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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
11-1-1934 Volume 52, Number 11 (November 1934) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 52, Number 11 (November 1934)." , (1934). https://digitalcommons.gardner-webb.edu/etude/828
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November 1934 THE ETUDE NOVEMBER 1934. Page 631 THE Hill Recommended to Every Organist THE DILLER
This new volume is de¬ PRACTICE KEYBOARD Music Mastery Series voted to the works of modern composers, con¬ The Keyb Popularly Priced taining more than ninety compositions, many of which have never been arranged for organ. The SIXTY CENTS value of this book to skilled organists as well EACH VOLUME as to students can hard¬ For Classes in Piano ly be over-estimated, as Keyboard Harmony, etc. THE LARGE AND ECONOMICAL EDITIONS, WHICH THE Excellent PIANO STUDY WORKS covering many phases of pianistic development in it will provide them DEMAND FOR THIS SUCCESSFUL SERIES OF MODERN all grades, and supplying important contributions to the teaching materials used by with a collection which many teachers, are found in this Series. If you are a teacher you will find it helpful in terms of the cost of PIANO STUDY MATERIALS ENABLES US TO PRINT, to have at hand for permanent reference the "Descriptive Catalog of Music Mastery foreign sheet music is Series Works.” (This Catalog will be sent FREE on request.) TEACHERS ARE actually worth in excess PERMIT THE MAINTENANCE OF THIS UNIFORM AND EX- GRANTED A DISCOUNT AND EXAMINATION PRIVILEGES ON THESE VOLUMES. of $150. Engraved for CEPTIONALLY REASONABLE PRICE ON THESE WORKS. pipe organ on three Price $1.00 f aAPPLETON;CENTtJRY CO staves, sheet music size, with large and readable UNIQUE ADVANTAGES noldo Sartorio EIGHT MELODIOUS AND CHARACTERISTIC OCTAVE STUDIES - Arnoldo Sartorio, Op. 911 Cloth Bound S5.00 notation. Grade 3 (Cat. No. 8658) Price, 60 cents 1. Raised black keys—grooves between the white keys—all o. L. Spaulding ^ keys of standard measurement—whole keyboard “feels” exactly The Diapason says: “Such a comprehensive collection of fine music, cos¬ like a piano. 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1712 CHESTNUT STREET PHILADELPHIA, PA. THE ETUDE MUSIC MAGAZINE MUSIC PUBLISHERS, DEALERS & IMPORTERS 1712 Chestnut Street, Philadelphia, Pa. G. SCHIRMER, ,nc. JJast 43rd Street New yor|
Interesting and Important Items Cleaned in a Constant Watch on Happenings and Activities Pertaining to Things Musical Everywhere
AN OLE BULL manuscript, autographed, THE BAND OF HIS MAJESTY’S “HIAWATHA,” in the beautiful setting THE FIRST CENTENARY of the birth has been discovered in Germany, by Ola GRENADIER GUARDS, “one of Britain’s of Longfellow’s poem by Coleridge-Taylor, of Amilcare Ponchielli, on August thirty- Linge, a biographer of the celebrated Nor¬ proudest possessions,” is making a tour of has had an open air performance by the first, was celebrated by a three days’ festival wegian violinist. It is a Siciliano e Taran¬ Australia and at Melbourne it is participating Scarborough (England) Amateur Operatic at Cremona, birthplace of the master. “La tella, Op. 4, for piano and violin for eight in the centennial celebrations. On Laving and Dramatic Society. It was given in an Gioconda,” familiar to America, was given pages, and then fifty-two pages of orchestral Australia it will begin on December Sth a open air theater including a lake and island a performance, as was also “II Figliuol score. It is said to be the only manuscript six weeks’ tour of New Zealand. and surrounding trees as a perfect setting; Prodigo (The Prodigal Son),” a compara¬ known, in Bull’s own handwriting. The work and there was a chorus of three hundred tively forgotten score which was brought was played for the first time in Breslau, in “L’AMORE MEDICO (The Love Doc¬ voices, with one hundred in the ballet. back to notice by this event. 1843 (and later in Copenhagen and Chris- tor),” the opera by Wolf-Ferrari, based on tianna, as well as on Ole Bull’s first tour of a play by Moliere, had what is believed to MEYERBEER has had something of a re¬ America (1844-1846). have been its first performance in English ERNEST BLOCH’S new Sacred Service vival in Russia, there having been recent per¬ was heard for the first time in Germany when recently given at Rochester, New York, formances of “Les Huguenots” in Moscow “ZAIDE,” an unfinished opera by Mozart, as a feature of the centennial festivities of when performed on June 25th at the New is announced for production at the Conserva¬ the city. and of “Le Prophete” in Leningrad. Berlin Synagogue, under the direction of tory of Cologne. It is based on the same Alexander Weinbaum. story as “The Elopement from the Seraglio,” ONE HUNDRED AND FIFTY-SEVEN HIS MAJESTY KING GEORGE V, as which was written three years later. SOCIETIES participated in the international Colonel-in-Chief of the Manchester Regi¬ OF MUSICAL PERFORMANCES—opera musical contests held from August 12th to ment, made on July 17th the presentation and concert—New York, the American THE ST. DENNIS SILVER BAND won, 15th at Geneva, Switzerland. of a set of silver drums, which had been pur¬ metropolis of entertainment activities, had for the eleventh time, the championship in ■a-f). chased by a public subscription organized 877 in the season between October 1, 1933, the recent Annual West of England Band- MARIAN ANDERSON, American con¬ by the Lord Mayor of the city, to the 2nd and June 1, 1934, a falling off of two hundred men’s Festival, the seventeenth of these tralto, sang during the past season seventy- Battalion of the regiment. and twenty-eight from the same period of events, for which H. R. H., The Prince of eight concerts in the Scandinavian countries the previous year. Paris, from approximately October 1, 1933, to July 1, 1934, had 2,803 Wales presented the silver challenge cup. —Sweden, Norway, Denmark and Finland. DUSOLINA GIANNINI is reported to The same organization has also twice won A spring recital in the Salle Gaveau of Paris such performances—a gain of four hundred have been “the recipient of an ovation which and seventy-five; so that quantitatively it medals offered by the Prince to the band created a demand for two more before the topped anything within memory” when she winning first place three time: summer. A tour of the Continent will fill seems to lead the world in the patronage appeared as Donna Anna in Mozart’s “Don of music. the present winter; and other European en¬ Giovanni” at the Salzburg Festival of the AFTER EIGHTY-EIGHT YEARS of con¬ gagements will delay her return to America late summer. servatism and singing without an instrument, till November, 1935. HENRI WIENIAWSKI, celebrated Polish the Somonauk United Presbyterian Church, violinist of the last century, will have the GUSTAV HOLST, the eminent English ETTORE PANIZZA, recently announced established in 1846, five miles northwest of to have charge of the Italian repertoire of centenary of his birth celebrated at Warsaw Sandwich, Illinois, has accepted an organ composer lately deceased, was interred in in the coming March. the north transept of Winchester Cathedral. the Reich’s Opera of Berlin, now comes to donated by Mrs. James A. Patten of Evan¬ the Metropolitan Opera Company of New ston, Illinois. Mrs. Patten is a descendant of During the funeral service Vaughan Williams York, to interpret the Italian repertoire for RADIO RECEPTION has made such founders of the church mentioned. directed the performance of several of the rapid improvement that instruments of yes¬ religious works of Holst, including the some years in the hands of Tullio Serafin, Kyrie from his “Mass in G minor.” who goes to be general manager of the Royal terday are becoming speedily obsolete. The MISCHA ELMAN has been winning Opera of Rome. new “wide channel” reception, resulting from laurels in South America. Having been an¬ SPECTACULAR OPERA in the Roman lately devised circuits, has greatly increased nounced for four concerts in the huge Colon the fidelity of tonal quality and also the Theater of Buenos Aires, his success has been Amphitheater was a feature of the summer “A CHRISTMAS TALE” and “The Chil- musical life of Verona, Italy. “La Gioconda,” koot Maiden,” two American operas by former narrowly restricted range of radio so great that it is reported that the manager frequency. The Philco Company recently has asked for four more programs. “Lucia di Lammermoor” and “Andrea Eleanor Everest Freer, had performance on Chenier” were presented with a chorus and August 25th, at the Illinois Host House of exhibited in New York an instrument by supernumeraries numbering eighteen hun¬ the Century of Progress Exposition at Chi¬ which Mme. Lucrezia Bori demonstrated a THE NATIONAL COUNCIL and Board dred and with one hundred and fifty in the cago. reception set with a musical range from fifty of Directors of the National Federation of orchestra. to seventy-five-hundred cycles. Music Clubs met from September 6th to 9th THE NATIONAL ASSOCIATION OF in Chicago, with the National President, Mrs. ORGANISTS met in convention from Sep¬ THE “ORLANDO FURIOSO” of Handel John Alexander Jardine,' in control. Two THE PRIZE of one hundred dollars of¬ fered by The Caravan—the youth division tember 10th to 14th, at Worcester, Massa¬ had a revival when it was produced at the past National Presidents and representatives chusetts. Interesting features of the occasion fifth festival of the German Handel Society, from thirty' states discussed a definite pro¬ of the New History Society—for a musical setting of the verses of its The Song of the were a demonstration of the possibilities of at Krefeld on the lower Rhine. gram for the advancement of music and the the two-manual organ by Willard Irving National Biennial Conference in April at Caravan, has been awarded to Mrs. Burt M. Philadelphia. Hall of Evanston, Illinois. Nevins, a lecture-recital of “Negro Spirituals” PERCIVAL PRICE, by Harry Burleigh, an organ recital by Ed¬ Dominion Carillonneur, in MME. CLAUDE DEBUSSY, widow of win Arthur Kraft, an “All Bach Program” charge of the carillon of THE GRAND PRIX the famous French composer of L’Apres- by Hugh Porter, and an address on “The Or¬ the Peace Tower of the DE ROME of the Acad¬ Midi d’un Faune and “Pelleas et Melisande,” ganist’s Greater Usefulness to his Com¬ House of Parliament of emy of Fine Arts of Paris died in August, at Paris, at the age of sev¬ munity” by A. Walter Kramer. Ottawa, Canada, has been —probably the most cov¬ enty-two. She was a woman of charm and awarded the Pulitzer Trav¬ eted distinction of the stu¬ distinctive mentality who was an immense SIR DAN GODFREY led, on September eling Scholarship in Mu¬ dent world of music—has inspiration to her husband. 30th, his last concert as conductor of the sic, for his symphonic been awarded to Eugene Bournemouth (England) Municipal Orches¬ work, “The St. Lawrence.” Percival Bozza, for his cantata, THE CHICAGO GRAND OPERA COM¬ He is a native of Canada Price “The Legend of Rouk- tra, having passed his sixty-fifth birthday PANY has been reorganized 6or the present and thus been placed on the superannuated and has studied in Eng¬ season with Harold F. McCormick, who did born in 1905, at Nice, and list by a ruling of the city Corporation. Sir land, Belgium and Austria. The composi¬ such a great service as chief patron of the Dan has held this position since 1895:—is it tion mentioned was inspired by the St. has been a pupil of Henri former Chicago Civic Opera Company, as Biisser. Of two Second Prizes, the first went not an unprecedented service in a so impor¬ Lawrence River; and it is divided in four Honorary Chairman. Paul Longone is again tant post? Composers owe him undying movements entitled, “The Islands,” “The to Jean Hubeau, a pupil of Paul Dukas; and general manager; and there is to be a season the second, to Rene Challan, another Biisser gratitude; for he gave to the world a first Rapids,” “The Flat Lands” and “The Moun¬ of six weeks, at the Civic Opera House on hearing of some two hundred and thirty-five tains.” Wacker Drive. of their works. (Continued on page 691) MUSIC AXIOM FOR NOVEMBER BE THANKFUL THAT YOU CAN BRING MUSIC TO OTHERS! MUSIC STUDY EXALTS LIFE
Page 633
I THE ETUDE Page 634 NOVEMBER 1934
The Etude Historical Musical Portrait Series T3 he “boughten” Man An Alphabetical Serial Collection of THE WORLD'S BEST KNOWN MUSICIANS 0NCE upon a time there was a “boughten” man—mean- he was a society woman. After he had tossed long in wild ing a man who had worked himself to skin and bones to dreams, a dapper young man appeared and said, “Madam, here acquire an honorable name and then had sold that name is a check for five thousand dollars, for which we hope that for a mess of money. you will give us the use of your name for advertising pur¬ The "boughten” man had forgotten all about what his mother poses.” had told him concerning certain things in life that are too “Why I never heard of such a thing!” bristled the social precious ever to be sold. When the time came, he put his registerite. What would I be expected to advertise?” reputation down on his books as an asset and waited around for “We haven’t decided that yet,” replied the young man. the highest bidder. The bidder came and gladly paid the price “You see, we will have to sell your name, before it can be to use that name to beguile other people for financial gain. used; and we haven’t the least idea who the buyer will be.” Soon everybody commenced “Why!” exclaimed the saying, “Why, his reputation dowager; “I should feel like a was not much after all, if sandwich man parading the he valued his good name so streets. The idea is very up¬ lightly.” setting. You see, for genera¬ And the “boughten” man tions my family have been was much troubled and had people of the highest standing. many dreams. They have never had anything On the first night he dreamt to do with anything cheap or that he was a great clergyman low or common—that is, with and a man came to him and the exception of a few black said, “You have made a fine sheep—such as every family reputation. Your name is has. Now, if I were to sell known to millions who think my name, I too should feel like you are a grand and noble a black sheep. It would ruin character. It has cost you my social prestige!” years of struggle and much “Not at all,” laughed the money to gain their respect. young man. “Your social pres¬ Now is the time to cash in. tige depends upon how many Your admirers do not know people know you are a social that you smoke cigarettes, or leader. We advertise that fact what cigarettes you smoke for you without charge. Now Now, Doctor, perhaps there is surely you would have no ob¬ some worthy charity to which jections to a beautiful picture you would like to contribute of yourself playing a magnif¬ a considerable sum of money. icent-piano in your drawing Let us tell the world in print room, with your testimonial that you prefer our cigarettes below. We will even write and we will give you five thou¬ the testimonial and everything. sand dollars. Nobody need All you have to do is accept know anything about the trans¬ this five thousand dollar check action, and you will do a lot of and to give us carte blanche to good in the world.” use your name and our judg- “Oh!” said the clergyman; “smoking cigarettes is one So the social registe BENJAMIN FRANKLIN thing, but selling my name to took the check and bough ballyhoo them is another.” America’s First and Greatest Advertising Man lovely diamond ring; and w' He had no use for the “Boughten’’ Man “Ah, that is nothing,” re¬ the advertisement came out plied the cigarette man. s revealed seated in a b “Everybody is doing it.” tub, holding a cake of Alabaster And so the clergyman sold his good name; and, when people Shortly thereafter the “bougl dreamt that he was a saw his picture in the papers and read the great man’s sermon- lewspaper proprietor. He went to this editor at his desk, and ette on the hygienic benefits of cigarettes, they put their tongues said,said, “It' so •happens ' that I am interestited in Signorina Begliocchi in their cheeks. But the gentleman of the cloth didn’t care. He it the opera. Her voice—well, you kknow her voice is--, but had found a new means of adding to his income; and “ministers is the loveliest on the continent. I promised her at get little enough as it is.” supper last night that I would get you to do an editorial upon The next night the “boughten” man dreamt that he was a her. You are a genius at that.” great singer and before him there came a glib gentleman with a But,”, choked the editor, “everybody staggers when she hottle. The glib gentleman exclaimed, “Have you ever thought sings.” how much more money you could earn if you had more pub¬ “That’s just it,” whispered the proprietor. "It’s your job licity? Now let us have a picture of you using our gargle, and to make them think it is art.” we will put it in three colors on the back of every important “And if I refuse?” magazine. Thereafter, thousands more of people will want to “You walk out,” smiled the proprietor. And walk out the hear you sing. Easy!” The singer took one thousand dollars editor did, and to a better job on a paper that has no use for for this publicity and thought to himself, “How much more “boughten” men. the world must think of my art, now that they have seen how The following night the “boughten” man dreamt (after the I gargle and learned the secret of my high C.” But the people manner of dreams known only to the disciples of Freud) that he scratched their heads and said, “Isn’t it pitiful? Art cannot was the representative of a great corporation delegated to buy mean very much to him.” the name of a famous banker. Into the plate glass and walnut Then the “boughten” man had a nightmare and dreamt that sanctum of the financier he bravely passed himself beyond the
THE ETUDE NOVEMBER 1934. Page 635 I THE ETUDE NO VEMBER 1934. Page 637
Selling-one’s good name for testimonial purposes deserves an guard of secretaries, by representing himself to be a friend of epithet so foul that no decent person could endure it. We be- the banker. Once there, he explained his mission by saying, JieVe, in ..advertising, and we . have had years of expenence in it. “Mr. Acktion, you purchased a sixteen-cylinder Cortez last The only testimonial, worth the paper on which it is written is week, and I am authorized to offer you ten thousand dollars for a picture of yourself in your car in front of your home, with of the unsolicited, frank expression of the individual who pnzes his good name so highly that under no condition or for no con¬ course just a line giving your opinion of the car.” The banker suddenly flushed to a lobster shade and de¬ sideration could he become a “boughten” man. manded, “Do you mean to say that a firm such as yours sent you People who make music a part of their home life are, for the to a banker on such a mission?”.' ■ most part, citizens of ideals and honest intentions, who are horri¬ “Well,” stuttered the young man, “if the amount is too fied at the idea of the sale of anything so precious as a good small, they might , be willing to raise the figure to almost any name. Generally speaking, we have found that professional price." musicians have very high standards of ethics and character. “Let us consider this as a hard and cold business proposition,” Their honesty and their integrity in meeting their obligations, we said the banker. “In our business, my name is my bond. If I have discovered through vast experience, to be exceptionally fine. sold my name, it would mean selling the most precious thing I They tell the truth, pay their bills and lead wholesome, exem¬ own. I am afraid that there is no price you or anyone else could plary lives. One of the great missions of music has been that of mention that would be high enough to barter for my name; be¬ the employment of its activating emotional values, with the cause with that name goes all of my business dignity, integrity teaching of ethics and character building in juvenile education. and standing in the commercial world—in other words, my char¬ Let the music lovers, musicians and music teachers be among the acter. Character evidently means very little to you, as you first to stand out against the perversion of honesty in advertising worked your way in here through a lie. No one could ever and business, represented by the “boughten” man—and, shall we again sell me a Cortez car, because such tactics imply that I say, the “boughten” woman. These things are too sacred to be would be paying very dearly for a certain amount of commercial held lightly. rottenness in the form of falsely represented advertising with No one has put the value of a good name into such telling Famous German ^Musical (Renters every car I bought. This game of buying names of everybody, words as—well, whoever you think it was that wrote Shake¬ from corner loafers to heads of the State and Church, has gone speare’s plays. Remember this from “Othello”: Leipzig so far that it has become a farce. If anyone should attempt to Twenty-second in the series of Musical Travelogues buy a juror in any kind of trial, he would be guilty of malfea¬ “Good name in man and woman, dear my lord. sance, punishable by fine and imprisonment. Yet certain adver¬ Is the immediate jewel of their souls:
two sources: from the sale of the tickets bought most of the tickets for Caruso per¬ given to them and from subsidies exacted formances from the claque. Standing room from the artists. They get, I am informed, went at anything from a dollar and a half three hundred tickets for each performance. up, while blind seats in the dress circle were Of these they sell two hundred and fifty. The sold for three, four or even five dollars. other fifty are given to experienced accom¬ “Wagner suffered tremendously for a RECORDS AND RADIO T3he Story of Cigar plices plus fifty cents apiece in times of while, because, even with Toscanini con¬ prosperity and about ten cents apiece just ducting, fifteen cents was the best price the By Peter Hugh Reed now. It needs only fifty pairs of well- claque could get for its admission tickets to calloused hands, scattered throughout the German lyric drama. Then, almost sud¬ ‘By Dr. Daniel Gregory Mason house, to lead and stimulate the applause denly, the vogue changed and admission of the crowd. for Wagner performances brought as much r?wrwrcgKrKmc(((cacd MACDOWELL PROFESSOR AT COLUMBIA UNIVERSITY “The two greatest tragedies in the history as Verdi. of the New York claque were the death of “The only artist one hears of who ever Caruso and the retirement of Frances Alda. defied the claque was Melba. This occurred \T THE PASSING of Sir Edward compose quadrilles for them. They were themes. It was tedious, but it was worth were the Victorian days #when designs The latter was generally and popularly in Chicago, where the chef de claque was RADIO, with its tremendous resources is a pleasant work with an old world charm Elgar, on February 23, 1934, he able to muster a piano and two violins, burned on a board with a red-hot poker known as the claque’s Mamma, especially one Arluk, once a citizen of Odessa and and far-reaching opportunities, may and grace, adequately performed by J. A- \- had done probably more than any flute, clarinet, two cornets, euphonium, Meanwhile, he found it was hard to con¬ were considered “artistic”; and Elgar long when she gave a recital at Carnegie Hall. now proprietor of a club in New York. • further a still greater appreciation Nada, Helene Mikuschek and J. Hoore- other man to give his native England her bombardon and double-bass. This was not fine one’s self to the very conservative had above his fireplace such a board, on The only time you see and hear the claque This was quite a subterranean sensation in of the finest in music. Along with this, own voice in the chorus of the world’s a usual combination, either; but he could tastes of the provincial musicians among which he had burned a motive from “The there is when one of the Met. singers is on opera circles. Campanini supported the the great store of wonderful recordings are The American Society of Ancient Instru¬ music. More than that, he was recognized get five shillings a quadrille, besides hav¬ whom he moved. Even if, playing the vio¬ Ring.”) The leading-motive system lie tap. claque and eventually the diva had to sw¬ making another significant contribution. ments, directed by Ben Stad, is now rep¬ as, in his own right, one of the greatest ing and giving a good time. If he took lin in the Worcester Glee Club at sixteen, studied too, but in Mendelssohn rather than “Ten and fifteen years ago the East Side Stokowski’s recording of Strauss’ tone- resented by two album sets (Victor M215 composers, not only of England but also of home the instrumental parts of any group, he had so much initiative that he became in Wagner. And while still in his teens poem Death and Transfiguration (Victor and 216). To do true justice to these the world. Richly inspiring is the story of he could lay them on the floor and find out its pianist and conductor at twenty-two, he he caught that curiosity about unusual Set M217 is a finely thought-out, a care¬ recordings would require considerable this man who, fulfilling his life with such by collating them, even if he had no score, could hardly carry it along with him in his measures which is a sort of “itch” or 'Making the Piano Sing fully planned and a well spaced reading space, since the selections are carefully great achievements, began it June 2, 1857, why some passage sounded particularly rapidly developing tastes. One might “measles” all young composers have to get of one of that composer’s most poetic chosen and exquisitely performed. Suf¬ at Broadheath, near Worcester, as one of well. If he lacked three-and-six to buy change the old fare of Handel’s overtures, out of their systems. He experimented with scores. And the recording is clear and By Lula D. Hopkins fice to say, there is a genuine spiritual tran¬ seven children of an obscure organist. some music he wanted to study, he could' day in and day out, to something a little 5-4, 15-4, even 11-4 measures—experiments realistic. That Stokowski found it neces¬ quility, an ingratiating emotional naivete Elgar had little education; he left school sit up all night and copy it. And he could more varied—to some Mozart, Auber, Ros¬ which left a relic in the 7-4 Lament of. his sary to carry the final minute and a quar¬ and an undiminishing charm in this old for good at fifteen. His father, with the get eighteen pence each for scoring Christie sini and Bellini. One might even add glees “Caractacus.” The great composers and pianists, ing a finger gently sideward after playing ter of music over on to a seventh record¬ music. And the tonal quality and color proverbial distaste of musicians for their Minstrel songs. and madrigals of contemporaries, and, He was still, therefore, considered dan¬ Henselt, Chopin, Thalberg and Rubinstein, a note of the accompaniment while at the ing side will always be an unfortunate of the old instruments are particularly own trade, tried to induce him to study greatly daring, some German part-songs. gerously “advanced,” by most of those who were particularly noted for the singing same time sustaining the melody note. drawback to an otherwise excellent set. suited to reproduction in the home. The law; but he gave that up after a year, pre¬ Dehorning a Dilemma But as for Schumann and other “modern” did not entirely ignore him, when he mar¬ qualities of tone and touch in their playing. After the finger leaves the accompaniment It was Ernest Newman who said that first set contains the two discs originally ferring to support himself, however meager- UT THE GREAT PUZZLE came composers, had not So great an authority ried, at thirty-two, Alice, daughter of Thalberg even called his piano method note, the wrist should move into a position Strauss came nearer “than anywhere else B “L’Art du Chant” (“The Art of Singing”). reviewed in the April Etude and also a ly, by music. So alert a boy really needs when the boy tried to learn something as the conductor of the Worcester Festival Major General Henry Gee Roberts, K.CB. which will enable another finger to curve to that perfect fusion of matter and style Much of. the legato expression that can “Sonata” and Adagio by Marcello (1686- no one to teach him; he liked to find about form, without which, he had dis¬ Choral Society pronounced their composi¬ She was of a station slightly superior to gently (with full command of its resources) that is the ideal of all the arts” in his be accomplished with trained fingers is 1739) as well as a “Suite of old French things out for himself, grudging no amount covered, no composition of any length tions “preposterous”? his, and she was obliged to give up a con¬ before playing the next note of the melody. Death and Transfiguration. Certainly the sometimes carried out by use of the damper Take the composition Melody in F by Airs;” the second set contains a Fugue by of trouble. He would sit beside his father, could be made to hold the interest. His siderable income in order to marry him; work is compactly constructed out of pedal. This calls for less technical skill Frescobaldi (said to have been the great¬ on the organ bench of St. George’s (Roman text books, such as Catel’s “Treatise on The Modern Lure but she was proud of him and deeply de¬ Rubinstein. The melody part is played frugal and carefully chosen material. To but necessitates a fine sensibility and dis¬ by the thumbs of the two hands alternat¬ est organist of the 17th Century), an Air Catholic) Church, watching closely how he Harmony” or Mozart’s “Succinct Thor¬ OUNG ELGAR, however, felt a voted to his work through the more than us, one of the greatest delights of this Y criminating taste in regard to the employ¬ ing. The accompaniment consists of chords. tendrc and Courante by Lully, Scarlatti's played, and comparing it with the direc¬ ough-Bass,” told him little about that. power that fascinated him in these music is the fact that it can be enjoyed thirty years they lived together until her . ment of the pedal, together with careful It is easy for the fingers to play the melody Cat’s Fugue for harpsichord, a “Suite” by tions he found in Rinck’s and Best’s “Organ “The worst of them is,” he said, “that they modernists so strenuously forbidden. When, irrespective of its unpleasant program of death in 1920. She always laid out for him thought and study in order to control its in this piece clearly and distinctly because Purcell, and also a “Suite founded upon old Schools.” He would drink in the masses teach building but not architecture.” How as a boy, he first came upon the modulation sickness and death. at evening the sheets he was' to fill with the strong fingers- play the melody part French Songs.” of Mozart and Haydn, try his own hand was he to learn tonal architecture? He from C to D-flat, in the Minuet of Beetho¬ There is a consanguinity between Rim- music on the next day, preparing in this A fundamental principle in acquiring and the weaker fingers play the accompani¬ Columbia’s new recording of Schu¬ sometimes at improvising, and at times pondered long before deciding that the ven’s “First Symphony” (in the piano ar¬ way thousands of pages. Better still, she ability to discriminate between musical ment. When the thumbs alternate one sky-Korsakow’s “Scheherazade” and his mann’s “Piano Concerto in A minor” (set even substitute for his father. Piano and thing to do was to take lessons of one of rangement—he could not get a full score), “Antar Symphony,” since the latter, writ¬ was one of his most rigorous critics; as touches is that of playing loud and soft should hold a melody note down with one No. 196) is not an especially striking per¬ violin he mostly picked up for himself. In the greatest of tonal architects—say it took his breath away. “It sank,” as he ten eight years earlier, is also founded when she wrote at the end of the slow tones, either alternately or simultaneously, thumb until the other thumb plays, so as formance of this popular work. It is taste¬ his father’s music warehouse he found Mozart. It was true that Mozart had died said “into my very soul.” Severe as the upon an eastern narrative. Antar, it seems, movement of his quartet, “Is this quite— with different fingers of the same hand. to blend the tones one with another, and fully but not vitally played by the French many instruments, and could soon play the over half a century before in Vienna. But critics were on everything not strictly dia¬ was a celebrated Arabian warrior-poet please?”; thus inducing him to revise a In most cases, loud as well as soft tones yet play them without confusion and blurr¬ pianist Yves Nat with the Paris Symphony piano, organ, violin, viola, violoncello, and a little thing like that could not defeat tonic, he began to study chromatic har¬ prior to Mohammedan, who forsook the movement that became one of her favorites must be thoroughly agreeable in quality ing. The pedal should be in almost con¬ Orchestra under the direction of E. Bigot bassoon. Edward Elgar. Taking the “G-Minor mony, trying to find out why it was so company of men to wander in the desert and was eventually played at her funeral. instead of shrill and harsh. stant use; but it must be used with much The tonal range is unusually compressed in Symphony” as a model, he wrote an entire expressive, so deeply moving. He even fell because they misunderstood him. The He in turn painted an unforgettable musical If the finger is properly prepared before care in order to produce good results. It this recording and the orchestra hardly A Chip of the Old Bloc\ symphony of his own in exact imitation of under an influence much more scandalous work, divided into four movements, de¬ portrait of her in the mingled grace and playing a loud tone, one will be able to should be used as an aid in connecting the measures up to the British orchestras HE YOUNG Edward followed in the its harmonic plan, modulating exactly that that of Beethoven or Schumann—that picts different experiences in the life of the T strength of the first variation in his produce a tone of considerable volume melody notes but should not under any which this company usually uses for paternal footsteps by playing violin in where Mozart the arch-revolutionary. (Those poet. In the first movement, Antar is in “Enigma Variations,” and he cared enough without harshness. It is difficult to con¬ circumstances be allowed to connect tones recording. the orchestra of the famous Three Choirs the desert, where he rescues a fairy in for her to revoke his earlier resolve to live trol finger sensibility and action to such or chords of different harmonies or to Recommended recordings : Glinka’s bril¬ Festival, whenever it took place in Wor¬ disguise. As a reward, she grants him and die plain Mr. Elgar and to accept in an extent as to play a note of the accom¬ merge the tones of the melody. liant Russian fantasy “Kamarinskaya”— cester. Indeed he was glad to play in any “the three great joys of life;” the joy of 1904 the title he knew would please her. paniment softly and quietly when it is The notes of the accompanying chords Coates and London Symphony (Victor disc orchestra available, often at the last desk; vengeance, the joy of power and the joy of It is a pretty story. Titles are of little played simultaneously with or immediately should be played in such a manner as to 11482) ; the brilliant Finales from Johann he had no false pride; all he cared about true love. These three experiences make worth, but affection is priceless. precedes the melody note. The average avoid a direct blow and fixed condition of Strauss’ “The Bat” and “The Gypsv was to learn as much music as possible. up the other movements. Piero Coppolo, player without musical taste to guide him the fingers at the keys. It is desirable to Baron” sung by ensembles headed by Lotte And not for music only, but for all learn¬ conducting the Paris Conservatory Or¬ The Prophet Without Honor will let go of one melody note before he stroke the keys gently, by a mild degree Lehmann, Karin Branzell and Richard ing as well, his appetite was insatiable. chestra (Victor set M210), gives a vital ROM THE RATHER conservative reaches the next one and aggravate the of flexing or drawing in of the fingers. In Tauber (Columbia discs 9078M and 79M); Finding a pile of old books in the loft of a F fault by making the accompaniment note other words, a finger will be stretched out and impressive reading of this brilliant and and insular British public, recognition dramatic score. and Beethoven’s “Quintet in E flat, opus stable, he devoured Sydney's “Arcadia,” for so independent and experimental a com¬ too loud. In many cases, the effort to gradually to the position it was at the Baker’s “Chronicles,’.’ and Drayton’s Of historical interest is the “Trio in C 16, played by a French Ensemble—a poser was naturally slow. The year after stretch between accompaniment notes and start, meanwhile keeping the key down “Polyolbion.” The mediaeyal sculptures he major” for flute, violin and cembalo by youthful work reminiscent of Mozart, in¬ his marriage, when his overture, “Frois- . melody notes causes the weak side of the until most of the straightening movement saw in Worcester Cathedral fascinated Johann Christoph Friedrich Bach, second teresting mostly from the standpoint of its sart,” was produced at the Worcester Fes¬ hand to flatten down close to the key-board shall have been made. When letting the him; long would he study and dream son of the great'Johann Sebastian and his instrumental combination which comprises tival, the London Times, instead of appre¬ and thus render the strokes made with the keys up, the finger can be trained to “feel” them. Thinking he might some day have second wife. (Columbia disc 68210D). It an oboe, clarinet, horn, bassoon and piano ciating its power, made humorous com¬ fourth and fifth fingers unsatisfactory. A the keys during the rise, thus avoiding an (Victor set M20S). a chance to go to Germany, he taught him¬ particularly desirable habit is that of draw- abrupt break. ments on its use of the double-bassoon. self the German language. The sciences Then, when a few years later (1893) the aroused his intelligence, almost as much first of his long series of choral works, as the arts, and in later years one of his "The Black Knight,” had won some local Beyond the Measure Line hobbies was scientific kite-flying. Someone Changing T^otes success, he was invited to show composi¬ said of Cardinal Newman that “He had tions to the management of the Covent Gar¬ By Rena I. Carver all his fun in his head.” So it was with den Promenade Concerts. He went up to By Florence Leonard young Elgar; for the usual boy London in an excitement we can imagine, he could not spare the time; In learning to play at sight the pupil hand part should be divided into chord a portfolio of his best manuscripts under says one of his biographers, “had invariably stops at the measure line or bar, groups or chord foundation groups and four The earliest stringed instrument is sup¬ his arm. Before they were even looked at, posed to be the Egyptian guitar, played miles But unfortunately the effort to pro chance against counterpoint.” making of it, in fact, a bar to progress. Sir Arthur Sullivan, then at the height of five thousand years ago. This instrument waa so great that it cause, As for his training in the technic of In vain is it explained that this is not a his fame, came in with some new things to closely resembles the ravanastron of Cey- the death of the wounded hero. music itself, it was, like all his education, breathing place. be tried out. “That,” we read, “took the Ion, said to have been invented by the Rod Bower at the piano: It is said that Pade curiously hit-or-miss—a highly experi¬ The cause of this habit no doubt lies in rest of the morning, and Edward returned Ravena. Its body is a cylinder of syca¬ rewski can crack a pane of glass a hal mental trial-and-error process that often the fact that a measure represents the dis¬ to Worcester with his folio unopened. more wood. But the latter was played with inch in thickness by simply placing on, must have seemed to him, as he stumbled tance that can be readily grasped at a Sullivan didn’t even know he was there.” measures be read at a time. Then the a bow and no traces of bows have as yet along without guidance, mostly error. His glance; thus the composition is taken as a a*J, upon ,It: and striking vigorously an< melody should be separated from notes not been found in Egypt.—Racster. suddenly with his middle finger. bassoon playing led to the formation of a It was toward the end Of the nineties, series of measures instead of in a smooth¬ necessary to the general outline, marked in Quintet Club (two flutes, oboe, clarinet, after nearly a decade of married life, that flowing melodic progression. Being told A copper cello: “Mike Cougler of Mush It has been found that a force equal t< blue pencil and played. Thus the pupil is and, Lexington County, owns a violon¬ bassoon) for which he wrote much music, the idea of writing the series of “Enigma that the bar is not a stopping point, but a six pounds is often thrown on a single kc will get a good idea of the foundation of later nonchalantly pronounced by himself Variations,” depicting the personalities of dividing line to simplify the time and to cello made of copper which can be heard in playing heavy passages. the composition while learning time. “110 good on account of the unusual com¬ his friends, came quite casually to Elgar. make note reading easy, does not cure the two rmles away.” (South Carolina Gazette, In playing Chopin’s Etude in C minor Later the extra notes are added and the i907) —Racster. bination.” When he was twenty-two the “One evening,” he tells us, ’“after a long pupil of the fault. More successful is the a total pressure of three tons is required four measures played as written. The attendants in the Worcester County Lunatic and tiresome day’s teaching, aided by a direction to read four measures at a time. a A1thi5v‘mile tone: Roland’s Horn of the pupil will then be able to play the passage according to a recent estimate, althougl Asylum asked him to form them into a cigar, I musingly played on the piano the In starting a new piece the bass or left Anglo Norman romances was so powerful with decided rhythm. that its tone could be heard for thirty he Piece lasts only two minutes.—Nett band, to act as their conductor, and to theme as it now stands. York Evening Post. “The voice of C. A. E. asked with a THE ETUDE Page 64.6 NOVEMBER 1934 TIIE ETUDE NOVEMBER 1934 Page 647 sound of approval, ‘What is that?’ The Orchestral “Tutti,” Old "I answered, ‘Nothing—but something might be made of it. Powell would have and ]S[ew done this (Variation 2), or Nevinsort would By G. A. Selwyn have looked at it like this (Variation 12). T5he Pace Maker of the Keyboard ‘‘Variation 4 was then played, and the In “The Orchestral Instruments and question was asked, ‘Who is that like?’ What They Do,” Daniel Gregory Mason “The answer was, T cannot ’quite say, admirably sums up the difference in prin¬ The ^Metronome as a ‘Dominant Factor in Systematic Practice but it is exactly the way W.M.B. goes out ciple between modern passages for full or¬ of the room.’ ” chestra playing “tutti” (that is, all the Some Wor\s that Live instruments playing at once) and the older style.
Band and Orchestra Department Conducted Monthly by VICTOR J. GRABEL ‘Progressing or Slipping—Which? L iy FAMOUS BAND TRAINER AND CONDUCTOR How Atavism Affects Our Success and Happiness
C"7 * WHETHER we like it or not, one of the most human labor are our only solution. The De Lesseps Company sank ifll of all tendencies is to slip backward, rather than to hundreds of millions of dollars into their effort to build a canal Scoring for the (foncert Pand forge ahead. at Panama, but only a few decades after their cessation of effort, The biologists dub it “atavism”-—the powerful pull to revert all of their operations were devoured by the jungle. to type—to go back to some coarser or less desirable ancestral Music, of all the arts, is something which calls for unremit¬ 43y Capt. R. B. Hayward, R.M.S.M. trait. ting attention. The delights that come from music are the You who love flowers have seen some lovely hybrid roses, fruits of practice. Some unfortunate and irresolute folks work This paper was written for and presented at the recent convention of the American grafted upon a manetti rooted plant, suddenly dwindle and dis¬ diligently for years and then, through indolence, expiring ideals Bandmasters Association. Capt. Hayward, retired British Army bandmaster, is now the popular director of the Toronto Concert Band. appear, where the ugly manetti stock flourishes and seems to or thoughtlessness, permit their splendid achievements to die. The consume the beautiful plant which someone had been at great roses are gone and nothing but the ugly manetti roots remains. Perhaps you are slipping right now and do not realize it. laws governing strict part writing. For in¬ pains to propagate. HE ART of scoring for the concert average arranger to copy what one may (generally a Bass Solo) and perhaps a T stance, avoid consecutive perfect fifths and Progress in all lines of human endeavor calls for high ideals Perhaps the beautiful ideals that blossomed in your youth have band is one requiring a quite definite call “standard” instrumental color, and I thirty-two bar trio. It is his job to put octaves in those parts, and keep your har¬ been permitted to die, until you have reached a state where life amount of expert knowledge if the would suggest a little more experimentation the work into binary form, either by asking and incessant effort. We remember the case of a young pro¬ monic progressions pure. The Trombone result is to be worth the labor expended. for new effects. Certain instruments form the composer to add the necessary material, fessional man who married an exceedingly beautiful girl. They has ceased to be noble and inspiring. Perhaps your attire betrays section, also, requires careful handling. The Too often we find arrangements for bands natural color combinations, examples of or by doing so himself. Oft times the ar¬ were both college graduates and during the first year of their a carelessness and indifference to neatness and “spruceness” that effect of after-beats given to the Tenor which show a lamentable lack of musician- which are: Flute and Clarinet, Oboe and ranger is supplied with the melodic line Trombones in the accompaniment is often married life their surroundings pointed to a career of happiness, you never would have thought possible in your youth. You may ship, leaving the feeling that the arranger’s Bassoon, Cornet and Trombone, and others only, with the request that he make a band disturbing; it is usually much better to give prosperity and fine achievement. Both were of the second have settled back amid the manetti roots, with their painful only equipment is a knowledge of the pitch where the tones, when in unison, so nearly arrangement. The melody then has to be harmonized, and possibly a considerable them sustained notes in the accompaniment. generation of European peasants from countries where the living brambles, and do not realize what is the matter. of the various instruments, together with merge. Oboe and Cornet, Flute and Cor¬ sufficient knowledge to make the necessary net, Horn and Trombone, are good ex¬ amount of counterpoint introduced, which Generally, too, the fifth of the chord on a standards were but slightly above those of the animal. The It is never too late to change this in music. One of the first sustained note—a pause, for instance—is transpositions. amples of these. Some combinations are brings me to the subject of counterpoint. father of the beautiful girl came from a town that nestled un¬ things is to take yourself in hand and organize your time so The subject is such a wide one that I do not “good mixers,” and unless a special Even in a simple song, almost certainly apt to give an overbalanced effect if placed comfortably in the shadow of a nervous volcano. Your editor that you will practice a certain amount of time each day. not propose to try to cover it all, but will effect is desired, are better avoided. in a march, the arranger will find oppor¬ in the first Trombone part. Most arrangers tunity of—and sometimes the necessity for sadly neglect the most beautiful register of once visited that town and among other things remembers see¬ With this in mind. The Etude formed The Etude Music traverse the main requirements, which pre¬ Practicability —introducing imitation or counterpoint, and the B-flat Clarinet—the “Chalumeau”—and ing a calf’s head peering out of the second story window of a Study Expansion League and designed the “Practice Pledge,” suppose a good working knowledge of har¬ Y THIS is meant “playability,” which he should, therefore, be sufficiently skilled keep their First Clarinet parts uncomfor¬ typical residence. The whole town was entirely without any¬ mony, free counterpoint, the simpler musi¬ B for which there was an immense immediate demand. cal forms, and instrumentation. is too often overlooked by many other¬ in the subject to use it when he considers tably high throughout a whole number. thing resembling modern sanitation. The father of the young A pledge is an agreement with oneself to carry out a con¬ The three principal requirements in a wise good arrangers. In my library are interest would be added to the work. In Many others seem to think that the omis¬ sion of the Cornet from the melodic line woman had come to America, made a fortune and educated tract of honor to do a certain thing without fail, under all good arrangement are: (1) Balance, (2) samples which exemplify this point, many the larger works of set form, it is danger¬ his children in the best schools. He was a man of force, indus¬ Color and (3) Practicability. of them by arrangers of repute. One such ous to tamper with a composer’s creation, constitutes a criminal offense, with the re¬ conditions. Only by regular, daily practice can millions of for counter-subjects would certainly be in¬ sult that the entire work lacks color try and most commendable ambitions. The parents of the hus¬ gives the Oboe a tied note of twenty-two musically experienced people get the highest joys from music Balance bars of common time (AndanteModerato) ; dicated were they desired, but even in such variety. band were doubtless people of similar origin. and those who know have found out that such a daily practice ALANCE IS absolutely essential: another writes for the E-flat Clarinet (in works many opportunities may occur where B The Tricky Percussions Two years after the marriage of the young couple, misfor¬ is one of the most profitable of all human investments. without balance an arrangement is cer¬ the days when the Albert system was prac¬ imitation can be introduced without much tune came to them and when we visited them they were living tain to sound “lop-sided.” Balance can be tically universal) a repeated slur in 64th danger of violating the canons of good T”\RUM PARTS, also, are often very We would like to have the consciousness that a half mil¬ X-f badly mismanaged, the arranger keep¬ in a kind of squalor that so clearly pointed to reversion to type assured by a careful study of the short notes, alternating between middle C and lion people at least have signed these pledges and joined The ing the Bass Drum in the picture all the that the lesson was score, deciding where the principal and E-flat, an impossibility! Still another Sketching the Score Etude Music Study wrote below the compass of the Flute, and time, seldom indicating where Cymbals or unforgettable. secondary melodic interests lie (for they ARRANGEMENTS should always be one of our best known arrangers repeated¬ Drum should be used as separate units, Expansion League. often lie in a middle or lower part) ; which lx. made in full score, and the parts Possibly you u t t dl ^ ro/ ly takes his B-flat Clarinets to A in altis- and generally treating those instruments There is only one parts are next in importance, and which copied therefrom. Some arrangers of long smile and say, simo—certainly possible, but extremely as time indicators, rather than as special parts should be subordinated to the more experience can, and do, make arrangements ‘ giCPYEXPAWSfOiv £ way in which this shrill and ugly. Other bad examples will effects. Many also have difficulty in writ¬ “How fortunate important parts. Having decided this, it direct by writing the Piccolo part first and magnificent objec¬ be within the knowledge of all bandmasters. ing a' Side Drum part, and I suggest that that I do not come then becomes necessary to arrange the working through the band till they arrive Especially in writing trills do we find some the advice contained in Griffith’s “Instru¬ from such inferior tive can be at¬ various instrumental parts so that the melo¬ at the Drums. arrangers showing an utter lack of practi¬ mentation,” “If in doubt, follow the melodic tained and that is dic interest achieves its true, relative im¬ Though some such arrangements may be stock!” That is cal knowledge of instruments for which line,” still holds good. portance, and is so distributed, especially good, it is a safe assumption that they one of the most through your per¬ they write. A good arranger, if he desires Another matter which is worth consider¬ when changing the tone color, that “fading” would have been much better had they first — Realizing that never before in the history of the world sonal efforts. Will his works to be marketable, will so arrange ation is the use of the B-flat Bass, to the common and tragic is avoided. “Fading” can always be over¬ been scored. When starting out to make have there been such opportunities as now to enjoy and to appreciate the the parts that the player of average skill neglect of the E-flat Bass. Both have of all human er¬ finest music, and you go to all who come by a skillful use of nuances, which an arrangement, I Would recommend the will find no great technical difficulty in per¬ their function in the Concert Band. If, as rors. A very su¬ Realizing that to avail myself of those opportunities I must make a contribution would be benefit¬ permits light-toned instruments to carry practice of first reading through the short melody with even a very full accompani¬ formance. Otherwise, his work is salable many think, the Band is a wordless choir, of personal effort that can only come through regular daily practice, ed by these means score, mentally singing each section, add¬ perficial study of only to bands with highly skilled person¬ then the E-flat Bass is the true Bass voice, I Hereby Pledge myself during the year following this date to practice and to ment. ing such counter-subjects as your good the laws of hered¬ and induce them nel. the B-flat being an extension of that voice s u y music a least...minutes every day, and taste dictates, and, having satisfied yourself ity reveals that to sign this pledge? Color —just as the Flute and E-flat Clarinet are I Further Pledge myself to induce as many other musically interested persons as which is the best color for that section, ONE COLOR is the most valuable Harmonic Requirements extensions of the soprano voice—and should even with the best possible to sign one of these pledge cards. We will gladly T mark it “brass,” “woodwind,” etc. When material with which a competent ar¬ T WAS STATED above that a good be written for accordingly. In modem of families there I understand that signing this Practice Pledge entitles me, without anv cost o- furnish pledge I completed thus, make a revision to satisfy ranger works. A sense of it is, perhaps, working knowledge of harmony is essen¬ arrangements we often find a two-octave other obligation to membership in The Etude Music Study Expansion League yourself that you have exactly what you must be an unceas¬ If I send in the attached card, this pledge becomes a * ' cards gratis. Here best acquired by noting the various com¬ tial to the arranger. It might be asked, gap between a bass part doubled with the desire, and then score a few bars at a time. ing effort to keep certificate of membership. is a splendid op¬ binations used by skilled arrangers as their “Why harmony, when the arranger has Euphonium, leaving a feeling of emptiness. This enables one to see at a glance that up and keep going portunity for hu¬ works come under notice, and, conversely, the original compositions from which to The Euphonium—the Baritone voice of (Signed)....A his work is balanced and possesses the re¬ by noting work which has no inspiration, work?” The answer to this question is the band—is another instrument often mis¬ ahead —else the man service in the quired tone color. and so learning what to avoid. that clerical or typographical errors are used, being given a tenor solo which would demon of atavism art of music. We Many will not be schooled in a full I believe that the possibilities of tone very frequent, and the arranger should be far more effective if played by either knowledge of the mechanics of every in¬ may consume the are confident that color in the modern concert band are not possess sufficient knowledge to discover and Tenor Trombone or Alto-horn (Tenor). strument used in the modern band. To very best of previ¬ music workers ev¬ yet fully exploited, and that ingenuity and correct such errors before repeating them The Piccolo, too, is an instrument requir¬ ous efforts. High good taste may guide an arranger to new in, perhaps, a dozen parts. Again, amateur those I would say, if in. doubt as to the ing very careful treatment. It is too often erywhere will grasp “playability” of any part, consult a player and effective combinations of instruments. or immature composers will often ask for forgotten that this is a transposing instru¬ ideals and incessant it with enthusi- of that particular instrument, and ask him This is especially applicable to the use of an arrangement to be made of a composi¬ ment, and, as so many small concert bands to play the doubtful passage. If it proves saxophones in combination with either brass tion which is quite good melodically, but carry but one flutist (who does double or woodwind, band arrangers, generally, structurally and harmonically it is weak. fairly easy to him, you are safe in going duty), it often happens that we find the ahead. having kept the saxophone family in very In such cases it is the arranger’s business Piccolo shrilling two octaves above the subordinate positions in the score, prob¬ to strengthen the harmony and eliminate Maying Adaptations next lowest part in the score. It is, there¬ ably because of the unsavory record which errors. It is not unusual for an arranger IN MAKING a band arrangement, it is fore, wise to indicate in the combined part these instruments have acquired through to be given a march which contains a short advisable to pay particular attention to which instrument is to be used, and, gen¬ their exploitation in jazz-bands. There ap¬ introduction, sixteen bars of first subject, the Horn parts, which, as a general rule, erally, it is safer to write the Piccolo part pears to be too great a tendency for the followed by sixteen bars of new material should be written in accordance with the (Continued on page 679) I Page 650 NOVEMBER 1934. THE ETUDE THE ETUDE NOVEMBER 1934 Page 651 The Standard Music Extension Study Piano Course for Teachers and Students The Teachers' Round Table A J^iew Monthly Etude Feature of Great Importance Conducted Monthly by
‘By Dr. John Thompson PROF. CLARENCE G. HAMILTON, M. A. PROFESSOR OF PIANOFORTE PLAYING, WHLESLEY COLLEGE All of the Music Analyzed by Dr. Thompson will be Found in the Music Section of this Issue of The Etude Music Magazine
LADY of the gardens to the average player. Keep the title in relative minor key—D minor—and is clipped cleanly and the pedal used only as No question will be answered in these columns unless accompanied by the full name By George Roberts mind and make the performance as graceful played at quicker tempo, piu mosso. Use marked. The performance should be as and address of the writer. Only initials, or a furnished pseudonym will be published. That interpretation is a source of per¬ as possible. articulated finger legato in the right hand spooky and mysterious as can be managed. plexity to many music lovers is quite evi¬ of this theme so that each note is heard This particular number begins piano with a is called a dotted whole note represented Scales and Arpeggios,” which should give dent, since queries with regard to this THE FLIRT clearly and distinctly. heavy accent on the first quarter of the Tdheory and Practice y\n Estimate of Popular By Felix Borowski thus, »•, which will have four plus two, you a firm foundation for all kinds of tech¬ fascinating subject reach the writer" con¬ A slight “breath” before recommencing second measure. This effect is repeated in in Piano Wor\ or six beats, thus : nical work. For a series of formal studies Music stantly by mail and in the studio. Let us, A very good study in style is this compo¬ the first theme (D. C. at measure 41) will the next two measures after which a cre¬ sition by Felix Borowski. The performer I seem to have a natural knack from the second to the eighth grades, you therefore, consider the first piece of music be found effective and will lend more scendo in the fifth measure leads to a for harmonizing. Because of this, I might pursue the following : in this issue, Lady of the Cardens, which should simulate the provocative moods of prominence to the sustained soprano voice series of two-note phrases in the right hand ■-1 play the piano and memorize the flirt, effecting changes without hesita¬ perfectly, since mistakes i Brauer, Fr., “Preliminary Velocity Studies, is quite “run-of-the-mill” good material, as it re-enters after the active second against brittle staccato chords in the left. which I Op. 15.” Grades 2-3. In reply, I may say that it depends upon tion or pause. The Flirt is lively at the In like manner, a dotted half note has from the interpretative standpoint. theme which has been constantly on the Both hands are in the treble for the first Berens, H., “Newest School of Velocity, how much time and thought is expended outset—legato in the right hand against which bothers me; What shall I do two plus one, or three beats; and a dotted There are, to begin with, a few basic move with either scale or arpeggio figures. fifteen measures after which the theme is about it’—J. S. Op. 61,” Books 1 and 2. Grades 3 and 4. upon it. If taken as a mere diversion and staccato in the left. Observe carefully the quarter note has one beat and a half beat points underlying all interpretation. Some¬ Teachers will be wise to add this to carried in the bass. In measures 17, 18 Cramer, J. B., “50 Selected Studies.” a relaxation from more serious work, it sustained notes and accents appearing in There are two distinct sides to music added. one has likened the structure of music to lists of attractive teaching pieces. and 19 grace notes are to be played almost Grades 5-7. may not be especially harmful. But it is the right hand. Also take account of the study, namely Theory and Practice. Your Acting on the same principle, the value that of a rope with three woven strands— simultaneously with the principal notes Czerny, C., “The Art of Finger Develop¬ in the abuse, rather than the use of popular changes in dynamics particularly in meas¬ VALSE TENDRE natural tendency toward music composi¬ of any dotted note can be easily estimated. the musical strands being of course melody, which follow. A sluggish grace note will ment, Op. 740.” Grades 6-8. music, that the danger lies. Many other¬ ures 13 and 14, which are played messo- By Louis Victor Saar tion should lead you to the study of theory, harmony and rhythm. The same comparison completely ruin the sought after effect in I quite approve of your idea of practicing wise conscientious students turn to popular might hold for interpretation in which case forte and answered very quietly by meas- The title tells us at once that this piece which will show you how to present your these measures. Since the tempo is fast “Musical (glassies short passages many times by repeating music as an excuse for casting aside all the three woven strands would be form, •ures IS and 16. The next theme, measure is in the dance form and it follows that musical ideas in their proper form. But and the principal notes themselves are so them first at a slow and then at a fast law and order in their playing; for “sketch¬ mood and style. Let us examine Mr. Rob¬ 44, is more sustained and played tempo its interpretation must be rhythmic above at the same time, or before you embark on staccato, it is suggested that they be per¬ a proper musical education? It is tempo. As to the touch, however, I should ing out” the notes, rather than actually ert’s Lady of the Gardens under these three moderata. The Coda, ending brilliantly, is all else. Many are the types of waltzes, theoretical studies, I advise you to carry impossible for me to obtain a teacher formed as though written thus : not confine myself to heavy work, but playing them; for neglecting careful, ac¬ heads and see what happens. easily played because of the repeated pat¬ but this one calls for some little subtlety on an intensive course in piano playing; at this time, so that any help which terns in the right hand. you can give me will be much ap¬ should vary between very soft (pp) and curate fingering and phrasing—in a word, FORM—An examination shows the and nuance of tone. for otherwise you will find yourself seti- preciated.—N. G. very loud (ff)—a practice which will in¬ for making a general hotchpotch of their music to be written in one of the simpler The music opens with a very graceful ously handicapped in the reading and proper WAVELETS By “classics” is ordinarily meant music sure control over your fingers in producing music. Such a proceeding is apt to unfit dance forms. It has the three-four lilt of figure in the right hand which becomes performance of your music. Learn first By Jules Mathis which has withstood the lapse of time, and different degrees of tonal color. a student, mentally and physically, for the the waltz, but in decidedly slow tempo. •somewhat extended in measures 5 and 6. how to manage your fingers, also how to Mr. Mathis’ piece is excellent teaching which may be expected to endure for an real niceties of playing; for putting music Since we know it to be in the dance form In the meantime the left hand supplies an phrase and execute your piano music; and material. It has pianistic value in that it indefinite number of generations. Perhaps in its proper place as the most intimate and it follows that tempo and rhythm must be accompaniment which must be slurred and iplp your theory work will be placed on a much Tohe Staccato with Pach teaches the playing of arpeggios divided be¬ I can best answer your question by citing far-reaching of all the fine arts. well marked and kept to strict lines, any released exactly as marked, otherwise the firmer foundation. tween the hands whilst one hand carries the most important classic writers, with a Please advise me in : As teachers, we need plenty of tact in rubato being taken with discretion. rhythmical swing of Mr. Saars’ concep¬ This will give the intended effect better playing and teaching sti- _ the melody. Aside from educational merit, brief note on the work of each. Of these Bach’s compositions. Several years dealing with this kind of music, which often MOOD—The mood is certainly not on tion will be utterly destroyed. than any effort to make the grace notes this piece is worth playing for its own Dividing the Practice'Toime writers we may distinguish four groups, ago, when studying the Bach-Tausig appeals so directly and attractively to our the tragic side, nor can it be called hilari¬ A certain amount of rubato used skill¬ sound separately. The same treatment is Toccata and Fugue in D minor with sake and will prove its worth as a recital How should I divide my practice as follows: a famous teacher I was told to play young people. Let us not frown upon it ous. Rather is it light and fanciful, with fully may be applied to this type of waltz recommended for measures 40, 41 and 42, number. Allow the melody in the soprano time of one hour and a half per day ? 1. The older classicists, chief of whom the staccato notes, especially in the too disdainfully, lest we be thought hope¬ the note of cheer throughout. The second with good effect. Keep the tone light and also for measures 45 and 46. Fugue, with^ round,^ full, lingering voice to sing out clearly with beautiful are Bach and Handel. In their works con¬ lessly old-fashioned; but as occasion offers, theme in C minor borders on the pensive colorful in the first theme. Much of charm The second theme is in the parallel tone quality, and let it not be disturbed Begin with a half hour of pure technic trapuntal structure prevails, as in the fan¬ let us gradually unfold the beauties of a for a time but the mood brightens with depends upon delicacy of treatment. The major key—D major. The open fifth _ _ Now I wish t by the rolling accompaniment. Practice (scales, chords, and so forth), following tasias and fugues. Often the structure is better class of music, and let us show how the return of the first theme. second theme beginning with measure 33 played staccato in the bass suggests a per¬ v whether all staccato notes i this music first without themadizing, mak¬ this by another half hour of studies of a based on balancing phrases derived from l’s works should be played i its wealth of harmony and melody far STYLE—Considering the title, the name may be a little more assertive, especially cussion instrument beating out the rhythm --- v — -tudying th ing a special exercise of playing the rolling more formal and musical character. The the dance, as in most of the suites. overshadows the cheapness of many of the of the composer, and what we have gath¬ during the first eight measures where the of the dance. The effect of staccato “Two-part Inventions,” and i groups evenly and smoothly thus: rest of the time may be divided as seems 2. The sonata writers, chief of whom popular idols. In this way we may help ered so far from examination we con¬ melody consists of long sustained notes in against pedal as marked adds to the color Ex. I best, between a new piece and the review are Haydn, Mozart and Beethoven. In to create a demand for real musical worth. clude at once that the piece is not in the the lower voice of the treble part. Note of this theme which ends pianissimo on a or finishing touches on a piece already well their works, the principal factor is form, Fortunately, in modern times the radio, classic style. There will be no traditions the figures divided between the hands in series of grace notes and is followed by mastered. which became increasingly elaborate and with such an artist as Walter Damrosch, is to keep in mind, no special style to observe; measures 36 and 40. The measures from the re-entrance of the first theme. A shal¬ complex, until the climax was reached in bringing to people in general a realization therefore we are free to develop a mental 41 to SO of the second theme should be low light touch is suggested alternating “Values of Dotted Motes the colossal works of Beethoven’s Third of the hitherto unsuspected attractions in picture after which the picture must be played schersando' so that they may afford with a deep touch when playing accented In the epoch of Bach, there was little St pupil five yea.„ . the best music, displaying this music in translated into terms of musical sound. of that overlapping legato which was em¬ contrast to the sostenuto melody in the notes of passages marked forte. ? two half-ho*■ r lessons eek. 3. The Romanticists, of whom the most Now let us examine the interpretation of phasized by Chopin and which has persisted strong and immediate contrast to that of earlier part of this theme. At measure 50 icanieu ine kinds or notf noted are Weber, Mendelssohn, Schumann this number from the material side. The Next play the melody alone, procuring SOMERSAULTS s, and also reads well in ti since his time. When the notes were of the comic “skits” and the like, which fur¬ the theme is repeated, this time an octave treble staff. I also have taught he and Chopin. In these, as a direct outcome first theme opens with the melody obvi¬ the best possible tonal quality. Note the By Robert Nolan Kerr melodic value and not rapid in pace, they nish plenty of lighter entertainment. higher and with more elaborate accompani¬ —-ling of tl **™e signatur- of Beethoven’s works, everything finally ously in the right hand. In playing the manner in which the arm is used as this This little grade one piece affords prac¬ and she seems tc _understand thor- were played with a kind of non-legato ment. There is a fairly big climax at oughly the relative values became subordinate to the expression of passages in thirds make certain that the will prove useful when the right hand is tice in playing broken triads and short dia¬ touch, which may be thus represented: Mature of Potation measure 61 followed by a diminuendo which notes and half notes. personal feeling and emotion. soprano voice is heard to stand out over playing the melody and the notes of the tonic passages. Pupils will get much of Now 1 am wondering how I shall Bach, Two-part Invention, No. 8 begins at measure 65. Another forte pas¬ Romanticists whose virtuosity was pre¬ I would like information on Rota- the alto which has a tendency to sound accompaniment. The melody should stand value from it if they are required to recite introduce her to the dotted note. I ’ " ’ v to teach it and in what sage is shown—measures 75 to 80—after have never had a pupil as young as dominant include Weber and his distin¬ begin it. too thick because of lying on the heavy out because of the quality rather than the which both tone and mood taper lower and the triads and their inversions thus: 1st she is, and fear that she will not -ently I saw a pupil in recital thumb side of the hand. The accompani¬ mere quantity of its tone. understand what I mean if I tell guished follower, Liszt. play practically am entire com¬ the piece glides almost imperceptibly into measure—C major Triad, Root Position; her that “the dot adds to the note ment is in the form of an arpeggio to be 4. Modern Classicists. Of still more position with wrists far below the The rhythm is important in this piece. a re-entrance of the first theme and ends 2nd measure—C major Triad, First In¬ one half of its original value.” utonao keyboard level, and almost constant¬ played with graceful rolling motion and Note that it is written in three-four and ay of pres modem composers whose works are rapidly at Fine measure 33. version; 3rd measure—C major Triad, Sec¬ T. T. JTR. ly “undulating” the wrists from side rather shallow touch. Pedal precisely as not two-four time, and play it as shown ISfs^uVe^--^ “°£ becoming recognized as classics, we may to side and up and down. Is that ond Inversion; 4th measure—C major correct?—Mrs. E. D. marked. The grace notes in the right hand below: cite Claude Debussy, whose vividly charac¬ HALLOWE’EN FROLICS Triad, Root Position. With a child of her tender years I should should be clipped off sharply. Played teristic tone-poems are filled with luminous The principles of Rotation may be taught Ex. 2 By Charles E. Overholt If they are familiar with diminished make my instructions as graphic as possible, sluggishly the effect is deplorable. The pictures. This clever little piece will be found ac¬ Triads they should recite those found in thus appealing to her eye as well as to her almost from the first lesson, when a pupil piece begins Andantino, and tonally is Here the “round, singing tone,” of which ceptable for study at all times of the year measures 25 and 26. ear. Cut from a piece of paper a slip one is shown how to hold and manage his rather quiet. The tonal shading is clearly you speak, may be well applied. For but particularly of course for Hallowe’en inch long and a half inch wide, thus: technical Wor\s and How to hands. At first, the hands should be held marked almost measure by measure. It • A*ter p'ece ^as been learned slowly quicker passages (of sixteenth notes, for programs. Many teachers seize upon the it should be worked up to the tempo in¬ very quiet, so that the work is done almost does not grow very noticeably in tonal in¬ Practice THhem instance), and for “filling in” contrapuntal dramatic possibilities of the evening before dicated in the text. Because of the title entirely by the fingers, with a soft touch. tensity until measure 21 is reached where passages, a crisp but light tone may be All Souls’ when spirits walk the earth, to it will not come amiss if a child plays As more strength is needed, this may be the crescendo is more pronounced than n- used. The very short staccato, however, s follows, which by grouping the construct effective costume recitals featur¬ this number in somewhat clumsy labored piano. _ g had n supplied by rotating to right and left from those preceding and leads into forte. The Tell her that this slip is to represent a tice for o. _ „___I is seldom employed with Bach. accompaniment notes together as triplets, fashion. Pedal only the last two measures the wrists, also by raising and lowering the crescendo is preserved for only a few meas¬ ing compositions having such titles as whole note, », to which in music four starting on a book of technical Mozart used for his concert work the actually throws the rhythm into two-four. Goblin Dances, Witches Rides, Broom as indicated. studies, also on Bach’s "Suites.” I hands. But with experience, all of these ures after which a diminuendo is in effect beats will be given. would like a list of technical works Stein pianos, which had a light and delicate Stick Cavortings, Black Cat Prowlings and motions should be lessened, so that they to measure 32. Ex. 3 SWEET PEAS Now cut out a similar slip, only a half suitable for advancing me to the action, adapted to the fluent passage work what-have-you. This is a tried and proven seventh or eighth grades, with direc¬ become almost purely a matter of thought; The second theme, although in the rela¬ By Joseph Ellis inch long; tions on how to practice them. For that prevails in his sonatas. In consequence, method of keeping pupils’ interest at white and finally, they are scarcely perceived by tive minor key is a bit brighter, being Mr. Ellis here contributes a short num¬ instance, Czerny’s Opus 33t necessi¬ his piano music calls for speed and clear¬ heat, and such programs take on all the tates repeating each measure twenty the eyes. Exaggerated motions, such as marked piu mosso. The tonal plane is a ber which will be found good for study times at a rapid rate. Is it better ness, rather than for the profundity which excitement of theatricals and a fine spirit “pumping” the hands up and down, not only trifle above that of the first theme, the in melody playing. The right hand melodv to play an exercise slowly and with developed with Beethoven. Haydn, who of play since they lack the severity and □ a heavy touch a few times before are unnecessary, but are valueless and general trend being toward messo forte. preceded Mozart, finally came to make use pattern is preserved consistently for which and tell her that this slip represents a dot playing it fast? Also, how should I technically confusing to the player. In his Except, perhaps, for the left hand arpeg¬ formality of regular pupils’ recitals. practice scales, arpeggios, chords, of similar virtuoso effects, hence should be reason it should be easily memorized. To beside the whole note, which will be given octaves, and so on, to obtain good recent book, “The Visible and Invisible in gios there is nothing technically so diffi¬ The number under consideration calls played with a similar type of execution. The pedal is used once to the measure memorize the left hand part it is suggested just half the time of the whole note itself, results?—N. G. Pianoforte Playing,” Tobias Matthay sums cult in this music as to offer a problem for a fine snappy staccato combined with Except when it is especially specified, I throughout. The second theme is in the that it be studied first in this manner: or two beats. If, now, this dot is added up the matter of technic by saying that it graceful slurring. The rhythm mu-u be I advise you to base your study of technic should not emphasize the shortness of the (Continued on page 686) directly to the whole note, we have what “is rather a matter of the mind than of the on James Francis Cooke’s "Mastering the notes with Haydn and Mozart. fingers.” I (Qjj-yrCtjf''jUr/rUT — ™y
frAA-tl-* frJcjrl' y THE ETUDE Page 652 NOVEMBER 19S4- Page 653 THE ETUDE / NOVEMBER 1934 Pa± PAcrdMATTMC DTI?r'I?Q urJL* TUP MTTQTr'AT HOME LADY OP THE HARDENS
If your right hand were an independent soloist you would expect your left hand to accomodate it in the accompaniment.Play it in that way. Mr. Roberts provides 11 very fascinating melody.
ALBERT SPALDING Uiolinist or Fiddler? HE MOST satisfactory solution of purely musical. There are any number of T ruin the sheerly musical value of the com¬ plied, “I like only new music!” For violin problems comes through work¬ effects—slurring, sliding, or “sobbing” of poser’s message, which must ever and ever musical newness has nothing to do with ing them out, patiently, diligently, notes, undue time values, exaggerated remain the important thing in the player’s age. The works that are musically sincere sincerely, for one’s self. Talking about vibrati and so forth—which certainly do are always new, while those which depend difficulties is helpful only as a means of emphasize certain distinctly violinistic qual¬ for their vogue upon “effects,” or conscious, localizing them. No one can help you over¬ ities, and which, regrettably enough, have come them but you yourself. The violinist’s a tendency to please listeners, probably for sophisticated modernism, are dead before HOW CAN you avoid this error, whicl they are born! And this test of newness most important problem, perhaps, is to the reason they are unique to the medium is so easy to fall into and which im make his instrument the servant of music, of the yiolin. As long as the violinist in¬ and freshness is equally applicable to the mediately degrades a violinist into a fid playing of music. Truth, Simplicity, and instead of allowing music to become the dulges in such effects, he is merely fiddling dler? By studying all you play, not from servant of his violin. Let me explain more Sincerity are the Holy Trinity of musical and not making music. And therefore, to violinistic point of view, but from a musi precisely what I mean. performance. They alone endure and win come back to our starting point, he must cal angle. Master all purely physical, vio The violin is, from a purely physical hearts. early make himself aware of the need of linistic problems so that they become secon standpoint, the least natural of all musical subordinating the individual demands of his nature. Then, with such mastery in you The Inner Rhythm instruments. Think, a moment, of the instrument to the greater demands of the hand, qpen that critical “other ear” to th bodily position of a violinist while playing, O MUCH for the violinist’s greatest music he plays. pure, abstract value of the music. Mor S and you will readily agree that no purely musical problem—that of instrumental Some day, when you have the opportunity than any other instrumentalist does th natural demands would ever induce him to subordination. Let us consider next his of listening to a “pretty good” trio in some violinist need to cultivate that “other ear assume such a posture. Most other in¬ greatest violinistic problem. I believe this hotel or restaurant, make this test: listen of criticism and to listen to himself. H strumentalists sit down while they play— to be the acquiring of the perfect vibrato. carefully for the individual instruments needs to keep the mental study of his musi an added means of natural relaxation—and The vibrato is, perhaps, the most personal to state their themes, and see if you do not a conscious step ahead of the physical stud the position of their arms and hands, either come to the same conclusion that I have. element of the violinist’s playing, the most at right-angles to the body, or following of his instrument. The moment that th important factor in influencing the char¬ It is this: the pianist does the least damage physical needs of “making violin effects the laws of gravity towards a downward to the abstractly musical values of a theme. acter of his tone, in giving it individuality. vanishing point, more nearly approaches a take the upper hand, danger lurks to music Just as the great master-painters can be This is true regardless of the pianist’s As a matter of safeguard, let me hastei position which they might assume naturally, musicianship, for it lies in the essentially recognized without the signature on their and without the demands of the instruments to add that violin effects must not be dis canvasses, by distinctions of line and com¬ complete, symphonic character of the piano. carded as such. Far from it! A slur they guide. The violinist is, of course, position, so, I believe, our great violinists Generally, then, the cellist comes next, and sob, a throbbing of notes are necessar scarcely aware of this; nevertheless it is the violinist, alas, can most easily distort can be distinguished by the peculiar qual¬ true. And the need for assuming a funda¬ whenever the music demands them, when ity of their vibrato. musical purity. It seems almost inevitable ever, by conscientious study, you can as mentally unnatural position, of body opens The secret of the vibrato is that it must for him to indulge in some exaggerations sure yourself that the composer mean to every violinist the dangerous possibility never disturb the straight bull’s-eye ex¬ which have two results: they lower the them to be there. Otherwise, not. Neve of embarking upon further “unnatural¬ actitude of intonation. It must never be purely musical content of his message, and as a means of captivating hearers, as ai nesses” in playing. allowed to lapse into the tremolo that per- they heighten the physical individuality of invitation to applause! The most capti his violin! nuts the listener to be conscious of two Putting the Violin Through Its Paces vating of all things is musical truth, sin Now, the violin, next to the human voice, separate tones, with a quavering bowing HE CHIEF of these dangers is the cerely felt and simply stated. That i T is the most sensitive of instruments. A always charming and always new. between them. There is a slight variation temptation to pander to the sheer irom pitch, of course, in every vibrato, but breath of exaggeration, a second’s overdone I was once asked why I nearly alway physical difficulties of the instrument by vibrato, any undue emphasis of the purely such variation must proceed from the prime making all music violinistic rather than phy classical music. The question was pul pitch t violinistic character of his medium, can Dont you like new music?” And I re j slightly below it—never above it (Continued on page 673) NOVEMBER 1934 Page 655 THE ETUDE THE ETUDE Page 654 NOVEMBER 1934 THE FLIRT FELIX BOROWSKI ^^ ^7 .- ^ j - TT y 25 r . p ^\>t 30 a \>£: Copyright 193'4 by Theodore Presser Co. 8. British Copyright secured TAW ETUDE Page 657 Page 656 NOVEMBER 1934 THE ETUDE NOVEMBER 1934 WAVELETS JU LES MATHIS rade 3. This piece, as the name suggests, has a very i iquid quality whicb,when played in adequate s legato style,is ver y effective. G Allegretto M.M. J- = 76 sleggiero 4 5 4 5i- 5_ w 4 -Cx v'cA-i 7 7 Cflp ~ 1 Vl^ J ^ T* 5 JJ1 - —i simile ^-—7 ——— 4 Sr—— ^— - 5| 7-^, , 3 "^7 -j-lr., A ^ ^3i 117 * — i° TTTl I 1^ n -J-J -*J k3^] it isjTi ----, leggiero 5_ .4 S 0 . A-- A--—■ T-i- (ft \> U'm 3 ------htrr?-r m- • 1- -r~&~ —r~m irm 1 1 ^ 1 ^ - xr- 7 [j£p- 7 20 jT-j AT Asn Am “a --- simile 0 3r-Tl.J*-- 3, , JU». * - 3. -/!—E-—2—J—C-—i—ff-1—»? F ^ u-—" A-- fJ.* ^ -— ■■ aI*— ^ ’Ff— . ~3t Tl piu mosso *—J. > V 5 1 1 . I2l (sfe fi^j j^P - Li — "sf | - 35 jf 40"^ —i _—i |--1 5 j 3 i1 a 4 5 British Copyright secured VALSE TEND RE LOUIS VICTOR SAAR, Op. 89, No.2 Louis Victor Saar, pupil of Brahms, here writes aJmost in the styJe of Schiitt, Godard or PoJdini. This work wiJ] make a real acquisition for students’recitals. Grade 4. M Copyright MCMXXI by Oliver D it son Company International Copyright secured THE ETUDE NOVEMBER 1934 Page 659 MASTER WORKS MOMENT MUSICAL This is one of six Moments Musicaux composed by Schubert.While the little Moment Musical in F Minor is the most frequently heard, this HALLOWE’EN FROLICS CHARLES E. OVERHOLT Here is a crisp little study for staccato and phrasing. It is a splendid opportunity for the practice of neatness at the keyboard. Grade 3. Light and fast M.M. J = 116 , f 1 ttr ■ ~y~ ttr - -t 10 cresc. .r. h. 2 dim. 15 ^ z r~ ' ° r— » 3 THE ETUDE THE ETUDE NOVEMBER 1934 Page 661 Page 660 NOVEMBER 1934 OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES From the Cantata BRING NOW YOUR GIFTS Words and Music by “Harvest Home” WILLIAM BAINES Moderate p AN ] f j _ =H=f —M% 1 g | g I"":' \ ii -in rf # ' i-ri 1 j r J - bd * i J -p-— ^^^——d- f j m--m^—r^r~ i —^^ i—^ ^ i : ^ V 9 9 i i 9 9 9 : 2 5 i L-i r al- «*■ ?-^ A- I e/ p L ^ H ^ gmC— All l that the Lord_ hath free - - iy g•iv’n. Bring ye the vt 1 — # 9 5 S i> m J- ** * * i r wf z3t y fr|# - f.t~r •u — f- — uS: - .=j „, r F f 3 r 1 bless - ings of field anh mead - ow, Bring o) f the si tores which the gar - dens I "'I j-4-J 1 J 1 | ■■ J J J J- 4-j_j—-1 =1 1 j 5- =3=: j— *■ j. *7! ^fTr^T * b.... =i --kL- ^ r rd? Jr -f— =— p... | *r British Copyright secured ht Page 662 NOVEMBER 1934 THE ETUDE THE ETUDE NOVEMBER 1934 Page 663 *Second time use small notes THEETMDE Page 664 NOVEMBER 1934 THE ETUDE NOVEMBER-1934 Page 665 FINALE IN O MANUAL PEDAL Copyright 1923 by Theo.Presser Co. 4 International Copyright secured THE ETUDE NOVEMBER 1934 THE ETUDE NOVEMBER 1934 Page .667 HIGH SCHOOL GRAND MARCH HIGH SCHOOL GRAND MARCH * From here go back to Trio and pJay to Fine of Trio-, then go back to the beginning and piay to Fine Copyright 1934 by Theodore Presser Co. British Copyright secured the etude THE ETUDE NOVEMBEENOVEMBER 1934 Page 669 Page 668 NOVEMBER ^qGRESSIVE MUSIC FOR ORCHESTRA 1st CLARINET in B\> JOLLY DARKIES KARL BECHTER Allegretto ^ ^ fl 'ir3 1 JOLLY DARKIES KARL BECHTER Orchestrated by Rob Roy Peery ^ ^ ^ ^ a tempo a n ~ iis pine\ qj ^ 1st Violin mf D. S. -mm—wm*.-1-,-~ “ mp 1 El. ALTO SAXOPHONE JOLLY DARKIES KARL BECHTER ^ ^ Allegretto ^ n Ifs ' Piano 1 , 2 Fine* - - - ^=°-rit. p III ~====:::: "'===~ ^ ~===~ D. S. *3 P mp 1st TRUMPET in JOLLY DARKIES KARL BECHTER nr ira-pi -O-Jk-!-1-.-1-2-1-1—-1-1-.-.-!---1-1- ft ^ ^ a tempo '1, 'IT; ” Fine' # ' - ^ — la p f) # 1 2 3 4 D. S. CELL° AikRreHo°NB "P JOLLY DARKIES KARL BECHTER S 1 ^ ^ lnY—1 n V n V n-ip-t—i — i*- ^ . -ttne 1 l i l F ~i r n p-:—t-—»■ ir~ mj ---- —r=~~p a tempo n V h v -jYY ' |-| 'jj |- Lr i ri^ll 1 1 *11*1 ^111 1 ^ 1:1 I 1 ! i 'A 1 1 ^ bass JOLLY DARKIES KARL BECHTER Allegretto ft- n "“a 1 &, f*f*ir*r* i|:rjir 11 rrr ri»*r*rr £r* rf:tp * i»»nr y hi r ^ r hi a tempo T lr* Copyright 1932 by Theodore. Presser Co. British Copyright securei THE ETUDE Page 670 NOVEMBER 1934 THE ETUDE NOVEMBER 1934 Rage 671 FASCINATING PIECES FOR JUNIOR ETUDE READERS --*#•- Grade ij. SO]\IER U 53 2"^ 3, £> —i—-—^ { 7£-*—p-.J 20 ) a./> ff I*/"i r -T-i ri rff ■ r-\ ii — 1 ' l—‘ — 1 2 3 4 5 Copyright 1920 by Theo.Presser Co. 5 British CopyrigM secured British Copyright secured THE ETUDE THE ETUDE NOVEMBER 1934- Page 673 Page 672 NOVEMBER 1934 Poems by Edmund Vance Cooke GOOD THINGS GROWING _FRANCesco b. De leone Uiolinist or Fiddler Grade 1. Happily M. M.[. J- = 160 __^ New Educational Piano Pieces (Continued from page 652) You Can Teach Easily! (JUST OFF THE PRESS) (hjg4ta The least tendency in the upward direction ness being on the stage. Of course, facing ruins the character of pure vibrato. Here, an audience brings with it a greater pulsing 5 Cher-ries and b^sh and tree. y perhaps, is the unique case in music study of heart, a throbbing of nerves, and a CHEER¬ / mf Good things grow in the gTound, You know, On vine and , OH 1- . iGf:- — where one must consciously aim downward general quickening of consciousness. No FUL j < - PIECE instead of up! In its production, the vibrato sensitive musician could assume his re¬ 9 : r J ff Whis-tle a lit - croon to the moon, Blow your is controlled entirely by the hand, in no sponsibilities without that. But nervous case by the arm. The safest and most fear, no. It is the height of selfish egotism - %f~ , f , f--= 1 3 1 3 logical approach to the vibrato is by way for the musician to approach his public 3~- _ of the trill, which, of course, is achieved without the rock-bottom surety that con¬ through the fingers alone and never quers all fears. To go on at all, his chief through the wrist or the arm. Once the love and interest must be, not public ap¬ UNCLE D AN, THE SA1[LOR MAN A U 3 >_ Waiter Rotfe s=~ 3 i pure trill has the sound and the feeling plause, but his own playing, his own sharp of surety, the violinist may work his way self-criticism. If he keeps his sheerly musi¬ /ji 4i i -V-t *r~ on to the vibrato. Physically, he produces cal idea ahead of his thoughts of mere per¬ 15 9,■. , Lives two blocks from it in exactly the same manner, except that formance, he will soon find nervousness things like these Are good in - side of ’«/ T a J011 / ber-ries and beans and peas, Po - ta-toes, to - ma-toes and he “shakes” on the prime note alone. disappearing. I have often been asked about program¬ J _10 Corungkt, mi, 4y Earold 1 building. What ought one to play? For Radio Stimulation the student, I should say one ought to read MY RECENT experiences in radio INDIAN WAR CALL, 3 2 3 3 ^ and play everything one can possibly get playing have served as a liberal edu¬ hold of, in order to learn as much music as cation. I think that radio work is an ex¬ one can. For the performer, whatever his cellent training for young musicians. It €//€?«>« 3 3 4 status, I should say “Play what you love affords a unique discipline in precision, ^3 3 3 3 3 ~3 ■ 2 2 ' "2 1 best.” One can not possibly make others exactness, and the fighting off of possible believe in something one doesn’t believe in “stage mannerisms.” True, in radio work oneself. It isn’t necessary for the violinist one feels the lack of that source of strength to admire every measure of a composition, emanating from an audience which comes long, red, red line. < me. So I o-pen my mouth and I chew them fine And a - way they go down the but, if he wants to render it convincingly, to bring you its visible attention. But there he must find in it something—a passage, a are compensations! If an audience is not (Prices quoted are with discount deducted; postpaid if cash is sent) «■* 25 20 mood, a quality of character—that is strong there, on the spot, to give you its attention, OUR 24 BEST SELLING PIANO TEACHING PIECES enough to convince him first. The chron¬ you come to feel that, depending on your ologically built program is purely a mat¬ own powers of musical and personal sym¬ ter of convention. I do not believe in ad¬ pathy, you can take that attention from hering to it slavishly. I have often begun some other diversion. You enter great a program with Debussy and ended it with homes and plain homes, ranches, and FREE—Piano Thematic Booklet Of Teaching Pieces Sent On Re«u w , k BREATHING Bach. mines, and farm-kitchens. Perhaps your Not too fast M. M. J'= 152 FRANCESCO B. De LEONE invisible audience is reading, or playing A Debt of Gratitude bridge, or talking about crops or the chil¬ HAROLD FLAMMER, Inc. THE MUSICIAN’S greatest duty, of dren’s schooling. And, if you are lucky, 10 East 43rd St., New York—Dealers in Music of All Publishers course, is to give his hearers a pro¬ you can gather up those countless ends of New York Distributor for: gram which he honestly believes they will attention and turn them towards music. It enjoy listening to as much as he will enjoy is a queer, but very wonderful, feeling. I playing it. I do not mean this in the sense had a letter, recently, that touched and de¬ of pandering to the less worthy elements of lighted me. It was a round-robin, signed public taste, of offering music that his own by a dozen miners, in a lonely Wyoming 3 WORLD-FAMOUS COLLECTIONS taste rejects, for the sake of “putting one¬ camp, who had “tuned in” while I played. self across.” Nothing is further from my I would give much to know what they were 13 5 3 mind. But I do mean that the audience doing, after a hard day down in the shafts, deserves the most careful and devoted con¬ and what impelled them to give me the sideration. It must not be “educated;” it honor of their attention. must not be snubbed; it must not be offered The radio performer must constantly ask thin, valueless musical fare. No time can himself, not only “How well do I play?” "be better spent than in studying the wishes but “How much sheer entertainment have r -1- of one’s public, for this public brings a per¬ I got to give, to induce people to drop other former a great deal more than the dollars < laugh or to sing, or things like that, But I take in air with my inouth shut tight, For my nice, lit-tle nose does that all right. things and listen to me ?” That is an added it leaves at the box-office. It brings him responsibility, of course, not encountered io the contribution of sympathetic and con¬ by the musician who finds his audience be¬ centrated attention, the source from which I fc): L f \ in fore him, ready to meet him on his own he draws the strength to go on to greater terms. It constitutes, perhaps, the greatest achievements and better things. We owe 1, 1 i—J 5 5 delight of radio work. 13 5 1 1 1 ;> 11 1 K 5 our hearers a debt of gratitude, and the best way of paying it is to strive always to give them genuine pleasure, in the The Microphone’s Fine Ear A COMPREHEN¬ /\N outstanding col¬ _ MOST complete S TO the actual playing before the SIVE collection of lection of standard fa¬ child’s book, contain¬ Grade 1. worthiest manner of which we are capable. A , FUN TO BE CLEAN . microphone, there is no special “radio more than two hun¬ ing nursery rhymes, 116 I say that a performer draws his great¬ vorite songs. Words Cheerfully m.m.J = FRANCESCO B. De LEONE dred well known songs and a series of est strength from the audience there before technic.” I play no differently there from and music. Included classic, modern, light piano pieces and duets him, bringing him the priceless gift of sym¬ what I do at home or on the concert plat¬ are patriotic, operatic, operatic and sacred suitable for the young pathetic concentration. But, I hear you form. The only difference is that there is sacred, plantation and compositions. NO folks. A REFRESH¬ ask, does not the aspect of that sea of faces less complete freedom in playing. Radio many other selections. MUSIC LIBRARY ING FOLIO OF have just the opposite effect, making the music is, at best, photographed music, and COMPLETE WITH¬ SPLENDID FOR HAPPY REMIND¬ performer nervous and self-conscious? I the powerful mechanisms that send the OUT THIS VOL¬ USE IN GROUP ERS OF YOUR OWN believe that the popular conception of music out will also “photograph” the tiniest, UME. SINGING. EARLY EFFORTS. “stage fright” is the worst possible fare most delicate shadings in a way not dis¬ to feed to young musicians. It puts the cernible by the unaided ear. Take the emphasis in exactly the wrong place. Cer¬ matter of breathing, for instance. Before tainly, the performer may well be “nervous” the sensitive microphone, you are afraid to of his great responsibility—but he should draw a deep breath, while playing, lest it send postpaid on rec..... «_ “register” along with your tones and con¬ satisfied. (NOT SOLD IN CANADA.)LNADA M °ney cheerfully refunded if not entirely * * 6 4 3 2 _l_ concentrate that nervousness upon the hours fuse them; while, on the stage, you can he spends in his practice-room, his labora¬ MAIL COUPON FOR ILLUSTRATED FOLDER WITH CONTENTS tory. That is where he must learn to labor grunt, if you like, and those in the very front row will not hear you! AA- and criticise himself; that is where he may Th« Publishing Co., Inc. ( ) Book of a Thousand Songs. fall prey to the fear that he is not doing One must constantly remember the micro¬ 1140 Broadway, New York, N. Y. < ) Masterpieces of Piano Music \ Soap loves to rub me, the Wash - Rag to scrub me, And Oh! But it’s fun to be Enclosed find $. for which ( ) Child’s Own Music Book. clean. his best. But, once he steps before his phone’s power to magnify details in this please send the books checked. ( ) PAPER ( ) CLOTH public—be that “public” a teacher, a single way. As a result, one tends to soften and ) PLEASE SEND FREE ILLUSTRATED FOLDER WITH CONTENTS. friend, a studio group, or an audience—he tone down accents and effects, instead of must be so sure, both of his music and his stressing them. But that is no great diffi¬ s 2 ;—^— - playing, that he cannot be made nervous! culty, because, after all, the greatest scope of the violin lies in suggestion rather than Copyright 1932 by Theodore Presser Co. The type of performer who waits to step British Copyright secured upon the stage to get nervous has no busi¬ (Continued on page 681) THE ETUDE THE ETUDE NOVEMBER 1934. Page 675, Page 674. NOVEMBER 1934. ‘Regaining a Lost Voice By Cecile N. Fleming CLASS PIANO INSTRUCTION THE SINGER'S ETUDE A LOST VOICE” may come from vocalizing them softly on the vowel ah, Before the Revolutionary days nearly all instruction was given several causes. If the source of holding each for four slow counts and individually. Class instruction was a matter of development Edited for November by trouble is purely physical, the natural stopping for breath before beginning an¬ through the years. At last class instruction has come also to the resort should be to follow carefully the other. Slowly transpose this, by half¬ Piano with Eminent Specialists advice of a medical man. If, as is more tones, higher till at the end of six weeks often the case, the weakness is the result the tones of an octave are in use. In the It is the ambition of THE ETUDE to make this Singers Department "A Singer’s Etude” complete in itself of overwork or of faulty method of tone- third or fourth week of this period ah and The Ross Multiple Piano production, then the remedy will lie in the ee may be sometimes tried on alternate which is adequate equipment. following of the best vocal practice. Proper Class Piano instruction gives buoyancy and joy of achieve¬ As a usual thing, the best beginning is Now the five Italian vowel sounds may ment. It leads to more intense effort and more accurate results in vocal rest. When Jenny Lind went to be attempted: a-e-i-o-u (pronounced Ah- than individual playing. A Ross Multiple Piano will give any Manuel Garcia with her voice gone from a aye-ee-oh-oo). There must be constant teacher and the students a new thrill. Write for particulars. faulty method of use, his first demand was care that each vowel is produced with a Rhythm and Its Qharm in Song three months of rest from singing, six feeling of complete ease in all parts of the weeks of which she did not speak except in mouth and thoroughly opened throat. WEAVER PIANO CO., INC., YORK, PA. whisper. Then for the first week she was Ex. 2 ‘By Katharine D. Hemming allowed to practice softly but five minutes (Makers of fine Pianos) each day. And what a chapter she wrote in the history of song! “■pvHYTHM and harmony find their Ex. 5 reproduction of accents, so that many times much of the original beauty of rhythms and While the voice is resting, make sure |-« way into the inward places of the a ... ■ - r, - <*«• of a good method of breathing. This IV soul.”—’Plato. vowel values has been lost. In a language For very low voices, all of these exercises OPERETTAS 1 1 1. J ll- Wip fel der heul - en de Sturm means that it is to be thoroughly natural. The consummation of all that is beautiful so rich and flexible as our English, this is should be sung on the scale of B-flat. I know that_ my Stand erect, and throw the entire body JUVENILE SONGS unpardonable; for there is not a rhythm, To this practice may soon be added to both sight and sound is rhythm; and we into a relaxed state—which is largely a MUSICAL READINGS moDGRnr shall discuss this briefly and simply from Whilst this is admittedly a rather me¬ an accent, a vowel value nor a mellifluous r 1* 1 a- -1 m- ' mental attitude. Be sure there is no MUSICAL COMEDIES the latter angle, as applied in song. As far chanical and clock-like precision form of turn in any other language which cannot, pmno m€THOD tenseness anywhere. Now, with the throat PLAYS for all occasions back as authentic history is known we find arid that He shall stand__ singing, such a foundation is absolutely es¬ by careful study, be just as well or better Simplest Method Known open as in yawning, drink in a deep that both Jew and Pagan employed song sential. In each art there are definitely expressed through the medium of our own Delightfully amusing, simple Most modern; complete: systematic; thorout In four-four (quadruple) measure, breath as naturally as an infant—every in their worship, accompanied by dancing. fixed rules that must be learned and con¬ tongue. usually indicated by C, there are two ac- muscle of the chest and wait absolutely nUeV^amPadults^ Union's FREE Even today each nation has its own par¬ scientiously practiced till their use becomes The negroes of America, who have an plays are produced every- CATALOG cents, the heavier or l the first and the lesser free. In taking a breath, the throat should ticular style of song and dance character¬ next to automatic; after which this rigor infectious rhythm in their singing, do not where—famous for 58 years. wtj ttp one on the third beat have much of the sensation of expanding Complete selection of theat- 1 WRITb istic of the people, some gay, some boister¬ may be somewhat relaxed and the student worry about the words, they just let them to be transposed up or down. throughout rical material for schools, dra- TODAY like a toy rubber balloon into which air 13th chord. On sale at your d__ ous and some serious. Ex. 6 or artist may take certain intelligent liber¬ fit in as best they can. No doubt the the comfortable compass of the individual is' being blown. Inhale quickly but not Part 1,2,3or4 $|QQ j Song is a series of pleasing tones in ties in their application. As George Dyson strongly measured accent in their singing voice. Alternate the Italian vowels. spasmodically; then let the breath spin out (Each Part)... V [ rhythmical order; and rhythm is movement III J J J 1 has written: “After much has been said is the result of the early years when as From this point there may be a gradual against true rhythm as a destroying free¬ in a steady stream that seems as small as but very slow taking up of the usual and marked by the regulated succession of A good example is 0 Rest in the Lord slaves they sang at their monotonous tasks, dom, yet it is only when a rhythm has be¬ the lead of a pencil. Do this many times more difficult vocal exercises and vocalises, strong and weak elements, or the measured from Mendelssohn’s “Elijah.” to assist their working in unison. come practically intuitive that there can a day, with but a few repetitions at each with all the time an absolute stop when flow of words and phrases. In music this Ex.7 To acquire this rhythmic sense the stu¬ is applied to tones and is expressed on the be much real musical fertility in it, for only dent should take a solfeggio or song, note practice. There is nothing better for either pitch or power of tone induces the printed page by dividing the notes into then can the mind be left free to enjoy the time signature and the character of the breath control. least of strain. The least of physical effort HARMONY BY MAIL vastly more productive ideas.” Liebnitz When ready to begin singing use at first means death to both quality and longevity A practical and thorough course of 40 lessons measures, the nature of which is indicated O rest in the Lord, wait pa-tient-ly for Him, tempo given, whether lento or vivace, then Small monthly payments. by what is known as a “time signature,” observed that “Music is the pleasure the count aloud, accompanying this by motions only the tones of the singing voice. As songs are begun, Send for Prospectus and Rates. Mss. corrected which is always placed at the beginning of By multiplying the top figure by three human soul experiences from counting of hand, foot or body, and at the same time Ex.l especial care must be taken, for the emo¬ Music composed, send poem for estimate a composition, though, for variety in and the lower one by two we get their form without being aware he is counting.” very emphatically emphasizing the strong tion of the words is apt to lead the inex¬ rhythm, this may be changed during the for a compound measure, thus, Many imagine the mere possession of a beat. Then, with no instrumental accom¬ perienced singer into dangerous muscular clear accurate voice implies musical talent. constriction. progress of the work. This signature con¬ Ex. 8 paniment, he should beat time whilst hum¬ sists of two figures placed one above the This is far from the case, it is rhythm that ming the melody. Again, in a similar man¬ Domestic & Imported Records other, the top figure denoting how many I b.,o.«|S J J J J J J | gives meaning arid form to sounds. ner he should beat the time whilst singing beats are to be sung in the measure and the the tune, until quite imbued with the lower indicating the note value of one of A Study of Accents rhythm. By this time counting should be Learning to Rule the Unruly Vongue these beats. In every usual measure the first Ex. 9 ' PEAKING and singing are similar no longer necessary for this piece and the NATIONAL RECORD SERVICE. 1206 Race°St.‘phila.. Pa. S By Wilbur Alonzo Skiles note or beat has the heavier accent; though, ^ becomes]® J J J J J J | functions. Each phrase has one word true personal interpretation of the compo¬ for special effects, this may be shifted. of greater import than the others, and any sition may be given unhampered by the | PIANO I Re ilBlues, Flashy Tricks, Slick Basses, Hot INCREASE YOUR Should the top figure be a 2 or 3 the meas¬ with a strong accent of the first of the word of two or more syllables has but one problem of counting and rhythm. This TONGUE CONTROL must be ac¬ thirty minutes each day should be devoted ff.NewBreaks-HUNDREDS of effects. ure has only one accent. Thus, of these strongly marked, this usually being sounds like a tedious process; but in the complished through the mind, not periodically to it. Within two weeks a ■■■■ COURSES for Beginners or Advanced INCOME ! first group of three notes and a lighter Easily—Substantially—Pleasantly accent on the first of the second group. the root of the word, such as in "faint-ly,” long run it will be found to give the quick¬ through voluntary efforts or physical very noticeable accomplishment in tongue Send lor “rEE BOOKLET “^Lw^PricM. Ex.l Take Subscriptions for “softAy,” “strictAy,” where the “ly” is est and certainly the surest and most musi- force. The obstreperous tongue must be relaxation should be evident. However, TEACHERS WANTED! New loose leaf method The compound form of ' ’ • Teach full or part time. THE ETUDE MUSIC MAGAZINE merely the affix and consequently of lesser cianly results. coaxed to relax; and, in accomplishing this, when singing, this groove does not as yet —Write for particulars — IIJ J \V j I Ex-10 =r 1 . =t ■ 1 1 ^ 1 importance. sensation is an important guide. necessarily have to be present; but in due 1712 CHESTNUT ST. PHILADELPHIA, PA. lisi® m m rrj I In the words to-day, re-main and re- The Full Rhythm A very efficient exercise for the creation time the tongue will automatically assume are examples of duple rhythms, the former store, “to” and “re” are merely prefixes, of the right pattern-sensation is to be found such a position, upon the floor of the mouth, now to be found seldom Outside the hymn- with three groups of three notes, or their LIKE GOOD READING aloud, the true never accented. It will be noted in the rhythmic performance of a song is humming. Through this practice the during certain phases of vocalization, and book, while the latter is familiar in such equivalent in rests or other notes. The three-four illustration from the “Messiah” e is encouraged to center its vibration especially in the production of the higher songs as (a) Home Sweet Home and (b) relative accents fall as indicated. The Gar¬ based on the knowledge of much more than that the strong emphasis is on the important a mere acquaintance with the song itself. forward, where it focuses against the front the Habanera from “Carmen.” den of Sleep by de Lara is a good study word “know.” How often it has grated teeth and frontal bones of the head. Then of this rhythm. A living rhythm combines time, pace, meter, Bear in mind that real success does not on one’s nerves to hear this great song light and shade in all their degrees and his same velvety tone quality must be kept come over night nor even within a few Ex.lt begun with “I know that.” In the next these all rolled into one. It is the life of the vowels are employed. If this plan weeks. Patient practice will eventually sentence “He” and “stand” must be ac¬ time in all its aspects; it redeems time from followed on the lower tones of the voice, bring about a free tone, a strong tongue; cented, for they express a person and what clock-like precision and monotony; it in- due time the higher tones will spring and freedom, strength and control of the he will do. O heart of my heart.. eludes accellerando, ritenuto, any change of forth automatically, with an ample volume, vocal cords will finally result. Engravers freedom and richness. In triple measure we have pace from lento to vivace, and of power During the first two weeks of this prac¬ Right Word, Right Place Another fine exercise for relaxing the from piano to forte, and any of these re¬ tice, no tones should be produced on pitches SAFE GUIDE in any song is to fol¬ tongue is to train it silently to fall into a Lithographers A versed. higher than A of the second .space of the for if't. t low the musical rhythm as stated groove (from its extreme rear portion to Write to us about anything in this line where the pop pies are born._ A barrel organ is incapable of all these treble staff. As the voice loosens and the above; for in music that is well written its tip) as it is gently stroked or tickled SEND FOR ITEMIZED PRICE LIST 18? J J |lJ J J | Then nice proportions of time and tone, and tones come more freely forward, sing and the important word or syllable will be al¬ by a finger or sterilized object. This ex¬ hence it is unpoetic and monotonous. Many hum sustained tones on medium pitches. Ex. 12 ^ . :■ ways found on the strong beat. As the ercise should be practiced before a mirror, Up to the time of Handel the half-note singers are not more pleasurable to hear, Gradually encourage the acquired tone was common as a beat-note. The song strong word is usually preceded by an un¬ where the aspirant can see the tongue and |becomes]^ J J J J J J J J J J J jl because of their disregard of these essen¬ freedom and quality to move upward to Lascia ch’io pianga, in the movement of a important word, such as “the,” “a,” or tials to true musicianship. It is here that other vocal organs. If a yawn is prompted “like,” the sentence will be found to begin about E of the fourth space of the treble Sarabande, from his opera “Rinaldo,” is with the stronger accent on the first note the artist shines supreme and that all her by this stroking action upon the tongue, A Handy Blackboard on an unaccented beat as illustrated above staff. Higher tones should be made with perhaps the best known survival. of the first and third groups of three notes. early training is displayed in everything certain muscles are beneficially relaxing in Home Sweet Home, O Rest in the Lord, more head resonance and less chest reso¬ Notable examples of this rhythm are He she sings. and progress is being made. Later, strive By Mary E. McVey Ex. 4 Wie braust durch die Wipjcl and the nance, of course; but that “is another Shall Feed His Flock from Handel’s A sensitive rhythm becomes the breath to carry out the making of the groove with¬ Habanera from “Carmen.” But Lascia story.” “Messiah” and Schubert’s famous song. of life to almost any musical interpretation. out the assistance of the finger stroke upon .A blackboard is as essential to the home rolled up when not in use. Light blinds ch’io pianga begins on a first beat, as that That the tongue is an unruly member The Young Nun. No instrument can deliver this quite so the tongue; that is, strive mentally only. piano studio as to the school classroom. A can be used if painted with some quick- is the correct mode in this sentence, as has come down through the centuries; and eloquently as the human voice. And so Use no physical force, pressure or strain. dark green window blind is an economical drying paint. A piece of felt fastened over Ex. 13 each note has weight in a distinct form of Let the mental impulse cause the tongue to the wise student of singing will be con¬ Then in the same master’s “Messiah,” the the intelligent and ambitious singer will and convenient substitute and can be easily a block of wood makes an excellent eraser. rhythm. It is for this reason that a trans¬ sink into this depression and relaxation; stantly on guard to see that it is kept song I Know That My Redeemer Livith is spare no effort to develop a thorough mas¬ lated song is often not so satisfactory as the tery of that feeling for rhythm which is a then success is coming near. properly subdued and does not interfere doubtless the classic example of a song in original version. Translators have been Wie b^t durch die prime fundamental in the equipment of the Practice this groove exercise not longer with the freedom and best quality of tone slow three-four measure. notoriously negligent in their study of the “There is no possession v t perishable, more delicate, than the human real artist. than five minutes at one time; but about production. ce.”—Moore. THE ETUDE THE ETUDE NOVEMBER 1934- Page 677 Page 676 NOVEMBER 1934 THE ORGANIST'S ETUDE Edited for November by Eminent Specialists It is the ambition of THE ETUDE to make this Organ Department "An Organist’s Etude” complete in itself VYCa\ing the ^Most of a ^Reed Organ Qy Henry Hackett UNFAIR comparisons between the The Choir School stances will permit; but, should the time flexibility of voice often difficult to get female soprano and the boy treble HE CATHEDRAL or college choir devoted to them be limited, the teacher from the average boy, unless considerable are made by a number of people draws its boys from the well-educated must study the best method of using such attention is devoted to it. who maintain that the latter voice is color- class, and the boys live at the choir school time to the best advantage. Such simple passages as the following can also be used for a like purpose; Ex. 1 I C.K.s GROUSE CO, 65 Br These should be sung lightly and staccato to “ah” through the various keys until George Martin of St. Paul’s Cathedral, should be given the darker vowels, while Dr. A. H. Mann of Kings College, Cam¬ method a trainer has to adopt when the for the softer ones the open vowels should MUSIC PRINTERS bridge, and Dr. Varley Roberts of Mag¬ conditions are far different from those of predominate. Ex. 2 dalen College, Oxford, published during the cathedral or college. It is somewhat difficult to maintain a I ENGRAVERS—LITHOGRAPHERS I their lifetime books explaining their method He will, of course, look out for the best boy’s interest in vocal exercises as such; ■ PRINT anything in music- by any process I of training the boy’s voice, but it must be material to work upon, and, owing to the so they should be varied as much as pos¬ I WE PRINT TORrINDMDUALS I recollected that the conditions under which great demand made by some schools on a sible. The practice of solos and soprano is reached. The teacher plays two chords they worked were infinitely more favorable boy’s time, will select only those who can chorus parts from Handel’s oratorios pro¬ to connect each key, during which time than those to which the average choir¬ attend the practices regularly. vide excellent material. Boys love such breath is taken. master is accustomed. These should be as frequent as circum¬ music, and the practice of it helps to obtain A further useful exercise is the following “ZIMMERMAN8 TILE ETUDE THE ETUDE NO VEMBER 1934 Page 679 Page 678 NOVEMBER 1934 WE’VE HEAPED THE T3he Enharmonic Scale as an Intelligence I3est ‘Bands and Orchestras ‘^"’orga^andchoirquestions > HORN OF PLENTY By Clement Antrobus Harris Answered FOR YOUR garded as belonging to the rudiments of ANSWERS: Hall! Your own family table, festively dressed. Your own “Grimaces and Gestures” By Kathleen P. Dalton Chalfonte- Haddon Hall ATLANTIC CITY Rebuilt Band & Orchestra Instruments CONNS MUSIC KINDERGARTEN l&WSEsfr 0^JAZZ COURSE $|| Page 680 NOVEMBER 1934 THE ETUDE NOVEMBER 1934 Page 681 Violin ‘Portamento —► SPECIAL ANNOUNCEMENT 4— By Vaughan Arthur WALTER JACOBS, Inc., has acquired the Sole Selling Agency of the Famous THE VIOLINIST'S ETUDE Portamento is a vocal grace connecting going from first to third position. Do not EBY SCIENTIFIC METHODS the tones of a musical interval without in¬ abandon silent practice till perfect flexibility [For Cornet, Clarinet, Saxophone, French Horn, Trombonel Edited by terruption. To confine this grace within is had of thumb, wrist and elbow. and Baritone (Arban’s Method in Bass Clef), BBb Bass (Tuba) J the narrow limits of good taste and beauty The idea is not to employ the shoulder Robert Braine reveals the artist. in shifting. To this end, learn to hold the EBY’S CORNET METHOD. Over EBY’S FRENCH HORN METHOD. Famous The majority of singers and violinists exercises, 44 solos, 44 duets, and 49 Eby No Pressure instructions, with numerous It is the ambition of THE ETUDE to make this Violin Department "A Violinist’s Etude” complete in itself violin firmly between the chin and collar¬ Complete explanation of the No Pres photographs. Thorough explanat' make a caricature of that device which in bone or shoulder, relieving the hand and holding of horn (eight illustr-*’st^hs^r — Com^e its rightful quality and place appeals to arm of all responsibility of supporting the riitessenHalt°1or^hVroughamasteryhc the sentiment and imagination of the ment—45 subjects in all. attack. Less tonls,°highQtones® instrument in the final practice with the Part 1—Foundation, 50 pages. .tl.00 listener. Part 2—Intermediate, 86 pages.I others. Num< An accomplishment so varied and flexible Part 5—Advanced, 116 pages. Thorough, The control of the shift with the thumb rntific, and complete must certainly deserve and employ a super¬ Part 4—Professional, 148 pages. leading should encompass three to four Complete, 400 pages. 1 /, 116 pages . .12.00 (Practical Points in the Violinist's Equipment lative technic which in turn presumes and Complete (Board Covers). • ’ ’ -8 pages . positions. The fifth and remaining posi¬ exacts an individual interpretative judg¬ EBY’S CLARINET METHOD. Comph tions may be controlled with the thumb ment, founded on general esthetic culture. n of.„• tt three .. iods’of playing, ARBAN’S METHOD-BASS CLEF. Contains remaining stationary. In the longer shifts rough explan >f the Get~ v - bass-clef-i-t Chartrt..i fc --t,-and baritone ‘By Sid G. Hedges In other words the power to articulate the four pages of of more than four positions, the thumb, message rests with the performer’s techni¬ rudiments of t wrist, and elbow work in unison. The range : six pages of ] tary Italian text-book, the rules of pro¬ cal training and skill. graphs), and AN ALL-ROUND, practical ability every violinist’s regular practice, until he It will fit into fifth and third positions in¬ thumb, however, at all times must adjust nunciation can be mastered after a half A finished delivery in smoothness and ^"beautiful" ton e°me should be coveted by every amateur gains such facility as makes it unnecessary. stead of first, and the fingering, consequent¬ itself in the lower in anticipation of the controlled speed in the shift or slide is the A- A. violinist. Many things go to make As with ordinary sight-reading, practice ly, will be altogether changed. hour’s study. higher positions. All changes of position up this general excellence but the out¬ alone makes perfect. But this must be a In short, when reading ottava, the ap¬ Names of musicians give rather more mechanical foundation for the portamento, Part 1, 90 page and a correct functioning of the thumb is require great adaptability of thumb, this Part 3, 134 pages . Part 2, 152 pag standing quality is sight-reading skill. The special sort of practice. pearance of the music must be entirely trouble. Who would imagine that Drdla member being the key to mastery of the Complete, 362 pages. Complete, 242 pages ... alone the key to the solving. A silent left- competent musician must be able to read When you look at a simple piece of ignored. Instead, one’s whole attention would be pronounced dryda-la; Sevcik, fingerboard. The portamento effect must hand practice without the bow will hasten anything, straight off. The skill will come music, you rarely think of individual notes must be concentrated on the names of the shevchjck; Kreutzer, kroitscr? There is be eliminated from all technical figuration the acquiring of this technicality. and tongue for these instrumt only from long and arduous practice, but or become conscious of what each note is. notes. Having found the first note, at its only one way in which such things can be for the sake of clear articulation. phone the dignity to which il entitled as an and character of exercises lead With the hand in the third position, style of playing, and into a it will come inevitably’if sufficient work is Consider the following example; correct height, one must go on saying the learned and that is by listening to folks • to teach and name of each note to oneself and then pick¬ rest the violin on the shoulder, not holding While the shift is purely mechanical, the ioIs. Lightens lips, tongue, and tone. Thi done. This is very encouraging. Sight¬ who do know how to say them, and by pupil’s work—improves teache lessons, with specific instruc reading is not a gift; it is not the result ing it out on the fingerboard. In the pas¬ altogether with the chin, but steadying the portamento with its many variations of dorsed by Rudy Vallee. carefully remembering afterwards. Every instrument with the right hand. To exe¬ tonal effect and adaptability discovers the valuable material. Develops < of much research or of expansive training; sage just illustrated, for example, once one Part 1—Foundation, 71 pages .. style. time that such a name turns up, spoken by cute the shift, reach the thumb back as Part 2—Intermediate, 72 pages .. it comes from one thing alone—actual prac¬ has found the C in fifth position on the E Part 3—Advanced, 71 pages . 1, i tice in sight-reading. string, one plays on, reading the name of someone who is indubitably right, make a far as possible and draw the hand after To increase or diminish the power or Part 4—Professional, 121 pages . i.ju van a, tau pages. c.t Certain little “practical points,” though The violinist, on seeing that, thinks in¬ each note, E, C, C, B, A. If one thinks note of it until it has become safely assimi¬ it to the first position with the aid of the duration of this grace at will exacts a Complete, 340 pages . 4.00 Complete, 200 pages . 34 seldom remembered by the average teacher, stinctively of his A string, and his second, of those names and forgets the music page lated. thumb alone. Now reverse this procedure, thorough bow mastery. HIGHEST ENDORSEMENT FROM TEACHERS AND ARTISTS often mark a clear distinction between the fourth and first fingers come to mind with¬ there will be no difficulty in playing the Occasionally it happens that a violinist » - boston/mass., u. s. a. professional and the amateur player. out any conscious effort. The appearance passage. -The point is to read the names is unable to practice for fear of disturbing WALTER JACOBS I ^ C Ability to read ottava (an octave higher) of the notes causes this reaction. Such always! other people. In such cases where a muted Violinist or Fiddler is one of these. The pianist meets with no automatic understanding is, of course, very violin is still too noisy there is yet an effec¬ special difficulty when, in a repeat move¬ natural and necessary in all ordinary play¬ General Intelligence tive remedy. Any violin dealer is able to ment of a waltz, for example, he is in¬ ing. ANOTHER practical point which no supply -a skeleton violin: this is just like (Continued from page 673) structed to play an octave higher. But for But, supposing the passage is marked fiddler can afford to neglect is the ordinary instruments except that it con¬ bald statement. The loudest fortissimi of vantages no money can buy. I am proud the violinist it is a very different matter; 8va. Then, very altered conditions obtain. pronunciation of musical terms and proper sists merely of the framework; its tone which the delicate little box is capable can¬ that, except for splendid educational oppor¬ positions, fingerings, strings, are all changed, Appearance gives no help whatever, it even names. Most musical expressions are therefore is so soft that it is inaudible to not be compared with those of an orchestra tunities, I began my career quite by myself and the passage to be played becomes one hinders; for, contrary to one’s instinct, the Italian, and this language is exceptionally any but the player himself. Even a per¬ or even of a piano. And yet great cres- of much more difficulty. passage now has no connection with the A easy for the English-speaking person to and not as a “rich man’s son.” son sitting in the same room can scarcely cendi, crashing fortissimi and superb cli¬ Reading ottava should form a part of string. It is best played entirely on the E. pronounce. With the help of an elemen¬ hear when it is being played. maxes are all attainable on the violin—by Too Nfear to Recognize means of suggestion, shading and contrast. If the radio makes one more aware of this THE SECOND question has to do with need of delicacy and suggestion, it is being my American nationality. Did I find to the performer more a help than a obstacles arising from the mere fact of my Violin "Models and Values hindrance. being an American? How shall other young American musicians overcome them ? By Robert Braine A Career On Condition Well, very frankly, when I made my own O MUCH for violin-playing in general. start, over twenty years ago, I found this Now, there are two questions about my difficulty attendant upon me as an American READER writes to the Violinist’s that this will be of interest to the readers A rare painting or statue. Then its tone! If as much for the best Cremona in existence. own personal work which are often put to musician. Where I had expected to find Etude from Porto Rico: “In one of of The Etude.” its tone had not been of supreme excellence, me. One of these, at least, I should like to forty-eight states in my own country, I ■ the back numbers of The Etude, I The letter of our Porto Rican corre¬ SLASH it never would have beome famous in musi¬ Augmenting Values found only one—and its name was Mis¬ Chockfull Hot Break: , Wicked Endings, I recently read a very interesting article by spondent paves the way for some interesting consider. It has to do with my background. cal history, nor sought after, at enormous HE SUPREME excellence of these souri! All my hearers seemed to come 11 a Blue Blues. Robert Alton, entitled ‘Violin Types and discussions. Now' for the answers to his T Knowing that I come of well-to-do parents, ler, 225 W. Kingshrldge Road, New prices, by the greatest violinists of every violins was recognized over one hundred from there! But it was great fun trying Other Values.’ Its author very logically questions. country. I am frequently asked whether “wealth and years ago, and their reputation has been concludes that the dictum of Mr. Honeyman position are a help or an obstacle to a to prove myself to them personally, instead growing ever since. The great violinist. of relying on a foreign-made reputation. (the English expert), that the perfect vio¬ The Connoisseur’s Dictum The Blindfold Test rising musician?” Well, frankly, I don’t lin ‘lies somewhere between Guarnerius, OBERT ALTON and Mr. Honeyman Spohr, said of them in his “Violin School.” know! The early days of my public career It would be less than grateful, however, if Diplomas, Certificates of Awards, Medals and R THE CONTROVERSY, concerning the American edition of which was pub¬ were by no means surrounded by wealth, I allowed the story to end there. For, Maggini and Gasparo da Salo’ may be bet¬ are well known English violin experts, whether or not there are any modern Other Requisites for Awarding Pupils ter expressed, ‘The perfect violin would be who have given their lives to the study of lished in 1852: “For solo playing, those nor were they made easier by anything that since my start, Missouri has resumed its Completing Courses in Music violins which compare favorably in tone instruments only are best adapted, which did not result from my own hard work. I proper frontiers. The other states have one having Stradivarius for outline, Guar¬ the violin and violin making. It may be with the old Cremonas, has raged for years. nerius for arching, and ribs after the man¬ that this new model, that they recommend, have been made free and mellow-toned by was rich, however, in having a very wise reappeared, and the sympathetic encourage¬ THEODORE PRESSER CO. There have been contests, in which new age and much use. Among these, those of father. My father had built up a success¬ ment vouchsafed me by my fellow country¬ 1712-14 Chestnut St. PHila., Pa. ner of Gasparo da Salo.’ marks an important discovery in violin violins have been played in darkened thea¬ the three Cremona makers, Antonius Stradi¬ ful business through his own efforts, and, men is one of my constant joys. “Mr. Alton claims that he himself built making. However, the violin making fra¬ ters in competition with rare old Cremonas, varius, Joseph Guarnerius and Nicolo whether or not he might have liked me to such a model and that the resulting tone ternity is very slow in adopting alleged before audiences of music lovers who voted Happily, however, the situation that con¬ Amati, have the greatest reputation. The continue it, he made no objections what¬ was round, powerful and mellow, with not improvements. Most violin makers confine on which were the best. In some of these fronted me in those early days is generally violins of these makers unite in themselves, ever to a violinist’s career for me. a scratch or piercing note in the instrument. their efforts to imitating the violins of contests the Cremonas failed to get the changing. Today, I believe, no American MANDOLINISTS! He furthermore states that, after playing Stradivarious or Guarnerius, considering if well preserved, all the advantages of a He did, however, make his own terms artist would find himself less welcome good instrument: namely, a strong, full about it! When I came to him with my on his newly modeled violin, the tone of these models as the highest types that have In regard to price, it must be noted that merely because of his nationality. We and mellow tone, equality on all the hopes, he said: “I am glad if you have other types was insufferable—and this in yet been produced. The fact that the new the best Cremonas maintain their values have grown, musically, during these years, -Tango Adios Muchachos—Tango spite of the fact that previously the tone composite model has not been more gener¬ strings, and in all keys; and an easy and found the thing to which you wish to devote and we realize that the ultimate test of fit¬ r—Tango Tango of the Roses, Etc. The musical world has given the palm for free touch in every position. They differ, your life whole-heartedly. I will give you of the Guarneri type was especially ad¬ ally adopted is because it has not yet been tone and general excellence to the violins ness, in this great international language 20 NEW GUITAR S O L 0 S - Spanish style however, in form and in the characteristics the best education I can. I will see to it mired. proved that it is the best, to the satisfac¬ ol Antonins Stradivarius and Joseph Guar¬ of music, is individual ability rather than a published for this instrument. A well-known list of of their tone. These excellent instruments that you have a suitable debut. But, after . w,u international hits, such as: “Now comes my questions and doubts. tion of all, or a great majority, of the violin nerius, and no new violins, however excel- geographic accident of birth. We have de¬ A Media Luz—Tango Queia Pamnera—Tango are scattered all over Europe, but, being that, it is entirely up to you. 1—Why is it that the new composite model making fraternity. As this composite model knt, have been , able to shake this opinion veloped the Open Door in music, and, hap¬ Two Guitars Dark Eyes 8 mostly in the hands of rich amateurs, they is not more popular among violin makers becomes more generally known and more For many years our leading concert violin¬ From my earliest lessons on I knew that pily, it is the Front Door for all, American SEND FOR LIST and players? 2—Do you believe, as I do, widely used, and gains the reputation of ists have used the violins of these two are scarce and dear. Every year enhances I was working for my own salvation. artis'ts no longer need slip in at the Kitchen that the fiddles made by the old Italian their value.” - New York, N. Y. being superior to all others, I suppose it masters, for their concert work, considering Whatever I have had since—and at the Door and grope their way about into the masters are more cherished for their history will become more widely adopted. their tone superior to all others. These It might be noted that Spohr used Cre¬ start it wasn’t much!—I have earned for fairer regions above. We have come to than for their tone? Some violinists claim ■The violins of the great masters of Cre¬ artists willingly pay up to $25,000 for mona violins in his concerts, as early as the myself. The older I grow', the more grate¬ take both a more general and a more per¬ that their modern violins sound as well as Music Lovers to earn LIBERAL COMMISSIONS mona are prized for their tone, for their choice specimens of these violins, if they year 1805, and that his prediction that they ful I am to that wise father of mine for sonal interest in music; we have developed the genuine old ones. 3—Do you believe securing subscriptions for THE ETUDE. Part or beauty, and for their historical value. A can possibly afford such a large sum for a would steadily enhance in price has come protecting me from the “fatal facility” of a greater need for music as a spiritual re¬ that their prices, as compared with that full time. No Cost or Obligation. Write for Cremona violin, with its graceful curves, concert violin. If new violins, that gave as true to so great an extent that a Stradi¬ getting things too easily. To give a be¬ storer ; and we have learned to make fewer of the best modern fiddles, are in propor¬ complete details TODAY! Address.- its beautiful wood, and its brilliant, limpid good results, could be procured, our great¬ varius violin is today worth twenty-five ginner a dignified sense of his own powers conditions as to nationality and greater tion to the quality of their tone? I hope varnish, is as truly a work of art as some est violinists would hardly pay fifty times times the price it commanded a hundred and a wholesome acquaintance with the demands as to individual merit. And this THE E^DE^MUSirMAGAZINE years ago. discipline of necessity is to offer him ad¬ is quite as it should be. THE ETUDE NOVEMBER 1934 Page 683 Programs 'Ghat Promise 7\[ovelty By Mrs. Leighton Platt GUjrisfmas Muxxt :ion Privileges Cheerfully Granted Anthems, Cantatas, Solos and Duets, Etc. s si! A Few Anthems for i 5F52S Mvx m Musical Nuggets 5emW So/o '££fet* ii 1 THE ETUDE Page 684 NOVEMBER 1934 the etude NOVEMBER 1934 Page 685 Varying Vhe ^Monthly Contest By Helen Oliphant Bates SUCCESS onthly contests which as four chords for a grade of 100, three M Hnnfflxnixxnmimigx give discouraged pupils frequent chords for a grade of 90, two chords for a opportunities for a fresh start are grade of 80 and one chord for a grade of 70. IN MUSIC more effective in securing thorough, enthu¬ The Cadence Contest is similar to the Private Teachers siastic practice than the contest extended Chord Contest with the exception that pro¬ (Eastern) Success in Music is easy—it over an entire season with a medal for the gressions are awarded in place of single is merely the adding each best work of the year. No matter what chords. If the pupil receives a grade of WILLIAM C. CARL, Dir. form the contest may take, it should be con¬ 70 on the lesson, the cadence of V-I may Guilmant Organ School week, each month, a little ducted upon the principle of reward both be given him; for a grade of 80, a three 51 FIFTH AVENUE,NEW YORK Q. l.—IJ there are Doth a natural and flat, or a natural and sharp sign, in front of a note, more knowledge, a little more for study and for the results of study. For chord cadence, II-V-I; for a grade of 90, WALTER CHARMBURY whut do you play! Do you use the first sign example, points should be given for prac¬ a four chord cadence, IV-II-V-I; and for Pianist and Teacher or the second, or both ! skill through properly direct¬ a grade of 100, a five chord cadence, VI- 2.—Would you explain the following: (a) tice and for exercises, studies and pieces SHERMAN SQUARE STUDIOS sentito and (6) gioeoso.—M. V. R. ed study and training. Thou¬ learned in the practice time, because pupils IV-II-V-I. The value of the cadence in 160 W. 73rd Street, New York A. 1.—When a natural sign appears with who learn slowly or cannot concentrate the contest is, naturally, in proportion to a sharp or a flat after it, this means that the sands of good musicians are Tel. Trafalgar 7-6700 double sharp or double flat which preceded is should at least be credited with the effort. its length. If each chord is worth five to be reduced to a single sharp or flat. standing still—are “in a rut” The contest, aside from being a stimulus points, a cadence of two chords would be KATE S. CHITTENDEN 2.—Sentito means that the passage is to be played with feeling or sentiment. Gioeoso —because they have gone as for work, may in itself be of educational worth ten points, and a cadence of five Pianoforte — Repertory — Appreciation means "Jocose” and indicates that the passage value. The following suggestions are some chords, twenty-five points. 230 WEST 59th ST., NEW YORK CITY is to be performed' in a humorous or playful far as their training in music spirit. novel hints for conducting contests. In the Composer Contest a composer is ALBERTO JONAS will permit. In the Whole-note Contest points are chosen as the subject and pupils are asked Celebrated Spanish Piano Virtuoso given in note values from thirty-second to study his biography. For each point the Teacher ol many famous pianists Is this your case? If so, then 19 WEST 85TH STREET, NEW YORK CITY notes to whole notes. For example, a pupil writes a fact regarding the life or Tel. Endicon 2-2°8^our2icjl,n|^,eV^i,erPhilad,!lphia when the trill i the solution is a simple and thirty-second note can be given for each character of the chosen composer, or the hour practiced, a sixteenth note for each name of one of his compositions. easy one. More money, great¬ scale learned, an eighth note for each study LaFORGE-BERUMEN STUDIOS er recognition, higher posi¬ or technical exercise, a quarter note for History Contest Voice—Piano 8.—Also, how do you play the trills at the beginning of the Coda. tions are ready and waiting each written lesson and a whole note for N THE History Contest, for each satis¬ 1 Frank La Forge teacher of Lawrence Tibbett each piece completely learned and memo¬ I since October 1922 factorily prepared item of the lesson, the 14 WEST 68TH STREET, NEW YORK for you, just as soon as you rized. Pupils are instructed to group the pupil writes on his record a fact of musical Tel.Trafalgar 7-8993 tr" tr" tr'~ tr" *•" TI rhythmic values earned into measures in jlf are ready for them. history. Pupils will take great interest in ADELE LEWING four-four time. The pupil with the largest writing these miniature histories and com¬ =H= =M= Pianist—Composer—Pedagogue LET US HELP YOU number of measures is the winner. It is paring them with those the other, pupils surprising how few pupils will be able, at ] Studio* Steinway Hall For 30 years this great Musical write. It is surprising how much history Address: c/o Steinway A Sons, New York City first, to put together the necessary values they will absorb when the writing of his¬ Organization has been helping am¬ to make a measure. This contest, there¬ tory is a reward'not a task. RICHARD McCLANAHAN And in measures 6i to the mark a tempo? bitious musicians help themselves. fore, is 6f value in teaching an understand¬ Representative TOBIAS MATTHAY —M. 11. In the Form and Analysis Contest, a mo¬ Thousands of letters from enthusi¬ ing of the various rhythmic patterns which i MONDAY MORNING LECTURE- Ex.4 t may be put into a given meter. tive for a grade of 70, a phrase for a COURSE BEGINNING IN OCTOBER astic students and graduates testify 706 STEINWAY HALL, NEW YORK CITY grade of 80, a period for a grade of 90 and to the great value and profit of our a double period for a grade of 100 are Chord Contest LAURA STEINS RHODE musical training. N THE Chord Contest a specified num¬ awarded as points. The pupils either write I PIANO, Beginners or Advanced In your spare time, right in your ber of chords are awarded for each well- original motives, phrases and periods or i Instruction in Accompanying prepared item of the lesson. The tonic find examples in their pieces to illustrate VOICE, Coaching and Tone Production own home, and at a trifling cost, triads of every key in fundamental and in¬ the musical structure which they have been Studio; 34 Charlton St., New York Citv you can gain a musical training awarded. The motive may be given a con¬ verted form should first be given, after EDWARD E. TREUMANN IUa that will be the best and most test value of five points, the phrase ten which other chords may be taken up in Concert Pianist—Artist-Teacher profitable investment you have the order of their importance. One chord points and so on. i Recommended by Emil Von Sauer and Josef Hofmann ever made. should be written in every key before a Orchestral instruments, mottoes, musical Studio, 21 W. 53d St. near 5th Ave„ New York, N. Y. new one is taken up. For example, if quotations, musical current events, names Tel. Columbus 5-8693 Sadie practices an hour every day for a and information about artists, maxims of SEND FOR FULL DETAILS week, she may be awarded six chords. technic and practice are other variations Private Teachers AND SAMPLE LESSONS These six chords will be the tonic chords of the contest. (Western) Music in High Soli. >1. -FREE . „ „ _ _ __ high school tak- in -fundamental position of. the first six A large piece of cardboard should be If you are really ambitious to suc¬ sharp keys, Sadie will be expected to LEONIE BRANDT the music course. I have had piano les- provided to mark the score of each pupil. (Mn.) Nash Brandt : for five years. I intend to follow music A. 1.—This composition is in three-four time, ceed in music; if you have faith in write out these chords and name them. Nothing provides greater competition than Principles of Piano-Forte Playing vocation and to take it' in college. Would A simpler method of conducting the advise me to continue piano and take therefore the marking should be M.M.J. = 56 yourself, by all means clip the cou¬ for pupils to be able to measure their Author of Science in Modern Piano-Forte Playing e instrument also, or drop the piano and instead of 11.11.J=56; in other words, a chord contest is to .give a specified number published in 1921. Theodore Presser Company : some other instrument alone! pon and send it back. We will send progress with that of other members of the —Are four years of harmony and two metronome click on the first beat of each meas- of chords for the grade on the entire lesson, class. Positive, continuous results. of music history enough to take in high you full details of our wonderful Coaching Pianists and Teachers a Specielty. school for college entrance or are there some 2.—This isn’t the first time this question 3948 CLAY ST., SAN FRANCISCO, CALIF. other subfects I should take! has been asked. No doubt it is the natural Home-Study Method of musical 8.—What grade do you consider Polonaise sign placed below the turn sign that puzzles you. The natural sign is really superfluous training, and also a number of FRANZ DARVAS in A by Chopin and Polish Dance by Schar- Schubert ~And Beethoven wenka! as the composition is in G Major and the note sample lessons from the course Piano and Composition 1. —Should I take up the study of the in¬ below C-sharp accordingly would be B-natural. struments in high school or college! The reason it is so placed is that twelve checked. Send today. 5411 BARTON AVE., 5.—Mg piano teacher tells me to count ta measures before this turn the composition By S. A. Glynn LOS ANGELES, CALIF. modulates into G minor, and several E-flats for J ; ta te for J~] ; ta te ti for Is and B-flats occur. Paderewski placed the WILHELM MIDDELSCHULTE, that correct or is it better to count 1, 2, 3, -, ,ign un(jer tije turn sign f " University Extension Conservatory and so on!—M. K. The curious intimacy which sprang up I should also have set it to music.’ It was LL. D. A. 1.—I advise you strongly to continue 1525 E. 53rd Street between Schubert and Beethoven shortly the same with most of the poems: he Director of Wisconsin Conservatory, Milwaukee, the study of piano when you take up another . Prolessor of Organ and Theory, instrument. If you are to follow music as before the latter’s death is always of in¬ could not praise their subject and Schu¬ Detroit Conservatory, American Conservatory. a profession you must see to it that, above Dept. A-5 Chicago, Illinois terest. Schindler, in his biography of -. Rosary College, River Forest, III. everything else, you become a good musician ; bert’s original treatment of them too much. Degree Work arranged. Private lessons in Organ Beethoven, accounts for it by Beethoven’s and from the standpoint of musicianship the *r r H r i And he could not conceive how Schubert and Theory. 5210 Kenwood Ave., Chicago, III. study of piano is probably more important interest in Schubert’s songs, a collection found leisure to exercise himself on so than any other single thing. University Extension Conservatory 2. —If you have two years of harmony and of about sixty of which he took to the many poems, ‘each of which contains ten Schools—Colleges played as follows: Department A-S dying composer. a year of music history, that will do very 1525 E. 53rd Street Chicago others,’ as he expressed himself.” Professional “The great master, who had not known Edmundstoune Duncan adds, in his Schu¬ B.„__ „„e Polish Dance al__ Please send me free and without any more than five songs of Schubert’s before D D HI 1II SCHOOLS OF MUSIC bert biography, that “More than one visit □ nllllN „ „ Robert Braun, Director These gradings are only approximate however obligation full details of your remark¬ was astonished at their number,” says U 1 IHUIl Graduate School Pottsville, Pa. and another musician might legitimately have able Home Study Method, and also was paid by Schubert to the bedside of the a different opinion. Schindler, and would not believe that 4.—It is a good thing to take up at least sample lessons from the course I have Schubert had composed more than five dying master. The first seems to have one orchestral instrument before going to checked. been in the company of Anselm Hiitten- CONVERSE-\. Irving Hyatt, Dean,COLLEGE Spartanburg, S. C. college although this is not indispensable. It hundred already. But if he was surprised depends a good deal upon whether you are to □ Piano □Trumpet DPub. School brenner. They were announced by Schind¬ □ Course for DHarmony Music at their number, he was filled with the ' IfNnV CONSEBVATORY OF MUSIC be a general music teacher or supervisor, deal¬ Students □ Advanced DVoice utmost astonishment at their merits For ler who asked which of the friends was 1111 U A Catalog FreeGalefitJWm’. F^Bentlcy, Director ing with both vocal and instrumental music ; □ Normal Composition OGuitar or whether you expect to specialize in in¬ Course for DHistory of DMandolln several days he could not tear himself first to be admitted. ‘Schubert may come strumental work. If the latter, then you Teachers Music OClarinet away from them, and he passed many hours first,’ was Beethoven’s reply. And after¬ ought to know at least one orchestral Instru¬ TViolin □Choral DSaxophone ptHWESTEBIg^Sg ment very well before you go to college. Cornet Conducting C Piano daily over Iphtgenia, The Bounds of Hu- wards when they were together he added, 3.—The method of naming the various □ rhythmic figures advocated by your piano Accordion mamty Omnipotence, The Young Nun, You, Anselm, have my mind, but Franz teacher is a part of the Tonic-sol-fa system Viola, The Miller Songs and others. has my soul.’” . . . “At the funeral on which is used extensively in England but not well known here in America. It has a He cried out several times with joyful March 29th, Schubert acted as one of the SHENANDOAH COLLEGE certain value as a pedagogical device but you enthusiasm, ‘Truly in Schubert there is the must not lean on it too hard or too long, for Street . divine spark.’ thirty-eight torch-bearers who preceded the In measures 64 to the mark a ti If I had had this poem, coffin.” ! le' lD %^^L%®mSahe^an(loa,, Valley- D and E-flat, playing even si: throughout. citV.State. THE ETUDE the ETUDE Page 686 NOVEMBER 1934. NOVEMBER 1984. Page 687 Music Study Extension Course Qlrfaplanii Jnfltttutf nf (Duatr (Continued from page 650) VOICE QUESTIONS Confers Bachelor of Music Degree, Master of Music Degree, Artist Diploma Public School Music Course in conjunction with Western Reserve University the pedal is used rather freely as marked. Answered BERYL RUBINSTEIN, Director, 2605 Euclid Avenue, Cleveland, Ohio. The melody obviously is in the right hand. By Frederick W. Wodell The first theme re-enters with spirit and the piece ends at Bine—eighth measure from the beginning. SCHOOL OF MUSIC OF THE UNIVERSITy OF MICHIGAN MOMENT MUSICAL No questions will be answered in THE ETUDE unless accompanied by the full name By Franz Schubert and address of the inquirer. Only initials, or pseudonym given, will be published. Complete curricula leading to degrees in all branches of Music. Faculty or distin¬ After the chord progressions are learned One of the most beautiful of a well loved guished artist teachers. Concerts and May set, this Moment Musical of Schubert s has sometimes been Festival by world’s greatest < it can easily be played in the broken form are unfavorable to good Sixty-Eighth Season Now Op I wU'lZTllNi 1 Highland Avenue Cincinnati, Ohio -” A^bor, Mhddgan OBERLIN CONSERVATORY OF MUSIC CO LAWRENCE COLLEGE 11 ISSSS SrSs £3 Catalog.trapCrankhffhShai?Dif! bTxIma OtarTinfo'lifo.' f Northwestern University THREE FIRST GRADE TUNES By Francesco de Leone N. Ujglis SCHOOL — MARCH OF THE PUMPKINS »“„rz mother piece with a Hallowe’en title. g-#SI§8 Theodore Prosser Co.. 1712 Chestnut St.. PhTIa., Pa. I 1 ATLANTA ^NVbRSE.COLLEQE ‘Playing With (Closed Eyes CONSERVATORY of MUSIC By Gladys M. Stein mFH Wrnm -±Mre.sS: N. Irving Hyatt, Dean % PEABODY^fSf One of the Oldest and Most Noted Music Schools in America. Pack for the Modern Piano Students By Alberta Stoyer i of the Bach “Two Part In- To arouse interest in melo< p n?ktd!r,di,idrf wo C One pupil plays^ the treble section in oc- sing out clearly. whileththe Cher efflrtfvdy 'Z "hb'CanneT; ^eTtSTLS the lower keys with the bass part. practice on one^iano!311^ thr°Ugh dUet The study of diction is of e. hough it may not be generally realised, the ultimate effect of a song can >ditcedby the insertion or omission of piano accompaniment with certain THE ETUDE Page 688 NOVEMBER 1934 THE ETUDE NOVEMBER 1934 Page 689 ‘Developing ‘Dependable Sight fading Assembling Tour teaching VMaterial NEW YORK SCIIOOLo/MUSIC and ARTS By Mrs. William C. Budge An Elastic System 310 West 92nd Street, New York City Tel. Schuyler 4-4140 Carlyle and Roland Davis “The Etude” has a host of helps for until then, he is ready to play, very, very RALFE LEECH STERNER, Director music teachers, but one of the very best slowly, counting steadily, and never under never has been specially featured. This is any circumstances repeating a note. When ven AFTER a young teacher who margin (in addition to its file-number) the LOWEST RATES EVER OFFERED BY THIS E its value as a sight reading study book. the number is finished, check, with a pencil, takes his vacation seriously has met name of the composer, the title of the piece, There are a number of valuable sight read¬ the errors. There may be several, but if FAMOUS INSTITUTION BUT SAME the problem of sifting the abundant the name of the publisher (for re-ordering), ing methods on the market, but no method quantities of music offered him in the and the price (for billing the pupil), thus: the reading is slow enough the number will CELEBRATED FACULTY. yet has been found to equal the act of read¬ be few. Play the piece once only at any catalogues of the several publishers to find 11-28a FELTON—BLOWING ing at sight. what best suits his particular needs and one sitting, and then something new. For Dormitories in School Building. BUBBLES— (Presser, 15268)-40c With my own pupils we use this pro¬ tastes, he still has the problem of grading sight reading, do not repeat any piece with¬ cedure. The young pupil is tested for ac¬ in a week. Send for Catalogue, Biographies and Programs. them to the best advantage, classifying them Boxes may be classified as “First Year,” curacy of note knowledge and general in¬ according to difficulty in a smooth and even “Second Year,” “Instruction and Tech¬ formation about the staff and keyboard. I advise stacking a dozen old issues be¬ Students’ Concert every Thursday evening order. The descriptive classification of nique,” “Four Hands” and “Supplemen- The very simplest 1st grade number is side the piano and then taking one first difficulties as “runs, arpeggios, octaves, placed before him, with instruction to ob¬ grade piece daily until the pile is exhausted. crossing hands, double notes” will never The ease with which a teacher can serve (1) the clef signs, (2) key signature Then take the one and a half grade pieces wholly suffice. choose a new piece for the pupil by going (play 1 octave scale and place the prin¬ in similar fashion. Continue the process To classify a piece in its proper place in to the file and thumbing down through the cipal chords), (3) time signature and re¬ of slowly increased difficulty until facility INSTITUTE OF MUSICAL ART a mapped-out course for a student’s progress folders to the piece the pupil has just fin¬ cite its meaning, (4) name the 1st note (or is attained. Strict adherence to this plan of the not only must a teacher consider what has ished, and then drawing out a handful of notes) and place hands in position with will bring sure results. Try it with your gone before—what preparation the pupil pieces next more advanced to examine the proper fingers on the notes. Then, and not child; but, above all—do not hurry! JUILLIARD SCHOOL OF MUSIC has already had for the new difficulties con¬ actual notes of the piece which he hopes ERNEST HUTCHESON, Dean OSCAR WAGNER, Asst. Dean tained in the piece—but he must also have will interest the pupil and move him up to a sweeping yet minute understanding of the next rung of the ladder without too Thorough instruction in all branches of musical education. Private lessons what constitutes difficulty and what con¬ in all standard instruments, courses in theory and composition, normal much boosting, will persuade the teacher courses for teachers, methods of group training for children, preparatory stitutes proper preparation. This is a how superior this system is to one of look¬ Letters from Etude Friends courses for children, extension courses, and many others. knowledge which comes only with experi¬ ing down a catalogue of titles and trying to Public School Music course leading to degree of Bachelor of Science with ence and study. It is a considerable task call to mind the character and the difficulty Major in Music. even for an “old hand” at teaching to grade of each piece. Catalog on request. accurately any series of teaching pieces The Defective Left Hand which he has not taught over a period of Re-locating Pieces 120 Claremont Avenue, New York SOMETIMES, when a teaching piece ie he happens to As an aid to a young teacher in this which the teacher has regarded as a ticklish business of grading his private i. Ren6 H. Himel. TRINITY PRINCIPLE “find” does not teach well on first trial, a H.armony & catalogue of teaching material so that he re-location either farther along or else in PEDAGOGY The Cult of Criticism The only Scientific Pedagogy based can successfully lead his least progressive the easier grading may give it the useful¬ Composition by Correspondence on Feeling, and practically pupils up a smooth and easy gradient and ness for which the teacher hoped. The __ __ studied To The Etude : applied to Music. jtinuing this course until I had For several years there has been a tendency V Novel A Special Course for begin- skip his talented pupils ahead without omit¬ piece may contain difficulties requiring for cumuieted ’the tenth. Ot course I found a among musical people to have a sort of wor¬ —— l V ners, or for Music teachers ting anything necessary to thoroughness, their mastery more than reasonable effort number of handicaps when I had to make an ship for a single composer and to sneer at all EFFA ELLIS PERFIELD the following simple and inexpensive sys¬ unusually lung reach. I usuaUy would roll others. And some of these people select one P East, tsmt^worlTt^their advantage" 103 East 86th St, New York, N. Y. from the pupil at that stage in his progress mv notes. One very useful and profitable exer¬ certain great composer at which to sneer. tem may be suggested. and a re-location farther down in the file cise for the left hand is to place all five At a Western University there was a fad fc Vsetut fhor^ugh unde'rs^nd^of First. Procure a number of music boxes, fingers on the keys and then to strike the among the teachers to belittle all of Liszt’s will assure its being given to a pupil for keys with one finger at a time until each finger works and to laugh at a pupil who enjoyed the kind used in' music stores, which may has used the high stroke method. I frequently them. When Horowitz arrived and they Katherine Carey whose ability its difficulty is not too great Successor to Mrs. Babcock'S be purchased at the rate of about seven a step upward. On the other hand, a piece, "s methdd yet, to keep my fingers learned that Liszt was one of his favorite com- School of music active “ was quite a jar to their musical of TEMPLE UNIVERSITY dollars a dozen. difficult because of its length or some un¬ I do feel sensibilities INTERNATIONAL MUSICAL Second. Have at hand a quantity of usually “tricky” measures, can not be given the teacher will cause the pupil to lack con¬ writer recen 1812 Spring Garden St., Phila. fidence ill herself. Avoid giving long reaches wi_not original—_ _»„ Write or 9phone Pop. 0640 Manila or tag-board folders (dimensions to a pupil whose technical ability it is equal in the left hand, until the hand is developed of Beethoven and Schumann.” ___ and EDUCATIONAL AGENCT before folding : twenty-two inches by four¬ sufficiently to master the piece. I play the —any such thing as complete originality ? Every Church Concert and School Positions Secured to because of it sounding “babyish.” Such Sonatas by Haydn, Mozart and Beethoven and work, literary or musical, must be influenced Individual lessons. Certificates and Carnegie Hell, New York Tel. Circle 7-S634 teen) which cost about four dollars a hun¬ a piece must be graded earlier than its feel by so doing that I have overcome what by the works of past writers. The Brahms Degree Courses. No High School Educa¬ ( tion required except for the Bachelor of dred. difficulty would suggest and given only to might have been a great misfortune. I have Rhapsody, Op. 79, No. 2, does have a flavor of The boxes serve as files for the folders, Schumann ; but should it be loved any the less those hardy little souls whose reaction to have been erfticizt for that? THADDEUS RICH, Mus. Doc., Dean the folders as a cover protection for the the word “babyish” is still wholly pleasant I have been with musicians who were so individual pieces of music. eacher v critical of every work that I have wondered THOOL of MUSIC flKtfene stxlKeiaire but whose ambition is equal to any techni¬ correspond with me and she feels that l if they have any love for music of any kind. 'of TEMPLE UNIVERSITY cal problem. give her any help, I shall gladly do so.— They tear every one to shreds, from Bach down The Filing System to Cadman. X suppose X know more of When the teacher has an abundant and Chopin’s music than that of any other com¬ EACH TIME the teacher orders a piece well-organized catalogue, the grades (or poser ; yet I think Josef Hofmann’s Nocturne or a book for a pupil he should order ‘years”) may be catalogued in groups of in F-sharp minor Is as beautiful as a Chopin a duplicate copy, file it in one of the boxes Violin and Piano Lessons in Alternate The Courtright Revised Course from three to five numbers having approxi¬ Why cannot people enjoy the best in all the COMBS COLLEGE OF MUSIC and give it a location number in accordance ANNOUNCING APPOINTMENT OP System of Musical Write for particulars mately the same grade of difficulty but of great composers’ works? No writer Is always Kindergarten in correspondence course. with his best judgment as to its grade with at his best, but, because he is sometimes unin¬ Alberto Jonas of New York contrasting character. The rapidly advanc¬ teresting and commonplace is no reason why Famous Spanish pianist as Director Piano Dept. Mrs. Lillian Courtright Card, 116 Edna Ave., Bridgeport, Conn. relation to the other numbers in his cata¬ whether _ HP-- - - All branches—individual and class instruction for ing _ pupil may then move ahead by groups, he should be condemned entirely. I have re¬ logue. Finally a complete stock of the more than one musical instrument. I should cently been noticing the basses in Liszt’S beginners and advanced students. Teacher Train¬ taking but one piece from each group, while like to explain how I am managing my pieces. There isn’t a commonplace bass to be ing courses. Degrees. Symphony Orchestra. 50th catalogue is on hand. twelve-year-old sr~ year. Catalog, 1131 So. Broad St. WANTED: A REPRESENTATIVE the less progressive pupil needing further found. Some passages in Liszt are exquisitely This piece-meal method of stocking his io also gives piano le beautiful and poetic. Only those who are un¬ Dr. Gilbert Raynolds Combs, Founder in every town to drill at the same level before advancing, complete catalogue serves merely to avoid acquainted with his writings can classify him may take every piece in the group and have as flamboyant and empty. Train Children’s Voices the lump expense of laying in, say, one music year, < If teachers want to encourage pupils to love High grade work with excellent remuneration no reason to complain of monotony. s on giving 1 good music, they had better stop their pose of hundred and fifty dollars’ worth of music children as continue to come to her until the The cost of installing such a system, es¬ liking none themselves.—Estella Wootton. Louise Weigester School at one time. Also, the grading of a piece month of August, when the teacher takes her pecially when done gradually, as suggested, own vacation. 160 West 73rd St. New York may most reliably be done at the time the is negligible compared with the tremendous The children lose interest after the recital, teacher is teaching it. At the conclusion and some of the parent” niinw iketn eive up their music lesson entirely during the of a teaching season, when the teacher is benefits. Moreover, if the teacher sells To The Etude: music to the pupil the advantages may be -,auvu uiuuius. sm i nave always felt that children m perusing new material either at his local three or more months are too long a time first attempts at learnii o play i DEPENDABLE SERVICE between lessons; and yet I felt that I did not store or by selection package direct from even more stressed. No longer does the especially when several i pupil come to his lesson with the prescribed want my son to get bored with his violin. So gether. Readers of The Etude are urged to the publisher, a revision in the light of several years ago I started this plan. After There are a number of excellent books for patronize Etude advertisers with every new piece miserably prepared and with the the recital in May, I let him stop his violin class instruction!; but there is one thing that the year’s teaching may be made, a definite lessons and take piano lessons instead, during seems a shortcoming in many of these. There confidence that they will receive com¬ perhaps permanent, catalogue number given excuse, “Mother just couldn’t get into town part of May, and through June and July. In plete satisfaction. These advertising each folder, and a temporary folder and until yesterday to get it for me!” Employ¬ this way he gets a good rest from the violin, Two years ago I had a summer class of six columns contain numerous merchandis¬ but keeps on learning music. girls. These girls soon showed that three of approximate location-number given to the ing the system, a teacher may even change This year I have improved on my plan by ing opportunities which are accepted them could go faster than the others. I sup¬ only after careful scrutiny with a view new pieces chosen out of the selection pack¬ his mind about the new material for the letting him start his piano lessons in March, plemented their instruction with a duet book. ages. pupil as the lesson progresses—his music together with the violin, so that he will be This allowed the three brighter ones enough to maintaining the highest possible de¬ able to play on the piano at the recital as work to keep them busy. gree of reader confidence that has been Each folder should bear along its folded is all at hand and exchanges may be quick¬ well as on the violin. As soon as the recital Sometimes I gave duets only to the three ly made. i!!uS.vSE* he wil1 drop the violin and keep on brighter ones—the Class A girls. Sometimes built up over a half century of un¬ with the piano alone. the Class A girls were given the lower parts questioned service. Teachers will find On two different occasions, he has had a of duets, with the Class B girls taking the a veritable goldmine of music publica¬ broken arm, during the period of his violin upper parts. This gave both groups valuable lessons. While his arm was bound up, instead tions advertised. Music students will , le«“8 him drop his music altogether, I I believe that ensemble work is the most receive valuable advice as to a suitable asked his teacher to give him piano lessons, valuable way to teach good rhythm. It some¬ school or teacher in our educati°r aining sii scrip ions, w y no ry your then in his 39tli character, one which aims to provide ideas ,™EwraUpEEN’S HALL PROMENADE Music and Her Life Pattern We realize, of course, that these few new fantasie. With a fanciful plot, plenty of h.an,d? The plan is simple. You have a wide CONCERTS of London began their fortieth year, Felix Mendels¬ and materials for good, clean enjoyment for „ F , circle of musical friends and acquaintances, things are not sufficient in the way of sug¬ young and old. This book makes the pianist amusmg situations, just the right amount of ot whom are not familiar Jth our b_ season on August 11th, with Sir Henry sohn -Bart holdy. Wood, their only conductor, again in charge drew his last mortal gestions to take care of the varied'needs of in any home or social group, even though romance and a nice collection of tuneful lieatfon and wbat ;t means to the loverPand choirmasters. To utilize Presser Service all Among the soloists for the series, well known breath. Everything • Every girl has before her a pattern of the future upon which one of but average ability, the master of cere¬ „P“Su“ate^ th,at student of music. Talk to these friends, and, that is necessary is to write us today, tell the monies. But, it is not just a collection of l-professional organization will _ to American audiences, are Katherine Good- written or said by her happiness and her usefulness to society must depend. knowing the value of The Etude musically, son, Benno Moiseiwitsch, Florence Easton, every one ivlio knew abilities of your choir, some of the numbers entertaining piano solos. It may contain a light in rehearsing and presenting. First of all, we must look to the women of tomorrow to take previously used, and request that we send be difficult for you to convince Myra Hess, Marcel Dupre, Joseph Szigeti him, paid tribute to few things in which the pianist presents novel There are two scenes: Act I, The Moon them that they should subscribe. The price his beautiful, happy the responsibility for the inner workings of that most precious for examination, with return privileges, a bits while others sit back and listen but, in Desert and Act II, The Moon Garden. The and Conchita Supervia. These ten weeks of selection of suitable Christmas numbers. In is only $2.00 a year and one yearly subscrip- nightly concerts (excepting Sundays) have spirit, his cultivated of all American institutions, the Home. It remains for woman the mam, each item of its contents aims to properties and staging will prove most tion represents one point credit on any gift the same manner, numbers for the vocal effective, but quite inexpensive. Four female become almost a London tradition intellect, refined to develop those spiritual and cultural things which make the make every one in the party an active par¬ temale you may select. tastes and noble sentiments. As one friend soloists and the organist may be obtained ticipant in the fun. Piano teachers, above and three male singing characters are called iIlc HCICCUOIl „ difference between mere existence and joyous living. It is for inspection. called The selection of gifts is so varied that any and writer put it, “There is nothing to tell all things, should not neglect knowing this for in the score, and four speaking parts (one memberember of your fanli]yfamily, or any friends you TULLIO SERAFIN, who has done such that is not honorable to his memory, consol¬ the woman who normally adds the touch of charm that gives If you prefer to name selections that ap¬ volume, because in furnishing the pianist, who female and three male) together with the may wish■ , to. remember,. can be suited with remarkably good work in the interpreta- ing to his friends, profitable to all men.” loveliness to the home. peal to you, either by their titles or your ac¬ has had around three years’ lessons, with singing chorus of airship passengers, sailors your selection from the Premium Catalog. hon of Italian works in the repertoire of the Mendelssohn bad a strong manliness of char¬ There is probably no other study which contributes so much quaintance with the ability of their composers, some things he can use to enjoy some bene¬ and moon girls complete the cast. Let The Etude make this Christmas a more Metropolitan Opera Company, is reported to acter, yet there was a gentleness and softness fits of that music study, it will encourage When the operetta is published we will also have been appointed as head of the Roval to the charm of the home as music, a study which should ap¬ then just send a postal request for a copy of Js° than merry which endeared him to all with whom he our list of Christmas anthems and solos. him to continue. have a Stage Manager’s Guide for rentalltal TT-re «rp Opera (the former Teatro Costanzi) of Rome came in contact. His life is well worth read¬ pear in the life pattern of every girl. a selected few of the many r Theodore Presser Co. carries a very com¬ Also, it is well for the teacher to remem¬ which will give full directions for staging, wards given: According to the press he is to be given an ing and his musical works are masterpieces The Theodore Presser Co. Catalogs are especially rich in prehensive stock of Christmas music publi- ber that every one who demonstrates be¬ etc. Orchestra absolutely free hand in reorganizing this fa¬ worth knowing. material which is of great value in helping the girl to find cations of all publishers and is ready to give fore a group that piano playing ability serves parts also will be available. A VERY ATTRACTIVE ARTCRAFT mous opera and bringing its performances Mendelssohn was born February 3. 1809, prompt and helpful service. The first a good purpose, even if only for home enter¬ In advance of publication a single copy of up to the standard entitled by its position. at Hambourg. Grove's Dictionary of Music Music Study interesting. It will pay all teachers and mothers MEMORANDUM PAD—Bound in red requisite, however, toward the success of tainment, is doing a form of musical mis¬ the vocal score may be ordered at the special morocco sturdiart. Has perpetual calendar. •3-- and Musicians devotes about 65 pages to his to write for our catalogs covering the classifications in which sionary work helpful in bringing others to pre-publication price, 40 cents, postpaid. life and works. A short, concise, but none your Christmas music program is immediate This pad is beautifully finished and is an COMPETITIONS they are interested—piano, vocal, violin or any instrument. action on your part. the study of piano playing. ornament to any desk. Only one subscrip- the less interesting, biography of Mendels¬ The advance of publication price of this PRIZES of One Thousand Dollars and Five sohn, written by James Francis Cooke, is volume is 60 cents, postpaid. Only one copy The Etude Music Magazine Hundred Dollars are offered for compositions included in The Etude Musical Booklet Li¬ for symphony orchestra, and not to exceed Philomelian ThREE'PaRT may be ordered at this price. Makes A Fine Christmas Gift butter dish—Chromium plated dish and brary. This booklet may be had for 10 cents. twenty minutes in performance. The com¬ Chorus Collection The holiday season is fast approaching poser must be an American citizen under forty The Etude Historical Musical Among the Grown-Up Beginner’s Book when you will be looking for suitable gifts years of age; compositions must be in the hands of Swift and Company before Decem¬ Portrait Series The Cathedral Choir Birds For Piano to give to musical friends. No better, nor CHEESE & CRACKER DISH—Chromium school music supervisors and the self sacri- more appreciated, remembrance can be given ber 1st, 1934; and the winning works will be Piano Collection ncrng individuals who undertake the direction There were those, at one time, who ven¬ plated. Pierced handle. Diameter 10". Opposite the Editorial page in this issue than a year’s subscription to The Etude Only three subscriptions. performed by the Chicago Symphony Or¬ you'll find another instalment hi The Etude It’s a real pleasure, ot choruses in women’s clubs, there are main¬ tured the opinion that the interest in piano chestra. Further particulars may be had by gathering together Music Magazine. The price $2.00 is small, Historical Musical Portrait series. This While competent choirs have considerable line treble voice singing organizations in this study manifested by adult beginners, was but well within the means of any one, and a gift CHROMIUM-PLATED, HAMMERED, addressing “Musical Competition,” Swift and material for this book. country. Publishers are being besieged with is the 34th “chapter” in the extraordinary need for light, easy-to-sing anthems which a passing fad. Publishers were loath to pub¬ of a subscription repeats its wishes of ^good FOUR-PIECE TEA SET—Capacity of pot Company, Union Stock Yards, Chicago, pictorial-biographical “story” of the world’s There are so many requests for good material for these groups. lish any easy piano music, except that which Illinois. help them keep pace with the great demands cheer for twelve consecutive months. When s 6 cups. Sugar bowl and creamer .... _ outstanding musical personalities. made upon them without an excessive charming little pieces Our recent publications in this field have appealed to juveniles. But since it has been with bird titles that requested, an attractive gift card, bearing the high. Tray is oval shaped, with handles; Each new “chapter” adds 44 new pictures amount of time given to rehearsals, it is been very much in demand. demonstrated that “grown-ups” can learn to donor’s name, will be sent so as to reach the to the “book.” Each picture is accompanied is going to be a Play the piano, at least well enough for their size 17" x 11". Only eight subscriptions. A SCHUBERT MEMORIAL OPERA also necessary that such well trained choirs comparatively easy task selecting composi¬ Realizing this need for high-class part songs recipient on Christmas morning. by a concise, authoritative biography. This an|usement and that of their friends. PRIZE, providing for a debut in a major have at their command a good selection of tions m grades 1% to 2% for inclusion in for treble voice choruses we have had some CHROMIUM-PLATED PERCOLATOR— unique combination of picture and biography material which gives them an opportunity to ot the best musicians in the country make It also has been discovered that students of role in a Metropolitan Opera Company per¬ gives you, almost at a glance, the “story” of the album. Youngsters always enjoy char¬ mature years progress quite rapidly Eight cup capacity. Chromium plated in¬ formance, is announced for young American do full justice to their talents and training. acteristic numbers, little compositions that three-part arrangements of gems from the Look Out for Swindlers a composer, artist, teacher or musical celeb- Theodore Presser Co. is preparing a volume L„ Lcu a SUJ tight from the beginning and, given appro¬ side as well as outside. Equipped with singers. The contest will be held in conjunc¬ master composers, especially moderns like cold water pump and safety fuse. Pan¬ t0 teU a story. Won’t they enjoy play- priate study material, are soon playing pieces The magazine subscription season is now tion with the Biennial of the National Fed¬ of substantial anthems, worthy of the best jug these pieces? Kubmstem. Massenet and Fibich, and these elled design. Approved by “Board of Fire As scrap book material the series is simply efforts of well trained chorus-choirs and their In additi it would take months for the juvenile to well under way and every day reports come eration of Music Clubs in 1935, at Philadel¬ to supplying recreation ma- together with a choice selection of original master. Underwriters.” Includes cord and plug. ideal. When completed the collection will quartets of soloists. These numbers will not terial that choruses by the foremost contemporarv to us that unscrupulous men and women are phia and conditions of entrance will be be the most comprehensive available in any be ones of great difficulty, but they all will be be— tplaced—-' ■ - to■u good advantageuvantage Only eight subscriptions. announced later. the hands of juvenile students, this book writers in this field, will make up the con¬ Having given these developments consider¬ again attempting to defraud magazine buy¬ attractive, musicianly selections that make able study, a group of experts in piano ers. Beware of magazine subscription tents of this book. It is impossible for us to describe the The growing realization among teachers very desirable features the ministry of ^h^mS/libra^ e^Wthe^com! pedagogical material has decided to produce “frauds.” Beware of the canvasser who offers and students of the value and magnitude of Although these will prove satisfying in the beauty of the above mentioned articles. They THREE PRIZES are offered by the Inter¬ music in church service a new piano method with everything in it reduced bargains on The Etude Music Mag- a|(_ national Music Bureau for choral works on this series is creating an ever increasing de¬ positions is obtainable separately, in sheet repertoire of any women’s chorus! they pre- only attractive but serviceable as Choirmasters desiring to possess a copy of music form. When selecting music for piano carrying a direct appeal to the adult beginner, AZINE combined with other periodicals. Sign ^ji/^You can make a theme related to the workers’ struggles in mand for separate copies of current and back - ,, , ,, , , “ music ior piano sent no difficulties for the average well trained or the student well along in the teens. There mistake in securing this volume for their music libraries, well recitals the teacher will find much here that o contract unless you carefully read it. Pay all of them. industry and society. The first prize is a instalments. Anticipating this, we have is to make its acquaintance, may pli high school, college or academy group. be plenty of tuneful pieces among the o money to strangers, unless you are ready printed an additional quantity of each instal¬ their is worthy of consideration. While this book - - . - t," ... - Send a post card for complete list of pre- three weeks’ stay in the U. S. S. R.; and the orders in advance of publication for single preparation orders for single copies may While the work is hi the hands of the erases; easy, but well sounding, arrange¬ to assume the risk of loss. Representatives mimums offered b Xhe Etum m jf two second priza offer a ten days’ stay there. ment. These are available at the nominal copies at the reasonable price of editors a smgle copy may be ordered at the ments of favorite melodies and well-known of_THE Etude Music Magazine carry the AZINE price of 5 cents a copy. cents, be placed at a spedai advice* of’pubS Further information may be had from the special advance of publication cash price, 30 classics heard at concerts and over the radio, official receipt book of the Theodore Presser tion cash pnce, 35 cents, postpaid. cents, postpaid. Workers Music League, 5, East 19th Street, Advertisement as well as duets that may be played with the Co., publishers of The Etude. (Continued on page 692) New York City. Advertisement THE ETUDE THE ETUDE NOVEMBER Page 692 NOVEMBER 1934. 1934 Page 693 First Grade Piano Collection Assayers All! One of the best ways to keep young begin¬ In recent months there has been much old ners enthusiastic about the study of the piano gold and old silver bought and this has given A FAVORITE Each month we propose in the Publisher’s Monthly Letter to give mention of a composer who, by reason of the marked favor in is to give them opportunity to delight them¬ many an opportunity to see precious metal COMPOSER merchants, perhaps in somewhat of a rudi¬ which music buyers of t oday hold his compositions, is entitled to selves, their relatives and their friends with mentary fashion, use the assayer's little bottle designation as a favorite c omposer of piano music. good, tuneful, attractive pieces well within of acid. their playing abilities. Every teacher of be¬ Music publications always have to undergo ginners knows the value of this and that is the assaying test of the opinions of music why Theodore Presser Co. again is provid¬ ing another album of first grade piano pieces users everywhere. Music publishers learn Francesco B. De Leone the results of these assays through the sales to supply the demand along these lines. of each and every publication. There is There will be a generous number of pieces It is an old “whee: mphonic orchestra in this collection and the teacher who wants never any need of printing new lots of those "Hi s' ph have been ed by which music users decide are of doubtful to get acquainted with this volume as soon value. Those accepted as worth-while music, as it is published should place an advance Ravenna, Ohic 1887.**" He of publication order now and gain advan¬ however, appear again and again in the pub¬ educated at th Dana Musitai JHHR lisher’s printing orders. and also at the Royal tage of the special price of 35 cents a copy, .. Music (Naples, Italy). postpaid. Some of the numbers on the publisher’s In the latter part of 1910 he established printing order of the past month are named himself in Akron, Ohio. Here in 1920 below. Music teachers may secure any of he became founder and head of the popularity, but i Music Department of the University of these for examination. Akron. This position he held up until Merry Christmas x 12 gathered togethe tnis present year when he established his own conservatory of music in Akron. Multiply your Christmas gift this SHEET MUSIC—PIANO SOLOS Dr. De Leone has been honored by organizations Cat. No. Title and. Composer Q-rade Price n reading here and abroad for his outstanding accomplish¬ 0833 A Song of Happiness—Rowe 1 $0.25 ments as a composer, conductor, pianist and 8574 I Want To Be a Soldier— es records music educator. Also, if we were compiling a Let The Etude Music Magazine Rowe .. 1 list of outstanding^organists and ^church choir carry your Message of Christmas Cheer, 1 The Jolly Tar—Baines. 1 “on the wings of song” every month for Spain is one of the most interesting A large and valuable collection of mu¬ There are many records available which Talking Doll—liisher.. 1 'A Leone’s name. Dr. and Mrs. De Leone have a Fred, that Fat ‘Boy and Jill—Kcttercr_ 2 daughter and son, both of wk™, mnolral 1935. Every Etude reader knows the countries of Europe and has had a long sical manuscripts was collected in Portugal give a very comprehensive idea of Spanish 22978 canoeing. Waltz—Rolfe ... 2 delight, yworfs which*through be Theodore Presser Co. amazing uniformity of excellence The and varied history. Seville, one of its prin¬ in the seventeenth century, but it was de¬ music. From the folk-songs may be se¬ 19219 Humming Bird's Lullaby— tdvanced student By Marion Schock Preston . 2pS and recitalists, works°whYch have Etude has kept up year after year. cipal cities, was the capital of an old Ro¬ molished by a severe earthquake in the next lected: Espana Cam (with castenets), on 26076 Swaying Daffodils—Ovcrlade Z'/2 ned recog- includ 30010 Meditation—Morrison . S'A The 1935 Etude will be The Etude man province and many of the Spanish century, and thus a great many of the Victor No. 46420. Can-cion Andalusa 7546 Woodland Echoes, Op. 34— Compositions by Francesco B. De Leone at its best. The B Sharp Music Club was assembled towns have Roman names. Saragossa, for folk-tunes and dances, as well as church (sung by Schipa) on No. 6601. La Ca- ^ Wyrm in Miss June’s studio for its regular PIANO SOLOS All you have to do is to send us the instance, is said to have been originally music, were lost forever, as there were no chucha on 20986. Seguidilla (sung by Bori) 23149 Shooting Stars—Rolfe. 5 monthly meeting. Every member was a 24909 Sun Rays—Krentzlin. 4 Cat. No. Title Grade Price Cat. No. Title Grade Price name and address of your fortunate Caesar Augusta. printed copies of these manuscripts. on 1348. The seguidilla (pronounce say- 30392 Pathfinder of Panama— 25986 April Sunlight. friend, with $2.00 and a request that we pupil of Miss June. The meeting was in The Moors entered Spain shortly after Sousa . 4 .50 Bfue -Bens. Op. 30, No. 1. Op. 7 6 $0.60 Many of the folk-melodies of Spain were gui-dil-ya) is one of the most famous of send also our joyous little Christmas order and the roll call completed with the the seventh century and spread their do¬ intended to be danced to, as well as sung, the Spanish dances. Yehudi Menuhin 17629 Snowflakes* **‘at“1piay. "6p. *ii,‘ greeting card proclaiming the glad news SHEET MUSIC—PIANO ENSEMBLE exception of one name. Each member minions rapidly. They brought with them and Spain has become famous for her plays Sierra Morena on No. 6841. 25981 Fr_... „ 17007 Song of May*.* * Chkn'son du* Mat 4 *5° that The Etude will be forwarded a 80188 Butterfly—Orieg-Saar. Two 18891 In Blossom present had responded with a fact pertain¬ much science and art which they had got¬ graceful dances. A collection of these From the modern composers may be Phi nos—Four Hands. 8 $0.70 25605 Indian Sum Op. 31, No. 3 .. 5 .50 twelve-month to come—twelve splendid 14570 Stand by the Flag—Stults. .. 4% 17630 Southern Lullaby. Op. 32, No. 1.4 .40 ing to Christoph Willibald Gluck, the com¬ ten from the Greeks and Byzantines. They folk-songs and dances was made by Pedrell, selected; lota (pronounce ho-ta), a Span¬ Two Pianos—Eight Hands 3 .90 18193""""An An lri;Irish * Love' Song.’ ’ ’witi 25972 Spring's Melody . 3% .35 visits of the best music and musical Words. Op. 33, No. 2. poser they had studied at the previous made Cordova the finest city in Europe at who is called the father of Spanish music, ish dance by de Falla, played by Kreisler 16532 Melody of Hope...... 25600 Sunrise . .. 5 .50 thought of the times—and all for only 2a606 Sunset . 4Vi .50 2 00 meeting. The last name on the roll was the time, and the great mosque at Cordova but he only lived in- the nineteenth century, on No. 1504; and by the same composer, 25233 Mesa Flower. 16332 Trailing Arbutus. Op. 30, No. $ . . Moonlight.. Fred Wilson’s. is still one of the finest examples of Moor¬ so the composers following him are mod- Nights in the Gardens of Spain, for or¬ 16359 Old-Fashio. e Play for Eve 25983 Twilight* *i*ii* Taormina!!!!.'.* .*! *.! 3)1 .35 “Fred Wilson,” called the presiding of¬ ish architecture in the world. The greatest No. 3 ... 18402 Valse Caprice. No. 2. 4 60 chestra, on Nos. 9703-05. (Melody—Rhythm—Har- 25980 The Olive ficer. “Fred Wilson!” Moorish palace and stronghold was in Gra¬ Albeniz (1860-1909) is called the Spanish No. 3. 4 .70 The Vision of Scrooge Casals, the Spanish ’cellist, plays the . i 11■ i ■■ No. - There was no response. nada, and they were not finally expelled Chopin, and in his colorful music he used Intermesso from “Goyescas,” by Granados Stage Guide For Pantomime Performance “Fred Wilson is absent as usual!” Miss from Spain until about the time Columbus many of his native melodies and most of on 6636; and Fete-Dieu a Seville, by Al- pore Accompani By William Baines June’s voice was disapproving. was adventuring on the high seas about the succeeding composers have done like- beniz (pronounce Al-bay-nith) is played by “Oh, he’ll be here in time for refresh¬ Eight Healthy Hap Last month we announced in these col¬ 1492. the Philadelphia Orchestra on No. 7158. umns that “A Stage Manager’s Guide” is ments!” declared some one. These people left their influence on Granados (1862-1916), another popular These are all Victor numbers and are all Miss June frowned. “How can we make Standard juvenile Gems. I75 now available giving full directions for ac¬ Spanish music, introducing the guitar Spanish composer, was on his way to very colorful compositions. tion, scenery, costuming and lighting in pre¬ that boy come in time to answer the roll which became the great Spanish instru¬ America to conduct his brilliant opera, SHEET MUSIC—VOCAL SOLOS, SECULAR senting a pantomime performance of the call and stay through an entire meeting?” 19948 Sunshine in Rainbow Valley IS Love^Y Paradox' (“fig** ^ ®*aW. ment, and leaving an oriental character in “Goyescas,” when he met a tragic death by (Low)—Hamblen.$0.60 23871 The Rainbow Trail (d-El* . . popular Christmas cantata The Vision of she asked the room in general. “He many of the folk-songs. submarine during the world war. 24523 Spring Foiiy (d-E)...... ;;;;;;;;;;;;;;;; 30495 Inter Nos (Medium)—MacFadyen .50 Scrooge by William Baines. It is not a costly doesn’t benefit by our club one bit. I will Another influence on Spanish music was Manuel de Falla (pronounce fall-ya), staging and can easily be arranged by almost admit he plays the piano exceptionally Street Qries SHEET MUSIC—VOCAL DUET, SACRED VIOLIN AND PIANO any school or church organization. The pan¬ brought from Central Europe by the Trou¬ born in 1876 and still living, also uses 30591 Jesus, My Strength— (S and A) well. His runs are a pleasure to listen to, THE POP-CORN MAN 33 Forest Flowers . tomime requires but few characters and is badours, who came with their poetic ro¬ much folk-song material in his composi¬ Spross .$0.60 they are so clear and light. And when performed as the cantata is sung by a chorus mances and their lutes, which were intro¬ tions, realizing that his native melodies By Olga C. Moore PIPE ORGAN seated either at the sides or in front of the he plays a chord he strikes the notes ex¬ duced into Europe by the returning are among the world’s best. Turina and 18 FhrinftFio Hope' Arr- Mansfield . stage or platform. Here is a real novelty actly at the same time and does not play Crusaders'. Infante, two other modern Spaniards, also for your Christmas program. Rental price it as an arpeggio unless it is meant to be The courts of the Spanish kings during use folk-song melodies, and in fact there ANTHEMS FOR MIXED VOICES $1.00. peaks .$0.20 the middle ages were most luxurious, and are no composers in any country who are the Valley—Beethoven-Barrell .12 There were several guilty consciences in many gorgeous cathedrals were built dur¬ making more or stronger use of . native the room at Miss June’s last remark. ing that period. Many musicians were em¬ tunes than the Spaniards; but, of course, one (Control “It is so nice, I think, to know some¬ ployed at the courts and in the cathedrals, not to the exclusion of original melodies Part) ..$0.12 thing about tlie composers whose composi¬ but most of these court musicians and tions we play,” she continued, “and to At the baseball game each day STATEMENT OF THE OWNERSHIP, for Double Ffotes choirmasters and organists came down Spain has been the setting for several MANAGEMENT, CIRCULATION, ETC. store some musical facts away in our George O’Conner wends his way. REQUIRED BY THE ACT OF By Marie Stone from Europe. Spain in those days included operas which are not by Spanish composers, CONGRESS OF MARCH 3, 1933 minds. I don’t believe Fred ever opens his what is now Belgium and Holland, as well but which have a certain Spanish flavor, As he sells pop-corn he calls, Of The Etude published Monthly at Philadel¬ In playing double notes or chords on History of Music.” “Had your corn today?” hehrer .$1.25 mortgagee: as Portugal and most of North and South such as “Carmen,” Bizet; “The Barber of phia, Pennsylvania, for October 1, 193b the piano it is often necessary to be able to State of Pennsylvania 1 „„ 1 per cent or more of t Noel Brown, seated over in a corner, America, and it was considered fashionable Seville,” by Rossini; “II Trovatore,” by CORNET AND PIANO County of. Philadelphia j bs' mortgages, or < '' bring out one tone while the others are declared he knew how to make Fred be to import musicians from Europe, which Verdi; and “Don Giovanni,” by Mozart. “It’s too fatt’ning,” some one says, The Invincible Folio of Cornet and Piano Before me, a Notary Public In and for the 4. That tl But O’Conner starts to grin. Duets .$1.00 State and county aforesaid, personally ap¬ ing the : subdued. An excellent exercise to develop present at the entire meeting next time. of course, developed music in Spain to a And Strauss has written a symphonic peared David W. Banks, who, having been duly security noiders, If any, contain not* only tl this ability is as follows: “Well, Noel, do tell us,” said Miss June. high degree, but did not develop Spanish poem on the unique character, Don “Get your buttered pop-corn here— sworn according to law, deposes and says that It will keep you thin.” he is the Treasurer of the Theodore Presser list of stockholders and security holders “Serve the refreshments the first thing,” music. Quixote. Parts, $0.35; Piano.".$0.61 Company, publishers of The Etude and that they appear upon the books of the company b said Noel with a grin. the following Is, to the best of his knowledge also, in cases where the stockholder or securl and belief, a true statement of the ownership, holder appears upon the books of the compai ‘That’s a good idea!” agreed Miss management, etc., of the aforesaid publication Hi eYimiTn/tho‘I-,,!!.1*y otlle1, fiduciary relatio June; “and we’ll begin with this meeting.” for the date shown in the above caption, re¬ quired by the Act of August 24, 1912, embodied such tustee is acting" is g”venTalso^haTt" The refreshment committee removed the ‘Rainy ‘Days in section 411, Postal Laws and Regulations, printed on the reverse of this form, to wit: cookies and lemonade from a closet at the 1. That the names and addresses of the to the circumstances and conditions und! rear of the studio; and they were passed By Marion Benson Matthews publisher, editor, managing editor, and busl- do not appear" upon the bookTof the^compYi around and enjoyed immensely. After all The rain taps on the window pain I’ublisher Theodore Presser Company, Phila¬ traces, of them were removed the life of delphia, Pennsylvania The upper note should be played with a While Tom taps on the keys. Editor James Francis Cooke, Philadelphia, and this affiant has no reason to believe th' firm, well curved fifth finger, and a heavy Ludwig Van Beethoven was studied. Dur¬ Pennsylvania “y person association or eorporati ing, the dub’s discussion of his habit of Managing Editor None 1,“° „„„ c—t Qr lndirect ln arm touch. The lower note should be "We both make music,” Tom declares, Business Managers None stock, bonus r securities than as I played very softly, using a light finger jotting down in note books ideas as they “Now, Mother, tell me please 2. That the owners are : stated by hi came to him, the door opened and some Theodore Presser Company, Philadelphia (Signed) touch. When this can be done easily, then David W. Banks on® said> “Here comes Fred, that fat boy.” Pennsylvania « _n , o , * ,, , For Publishei boH* notes are to be played together. Which music would you rather hear. Estate of Theodore Presser, Philadelphia, feworn to ana subscribed before mo rred, who was extremely stout for a Pennsylvania day of October, 1934. e tms This exercise is especially helpful for The merry rain’s or mine ?” James Francis Cooke, Bala, Pennsylvania pupils who have difficulty in bringing out boy of twelve, entered the studio indolently, The Prisser Foundation, Philadelphia, Penn- SEAL John E. Thomas inner melodies and should be practiced in carrying his cap in his hand. “Good after¬ "Well, Tom,” his mother smiles, "today Changes of Address (My commission expires March^.^g; various chord and finger combinations. noon everybody,” he said in a drawly Your music sounds quite fine. When changing your address, be sure to Vf 1Cu ^ben he dropped heavily into one give us both old and new addresses and ad¬ ot the folding chairs which groaned be¬ “When every note is pure and clear, vise us at least four weeks in advance of such Tell your Music Loving Friends about THE ETUDE and ask them to eive you the privilege of sending in their subscriptions. S neath him. He waited for the meeting to It makes a sweet refrain, a change. Careful compliance with this sug¬ - m music tt’fl come to an end, following which he ex¬ Tin? mrnr“ CataloS °J Rewards for subscriptions you send the English nation owes to no one e gestion will prevent copies of The Etude go¬ ^ pected refreshments. Finally it was over. ing astray. THE ETUDE_1712 Chestnut Street Philadelphia, Pa. the anthem and the glee’’—Dr T "But when you thump and bang and bump, Bridge. * ' (Continued on next base) GARDENS OF THE ALCAZAR, SEVILLE, SPAIN I’d rather hear the rain." Page 694. NOVEMBER 1934 THE ETUDE Ji JUNIOR ETUDE-(Conlinued) £ Supplying Junior Etude Contest The Successful Teaching of Fred, Fbhe Fat ‘Boy (Continued) Piano Teachers The members left the studio. The corners Noel Brown responded with “Ludwig The Junior Etude will award three right hand corner, and must be received With What They Want of Fred’s mouth drooped while the other Van Beethoven was born in Bonn-on-Rhine pretty prizes each month for the neatest at the Junior Etude Office, 1712 Chest¬ Pre-School Age Piano Beginners boys and girls had all they could do to in 1770.” Guy Edwards, with “Beethoven’s and best original essays or stories and nut Street, Philadelphia, Pennsylvania, keep from laughing right out loud at the father was his first music teacher.” Mary answers to puzzles. before the fifteenth of November. The requires— way he had been fooled. Joy, with “Beethoven wrote nine sym¬ The subject for the essay or story this names of the prize winners and their con¬ Demands the Use of Attractive Works. “Miss June didn’t serve refreshments phonies.” Daisy Lucky, with “Beethoven’s month is “My Favorite Instrument.” It tributions will be published in the February A Large Stock of Music of All to-day, did she?” drawled Fred to Mary complete works comprise one hundred must contain not over one hundred and Joy, when they reached the street. thirty-eight opus numbers and about sev¬ fifty words. Any boy or girl under the Publishers for Prompt Delivery Do not use typewriters and do not have “Oh yes,” returned Mary. “We had re¬ enty unnumbered compositions.” Fanny age of fifteen years, whether a subscriber any one copy your work for you. of Any Asked-for Publication. -A B G of- freshments at the beginning of the meeting or not, may enter the contest. Music Play for Every Day and hereafter shall always do the same.” Competitors who do not comply with all Piano Music All contributions must bear name and A Large Corps of Experienced (THE GATEWAY TO PIANO PLAYING) ly MRS. H. B. HUDSON There wasn’t a member of the B Sharp age of sender on upper left hand corner of the foregoining conditions will not be Music Club who did not wonder what Fred of paper, and the address on the upper considered. Music Clerks and Competent would do about the next meeting. The Music Selectionists for Filling month soon passed and this time Fred was Orders and for Selecting Music As a frontispiece there is, in full colors, at the studio before anyone else had ar¬ to S Years of Age. the fanciful and popular picture, “The rived. (Concerts on the Badio (Concerts on the P^adio Works to Meet Described Needs. Fairyland of Music,” and in an appeal¬ ing manner the book continues right “The plan has succeeded,” said Miss (Prize Winner) (Prize Winner) June to herself. “Fred is here; he will A Staff of Music Education Ex¬ with the child, delighting the juvenile Did you, boys and girls, ever attend a imagination with illustrations, game-like have to remain through the entire meeting There are many advantages gained by listening to concerts on the radio. concert in your overalls and gingham perts to Supply Requested Ad¬ procedures and charming little melodies. or he will not be able to respond to the Miles, with “Beethoven kept a note book First, the inspiration acquired. One nat- gowns? And did you ever sit on the floor vice and Information. There also are cut-out pictures and roll call at the next meeting. I have cau- in which he jotted down ideas as they other interesting features which aid in all'Attended0in thi^manner,'' for^ine plus— Such a full appreciation of the great importance of the work of music teach¬ ers that there exists a sincere desire to give every possible help in service to these folk whose teaching efforts repre¬ sent a considerable aid to the advance¬ ment of music and to the true progress of mankind. Letter Box these things are inherent with the Mary Stewart McGoogan (Age 14), Theodore Presser Go. (Concerts on the Bgidio which was founded (Prize Winner) by a music teacher to provide the profession with a dependable source of supply for Music of All Publishers. Edythe Grady (Age 12), Virginia. Any teacher not familiar with the “On Honorable Mention for June Sale” Plan and its liberal and helpful Arithmetic Puzzle Puzzle : examination privileges, the easy man¬ By L. G. Platt ner in which charge account conveni¬ ences may be obtained, the policy of teacher’s discounts, or other features of Presser’s Direct-Mail Service, is invited Theodore Presser £o. to write at once for Catalogs and Full Details of this Service. |—Here is a simple, con¬ An Instance of How You venient way in which to 2 CHESTNUT STREET, PHILADELPHIA, PA. May Make Immediate Use of be sure of securing inter¬ This Service- esting music for your teaching needs—Just fill Account with You and you may obtain for inspection in your Own studio any of the piano beginners’ books out this form, sign and leek either box abov< Drought to attention on this page. There is no red tape in asking for works of this char- send it to us to-day acter tor examination. You simply return for mil credit those works not used, and later, Upon its receipt, suitable music will .Grade 1 pon receipt of a statement, pay at professional .Grade 2 prices tor whatever works you have retained. . Grade 3 . Grade 4 .Grades JUNIORS OF PALO ALTO, CALIFORNIA, IN COSTUME RECITAL ic for full credit. NEW DITSQN PUBLICATIONS Widely Approved by Supervisors and Teachers Examine these NEW ISSUES at year ^""1 On^.rova. ' from the publisher -VOCAL- -CHORAL- I CAPPELE Art Songs for School and Studio Art Songs for School and Studio ’5 tt=ES?a Ste Ass* awrvo,ume “ The Clippinger Class-Method of Voice Culture iWMS 5S» on [h' aars»«ttTS.,c' -INSTRUMENTAL- The Morrison String-Class System Ten Easy Solos VIOLIN, VIOLA, 'CELLO and DASS Violiu part (Treble clef>.9 .25 Viola part (Alto clef).25 Ul.WA'S «r--^SRtt4srm» v“'“ "d "*• *• W°lds *“ “ ^ ™d - “ —■its 2 rf sgip.issssiss The Fulton Folio The Ditson Album of Cornet Solos Sr 1 H 111- I , mmmmm OLIVER DlTSON COMPANY, 359 Boylston Street, Boston, Mass.