mind, which must be trans¬ Now the concert hall has been stretched beyond belief; so them. The method always varies with the The Judge continued, “Young man, you have the right stuff lated into action, before the goal of musical that, without leaving the desk or the fireside, the child receives musical meaning of the passage in which progress is reached. in you, and that father of yours—it seems to me that you have the greatest of music directly into its school or home. That is, the scale work occurs, and the interpreta¬ The wise teacher will counteract the every reason to be proud of his splendid past. I know that he the hall which seated three thousand has been expanded two tion of the music is the only test of cor¬ danger of discouragement by slowing up a has thrilled me many times. I have no doubt a way will bd’ thousand times. Put it another way. One great orchestra rectness. It means very little, after all, bit on serious, necessary assignments and found to provide for him.” would have to play to crowded houses, such as Carnegie Hall, simply to tear off scales, as scales, without using the spare time to provide his pupils Aunt Mercedes silently nodded her head. any musical correlation. once every day for nearly seven years to accommodate six with supplementary music which does not “Tomorrow is Christmas Day. What a wonderful thing it come under the heading of routine study million children. This Dr. Damrosch does at one of his many Technical Study Essential would be to make it a real Christmas for him and for you. children s concerts. at all, but which will provide a wholesome Let us remember that the little Babe who was born in Beth¬ CERTAINLY, I am not opposed to outlet for the child’s natural desire to play The effect of this colossal dissemination of fine music, upon lehem lived to say: technical practice—scales, exercises, pretty pieces. An added step is gained if music education in America, almost requires an astronomical and the like. They are necessary and “ 'And forgive us our debts, as we forgive our debtors.’ ” such music is presented as an exercise in imagination to measure it. It certainly points to far greater im¬ beneficial. But I would not overdo them. The courtroom was unbelievably quiet. sight reading. portance and security for the proficient teacher of music than I would not stress too heavily the impor¬ _ For this purpose, I recommend good, “Is that all. Judge?” sobbed the lady of Washington Square. he has ever experienced. tance of unrelated technical work, nor simplified editions of piano classics, sym¬ would I spend too much time upon it. phonies, and even operatic overtures. A Above all, I would avoid the rigidly sub¬ youngster will derive immense pleasure divided lesson, which always begins with from reading The Blue Danube Walts. He scales as scales and exercises as exercises, will enjoy not only the sound but also the and then arrives, after twenty minutes or sense of achievement that comes from read¬ so, at the music. I would begin both ing through a fine piece himself. He will lessons and practice periods with the im¬ become practiced in reading, he will grow Page 700 DECEMBER 1934. portant piece to be studied. I would base familiar with good music, and, last but not THE ETUDE all technical problems upon the difficulties least, he will know the undefinable thrill L p

THE ETUDE DECEMBER 1934 Page 703 THE ETUDE Page 702 DECEMBER 1984 How to Write a Good Musical Advertisement of finding a connecting link between the ments, in Rubinstein’s own handwriting 1 I fully believed I had a short cut into small realm of his own activities and the By Joseph Russell Famous German ‘Atusicdl (Renters music that is performed professionally in pianistic eminence, simply by studying those the great world. And let me repeat that annotations! Sometimes, though, they puzzled me. such reading need in no wise interfere vertisements. Strike out the superfluous Leipzig For instance, if the marginal notes read N TRYING to extend his professional with the serious studies to be mastered as I verbiage. Weigh each phrase, clause and "Faster!” I would stop and think, “Well, and business connections, the music regular lesson work. Here again, I speak sentence: every word must count. Be as Twenty'Second in the series of Musical Travelogues but how much faster? And faster than teacher is confronted with a significant from my personal experience. brief as possible. The majority of interest¬ what ?” And again, if they read “More dra¬ problem. How may students, not in the ed pupils will be attracted to a neatly boxed- The Lively Interest matic!” I would once more ponder, “More immediate locality, be attracted?

* THE ETUDE Page 704 DECEMBER 1934 Schumann ‘Discovers a numbers of students from other countries. Prof. Dr. Max Reger was for some time Young Genius Music Director at Leipzig University. The commercial element in Leipzig life By Henry Evans Eustis bursts forth at the time of the famous Leipziger Messe, when the whole city seems Schumann, on his own thorny path to to turn itself into a kind of municipal fair fame, found time to plant a flower in the which attracts merchants and buyers from all over the world. The fair squats right garden of a young brother aspirant. In down in the leading square of the city and "The Unknown Brahms,” by Robert Haven seems to spread everywhere. It is really Schauffler, the author tells how, after hav¬ an event of notable interest and affords ing extolled the talent of the youthful visitors a kind of international acquaint¬ Johannes in .that momentous article, New ance with the industries of many countries. Paths, in the “Neue Zeitschrift fur Musik” and having stormed the Parnassus of the ‘Passing Notes publishers of Leipsig, in favor of the bring¬ ing out of some of his early works, he sud¬ By Florence Leonard denly shifts the scene to the home of the Composing to save his life: Ignaz Pley- struggling youth. el, Kapellmeister at Strassburg, 1789, was “In Hamburg, meanwhile, the humble in danger of losing his liberty if not his Brahms family was shocked into a delirium life. He offered to write a brilliant musical of joy by the arrival of a letter about the composition to glorify the Revolution. The absent one, written and signed by the great National Assembly accepted his offer and Schumann himself. Wildly brandishing the he escaped all harm. This work required sheets, Johann Jakob (the father) burst field guns and seven alarm bells for per¬ into the room of his old crony, Fritz Santa 0aus’ Surprise ‘Party formance. Rossini in his student days was called by Becker, seized him by the collar, and his fell.ow students "il tcdeschino,” “the shouted in his broad Platt-Deutsch: ‘You, d in the attached card, this pledge becomes a ' city and town in the nation had certificate of membership. Santa. Yes, I know, doctor, but Christ¬ of you. Would it be too much trouble for reindeers dashing over a mountain peak, out cost. Write for the number a center in proportion to the; mas will be here next week; my presents you to call up the children and invite them so we were disappointed. But come on, you can profitably use. Pupils (Signed). number of its music lovers 1 and, remember, when Santa opens the door are delighted to have them in are all ready to deliver; and I simply can’t to the party? . . . Well, that certainly is their possession. One great Date. A Suggested Constitution disappoint the children. kind of you. . . . Now be sure and don’t we are all to call out, Surprise 1 Surprise! western music school has just Article I Doctor. Well, we’ll see, we’ll see. I’ll overlook any of them. . . . What’s that? (Uncle Sam walks up to the door and fix you up some medicine. (Opens his case Yes, I have a list, but I’m afraid it is not knocks, while all the children croud up asked for two hundred. In order to promote the study and asks Mrs. Santa for a glass of water. complete. I’ll read it over to you and you close to him. Presently the door opens of music and insure daily prac¬ 'He puts medicine in it and has Santa to can copy it . . . also their telephone num¬ jiist a little and Santa sticks his head out). Music Study League Local tice along the ideals of The drink. Then Santa lies back on pillows bers. . . . Get your pencil ready. . . . Johnny Santa. Hello! Hello! Who comes Centers Etude Music Study Expansion and soon goes to sleep. All watch him; Bull, England, No. 9725. . . . Hans and here? League centers have c League, we, as members of the then Mrs. Santa motions for the doctor to Gretchen, Germany, No. 9634. . . . Carlos, Children. Surprise 1 Surprise 1 (Continued on page 759) THE ETUDE DECEMBER 1934 Page 707 Page 706 DECEMBER 1934 THE ETUDE After all have been introduced. Uncle Start with the left toe tapping floor di¬ Santa (opening the door wide). Why- Sam goes over to a table and picks up some children, children! Where did you come rectly in front; count 1-2 (Hi); lift foot > Santa and place toe to left, counting 3-4 (Ho). packages. He then walks over from? and Mrs. Santa, who now stand. T5he American Singers Opportunities Repeat. Now all take three steps to left, Children. We came from the earth, to Uncle Sam. We now are going to dis¬ counting 1-2-3-rest (Jolly little). All move surprise you on Christmas Eve. tribute your presents. We want you to to right, taking three steps and counting Santa. Bless you! Come in! Come in! open them and then tell us if you like them.

A very successful teacher of children tells how to pic\ out the teach' ing pieces and boo\s which inspire the child to interested study This may be a very dry, uninteresting Biographical Note: Miss Ketterer was Capitalizing ive Aptitudes which may therefore be presented as a joyous adventure, and which will make subject; but it is often possible to get the born in Camden, New lersey, and studied A CHILD’S imagination and spirit of him feel that he is distinctly making prog- pupil to accept the necessary exercise as a the piano with Mrs. M. B. Moulton of adventure usually are very active. sort of “stunt” or “trick,” as did one of Philadelphia. She was later a pupil for Why not use both of these delightful traits Third, no matter how simple the study my small boy pupils. I had spoken to him, many years of the famous pianist, Constan¬ of childhood to good advantage in teaching may be, it must be melodious, easy to listen at his first lesson, about the position of the tin von Sternberg, and at the same time music? There are so. many things to be to and to sing, therefore easy to memorize. fingers; but he evidently had not given it studied harmony under Russell King Miller. taught in the first year, that surely every Studies with words which fit the music are any thought at all during his week’s prac¬ She has been extremely successful both as lesson can be made a brand new adventure best; also those with titles which stimulate tice. So I explained to him again the im¬ into the beautifully varied realm of music. portance of curved fingers and showed him a teacher and as a composer of elementary the imagination. The choice of a beginning book (and Fourth, is the book which slowly but how they might be trained by careful piano teaching pieces. there are many good ones) is of the fore¬ surely develops technic, not by the use of thought and practice. Finally he looked most importance. Every alive teacher long tiresome exercises, but by a steady in¬ up and said, “Why that’s just a trick, isn’t THE DELIGHT, the high hopes, the knows how a child will practice, and prac¬ troduction into the little pieces, of certain it?” “Yes, I suppose it is,” I answered. anticipations of pleasure, with which tice, and practice, in order to be able to things which are technic building. Then, very thoughtfully, he said, “Well, my the average pupil comes to the first stand on his head, wiggle his ears, snap Fifth, the ideal book is one which covers hands are just like my dog. He’s pretty music lessons, should be an inspiration to his fingers, or do some equally interesting approximately one season’s work with the dumb, but I’ve taught him most every trick every teacher. Naturally, sex makes some stunt. The idea is to make each new thing average pupil. If the book progresses in the world. I’ll get that trick next week.” difference in the attitude of many pupils. he is to do in music seem as well worth properly, the pupil should be well into the Boys, in America at least, often have the while as the afore-mentioned accomplish¬ second grade at its conclusion. Learn Thumb Action the First Tear complex that music is effeminate. This is ments. That task is the teacher’s respon¬ THE ' OTHER big principle to be largely due to the fact that in our pioneer sibility. Certainly, the book chosen for the First Tear Technic learned the first year, from a technical days girls were given cultural advantages, beginning work is going to help immeasur- THE TECHNIC required for the first standpoint, is prompt and easy thumb ac¬ while boys, who were supposed to be pre¬ year should be varied. First comes tion. There are countless ways of vary¬ pared to do the rough work of the world, the important principle of curved fingers, ing this practice; ■ and never need it prove were kept away from the fine arts. The Good “Beginner’s Boo\” with the proper lift from the finger joints uninteresting. It was quite natural, therefore, that in WHAT MAKES a good beginning nearest the wrist, and the requisite relax¬ After conquering these two important time there should grow about music study book? There are many requisites. ation of the arm and wrist. There are points, is it not true that an excellent foun¬ a sort of juvenile masculine taboo; so that, First, the studies must be short, so that exercises and more exercises which may dation has been laid for all further technic ? even to this day, the boy pupil is very apt at least one new one may be conquered be devised by the teacher to strengthen Scale playing at a moderate pace should, to sally forth for his music lesson with his each lesson. these curved fingers, five-finger exercises of course, be begun in the first year, but music hidden under his sweater or between Second, every study must progress. By in intervals of seconds, thirds, fourths and what is that but a combination of good the sheets of a newspaper; while the girl that, we mean there must be at least one fifths. But let them be short and prac¬ finger action and position, together with pupil, going to the other extreme, proudly thing which is entirely new to the pupil, ticed for only a few minutes a day. good thumb action? A thorough knowl¬ displays her music as a kind of badge of edge of major scales is more important, cultural or social significance. In recent at this stage, than is speed in the playing years, however, boys have learned of so of those scales. many great men who have been also fine From the very first lessons, appropriate musicians, that the attitude is rapidly chang¬ pieces should accompany work in the book. ing ; and, if the first lessons are interesting The writer has seen too many little faces enough, they are thoroughly enjoyed by a light up with joy, to delay giving the child wholesome boy as much as by a girl. one of the biggest thrills he will ever get in his musical career, his first piece of The "Well Begun” “sheet music.” The pleasure he derives THE UNDERSTANDING teacher’s from that piece is greater than any he will first important thought is to capitalize ever have from a Chopin or Beethoven com¬ the child’s natural joy and enthusiasm that position at its proper season. come with the privilege of starting music lessons. Some of this first enthusiasm will Short Steps for Little Feet no doubt disappear; but in most cases the IF THIS first piece is to be thoroughly interest can be held, certainly in the first enjoyed, it should be simple, short and year, by a judicious choice of material to melodious. Pieces with only one theme be taught, and by an interesting presenta and a Coda, or with perhaps two short tion of that material. Never has there themes, are best; also those using only five been such a vast number of good begin¬ notes in the right hand and six in the left, ning books and pieces offered by publish¬ which will call for no complicated finger¬ ers ; but it is a delicate matter for a grown¬ ings. One sharp or one flat seems to make up to know in all cases what will appeal to no trouble, and the selection of pieces is each pupil; and if the things chosen do not wider. After that piece is memorized comes appeal to the child, he will not do his best the thrill of playing before an audience. It does not matter if that audience be mem¬ The teacher’s greatest obligation is to bers of his own family, some of his little make music, from the very beginning, ac¬ friends, or a real audience; he is sure to ceptable to the pupil, by presenting it in the be proud of his ability to play. This pride simplest possible words so as to be accept¬ is a great incentive toward bigger things. able to the juvenile mind, and as a very Children rarely have any misgivings as beautiful and enjoyable life experience. to their ability to play in public. In fact, Of course, every teacher has a few un¬ I think that this is the greatest difference fortunately “impossible” pupils, who look between adult beginners and children. The upon music as a necessary evil; but, to adult thinks he cannot play in public, the offset these, there are always the few joy child knows he can. This God given self- bringing ones who forge ahead as surely confidence of the child is one of the things as the others lag behind. However, the I am most thankful for in my teaching. vast majority of them belong to that class It conquers many and many a difficulty, whose members do good work and enjoy and one of the surest ways of encouraging the lessons just so long as they are given and strengthening it is to give him pieces material which they like, and who lose he can and does play well. interest the instant they are given some¬ © 1934 J. F. C. thing that fails to please. It is upon these Faith in Ouija pupils that the wise and conscientious HAVE KNOWN cases where a teacher spends infinite time and thought. I thoughtless word from the teacher or THE ETUDE DECEMBER 1934 Page 713 THE ETUDE

Page 713 DECEMBER 1934- . ^ R '"‘A parent, as to the child’s ability to do certain him the assurance that he is going ahead. rA tilings, has shaken this much to be desired Nine times out of ten, pupils lose interest self-confidence; and I recall one time when because they have a series of pieces they do the self-reliance of a certain pupil was con¬ not like, probably because they are too siderably disturbed by the supernatural ( ?). difficult or too long, or perhaps they simply RECORDS AND RADIO Band and Orchestra Department It now seems an amusing incident; but at do not make any appeal to the child mind. the time it was not so funny. This choosing of pieces is a real prob¬ Conducted Monthly by This pupil, a boy of nine, who played lem for the teacher; but it is certainly By Peter Hugh Reed very well, had been invited to appear be¬ easier in the case of first year pupils than VICTOR J. GRABEL fore a Woman’s Club in Philadelphia. He for the more advanced. It is a good plan was very proud of the invitation and had to choose pieces which illustrate certain ttutu (c c (((Tic ((((c cc((

bit becomes an intriguing piece of pianistic ber light and scherzando except for occa¬ group and triplet figure is tossed off against MELODY AT DAWN adornment. Played without coloring it sional crescendos as in measures thirteen, a staccato left hand, both played lightly to No question zcrill be answered in these columns unless accompanied by the full name By Louise Marquis will sound like a scale exercise or an ex¬ twenty-two, twenty-seven and the big one suggest the tripping feet of the wee wood¬ and address of the writer. Only initials, or a furnished pseudonym will be published. And so it’s “Merry Christmas!” again, in measure thirty-five. The Coda ends land folk. The dance goes merrily until cerpt from Czerny. Note the treatment in and The Etude, hand on heart and with quietly, suggesting that perplexity has measure thirty-three is reached at which the left hand. The first two eighths in the the deepest bow, promises music lovers majority of measures are slurred and the found a way out, after all! point appears a short section of eight meas¬ purposes; and of these modes the more B in the left, while the thumb is used on Among the studies which you give her, everywhere a host of delightful surprises last two sharply detached. The entire frag¬ ures to be played poco tranquillo and in ‘Regaining Lost Toechmc important ones lacked what we call the the other white keys. include some by Cramer (“Fifty Selected for the coming twelvemonth. Getting to ment should be played in cheerful vein at lyric style. At measure forty-one the dance leading tone—or sharped seventh. They For the arpeggios the fingering is some¬ Studies”), also by Heller (“Op. 46” or be a very hoary old gentleman now, The CRINOLINE DAYS fairly rapid tempo. Begin piano, with become a professional pinn suddenly bursts forth again, more animated used only the diatonic, or natural, tones of what more complicated. The simplest “Op. 45”). Etude, and looked upon by many in the By Gerald Frazee rather shallow touch and apply a crescendo a nervous breakdown, 1 in feeling than before, the excited triplets unable to practice for ovi the Key of C; and each of the modes was forms of triad arpeggios, when their com¬ Slow practice is the best remedy for in¬ professional field as a sort of perennial Gerald Frazee turns back yellowed pages in the right hand tossed into staccato in the third measure. Follow with a de- Can you suggest how 1 < 1 mini- built around some tone of this key, with its pass is an octave or more, repeat the finger¬ accuracies. Have her finally play all her Santa Claus, forever in the act of diving in the volumes of Music and Fashion to crescendo in the fourth. The figure be¬ regaining my los technic in th eighths in the left. A crescendo begins at mum amount of mme ? Are th scale beginning and ending on this particu¬ ing: 1, 2, 3, 1 (S), or 1, 2, 4, 1 (S), studies with the metronome, at a slow or into his musical sack for fresh wonders. give us the form and atmosphere of an old measure sixty-three and builds until fortis¬ ginning in the middle of the eighth measure exercises away fr< the piai o that could supplement lar tone. With the growth of Harmony, according to the distance between the notes, leisurely tempo. Opening the music for our Christmas time waltz. This number opens with short is played forte with deeper touch. Be care¬ simo is reached at measure seventy-one, keyboard?—L. K. however, the need of this leading tone to thus: number Miss Marquis gives us a composi¬ legato figures which require heavy accent after which a decided diminuendo is in ef¬ ful to apply the sudden accents which oc¬ There are many valuable exercises that give character to the various harmonic tion of medium difficulty in true lyric style. on the first quarter of each measure. The fect to the end, where the Elves lightly and cur in this passage as marked. At measure , „ 4 (j> , , 4 can be performed either at the piano or cadences, especially the whole cadence and Strengthening Fingers and Singing, it travels over the keys from the staccatos in the third measure should be stealthily steal away on tip-toe, as inti¬ sixteen the tone again drops to piano with away from it, which ought to put your the half cadence, became more keenly felt. first to the very last note. For the first crisp and the sustained chord which begins mated by the staccato eighth-notes. a crescendo at measure twenty followed by PJrL->r' Wrists muscles in excellent playing condition. Accordingly, when the scales were em¬ eight measures the melody lies in the lower the fourth measure should have resonance. decrescendo at measure twenty-one which I am fourteen years old, and have These may be grouped as follows: ployed for purely vocal purposes, the sharp voice of the right hand, and from thence Use the pedal only where marked. Do not remains in effect to the end. taken lessons since October, 1933. 1. Pure finger drill. With perfectly on the seventh tone was no longer neces¬ Have studied two of ”laydn's ’ ' remains in the upper voice. The tempo is miss the poco rit. in measure fifteen, fol¬ ’ FRAGMENT FROM SONATA IN G “Sonatas,” two of Bach’s Suites,”- moderato and well sustained legato is in¬ lowed by a tempo two measures later where SHARP MINOR quiet hand, perform various five-finger sary; hence it was sometime inserted and and so forth. I have had n MISTER FROGGIE exercises for strengthening fingers dicated throughout. The opening theme the opening theme reenters. The second By Josef Haydn exercises by simply pressing lightly into sometimes not, at the fancy of the com- 2. I should emphasize first the harmonic By Berniece Rose Copeland and wrist. Do you advise such exer¬ should be heard in full rich mezzo forte. theme in D major, the dominant key, may If Haydn’s art could be compared to that the keys. For materials, use Schmitt’s minor, since in modern music this is re¬ cises, or do the pieces mentioned Observe the crescendo beginning toward the Miss Copeland’s little number in six-eight “Preparatory Exercises, Op. 16.” As a consequence we have four recog¬ garded as the basis of the others. Next contain enough technic for the pur¬ be played with more animation, pin animato. of a painter he would certainly be described pose? How long should I practice end of measure six, followed by a diminu¬ Following this, sharp phrasing is necessary as painting the introductory strokes of his time affords excellent study in phrasing. 2. Hand and ivrist exercises. Keeping nized forms of the minor scale: in order comes the upward form of the each day, taking two half-hour endo and ritard at measure eight. The to preserve the rhythm. Drop on the first picture in this fragment with broad sweep¬ For the most part it is composed of two the fingers in contact with the keys, raise (1) The Natural Minor Scale, melodic minor, which is followed by the lessons a week?—A. V. T. and lower the wrist repeatedly as far as it following measure nine repeats the theme chord, third beat, and roll off the follow¬ ing lines. The opening theme announces note groups slurred together and thrown Ex. 1 downward harmonic. The downward form I advise you to devote a part of your an octave higher, in tempo primo and the ing chord, first beat, and the effect is ob¬ itself in sonorous unison of the hands, off sharply. The piece has an abundance will go in either direction. of the melodic is not so often used, since it 3. Arm exercises. With forearm held daily practice—at least a half hour—to dynamics are applied as indicated, not for¬ tained mechanically. These short phrases played forte and dropping to piano in the of rhythmical patterns, many times re¬ has less individual character. The chro¬ technical work, which, if properly per¬ getting the rallentando at measure fifteen. contrast well with the sustained dotted second and third measures. The left hand peated, which make it easy to memorize. about level, sound individual tones by a matic scale may be sandwiched in between quick pressure from the upper arm and formed, should continually strengthen your The second theme In the relative minor— halves which occur later (measures thirty- phrases in these measures are to be played The words add a little humor and create which uses only the diatonic, or regular, any two of the others, as occasion requires. forearm. While these tones are produced playing muscles. Plenty of helpful exer¬ D minor—begins with measure seventeen. seven to thirty-nine and measures forty- legato and after the manner of woodwinds the right atmosphere. Note that the first tones of its related major key, but begins w ith a firm wrist, the latter should be re¬ cises along this line may be found in A. The mood in this section becomes livelier five to forty-seven). While the rhythm in an orchestra. The entire fragment, as and third sections begin forte and end piano, and ends on the sixth degree of this scale. T5he I{i\oczy March laxed whenever a tone is heard. Schmitt’s book of “Five-Finger Exercises,” The tempo is a bit faster—pin mosso—and must be well defined it should be daintily a matter of fact, is orchestral in treatment while the middle section begins piano and This form, though still recognized, is now 4. Forearm rotation. With hand kept Will vou please explain “Rakoczy,” and in James Francis Cooke’s “Mastering dynamics are raised to forte. The left hand marked and not too vigorously accented and one is reminded of the fondness which increases throughout four measures in a but little used in actual practice. by Franz Liszt?—G. it. S. rather high and loose, sound notes by the Scales and Arpeggios.” For the man¬ chord accompaniment adds interest to this so that the mood invited by the title and Haydn cherished for woodwind effects by gradual crescendo. (2) The Harmonic Minor Scale, throwing it from right to left, or left to “Rakoczy” is the name of a patriotic agement of technic in general I may refer section while the melody remains in the redolent of a gentler age, may invest the his lament, “I have only just learned in right, in the direction of each note as it is Ex.2 family of Hungary, of whom Francis II, you to my little book: “Touch and Expres¬ upper voice of the right hand and the ef¬ performer. my old age how to use the wind instru¬ BETTY’S FIRST WALTZ played. Prince of Transylvania (1703-1711) led a sion jn Piano Playing.” fect of sustained legato must not be lost. ments, and now that I do understand them By Frances M. Light The pedal is most important in this com¬ Especially in the exercises that are per¬ revolution against . From this JUBILEE MARCH I must leave the world!” As Haydn strove position and must be used with care. Used This waltz for first graders is easy to formed away from the piano, a loose wrist family is named the Hungarian national By Frederick A. Williams for perfection in his art so the student who in which the seventh tone of the Natural freely in every measure it must not be al¬ read since the right hand is almost entirely should be continually stressed. air, known as the Rakoczy March. Of the A Liszt Qadenza aspires to perform the Master’s works Minor is sharped both ascending and de¬ lowed to blur. Phrasing also is important. Probably the march, first associated with in dotted halves whilst the left hand accom¬ various settings of this air, the two which In Liszt’s Hungaria, should strive toward perfection. Small de¬ scending. It is so named because it was No. Id, measure 13, how should the Both pedal and phrase signs are unmis¬ military movements and later finding its paniment moves along in rather deliberate are best known are the brilliant orchestral tails of accent, nuance staccato and legato, Wor\for an -Advanced the one adopted in systematizing the har¬ appoggiaturas be played?—L. B. takably marked. The mood throughout way into instrumental and vocal music, quarters. The first section is played softly versions by Berlioz and Franz Liszt. and so forth, make the works of this great monies of the minor key. should be pensive but never too somber. will always appeal most when its strains while the second section sings out forte for Student The march by an unknown composer, is You probably refer to the right-hand part master resemble fine etchings, and students (3) The Melodic Minor Key, are definitely martial in character. This the most part. The second section also Will yon please list the require¬ said to have been the favorite march of of measures 12 and 13, where the embellish¬ one from the pen of Frederick Williams are urged to give the closest attention to has that lure to the young, an opportunity ments fur a seventh grade student? Francis II. Two popular piano transcrip¬ ments are played about as follows. Ob¬ these seemingly “little” things which are Also I would like to know the grade PERPLEXED will doubtless be welcomed by many young to pass the left hand back and forth over of Beethoven's Sonata, Op. 49, -Vi/. tions are those of Kowalski and Liszt. serve, however, that Liszt was very free in By Charles Huerter Etude players always alert for something so necessary to the beauty of the music as the right. 2.—A. F. LeC. his interpretation of such passages, making a whole. Beginning at measure twelve, the The casual sight reader will no doubt new and interesting. Except for the A- At D.C. return to the beginning and play them express the general emotional content, melody lies in the right hand against di¬ I suggest the following requirements (or A 1{ecital Program. think the above title very fitting, for this flat section beginning with measure forty- the first theme to Fine without repetition, in which the sixth and seventh tones of rather than adhering to the strict mathe¬ atonic passages in the left. It is probably their equivalents) for a student of the piece is undeniably a bit puzzling at first nine Jubilee March calls for the bravura using only the second ending. the Natural Minor are sharped when as¬ matical note-values. superfluous to say that “left hand alone” seventh grade: cending, and only its regular tones are used Small Mistakes reading. Perplexity was not, of course, style throughout. Its chords require su¬ Pm lento practice is advisable in this section. The Technic: All the common scales and ar¬ what Mr. Huerter sought to induce in the stained resonance and should be played A WINDING STAIRWAY in descending. It has been so named be¬ I have a pupil doing early fourth footnote explains that the sign of the turn peggios (See Cooke’s “Mastering the grade work whom I wish to present mind of the reader. The title was chosen with full sweep of the arms. Injudicious By Irene Rodgers cause it eliminates the augmented second - recital with other pupils use of the pedal will ruin the effect of this is used to signify the figure of the opening Scales and Arpeggios.” of the Harmonic Minor Scale and so is who will assist' with‘ th duets,due trios or to suggest the mood necessary to correct All piano teachers realize that scales and number. The mood of the piece is that of motif. In measures twenty to twenty-three Studies: Bach, “Three-part Inventions.” more smooth and flowing (or melodious), - -_s working on the interpretation. The little phrases jump arpeggios are essential practice. What the Clementi “Sonatinas.” Would one of elation and the more stirring the rendition inclusive, observe the sforzandos and slurs Moscheles, “24 Characteristic Studies, especially for singing purposes. these be suitable to include in her about in a manner that suggests indecision multiplication table is to mathematics, scales can be made the better. The A-flat sec¬ exactly as marked. Here is a bit unmis¬ Op. 70,” Bk. 1. (4) The Mixed Minor Scale, program? She is playing Valse in E- and unrest. Instead of making definite and arpeggios are to a technical equipment. flat, Durand •, Humoresque, DvorSk; T3he Prevention of Nervous' tion beginning measure forty-nine takes takably orchestral when properly played. Pieces: (examples) statements they rather ask questions. As The modern teacher also realizes that chil¬ Ex.4 Mixed the place of the usual Trio, and according After building to a climax (measures Raff: La Pileuse. Please outline a program suitable for ness the text directs, the rendition should be dren look with scant favor upon undis¬ Schumann: Papillons, Op. 2. playful—schcrzando—and the tempo light to custom is in the key of the sub-dominant. twenty-five to thirty) the tone drops again t anftaigttength. ’ S In the following letter, recently received Volume drops to piano and so remains to piano and the fragment ends pianissimo guised exercises of this character and she McDowell, Polonaise, Op. 46, No. 2. -finished “Mathews’ Third and lively—allegretto. The little groups accordingly provides herself with many Beethoven’s Sonata, Op. 49, No. 2 is Grade,” also Book 1 of the “Czerny- from a member of our Round Table, a throughout this section after which the with a short three measure Coda. Liebling Studies.” What would you in the first theme should be slurred to¬ little teaching pieces containing these fig¬ pbout third grade. practical treatment of this knotty problem opening theme is again introduced and which uses the form of the Melodic Minor suggest to follow these? She plays gether and thrown off sharply. They form ures in tune form. A Winding Staincay well, with feeling and ease, but has is presented. a rhythmical pattern which persists through¬ brings the march to a fitting climax, played Scale when ascending and that of the Har¬ DANCING LEAVES is an excellent example of such a piece, one fault that I have been unable May I ._ out the piece. Observe the sostenuto marks fortissimo. Kinds of 'Minor Scales monic Minor Scale when descending. advice to B. R. y. By based as it is almost entirely on arpeggio little mistake’s in time and notes, Etude of August, 1934, “Can ner¬ —little lines over the notes—and also the Three kinds Dancing Leaves is the fanciful title given figures which should be figured cleanly and and apparently does not notice them. vousness be overcome after one is change of pace. The ritard in the second ELVES given in the book which I How shall I correct this fault?” grown up?” to a fragment of the famous Turkish March at the same time slightly rolled to give a ly, the Natural, ‘ Harmonic, and Fingering and Order of the —L. W. E. measure is followed almost at once by a By James H. Rogers Last spring, when my pupils were composed by Mozart as the final Rondo liquid effect to the passages. preparing to give a public recital, tempo. This effect is repeated in measures For the recital, have her begin with one and several told me they were Summon to your aid all the speed and movement of the ever popular “A major Scales four and seven. The dynamics are con¬ of the Clementi “Sonatinas”; and include “scared,” I asked them to do this: lightness of a Mendelssohn Scherzo and all Sonata.” It affords excellent practice in At night, when you are in bed, stantly subject to change. It is the ob¬ A HUNDRED PIPERS in the first part of the program Bach’s ready for sleep, visualize vourself on the charm and freshness of a Grieg Elfin legato playing and should help the player servance of these features that gives to the Old Scotch Ant Gavotte in D minor, also one or two of the stage, walking slowly to the Dance to play this number. Like others develop smooth and even finger action. It changed t piano, seating yourself, and playing piece its clear bill of rights to be entitled A knowledge of old folk tunes is of un¬ the easier Chopin’ “Waltzes.” Following just as calmly as you do at home of Mr. Rogers’ pieces this one lies com¬ is in consequence an exercise at once bene¬ for^siifging reasons. i actual eom- Perplexed. Note the syncopation in meas¬ told value to the musician. Some of the numbers may embrace the pieces which you and alone.” This worked like a fortably under the hands and is very pian- ficial and extremely musical. The right position ■_ ... . m that the charm ; and the exercise will help the ure sixteen, right hand. It is marked with greatest works of the masters have been Harmonic form is .„’ ." piano, . mention, among which may be inserted two adult as well as the adolescent. istic. Played up to speed it sounds quite hand, though legato, must be articulated compositions, and the Melodic for the sostenuto sign which reminds us that built upon the homely foundation of tunes 1. The strongest fingering for the chro¬ or three vocal solos or duets by your other difficult whilst making no extraordinary so that each note stands out clearlv and vocal compositions?-—F. B. in syncopation the accent is always ad¬ demands upon the well grounded student. which, having stood the test of survival in matic scale uses the third finger on all the pupils. The program may conclude with a I should be glad to receive word from distinctly. If proper attention is given to In the early centuries the mediaeval scales vanced. Keep the performance of this num¬ The opening phrase with its chromatic the hearts of simple people for generations, black keys. The second finger then comes brilliant solo, such as Lack’s Tarantella, any other teachers who have ideas to pre¬ the matter of tonal coloring this Mozartian (or Modes) were used only for melodic (Continued on page 752) on F and C in the right hand and on E and Op. 20. sent on this subject. TEE ETUDE DECEMBER 1934 Edge 111 THE ETUDE Page 716 DECEMBER 1934 FASCINATING PIECES FOR THE MUSICAL HOME Square Holes for Square ‘Pegs DANCE OF THE MIDGETS AIR DE BALLET Studio Gypes and How to 'Great with 'Ghent Cadman’s little g*otesquerie was one of his earlier pieces.lt is a dainty teaching piece when properly played.

By Royal Alfred Glenn CHARLES WAKEFIELD CADMAN, Op. 39, No.l Tempo di Vaise M.M.J.= 66 begins to chatter out the latest “hit.” “See, we have him “placed.” He is the Conscien¬ can scarcely associate work with the de¬ THERE IS that brief period in which I learned it last night! Swell, isn’t it?” 24^!TTjr~'^ 3 -—\ tious Type. Most teachers thank their lightful fun of taking a lesson. However, /) U 1 . the pupil stands in the door of the he exudes. He puts in a few flourishes in lucky stars that he has appeared and then once the child is made to see he can please studio, eyes wide, music case held the treble. The teacher labels him without do nothing more about it. They figure the teacher best through the channel of tightly by a chubby hand, when the teacher any difficulty—the Jassy Type. quickly, almost automatically, puts the child that he will take care of himself. Nothing music, that a pearly scale is of greater Now the teacher may do one of several into a category. She need not give a name can be farther from fact. The child has worth even than a red agate, he becomes things. She may “put her foot down” and 5 to her conclusion; it may be altogether one of the most valuable of virtues and no fine material for progress. l forbid jazz in the studio; she may ridicule I* unconscious. But whatever opinion she doubt will go far. But, without careful to scorn the inanity of the melody; she may -f- — m - arrives at is rather sure to regulate to a direction from the teacher, without her The Spoiled Child Type -f=H —r . - considerable degree her future attitude sympathy and understanding, he is apt to FIFTEEN MINUTES late, the next give the boy a “teacherly” talk, telling him toward this pupil. become a mere plodder, unimaginative and pupil languidly greets the teacher and the facts of musical life; or she may simply IJ^,iIJ^ Now we maintain that because this men¬ perhaps finally dull. sinks down on the music bench as though decide then and there to give him up as hopeless. tal classifying, more often than not, is done So the teacher, while stimulating his de¬ every movement were an effort. She calm¬ —: 1 3 1 - a tempo —-. But there might be some point in agree¬ a A- in a rather haphazard manner, many sire for work, in giving him schedules to ly states that she has not practiced during , & 3_"4i5. SI1 teachers later find themselves confused in follow out and reports to bring in, must the week—because she has not felt much ing with the boy—at least to the extent of 0 their judgments, and many pupils are made stress most of all expression in whatever like it. Besides she does not like the piece. admitting that he does put more life into unhappy by an attitude they do not under¬ he plays. His very industry she must lead The teacher presses her lips together and that one than into any of his other pieces. stand and to which they are not responsive. into channels of “bringing out this melody,” prays for patience. This type is one we And meanwhile the teacher may point out 10 15 rit. So it is with the hope of making more or of “getting the composer’s idea in this all know—the Spoiled Child. how much more conducive to real feeling clear the mental process in which the passage.” He must realize that work must Now it is not for the teacher to make is a piece by one of the masters—how in teacher already has engaged, that some be mated to imagination, and with expres¬ a new child out of this one, overindulged their case every emotion is used, while in i V = jazz numbers only the same old everlasting % p- types are herewith enumerated and de¬ siveness. It is he who must be taught to and selfish. There is not time in the brief scribed. The writer gives no promise that appreciate, to relax, to enjoy. weekly hour to effect this miracle. What “pep” is played up. There can be a promise 'Hejj ‘Li-i '*cjj P his classification is more authentic than any That hour ends with the little lad gravely the teacher can do is to put the child’s very of a really good jazz piece (Rhapsody in other. He knows that “types” constantly putting away his music, with a new fresh¬ selfishness to work. She must, in a word, Blue, for instance) if he masters certain V l overlap, merge into one another, change ness stirring in his heart. point out how music needs her—how im¬ other compositions first. .... their identity entirely. What is said here portant it is that she bring out the beauty is but a starting point to further under¬ The Affectionate Type that lies • there. Here then she becomes The Sentimental Type e standing of the pupil—his special aptitudes, EXT COMES a child, eyes gleaming the center of things. Music lies asleep and ANOTHER ADOLESCENT following mm P fl - his likes and dislikes, his inner motivations. and feet dancing, because he is going she may awake it. Her own ten fingers zi. on the heels of this is a girl, a little 20 to have a lesson with Dear Teacher. He can work the miracle, can make the breezes giggly, a little gushy. The Sentimental 25,^ ^9^ The Sociable Type has forgotten some of his music, in his start up, can ring the bells, can arouse the Type, she is simmering with adoration— f 1ET US LOOK, then, at this little girl hurry to get here, and he is sorry because storm. If she is made to feel important, of a kitten, of a sunset, of a movie star, of J gravely settling her ruffles on the Teacher is sorry. His scales are sloppy even as she sits at home alone practicing, just anything at hand. Coming to the key¬ piano stool. She chatters away about her and he is downcast over that, though the she will do it willingly, even eagerly. Who board does not calm her. Neither do mother, about old Sarah, the cook, about teacher scarcely has the heart to reproach knows but that, when she does at last bring scales. She begins them gayly and plays Last time to C<3da __ *-—a- tempo 5 her brother Peter. She tells about her him. He is obviously eager to please her— out of some passage an unexpected beauty, them badly. At this point, instead of a "3| " sp 8==^ a friend, Ruth, who plays the violin. “Maybe and, see, he even has brought her a shiny it may lead her to forget herself (of whom lecture which subdues but does not con¬ e? IXTr she and I can play duets someday 1” she marble, a blood-red agate! she is in reality weary) long enough to vince, the teacher takes out a barcarolle, =■ says, and looks inquiringly at the teacher. This child, the Affectionate Type, is par¬ form a desire to create this thing called a Song without Words, or a waits, and lets Let us call her the Sociable Type and ticularly hard to deal with. For, if the the girl put her surge of feeling to some realize that her life is already one in which teacher reproves- him, he is so crestfallen The Jazzy Type good use, lets it be worked out through people play a large part. She is already that his fingers lose what quickness they A LANKY adolescent hurries in now, music which the girl really feels and enjoys. measuring herself, in a small way, by this have. And he does not concentrate, for he flings himself at the keyboard and For she is a pupil who will want to give and that person. She finds great joy in expression to her feelings in music, who being in the midst of groups of people, and will practice till her fingers are tired, if their reaction to her means much. And only she can put into tones all that she here she sits before us, a little fidgety, but “Now the jaun feels in her heart. bright-eyed and smiling. What is to be 5 lies wounded, and So, under her fingers, let the raindrops 3 done with her? a little wind fall, let the petals blow, the kisses be given. The teacher here must be wise enough to sense how far the little girl is as yet springs up They can be a sufficient substitute for the actual, may even, in rare cases, be fused * from an interest in music itself. To her it in the treesN into something really beautiful, as beautiful iNpte is but another chance to be with people, 40 to form relationships, to have fun. These as reality itself. all are healthy aims and may be skillfully The “Real Boy” Type it-pn- v—1-K- rQ 11 J ; n- n t employed to a furthering of her interest in CARCELY HAS this pupil breathed music. A suggestion of a contest will make S herself away before the teacher hears her all alert. Prizes to be given will stimu¬ a sturdy stamp of feet and sees a boy’s small W late her to unsuspected zeal. And the 3 monthly “get together” of the pupils will flushed face appear at the head of the ►C0DA_ be an event to which to look forward and stairs. He turns to admonish a mangy dog 3 4 5 Tt 3 31 for which to labor. —“Go back, Tick”—then shoves his cap Of course the “Sociable Type” may also in his pocket and comes on grinning. He b y--Pr\ be represented by a boy who will revel in has forgotten his music—the teacher sees rrf Ld ^ i-ujg games and contests and will absolutely that at once—but is as blissfully uncon¬ M1 isU- slave in order to win a prize. (Incident¬ scious of this as of the dirt on his face. mf - D.C. ally all the types that are to follow may He stumps over to the piano and hitches J nr S5 *W -kZ--¥-¥- be of either sex.) himself up on the seat. One hand wriggles into his pocket and brings out what looks The Conscientious Type like the tail of a lizard. He gazes at it FIFTEEN MINUTES before time for fondly and shoves it back. The teacher his lesson to begin, a little boy will be utters a short prayer and begins. waiting outside on the bench, his music “Well, Jimmy, I think we’ll take scales roll clutched in his hand. His hair is first.” Jimmy goes at them willingly slicked back and his face is polished to a enough, and skims his fingers through the high luster. When the time comes for him desired notes. Then comes the new piece. to go in, he jumps up and goes to the piano It is called “Fawn at Play”—the only piece immediately. He makes no conversation of his grade that she has on hand. She and begins spreading out his music in order explains what a fawn is. Jimmy looks before him. “I did my scales five times grim. She shows the passage in which each day,” are his first words. With this the breezes play with each other. Jimmy (Continued on page 754) Copyright 1907-by Theo.Presser Co. British Copyright secured DECEMBER 1934 Page 719 THE ETUDE THE ETUDE DECEMBER 1934 MELODY AT DAWN In playing this composition, one must imagine a lovely, rich contralto voice singing the solo with the accompaniment of a harp or a Both the pedaling and the phrasing are important in this piece. Grade 3. LOUISE MARQUIS

Copyright MCMXXVII by Oliver Ditson Company International Copyright secured THE ETUDE Pagjs 720 PEC EM BUR 1934 JUBILEE MARCH Grade 4. FREDERICK A. WILLIAMS, Op. 55

ELVES James H.Rogers must have had just aJittJe spirituaJ communication with Mendelssohn and Grieg when he wrote Hives. Although entirely original, it has the style of the classic Scherzo. It is not at all difficult. It must he played up to speed, however. Grade 3. Fast. Lightly m.m. J = 144 JAMES H. ROGERS, Op. 50,No. 1

mm iiiw J w w wm M THE ETUDE DECEMBER 1934 Page 723 Page 722 DECEMBER 1934 THE ETUDE MASTER WORKS FRAGMENT FROM SONATA IN C# MINOR Of all Haydn’s fifty-three Sonatas and Divertimenti written for keyboard performance,the Sonata in 0%Minor is by far the most vigorous and imposing. Although certain passages call fora characteristic Haydn-like delicacy, the general outlines of the first movement are big and

broad. JOSEPH HAYDN Grade 7. Moderato M. M. J =92

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♦In this movement the sign cvdoes not signify an ordinary turn: J- JJJJ Jl, but serves as an abbreviation for the figure: J JJd which,in analogy with the initial motive, must be followed throughout the movement wherever the sign occurs in the same connection. DECEMBER 1934 Page 725 THE ETUDE OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES TIPTOE DANCE GAIL RIDGWAY BROWN

This fluent little piece by the great master Mozart is a splendid study in velocity.First play it very slowly and with extreme accuracy, observing the phrase marks and the marks of expression.Note the contrast in phrasing,legato in the right hand and staccato chords in the left hand. Grade 2*.

Arr. by William M. Felton yy MOZART Allegretto Ai'la turca [In Turkxsh sty le) 8 - jifp r f . { HrfrfffTr (4b 4 ^ 1 v i= ^ i i i— s * i p — r T T : Ir r r M i*l r r j .j

Copyright 1934 by Theodore PfesserCo. British Copyright secured DECEMBER 1934 Page 727 THE ETUDE THE ETUDE Page 726 DECEMBER 1934 IN OLD JUDEA Words by Music by RICHARD HENRY BUCK ADAM GEIBEL

de - a, a - mid the plains a - far, Mine eyes be - hold a bright - ly shi n - ing de - a, where Christ,the Lord, was born, In Beth-le - hem, that bless - ec 1 Chr:ist - mas J J J J J J 1 j jtj ir^r j j— j j ,j j j - 111 1 i is 5 1 1 1 1 1 1 1 i ti 't i ^ i m r ttf ^ J m m m 1+ 1* 1» j. ji j j j 3 I rr.—-r-r-F--F-m-- —P-=:-m- j w gj— 1i 7 r UHt L-T 1 r j r ? ? ■ -

L THE ETUDE DECEMBER 1934 Page 729 Page 728 DECEMBER 1934 THE ETUDE MARCH OF THE WISE MEN Gt. All 8' stops Sw. Full (Sw.to Gt.) Registration: Ch. All 8'and Estops . 0„/Gt.to Ped. .16,a, and 8 (Sw toPed ) E.S. HOSMER THE ETUDE DECEMBER 1934 Page 731 Page 730 DECEMBER 1934 THE ETUDE TWO CHRISTMAS MELODIES TWO CHRISTMAS MELODIES

Copyright 1919 by Theodore Presser Co. British Copyright secured THE ETUDE Page 732 DECEMBER 1934 SECONDO Maestoso M.M. J=96 “ADESTE FIDELES”

OH! SUSANNA Arr. by William Hodson PRIMO STEPHEN FOSTER THE ETUDE DECEMBER 1934 Page 735 Page 734 THE ETUDE DECEMBER wf?ROGRESSIVE MUsiC FOR ORCHESTRA 1st CLARINET in Bt> VICTOR LAMBERT -- VICTOR LAMBERT FONCASTA MARCH FONCASTA MAEOH Arr.by JOHN N. KLOHR

ALTO saxophone FONCASTA MARCH victor lambert

CELLO or TROMBONE^ FONCASTA MARCH VICTOR LAMBERT THE ETUDE THE ETUDE DECEMBER 1934 Page 737 Page 736 decemberim*^nATING PIECES FOR JUNIOR ETUDE READERS A WINDING STAIRWAY Grade 2. . IRENE RODGERS MISTER FROGrGTE Allegretto M.M.J = i32 Grade l|. BERNIECE ROSE COPELAND reiiiu - -_ 3 i '_» l_*—y 1_8 1_2 3

5 ^PV jumped so far, Im sad to state, Deep *^aid Mis - ter Frog-gie to his mate,“Now watch me ju mpl’Ker - plank! Ker-plank! He

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This old Scotch tune makes an excellent piano piece of its type. Play it with a brisk rhythm and fine spirit, and don’t forget to hear the bagpipes in imagination while you are doing it. Brisk and merry OLD SCOTCH AIR THE ETUDE Page 738 DECEMBER 1934 DECEMBER 1934 Eage BLUEBEARD THE ETUDE Vom Our Office Windows—

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Unless you have immediate access to an adequate My instrument is.. stock of music to supply your every demand, remem¬ ber that the world’s largest reservoir of music and I teach . music supplies is always available to you by mail through the THEODORE PRESSER pO. JL 1712 CHESTNUT ST. J_ PHILADELPHIA, Vj PA. Page 7Jfi DECEMBER 1934. THE ETUDE the etude DECEMBER 1934 Page U* the mouth just back of the teeth. H is a and a terminal consonant. Difficult com¬ mere explosion of air. The other conson¬ binations, like thr, chr, would better be TYPEWRITER ants are only interruptions of the tone, avoided until the simpler ones are mastered. Have You caused by touching various parts of the When simple words can be comfortably mouth with the tongue. Beautiful, soft produced, simple songs should be under¬ BARGAIN Tj THE SINGER'S ETUDE effects may be made by humming, especially taken. At first the melody should be sung New Remington Portable W ^ M in ensemble or choral singing. The late without the words. Then the poem should Only lOc a dayl J tB Edited for November by Studied Dr. J. Frederick Wolle and his Bethlehem be read, its form, its meaning and its beauty Bach Choir were particularly expert in the analyzed, rather as an art work than from 1 1 Nicholas Douty use of the hum. It was their practice, a grammatical standpoint. Those lovely even in the chorals which abound in the correspondences between the words and the It is the ambition of THE ETUDE to make this Sin9ers Department “A Singer’s Etude” complete in itself Harmony? 1 1 works of Bach, for one group of voices to music, those moments of inspiration during hum while the other groups sang the words. which each enhances the beauty of the The result was entrancingly lovely, though other, all should be emphasized. If they do Music is a universal language somewhat unconventional in Bach’s music, not exist, if the words and music are not and like the language of speech and it has been much imitated by other truly married, the song is not an art work has its own grammar. The gram¬ choral conductors, though seldom with and it should be rejected. Unfortunately, DAY In Tohe ‘Beginning Was T3 he Word mar of Music is Harmony—and quite the same effect. many composers, sometimes through lack if you have not studied the subject The solo singer may use the hum too, of knowledge, sometimes through careless¬ BIG PRICE REDUCTION ™ TRIAL OFfER Its Significance to the Singer you should not delay any longer. and such a fine artist as John Charles ness, sometimes through mere perversity of Only 10d a day buys this latest model machine. Thomas is very expert in the use of this, soul, put the most difficult vowel and con¬ Not a used or rebuilt typewriter. Not an incom¬ as well as every other nuance in the singer’s sonant combinations upon the extreme notes HE ACTUAL beginnings of song clarity of his enunciation. Both his read¬ plete machine. A brand new regulation Rem¬ T tences. In the English language conson- especially, is dangerous; it should always Learn to analyze compositions — to sources. If it is used too often, however, of the scale, either high or low. Trans¬ ington Portable. Standard 4-row keyboard; are prehistoric, lost in the mists of ing teacher and his music teacher are well identify the chords used and thereby ants are many, and in our usual everyday be alternated with a darker syllable. Some- it soon loses its effectiveness and becomes lators are especially guilty in this respect, standard width carriage; margin release on key¬ time. Did the Neanderthal man educated along their particular lines, but get an intimate knowledge of the inten¬ speech the time values of the consonants times persistent singing upon the syllable tiresome and monotonous. because they seem to be entirely satisfied board; back spacer; automatic ribbon reverse; sing? Did the first “Homo Sapiens,” half all too often they have speaking and sing¬ tion of the composer. You get at a real and of the vowels are approximately equal. EE will cause a tickling in the throat. to reproduce the rhymes, the rhythms, and every essential feature found in standard typewriters. human being, half anthropoid ape, charmed ing voices that are very far from lovely, understanding of the basis of phrasing Owing to the raised and fixed position of Therefore English and American speech is This is a signal that the muscles about the the sense of the foreign poem, quite regard¬ Big price reduction . . . absolutely the biggest typc- by the love notes of mating birds in the and they know little or nothing about how and accent, which is interpretation, the tongue, the sustained L must be used apt to be somewhat choppy and staccato, root of the tongue and in the throat have through a knowledge of the chords less of its vocal sound. These uncomfort¬ r offered! spring, crudely and inadequately imitate to produce a pleasant sound. very sparingly. The rolled r, either at the r office 10 day If you do n< The greater the deliberate, willful attempt become too tense, and another and darker used. A knowledge of Harmony helps beginning Or at the end of the word, may able words should be changed in the studio, their notes, as does Siegfried in the Wag¬ to pronounce the consonants clearly and vowel should immediately be substituted, to satisfy the natural curiosity of every nerian opera? Who can know? Voice Habits be attempted only when a strong accent is which is a very tedious and difficult task ry^ distinctly, the more the vowel is shortened Indeed there is always some danger in player, which is “How did the composer for the teacher. It should be the business But we do know that, since the dawn of E GROWS and graduates from school; and the desired. If the r is prolonged at the end staccato the speech becomes, singing an EE too much; it is much prefer- write it?” of the publisher to provide adequate trans¬ mail coupon below. history, man sang. David sang his songs H and if he of the word, it produces the effect of an all musical young Just listen to the speakers over the air. able to sing all the vowels in turn. Some- lations so that neither the singer nor his in praise of Jehovah, before jealous Saul, fellow, he is put into the church By the study of Harmony you learn Irish dialect comedian rather than that of Unless they have been selected for times I, as in sing, is not differentiated from to correct errors in notation, which oc¬ an English or American gentleman. teacher should be forced to the trouble of the king of Israel; and the Psalms are here choir or the choral society. Here the job because of their natur- EE, as in meet, so that words like sing and cur even in the best editions of music; The other consonants must be crisply, correcting them. to prove it. The Egyptians, the Babylo¬ he learns something also to know when apparent discords ally pleasant voices, or unless wing sound like seeng and weeng, which clearly, cautiously enunciated, by bringing Remington Rand Inc., Dept. 236-12, nians and the Sumerians sang as they lab¬ about the rudiments i they have undergone 1 shrill and pene- are correct. Resume Buffalo, N. Y. ored in the fields, or as they worked in music; and the leader intensive training to fit the tongue up to the required position Please tell me how I can buy a new Remit N THE BEGINNING was the word;” their walled towns. The Roman legions will attempt to impress them for it, even though Harmony will also help you to mem¬ against the teeth, the palate or the roof Portable typewriter for only 10f« a day. Als and, among civilized people at least, accompanied their long and arduous marches upon him the necessity their words may be The “Well Begun” orize more readily and more perma¬ of the mouth and, after the consonant has for enunciating the nently because you understand the been audibly produced, returning the tongue there can be no singing without it. Sing by rhythmically chanting all the latest pop¬ well understood, the N COMMENCING the serious study of words so that they I reason for the progression of chords to the position of the succeeding vowel. In the voweln then, and make it as beautiful ular songs of Rome, Pompei or Neapolis, voices sound rough singing, the vowel or vowels best suited used, and are able, therefore, to carry may be understood. the case of a consonant at the end of a as you possibly can. Make it as lovely some grave, some gay, some naughty, some and uncultivated. to each individual student should be dis¬ it better in mind. That the tone of his word, the tongue returns to a state of rest. as the sound of a violoncello or a horn, or scurrilous, even as did the soldiers of the cing just as you covered. These must be practiced with a voice is not pleas- During these necessary actions none of the the sweet music of the wind in the trees, American army in France during the latest speak,” then, is gentle, firm tone, neither too loud nor too Let us give you free, a practical demonstration of the thoroughness of enunciating muscles may stiffen nor act or the song of a bird; for none of these and most terrible war. very misleading ad- soft, upon the simplest exercises, through HARMONY BY MML times made clear the University Extension Conservatory too strongly. No making of faces, no dis¬ use any words at all. Pronounce the con¬ vice; because it is a moderate range, at first attempting neither A practical and thorough course of 40 lessons to him; but seldom methods and how easily you can master tortion of the shape of the mouth, ho wrink¬ sonant clearly, lightly, distinctly, with the Small monthly payments. Song, Universal much too general the very highest nor the very lowest tones, is any effort made any of our courses. Sample lessons ling of the forehead, no staring look of the proper emphasis, remembering that if it is Send for Prospectus and Rates. Mss. corrected and superficial, and It may be found that the most comfortable Music composed, send poem for estimate TROUBADOURS, trouveres, meister- to explain why one will be sent without obligation to you. eyes, can be tolerated for an instant. One too soft the listener will not understand the because if explains vowel is not the same in different parts of singers, minnesingers, nobles and kind of sound is ' Only by making an examination of must look pleasant, happy, almost smiling, words, while if it is too hard it will be ALFRED WOOLER, Mus. Doc. nothing Unless an the scale. For example, A, as in father, 1 $ 11 Boone Court, Lakeland, Fla peasants, workmen, merchants, “Shepherds pretty and another the actual lessons can you form an in¬ during singing, or one is doomed to failure. recognized only as an ugly sound. If the watching their flocks by night,” prisoners IT bee,n theoretically the easiest vowel, may have ugly. On the con¬ gifted by the gods telligent opinion of the real merit of singer can do these things, with even mod¬ in the gaol, all human beings, high and trary he is encouraged be modified into 0, as in toe, or A Y, as this remarkable method of music instruc¬ Enter the Song erate skill (for they are very difficult), if low, rich and poor, free and slave, find in with a voice of nat- ^ tion. Let us send you these lessons. to sing just as loud bay, upon the highest or even upon the IMPLE CONSONANTS may now be he can sing in time, in rhythm and in tune, singing a healthful and necessary outlet for urally good quality, and lowest’ tones. They will show you how quickly you as he can, because few added to the exercises previously recom¬ and if he has a good conception of the mood their emotions, which otherwise, so psy¬ can equip yourself for greater things in voices are large and fu dnar enU"' After the comfortable vowels have been mended, first an initial consonant, then a of both the poet and the composer, he de¬ chologists tell us, do the most awful things a musical way and make more money and the chorus director valueless’ It mav ^ “ c??quered’ SradualIy add the less comfort- from music than ever before. terminal consonant, then both an initial serves to be called an artist. to our bodies and souls. wants, first of all, plenty of harnn ”7 T pr°Ve able ones’ bei"£ careful always that there And always their singing was and is in¬ .volume. The result is that, ’ , !nC°UI" is st;ffness of neither the tongue nor the Get Catalog and Sample Lessons of timately and inseparably associated with when he first undertakes the NICHOLAS DOUTY sfst in his revfie wavs Th" thr°at muscIes durinS their emission. These these Harmony Lessons; also our other words. In fact it is almost impossible to serious study of the art of better and 7afP7 exerc,ises should he continued until all the courses. It costs you nothing —you Singing in a Foreign Language Make THE ETUDE Your Marketing Place imagine a song intended to be sung by the singing, he finds that, through long have everything to gain and nothing to Etude Advertisers Open the Doors to Real ough long asso- is to study each vowel and consonant sep- to^quMitv1* C°mfortably Produced in a lose. State age and course in which in¬ people, in which the words do not play an ciation, he prefers WHEN SHALL THE SINGER of songs suitable to every taste and almost Opportunities unpleasant and arately, until the student understands them i°ast i^theVriT0*™ * beautlfu1’ at terested. Try the Lessons, then decide. begin his study of songs in a for¬ every occasion. Especially must the opera integral part. “In the' beginning was the penetrating lovely and delightful all theoretically (and the differences be- One mav 1°“% word” seems to be an accurate description His ( be. educated__ anew,, tween them, too) and can practically nro ■ ” ay digress here for a moment, to eign tongue? This is a rather singer be able to speak and understand the of the genesis of song. The poem came through a long and often painful process, duce them. practically pro- pomt out that undue effort of the breathing vexing question, and its solution depends European languages, for University Extension Conservatory before the melody, and the emotion engen¬ before he is willing to accept, or even to muscles, because it upsets the balance be- entirely upon one’s point of view. With does not draw very much money into the dered by it brought the song to birth. tolerate, a good, pure tone; because it is Vowel Analysis tween the breath and the tone, is quite 1525 E. 53rd St. every new language the student must learn box office, in spite of the recent triumphs not loud enough to suit him. some new vowel sounds, or at least some of Walter Damrosch, Horatio Parker, THE ITALIAN vowel A (in English sound *?. ““V* a hard and unpleasant Dept. A-7 Chicago, Illinois Speech Habits His word formation, too, depends upon the A as in father) has been selected - U \S qu,te necessary that breathing variations of the English vowel sounds, and Deems Taylor, Greenberg and Hanson. his ancestry, his associates, and upon the by both scientiststs and singWsinging teachers as exercises„ sb™>d be practiced; and it al- his success with a foreign tongue depends TT WOULD SEEM to be a corollary of more upon the delicacy of his ear than upon The Language Beautiful 1 the preceding, that, in the study of the part of the country m which he has been the one most easilyiily produced and one most W^S W1 he so long as the ladies prefer born and bred. He speaks with a Welsh, -— ■ ■ procluced.- and his scholarship. Some students cannot dis¬ ECAUSE OF its simple, pure vowels art of singing, production of the tone and a Swedish, a Dutch accent, comfortable and least associated with any ret-mbte T^^fr ^ Wh'Ie they Strive t0 UNIVERSITY EXTENSION CONSERVATORY tinguish these differences; and it is not un¬ and its relatively few consonants, the formation of the word should go hand in effort of the tongue, the throat, the mouth WesT^ fHa^low rather utban Mae or like a Yankee, a New Yorker, a South¬ usual to hear a foreign tongue sung with Italian is the easiest of all the languages hand, and that neither should be separated or the jaw muscles. As one proceeds to- i Safer t0 Pract,ce them separ- erner or a Middle Westerner; and he never English vowel sounds. However, as the for the vocalist. The Italian composers, The ‘Little Red’ from the other. The practical difficulty of wards the darker vowels, AW as in law nO 7u ■’ r, t0 ,sstrengtllentre,ngtllfn the diaphragm, reasons why. .. an(j qq _ 1525 E. 53rd St. Chicago audience seldom can distinguish these deli¬ even the most modern of them, cherish the such a method becomes instantly apparent. “r1” "uy- as m toe, and OO as in too the li™ •, lnterc°stal> the dorsal and the abdom- In thi9 one-room cottage at Saranac Lake, m, - ana to ot cate differences, very often the public singer bel canto ideal—the pure, lovely, singing A child’s speech education commences at a 1°:^ co™ gradually more closed. ’ Tht obtai" ~turaUy «■» N. Y., called “Little Red,” the modern treat¬ ferent parts of this country, but the Please send me catalog, sample les¬ “gets by with it.” Which is a very good tone as the best means of artistic expres¬ ment of tuberculosis began in 1885 because very early age, in his own home. He hears be taken that the fyK ^duc^f *** ' > the sonantsmams vary in duration and in intensity. not too closed and that none of the enunc full, lovely \ sons, and full information regarding argument for the singing being done in sion. The popular song writers of Italy Dr. E. L. Trudeau discovered the value of rest the speech of his father and his mother, his course I have marked with an X below. sisters, his cousins and his aunts, and un¬ What wonder, then, that the singing ating muscles stiffen during its formafion English. Nevertheless, under present con¬ and Spain, and of course including Cuba, made in the fight against tuberculosis, but it teacher, confronted by so many problems And the Consonants consciously he imitates them. Literally he acher. confronted hv sn As one proceeds towards the brighter ditions, if the American singer is to have Mexico and the Spanish speaking countries of vowel and consonant formation, should learns to speak for his supper—unlike vowels, I as ina tie, AY as in bay,bav EF a« in TT IS POSSIBLE to produce a good tone □ Piano, Nor- □ Adv. □ Violin success, he must be able to sing in Italian, of South America, unlike many other coun¬ divide the words into their simplest ele¬ □ Guitar French and German. The public, the man¬ tries, retain this characteristic; so that by using Christmas Seals on your holiday Tommy Tucker, who sang for it—with the n hit, I as in sing and EE a _ upon the vowel sounds alone, but one for'teacher^ □ Tram □ Ear Trail ^ letters and packages. ments and should compel the student at first □ Piano, □ Corne agers and the radio producers demand it; their songs of the streets and cafes are inflections, accents, and the tone qualities the tongue gradually rises'tndffie w!^ %uS S,ingle Understandable s Sight Sing which distinguish the voices of his family to concentrate his entire attention upon pro- lips oftenften assume_ a_ smilW__smiling aJ fencerp, , without- both- vowelstvttwo andcxiiu consona,^VJlibUUclIUS. and that settles the matter. He must do singularly sweet and effective. 0 sole mio; ducing a “good, pure tone” upon a rnunri ..l.,. , . .8 Mand and his friends. Care should be exercised that the tongue vnweteJt^ i°f the Voice depends upon the □ it, or starve. Santa Lucia; Aye, Aye, Aye; La Paloma; on- □ Saxop The song literature of Europe is much and Estrellita, for example, must be really When he arrives at school age, he is does not stiffen during the formation^ LT’ .the beaUty of the word> both sung older and richer than ours, so that it pro¬ well sung if they are to produce their taught the mechanism of the spoken and Vowels and Consonants the extreme syllables—/, as in sing and m spoken, depends upon both vowels and --zrg . . • - s'nS, and consonants. vides the artist with an endless number written word, reading,, writing and gram¬ (Continued on page 752) mar, and the rudiments of music sight read¬ S ITS NAME clearly indicates, the thin and unpleasant. Nor IhLd°tte smif h ^ “nsonants M a"d N. are produced ing and part singing. Seldom, either at vowel is the vocal part of the word, mg position of the lips be exaggerated into limnnf'"® l*6 -!'PS and allowi'ig the col- HARMONY, ELEMENTARY AND^ADVJtNCED: and .upon MUSIC LOVERS home or in the school room, is any attention made. The com a fixed, Mephistophelean grin, unpleasant , &‘r to vibrateVlbrate in,n thefhe cavities of the Street No. sonants' t ■n the beautiful, legato vowel mouth and nose. The rolled R is produced The National, State and Local Tuberculosis given to the quality of his voice or to the behold and detrimental to the tone Associations of the United States sounds ini understandable words and sen- by vibrating the tongue in the mouth; L, rter^BACH.'BEETSoVENjBRiHMSjteART.WVtGfiER; Persistent practice upon the EE syllable City etc. MAIL ORDERS. CATALOGUE. by pressing the tongue against the roof of KhU^fchw?!. Boston.5 ” THE GRAMOPHONE SHOP, INC., 18 E. 48tt St, Now York City BUY CHRISTMAS SEALS THE ETUDE Page 748 DECEMBER 1934 THE ETUDE DECEMBER 193 \ Page 743

T3he £hoir Directors T3en Commandments

By Jessie L. Brainerd THE ORGANIST'S ETUDE CLASS PIANO INSTRUCTION 1. Thou shalt never scold thy choir, but work and concentrated effort during the Before the Revolutionary days nearly all instruction was given always greet them with a smile at rehears¬ time allotted to practice. individually. Class instruction was a matter of development Edited for December by als and at all services. 7. Thou shalt, when the occasion pre¬ through the years. At last class instruction has come also to the 2. Thou shalt take time to find out thy sents itself, go to other churches and study Piano with Eminent specialists pastor’s text so that thou may prepare the music rendered so that thou may get music to correspond. new ideas and fresh inspiration. It is the ambition of THE ETUDE to make this Organ Department "An Organist’s Etude * complete in itself 3. Thou shalt not tax thy organist’s pa¬ 8. Thou shalt reward all good work The Ross Multiple Piano tience nor over tire her (or him), as thy done by the choir, either individually or which is adequate equipment. accompanist’s efficiency is important to the collectively, with kind words of encourage¬ practice period and at all services. ment. Proper Class Piano instruction gives buoyancy and joy of achieve¬ 4. Thou shalt not play favorites but 9. Thou shalt repeat anthems very ment. It leads to more intense effort and more accurate results distribute the solos and special parts so seldom, but prepare new selections to stim¬ than individual playing. A Ross Multiple Piano will give any Prelude and ‘Postlude that each member of the choir will feel that ulate interest. teacher and the students a new thrill. Write for particulars. he is essential to the organization. 10. Thou shalt, at all times, keep thy

ON$ ® Practical (Clarinet Playing Answered (Continued from page 7x3) when you play I By Henry S. Fry, Mus. Doc your first tune, J Ex-dean of the Pennsylvania Chapter of the A. G. O. try to imitate the clear, sharp staccato that The Important Lower Register the very first is necessary for the cornet. There are THE TEACHER must keep the student week, on a P-A parts assigned to the clarinet that demand playing in the chalameau register from Sax. Then popu¬ staccato work; however, they are not nearly six to ten weeks. - Even the most talented larity. . admiring No questions will be answered in THE ETUDE unless accompanied by the full name so numerous as those found for cornet. pupil cannot learn to breathe properly and friends, good and address of the inquirer. Only initials, or pseudonym given, will be published. times, a glorious The soft D-type of tonguing as obtained tongue correctly without a thorough study by applying the tongue under the reed is future. Try a Q. Can you tell me what causes seems fitting to put the congregation In proper of these lower tones. There is a solidity new model P-A Sax, Trumpet, Trombone, m a to squeak noisily as I mood for the service. The offertory, perhaps much more desirable. It is this type of need not be so consistently soft. Some books and body of tone gained through practice Clarinet at your local music store, or tower is turned on, and if there ii tonguing that gives the clarinetist velocity. o stop it?—K. M. you might find useful include “The Organ " of this register that is essential in the de¬ write for beautiful literature. No obli¬ by Stainer-Kraft; “Studies in Pedal-playing" Since he is denied the use of triple and A. We cannot tell definitely th< by Nilson : "Organ Playing,” by Hull; "Primer velopment of the upper tones. The pupil gation. Easy terms. Write today. 1143 /our trouble, but you might find ii of Organ Registration,” by Nevin ; and “Organ double tonguing, he must rely solely on must be given to understand that the study single tonguing and learn it correctly. of this lower register is interesting. Pa¬ PAN - AMERICAN Thorough knowledge of the alternate tient practice will bring out the beauty of 1208 P-A Building, ELKHART, INDIANA PHILADELPHIA'S PARKWAY, LOOKING FROM THE PENNSYLVANIA MUSEUM fingerings is most essential. Many pas¬ TOWARDS CITY HALL amiiied by nil organ mechanic or expert wh these notes and they will be a joy for a Q. The choir loft of the church of which Rebuilt Band & Orchestra Instruments sages are impossible unless these fingerings might be able to remedy the trouble. honestly rebuilt-fully guaranteed good student to produce. WA WfEZiWiJESM I am a member has been remodeled in such « are learned and applied diligently at every ---—-1 Q. Will you kindly inform me what i way that the organ chamber is directly above The throat tones, that is, from G-flat PAN-AMERICAN BAND INST. & CASE CO. | meant by “sub-octave” and “super-octave the choir loft. The organ sounds about halt WEYMANN COMPANY, Depl. E-12, 13th & Arch St«.. Phil... Pa. opportunity. It is a good idea to insist Philadelphia Welcomes stops and couplers f The organ which I ar as loud in the choir loft as it does in the second line to B-flat third line must be j 1208 Pan-American Bldg., Elkhart, Ind. | that the student learn in the beginning, all handled with care. The tendency is to play I Please Bend me your free booklet. ... Iam especially j special m usic. It is also difficult Ufor the?choir the fingerings for each tone and then see and congregation to keep together during the them out of tune and also to handle them You to the Great singing the . you know of any to it that he employs first one, then the roughly, producing poor quality. Many i/ifl _ the location of the organ chamber other. This should be done when the in¬ students “mouth” these tones. The tone ,'oupler and “super-octave” indicating i I strument is being studied in the first years’ is “scooped” and “twisted.” It requires coupler. A 16' coupler acts on a note one M usical Conclave A. We have consulted with a practical or¬ work so as not to form the habit of using special concentration on smooth breathing, octave below normaf pitch and a 4' coupler gan man, and with the information at hand one octave above normal pitch. Normal pitch can only suggest making a new location far the conventional fingering alone, but rather careful massage-like tonguing and a glid¬ is 8'—the same as on the piano. The term, either organ chamber or the choir, taking the Nineteenth Annual Convention “super-octave,” is sometimes used as the name choir from under the organ chamber. Sum,.: that all the various fingerings will be used ing style of fingering to keep these tones for the Fifteenth stop, which speaks two one—- —win —..1/1 ~’,jt the church and see the with equal dexterity and familiarity. Nim¬ in tune and pleasant sounding. A PIANO ACCORDION octaves above normal pitch. Your letter indi- location orth might suggest a way and Music Festival of the cates that your organ contains two super- "" .,v*uc to ...iions a blunder as was made bleness and fleetness so desirable on the There are, of course, other common "Made by Artists for Artists" octave couplers and one sub-octave coupler. in creating such conditions. clarinet are largely due to a thorough faults, but these seem to be the predomi¬ Q. We have moved into a large church Q. .. ..any book that I can secure National Federation of Music Clubs which contains a large organ (specification which describes the knowledge of the alternate fingering. nating ones, and the corrective suggestions, enclosed) and a full-size choir loft. What -- - - - organs? What are Cinema or Proper breathing should be studied. if followed carefully, should result in a |nf n-■*-Monal singing, ins? In Tub Etude of March, 19,ii you PHILADELPHIA, during the last week of , will become solos, quartets, anthem_ _ _ ,forth . > How. ■ vo two organ specifications. If the $.1500 Long, deep breaths should be taken. The keener appreciation on the part of the stu¬ the undisputed music center of the New World. Musicians and are the pistons set or reset—also the combina¬ 'reification were to be installed would it. be student should learn to expel the breath dent of the possibilities of his instrument tion pedalst What is the best seating arrange¬ issible to exchange the Pedal organ lle- music lovers from all parts of the United States will join in one of the ment for a choir of forty-four voices, with tin lit ant for a 16' Dulciand (omit- as evenly and smoothly as possible. It may s of five seats each i both s of the ting the S' Dulciana) t Is the Resultant Bass be likened to a thin stream of oil flowing greatest festivals yet given in our country. The great Philadelphia organ console and fourteen st row,n back meant to be oj foundation tone? On a Vnit Orchestra, choruses and musical organizations from all parts of the land of organ console?—W. G. C, A board is entirely unified A LEMARE PHOTO AND AUTOGRAPH out of a bottle. The more practice the ^A. For hearty congregational singing we and the stops have their origin on the Swell with a few bars of his beloved "Andantino” will and a remarkable group of foremost soloists, including Giovanni Mar- Would there be any increase of volume if solve the gift problem for your musical friends. student has in controlling long breaths the MUSIC PRINTERS tinelli, Kathryn Meisle, Nelson Eddy, Jose Iturbi, Albert Spalding and Gireat Organ—Open Diapason 8', Violin Prin¬ Swell to Great coupler is drawn? Please Price $1.00 easier it is to play steadily and smoothly cipal 8\ Gemshorn 8', Principal 4', Harmonic describe the Melophone on the Atlantic City Ben Stad will participate. The Main Sessions will be held in the Ballroom Charlotte Lemare without a ripple in the tone. Endurance ENGRAVERSandLITHOGRAPHERS I of the Wanama 111 N. Arden Blvd., Los Angeles. Calif. I PRINT ANYTHING IN MUSIC- BY ANY PROCESS I Swell Organ—Horn Principal 8', Stopped r, Philadelphia organ is gained by this practice. Bellevue-Stratford Hotel, the historic Academy of Music and the Diapason 8, Viol d’Gamba 8', Gemshorn 4', ing five manuali I hare read h Baptist Temple. Piccolo 2', Dolce hornet. Oboe, Cornopean. that it has six WE PRINT FOR INDIVIDUALS Pedal Organ—Double Open Diapason ] showing six ma established™* REFERENCE ANY PUBLISHER I BourdonBOUrdon 16'.16’, Vinlnnollr,Violoncello 8'.s- p ’ . H0J A?"1 Whom may / obtain the spa JAZZ COURSE MRS. EDWARD PHILIP LINCH, President of the Matinee Musical Couplers—Swell to Great—SweH to Pedal— fT'' , • °a" you '.ist *l'rcral Places who. Club of Philadelphia, is Chairman of the National Program Com¬ Great to Pedal. t},li following companies hare installed or,must Economical SWusic Binding mittee. She may be addressed at the Bellevue-Stratford Hotel, Phila¬ Organ—Tweifth^^fteemdi* antpMixture ^iThe «§ Wuri^.’ ^Z^lsT^ Tthe ZIMMERMAN* 2 delphia. The National President is Mrs. John Alexander Jardine, 1112 By Waltei! Kaye Bauer Third Avenue South, Fargo, North Dakota. for accompanying solos, ?3”dt?A y,,,u ,a specification. What n"'1 ^"rth vnrips kyw you ininfc of it for a residence oraanf HE largest Music Publishing, Music o give SDeeifle J^hat would be the approximate price if built The orchestral arranger and conductor, gummed strip, of course equals two pages T msf experiment "/ fieo,ian Kimball? Who if the builder —► SPECIAL ANNOUNCEMENT 4— Merchandising, Radio Manufacturing, • Phe finds % xle sPcciftc«tion for $12,500 sent met— confronted with the problem of preserving of music, but if the music is printed on "WALTER JACOBS, Inc., has acquired the Sole Selling Agency of the manuscripts and printed music scores at a both sides, one folded gummed strip will Famous Talking Machine and Music Journal in¬ °sphI if PathleUlalk terests in the world are now situated in —e suggest the f< minimum cost, will value the following control four pages. The number of gummed Ffn;The"n'isVnT,«"0&/Ti' ^"“wing way of scribing the Wurlitzer Theater Unit organ by suggestions for making a binder which has strips required will depend on the number EBY SCIENTIFIC METHODS the Philadelphia district. Millions of peo¬ (2)thmofe°Pt8hef0r“l^ proved practical and which can be made at of pieces to go in each binder. For Cornet, Clarinet, Saxophone, French Horn, Trombonel ple, when they think of music, inevitably rtnait in position while (3) you name some times used for the picture theater [ no great expense. These folders may be highly ornamental and (Arban’s Method in Bass Clef), BBb Bass (Tuba) think of Philadelphia. ich you wish to incl

ffhe Basis of 'Piano Toechnic of ^3oday “Do You Know Tour Symphonies? (Continued from page 709) ... THE POCKET By Lester W. Groom MUSIC STUDENT The Pianist’s Eternal Question L. H. 4 2 2 2 3 1 1 1 Can you give the correct answers to the begin with a five voice fugue? 5 5 3 5 4 4 2 4 following questions about symphonies and 20. What symphony ends with the same AND NOW an all important question. symphonic movements? Some of the ques¬ theme with which it began? .Are purely technical exercises entirely and backwards. The volumes in this Pocket Music tions may have several answers. 21. In what symphonic movement is there 5 unless accompanied by the full name unnecessary for the piano student? By no Ex. 4 Student Series are 5x7. Just right r pseudonym given, will be published. manner of means! There is, of course, an 1. What symphony uses a theme and no arco among the strings ? to fit the pocket. Priced reasonably. variations for its first movement? 22. In what symphonic movement are abundance of material of this nature, in R. H. 3 4 4 4 4 5 5 5 2. What symphonic movement contains found forty-seven measures of pedal- the significant works of the masters, and 1 1 2 1 2 2 3 2 _motions, photographs and labels of old violins. On the basis of these, the 60^4 per volume—postpaid. a phrase from the Russian Contakion writers ask us to tell them if the violins are genuine, and their value. We regret a wise student will learn how to make in¬ to say that this is impossible. The actual violin must be examined. The great telligent use of these. But much purely (Hymn for the Dead) ? 23. What symphony includes a waltz ? majority of labels in violins are counterfeit and no indication of the real maker. PARTIAL LIST RECOMMENDED 3. What symphonic movement is in the 24. What symphonic movement introduces We advise the owner of a supposed valuable old violin to take or send it to a mechanical work is necessary in every case. and backwards. reputable expert or dealer in such instruments. The addresses of such dealers can Here is a formula based on the statements AS INEXPENSIVE CHRISTMAS SIFTS form of a Passacaglia? a new theme into the development be obtained from the advertising columns of The Etude and other musical pub¬ L. H. 3 2 2 2 2 1 1 1 4. In what symphonic movement is the which proves later to be in counter¬ lications.) of many prominent authorities and on 5 5 4 5 4 4 3 4 WHAT EVERY MUSIC LOVER SHOULD KNOW main theme and the second theme the point with the main theme? years of experience. For digital speed prac¬ and backwards. WHAT EVERY MUSIC STUDENT MUST KNOW same melody? 25. What symphony has only two move- Playing---ever Uuliiit the back and sides were made by a tice exercises which develop the extensor 5. What symphony opens with three un¬ H. G. c.—.Many violinists play the An- master craftsman. As a result of this happy muscles, the muscles by means of which the Ex. 5 THE VIOLIN STUDENT'S prepared dominant seventh chords? ANSWERS dantc movement you speak of in a more or combination, the tone closely approximates fingers are lifted. For this purpose take HANDBOOK OF MUSICAL TERMS less rubato manner, llubato, as you know, that of a Stradivarius of the finest type.” R. H. 2 5 5 5 VOCABULARY 6. What are two symphonies that have 1. Goldmark, “Rustic Wedding.” "held back,” that is, c „ .0, with the parts made by different makers, the first study of Czerny’s “Art of Finger 114 1 Karl Wilson Gehrkens prolonged, and others accelerated, the violin is worth possibly $5,000 or $10,000. The Handbook is much more than a no slow movement? 2. Tschaikowsky, “Sixth”—First move- afraid you would have to study this If made entirely by Stradivarius, it would Dexterity” and have each hand—separately Eugene Gruenberg 7. In what symphonic movement is the sition with a good teacher, in order t probably cost $15,000 to $25,000 in the mar¬ at first—to play the passages in sixteenths dictionary for it covers a wide range of The Author’s life-long devotion to the main theme accompanied by itself in 21. Brahms, “Fourth”—Last movement. in an artistic manner, ket today. Many other instances could be with a crisp finger staccato, repeating each topics in pocket form. Adopted by Violin, both as an artist and as a dis¬ things cai____be taught byJ |mail. ~ named of violins with top, back, sides or and backwards. many schools for student reference. diminution ? 4. Mozart, “E-flat”—Last movement. tinguished pedagog, finds expression in position is frequently played over the radio, other parts made by different makers. note twice at first, and later three and four The subjects ate grouped under: 8. In what symphonic movement is the 5. Beethoven, “First.” and if you listen much to the radio, the times. It is neither necessary nor advis¬ L. H. 4 1 1 1 this valuable handbook which tells chances are that you will hear it sooner or Ereutzer “Studies.” 5 5 2 5 Notation Instruments every violin player and student con¬ main theme immediately followed by 6. Beethoven, “Eighth” and Franck, “D later. W. E. R.—It is an excellent idea for you to able to raise the fingers very high. This Performance Voices . . itself in inversion? go over the Kreutzer “Studies” several times and backwards. Musical Elements Historical and cisely and exactly what he needs to Judging Progress. —three or four times would not be too many. exercise requires patience and endurance, know of musical terms, the rudiments 9. In what symphony is the “motto” 7. Dvorak, “New World.” Iv. II. P.—The Etude does not pass judg¬ Pew violin pupils appreciate the extreme but it will work wonders. Do the same Ex. 6 F°o?ComdoIitfoens ItaHanEqJvaknts of musical knowledge, practicing, the heard in every movement? 8. Brahms, “Third”—Third movement. ment on the work of teachers. I could nob do value of these matchless studies, which are Acoust?cTP°S1 Reference Books the subject justice, since I have never heard used by violin teachers in every country in thing with the third study. By no means 1005 famous violinists, famous violin and 10. In what symphony is the viola the solo 9. Tschaikowsky, “Fifth.” you play, do not know how far advanced you the world. These studies are so thoroughly overlook No. 2. Let scales, arpeggios and R. H. 3 5 5 5 Fully illustrated with musical quota- bow-makers, with an historical sketch instrument ? 10. Berlioz, “Harold in Italy.” are, and how good a technical foundation you violinistic, that no violin education is com¬ 113 1 of the violin and bow. have. If I culd hear you play, and learn at plete without them. Bach, executed with clarity and precision, 11. What are two symphonic schersi that 11. Schumann, “First”— Third movement. first hand what you have accomplished in a constitute an essential part of the daily MUSIC IN WORSHIP Illustrated with music-quotations. have two trios each? and Schumann, “Second” — Second given time, I would have some kind of a basis Operatic Arrangements. technical and musical bread. Train that Walter Samuel Swisher 12. In what two symphonies are found, on which to form a reliable opinion of your H. L.—There are excellent arrangements, movement. talent, and whether you have made good by Singelee, of moderate difficulty for violin recalcitrant thumb! Do octave and vibrato and backwards. The author is clergyman, organist, PSYCHOLOGY FOR THE MUSIC in the last movements, entire periods 12. Franck, “D minor,” and Goldmark, progress in the time you have been studying. and piano, of exercises from the operas, exercises for at least fifteen minutes every L. H. 3 1 1 1 musical enthusiast, and special student TEACHER “verbatim” from the preceding move- “Rustic Wedding.” I will say, however, that the compositions on “Robert le Diable,” and Lucia di Lammer- of psychology. His book is a text for which you have been working are all very day. And as an additional means for gain¬ 5 5 3 5 Walter Samuel Swisher 13. Beethoven, “Third.” good, and if correctly taught to you, will re¬ ing finger velocity try the following gym¬ both organist and minister. sult in good progress. Identlfying Violins. and backwards. A practical working text. A real help 13. What symphony has a theme and vari¬ 14. Beethoven, “Sixth”—Second movement. S. A. W.—In the absence of other informa¬ nastics either on a table or on the arm of ations for the last movement? 15. Brahms, “Second”—Third movement. tion, it is impossible to tell from photos the Ex. 7 to the teacher who wishes to improve name of the violin maker. The violin, itself, a chair: his hold on students’ interest and at- 14. What symphonic movement contains 16. Beethoven, “Sixth”—Third movement. must be seen and handled by an expert. Ex. 1 Unity of the Sen the songs of three birds? 17. Schumann, “Fourth.” Violin makers of note invariably pasted paper R. H. 4 5 5 5 112 1 15. In what symphonic movement is the 18. Schumann, “First”—Third movement Practical History of the Violin,” ... HI labels inside their violins, giving their names, R. H. 2 3 4 5 5 4 3 2 CONTENTS of the most noted of these makers : “Albani, and where and when the violin was made. 1 2 3 4 4 3 2 1 Music Study and Personality main theme found both in three-four (First trio). Mathias, Bozen, 1650-1709. He was a pupil Sometimes violin makers of lesser note cut Psychological Types and in two-four? 19. Beethoven, “Ninth.” of Nicola Aniati, and produced very high their initials on the button of the violin, but How We Learn class work, that in many cases can readily violins so marked are usually of the factory Bibliography 16. What symphony contains music por¬ 20. Brahms, “Third.” erarie. Tf wmilrl ho rUffionH- ... „ rlTTHT sPsTsTsl and backwards. Function of the l The Material With Which We Work be mistaken for Cremonese work.” The Hymn Suggestions and Imitation traying a peasants’ picnic? 21. Tschaikowsky, “Fourth”—Third move¬ Prices of these instruments differ according might be a_ L H. 4 3 2 1 1 2 3 4 L. H. 2 1 1 1 rW, firm. 17. What symphony of four movements to the maker, and the quality of the instru¬ J identify the^ maker by the Questions, suggestions and bibliog¬ ment. ment. Any leading dealer in old violins can Initials. As you live near New York cltv. 5432 2345 5 5 4 5 raphies at end of each chapter. is designed to be played without stop give you late quotations. --- your^ violin with you, on your next trip 22. Tschaikowsky, “Sixth”—Second move- and backwards. as one continuous piece? I ‘ ~ “ of the experts. Approximate a legato when doing these ORNAMENTS IN CLASSICAL AND Illustrated with musical quotations. More Labels. exercises. For example, when proceeding MODERN MUSIC 18. In what symphonic movement is there 23. Tschaikowsky, “Fifth.” A- W.—It is very unusual to have two Do these exercises on the piano also, CLEARCUT SPEECH IN SONG a trio whose main theme has no mel¬ different labels in a violin. The upper label Removln, from the first double notes in Ex. 1 to the Clarence S. Hamilton 24. Mendelssohn, “Italian”—First move- in your violin is that of Joseph Guarnerius, ' second, let the thumb serve as an anchor; using the first five notes of any major or ody, but only harmony? **- ’—rer that of Antonius J. W.—To use a “Hibernicism,” the best minor scale and also the diminished seventh By the author of TOUCH AND EX¬ Clara Kathleen Rogers Iim10!6 r.os.ii1 which has caked under and continue this process throughout. PRESSION IN PIANO PLAYING, 19. In what symphony does the scherzo 23. Schubert, “Unfinished.” —- around the bridge, is never to let it fret chord. A few of the twenty chapter headings: caked on the violin. By that I mean that the Ex: 2 OUTLINES OF MUSIC, EPOCHS Classification of Consonants rosin should be wiped oft with a soft cloth An adequate technical ability must be ac¬ IN MUSICAL PROGRESS, etc., etc. before putting the violin away after playing. R. H. 2333 3444 4555 quired in one’s early youth. It has been ha'e to send it to an expert for an opinion, It will then never accumulate. If your rosin 1121 2232 3 3 43 said that after one reaches the age in which SYNOPSIS which would cost you about five dollars. 2 — is not badly caked on the violin, y6u can get a cleaning mixture in tubes or bottles from the reasoning powers become more active, Historical Surrey Tonal Repetition The Labels of these two violin makers are any large music store. If the rosin is caked Early Treatment of Nearby Tones T3he ^Philosophy of Gretry printed in the Italian language. 3_No one very badlv you can remove it with linseed it is much harder to gain mechanical skill, Tempo Connecting Notes can give you much of an opinion of a violin, oil to which a very small amount of pulver¬ and backwards. because one thinks too much of the difficul¬ Classes of Ornament ot Passages without seeing it. 4.—Any glue of fine qual¬ Chord Decoration Fully illustrated with musical quota¬ By Samuel A. Goodwin ity can be used in gluing the various parts ized pumice stone has been added. Rub very L. H. 4 3 3 3 3 2 2 2 2 1 1 1 ties and, in consequence, is apt to become °? t.he violin. 5.—You could first stain the gentiy so as not to damage the varnish of the Liberally illustrated with thematic pas- tions and pronouncing exercises. violin the required color, and then varnDh *f y°;irK violin is a valuable instru- 5545 4434 3323 afraid of them. But to be able to play the over it, or else you could get a mixture of do the* work better get an exPert repairer and backwards. piano artistically is an accomplishment FUNDAMENTALS OF VOICE Gretry, the Belgian, who succeeded varnish and stain and do the whole thing in the above paragraph with another fine say¬ two operations. Some violin makers use five Vincenzo Panormo, Paris (also Sicily. Ire- Ex. 3 which brings so great a measure of satis¬ TRAINING Lull: and Gluck as the leading composer ing about the artist’s need for careful laadl 1740-1780, was aN iolin maker of or six coats of varnish. 6.—Varnishing and considerable note. He was a restless genius R. H. 2444 3 5 5 5 faction and happiness that every one anxious of France before the Revolution and for selection of material: “A useless beauty lepairs are described In a little work, “The TWENTY LESSONS IN CONDUCTING D. A. Cllppinger a little while after, was a writer as well Violin and How to Make It,” by a Master of rki i! very irregular in quality'. 1 1 3 1 2 2 4 2 to learn the art should be willing, no mat¬ is a harmful beauty. The great task of the Instrument, which can be obtained from Some of his violins look and sound like real ter what his age, to devote to it a great Karl Wilson Gehrkens COVERS SUCH QUESTIONS AS as composer, and his essays contain aphor¬ the publishers of The Etude. m2°f,as’ and othes look as If they had been art is to determine the place which every¬ StrnHfvn^” workman. He copied the deal of effort and energy for the sake of As a first book it is a manual of prac¬ isms worth quoting. Here are some of thing should occupy.” j?' mo?e,L a rule- A description m :nmi tice by which baton technique can be them. Ventepane Vlo ot one of his violins says: “It is varnished and backwards. the greater good to be achieved. “I say frankly, whether it is because A. M.—-Lorenzo Ventepane, violin maker in a deep red, wine color. The varnrnh is of secured. Success in conducting de¬ “The most skillful musician is he who of the 19th Century, in Naples, Italy, was I am older or because republics are not not a violin maker of great note, but made and’ mDiei f,uality; The tone is veryVweet pends upon the acquirement of the can best transform declamation into mel¬ some fair violins. I do not know where you a?'1.. and has ample power. His fundamentals so clearly taught in this ody.” favorable to illusions, music interests me vini n^ I0T/1 Bated in the catalogs of American less today than formerly. The language coiUd get details of his life. Any dealer in book. $1 000 ” ! at prices i-ahging from $400 to Music scores are provided that covet “The melody which .lingers in one’s of music seems to me too vague; now that worth01*1*8 CSn 1611 you y°ur violin Is mind like beautiful poetry bears the mark The Easier Concertos. Musical Memorizing each problem, and cuts illustrate the I am on the threshold of old age, I want Violinist’s “Daily Dozen.” aithough you have just fin¬ rhythm for baton movements. of genius. All other music, however well something more positive. Men of all ages L. T. J.—An excellent “Daily Dozen” of ished the Kreutzer “Etudes,” most of the con- THE GIST OF SIGHT-SINGING written, is only a good arrangement of NOTED NAMES IN MUSIC are fascinated by the arts, but the creation ^hzitz toerdlfflacI5fltPloCreSyoyuOUton?X Tp^t By E. Hugh Ebert Leo R. Lewis of works of genius is only proper to the considerable position work in these exercises Winton J. Baltzell Written for class use in study-groups, “If you can only express your ideas by and also effective bowings. Their principal then° b^ltt* d° ^«^°7B1tudll”StUYou1 would years when imagination and its sweet illu¬ then be fitted to study some of the easier This handbook is a Who’s Who in supplying an abundance of practice making use of unaccustomed combinations, sions are in full force. It is time for me SVgers Xth'flcft hand01' devel°Pme“‘ <* standard concertos, such as “No. 1 in A Not so many years ago it was no un¬ . memory,” either inborn or acquired, for Music. It is brought up to date with material, covering all phases of pitch, do not be afraid of enriching theory by a to retire and take philosophy or reason, winui’ *J‘y Accolay; “23rd Concerto in G.” the biographies of the most noted by Viotti ; Concerto in E-flat,” by Mozart: common thing to see pupils playing from those studying for the profession. rhythm, key and mode. In addition are new rule; others will use your license, which are one and the same thing, for my musicians, past and present, including 17 pages of Rudimentary Facts of In® ea,f“T Smpftos by Kreutzer, Rode. Mo- notes at their recitals. Now all this has perhaps in a better way than you have portion.” meP’,Crem°?sometimes ?P®n,‘d Pailot, the advancement in methods of teaching. tion with his craft, Gretry remained mu¬ The catalog of a well known dealer describes this he memorized the finger work without EXAMINATION. blending the colors is foolish; it is for¬ Our piano teachers have not been idlers. sician to the end. “I will not be buried +Ho4V1F°i!mKS £oU

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Violin Classics in the First Russian Album Five gIorio?syandTeSi R Go,°^f 150 l-10 (Otto Zimmer) .75 .50 jbflus! the average violinist a splen< These Reduced Prices for Gift-Season Buying are For December Onlv-We Deliver _P IC1S *»■ roR Cash with order-no returns, .xckanoes or .mmin.tion i-riviucis auow\rle at OStpald Twenty-Eight Page Booklet of Holiday Bargain Offers Cheerfully Sent Free On Request OFFERS A LIBERAL SELECTION OF VOCAL ALBUMS, INSTRUMENTAL COLLECTIONS OF ALL KINDS, MUSICAL LITERATURE, MUSICAL JEWELRY, MUSIC SATCHELS, ETC. THE ETUDE the etude DECEMBER 1934 Page 753 Page 752 DECEMBER 1934 Knowing W hat One Has To W or\ For NEW YORK SCITOOLo/MlJSIC ARTS ^)Ijr QbbelattiiJnsIUittp nf (D«Htr By Ralph Kent Buckland Question and Answer Department Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma Conducted by 310 West 92nd Street, New York City Public School Music Course in conjunction with Western Reserve University Tel. Schuyler 4-4140 brain pictures the perplexing situation— Karl W. Gehrkens BERYL RUBINSTEIN, Director, 2605 Euclid Avenue, Cleveland, Ohio. It is rather generally true that a com¬ plete knowledge of the difficulty to be sur¬ there is, after all, only an even dozen major RALFE LEECH STERNER, Director mounted aids greatly in bringing about scales to get within the grasp of the fingers. success. To know just what has to be He decides he can master a little matter of LOWEST RATES EVER OFFERED BY THIS SCHOOL OF MUSIC done dispels much of vagueness in the a dozen scales, so he earnestly sets to work, manner of attack and concentrates effort knowing just how much he has to do, and No questions will be answered in THE ETUDE unless accompanied by the full name FAMOUS INSTITUTION BUT SAME OF THE UNIVERSITY OF MICHIGAN and address 0/the inquirer. Only initials, or pseudonym given, will be published. toward the solution of the problem. he does it. CELEBRATED FACULTY. Complete curricula leading to degrees in Scales are a bug-bear to the aspiring The minor scales come later, but they, all branches of Music. Faculty of distin¬ "r!!.l‘relu,l,7 .,-and fugues,” Heller’s young piano student. This is due in part too, can be reduced to an equally incon¬ 0 How can 1 explain to a pupil the /lwenty-five Studies,” and Mendelssohn’s Dormitories in School Building. ^inBrdatoC ofXClxtsii guished artist teachers. Concerts and May .narking of non legato in J. 8. Bach’s Bourrde Festival by world's greatest artists and to the unquestionable fact that the young sequential total, there being a relative , ‘‘Suite in E-flat" when the treble is hackr—lMOUt Words” Bashe put me pupil is frightened at the, to him, ever minor for each of the major scales, with marked legato almost through the entire Send for Catalogue, Biographies and Programs. Under Auspices of The Cincinnati organizations in Hill Auditorium seating four ”otes aSain»t Institute of Fine Arts and Affiliated 5,000. Chorus of 350; student symphony changing complexity of scale study. Could three types for each relative minor—har¬ with the University of Cincinnati piece\inable to locate any edition of Students’ Concert every Thursday evening orchestras, glee clubs, bands, etc. Recitals he have the subject presented as one of monic, melodic and mixed. this Bourrge marked “non legato;” however, A Complete School of Music, each week on $75,000 organ. comparative simplicity his task would more When the pupil finds that there is not .... sorrv to say, such contradictory mark¬ ing is not uncommon. I think that in such Dramatic Art and Dancing fT Second Semester Begins 'll readily fall within his understanding and so very much to do, no longer over-awed a case it would be better to trust to your Registration for second semester begins Febru¬ \\ February 11 L his power to execute. by the stupendousness of the task, he is own judgment. If you do not want to do U. Write for catalog JJ that follow the legato phrasing rather than ary 1st. Special Students may enter at any time. Disregarding the almost never used keys sure to redouble his efforts. Though not to play the composition throughout non INSTITUTE OF MUSICAL ART 2650 Highland Avenue Cincinnati, Ohio CHARLES A. SINK, President of C-sharp and C-flat, and bearing in mind just pedagogical, as a gesture toward sim¬ that the keys of F-sharp and G-flat are of the plicity and variety it may be of help to let Monotone Froblen really identical from the standpoint of fin¬ the child call his scales by numbers instead e having your defini¬ JUILLIARD SCHOOL OF MUSIC OBERLIN CONSERVATORY OF MUSIC gering, there are only twelve major scales, tion of a monotone; also the causes of a LAWRENCE COLLEGE of by key name. He can then boast of monotone; treatment of monotones, and so ERNEST HUTCHESON, Dean OSCAR WAGNER, Asst. Dean an even dozen. having put out of the way Nos. 1, 2, 3, 4, on. What' percentage of school students are D18tt n g™U he d ° fa c u 11 y of specialists. Excellent equipment. Any bright pupil will at once say, Thorough instruction in all branches of musical education. Private lessons For ^entrance, ^high^school^ or equivalent. ^^Dormitories. CONSERVATORY OF MUSIC 5, and that No. 6 won’t last long at the monotones^ow ^ ^ one who has made a real thirteenth— ... _,r, first with the right Carl J. Waterman, Dean “Humph! Only a dozen! Why, I ought rate he is going. hand and then with the’left. Alternate" ... in all standard instruments, courses in theory and composition, normal research in the case of the problem of mono¬ courses for teachers, methods of group training for children, preparatory Fall term opens Sept. 19 to be able to get those. Just a dozen! This will reduce the problem to a sort tones but every teacher of little children this way at least ten times, then, without has found it necessary to study the matter at iieat, suddenly play both hands to- courses for children, extension courses, and many others. That sounds easy.” of game, a means of attack which all chil¬ By this time, if you have a good a Northwestern University first hand because, of course, the most im¬ Public School Music course leading to degree of Bachelor of Science with And so it does, expressed in simple fig¬ dren love, and which will, beyond question, portant thing the child does when he goes of rhythm, you ought to be able to to school Is to learn to sing. ”j ~~t, keep on trying and Major in Music. II 1 A Cni versi ty Professional ures. Instead of the endless variety run¬ still further accelerate the mastering of the A monotone is an individual who cannot s patience > l will I Catalog on request. ■1 II 1 School of highest standard. ning close to a hundred—so his befuddled scales. carry a tune. The word implies that he sings Think only of the main beats and not'of the IV II ■ Idsal location immediately DFTDAITINSTITUTE of — i,nt actually monotones usually individual notes. 120 Claremont Avenue, New York IClII I MUSICAL ART eral t( e the v Another way that is used a great deal, al¬ II NN W ■ branches?f Music u„ _— ..‘liiptmg to sing a melody though the timing is not perfect, is like this taught. Liberal Arts subj sets Singing in a Foreign Language —but not far enough to strike the right tones. You will fiud further information about this school withoutBi,rFr Faculty of 84^ artists. Accredited Teachers* Certificates, matter in mv recently published book “Musi'’ aarmony & (Continued from page 741) in the Grade* Schools,” which a procured H. through the publishers of Tfl The only Scientific Pedagogy based AddreafH. ^MANn/l LLeJ b!?/ Manager Composition by Correspondence of MUSIC Dept. 2—52 Putnam Ave., Detroit. Mich. on Feeling, and pra c tic ally 1 1822 Sherman Avenue effect. Latin, too, is a beautiful language The Language Robust Novel A Special Course for begin- Scad for P M B circular. V. Evamton,"'. j for singing. Its vowels are sonorous, and j me marks for the following compositi_ ns f - rY ners, or for Music teachers Mr. and Mrs. Crosby Adams the consonant combinations not so very THE VOWEL SOUNDS of the Ger¬ y and Fugue.” EFFA ELLIS PERFIELD “Italian Concerto” (3 movements). 2.—No : ___ _ fanf^rk r^rth 'advantage" WINTER CLASS difficult, especially if they are pronounced man are dark and full, and the pre¬ s.—Men s “Prelude and Fugue in A Minor.” 103 East 86th St., New York, N. Y. CONSERVATORY OF MUSIC was, the second, if he also is a good teachei MILLIKIN for TEACHERS OF PIANO in the Italian manner, which seems to be ponderance of difficult consonantal combi¬ i.—Bach’s “Fantasie and Fugue in Ct Minor.” would naturally give you easier things ~ Useful ^Loughlrd"sTandingekof DECATUR, ILLINOIS d la mode at the moment. nations, which must be somehow clearly 5.—Chopin “Waltzes,” Op. 18 ; Op. 34, No. 2 ; first. Judging from the excellent mater in Milwaukee, Wisconsin Op. 34, No. 3; Op. 42; Op. 64, No. 1 ; Op. 64, that he has given you, I think you must ha Offers thoro training in music. Courses leading to January 1st to the 7th, 1935 Bachelor of Music Degree, Diploma and Certifi¬ articulated, make the singing of German— No. 2 ; Op. 64, No. 3; E minor (posthumous) ; a good teacher. cate in Piano, Voice, Violin. Organ, Public School Write for particulars to The Language Elegant except in the mouths of extraordinarily E Major (posthumous) ; 6.—Chopin First Bal¬ School of music Montreat, North Carolina lade ; Second Ballade; Third Ballade ; Fourth Music Methods and Music Kindergarten Methods. HE PREDOMINANCE of bright skillful artists—thick and somewhat gut¬ Ballade.—A. A. Bulklin tent free upon reques t INTERNATIONAL MUSICAL vowels in the French language, and tural. Then the modified vowels, a and u A. Metronome markings are as follows : 1812 Spring Garden St., Phila. W. ST. CLARE MINTURN, Director 1.—Fantasy, J=92; Fugue, J=116. 2.—- Write or ’phone Pop. 0640 the many nasal sounds which abound in and 6, are trying for Americans, who find and EDUCATIONAL AGENCY feffissiffiffiragsiara "Italian Concerto,” first movement, J=96; Instrumental and Vocal instruction. that tongue, make both the speaking and it almost impossible to reproduce them second movement, ^=80; third movement, the singing voices of the French people ATLANTA CONVERSE COLLEGE adequately. One can scarcely imagine con¬ J=92. 3.—Prelude, J=84 ; Fugue, ^=152. SCHOOL OF MUSIC sound white and thin to our ears. Never¬ 4.—Fantasie, J=52; Fugue, J = S0. 5.— CONSERVATORY of MUSIC theless, French must be mastered by the certs without Bach, Handel, Gluck (the HUGH HODGSON GEORG LINDNER SPARTANBURG, SOUTH CAROLINA “Waltzes,” Op. 18, J.=96; Op. Si, No. " THADDEUS RICH, Mus. Doe,, Dean An Endowed Professional School, Nationally American singer, because of its magnificent last two, expatriates), Schubert and Hugo J.=66; Op. 34, J—92 ; Op. Courses in' PIANO, VOICE, VIOLINl"oRGAN, Accredited. Full B. Mus. Degree and Diploma Wolf (Austrians), Schumann, Franz, CHOOL of MUSIC PUBLIC SCHOOL MUSIC, NORMAL TRAIN¬ Courses. College Environment. Teachers of song and operatic literature. Bizet’s “Car¬ J.=92 ; Op. 64, No. 1, J.=116 ; Op. 6i, No. 2, ING. DRAMATIC ART AND DANCING National Reputation. Artists’ Concerts and men,” Gounod’s “Faust” and the “Samson Brahms, and the modern Germans. The J.=66; Op. 64, No. S, J.=80; E minor, of J.=S8; E major, J.=84. 6.—First Ballade, Peachtree andaBroaBd Suelts'’1’110®*101Atlanta, Ga. Annual JNlusic Festival* Moderate Tuition Fees. et Dalila” of Saint-Saens are three of the field of Opera would be definitely poorer C‘‘‘'“r'orAC»ttfoa!3^Tr!ts'l«c.'*Ely,'16l6 wSrt'fsft'I't,, N. Y. Address: N. Irving Hyatt, Dean operatic best sellers. Then the truly mag¬ without Weber and impossible without J=108; Second Ballade, J = 79; Third Bal¬ lade, J.=79; Fourth Ballade, J —104. nificent songs of Debussy, Duparc, Hahn, Wagner, the greatest of all operatic gen¬ These metronome markings are only ap¬ COMBS COLLEGE OF MUSIC S WANTED: A REPRESENTATIVE Faure and Ravel, to mention but a few, iuses, and his followers in every country, proximate. All of these compositions vary ANNOUNCING APPOINTMENT OP have become a necessary part of the mod¬ so much in tempo that I am afraid you will in every town to including Humperdinck, not be helped much by what I have given Alberto Jonas of New York ern singer’s equipment. and Korngold. you. For instance, the first page of Waltz Director of Piano Dept.^ AH^branches—individual Train Children’s Voices PFARfllW CONSERVATORY in C-sharp minor is not much more than half Degrees, Symphony Orchestra. Gemankwn In¬ High grade work with excellent remuneration as fast as the second page, and so it is with A. 1.—I cannot be certain of the meaning tension, 123 W. Chelten Ave. College and Dormi- 1 LnOvU 1 , MD. of the sign that you refer to. Two slanting Louise Weigester School parallel lines are sometimes used to indicate Dr. Gilbert Raynolds Combs, Founder Extension Study less pedal must be in Kindergarten and First Grade”; the sec¬ second measure is sostenuto. The second sists of the broken tonic chord, the domi¬ ond, “Elementary Teachers Book.” You will section beginning measure nine presents also find many beautiful rote songs in the nant seventh (first inversion) and the sub¬ Four Against Three. “Universal Series Book One,” and in the trill figures in each hand played simultane¬ dominant triad (second inversion). Words „„y- l—IIow do you play four sixteenth “Universal Teachers Book II, Accompani¬ ments,” by Damrosch, Gartlan, and Gehrkens. ously and rather forte. The last note of are supplied to lend atmosphere and against three eighth notes as found in each trill is to be thrown off crisply on a Cfcopm gFantaisie Impromptu, Op. 66? “Art Song Cycles” by Otto Miessner is still make of this little piano piece a song if erJt!'’’'ag completed, eight hooks of one of the best collections of rote songs for staccato eighth. third and fourth grades. Any of these books Singer (on camping trip): “Whew! That’s the last time I’ll desired. A good chord study. chann l fan4ard Graded Course,” I may be procured through the publishers of ever practice the Toreador Song in the country!!!’’ Page 754. DECEMBER 1934 THE ETUDE THE ETUDE DECEMBER 1934 Page 755 How One teacher Kept ‘Pianistically Fit on NEW Forty'Five VYCinutes a F)ay VOICE QUESTIONS By Cora Ferne Pierce Answered CHICAGO MUSICAL COLLEGE By Frederick W. Wodell IT IS AN oft-repeated excuse of piano motion of the wrist, back and forth, is RUDOLPH GANZ, President HAROLD E. RAY, Business Manager teachers when asked to play that they necessary in this exercise. have no time for practice. The writer, Next she plays a scale. She takes the too, once belonged to that group of musi¬ E harmonic minor, contrary motion, this morning. But she spends (as you will, if cians who always respond to such requests No questions will be answered in THE ETUDE unless accompanied by the full name with the alibi: “Oh, I don’t play at all you try it) more than the allotted four min¬ and address of the inquirer. Only initials, or pseudonym given, will be published. A New Book for All Lovers of any more! I am so busy. I’ve given up utes, at first. One octave and back very The Chicago Musical College Entertaining and Informative Reading my own practice entirely !” slowly, arm weight resting on finger tip, do not know it; others positively enjoy their each tone as beautiful and deep as can be. vocal "wobble.” Get the singer to stand well; is an institutional member of the But there came a time’when she saw she then see that she permits the breath to flow was losing not only influence among her Two octaves, faster, fingers close to keys. down into the lungs, resulting in a comfort¬ Three octaves, clean-cut, staccato. Four able feeling of fullness about the waist line, National Association of Schools of Music pupils and the respect of music-lovers but but with no strain anywhere in the body. MUSICAL also her own keen enjoyment in music. octaves, prestissimo. This all should be a preparation for willing Next in turn come arpeggios. The most the emission of a clear, steady sound upon Finally she worked out a practice an easy middle pitch on the most favorable schedule by which a teacher may be kept difficult of all are the major sevenths. vowel for that particular voice,with a mod¬ —It promotes the highest standards of requirements for degrees. pianistically “fit” on forty-five minutes a Sometimes the teacher plays diminished erate, conversational weight of tone. At first TRAVELOGUES she should use fairly short tones, without day. She found that it is by far the best sevenths, progressing through the entire By James Francis Cooke crescendo or decrescendo. The study of the to practice in the early morning while one octave. swell may come later. Let her keep all rigid¬ —It offers courses leading to the degrees of Bachelor of Music, By forcing my voice I am able to get the ity out of the body, particularly at the tongue, is fresh and cheerful and before one’s mind ■•low" D and “high" E. My extreme low and Bachelor of Music Education and Master of Music, with Major in high tones are also weak. My voice does not jaw and lips. Also let her keep the upper is tired, harassed or distracted. The teacher chest well up, but absolutely without strain, all the instrumental departments in Voice, Theory, Composition hare the vibrato or tremolo that you hear in in all singing. She should practice at fre¬ goes to her studio three-quarters of an a good singer. That is, there is somewhat, quent intervals during the study period quick, and Public School Music. hour before her first pupil is due. First, but not enough, to make the voice appealing. short breaths which give a quiver at the waist I would appreciate it very much if you would center in front. This frees and strengthens she spends a few minutes getting into the tell me some good hooks or exercises that the diaphragm for breathing for singing. See Special Students May Enroll At Any Time spirit of music by reading. Usually she would help in my progress.—W. H. A. that the pupil wills a clear, non-breuthy start A. Your real need, especially at your age, of the tone and that the breath flows freely, selects some article from a musical maga¬ is a good teacher. You write intelligently and yet very steadily and slowly, through the —The Registrar will send you the Year Book upon request, and give zine ; but she may have a little shelf of books, so we risk suggesting that you read “Plain throat and mouth. It is not necessary to any information desired. Words on Singing," by William Shakespeare. trouble about the action of the epiglottis. also, from which to choose. Among these Stop troubling yourself about your extreme There is much discussion as to the action of may be some of the following as being es¬ low and high tont^ If they are really Hn” this part of the apparatus in singing. You She does this in all rhythms, besides the your..., v under proper training they -” might read what is said about the epiglottis pecially valuable for the appreciation of show themselves in the course of time. Like¬ by Proschowsky (“The Beginner’s Voice Book,” music: “Ten Lectures on Form” by Grace groups of five (here illustrated), starting wise, worry not at all about what you call p. 200,) and by Dr. G. Oscar Russell (“Speech the “tremolo,” or “vibrato,” as a means of Second Semester Summer Master School W. Wilm; “Basic Principles for Pianoforte with one note to a count, then two, then and Voice,” pp. 210-14). The last named, three, then four. making your voice "appealing.” Find out concluding a chapter, says; "The point we Playing” by Josef Lhevinne; “Modern how to sing with tone that is Clear, agree¬ wish to make here is that, in producing these begins begins JUNE 24, 193 5 Composers of Europe” by Louis C. Elson; Now she practices certain difficult pas¬ able in quality, and steady throughout your differences (of tone-quality), the position of sages from pieces which she intends to range. The tremolo is dangerous to length of the epiglottis and its function in deflecting or New and interesting courses “Behind the Scenes at the Opera” by Mary life of a voice and the really great singers directing the air-current, with its accompany¬ FEBRUARY 4, 1935 will be offered. learn. Excellent passages for hard work use it very little if at all. Also learn how ing voice consisting of partials susceptible of F. Watkins; “The Artist at the Piano” by to pronounce well and to "shade” for musical alteration by surfaces and cavities above, must PUBLISHED BY George Woodhouse. are contained in the double-third Etude of effect. Then if you have the natural power be held to be of vital Import. And all those Chopin’s, for instance, Sgambati's Toccata, to feel the real meaning of words a-'1 .:- concerned with a study of speech or differ¬ Then to practice! Out of the enormous and will throw your wholevhole soul into giving ences in voice quality would do well, there¬ "Theodore Presser Co. mass of technical works, the teacher selects Opus 18, No. 4, and Dohnanyi’s Capriccio out your message, -n„jr —voice will take on fore, to observe its varying positions care¬ 64 East Van Buren Street, Chicago, Illinois three which she considers indispensable and Opus 28. ___i you recognize in the fully.” __k of some singers. Beware of the hard, 1712 CHESTNUT ST., PHILADELPHIA, Pa. sufficient. Next comes sight-reading, either some¬ “buzzing” tone-quality exhibited by singers Beginning at Fourteen. thing new from a stack of musical maga¬ who have “pushed” their voices over-much in Q. 1.—Do you think that fourteen years The first exercise is a succession of of age is too young for a girl to begin the zines or one of Bach’s Preludes or Fugues double notes, both hands at once, fingers pression.” study of voice f For instance, she has just got Bauer’s ar¬ 2.—Please give a few suggestions for simple raised as high as possible and descending hut attractive songs for her to study after, rangement of Bach’s Toccata in D, and, Exercising the Soft Palate. absolutely simultaneously with equal force Q. I am a lyric-coloratura soprano and am the first few weeks.—J. W. A. A. ‘Bouquet for cM.r. Wodell and without straining: being eager to try it over, goes through A. 1.—It depends upon the mental, emo- having trouble getting my soft palate to stay —i -■,(! physical development of the girl. Square Holes for Square Pegs the first three pages. She plays slowly, up high enough. It is worse on the vowels Ex.l„ E and A, because then my tongue, which is le young-ladies lai are much more mature at without correcting mistakes. Nothing is others. It is in ordinary The following unsolicited letter relating duets which were the chief feature of The rather thick, is up, and the palate half-way lugh, and great care should (Continued from page 716) more invigorating. It is equivalent, men- down, which practically blocks the passage of to Mr. Wodell’s department is so well Etude, in my estimation at that time. outgoing breath, giving forth a hard, squeezed __ —k too much from the pupil tally, to a cold plunge. A few more pages ral and the voice itself in particular. deserved that The Etude takes pleasure Since then I have become interested in tone. The vowels Ah and Aw, when the presuming that you have in mind looks grimmer. Now, if someone would “few and far between.” The first is the are begun tomorrow morning. 1 mgue lies flatter in the mouth, are all right, in reprinting it. other features of The Etude. One of the id are_ . like a different voice.. Can you sug- and regular study. only explain to the teacher that this is the Ambitious Type. He intends to become a Lastly there must be a bit of memorizing. 2.—We believe- i the early, careful use of departments has stimulated my admiration yesi’ a good palate’ ' exerci’ some remedy i --1- the singer can at least Real Boy Type (or tomboy, in the case of great pianist. One senses a background In this way she is committing to memory My throat, vocal cords, t International Bureau so consistently, month after month, that it a perfectly normal i me of reasonably good for a girl), she might restrain her romancings. in which that idea is stressed beyond all Rubinstein’s beautiful Concerto in D Minor. ..___ There is a condition__ of ’ has occasioned this letter. I refer to the So few n • the piece away all together-might even and scraping so that he may take musffi tell Jimmy his fingers are a baseball team lessons. And someday he is bound to be- ^32 ready to play, or anything to keep him come famous. • If he is conceited, well, one from putting up a wall of defense through overlooks that. The main thing is that which she will never, never pierce. he is working, every inch of him, to attain

The Silent Type rpHIS REAL BOY TYPE is often 1 closely akin to the Silent Type who T,J* ”kI OUT THEN comes the last and best of handle that feature of The Etude. -D^all the^ types. With this child the Very truly yours, E. H. WILCOX

Musical Pepper Box -A. cRfiythm for T3hree -Against (£3wo ing the Beethoven' “Fifth”0at the Page 756 DECEMBER 19 3f THE ETUDE TEE ETUDE DECEMBER 1934- Page 757

1935 Calendars for Music Grown-Up Beginner’s Book time and wish to remember a friend by giv¬ Folk For the Piano ing a year’s subscription, just add $1.00 and World of Music we will accept the remittance in payment In tackling the problem of the grown-up for two one-year subscriptions; in other (Continued from page 697) eQ& Publisher’s beginner—and what teacher hasn’t had an words, you send $3.00 in. all and we enter application from at least one adult in this your own subscription and the gift sub¬ present-day increase in piano study—we are scription. THE GERMAN BACH FESTIVAL, an confronted with the need of supplying ma¬ Place your orders early to avoid disap¬ annual event of the Neue Bachgesellschaft terial that will assist in the student's advance¬ pointment and the last-minute Christmas (New Bach Society), was held from October ment and yet prove interesting. The studies 6th to 8th at Bremen, Germany. Programs must be elementary, yet they can hardly be of the sacred choral works of Bach were given confined to the five finger position as is done in the cathedral, by the choir under the direc¬ in beginners’ books for juveniles. Again the Among the tion of the organist, Herr Richard Liesche, adult will not be satisfied with the tinkling Birds with the inclusion of some seldom heard in¬ tunes that so delight young students. strumental compositions of the master. In a word, the first instruction book given Piano Collection The Cover For This Month to the adult beginner should be especially •

League, have decided to establish a local collected for operating expenses, stationery, center, the name of which shall be- refreshments, and so on. ,1NV*S Center. Article V CVtR'S Article II Anyone who has signed the Etude Music Study Expansion League Practice Pledge may, upon the approval of a membership G\^S committee, elected by ballot by the Center, without cost! become a member of the Center. Membership Committee Reception Committee Article III Your choice of the valuable articles described Entertainment Committee below is our “Thank You’’ for subscriptions to THE Meetings will be held weekly (or monthly Program Committee or as decided) and will be devoted to music Other committees may be formed as de¬ study and the problems pertaining to music sired. study which may be of most benefit to Let us have a truly representative na¬ members of the Center. tional membership of this organization, with Article IV high cultural and educational aims. Five hundred thousand members, actively en¬ The officers of the Center shall be: gaged in daily practice, would mean the ROLL TRAY Director, musical regeneration of America. Pledge Who shall preside at the meetings of the membership cards will be sent to you gratis, Center; as will membership buttons for those who Vice-Director, desire them. Buttons will be sent only to Who shall preside in the absence of the Centers (not to individuals), upon receipt Director; of a list of the names and addresses of the SWEETMEAT DISH Conservator, members. Your personal interest in this The three-leaf clover design of this chrome finish Sweetmeat Dish is unu Who shall have charge of the records of cause is vital for the future welfare of About^^in'diameter nVYwi*nrJwa1rdl*orUsecunngCON^SUBSCR?PTION° the Center and any funds which may be

SANDWICH TRAY cMosz\ows\i on ^Memory

By Esther E. Houston

To test the difference in mental attitude, try reading a stanza of poetry from a book; then memorize it and tell it to the birds or your pet dog, without the intervention of print and paper. Or, play the Prelude in A of Chopin, with the notes; then, when it ’A sa.‘«ww&. „ has been thoroughly memorized, play it from the notes and then from memory. —Vour Pupils Will Be— into the mind?” “This is all bad habit,” he The difference in personal freedom of emo¬ continued, “a habit to be overcome or pre¬ tional expression will be too obvious for Helped byTheseText vented by logical, persistent and intelligent comment. Just the difference between a direction.” photographed and a natural rose. Books-^

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Send Orders Directly to: The Etude Music Magazine Foreign $3.00—$2.00 A YEAR—In Canada, $2.25 1712 Chestnut Street, Philadelphia, Pa. DECEMBER 1934 Page 761 Page 760 DECEMBER 1934. THE ETUDE the etude

JUNIOR ETUDE —(Continued)

Lbhe ‘Pageant of the RBriads Junior Etude Contest (Continued) The Junior Etude will award three pretty the fifteenth of December. Names of prize much as some of the other Triads. In Soon you will know us and tell us prizes each month for the neatest and best winners and their contributions will be pub¬ fact, when I am used, people are apt to apart. original stories or essays and answers to lished in the March issue. notice me, and that is flattering. (Goes (Triads exit, each sounding his own puzzles. Put your name and age on the upper left to piano and plays Mediant Triads). tones on the piano, in diatonic order, as Subject for story or essay this month: corner of paper and address on upper right rr WfEualfra. dBI MrJrdfl B Leading-tone Triad. I am the Triad on he passes the piano.) “Great Artists.” Must contain riot over corner. If your contribution takes more the seventh degree and they call me the (Friends applaud and rise to leave.) one hundred and fifty words. Any boy or than one sheet of paper, do this on each Leading-tone Triad. I sound and act as Friend. Thank you, Melody and Harmony, girl under fifteen years of age may com¬ sheet. though I belonged to Dominant, and as for giving us this impressive introduction pete, whether a subscriber or not, and Do not use a typewriter and do not have T3he Pageant of the triads a matter of fact, we are very closely re¬ to the Triads. whether a club member or not. anyone copy your work for you. lated. I sound very active and unfinished, Another friend. Yes, indeed, and I shall All contributions must bear name, age Competitors who do not comply with and Tonic nearly always comes after me look for them when I play music. and address of sender and must be received ALL of the above conditions will not be ‘By Helen Oliphant Bates to quiet things down a bit. (Goes to Another friend. And I shall listen for at the Junior Etude Office, 1712 Chestnut considered. piano and plays Leading-tone Triad, fol¬ them when I hear music. Street, Philadelphia, Pennsylvania, before Another friend. And I know we shall CHARACTERS lowed by Tonic.) All the Triads. all be better musicians for knowing them Harmony Supertonic Triad practiced we' paid attention to interpreta¬ Qharade Letter to Santa Qlaus We are the Triads in every key. better. A Musical Experience Melody Subdominant Triad tion, and strove to make our music sound We are each named for a different By Stella Whitson-Holmes Group of friends Submediant Triad By Frances Gorman Risser Melody. They are beautiful. (Prize Winner) appealing and effective. Our motto will Tonic Triad Mediant Triad degree. Harmony. We are so glad you came. Everything happened so quickly—hearing always be “To make our hearers happy by My FIRST you do, for broken things, The notes all wrote to Santa Claus. Dominant Triad Leading-tone Triad We help to make music a wonderful that Wagner’s “Die Walkure” was to be our music.” And do it hard and tight; The Whole-note, fat and slow. Art. (Curtain) sung, then deciding whether or not we I am sure that all other Juniors who My SECOND is the first in “lake,” Scene. Interior of studio. Melody and Dominant Triad. I am the Dominant Said: “My dear Sir, I’d like could go, getting the money and reserving enter upon their practice with these points But spell it, please, just right. Harmony seated, reading. Chairs are Triad and I belong to the fifth degree of the tickets—that we were in a great state in mind will find that they will meet with My THIRD is done for ground that’s placed opposite piano to accommodate the scale. I am a very active chord and Sign Game of excitement when we found our music success. plowed; friends coming to see the pageant. in this respect I am not at all like Tonic, class, which was going, and our teacher George O. Kempsell, Jr. (Age 12), If readers guess, they may be proud. Melody. Everything is ready. I wish as he is very restful and makes such a By Annette M. Lingelbach met us in the Metropolitan Opera House New York. My WHOLE, a fine composer, who someone would arrive. good ending and always has the last one day last season. Then riding I could go.” Wrote songs and symphonies for you. Harmony. I think I hear someone coming word, as it were. (Goes to piano and Cut a number of strips of paper and on stand up and take another slip, placing the After discovering that Bodansky was to PUZZLE (Answer: Mendelssohn) plays Dominant Triad several times). each one draw a music sign, such as a unidentified one in another box. conduct, and that Lotte Lehman was mak¬ By Stella M. Hadden The Half-note said: “I want (Door bell rings (or knock). Har¬ Supertonic Triad. I am called Super¬ brace, a fermata, a double sharp, and so The player who identifies the most signs ing her debut, the lights were dimmed and Shoes and Gloves mony opens door and “How-do-you-do” tonic Triad and I belong to the second forth. Place in a box and have each mem¬ in both boxes, and has stood up the least, the overture began. I was thrilled through¬ is exchanged as group of friends enter). degree of the scale. I am also a very ber take one in turn. If the player can not out the entire performance! By Nora Belle Emerson Melody. Do be seated. active chord and stand next to Dominant at once name his sign correctly he must The write-ups have been carefully saved, First friend. I am delighted to come to in this respect. I am a minor chord and Margie was sitting as quietly as if the telling how beautifully it was performed, your pageant. I have always wanted to photographer were about to take her pic¬ considered very beautiful. I mix in well I think it would be gay how well everyone interpreted their part, meet the Triads. with other chords but I like the Domi¬ To have a tiny little bite how well Fricka sang and then collapsed ture, but that was not the case at all. She Harmony. They are all ready to tell you Letter Box was in a shoe shop. Her mother was with nant to follow me, as a rule. (Goes to Of honey every day.” off stage, and how the whole cast helped about their individual personalities. her and in a few minutes the gentleman piano and playsSnpertonic Triad in dif¬ to make it one of the most brilliant per¬ (Triads enter, stand in row near piano ferent positions). formances of the season. But I need no was to try the shoes. Margie looked at Said Quarter-note: “I want position. I play as jazz does and four of them quote one line of verse Subdominant Triad. I am the Subdomi¬ reviews to keep fresh in my mind the mem¬ the first pair—her eyes grew larger and each, or all in unison). not appeal to me. I have heard the choral larger! What in the world could he mean! nant Triad and I belong to the fourth works of the great masters, and I go to musi¬ ory of my first experience at the opera. We are the Triads in every key. cal lectures every week. I have a book in Those shoes' were much too large! Another degree of the scale, that is, of the major which I keep the music portrait series, great Carol Haines (Age 13), We are each named for a different scale, because we all belong to the major composers, and so forth. New York. pair—they were much to small! degree. Music is a part of my life—I play, read “Mother,” gasped Margie, “can’t he read scale. I am not considered to be as strong We help to make music a wonderful and write it. My little sister plays very figures? Surely he can see that only one a chord as Tonic or Dominant, but I So when the day is gone. well and so does my mother. I hope some Art. ’ ' ’ > nothing to do but write music. A Musical Experience size will do' and that is the size that FITS.” have some other very necessary qualities. I’ll have a warm and cozy place Soon you will know us and tell us “Let us try this pair,” suggested mother. You always hear me in the “Amen” To lay my head upon.” (Prize Winner) Each dotted line is a four-letter word. cadence. (Goes to piano and plays Sub¬ N Cox, (Age 14), Of all the musical experiences I have 1-2 is to play on a banjo. With that her little foot slipped into the Several friends. How interesting! shoe as nicely as you please. The perfect dominant Triad, and also the cadence.) The Eighth-note said: ever had, the one I most enjoyed was when 1-3 is found on an organ. Tonic Triad. I am the Tonic Triad and fit pleased her so much, she forgot all about Several friends. Ah, . yes, that sounds Dear Juniok Etude : my sister and I had the pleasure of play¬ 1-4 is to perform on an instrument. belong to the first degree of the scale. I have just given my fi..,„ o recital__ and how provoked she was a few minutes be¬ familiar! ing for the Veterans of Foreign Wars of 1-5 is found on violins. I am very important and I nearly always yrite t< my program included pieces by Clementi, fore. Submediant Triad. I am the Submediant ioug time out i um not have aMJ ——„ — Bach, Mozart and Tsehaikowsky. Two friends my home city. My sister played the violin Around the square, 2-5 is found on begin and end every piece you hear. write about, but now I have. assisted me on the program and sang. We The next task was to fit gloves. Each Triad on the sixth degree of the scale. I and I the piano. pianos. (Goes to piano and plays Tonic Triad in Recently the second music district in our all belong to the same music club. I am en¬ time the same procedure followed. It was am a minor triad also, and sometimes I Is just the thing for me, state held a piano contest and I entered it closing my kodak picture. In order to make a success of our oppor¬ several positions). take the place of the Tonic. The har¬ and won second place. Then I went to the Prom your friend, “too large,” “too small,” “too small,” “too I’d carry it upon my arm state contest and won first place there. I Dorothy Tdmmel (Age 11), tunity to play in public, we had to put in A Musical Experience large,” then finally the correct size. Margie mony books call this a “deceptive ca¬ was in the B group for ten and eleven year many hours of constant concentration and When I go out to tea.” olds and it was the first time I ever entered Oklahoma. (Prize Winner) was almost in tears when mother comfort¬ dence.” (Goes to piano and plays Sub¬ a music contest. N. B.—Unfortunately the Junior Etude practice. First I practiced my part alone mediant Triad in various positions.) has so many group pictures on hand at pres¬ One day as I was looking through a ingly smiled down at her and picked up \ ' / . From your friend, ent that there is not space enough to print and then my sister did her part alone. a lovely pair of gloves. The lady picked Several friends. What a lot of Triads Anna Louise Smith (Age 11), Mississippi. solo pictures just now. We will save Doro¬ After we both knew our parts accurately Book of Knowledge, I came across the there are! thy’s picture, however, and perhaps there will heading, “A Melody from Drinking up Margie’s hand and each little finger be space for it later. we tried them together and every time we Mediant Triad. I am the Mediant on the R. A. Qode I want Glasses.” It sounded very interesting, so found its right place immediately. A per¬ Etude has helped i fect fit! third degree of the scale. I think I got for 'Music Students my two sisters and I read it. It said to “Well, why didn’t she do that at first?” my name because I am midway between take a thin glass and tap it, which would whispered Margie to her mother. the Tonic and Dominant. I am a minor By Elinor Moskowitz give one note. Then to take another glass triad also, though I am not used quite as laughter of the same kind and put a little water in Mother only smiled again and said, “You play it Of course music students want to make it. We found that it was a tone lower. see, dear, nothing but the right NUMBER (Continued on next page) all the progress they can in a given time, n your friend. will do. Each finger must wear its own Jean Dickenson (Age 10), Pennsylvania. We kept on filling glasses a little fuller and their teachers and their parents want size so it will be comfortable and free.” until we had ten glasses, each one making them to do so and help them all they can. Answer to September Puzzle: a different tone, and all forming a scale. “Yes,” agreed Margie, “but there was no but the. students must do their own work CHOPIN. (Hop, chop, in, pin, ho.) sense in putting on a glove backward—my We played trios and duets in parts on and their own practicing. thumb cannot be my little finger—and—” Prize Winners for September our glasses and they sounded lovely. Our Since everybody is working on code sys¬ parents were delighted to hear us playing But Margie did not finish her sentence— Puzzle: she happened to think of something. tems these days, music students should familiar melodies on our glasses and’ we have a code, too, like this: Alice Sternberg (Age 13), New York. “What is the matter, Margie ?” asked her enjoyed it. Vivian Louise Florsheim (Age 8), mother. In order to make better progress in my Muriel Stephenson (Age 11), New Mexico. “Oh, I was only thinking—I’ve heard music, I hereby promise to practice regu¬ Stella Virginia Tatlock (Age 14), , Canada. that sentence before.” larly every day and do my work thor¬ oughly.” Indiana. She was thinking of her music. Margie’s Honorable Mention for September Signed. mother also knew that Margie was sorry, Honorable Mention for September Essays : truly sorry, that she had not paid attention This signed code should be returned to Evelyn Reichart, Frances Elkin, Waverly your teacher and faithfully adhered to. Puzzle: M. Hundley, Audrey S. Cummings, Mary Hall to the fingering marked on her music. Lillian Lela Hill, Charles L. Wallis, LiUian Moore, Bernice Targ, June Brookman, Elsie At Margie’s next music lesson her Dorothy Mohn, Iona Dale Smith, Bisbee, Margaret Tabor, Genevieve Lela Eller Mary Bone. Alice Jaworski, Barbara Nance, Ruth Reinhardt, Anna Winslow, Edith Dick! teacher was given a real surprise. What¬ hara Flanders, Laurence Walther, Lucille son Ruth M. Young, Lillian Lela Hill, Adele ever little figure was marked over a note, S. Weiss, Hadassah Yanich, Edna M. Walker, The world is filled with lovely things. ^sU,Mafilan Elbenbass. Edith Meglemse, Margie’s finger fitted right on the right Wiiuo D. . Dreuning, Fern LaRue, Marcus Betty Pearce, Ruth Carpenter, Betty Frost It makes me bright and gay;

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