Gardner-Webb University Digital Commons @ Gardner-Webb University

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

1-1-1918 Volume 36, Number 01 (January 1918) James Francis Cooke

Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons

Recommended Citation Cooke, James Francis. "Volume 36, Number 01 (January 1918)." , (1918). https://digitalcommons.gardner-webb.edu/etude/642

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. 1 JANUARYr 1918 Haddon Hall ATLANTIC CITY ALWAYS OPEN RIGHT ON THE BEACH AND THE BOARDWALK

Appeals particularly to cultivated people who seek rest and recreation at the Sea Shore, Summer or Winter. From every section of the country such guests have come to Haddon Hall for 40 years—and come back again and again—it is so satisfying, so free from ostentation, so comfortable and sufficient. Every facility is offered young and old for enjoyment.

Fascinating shops and a thousand amusements are Teach your pupils offered along the far1^ a Boardwalk. Privileges of fine golf and yacht clubs. Rooms are comfortable and the secret of attractive—there is delightful music—and always interesting people. keeping voices clear

Tell them what every experienced singer knows—that S. B. Make reservcUions-^write for illustrated folder Cough Drops prevent coughs and cold, take away the terror from damp, cold winter air. Their constant use keeps the throat clear and the voice free from cloudiness. .LEEDS & LIPPINCOTT Pure ingredients. No drugs. Just enough charcoal to sweeten the stomach. Put one in your mouth at bedtime to keep the breathing passages clear. SMITH BROTHERS of Poughkeepsie ISIS® Also makers of S. B. Chewing Gum

GREAT OFFER TO Teachers and Music Students Sherwood’s Normal Piano Lessons

These weekly lessons, examination papers and lectures on the Art of Teaching contain the fundamentals of a broad and solid.musical education, and the principles of success¬ ful teaching. They contain the vital principles in touch, technique, melody, phrasing rhythm, tone production, interpretation and expression. Physical exercises for devel¬ oping, strengthening and training the muscles of the fingers, hands, wrists, arms and body are fully explained, illustrated and made clear by photographs, diagrams and drawings. HAR MO MY A knowlcd?e °f Harmony is absolutely essential to round out IlfTlvmv/n 1 your musical education. It adds wonderfully to vour equip¬ ment both as Teacher and Performer. Without it you limp along on the crutch of unpreparedness.” \\ e offer you a complete course of weekly Harmony Lessons at small cost, by Mr. Ado ph Rosenbecker, famous Soloist and Conductor and pupil of Richter, and Dr. Daniel- Protheroe, Eminent Composer, Choral Director and Teacher Each lesson is an orderly step in advance, clear, thorough and correct: not the mere mechanical application of dry-as-dust” rules, but an interesting, practical method that grips your attention from the very beginning. A written examination on each lesson in connection with ample original work, develops your knowledge and firmlv fixes the important principles in your mind. y UNPRECEDENTED SPECIAL OFFER! Take the time now to write us a friendly letter about your musical ambitions—how °,"f ,you hav'e studied music—what particular course you are interested in and ^n^inr Short ^ “‘H0"* .Tel1 Vs your whether you teach, play usTAttd^ to^reon a^chorT'^ y°U W°UM f“‘ PCrfeCtly free t0 tel> W e will then send you 6 lessons selected from the course you want. These will not be mere sample extracts or abridgements, but the genuine, original lessons exactly such as we send to our regular y enrolled students. We will send you our large cat alog explaining the Sherwood Normal Piano Course. Students’ Piano Course, Harmonv Voicc Choml Conducting, Public School Music, Violin, Cornet, Guitar and Mandolin Courses. Make your selection now and the d lessons will be sent you with full details of the e. You mil be under no obligation *. UNIVERSITY EXTENSION CONSERVATORY CLARENCE EDDY, Dean 3706 SIEGEL-MYERS BLDG., CHICAGO, ILL. Page 2 TEE ETUDE T JANUARY 1918 Supply House for Schools and Teachers of Music Theo. Presser Co., Philada., Pa., Mail Order Music most liberal on sale system, terms and prices unexcelled.

PROMPT AND EFFICIENT SERVICE; A LARGE AND COMPLETE STOCK; Thousands of teachers know all about the Theo. Presser “On Sale” system (described at the bottom I of this advertisement) but many have “put off” writing the first letter requesting a selection, with 1 To make sure that nothing has been omitted from your music list for 1918, take a pencil | the privilege of having any of the following books right in their own homes to examine at leisure, to I and go slowly down the left-hand side of each of the following columns and check those items 1 play over the pieces, etc. “On Sale” packages may be retained for six months or more, paying 1 that you will need. This valuable, complete, little catalog covers every field of pianoforte and 1 only for what is used. Now is the time to send for a selection of books and music for 1918. I vocal education from the earliest to the most advanced grades.. Our “On Sale’’ music buying system | virtually moves all the advantages of a great metropolitan music store right up to your front door. I THESE MODERN TEACHING PUBLICATIONS OF THEO. PRESSER CO.

PIANO COLLECTIONS PIANO COLLECTIONS—Continued VOCAL METHODS AND STUDIES MUSICAL THEORY, REFERENCE BOOKS. POPULAR HOME ALBUM. GREENE, H. W. Standard Graded Course of GENERAL MUSICAL LITERATURE Continued PROGRESSIVE TEACHERS EVERYWHERE HAVE ADOPTED POPULAR PARLOR ALBUM. Singing. ! books, each $1 00 POPULAR RECITAL REPERTOIRE. .. MARCHES!, S. 2 1 Elementary and Progressive COOKE, J. F. Standard Hi,tor, of Music. $1 25 PRIMERS—RUDIMENTARY WORKS PIANO TECHNICS AND STUDIES—Continued PIANO TECHNICS AND STUDIES—Continued PIANO TECHNICS AND STUDIES-Continued ry Rhymes for Child- ROGERS, J. H. To, Shop Sketches. . ROWE, DANIEL. Tone Stories for Bo, KOHLER. L. First Studies. Op. SO PISCHNA. Sixty Progressi.e Exercises. SI 25 MVER, EDMUND J. Vocal Instructor^ A practical “ 12 Little Studies, Op. 157. PLAIDY.L. Technical Exercises. * “ COOKE, J. F. Great Pianist, “ 12 Preparatory Lessons, Op. 151 PRESSER, THEO. First Studies in Octare I REDDALE, F.° Th^Sdlool0 Singer. For normal 1 °° classics; includes a large collection of songs Pianoforte Playing. Teaches the principles of Harmony in the “ Very Easiest Exercises, Op. 190... Selected Octave Studies. Equal d< Personal conferences on Technic, men! of both hands, flexibility and sti for all purposes 50 sion and style with our most dis ' simplest and quickest manner. RANSOM, E. Through the Major Keys ... ROOT, F. W. Methodical Sight Singing. The CUMMINGS, W. H. Rudiments of Music. With ; Selected Works (I. Phillip) GROVE S DICTIONARY OF M BUGBEE, L. A. First Grade Studies. Easy, ROGERS, J. H. Octave Velocity. Short, ir Beginning . 50 CIANS. 5 vols„ 4,000 pages ing, musical studies of great technical value 1 01 Methodical Sight Singing, Through the Keys. 50 •double Note Velocity t “ “ Methodical Sight Singing, Progressive Musi- HEACOX, ARTHUR E. Ear Training “ Second Grade of Melodic Studies. 1 -REM, P. W. Harmony Book for Begins A volume to succeed “First Grade Studies” KUNZ, K. M. Two Hundred Short Two-Part SARTORIO, A. 12 Instructive Pieces in Melody , Beethoven The plainest and most elementary Canons, Op. 14. 1 SONATINA ALBUM (Louis Kohler) . 1 LANDON, C. W. Playing Two Notes Against Three f. Op-,3 ' SPAULDING, GEORGE L. Souvenirs of ihe

:&iSsaJfcl! s.„di...op.io44”::.:

VOCAL COLLECTIONS

CH-UR^NOT.v^^.H^^ g GALLOWAY. TOD B. Seven Memory Song, 1 25 PIANO COLLECTIONS-FOUR HANDS gfiSgaSSB s^iiTSia»>v s 100

arS™ePabnbog.rrCPiaCe!,tUd'CSby ^ BOOKS, GENERAL MUSICAL is LITERATURE ' ISi "

IS 8 ^ ^ KLEINE PISCHNA 60 for the young chUd. 50 : safes-■ SO Hn*the* -- I "slSsss; SENT ON EXAMINATION TO RESPONSIBLE PARTIES OUR USUAL LIBERAL DISCOUNTS APPLY i CATALOGS THAT ARE CLASSIFIED GUIDES THEO. PRESSER CO. “ON SALE” PLAN

PIANO TECHNICS AND STUDIES NEW MUSIC AND NOVELTIES ON SALE*. J ^ 1712 CHESTNUT ST., PHILADELPHIA, PA. THEO. PRESSER CO., PUBLISHERS, JANUARY ms THE ETUDE Page 5 JANUARY 1918 Page If TEE ETUDE ¥ Recent Publications of Merit SELECTED FROM THE LATEST PUBLICATIONS OF THEO. PRESSER CO._

FIRST AND SECOND GRADE TEACHING WORKS \ STUDENT'S BOOK PLEASANT .PRIMES. FOR THE SPELLING LESSONS IN TIME AND NOTATION , „ r „ . _ By Mathilda Bilbro Price, 30 Cents ^ ^ School of the Pianoforte VoL Two

riwjAX•”AfwSl 30 PreSeDt ' mimm THEO. PRESSER CO., 1712 CHESTNUT STREET, PHILADELPHIA, PA. iggCSEsl “S&rrE ^^ttfr*****- “ (vlolta and Pto^*Jf0frt#Mrtl47 JANUARY 1918 ^ THE ETUDE,

The world’s ^ catalog of THE ETUDE JANUARY, 1918 VOL. XXXVI, No. 1

Riches for Everybody Titles of Pieces The riches of old age are memories—beautiful memories. Every teacher of children knows that the little ones are in¬ The pauper in the poorhouse, with his mind stored with treas¬ fluenced by fanciful titles. This is an advantage and a disad¬ ured visions of a noble past, is richer than the Croesus in his vantage at the same time, as many very beautiful pieces with mansion, haunted with the ogres of meanness, oppression, un¬ indifferent titles are thereby neglected. Composition of titles fair advantage, trickery and penury. Happy indeed is the is almost as difficult as the composition of the music itself, and man who has both beautiful memories and plenty of the world’s often quite as great an art. Publishers of music know of this goods. influence, as do the publishers of books. Indeed the title that Perhaps you have wondered why old people demand old the author or the composer presents with his manuscript, is very songs. It is not that they have a means of discrimination likely to be cast into that most useful piece of office furniture,— whereby they feel that the songs of long ago are better than the waste paper basket. Select good titles when you can get the same type of song made today. Fifty years from now them, but do not let really good pieces slip through your fingers people may cast the same halo over the songs of today that the if they happen to be named “Arabella’s First Party” or “The old folks of today cast over Alice Where Art Thou, Juanita Grasshopper’s Reverie” or some equally inane title. and Ben Bolt. What is it then that makes the old song hallowed? It is Help! Help! Help! 1 its wonderful power of conjuring up memories—the beautiful For years The Etude has preached the importance of memories of the dear, dear past. When Grandma takes off music as a human necessity. For years The Etude has pointed her glasses and quietly asks you to sing one of her old favorites, to the respect that the music teacher deserves for his service hunt it up at once and let her have it over and over again. to the community and to the state. Have you thought of the It is the magic talisman which will open the riches of her mem¬ present situation? All America is virtually calling for music ory to her. As you sing and more music. Its value as an inspiration, a solace and an Nellie was a lady. entertainment has never been felt as it is today. The world Last night she died, is crying “Help!” to musicians, as it knows that in this hour a tall youthful figure with epaulettes and bright garnet mili¬ of stress it can not do without music. A great soldier in our tary sash, a figure home on a furlough after Antietam, will civil war said that singing at the campfire and receiving letters come into the room and stand at Grandma’s side. You will from home were the two things which more than anything else A book that every not see him but she will—she will hear the strong full voice, gave the men courage and determination to fight until victory. silent for thirty years, joining with her light soprano, singing The singing soldier is the soldier with the real morale of the ' battle and the singing man, woman and child at home arc his Toll the bell for lovely Nell, music-lover will want best supporters. My sweet Virginia bride. The time has come when every American musician must It has required 20 years of constant research, of stfeady applica¬ Oh wonderful, wonderful music that can transport us over do his duty to his Government. Often he can serve far more tion, of tireless effort, and the expenditure of more than Eleven the years to scenes long gone and make us live again with effectively at home than with a gun at the front. A uniform Million Dollars to place this Victor Record catalog in your hands. loved ones long at rest! Bless the old songs. They are the does not make a hero (except in dime novels). Mr. Sousa has This great book of 542 pages is the recognized authoritative index to the golden gates to the Paradise of yesterday. won more recruits with his great Naval Reserve hand than world’s best music; to the greatest musical achievements of all time. Songs and singing were never more needed than now. Food dozens of recruiting officers. There are many ways in which Its pages are living tributes to the years of unceasing vigil spent in gathering for the soul as well as the body is the call of the hour. More¬ you can serve, right in your own community. Don’t fail to the best music from every portion of the globe. They reflect the hours upon over, there need be no saving of music. grasp them when they are presented. hours which the greatest artists have devoted to recording their superb art for the delight of all generations. They attest to the enormous amount of time and millions of dollars spent in developing the art of recording to its present state Singing “America” Christmas Morning of perfection. And through each and every page runs the story and proof of Last month The Etude gave its entire editorial page to the presentation of one idea. It was the plan to Victor supremacy. celebrate this “different-from-all Christmases” by singing “America” at nine o’clock on Christmas morning, Every music-lover will want a copy of this great Victor catalog of music. Everybody should wherever any group of Americans are gathered together. Thereafter the group might continue with the singing have this book, whether or not they have a Victrola. All will appreciate it because of the informa¬ tion about artists, operas and composers, and the numerous portraits and' illustrations it contains of Christmas carols, but first of all was the idea of bringing the thousands of American homes broken by the Any Victor dealer will gladly give you a copy of this great catalog of music or we separations of the war together in patriotic spirit at the hour when most American families are one in heart and will mail you a copy free, postage paid. mind. As this issue of The Etude will reach many of its readers before Christmas day, there is still a chance for Victor Talking Machine Co., Camden, N. J., U. S. A. them to call up their friends and tell them that they have planned to sing “America” at nine o’clock on Christmas b\\ Important Notice. Victor Records and Victor Machines are scientifically co-ordinated and synchronized morning and that they will all be a part of a great chorus that is singing itself around the world at that hour. So many people have voiced their enthusiasm for this plan that its wide adoption is unquestioned. We of The Etude shall sing it in our own homes and we shall try to think of the blessings that the friendship of a host of loyal Etude friends have brought to us during 1917. The Etude is proud of its Americanism and is glad to have a Victor Supremacy part in promoting this magnificent idea. Please do all you can to help it. All your friends will be glad to help ‘Victrola’ you in it.

_ JANUARY 1918

Page 8 THE ETUDE A New Year’s Greeting American Folk-Music: A Negligible The origin of many of tfiese|tunes is Scotch or English. The distinctively Afiierijan product is of less By Wilbur Follett Unger Quantity value poetically and musically, though of more interest i indigenous produclion.J But as a possibility By W. Francis Gates s a fpundation for art music, and in comparison Traditionally, there is Y^a^^fs^ta'whfch to with the wealth of song that comes from other nations, present rules and suggestions for Many musical writers assert that no national school it is pitifully small and weak. of music can be evolved in a country that has no folk- yo- pupils. Pra<;tiCfsy’ pCe0rUsodnsbetWnk"hat Sep- able time, for, whereas, some pe of teaching) music. So much of the music of Italy, France, Hun¬ Music of the Negroes, Mexicans and Indians gary, and especially Germany and Russia is founded tember resolutions," it has been Some would turn to the South for folk-music to use SAMAROFF RACHMANINOFF PADEREWSKI GRAINGER on the folk-song, that these simple, heartfelt melodies should serve for^ New january comes around as an art foundation. But much of the Negro music my experience that by the time j ^ ^ fof. E of the people have come to be regarded as indis¬ is composed of tunes that have filtered down from the those resolutions and ru es are ^ ^ midd,e of the pensable in the development of a national school. The “great house,” the home of the owner of the planta¬ gotten, and so, coming as he real time to take music of Bach, Beethoven, Mendelssohn and Schubert; tion, and modified by the Negro only a few decades New Year Advice From Famous Pianists that of Glinka, Tschaikowsky and Rimsky-Korsakoff, rsttnofSeanTnvenmry oCf your pupils’ characteristics from his African jungle home. Much of it is tinctured would seem to support this theory. with that same Scotch flavor which came from the and conditions with the hope of intprovmg them. Now much music has been written in England and mountain cabin of the “poor whites” mentioned above. The following letter is a suggested f°rm o Send STUDY EPIGRAMS OF THE FOREMOST PRESENT in America that is not based on English or American With all this, there was occasionally a touch of the in circular to all of your pupils. I , en‘ J h “ W DAY VIRTUOSOS SELECTED FOR THIS ISSUE folk-music. On the other hand, it may be averred last New Year’s Day to my own pupils, and it brought tribal music of old Africa. that neither England nor America has a national school Mix all these in the proportions used by the slaves me unlooked for results: 1 of music; that the music of these countries, with I practice scales in preference to all other Unless pianists cultivate the habit of repose in the ante-bellum days, and one has the music which “Happy New Year to All My Pupils” some notable exceptions, is a very decided echo of some writers would label as a truly American product exercises, when I am preparing for a concert. they will be nervous all their lives. “In wishing each and every one of my P«P«ls » that of Germany and Austria, and a more or less and use as a basis for an “American school” of music. ‘Happy New Year,’ let me add a little suggestion for Wilhelm Bachaus Alberto Jonas faint echo of that of Italy and France. Again, pthers would take the remnants of the music your musical welfare: that each of you register a New Folk-music is of slow growth. Usually it develops of the Spanish-Mexican that is left in very small Year’s resolution to improve yourself in some special, quickest where there is little education, little print. quantity in the Southwest, and evolve something that With many students, the piano is only a Leave nothing undone to make practice in¬ In the nature of the case, this had to be true in subject that needs improvement. ... harrier—a wall between them and their music. teresting and always enthusiastic. may be called American—that is to say, American, None of us are perfect: it is only with the utmost past centuries in Europe. in the sense of the United States. This music is care and constant striving that we can build ourselves Harold Bauer Alexander Lambert One might say that folk-music is a result of ignorance largely of Mexican origin, with an admixture of old up physically, mentally and morally; this is the tradi¬ and isolation—horrible as such a statement may seem Spanish tunes, and possibly a bit of the Indian. But tional'time of the year to renew our goodintenuons— At my recitals, no one listens more attent¬ The highest technic, broadly speaking, may to admirers of folk-music. When printing presses even then, there is so little of it as to be a negligible there is no excuse for not MAKING THEM let us ively than I do. be traced back to scales and arpeggios. DE PACHMANN became as numerous as ward-politicians, and railroads quantity. see this time how long we can KEEP them ! Ferruccio Busoni destroyed the isolation of communities, there vanished The music Of the Indians supplies a bit of interesting Those of you whose technique might be improved can Josef Lhevinne the halcyon day when romance and history were rhythm and melody. It is characteristic, but when select that subject; those whose repertoire could be in¬ handed down by word of mouth in ballad form, related in the modern-tempered scale and translated creased or improved upon can choose that. There are I consider the study of individuality the No one can possibly believe more in self through verse and song. into civilized harmony, it loses a good deal of its countless other matters that could be improved and principal care and study of the teacher. help in piano study than I. When the people learned to read and had books faults obviated by good serious New Year’s resolutions wild flavor and distinct personality, so to speak. Surely . Teresa Carreno and papers at hand, when art-music came», off the it is the pure American product, but can best be used made and persistently and doggedly adhered to. Here Vladimir de Pachmann printing presses in cheap quantities, the day of old- as a flavoring rather than as a stock for a permanent are a few items; select which one fits your case: time folk lore gradually passed. The only successor menu, which view I am sure will not meet with favor Coming late to your lesson; missing lessons for any It is the touch that reveals the soul of the Art without Technic is invertebrate, shape¬ of folk lays, save an occasional war song, is the from my friend Cadman. reason more trivial than illness; forgetting your music; player. less, characterless. popular sentimental ballad, often an unworthy off¬ Possibly .the time will come when the folk-tune talking too much and wasting valuable time; insuffi¬ Ossip Gabrilowitsch I. J. Paderewski spring of a dignified sire. > will not be regarded as a necessary factor in the con¬ cient practice; overfast practice; downright careless¬ ness ; lack of normal interest—not to mention enthus- ( America has had little true folk-music, for America s struction of art music, when the composer will look Fight machine-like playing through cul¬ history has been written since the day of the printing entirely to his own inventive genius for foundation iasm, etc., etc. The pedal is the study of a lifetime. Accordingly, each pupil who desires to display the tivating personality. press, most of it since the day of the steam engine. More¬ themes. For if the American composer is to rest his proper spirit may write a list of musical resolutions, ( Rudolf Ganz S. V. Rachmaninoff | over,’the emigrants hither brought time-honored tunes product on tunes thal are in the truest sense American and verses, and had no urge toward improvising their as applying peculiarly to him and hand me a copy of ; folk-tunes, it is certain .that he will have a limited it as evidence of good faith (keepinj. your own copy i own, though it is true that a little of that- was done, The fault with most students is the idea that output. for reference) ON OR BEFORE January 20, 1917. 1 Practicing while tired either mentally or as noted below. Any pupil who ignores this confesses indifference and genius and talent will take the place of study. physically is wasted practice. This condition obtained in all of this country except unworthiness.” ... ’ Leopold Godowsky Emil Sauer 1 one ' small mountain section, in which the old-time Beethoven’s Advice to a Piano European conditions held sway to a degree. ■ This HAMBOURG The student should constantly strive to SCHELLING region is in eastern Kentucky and Tennessee, and Teacher It is one thing to understand or to compre¬ Do You Know? avoid monotony in practicing exercises. western Virginia and North Carolina. Only of late “When your piano pupil has the proper fingering, hend a rhythm and another to preserve it. years have the railroads touched this section. For a the exact rhythm and plays the notes correctly, pay at¬ Battle pieces and battle music are by no means new? Katharine Goodson Xaver Scharwenka century, educational activities passed around it. There tention only to the style; do not stop for little faults Clement Jannequin (sometimes called Jennekin) a the descendants of the early Scotch-Irish-English colon¬ or make remarks on them until the end of the piece. contrapuntist of the sixteenth century wrote pieces called “The War,” "The Battle," etc. Realize the Potency of soft notes rightly There is nothing so barbarous in all piano ists remained a hermit community, surrounded by the This method produces musicians, which, after all, is one At least ten masters of famous musicians have shaded and delivered artistically. playing as a bad conception of time. industries of the neighboring States, but hearing of of the chief aims of musical art.—(From a letter to settled in America in the past. One was Joseffv. Percy Grainger Ernest Schelling them only as echoes. Carl Czerny.) teacher of Rosenthal, who made New York his perma- . In that locality one may find almost the only Ameri¬ nent home; another was Frantz H. Jehin. the teacher ] can folk-music of any quantity or sociological im¬ of Ysaye, who settled in Montreal. Some of the others ' Forget about the method that the teacher In music, more than any other art, “the portance. Many of the tunes and ballads “ballets, are living and, therefore, cannot be mentioned in teaches and secure the right individual. letter kills and the spirit vivifies.” they call them—have been handed down for half a How to Use the “Etude’s” Educa¬ The Etude. However, American students should re¬ Mark Hambourg Sigismund Stojowski dozen generations, from the forbears who brought tional Supplement member that a thong our native teachers and those of I them from the shores of the old country. foreign birth who have come to reside here are iitan^ Old English and Scotch ballads, some relating to Realizing the need for an appropriate portrait pedagogs who are in every way equal to the best that Some have the happy gift of combining All higher musical work is based upon the the wars of the border between these countries, senti¬ .to supplement the biographical studies in The any land has produced. practice with study but this is rare. development of the individual’s intellectuality. mental “poems”—(to use a dignified term)—running Etude, we present with this issue a portrait which Do you know that some of the greatest of musical Josef Hofmann Olga Samaroff-Stokowski from one to two score verses, and these supplemented may be framed in a very ingenious and original masterpieces have been based upon the simplest kind by the product of later generations, depicting local manner at slight expense. Simply procure a good of musical themes? The Beethoven Fifth Svtnphony happenings (partly of the feuds of that district and piece of window glass measuring exactly eight by has a movement with a theme of only four notes, three Treat the piano lovingly and understand¬ One hour of concentrated thinking is worth partly of the conflict with the government authorities) ten inches; a standard size that can be procured of which are repeated. The Mozart Jupiter Svmphonvj ing^. weeks of thoughtless practice. in any store where glass is sold. Place the glass and finally, the naive and peculiar religious songs of has, in the Finale a theme of four notes C. D. F E. / Ernest Hutcheson Fanny Bloomfield Zeisler these people—such is the music of these proud but over the face of the portrait; fold over the edges Do you know that once a technic is established in] ignorant folk who stood stilt as time passed by. of the paper so that the plain border on the back youth it may be developed at any time during the life] of the portrait covers the edges of the glass all These old songs are handed down by word of of the pianist, irrespective of age. so long as diseased around. Neatly remove unnecessary white paper mouth, excepting the religious hymns, the words of does not prevent? De Pachmann at sixty-five after margin and paste down in passe-partout fashion. prolonged absence from the keyboard, came back am ■ir which may b% had in printed form. Many of the old A hanger may be made in the shape indicated astonished the public with finer playing than it h; mountaineers will reel off scores of them, forming above the biography from tough paper and pasted ever heard from him. Saint-Saens appeared succesi slight variants as the spirit moves, these variations not on the back. Schools, conservatories, private being conclusive of a fixity of melody. teachers and students will thus obtain a most ex¬ i i-V" AmenCf when he was Pa^ eighty and : Coming down the centuries by this method, it is Polish pianist, Antoine de Kontski toured the w cellent framed portrait at the cost of a few cents, when he was eighty. t 1 not surprising that the versions of different singers supplementing the study of the master in this issue SCHARWENKA GODOWSKY HUTCHESON and localities vary somewhat. The singer cannot re¬ of The Etude, and providing the reader with a strain his propensity to ornament his theme or intro¬ beautiful decorative picture for the study and duce passing-notes to suit his mood. It is possible home. _ _ .- that in time this has caused permanent change from J!^7WJ1A Can S-ay th.at he fathoms !t? is the* the originals. -B^TH0VENCUSSlng 6 natUrC °f thU *°dde« _ JANUARY 1918 JANUARY 1918 THE ETUDE Page 11 Page 10. THE ETUDE Well-Tempered Some Elaborate “Methods” Now Discredited „ • Too Much “Preparation” In the old days of the popular “Stuttgart method, By E H. Pierce for example, it was a common saying that it killed or By Edward Baxter Perry maimed more musicians by far than it made. Only those tough enough to survive it physically and musi¬ Before the days when Bach wrote hi. Well-Tempered Once upon a time there were two men who planned cally ever amounted to anything and they only after Clavichord, containing two preludes and fugues m to build houses side by side and just alike. As both they had outgrown and outlived it and gotten back on every major and minor key, it was scarcely thought L-auc” pxrent to suonlv th* had more time than money they decided to dig the cel¬ to normal lines. It was a case of the survival of the ;Sle to use the “black keys” except to supply the Work Out Your Own Salvation lars themselves. fittest and the method doubtless had its uses in keeping necessary flats or sharps for such keys as F, G, A Especially written for the Distinguished American Composer and Pianist One was just a common practical man. He needed up the price of musical work by reducing the supply. minor, D minor, etc. The Etude by a home, so went to work at once, borrowed a pick of I can speak with perfect freedom of this old “Lebert Using a sharp or flat as the basis of a new key would one neighbor and a spade of another, laid out his lines and Stark” method, as it has been given up even have been deemed a bizarre proceeding, though com¬ MRS. H. H. A. BEACH with a string and began on the cellar. His back ached at the Stuttgart Conservatory, and in my own student posers had nibbled a bit at B flat and possibly E flat, and his muscles were tired and lame for the first week days when it was most in vogue, Pruckner, the leading but he soon grew accustomed to the work, learned to pianist at the Stuttgart Conservatory, whom I knew There was a reason. In tuning the early instruments, It is interesting to us all, to look back upon our how beautiful a composition really is, what possibilities are both Preludes and Fugues in the Well-tempered adapt himself to its needs, threw out the dirt as best well personally, never used it either in his own playing they naturally took the key of C, and made that as former life of peace and untroubled opportunities for for emotional or dramatic expression it may contain, Clavichord that carry one to the heights of solemnity he could, pried out the rocks and laid them aside for or his teaching. perfectly in tune as possible. The most important work. A contrast indeed to these days of anxious until we play it to someone else. Surely our own and grandeur. foundation wall and, behold, in due time the cellar I am impelled to take this stand against too much chords, C, E, G; F, A, C and G, B, D were made as stress when our minds will wander away from the joy in music is never so great as when we take others was done, the foundations laid, the house built and by technical work and no music in the early years of smooth and sweet as possible, regardless of conse¬ minute analysis of compositions and methods to the with us through its pearly gates. Whatever your cho¬ Writing Fugues from Memory fall he was living comfortably in it. piano study because so much has been said and done in quences, and it was found that the more distantly all-absorbing conflict. All that we attempt or succeed sen branch of musical labor, my dear young student- The charm of their marvelously ingenious voice¬ The other was a man who prided himself on intelli¬ the opposite direction’ I would not be misunderstood related chords were never quite in good tune, and in bringing to completion in our comparatively narrow friends, be. prepared to share all of its delights and weaving and rich harmonic stateliness can never be gence and foresight. He reasoned with himself thus: as advocating the hit-or-miss playing of the piano with¬ consequently less pleasing. It is customary to explain fields seems so futile when placed beside even the deep significances with your fellow-men. Develop your exhausted. In my own work as a pianist as well as a Verily it must be that I can dig a cellar much more out proper instruction. We have had far too much this to the uninitiated by saying that the same key of knitting of a pair of socks in which some tired soldier- talent as fully as lies in your power, and if the teach¬ composer, I found the greatest benefit in writing out easily and quickly if I have all the best implements of that in this country in former years, so much so in the piano has to answer for C sharp and D flat, for D feet may find a bit of comfort! Yet we must remem¬ er’s hand must be abandoned, begin at-once to see from memory the Fugues with which I was most fa¬ which are needed and have my body and brain in the fact that many talented players, who had started by sharp and E flat, etc. This is perfectly true, but is' ber that our music may help, at any unforseen mo¬ how many steps you can take alone. miliar, separating the voices in full score as if the best possible condition for the work. These are self- themselves or been started by incompetent teachers on only half the truth; the more scientific statement would ment, to bring about some good result, to benefit some¬ work were written for string-quartet. This showed evident conclusions. I will not go at it haphazard like wholly false lines, have wasted years of work and often be that it is often impossible for the same note to serve one, fighter on the stage or worker behind the scenes exactly what became of each voice in its devious wan¬ ' my foolish neighbor but will prepare thoroughly and established habits that it has cost them a hard fight to as a perfect fifth in one chord and as a major third of the world-drama. By our pens, fingers or voices we derings, and gave an added insight into the working- be really ready when I begin. overcome. This very thing has driven musicians and in another; either the fifth will be too flat or the third may be able to earn dollars “for the cause,” and in out of the mathematical problems. It seemed almost So he sent to a distant city for the latest and most teachers to the other extreme and caused them to will be too sharp. Our modern system of “equal tem¬ order to do this effectively our vigilance must not improved tools of every sort that might possibly be emphasize unduly the importance of a thorough tech¬ like being admitted into the master’s workshop 1 Then perament” consists in splitting the difference, and mak¬ cease, in the keeping up of our technical equipment at required, began a course in geometry to be able to get nical foundation before any real playing is done. there are the English and French Suites, the Italian ing all perfect fifths a little too flat ami all major its best, ready for action. Therefore let us try to his dimensions exactly and went to an expert athletic Let us not fall into the truly American way of curing Concerto and, above all, the Chromatic Fantaisie and thirds a little too sharp, and the more skillful a tuner keep mind and heart fixed upon the dotting of an “i” trainer to have his muscles and his chest measure a fault in one direction by an equally grievous mis¬ Fugue, all of which supply a most invigorating musi¬ developed to the utmost limit. By fall he was not quite or the crossing of a “t,” and plod along our various take in the other, before we find the happy medium. is, the more equally he will distribute this necessary cal diet. ready to begin and the winter frosts made digging and intentional defect among all the different keys- musical tow-paths, hoping to draw along some kind I would add the Organ Preludes and Fugues, tran¬ impossible. A Sad Example of a load that will he of service to those who need scribed for piano by Liszt in the most practicable shape "Mean Tone” In the spring he met another famous athlete who Many years ago, when all the pianists of today were at least our cheerfulness and the cheer of our music for study. Of course the matchless splendor of the “Equal Temperament” is not the only system ever assured him that his training had been all wrong, that youngsters, my best and nearest friend in Boston was as perhaps never before. original organ tone can never be reproduced on the he was wasting time, had much to unlearn and must used for adjusting this difficult matter. For several such a young man as I have described, who wished to piano, but at least the form and harmonic structure begin all over with a new method. So the summer centuries, in Spain, and to a less degree in some other Don’t Stop! dig his cellar by truly. scientific methods. His great of these giant works can be perceived. No opportunity and fall went by again and the following spring he countries, there was a system known as "Mean Tone,” ambition was to become a fine pianist, but he spent Naturally under present conditions many student- should be lost to absorb all the richness of their orig¬ came from his trainer overheated, contracted pneu¬ in which the major thirds were not tempered, but kept five times as many hours per week exercising his fin¬ workers find themselves unable to continue the lessons, inal coloring when a master organist presents it to us. monia and died—and the cellar was never begun. in their natural perfection, and the error was entirely gers and joints as he did at the piano,‘and was always whereby the teacher may have just reached the point A great light, too, is thrown on all Bach’s secular work shouldered on the fifths. But in this system it was Do Not Overdo Preparatory Exercises showing me how much higher he could lift the fourth of making real achievement possible. To such it is when we follow him still higher in his spiritual and The moral is plain for pupils and teachers. Do not finger, for instance, than I could; how much spread impossible to make all keys equally good, and there inconceivably disheartening to face the prospect of emotional flight in listening to the Passion Music or waste so much time and energy beginning to prepare he could get between the second and fifth, and so forth. was always just one bad spot where a third was so going on alone, or of stopping work altogether. some of the Church Cantatas. After such uplifting to get ready to commence. If you want to play the I stuck to the piano but he bought every mechanical out of tune as to be horrible. The writer once had the It is always so wonderful to be stimulated by advice experiences we can well afford to smile when someone curiosity to search out the old rules for mean-tone piano, begin to play it and to play music upon it, easy appliance that was ever devised for developing the or encouragement from those who have mastered the advises the study of Bach for the sake of our technic! simple things at first, of course, but not merely dumb¬ hand and wrist and acquiring a big technic in a short tuning, and with the help of an unusually intelligent difficulties with which we are still struggling! The bell exercises. Do not try to run an automobile at time. He could perform wonderful feats with these professional tuner put a small reed organ into mean-tone mere example of a thoroughly inspiring teacher who Getting Acquainted With Beethoven forty miles an hour before you can steer a child’s instruments, feats which a concert virtuoso could not temperament. As long as one kept to those chords has arrived at success may serve to spur the student Beethoven, the second “B,” speaks to us from an¬ wheelbarrow safely, but play something, however un¬ copy, but—he could not play anything on the piano. nearly related to the key of C, the effect was most de¬ to undreamed-of activities. It seems almost too hard other height. To refer again to my own studies, I pretentious, that has some music in it, a few simple As result, before reaching middle life I had played lightful, the chords being superior in smoothness and to give up all this, and yield to the ever-increasing remember most affectionately the slow movements of chords that you can grasp and a plain, intelligible but a thousand concerts and had presented in public nearly richness, but it was impossible to play in such keys as demand for economy. However, to the earnest yourifif worthy little melody. several Sonatas that my mother often played, and which every work in piano literature, while he was still occu¬ E or D flat, with any satisfaction. musician who really loves work, the teacher’s absence Let hands, heart and head develop simultaneously. I at once began upon at the age of six, trying bravely pied with his digital acrobatics. With the growth of scientific knowledge and the throws down the gauntlet, in preparation for a fight Train the ear as well as the muscles of the fingers. to reach chords many sizes top large for my hands. Art is Long; Life is Short with himself and his own foes within. “Work out your Let each successive piece be a step in mental and emo¬ invention of various apparatus for accurate experi¬ Even then the beauty of the melodies appealed to my own salvation.” Those words were never more true Mrs. H. H. A. Beach. tional as well as technical progress and let the three If he could have pursued his course for several cen¬ ments, students of acoustics are able either to reckon whole soul, and I always feel like advising those who turies and then practiced the piano for forty or fifty or more widespread in their application than in this advance together hand in hand till they are inseparable. the vibrations of any tone theoretically or to count them have “gone beyond Beethoven”,to return to those per¬ years more, I think he might eventually have made a very hour. In other words, strive for the instantaneous and auto¬ experimentally, and the results properly agree. We fect examples of nobility and strength in music and matic correlation of brain action, motor nerve trans¬ great artist, as he had the temperament for it. But, are able therefore to “get down to brass tacks” and Self-Study as it was, tuberculosis carried him off before he had try to become as little children in receiving what they mission and muscular response, all actuated primarily show exactly where the trouble first comes, in There are many lines of study which may be pursued have to give in such abundance. Get all that you can by the impulse of the heart or the emotional nature, ever played a single program and when he would have deavoring to make the same pitch answer for the third alone, and with not only deep enjoyment, but genuine Three “B’s” from this master, through the Sonatas, Symphonies and, if you prefer that term. found it difficult to get into the sixth grade with any of one chord and the fifth of another. benefit to real growth. I cannot remember when the competent piano teacher, and his mechanical appli¬ Now in piano study there are many ways of “work¬ above all, the String Quartets, especially the later ones. Taking middle C = 261 vibrations a second (which thought first took shape in my mind, that my best How Does a Child Learn to Talk ances are adorning the junk-heap. ing out one’s own salvation.” “Prove all things: hold Hear these if possible. If denied opportunity to listen When would a child learn to talk if we made him Technical study and training are of course essential is International Pitch), if we wish to reckon the pitch development must be through my own unaided effort. fast that which is good.” First of all, find out all that to our precious Quartet organizations, learn to read spend the first ten years laboriously uttering consonants and much hard work along that line must be done, of A in the key of C, we naturally will consider it as “Work out your own salvation” became my motto at you can gain from the older composers. The first score and study these master-works in silence. At any and vowels singly or. in specified order, without using but only in due proportion and in intelligent co-ordina¬ forming a part of the chord F, A, C (the most im¬ so early a stage in my musical life, that it has passed two of von Bulow’s three “B’s” (Bach, Beethoven, rate, find what they have in store for you, even through a real word? Yet that is precisely the method used by tion with ear training, mind and heart training, devel¬ portant chord in which it can occur), and find it to be beyond recollection. Teachers had brought much to Brahms) furnish an inexhaustible supply of .treasures four-hand arrangements for piano, which give the outer many painfully conscientious teachers and agonized opment of musical taste, insight and perception, and, 435. This comes by reckoning it as a pure major third me through my piano; the solid foundation of technic from which to acquire the expression of intellectual shell of beauty though denying you the kernel of mar¬ over by thousands of poor pupils the country over, till above all, appreciation and true love for the art even above F. and an appreciation of what was finest in musical lit¬ depth,, emotional force and—technic. velous instrumental coloring. every spark of musical instinct and Aspiration is killed in its simpler forms. These must be grown carefully If, however, we wish to reckon the pitch of A, in the erature. I should indeed be ungrateful did I not give When someone says that it is well to practice much It would be strange, indeed, if we omitted von beyond resurrection. and tenderly like flowers in a garden and cannot thrive key of D, we naturally reckon it as a perfect fifth from full credit to my masters for all this, and above all to of Bach, because it is so good for the technic, I always Billow’s third “B”—Brahms. He is for the musical I have known personally several able and promis¬ on five-finger exercises alone. D, and the figure will not be 435, but 4407/U. By the my first teacher, my mother. She not only guided my feel as I do when people advise young literary work¬ worker who has already found much in the other two. ing would-be musicians way, the minor triad o tiny fingers and childish mind, but gave me the con¬ ers to study the Bible and Prayer-Book as examples Difficult, yes, in technical requirements and the demands spend their whole lives second degree of the scale, tinual example of her own beautiful playing. But after of perfect English. Those two benefits are indeed he makes on our musical and intellectual equipment, getting ready to play with¬ $L. . : in just intonation, is not the years of leaning upon others, came the inevitable great, hut how much less than what we receive from but oh! he is so well worth knowing intimately! For out ever playing before a perfectly harmonious moment when I must stand solidly on my own feet. to know him in all his true emotional depth is to love they died. I have known those sources as food for our spiritual growth! It chord, but suffers from a There is nothing like being confronted by a public, him. No modern composer has given us examples of scores of capable pupils seems like praising the Kohinoor for being such an not-quite-perfect fifth; in eager for entertainment and ready to criticize each lift¬ finer, saner, nobler types of beauty. The last messages driven from the piano in Every teacher’s New Year Resolution excellent implement for glass-cutting! Practice Bach, this respect equal tempera¬ ing of a finger, to make us fully alive. If our public lie gave to the world were through the piano, and disgust, by really compe¬ yes, by all means. Get from him, incidentally, the consists of pupils instead of an audience, then we must though many of them are filled with a deep sadness tent teachers with the best ment has been a most de¬ equal development of finger, hand and touch, the per¬ I will do ray “bit” every day of the entire year by interesting some their charm is haunting. As with Bach, one acquires intentions in the world, cided improvement. work out our problems for their benefit, and if our fect legato that can but follow the daily playing of new friend or chance acquaintance in the real need for music in this (Note. — For convenience a deeper understanding of his lesser work by hearing who were determined to we have taken C as a f—' family and friends constitute our entire public, we can Ill's Fugues. Everyone knows how Chopin shut himself his greatest, the Requiem. After listening to an inspir¬ develop a solid, reliable the greatest hour of our national history. ard : if A = 435 Is tak still exert ourselves for their benefit. The one idea up in his room for weeks, practicing Bach, and Bach a standard and Equal that I would earnestly beg all young people to accept ing performance of that, Brahms is never the same technic first, at the ex¬ perament is employe* only, before giving concerts of his own compositions. again to us as before. pense of and utterly disre¬ course C will not exa< as the guiding principle of their musical life is this: But, in practicing those mystical Fugues, do not lose 261, but will be a nw- “But,” I hear you say, “why dwell so long on these garding everything else. containing a very forold*Nf Music is to be shared with others. We never know sight for a moment of their absolute beauty. There looking fraction.) old composers, who are so familiar to us, whose music w JANUARY 1SU JANUARY 1918 THE ETUDE Page 18 Page 12 THE ETUDE J I Playing With Pedal and Without we have studied for years with our teachers ?” Because Liegata of what we can discover in them for ourselves. That By Anna Heuermann Hamilton is what really counts. Let these masters speak directly t to you, and try to catch the message which is for you The most difficult form Of legato playing is that l‘ J alone. They stand at such a distance from us that in which it is required to besmaintained between the tones of several parts or “voices” at the same time. we can appreciate their height as we cannot when P Mtmpr. There are two ways in which-this may be done: Con¬ Beauties in the Music of the American Indian Crossing the continent by way of Colorado, I passed necting tones by means of the pedal, and avoiding the Tt is especially marked sempre legato, but ho* An interview especially procured for THE ETUDE with the gifted composer within a few miles of Pike’s Peak, and was deeply use of pedals, connecting them by proper fingering. ofL do we hear this phrase as smooth as ,f each disappointed at its lack of impressiveness. It was im¬ For both these methods hymn tunes make excellent vo ce Were played separately on a stringed ms.rumen.: possible to realize that this rather insignificant moun¬ practice material. Th,s is what careful study of hymn-tune playing can THURLOW LIEURANCE tain was one of our greatest. I traveled all day, away To obtain the desired result by means of the pedal, r- us. it not only makes us conscientious about Distinguished Authority upon American Indian Music from it, and the farther I journeyed, the higher loomed take the first chord (pressing, not striking, the keys) the leading of our voices, but also puts at our com- my mountain; the last sight after sunset that my eyes and then immediately press the damper pedal and re¬ mand the means for carrying out this conscientious!** The Medallions at each side of this heading are portraits of Wathawaso, the Indian Mezzo Soprano who illustrates Mr. Lieurance’s songs at his public recitals could compass was of that superb pyramid on the hori¬ lease the keys. Hold the pedal, and take the next How many will know how to connect the voices at tht place marked “a,” where the upper voice take, ,he zon, many, many miles away. Distance does not always chord. At the instant of pressing the keys release ranging from Mikado and Pinafore to Lohengrin, Tann-, lend enchantment, but it does give us the true bigness the pedal entirely, and at once press it again. Proceed tone the lower voice has had, or at b, where the liauser, Faust, 11 Trovatore and Carmen. Out of his salary upper voice repeats its tone several times, while tht r.u L™...... j. Indians. Probably... of $10.00 a week he purchased a complete piano score of have been sung by many of the most distinguished singers of an object, whether mountain or man. And an in this way from chord to chord to the end of the American composer has delved so deeply into the musical each work In which he sang. A klndlv electrician let him of the time including Julia Culp, Mildred Potter, May Peter¬ appreciation of the value of big things helps us to phrase—the result will be four perfectly connected lower voice moves down? An artist noted for his customs of so many different tribes or luls sacrificed so stand in the wings near the switch hoard when he was son, Alma Gluck, Christine Miller, Mable Garrison, Frances much to secure results of a thoroughly accurate ' off the stage and there, score in hand the young chorus place in their proper niche the lesser ones. After a voices. At the end of the phrase a slight disconnection legato will do this, perhaps intuitively, but very fe, Ingram, Horatio Connell, Henri Scott and others. Among man got something which he could not have gotten in a the tribal music which Mr. Lieurance has taken down at thorough acquaintance with the great models in musi¬ must be made to “take a breath.” others will. .. , , _ . . , i*880.“*His father was a physician. The hoy'f conservatory. After leaving the opera company he taught first hand, is that of the Northern Cheyenne, Sioux Groven- In the A flat Major Ballade of Chopin how mud training cameRHP ___*- - - l_id.-~* mKThereafter— he studied privately for one year In a small village in Kansas. Find¬ cal composition, we can better understand the worker The above teaches legato by means of the pedal, the c< under Hermann Bellstedt. At the age of eighteen ing teaching not to his taste, he organized the American tre, Blackfeet, Winnebago, Omaha, Kiowa, Creek, Seminole. depends upon the smoothness and limpidity of tht ' United StatesYolunteer Army and h Band and played with the hand on the (11001011000 circuits Cherokee, Comanche, Taos Pueblo, Santa Clara Pueblo, San of today and his message. Down through our treasured but hymn tunes are equally valuable for teaching the „ ___ ...... j 22nd Kansas, serving during the for over ten years. The hand was a great success in Juan Pueblo, Hopi, Teseque, Navajo, Apache, Chipewa, Chopin and Schumann to Cesar Franck, Grieg, Rach¬ very opposite; legato by means of the fingers where opening phrase Spanish War. During his military service he saved four many ways and the bandmaster learned to conduct without Cte, Pawnee and other tribes from the far North to the hundred dollars and resolved to spend this in furthering scores most of the larger works played. South. These observations are not a matter of a few short maninoff, Sgambati, Sinding, Reger, Sibelius, Ravel, the use of the pedal after each tone or chord is im¬ his musical education, doing to the Cinclnnatti Conserve Iu 1905 the United States Government, which had been visits to the groups hut often have been prolonged stays of Debussy—surely variety is not lacking. practicable, if not impossible. This is the way legato tory he studied composition under Frank Van der StUcken, unsuccessful in securing the records it desired of certain several months at a time, during many years. In his lec¬ Voice under W. L. Sterling and Piano under Oilie Dicken- tribes, gave Mr. Lieurunce a chance during the winter time tures, with the assistance of the Princess Wntahwaso To delve among all these treasures and make discov¬ must be secured in a fugue, for instance, on the piano schied, as well as Score Heading under Bellstedt and Van of visiting the Crow Iieservation, (where the composer's (Soprano) and Mr. Hubert Small (Flutist), Mr. Lieurauce eries of our own, is an unique source of happiness. I or the organ, and the principle finds some applica¬ der Stricken. brother was a physician), aud making new records. Mr. introduces many original themes and shows the process he When his $400.00 was all gone but $10.00 he realized Lieu ranee thus made his first musical acquaintance with has taken to idealize them. Many of the themes were can never forget the morning when I stumbled, quite tion in nearly every composition for a keyboard that he would have to get out and earn some money in the Indian and Jed to the preservation of over five hun¬ secured with immense difficulty and personal risk. Upon On account of the repetition of the E flat in tht by accident, upon the Prelude, Aria et Final of Cesar instrument. the Quickest manner possible. As there was no other dred records of different tribal melodies now kept under 1 which lie’ was riding ii alto it is seldom wc hear, a perfect legato in tht opening he joined the chorus of Col. Savage's Castle Square seal in the Museum at Washington as well as many other r in the Franck. It had not then been performed in America, In writing hymn tunes every tone must give an Opera Company at a salary of $10.00 a week and a mar¬ collections of records held at the New Mexico Museum a ravine half a mile deep and injuring Mr. melody, but the application of hymn tune principles so far as I know, and was sent to me in a pile of pub¬ account of “whence it cometh and whither it goeth,” velous chance to become familiar with the great operas (where the originals of all Mr. I-icuranee’s idealized songs, together with the consequent freezing in a makes it easy to secure the legato. Take the following through daily association. lie remained with the opera including the famous “Lullaby” and itij the Maters oJ Min¬ — --jag j-. - his legs became lisher’s wares through which I conscientiously waded. and in playing hymn tunes in the manner we are about company for two years singing In fifty different productions netonka are preserved). . crippled for life.—Editoh’s Rote.] instance from the Three-Part Invention, No. f, of The joyous thrill which this true giant of modern piano to consider, this same conscientious accounting must Bach: literature gave me marked an epoch in my life. Such be done. The fingering may not be haphazard, but “The passing of the Redman has been one of the the appointed hour, with a sense of honor that is inex¬ usually a life or death matter with the white man. a thrill may be yours, any day, if you are always ready must be studied out with great care. No gap can be tragic episodes of American history during the last plicable to the white man. The music for the snake ceremonial dance is wild and to greet the unknown and receive what may come. A allowed to exist between any two tones; fingers may half century. Of the 57 odd Indian nations, only a very extreme, as may be imagined, but is a matter of the composer does not appeal to any two persons in quite be changed upon the key, they may be used - in all few are increasing in membership. Although some Pueblo Music greatest seriousness to the Indians. the same way. What does each one say to you? possible combinations for double notes, they may be have estimated that there are as many Indians in “Of all the Indian music I have investigated, that of “Just as the Snake Dance is peculiar to one tribe, so America now as when Columbus landed. The decrease the Pueblo Songs is probably better marked than that passed over each other, in fact, anything is allowable are certain trades and occupations peculiar to others. On first examination this fingering is awkward, if is due quite as much to psychological as to physio¬ of the Indian music of the Teepee or the Timber. The Navajos, for instance, are the only tribal blanket- Hear Famous Artists that will secure perfect interconnection between the not absurd, but after a trial—hear, how the voiew logical conditions. The Indian was given a reservation This may be due to association with the early Spaniards weavers ; bead work is done by other tribes; pottery by Try to hear as many artists of high attainments as tones of every individual voice, without once resorting connect! And it is in reality easier to remember than by the government in a spirit of justice. Often he was or it may not. Who knows? The ceremonial songs are others; basketry by others, and so on. When we possible, to read good musical essays, books on musical to the pedal. the ordinary fingering that leaves a gap here and there moved to a reservation from parts of his country long both spiritual and religious. The strong psychic char¬ remember that, as in Russia, the Indian has occupa¬ form, biographies of great masters—anything that will In nearly every important piano composition there The most perfect and liquid legato is a combination hallowed to him by traditions. Thus iiis spirit was acter of these works is shown by the fact that the tional songs for almost everything he does, the fund of arouse your deeper musical life. Use your imagination, are numerous places where two or more voices are of finger legato and pedal. Connect your tones, broken. We need not stoop to maudlin sentiment in Indian regards them as ‘good medicine,’ since they are material available for composition purposes is inex- too, in connection with the masters. They were much equally important and whose leading should be very wherever possible, as perfectly by means of the the matter, but anyone who has lived among the Indians supposed to communicate with the unseen, the super¬ haustable. It has • always been my feeling that this influenced, as a rule, by their surroundings, and it clear, but where speed or other considerations make fingers as if your piano had no pedal; connect verar —been privileged to gain their confidence, as I have natural, and thus work the miracles which he desires. material should not be dragged into musical composi¬ helps us to understand their work if we learn as much it impossible to depend upon the pedal for connection. tones, wherever possible, as perfectly by means of the been, studied their customs sympathetically and under¬ Such songs are those to Montezuma or to the animal tion where the purpose is more archeological than as possible of the conditions under which it was done. Take for example the following extract from Beet¬ pedal as if there were no such thing as finger legato, stood their ideals which are on the average, con¬ spirits—the deer, the turtle, the eagle or the buffalo. musical. Unless these themes can be idealized and If you have access to deep forests or look out on hoven’s Op. 14, No. 2: and the combination will leave very little to be desired sidering surroundings, often much higher than our “Few. people know that certain characteristics apply presented in a way that does not destroy the original blue hill-tops, think of MacDowell and the wonderful own much-vaunted ‘civilized’ ideals, must feel a pang only to certain tribes. For instance, the famous Snake flavor, and unless the composer can see the beauties Peterborough Woods, where he wrote his matchless of regret when he realizes that the Indian population Dance which the Hopi Indians indulge in, is peculiar to of them, he had better not attempt them. They must Sketches and Id^s. Put yourself into his frame of A Case Against “Don’t” of the country, with a few notable exceptions, is van¬ that tribe. J"he object is to acquaint the rattesnakes of stand on their own musical merit or not at all. mind by gazing upon such things as he loved, and you ishing along with the prairies, the buffalo and the the vicinity with the fact that the Indians are good By Arthur Selwyn Garbett will play the exquisite gems as never before. Let them Spirit of the West of yesterday. people and have no desire to injure them or the spirits Burlesque Songs speak directly to you. And if you are a teacher as “Don't use your thumb on B,” cries the teacher in and dream he is out for a walk. Quite possibly this “Few people know that the Indians have a sign lan¬ they represent. The Indian dances in a circle with a “The Indian's burlesque songs include his Pleasure well as player, take your pupils along with you in your acute agony as the scale of C progresses. dream-walk will take place at night when he is asleep guage, whereby an Indian from Canada can communi¬ live rattlesnake in the mouth. The snake’s attention is, Dances, his Endurance Dances, the Owl Dance, the And the child promptly puts his thumb on B. cate with an Indian from Florida, although they have enthusiasm. in bed and has supposedly forgotten all about the desire however, diverted by another dancer, who carries a Sage Hen Dance. These are often done as a kind of Hear Great Orchestras Why? totally different dialects. Thus the Cree and the Semi¬ feather on the end of a staff. The dancers fast for improvised dramatization of certain things that have to take a walk earlier in the day. It is even possible Is. it just plain “cussedness” on the child’s part—is nole have a common means of communication. This nine days before the dance, and if they are bitten they happened in the tribe during the past few moons. In that If you live in one of .the fortunate cities where a fine the dream would take the form of a nightmare in orchestra makes itself one of the most valuable of the child really, as the teacher so often says, an ob¬ applies to all tribes except some in the Southwest, such wrap themselves up in a blanket and continue the fast, way, they are not so very different from the dramatiza¬ stinate little monkey? Partly yes, but he is not differ¬ which he took his walk stalked by the shadow of a teachers, lose no opportunity to hear it. Take your as the Pueblos. with the administration of some herbal medicine. The tion of the king’s murder which Hamlet played before ent from his teacher in this respect, for under similar guilty conscience in the shape of the pupil he would scores in your hand and follow the music while it goes “Before discussing the music of the Indians, I am bite is not said to be fatal. After a certain number of his father. These songs and dances are often im¬ conditions his teacher would probably act the same have defrauded of a lesson I anxious to acquaint some of the readers of The Etude days, the Indian dancer is as good as ever again. on, and when you return to your home study that score provised in vindication of the virtue of some member way. It all comes about from the use of the little Now let us come back to “don’t.” The word “donV with some things pertaining to Indian civilization which Nature seeks to work a cure, although the bite is again and see how keenly you can bring back that of the tribe who has been subjected to scandal. Again, word “don’t.” invariably sets up conflicting desires—one a virtuous may make some of the things I may orchestral coloring to your mental ear. Get a good some brave will boast about his vic¬ Leaving that little word “don’t” for a minute we one to do the right, and one in opposition to do the say about the music less astonishing. treatise on orchestration (Ebenezer Prout’s in English, tories, or of how many horses he will remind ourselves of the well known fact that a wrong, the forbidden thing. Usually the latter is the The only Indian tribes that are now has stolen (remember that among or one of the superb French ones of Gevaert, Widor strong desire to do anything always results in action stronger, at least momentarily, for wc all resent beiu= increasing are those which have the Indians, of days gone by, horse or Berlioz) and study the different instruments, their of some sort. Sitting in your studio you look out of ordered about even for our own good. Quite likely been isolated from civilization—the stealing was a virtue.) technical and musical possibilities. Play over the works the window and observe that the day is bright. You the desire to do the forbidden thing will manifest you are going to hear, in four-hand arrangements, and think you would like to take a walk. You reach for Pueblo Indians of the Southwest. “In contrast to the Burlesque Songs ^ "?ore rapidly than the one to do the right, and These Indians who tenant the same are the Spiritual Songs, such as To¬ have your pupils do the same. Do not let one impor¬ your hat and go out. Suppose, however, you are wait¬ the child will use his thumb "without knowing what tant feature of an orchestral concert escape you! It ing for a pupil when the impulse to go out' moves territory which their ancestors ten¬ bacco Planting Song, in which the ' he is doing.” just as the teacher reached for his hat. anted hundreds of years ago are be¬ leaves are burned as incense, the is a waste of time and opportunity to let all those tonal you—what then? You have two counter-acting de¬ Obviously don’t is a bad word to use. It is of lieved by many ethnologists to be the Medicine Pipe Songs, the Ghost marvels pass you by, as do the telegraph poles when sires: to go out and to stay in. One of these wishes negative value at best, for “don’t” cannot suggest any lineal descendants of the Cliff Dwell¬ Songs for both gpod and had ghosts. you are on an express train! Hold. on to something will have to be suppressed. Presumably you will stay action in itself; it doesn’t tell you what to "do.” On in and forget all about the walk. The Priest, in singing such a song, of all that beauty! Make it yours and weave it into the contrary, it automatically sets up a strong desire ers and Aztecs. Their great hero Having made up your mind to stay in, one would claims communication with the Great your musical life. to disobey a peremptory order which may easily betray is still Montezuma, as it was in the suppose that the wish to go out would trouble you no Spirit. In singing them, the Indian “Work out your own salvation” in every way which tne hngers into doing the very thing they are forbidden days of Cortez. They are agricultur¬ I further, but recent investigators such as Sigismund is so earnest that they are often very you can devise, and if you really set your mind to the ists and are often very thrifty. It is Freud say that this is not so. When two impulses ]? Per/0r™'., When a teacher uses it his real wish is impressive. task, you will probably think of many ways which have at the child will “do” something other than he is said that the percentage of morality conflict, the stronger will of course win out, for the “Lastly, we have the love songs never occurred to me. Take joy in your work, look doing, and the teacher may just as well say so. “Don’t among these Indians is often higher time being. The suppressed wish, however, will lie and the flute melodies. The flute, than that found in our own large ahead with courage and enthusiasm even in these dark dormant until it finds some outlet. In the case of the fSC rUur thumb on B” really means “Do use your the tom-tom, the big drum and the finger on B.” This sets up no opposition or cities. Among the Taos Pueblos it days, and try to pass on whatever joy you may dis¬ teacher, for instance, it n.ight lead to various results. rattle constitute the Indian’s orches¬ rnative. There is no Freudian suppressed wish in cover, to those who are struggling with breaking hearts Wishing to go out he may go so far as to reach for is reported that divorce has never tra. That, however, is a misnomer, connect,on with it. When you come to think of it, to do their duty and live helpful lives. Remember his hat “without knowing what he was doing.” He been known. Among themselves the as these instruments are never played Harry Lauder, going from the grave of his son to may get up and walk about the room. He may find fWay dont” can secure prompt attention is honor system is everything. If *an in ensemble purposely as a part of a ough fear of the consequences—the reason which sing to the soldiers in camp. “Work out your own sal¬ himself after the pupil arrives neglecting the lesson Indian council decrees that an Indian regular song. The big drum and vation”—in unselfishness. and staring out of the window. He may fall asleep LiMe5 ” * S° pr°mpt,y obcy the mandate, “Stop, Look, is to die, the prisoner is not confined. the tom-tom are, it is true, sometimes L He goes himself to meet his death at MR. LIEURANCE SECURING INDIAN THEMES. used together. JANUARY 1918 Page 14 THE ETUDE Where the Left Hand Ends and the Right Indian Flutes certain unmistable resemblance in many Of them, but Hand Begins “Indian flutes are of various kinds, and usually this is probably due to the similarity in rhythm. The take the form of a flageolet, in'that they are blown from, Sioux, however, have different war songs. The music By Emil Bertl the end. As a rule, they have six intervals. I have is often very imitative. The' long, chilling yowls of the coyote, the braying of the hungry wolf, .the growls a Cheyenne flute, however, with five holes and a Hopi Very often, in teaching young pupils, I found it neces- gpp! Indian flute with four. Nowadays one may find them and snorts of the bear, the caw of the crow and the sary to invent some means of markmg to s.mphfy a made of wood, gas-pipe, beaten silver and bone. melancholy hoot of the owl ale all manifested. The The Greatest Shortcomings of the Average Student “In singing, the Indians know nothing of harmony. singing is done with surprising expression. In the P*0„Tp»f°^«<«i'ich occur, eery of«n i, , ,h.rt I have never heard Indians attempt to harmonize. In eagle dance, for instance, the soaring of the eagle as be divided between both hands, written, either all m Especially Written for THE ETUDE the Squaw Song, the squaw will chime in at times one he flies from rock to crag is connotated by wonderful the treble clef or all in the bass clef. octave higher to produce some desired effect, but other¬ pianissimos rising to astonishing fortes. The pupil finds it difficult to determine which notes By the Eminent Pianist wise the music is wholly in unison. to play with the left hand and which with the right “The Indian musician is very proud of his voice. Wordless Songs MME. OLGA SAMAROFF-STOKOWSKI w Indeed, he does not welcome any rivals. The one with “Many readers of The Etude will doubtless be amazed ha"dfind that the following sign will always show the the largest compass is supreme. Some have developed to learn that for the most part only in the Love Songs dividing point of the chord. repeat the axiom without which no article for students cause they have no “natural facility for it.” 1 am abnormally high voices, which are not what are com¬ and in the Prayers or Petitions to the Spirits, are words It is always interesting to note how certain traits As for example— f is complete, and that is: "The road to art is a long speaking now of technical matters. I have heard pian¬ monly called the effeminate falsetto voices. The man rised. Other songs are sung to syllables’as vocalizes are and general tendencies are to be found in people of the one.” Fine teachers can considerably shorten this road, ists say: “I will never be able to play octaves really who has the biggest compass and knows by rote the sung. The syllables most frequently used are : same class or occupation the world over. It is one of tjie greatest truths to be learned from traveling, and but they must be given a fair chance as regards time. well, because I have not naturally a good wrist,” or, most songs is the best musician. The Indians are very “I will never be able to play such and such a style particular that the songs be given accurately and resent Hay-uh and High-uh. ■ the cosmopolite who has thoroughly learned to know the real life of the different countries feels with great Don’t Ignore Regular Work of composition because I have not enough natural any tampering with them. They do, however, recognize “Strange to say, tribes thousands of miles, apart will strength.” As a matter of fact almost all technical an idealized song, when it is well executed, and as all use these syllables. They seem to be the easiest for the poignancy how many, of the bitternesses and hatreds Another shortcoming of the average student is that he does not realize the importance of regular work. difficulties can be overcome through hard work, unless beautiful implies to them the superhuman, they delight Indian to vocalize. They sing with no visable move¬ of the present war could be lessened were the people Spasmodic work can never bring about the same results. there is some real physical disability, in which case the in it. It is a very grateful task indeed to play some ment of the lips or jaws. In other words, they rarely Of the various countries able to mingle and find out how, much they have in common, in spite of war issues. Imagine deluging a plant with water for a week, and person in question should give up the idea of doing of my own songs for the Indians—they can trace the open their mouths as we do. The opening is just a the particular work which this disability renders im¬ relationship between the original theme and the ideal¬ The average student in music the world over has then leaving it without any water for four weeks. little slip. Their voices, especially in the low tones, are possible. ized song—notwithstanding the fact that the piano with certain shortcomings, which I have been asked to dis¬ The plant would promptly die, and although the music marvelously resonant. Their endurance is beyond be¬ A great pianist called my attention the other day to its equal-tempered scale is in no way able to encompass lief. For a singer to sing continuously for 24 hours cuss in this article, and many of them could be easily overcome with a little thought. One of the funda¬ the fact that three of the greatest virtuosos before the Indian’s split intervals or his portamentos. is in no way extraordinary. Imagine a recital or an the public to-day had not what one calls “natural “A great many of the dance songs have nine measures; mental shortcomings of the average student is his opera twenty-four hours long—wouldn’t it have made technic.” Their achievements are the result of brains that is, a group of five measures followed by four. method of choosing a teacher. I am now speaking of Richard Wagner jealous. The only good ‘good medi¬ and an enormous capacity for work. The student of These are marked by drum beats. The war dances are the student who has had a certain amount of elemen¬ cine’ for the voice, according to the Indian, is what we music who has seriously made up his mind to become for the most part in % rhythm. Practically all of the tary training, and has arrived at more or less knowl¬ call ‘calamus’ root. If anything gets the matter with an artist should never allow himself to even think other songs and dances are in % rhythm. his throat he instinctively goes and digs up some cala¬ edge of his musical needs. The student who has the the word “impossible.” His mental attitude must be “There is very little deliberate or systematic private mus root, just as a dog will eat grass when he feels opportunity to go to one of the very great pedagogues that everything is possible to work, and that he will musical education of the children of the tribes. It is that he needs it. I hope that I am not starting a patent in his or her particular branch of music will not go and must conquer all difficulties. The loss of this true that, in many of the dances, the children are gath¬ medicine advertisement. far wrong. A violin student who elects to study with faith is the beginning of the end. ered in the middle, arid in that way they hear the melo¬ “The carrying power of Indian voices surpasses be¬ What is Elasticity in Piano Playing Auer, or a piano student who in the past entered the dies that they never forget. Little children of six, lief. I have heard Crow Indians, where there, have been classes of the late master, Theodore Leschetizky, Natural Technic and Acquired Technic seven, eight, nine and ten often catch them very easily. eighteen or twenty singers singing in perfect unison, By Hazel Victoria Goodwin wouid be very apt to find all that he needed, but the The Sun Priests of the Pueblos teach the young in There is a class of music students to whom a par¬ eight, nine and ten miles away. I should explain that average student who wishes to study in any of our morals, etc., but I do not recollect whether they give this phenomenon must partly be due to the. fact that ticular word must be addressed, and that is the stu¬ A horse puts much more work into starting a load large cities should give great thought to the choice special instruction in music. The Zunis, however, about this was heard in a dry, cold atmosphere 20 to 25 dent who is studying for his or her own pleasure. than in drawing it after it has once been started. This of his teacher. Beyond any question of musical which Carlos Troyer has written so effectively, do teach degrees below zero. Accompanying such singing would It would be much better if these students would is because of what physicists term inertia, a quality knowledge there is a psychological aspect to the case. their young seven tones of the scale and curiously be six or seven drummers beating upon huge drums make up their minds to study for the pleasure of or tendency in an object to continue in a state of rest Certain natures respond to certain natures, and not enough associate colors with them. These scale inter¬ made from the entire skins of beeves mounted on others, and take their work more seriously. There if it be at rest, or of motion if it be in motion. Special to others. I have often seen instances in Europe of vals may be approximated in our notation by the fol¬ wooden posts. The skins are wet with water and then is nothing sadder than to see a young man or a work is necessary to overcome inertia, and physicists young musicians studying with masters in every way lowing : red-hot stones are brought in and placed under them young girl devoting a considerable amount of time to demonstrate this simply by attaching a spring-balance fitted by knowledge and experience to give them until they steam and steam. Then they are as taut as studying music, and being forced eventually to look to a tiny, loaded cart, to serve as a handle. In draw¬ proper guidance, and yet the personality of the the best tympani in your symphony orchestra. The ing the cart along evenly, the spring-balance pointer back upon that time as totally wasted. It is a curi¬ teacher so paralyzed the student in question that no ous thing that so many young people regard the ac¬ players spank them with rods topped with calico balls. indicates a number on the scale initially very’ much result was possible. The student must first consider quiring of an accomplishment, such as music, as Added to the singing and the beating of the hrige drums larger than the one it thereafter maintains. very thoroughly what are his needs. If he has a something in which they have no particular responsi¬ are the playing" of tom-toms. Approach this through In piano-playing, if one could discount the matter of “This, however, only gives the tonal pillars around splendid technical foundation, and feels the necessity bility, as something with which they can amuse them¬ the forests and over the mountain ranges in the middle inertia with impunity, artistry would lie a tiling consid¬ which revolve many tones, which are so minute in their of being developed on the interpretative side, he selves. It would be well in these days of Sound Re¬ of a dark February night, when the mercury ther¬ erably less complicated. To overcome the inertia of the intervals that they cannot be put down in print. should be particularly careful to choose a teacher producing machines and excellent mechanical pianos mometer has resigned in favor of alcohol, and you will piano-key, the hammer and the mechanism, is the first “The greatest similarity among the music of different whose own interpretations fill him with a sense of if all students who are not going to give enough time get a dramatic thrill you will never forget. Alas, it is step toward producing the tone. Producing the tone tribes is certainly in the war songs. One can see a a thrill reserved for only a few.” authority and satisfaction, and in whose personality and energy to accomplish something worth while, thus requires two successive degrees of force. The he could feel a real guiding force. If on the con¬ should devote that time to other things. The day of weight of one’s arm or its equivalent effects the direct trary, the student feels that his chief difficulty is a the mediocre performer, whether in elocution, the tone-production. An extra appropriation for inertia is lack of technical means, he should seek out one of plastic arts, or music is over. Even the most fond Little Thinking Machines required. It must come—not from fluctuations in the those masters who have devoted themselves with ‘parent would prefer having a good etching hung on tone-producing force, for these fluctuations would, of complete success to the mastery of this particular the wall to an impossible daub which some easy-going necessity, be too intricate and rapid—but from a tiny field. Of course there are some teachers who com¬ student of art has done “for his own pleasure.” force from another source. bine both possibilities, but it is rare to find one who Long-suffering relatives and friends who in the past Elasticity, like a tiny store of energy bottled up in combines both in an equal degree. listened to tiresome recitations and poor music, each finger, discharges the^ task, and overcomes inertia. nowadays infinitely prefer to turn on the Sound The average child—and, of course, the world is Average Child—“In the key of G.” Elasticity is not a condition, strictly speaking, but a A Serious Shortcoming Mme. Olga Samaroff. Reproducing machine. peopled with average children—has a given amount of habit that of contracting muscles frequently, instan¬ The Teacher—“That is right. And what time?” Above all, if the student finds a teacher whom he If a student of music simply desires to know enough imagination, which may be systematically developed, or Average Child—“Four-four time.” taneously. unerringly, on the instant of demand and believes to be the right one, he should remain with that about music tp enjoy it and feels that he cannot or may be allowed to remain stagnant. The Teacher—“Good. Now play it.” without feeling fatigue: a demand as hard to satisfy as teacher long enough to absorb all that that teacher has student does not pay quite the same penalty as the will not give enough time to become a good performer, It is “up to” the teacher to do her best to develop it is intricate. When we speak of elasticity of the to give. Our American students in particular are much plant, his development is certainly arrested. Two hours it would be much better, after a certain amount of ele¬ this germ in the child, and she must begin in the very Lesson B. fingers, for instance, we refer«to this habit as obtainine addicted to rushing from Peter to Paul, and never a day for a year will accomplish much better results mentary training, for him to develop and broaden his earliest grades. m the finger muscles. But the demands upon the elas staying long enough with anybody to really possess than eight hours a day for four months. The student Another Teacher—“Tell me ten things about your musical taste by listening to the fine performances of Any plan that might be of use in cranking-up the ticity are not confined to the fingers: the hand, itself, themselves of what the teacher has to give. who has made up his mind to give his life to music new piece before you play it.” others, rather than by inflicting his own poor perform¬ thinking machine should be tried, and I am passing on the fore-arm and, to follow the analogy consistently, A story very much to the point is told by an eminent should really give it. His work should be the center ances on his unfortunate family and friends. The cul¬ Another Average Child—(long pause). one scheme that I have found helpful. the entire playing medium from the shoulder, come in pianist who formerly taught in Paris. One day an of his existence around which everything takes a sec¬ tivation of the music lover can be done far better by The average teacher nearly always asks the child, 1. “It has FS, so it is in key of G.” tor this office at different tiroes that are determined American woman came to him with a request for les¬ ondary place. The only thing which is of equal impor¬ listening than by doing something badly oneself. But “In what key is this piece written, and in what kind 2. “It is in four-four time.” by the passages played. For a few passages demand sons. He was very busy and told her that he had no tance is his health. As a matter of fact his health and if there is enough talent and enough time to permit of time?” and sometimes it takes several minutes to 3. ‘The left hand is in F clef. Right hand is in paying from the shoulder-joint with the entire arm as time, but she insisted, saying: “I am in Europe for six his work are so inseparably bound together that they the student to become a fairly good musician, he or get a satisfactory answer. G clef.” ♦1 C l!!1JO,nted wtlole i some passages are plaved from weeks. I have studied interpretation for two weeks are almost as one. she should take it seriously. Terrible crimes upon art Instead, say to the child, “Tell me ten things about 4. “There are no chords in it.” the elbow; many, from the wrist and large numbers. in Berlin with B-; technic in Vienna for two weeks A love of work is fortunately a quality which usu¬ are committed in the name of “one’s own pleasure,” ally goes with real talent. This love of work', aug¬ this piece” (or perhaps five would be enough for 5. “It has a repeat sign.” om the knuckles. There are instances, even, where with G-; and now I would like to get from you all and many an unfortunate teacher goes through purga¬ Grade I to think about). fin stroke;,°'"t constitutes the second hinge of the that there is to know about the pedal.” She was firmly mented by an indomitable ambition (and in some cases 6. “It has staccato notes on the last line.” 5 tory in consequence. The child, naturally, must exert his powers of per¬ nnger, as in the faintest breath of running pianissimo convinced that she would go back after the six weeks stimulated by necessity), is the greatest treasure a stu¬ 7. "It has a half note rest and quarter note rests. dent can possess. In observing students, and' even Students Who Never Accomplish Anything ception and his embryo imagination to discover ten the Urkn”mentS’ !n Schubert-Liszt’s “Hark, Hark. a complete master of all branches of piano playing. possible things about the little piece. But he will find 8. “It is slow and quiet.” 35 I can recall many similar instances of vocal students some ar.tists before the public, I have been struck, par¬ It is possible for any intelligent person to learn to them—key may not come first, but it will be added to 9. “It has a tie and some slurs." ™en tbe P'aymg is from the last mentioned’joint or abroad, who would announce every few weeks that they ticularly of recent years, by finding a certain laziness play an instrument with taste up to a certain point, the list sooner or later. 10. (Long pause.) “It is half a page long.” the knuckle, elasticity obtains in the finger. But when had at last found the right method, and were now which the people themselves do not in the least realize. if properly taught, but it must be taken seriously. It For instance, Even Miss Average Teacher might not have been e playmg is from the wrist, as in many chords, octaves completely changing their way of singing. After go¬ In matters of technic, for instance, many students and is melancholy to think how many thousands of listless Lesson A. able to crank-up her thinking machine sufficiently to hanHS° WRSlngle'n°teS’ elasticity dominates the entire ing through this procedure half a dozen times in the many professional musicians possess a laziness of which American children are studying music in a desultory The Teacher—“In what key is your new piece add No. 10 to the list, but it came from a little eight- . When the playing is from the elbow, the hand course of a winter, one can imagine the result. they are totally unaware, and which takes the form of way, without really accomplishing anything, where tbev written?” At the risk of seeming platitudinous, I shall have to believing that they cannot accomplish this or that be¬ year-old with glowing satisfaction! played am “ °"e’ overcome the inertia of the keys might with a little more energy and a different menu:! JANUARY 19U ' Page 16 THE ETUDE JANUARY 1918 THE ETUDE Page 17 Classic Mistakes attitude become fairly good musicians, and introduce Helpful Routine in Sight-Reading jr v ; into their homes all the delights of Chamber Music, By George W. Vail •IPi ■ ■ FFt I ' ' "PW' ■ / F ' .I’-' ■■ '''F! ' ' which plays such a large part in the home life of cul¬ By Viva Harrison tured families in Europe. No parent in sending a child In the course of twelve years’ orchestral experience v'; F ,F, ' FF" :F . I. Determine in what key the piece is written, and to classes of literature in school would be satisfied to I have more or less closely observed the mistake* made play over the scale in your mind before beginning. have them spend their time reading dime novels; they by the average musician, b€ he pianist, cellist or vio* II. Regard the measure signature, and see if there would expect them to learn the classics, and to come linist, in his interpretation of music in general Th«( are any peculiarities in the time, playing accurately and away with a fair knowledge of the best in literature. errors occur in every concert, not merely when the in an even tempo. It is amazing how many students of music all over the numbers performed are being read at sight, but »!« III. Foresee what is going to take place, and look country instead of making the acquaintance of the when familiar compositions are being repeated for the ! at least one bar in advance, never looking back, because classical literature of music spend their time playing hundredth time. what has happened cannot be improved. fj' i trash, or, at the best, perfectly unimportant music. It The commonest of these may be numbered on the IV. Cultivate quick mental concentration, seeing How Clara Schumann Studied is difficult to ‘ ascertain whether .this is primarily the fingers of one hand; this list of eight includes the everything, the fingers reproducing exactly what the livJi fault of the student or teacher. There are many very chief interpretative sins committed by musicians who eyes see. Knowledge of composition, harmony and MM good music teachers all over the country who are form is a great asset. should know better. With a Note on the Romance of Clara and Robert Schumann : obliged to earn their living and who insist that the 1. Failing to sustain long notes for their full value. V. Avoid playing pieces beyond your mechanical demand of music students and their parents for “light r- ..».i skill, as it will result in stumbling and halting. Train music” makes it impossible for them to teach in the yourself to overcome sudden difficulties. way they would like to. Of course it is undoubtedly VI. Observe the style, expression and fingering, true that a teacher with a forceful personality and It is perhaps but natural that those of us who have When little Clara was five years old, her father and 4. The giving of exercises on the piano by dictation rendering the greatest possible beauty in interpretation strong convictions can succeed in changing this atti¬ been interested in the life of Robert Schumann should mother separated, the latter returning to her parents or by ear, for some time before teaching the printed and finish at first sitting. tude, and in small places may even succeed in raising Nine out of ten musicians will play the above in in Plauen and taking the children with her, but soon notes; in other words, teaching the thing before the VII. Sight-read every day pieces of the same grade visualize Friedrich Wieck chiefly as the tyrannical the standard of the entire community. But the music this manner in direct defiance of the composer’s in¬ after, the law court assigned Clara to the guardianship sign. you are studying. More difficult pieces may be played father who opposed his daughter’s marriage to Rob¬ student here also plays a great role. of her father, and she returned to Leipsic. She was a The “chiroplast” has long been forgotten, but in all with four hands—duets and concertos. tention : ert, and lose sight of the thanks due him for the skill¬ quiet, solitary little maiden, not very forward in learn¬ Music Students Influence the Standard of Taste ful and unremitting pains he had bestowed on Clara’s other details Wieck’s teaching agreed with the most Music students all over the country should take it musical education, whereby she became a great artist. ing to talk, but absorbed, seemingly, in a mysterious correct and advanced ideas of the best pedagogues, then seriously to heart that it is largely in their power to Even Clara Schumann herself, in her later years testi¬ inner life of her own. Her little brothers were with and now. the mother, so she was in the position of an only child, raise the musical standard of the country, and that fied, “I must say with pain that my father has never Clara’s Progress they must themselves demand of their teachers to learn and the object of her father's greatest care and hopes. Bv one year from the time she began her lessons, 2. This might come rs a sub-head of No. 1 Ha vent been recognized as he deserved.” to know and to play the best in music. Nearly all the Ten New Year Resolutions Curiously enough, he had been succeeding much better little Clara could play from notes, and in a few months you ever encountered the musician who plays a sin great composers have written compositions within the These resolutions appeared in The Etude as a business man than as a musician: his loan-library was able to learn all her new pieces from book, ad¬ some years ago. They were so much liked teenth note in an Adagio was well patronized and his piano sales satisfactory, vancing step by step from easy duets and solos to suit grasp of the student who has not attained any great Friedrich Wieck, although the greatest piano teacher that some of our readers had them re¬ while his classes as a piano teacher were by no means able works for four hands by Czerny, Cramer, Muller, technical proficiency, and yet it is amazing to see stu¬ of his time, in many respects, did not start on a dis¬ dents coming out of conservatories playing at the most printed on cards. We are printing them large. This, no doubt, made him all the more anxious Moscheles, Field, and even Weber. (Observe that with again for the benefit of new readers. tinctively musical career until after he was grown up, one or two Sonatas of Beethoven, and never having to make his own daughter a. “star pupil,” and he lost Wieck, ensemble playing was, from the start, the most ^■Tp0r0rr-'- though he was recognized as showing great aptitude touched upon the Inventions or. Partitas of Bach, or i. To practice regularly hours each no time in beginning her musical education. prominent feature of the young pupil’s course, instead the easier pieces of Schumann and Brahms. What day. for music, and his school teachers complained that of being something left as a sort of added accomplish¬ Clara’s First Lessons would we think of a student coming out of a college а. To do my work as though my at the same merry clip that would be demanded were he devoted too much time to it. His early life was one ment, which might or might not be acquired later. As without a knowledge of Shakespeare’s plays or Dick¬ teacher were present. the tempo Allegro? of great poverty, struggle and privation, and was suffi¬ On September 18, 1824, just after her fifth birthday, one result of this, Clara, all her life, excelled greatly ens’ works? Even if the student in question eventu¬ 3. To take all difficult parts, each 3. Absolute inability to make a respectable diminu¬ ciently varied and full of remarkable incident to make Clara had her first lesson, and from that time, for in concerted music, such as trios for piano and strings, ally gives up his own work in music, a knowledge of hand alone. endo. After a well-developed crescendo the music usu¬ an interesting narrative by itself, but that it would lead fourteen years, her father devoted his best energies to sonatas for piano and violin, and the like.) classical musical literature would mean a lifetime’s 4. To count aloud all new work and ally drops suddenly into a mezzo-forte or piano as if us too far afield. Suffice it to say, that he succeeded in the development of her powers. He taught what was After two and a half years, her hour of practice was pleasure in listening to concerts. To come in touch any hard places. the performer had remembered the diminuendo too making his way through school and college, and became known as the “Logier” system (from the name of its increased to two hours per day. She was able at this with great things has an enormous developing influence 5. To observe all marks of expression, 1 te in the day for its proper execution. a candidate in theology: he even got so far as to preach inventor, a French musician residing in Ireland). time to modulate from one key to another, in impro¬ fingering, etc. on every human being, 4. Playing a passage such as this: one sermon, a( St. Sophia’s Church, Dresden—his first Its chief characteristics were these:— vising, and she knew all the chords by ear and by name. б. To practice slowly enough for 1. The use of the “chiroplast”—a piece of apparatus Her touch, also, had developed certainty and beauty Self-Criticism and last. steady accurate playing. intended to help toward a good position of the hands. of tone. To go back to the student who is studying profes¬ Among the various means he employed in working 7. To make my left hand a true and • 2. The simultaneous practice and teaching of three By the time she was eight years old, she could play sionally and with the ambition to become an artist, a faithful member. his way, was—playing in the orchestra for a dancing or more children together in a class—not one at a time, class! He also served as private tutor for the children two concertos: Hummel’s in G major and Mozart’s in shortcoming which frequently leaves very bad results 8. To practice with head as well as but playing the same exercises at once on several pianos, is the inability to distinguish between healthy self- as if the composer had written it thus: in one or two wealthy households, and in one of these, E flat, and performed the last-named work before an with my fingers. whereby the more advanced helped along the backward. invited audience, with the accompaniment of eight or¬ criticism and weakening discouragement. The musi¬ he was kindly allowed to be present on occasions when 9- To play all pieces outside my les¬ 3. The immediate combination of theory and prac¬ chestral instruments. From this time on, her fame cian who is entirely satisfied with himself is not a Milchmeyer, an eminent music teacher was giving in¬ son, outside of practice hours. tice, even with beginners, making them not merely play¬ spread and she played in many places. real artist. The element of self-criticism keeps art 10. Not to miss my lesson unless pre¬ struction. Milchmeyer, observing his eager interest, ers, but intelligent musicians. alive—it makes for growth and development. But vented by sickness. generously gave him a few lessons gratis. Much An Exciting Adventure one frequently hears students say after the concert of when the effect intended is clearly of his practice was done on an old table-clavier. some great artist, “I never want to play again.” To We have already spoken of his first, and last, ser¬ Clara was still but a child, when she had an oppor¬ hear someone else do a thing better than one can do mon. He gave up all thoughts of a career in the tunity to appear in concert at the Gewandhaus in 'it oneself should always be a spur, never a discour¬ sacred ministry, and became private tutor in a Leipsic—one of the most famous concert halls in agement. If all music students in America, whether wealthy family, devoting all his spare time to the Europe—and in starting for the place, on the night Learning to Listen of the concert, she somehow got into -the wrong working professionally or not, would take their work study of music, for which he now had favorable seriously, and do it intelligently, and under the proper carriage, and was carried off to another part of the By Mrs. U. B. White (Rangoon Burmah) opportunity. He by no means neglected the work guidance, we should soon have a musical standard sec¬ of the Hours, a familiar composition, played inco city. Her father found her in time, and brought her Pupils so seldom use their ears when practicing, and, which meant his bread and butter; indeed, he took it ond to no country in the world, and I am sure/that rectly about ninety-nine times in every hundred. back in another carriage, but half hysterical with indeed, musicians often fail to realize how little, com¬ so seriously that he delved deeply into the science all good Americans will join with me in hoping that 5. Dragging out a ritardando to such absurd lengil tears and fright. To calm her and banish her scare, paratively speaking, persons musically untrained really and art of pedagogy in general, and wrote a very this day is not far distant. as to break up the rhythm of the composition. T1 her father bought her sugar-plums, and said to her, discern in the music they hear. commendable essay setting forth the principles which “I quite forgot to tell you, Clara, that everyone is Both to show the fault and to aid in mending it, metronomic” player, bad as he is, is preferable to tl guided his activity as a teacher. Is Slow Practice Overdone? performer who considers every ritardando, howevl carried off by strangers before playing for the first the writer has prepared a set of easy questions to be During this period he met Marianne Tromlitz, time in public.” qualified by the composer, as a definite change of temp In at least one out of three of the articles on the answered about records which are heard on her sound- afterward to become his wife and the mother of o. Failure to make a slight pause just before the ri technical side of piano playing, we find the subject of reproducing machine. (Of course many of these might Clara. She was of a musical family, her father a slow practice urged, either expressly or implicitly. Oc¬ turn of the main theme in a movement from a sonal be answered in advance by referring to the descrip¬ cantor, her grandfather a flutist in the Gewandhaus casionally some bright little writer will frame a clever or symphony. If the composer has not taken tl tions in the catalog, but in order to obtain the full Orchestra at Leipsic. little epigram, of which this is the whole and only (properly unnecessary) pains to indicate this rud benefit, the answers should be discovered solely by the Meanwhile he was gaining some success with his ways succeed in pleasing him. He kept a diary of point. pupil’s own observation.) ment of musical elocution, his principal theme will t compositions. A song of his was published in a lead¬ her progress in early years, and after she grew old Perhaps, from the beginners’ standpoint, the matter 1. Vocal or Instrumental? ™th a11 the grace of a man falling downstair ing musical magazine; he attracted the attention of ‘ enough, she continued the entries in the diary on her may not be overdone, but is there not a time in each 2. What voice or voices? When the composer does take the trouble to emph; own account. This little book records more than one Weber, who recommended him to publishers, and by player’s course when he must begin not only to work 3. Solo, Duet, Trio, Quartet, or Chorus? size the obvious the result is, as a rule, equally inai case, where for some musical misdemeanor she was tistic (see No. 5). the time he was thirty-one he ventured to move to pieces up to the proper tempo, but even to read them 4. What instrument or instruments? punished by being put back to certain exercises or Leipsic with his young bride (by this time about at sight at the proper tempo? Without this, there 5. What style of composition ? Lyric, polyphonic, etc. /. Playing every difficult passage without exceptioi forbidden for a time to play some favorite piece, yet can be no real masterly musicianshipa feeling for the 6. Major or minor? as loudly as possible. This frequently produces son twenty years of age), to enter upon a musical career. her father had the good sense not to force her dili¬ correct tempo is at the foundation of all musical com¬ wemd effects but the performers seem to enjoy 1 He did not seek to depend entirely on his musical gence to such a degree as to make her grow tired of prehension of a piece. Many pieces, taken at an un¬ 8. What sort of time? Duple, triple, quadruple, et( yetting through somehow” seems to be the end i activities for a livelihood, but opened a music loan- music, and he encouraged her to romp and play in reasonably slow speed, become mere caricatures of the 9. What speed? Largo, adagio, andante, allegrettc V1lwirt, . result is usually more athletic than estheti library. and began to trade cautiously as a piano the open air. Her school studies were not neglected composer’s intention. It is better to miss a note allegro, presto. . aking every difficult number at a tempo to dealer. His wife also gained some little local fame and she showed fair intelligence, though she learned here and there, than to take a wrong tempo. Other suitable questions will occur to the teache api for the technic of the performer. “Cutting tl as a solo singer, and later on, thanks to careful to write musical notes before she could write the Besides that, one never knows what he can do until naturally. ^ short ls apparently the motto when formidab instruction from her husband, also a solo pianist, letters of the alphabet. She showed but little inclina he tries. Many a player who first is compelled to a The very first lesson I found that in a quartet fror ertures and allegro movements are to be masters even appearing a few times successfully in profes¬ tion to general reading, nor did her father encourage rapid tempo in some way—either by ensemble work ■an opera, pupils distinguished only two voices, althoug’ thrZ T SanC person 030 imagine it artistic to gallc sional engagements, before her increasing family her to it. This became a regret to her, however in with more experienced players, or by voluntarily taking all four were perfectly clear. A harp was called 1 through page after page, merely “hitting the hig demanded her undivided attention. later years. a certain metronome speed, experiences, after the first piano, and other similar mistakes were common Re dentil 1?nor!ng expression marks, overlooking acc fright has worn off, a real exhilaration, and is agree¬ It was into this household that Clara Wieck was When she was nine years old, her father married peated tests, however, showed great improvement i, wonder’el In “ 1?>'ond 3,1 comprehension. Is it to 1 ably surprised to find his ability equal to all demands. born, on September 13, 1819. Later on the family again. Fortunately her stepmother was kind and progress, in the matter of intelligent listening whicl horro ** !,he avera8e non-musical person has It is much like the healthy reaction that one experi¬ was increased by three little brothers, but these have took a real interest in her. Later on, her stepsister cannot fail to react favorably on the pupil’s ow: are n°/ 116 c,assics.” when musicians themselvi ences on plunging into a cold bath. but a passing interest in our narrative. Mane became, in turn, her father’s pet.pupil, and in playing. * an to, make of a sonata or overture merel Robebt and Clara Schumann. the end an eminent pianist. an exhibition of musical pugilism? JANUARY 1918 Page 18 THE ETUDE JANUARY 1918. THE ETUDE Page 19 How Clara Met Robert Schumann Vitalize Your Piano Playing In the summer of 1828, Robert Schumann, a highly gifted young musical amateur who was in his first By Harriette Brower year as a student at the law-school, sought lessons of Wieck. He was at this time ,a youth of eighteen, and Clara a little girl of nine, albeit a very unusual and the arch of the hand which must be firm and and interesting little girl. There is no mention made of Why is it that such a large proportion of piano strong, while wrists and arms are loose and we.ghty. Clara Wieck in Schumann’s letters of this time. As playing seems to express little or nothing? Why is If you have not secured these condemns you need to Vocal Study in Sunny Italy those who have read his life well know, he was going piano playing so frequently merely a collection of go right back to first principles until they are mas- through a terrible mental struggle which terminated sounds, with little form, climax, expression or appeal. An Interview with the Distinguished Operatic Baritone finally in his giving up the study of law, and adopting These questions are borne in upon listeners who give Speaking Music music as a career. Two years later we find him not the subject any attentiVe thought. MR. PASQUALE AMATO only taking lessons of Wieck, but living at his home, Take a recital by junior players, for example. Each Playing a piece without careful attention to analysis and thrown in close contact with his family, particularly child plays his piece, on which much time, anxiety and and phrasing is like reading language and omitting When I was about sixteen years of age my voice he must then adjust himself to the particular problem Both of my teachers knew that my high tones were with Clara, who was rapidly developing into an attrac¬ means have been expended. If the correct keys have a'l marks of punctuation. One would never do that, was sufficiently settled to encourage my friends and before him. Therefore we might sav that the Italian all right and the practice was directed toward the lower tive young lady. (When she was scarcely twelve years been depressed, if there has been no disaster at begin¬ you may say. But people constantly try to speak the. family to believe that I might become a singer. This method was a method and then again that it was no tones. They worked me for over ten months on scales oldrshe was often taken to be in her ’teens.) ning or close, there is great rejoicing and applause. On language of music without the shghtest regard for is a proud discovery for an Italian boy, as singing— method. As a matter, of fact it is thousands of meth¬ and sustained tones until the break that came at E flat From this time on, Clara played more and more often the other hand, if there has chanced to be a catastrophe its structure, punctuation and expression. Pupils come especially operatic singing, is held in such high regard ods—one for each case or vocal problem. For instance, above the Bass Get was welded from the lower tones in public and was recognized as a full-fledged profes¬ of course there are tears and heartburnings. Parents to me frequently, who have studied the piano for years, in Italy that one naturally looks forward with joy to if I were to sing by the same means that Mr. Caruso to the upper tones so that I could sing up or down sional pianist of high rank. and friends enjoy these exhibitions; other teachers and yet not have the least idea of phrasing. Sometimes a career in the great opera houses of one’s native coun¬ employs it would not at all be the best thing for my with no ugly break audible. She also gained some recognition for her composi¬ like to see what their colleagues are doing, what new they have never heard the word. It is easy to see try and possibly to those over tbe sea. At eighteen I voice, yet for Mr. Caruso it is without question the tions, accepted by publishers both in Leipsic and in pieces are being used, and so on. But what of the I was drilled at first upon the vowel “ah.” I hear that music must be a dead language to them. was accordingly entered in the conservatory, but not very best method, or his vocal quality would not be music itself; has it any meaning, does its performance Such players must be taught the chords of all keys, American vocal authorities refer to “ah” as in father. say anything? without many conditions, which should be of especial in such superb condition after constant years of use. We must not judge Friedrich Wieck too harshly that, in their different positions, how to play and recite them That seems to me too flat a sound, one lacking in real Go a little higher up. Attend a musical of advanced interest to young American vocal students. The teach¬ He is the proof of his own method. some six years later, he feared lest his talented daugh¬ They then can find them in pieces, and learn the struc¬ resonance. The vowel used in my case in Italy and students. You may hear concert waltzes and Liszt ers did not immediately accept me as good vocal mate¬ ter would ruin her career by marriage with the yet ture of simpler music, how to find motives, phrases Listening, Always Listening in hundreds of other cases I have noted is a slightly Rhapsodies, rendered with much noise and great show rial. I was recognized to have musical inclinations Obscure Robert Schumann. It is not every one who is and periods. All these things help them to vitalize the broader vowel, such as may be found half-way between of brilliancy. You may perhaps be impressed with these and musical gifts and I was placed under observation I should say that the Italian vocal teacher teaches, favored with the gift of prophecy, and the development music. It can never be made alive without a knowl¬ the vowel “ah” as in father, and the “aw” as in law. qualities—but if you look deeper, beneath the outward so that it might be determined whether the state-sup¬ first of all, with his ears. He listens with the greatest of his daughter’s talents had been the great interest of edge of them, although, of themselves, they are not It is not a dull sound, yet it is not the sound of “ah” flourish, will you find the playing contain real senti¬ ported conservatory should direct my musical educa¬ possible intensity to every shade of tone-color until his his life for some fourteen years. . sufficient to make the playing expressive. in father. Perhaps the word “doff” or the first syl¬ ment, true expression? Is there anything that grips, tion along vocal lines or along other lines. ideal tone reveals itself. This often requires months lable of Boston, when properly pronounced, gives the that makes a special appeal? The Right Finger on a Right Key This is one of the cardinal differences between right impression. musical education in America and musical education Even among the players who have gone much fur¬ “Fingering” is another factor in expressive delivery I do not know enough of American vocal training The Artistic Reason for the Use of the ther, who are able to give their own recitals, who in Italy. In America, a pupil suddenly determines of the composer’s thought; too little attention is paid to give an intelligent criticism, but I wonder if belong to the profession and are called artists, there that he is destined to become a great opera singer High Finger Stroke to it. A knowledge of analysis, of phrasing, elucidates American vocal teachers give as much attention to is very much to be desired in this very quality of and forthwith he hires a teacher to make him one. the choice of fingering. A suitable fingering will bring special parts of the training as teachers in Italy do. making the music vital and alive. A well known musi¬ He might have been destined to become a plumber, By J. Katherine Macdonald out the beauty of a melody or passage, while a clumsy I hope they do, as I consider it very necessary. Con¬ cian remarked to me: “I seldom go to a piano recital, or a lawyer, or a comedian, hut that has little to do because much of the piano playing one hears means or inappropriate use of fingers can mar both. The with the matter if he has money and can employ a sider the matter of staccato. A good vocal staccato In an article in The Etude for August, 1917, called form and shape of the passage must be considered as is really a very difficult thing—difficult when it is “Playing Qose to the Keys versus The High Finger so little.” Another artist and teacher remarked: “Ad¬ teacher. In Italy such a direction of talents would well as the kind of touch to be used for it. To use right; that is, when on the pitch—every time, clear, Stroke,” the writer expresses a desire to hear of a vanced pupils who come to me seem to have very little he considered a waste to the individual and to the the right finger on the right key is indeed an art in distinct, and at the same time not hard and stiff. It good scientific argument for the use of the high finger idea of how to make their playing expressive.” , state. Of course the system has its very decided What every one who plays the piano should do is itself. faults, for a corps of teachers with poor or biassed took me weeks to acquire the right way of singing touch in piano playing. Variety of Touch In the whole of the article, it seems to me, he loses to meet these questions fairly. He should serio.usly judgment could do a great deal of damage by dis¬ such a passage as Un di quando le veneri, from sight of a fundamentally important fact, and that is, examine his work, decide whether it is effective, and You cannot vitalize your playing without variety of couraging real talent, as was, indeed, the case with Traviata, but those were very profitable weeks. that piano playing is not a science at all, but an art. if not, wherein it fails. Every teacher must feel in touch and tone. The phrase must be moulded so that the great Verdi, who at the age of eighteen was In the expression of ideas by means of the piano, the same way in regard to his pupils. It should be of the small—or great—climaxes arc brought out; crescen¬ refused admission to the Milan Conservatory by and in the producing of beautiful effects, there is one the highest importance to him whether his pupils are dos and diminuendos, accents and various shading the director, Basili, on the score of lack of device which most of the great pianists use—though not learning to play expressively; whether their perform¬ must be made if the playing is to be lifted from the talent. till—and in my humble opinion, those few who ignore ance is clumsy and perfunctory or brimful of life and dead level of tonal monotony. Melody playing with However, for the most part the judges are experi¬ or disapprove of it neglect a very important means of vitality. subordinate accompaniment is one of the helpful ways enced and skillful men and when a pupil has been heightening the beauty of their passages. This device Putting Life Into the Notes in which sensitiveness to tone-values can be acquired. under surveillance for some time the liability of an is, to vary the low finger touch with an occasional use In order to determine how to vitalize one’s playing, The study of Bach is most necessary in cultivating error in judgment is very slight. Accordingly, after of the high finger touch; the result being a different it would be necessary to give a resume of the whole discrimination of touch, for here are several parts I had spent some time in getting acquainted with quality of tone due to the percussion of the fingertip. process of piano playing. TJiis is hardly possible in going at the same time, one of which must take prece¬ music through the study of Notation, Sight-singing, And as variety of tone-color is just one of the points a limited space. The most important points, however, dence over the others. This cannot be accomplished Theory, Harmony, Piano, etc., I was informed at the Accurate attack in such a passage is by no means in which the piano is lacking, I really can not see why can be briefly touched on. Piano playing is much more if all the voices are alike in quality. end of two years that I had been selected for an easy. Anyone can sing it—but how it is sung makes all artists do not look upon this device as a very pre¬ than putting keys down. It is a wonderful, a vital operatic career. I can remember the time with great the real difference. The Correct Use of the Pedals cious one. means of expression. We are often told music is a joy. It meant a new life to me, for I was certain The public has very odd ideas about singing. For One of the culminating factors in giving life to the I admit that high finger practice as an end in itself language. Then we must make the piano speak. Von that with the help of such conservative masters I instance, it would be amazed to learn that Trovgtore' playing is correct use of pedals. How we use them should succeed. has been very much overdone. There was a time Billow aptly said, “We do not want piano-chattering, is a much more difficult role for me to sing and sing depends on the harmony, the phrase, motive and mel¬ On the whole, at this time, I consider the Italian when all scale passages were supposed to be played we want piano-speaking.” right than either Parsifal or Pellcas and Melisandc. ody. Keeping a few fundamental rules in mind, beau¬ system a very wise one for it does not fool with this percussive touch, the low-finger pressure being Among the things necessary to make your playing This largely because of the pure vocal demands and used merely for melody, the effect, however, of the vital and alive are: Good Rhythm, Good Tone, Judi¬ tiful pedaling is the result of careful listening and away any time with incompetence. I have met the flowing style. The Debussy opera, wonderful as high-finger stroke in loud and rapid passages is a hard cious Phrasing, Correct Fingering, Artistic Pedaling, testing the effects of tone color and sonority we strive so many young musicians who have shown indi¬ brilliancy and a loss of legato. As one may sometimes Variety of Touch and Tone, The Sense of Proportion, to make. cations of great study but who seem destitute of it is, does not begin to make the vocal demands that wish to produce this very effect, on occasion, even this and Constant Listening to one’s playing. These things Listen 1 talent. It seems like coaxing insignificant shrubs such a work as Trovatore does. touch should be practiced. But the most artistic method do Mot allow for the personal equation, the divine Finally—not last nor least, but first and always- to become great oak trees. No amount of coax¬ When the singer once acquires proficiency, theacqui- of employing the high finger stroke is in a diminuehdo Spark of genifis, the gift of inner musical feeling. They listen to your ozvn playing. And you must know what ing or study will give them real talent if they do sition of new roles comes very easy indeed. The main scale passage. When employed in the scale, the high do provide for the learnable things which everyone to listen for. If you have laid a good and thorough not have it, so why waste the money of the difficulty is the daily need for drilling the voice until fingers, dropped lightly and delicately on the key with can acquire with care and patience. Let us glance foundation, you have early learned to listen to your¬ state and the money of the individual upon it. it has the same quality every day. It can only be done no arm weight exerted, produce a beautiful trans¬ at them in turn. self, for that was one of the fundamental things. The On the other hand, wherever in the world there is real and months of patience. The teacher must recognize by incessant attention. Perhaps the readers of The parency of tone. Good rhythm is one of the things most frequently time must come when you can listen with judgment talent, the state should provide money to develop it, the vocal deficiencies and work to correct them. For Etude may be pleased to learn o'f some of the exercises All experienced teachers know that it is not sufficient, slighted, yet it may be called about the most important and understanding; when you know what you are just as it provides money to educate the young. instance, I never had to work with my high tones. I do every day with my accompanist. Here they are: with the majority of pupils, to give them off-hand of all. Rhythm is the rudder—without it your boat striving for and can make your fingers do it. They are today produced in the same way in which I Italian Vocal Teaching directions to do any thing. There is always the neces¬ wanders aimlessly on the sea of tone, adrift, with no Of all the factors enumerated, which are necessary produced them when I was a boy. Fortunately I had sity for systematic training. Most inexperienced play¬ definite aim, no Steadying hand. Students deficient in to vitalize your playing, the foremost are these, to So much has been said about the Old Italian Vocal teachers who recognized this and let it go at that. ers have such a lack of control over their fingers that this vital point must take every means to correct the my thinking: Method that the very name brings ridicule in some Possibly the worst kind of a vocal teacher is the they cannot, at will, keep them at any given distance lack. Technical forms in varied rhythms should be 1. The Feeling for Rhythm. quarters. Nothing has been the subject for so much one who has some set plan or derice or theory which charlatanry. It is something that any teacher, good from the keys, whether high or low. Therefore, in studied, counted and played with metronome. Espe¬ 2. Variety of Touch and Tone. must be followed “willy-nilly” in order that the teach¬ order to have the high finger touch at their command, cially is counting aloud beneficial, for that is something or bad, can claim in this country. Every Italian is of er’s theories may be vindicated. With such a teacher 3. Knowing how to Listen to yourself. to be used for an artistic 'purpose, it should first be which comes from within the player. Not only is tech¬ course very proud indeed of the wonderful vocal tra¬ no voice is safe. The very best natural voices have to There is no sense in believing that inner feeling is consistently practiced. This does not mean that the nic to be counted, but pieces also. ditions of Italy, the centuries of idealism in search of follow some patent plan just because the teacher has going to make you play expressively, if you are neg¬ finger should be strained away from the keyboard in Good tone depends on good touch, and harks back better and better tone production. There are of course been taught in one way, is inexperienced, and has not an unnatural manner, but just raised sufficiently to pro¬ to the very foundation. Has your foundation been lecting the fundamentals of the art. No amount of certain statements made by great voice teachers of good sense enough to let nature’s perfect work alone. duce the percussive sound which is wanted. Two other well laid? Have you secured easy conditions of re¬ emotional ecstacy will vitalize your playing if you other days that have been put down and may be read in cannot play in time, and have not cultivated a sense [Editor's Note.—Mr. Amato has ilow been before the conditions are also necessary to produce this sound. laxed arm weight on your fingers, and have you ac¬ almost any library in large American cities. But that American public as leading baritone of the Metropolitan The finger must be firm and muscular, and it must quired quick, exact finger action? Is your tone quality of rhythm. No amount of love for music will enable these things make a vocal method that will suit all Opera House, in New York for ten yeai you adequately to reproduce with vitalizing effect, the he has made many firm friends and’adi fall in one quick, direct movement and not tumble in expressive, in both melody and passage forms ? A rich, cases is too absurd to consider. The good sense of Amato tfas born at Naples, March 21s st, 1878." lie studied a hesitating manner. warm tone cannot be produced where fingers are flabby themes you love, without thorough grounding in funda¬ the old Italian master would hold such a plan up to at the the Conservatoriuin in his na live city under Cue- mental principles, and careful attention to detail? cialla and Carelli. After five years at t lie O--— ' There may perhaps be no scientific argument for the and uncertain, while wrists are stiff. It is true that ridicule. Singing is first of all an art, and an art graduated, making his de1"’*..r-- - singer in 1900 in a high finger stroke. What of that? It seems to me we need both looseness and firmness in order to secure through all your study of detail, your routine of can not be circumscribed by any set of rules or prin¬ small theatre of Ni ' (Bellini) In the opera of Traviata. eclinical repetition, keep before you the ideal aim to ciples. Since thenn he has appeared repeatedly in the leading there is an artistic argument, and that is what artists good tone, but we must know how and where to use , jf Italy, France, Oermany. England, Russia and and musicians are interested in. both these conditions. It is the nail-joint of the fingers vitalize your playing and make it glow with life. This The artist must, first of all, know a very great deal and South America. IIo has visited South American aim, like a guiding star, will lead you to the heights. centres as an operatic artist nine different times. His about all possible phases of the technic of his art and opinions upon singing• a— very liberal and helpful.] mg-erm f if'7T^ JANUARY 1918 THE ETUDE Page 21

The Teachers’ Round Table Special Pianoforte Touches and Their Conducted by N. J. COREY Application and not technical problems pertaining to This department is designed to help the teacher upon questions pertaining to “How to Teach," What to 'and address must accompany all inquiries. Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered department, r By LOUIS ARTHUR RUSSELL those of a high character in the third grade, and she missing, and work from that basis. It is not likely Little Things That Count will doubtless play them more smoothly. that he will ever carry his music far enough so that “1. When a flat is placed in the signature, and a [EDtTOit’s Note.—In the Etude for October, 1017, Mr. Rus¬ Illustrations but this will not be the “Marcato” touch, though it double flat appears accidentally, must one make a you will look for high perfection in scale playing. In 2. Constant drill and plenty of patience is what is sell took up the elementary phases of this subject In an is the Marcato action, which should be taught to pupils triple flat of same? fact you will gain a greater influence over them if needed. She should practice naming notes daily and article entitled Legato, Staccato and Marcato. While this To focus this analysis and give it practical demon¬ “2. I hare been hearing that many teach begin¬ gradually she will become familiar with them. Let article may be read Independently the reader is advised to stration, the following examples are given: before they use the pedals. Furthermore, this “con¬ ners the notes of bass and treble clef together at you do not make their study too burdensome along the peruse the first article also, for a fuller understanding of the first lesson, and never ask for ‘hands separately’ line of exercises. Your leading to higher things must her name the notes in her etudes and pieces before the subject. In the first article Mr. Russell analyzed the dition” of flexible freedom should be in use at all practice. Could this be possible? be very gradual. In order to supply yourself with beginning their practice. Be sure that she is able to character and mechanical sources of Pianoforte Tone, clas¬ times even if without the bounding action.] “3. I always thought the meant 4/4 measure, sifying it broadly as .Percussive and Sustained, with close At the completion of the notes’ length, this notation music, write to the publisher and ask him to send you play her simple pieces fluently before leaving them. analysis of the various grades of detached (Staccato) tones, 4-j J J J 4 I j M J j i’j Jail but noticed that In some editions It is the same as on selection a package of pieces suitable for such their sustained or singing qualities and their connection with may be interpreted by the pure finger action, but the 0 4/2. How does this happen? teaching as you desire to do, stating the grade. Keep How to Keep in Form Without Practice each other (Legato). He described the Normal character of free arm elastic action is more effective and less angu¬ “4. When hands cross over each other which is pianoforte tone, the so-called Portamento or Non Legato, and usually above? a carefully annotated list of all that you find success¬ On account of being obliged to travel with an described with close analysis the dual tone quality “Mar- lar. The same notation with the added dot, invalid father I shall he unable to resume practice “5. In Moszkowski’s Serenata why are there two ful, for future reference. cato,” which he calls a Marked-Legato or Marcato-Legato, j J y eighth notes on the last beat of the measure in for at least two years. How can I best keep op a quality which combines the percussive hammer-stroke lone I1;1.1--' J M 7 it J ,j i 1 the first example, and in the second are the octave A Few Hints what I have learned until such time as I can with the sustained (singing) tone, (made possible by the A and G played together?”—G. C. E. resume regular lessons?—E. D. lifting of the damper from the wire). The first paper also 1. Am a girl of eighteen, and play some of the includes classification and analysis of the various mechanical 1. When a double flat or sharp is used, it is assumed Preludes and Fugues from Bach's Well Tempered You will be surprised to learn how well you cat (manual, etc.) processes of tone production at the keyboard, OPP (repeal Jf) Clavichord, and Beethoven's -Moonlight” Sonata, including the vital principles of freedom and weight of the that signature flats or sharps do not exist. A double preserve the suppleness of your fingers by practicing flat simply indicates that the tone is a whole step lower and similar things very well. My teacher and playing apparatus and the determining of elemental playing calls for the pedal to aid in the sustained effect though others advise me to go to a conservatory. Would exercises on the table, or even on the arm of a chair, impulses.] than it would be without any alteration sign. ~rrr~^- the tenuto sign is the same in intent, calling for the you advise this, or would I better work with my in this latter case the trill being about all you a teacher here? Elemental Playing Impulses sustaining of the tone the full length of the note. 2. There are those who teach as you suggest, except manipulate. Meanwhile the trill includes about every¬ that I doubt whether they refuse to allow pupils to 2. I practice two hours dally. Is this enough? In 4a, however, the percussive staccato is called for If I practice less I cannot keep my fingers Umber. thing there is to do on the piano in the way of finger The two prime means of tone production at the practice with hands separately. This is often neces¬ by the dots, and this necessitates the pedal for sustain¬ 3. Is It good to play scales and chords In con¬ passage work. It is the germ out of which scales, keyboard are: First, Pure finger action with quiet hand sary in any stage of progress. trary motion? 4* ht? Jd i-i- j-i-Lj-j- j m ing the tone, the finger leaving the key as in Staccato etc., grow. You can even go through the motions and arm, the pressure stroke directly at the surface ff 3. Your understanding is correct. The C >s also 4. In playing Dvorak’s Humoresque on the organ without pedal (bounding up-spring). All of these du¬ should the lower bass notes be played staccato ? or scales and arpeggios on a table, and hit the relative of the key without raising the finger, the muscular used for allabreve measure, in which there may be All of these examples may be played with bounding plex touches combining the Legato with the Staccato, 5. Is there any harm in playing a great deal spacing with a good deal of accuracy. It may be do impulse being of course in the arm. With this playing either two or four half notes. In this case it should before going to bed?—D. E. (flexible) arm, but for our present purpose are to be I find best named Marcato or Marcato-Legato, a work, but if you are in earnest you will not min action, all classes of detached tones may be produced be printed (J, but often is not. played with pure finger action, the fingers resting on marked or indented Legato, the pedal always supplying 1. Whether you should continue work with your this. Select a repertoire of a given number of pieces. except rapid skips, in which the elastic arm plays an key surface and without pedal. Nos. 1, 6, 7 and 8 4. This is governed entirely by convenience in any the agency for the sustained tone effect. (See ante.) present teacher depends upon her ability. If she is Commit to memory if possible. If you remain long important part. (The Legato Touch is primarily pure are alike in touch, the notes call for a short (staccato) given passage. capable, and you are being rightly trained, it will be finger action.) The striking of single detached tones or Chords and enough in one town you may be able to secure practice tone which is qualified by the speed of the notes’ rota¬ the closing of Marcato or Legato passages with a Stac¬ wise to defer your going to a city for study as long Second, “Bounding Touches” in which the active on a piano occasionally, when you can work o tion, and the force of tone called for. cato effect always calls for the quick up-spring action, as possible within reason. The expense is heavy in a forearm and hand aid the finger action, through the Nos. 2, 3 and 5 call for duration of tone. No. 5 is repertoire. A dozen pieces that you have learned will the degree of elevation of hand depending on the force city, and one should accomplish all possible before un¬ weight of the playing members bounding along the practically a Legato, the tones are required to be of answer for this. of the tone, which may vary from the light pianissimo dertaking it. As my teacher said to me when I was keyboard, marking each key-stoke with an elastic action full length of the note. This is also really the fact Studying at h to the most forceful fortissimo. Thus :— a boy, “There is no use of your paying board in Boston (down and rebound) at close key surface, the finger in Nos. 2 and 3, but the connection of repeated tones 5. The octave A belongs to the bell-like reiterated to learn the scales in double thirds and sixths.” If We printed an article in the Round Table in the July accompaniment tone. The lower A to the melody. Two “reaching” the active key and “playing” upon it. The (without pedal) cannot be as close as with tones in ii ^ you are going to follow musie as a profession it will number, entitled The Joy of Doing, being an answer distinct parts are therefore represented on one and the hand and arm “float” along the keyboard surface in rotation, yet in both cases each tone should be as certainly be your wisest plan to take up music study to a letter from a pupil who was trying to learn to same degree. If the lower A were omitted you would perfect freedom of bounding action, the playing finger nearly as possible of the duration called for by the in one of the large musical centers. It will be to your play at the age of forty-eight. A correspondent, who * J i I i not realize that there was a melody note to be brought advantage from every standpoint. takes the action and firmly withstands the pressure as wishes to be known as E. D., was so much interested No. 4 calls for full length of the notes’ duration out. In the second example the A and G are played 2. Two hours intelligently disposed is better than it strikes (presses) the key and reaches through the together. If you had figured out the time values of in this that she has sent an article on an experience depth of key-fall. exactly rendered by the prompt release of the key on Here (No. 11), we have the quick up-spring from the four with the inattenticn that accompanies a good deal the rest and as prompt stroke of key on the note. the notes, you would have observed that they both fall of her own which contains much valuable information, The special impulses of graded power, metrical or key surface, with short detached tone, without meas¬ of practice. Meanwhile when you devote your entire The tenuto sign (—) is not really necessary, the notes on exactly the same instant of time. Notes on two and will be found on another page, with the title, expressional accent, etc., are from the arm in either urable duration, but, in time to your study you can increase the amount of and rests fully indicate their purpose, but the tenuto contiguous degrees are written this way in order to Developing the Tactile Sense. We are also glad to of these means of key-stroke (pure finger action or time with advantage. Keeping the fingers limber ought marks add a warning against carelessness. avoid crowding the staff. print her accompanying letter in this department, as it not to depend upon the amount of time you practice. bounding touch). From this delicate, flexible, bound¬ If to No. 5 we add the Staccato sign, thus:— A small amount of time should serve to accomplish will prove helpful to others who arc struggling, and ing touch, through all grades of power, we reach Unusual Cases this, if you are not trying to advance. Be careful perhaps imbue them with some of the inspiration of another class of touch, which in the playing of de¬ _s the first finger that you keep your hands and fingers supple whenever her enthusiasm. tached tones or forceful tones at the close of a pas¬ ; the knuckle. The you play or practice. “As I began to study the piano at the age of twenty- , __shoulder, but Is able sage, calls for an “up-spring” of the hand and arm. All the elbow down freely. They 3. Scales should be systematically practiced in con¬ one, and have continued for seven years, I was mnch of these means of touch should be developed without are bright, intelligent boys, both of whom have trary motion. You will not find it necessary with interested in the article in the July Round Table. I thb pedal, that a perfect realization of these processes been “picking out” popular melodies by ear, and chords, however. we have both the detached and the connected touches supplying chords in bass for accompaniment. Per¬ was specially interested in A. A.’s letter because I of touch and their tonal result may be acquired. haps you people who have been trained from child¬ 4. The first or lower bass note in each measure myself went through a struggle in overcoming a simi¬ which require the bounding hand percussive and the hood to appreciate the best music cannot under¬ pedal legato. (See artte.) stand those who aspire to nothing higher than should not be played staccato on the organ. In lar difficulty, a description of which I send in the ac¬ Special Touch Processes though the action is the same, yet beyond doubt, the "picture-show music,” but I am trying to give them Dvorak’s own edition the pedal is marked to be companying article.” In No. 7a we have the same manner of tone produc- composer using the long note or the shorter (quarter) The flex of finger, hand or arm “wiping” the key a chance at least. sustained until the third eighth note. Hence on the note, desires the full duration of tone indicated by the Could you suggest material that would interest I do not want to appear presumptuous, but my across the surface is a special means of tone production boys of this kind? Could you suggest a definite organ the bass note may be held as a quarter note by heart goes out in sympathy toward all other mnsle note, and this calls for pedal use. scale fingering for the boy with the maimed hand. the pedal, thus corresponding to the effect produced lovers who are hnndleapped bv a late beginning, which might be allowed in the later development of To play No. 11 and No. 12 without the release of Can you give me a suggestion as to how to procure especiallypsnpninllv byw wbo ls troubled by a difficulty like firm hands, but this manner of touch is never neces¬ material for teaching the class of pupils we have by the damper pedal on the piano. mine. If you key until the end of notes’ duration thus holding the here?—H. B. dnk the suggestion contained In my sary, although often convenient. With children with 5. None at all, unless it excites you so much that article Is of ai value, I shall l>e very glad, because single damper off through the notes’ length is possible, I live in a city rapidly approaching the million mark, you do not sleep. If you have any neighbors with a my desire, like that of the Gamp Fire Girls, is "to slender and frail fingers it is a very harmful process, but not effective, the result would likely be hard, angu¬ but the majority of them like the same kind of music house in close proximity to yours, you might- ask them toSme°” t0 other8 the u8ht thBt has be<‘n S1”” inducing as it is likely to do, a flinching of the finger¬ In each case the percussion would be equally quick, but lar, relentless, while the sign Marcato-Legato always that they do in Arizona or New Mexico. The number what they think about it. tip joint destroying the firmness of the finger, which the pedal would sustain the tone the full time of the indicates an elastic tone, percussive and sustained, and While working with my teacher we studied note, this manner of production is also correct for of people who care for the highest in music is dis¬ Lbopin s 20th Prelude, Ticilight, Friml, Bleaks and firmness with directness of stroke, we are ever seek¬ seldom of drastic power. Rolled Chords (detached) ; tinctly limited, although increasing constantly. A won¬ Clumsy Muscles Bereeuse in O. Grieg and other pieces, which were ing to develop. such figures as the following: tones or chords taken by skips, or the final tones of hearned without the screen, in the ordinary way. derful change has taken place even in the last quarter 1. A woman of thirty-five plays fourth-grade The High Raised Finger Stroke has many elements passages, all call for the same class of touch process, music and understands It, but her fingers are so v>niie it has no connection with this subject, my century. The best things have to be struggled for, no stiff she cannot execute it satisfactorily. What interest and pleasure In music has been greatly of danger in its use, but I will here only emphasize the if marked with the combined (duplex) symbol, thus matter along what line, very much as one has to fight would you suggest to improve conditions? needlessness of this angular manner of touch, its awk¬ to keep the weeds down in a garden. Unfortunately 2. What can one do with a pupil who Is not sure of her notes? I have pointed to the printed notes I think we grown-up beginners are the most un- wardness, and its possibilities of undue contractions, you- cannot pull up an inferior taste for music, but while she named them, and written words on the „"rJUDate, /'l”ss of students, because we appreciate with the reiteration of the fact that its only excuse, the must do your best to keep the best alive amidst staff for her to fill in the letters, but when she Each sign, the tenuto dash and the legato slur, must be plays she guesses at them.—F. v. and would like to do so much, vet have the tech¬ attempt to gain power, is unwarranted, the sources of nique to do so little, and have to work so bard for obeyed (through the use of the pedal) while the Stac¬ choking weeds. Your two boys certainly deserve en¬ power being not in finger weight or force, but in the couragement when trying to learn to play under such a" ,ye aecomnllsh. If I was fitted bv natural cato symbol calls as positively for a percussive de¬ I. It is rare that fixed muscles and ligaments of a ability, heredity, and early training. I should like muscular impulses of the arm. handicaps, and they can doubtless learn to give them¬ person of the mature age of thirty-five can be loosened to he an organist and choir director, qnd to com¬ tached tone, the complete fulfillment of which demand These thoughts on "tone production’’ are but hints, selves and their friends a great deal of pleasure. For to any considerable degree. Massaging with oil of pose and tench. That is, of course, obviously lm is better effected by the true “staccato” action of the possible : but as music is mv chief source of Interest the subject in its fullness is not for this analysis; our the boy with the missing finger, number the fingers wintergreen and cold cream will help to soften them bounding touch, with up-spring of the hand. 2,? n" 'T!V!ro' 1 should be glad to make use of my final word before the illustrations being that all of he has from one to four, and cross the little finger Do not try to have her raise her fingers in striking S™"11 sMU by playing In Sunday School, and for In No. 4 the better result would be effected also by over the thumb in scales where the fourth usually the keys. Let the fingers be held from a quarter to a children's games In Settlement work, whenever these direct means of “touch” are varied in their the free up-spring action. there Is an opportunity, as an “aside” to the care- passes over. Let the thumb fall on the lower C in half inch above the keys which will give all the down¬ results by the use of the single damper and the damper [N. B.—This Bounding Hand and Arm Movement tui study of technique and pieces. I hope this does pedal. that scale. Assume that it is the little finger that is ward play that will be necessary. For pieces, select not sound presumptuous for one whose ability is may be used in pure “Staccato” rotations without pedal, so limited. JANUARY THE ETUDE Page 23 Page 22 TEE ETUDE JANUARY 1918

Where no sign of Staccato or Legato is used; the How Polyphonic Playing Helps player must use his judgment and balance his tone delivery by reference to the context and the probable By Leo Oehmler intention of the. composer, remembering always that The Preludes and Fugues in all Major and Mtm, the pedal effect of sustaining a tone, is less harsh than It is a wise plan to play compositions of a poly¬ Keys for the Well-tempered Clavichord are also oi phonic nature nearly every day. It matters little the plain Staccato, a short, detached tone. supreme importance. whether such compositions be classed as solos or studies, In two note phrases, as Nos. 17-18-19, But polyphonic playing, to be satisfying, den** as the main feature in either class is the fact that both High Lights in the Life of Liszt hands share quite equally in the thematic development some good scale and touch preparation. and all the fingers of both hands are kept busy. Thus It is well therefore to practice scales in various they become more individualized, much stronger and rhythms and with all of the known and used fingfI Intimate Word-Pictures of the Work of the Master Pianist more independent of each other. wrist and arm touches. Begin with the pressure toudi, The immortal works of Bach are an inexhaustible aiming at a perfect legato and a singing tone, as this’ mine of polyphonic treasures, and many of the great touch is the most important of all. (See also Portrait-Biography Supplementing this Article) virtuosi confess that they owe much of their technic As this primary touch is used chiefly in slow legato and musicianship to the constant study of Bach s playing, the scales, both major and minor, should firs; compositions; receive its clinging and caressing treatment. Then b; Liszt’s father was some time accountant for Prince gave me faith in my work, when no one knew anything sonally furnished and put in order the rooms he was Many teachers and students fight shy of Bach, to occupy. For many years after his death, his rooms suddenly relaxing all muscles a quicker tempo can bt Esterhazy, for whom Haydn had been Capellmeister. of me. But for him, perhaps you would not have had shielding themselves with the unwarranted plea that were kept just as he left them, and were open to vis¬ taken—still legato, but a more relaxed and speedy one. He was in a high degree musical himself, and had in a note from me today. It is my dear friend, Franz Bach is too difficult for most players, or that his com¬ early years wished to become a musician, but was Liszt.” itors. They contained his library, his pianos and many positions are too dry and uninteresting for this age. After this, finger staccato is applicable, followed log. deterred by the opposition of his family. So much Liszt was essentially of a deeply religious nature. interesting souvenirs. The walls of his private bed¬ This is a two-fold tale devoid of truth, for Bach, ically by the wrist staccato. room were hung with only religious pictures. the more his dreams and hopes were transferred to He speaks of the poor little church in his Hungarian who was a tremendously prolific composer, gave to the Next follow scale octaves, played with both wrist and Liszt was the first one who had the courage to give his eldest son, whose rare talent manifested itself early. home, “in which, as a child, I had prayed with, such world a most varied and interesting list of works, arm touches. a whole evening of piano music—in other words, a By adding thereto the practice of accenting groups ol “Thy destiny is fixed. Thou wilt realise that art ideal ardent devotion.” Even in his youth he thought he the hand drops upon the first key as in the bounding ranging from the profound and arduous to the.animated piano recital—without fearing to bore the audience. He two notes through two octaves; then three notes iMich fascinated my youth in vain. In thee will I grow was called to the Church, arid it was, only the earnest touches, the connection is Legato and the final note in and sparkling. Every grade in the student’s curriculum was also the first virtuoso to have the piano placed through three octaves; then four notes through fa young again and transmit myself," he often said to him. wish'of his parents that kept him to an artistic path. No. 17 is released with up-spring immediately, as in is represented. He even wrote some very charming sideways on the platform. Previous to his day, it was octaves, the student will have acquired some skill in «. Liszt, at six years old, heard his father practicing It- is not surprising, therefore, that in the latter part true staccato. In Nos. 18 and 19, the final note being two-voiced studies in dance form adaptable for young the custom for the player to have either his face or phasizing the most used rhythms and is ready to begin j Ries’ C Sharp Minor Concerto, and afterward sang the of his life, he composed sacred music almost exclu¬ the longer receives the accent and has duration equal students. else his back toward the audience. These are not only delightful little studies, but very actual work on polyphonic forms. themes.by himself. He begged that he might commence sively. to the notes’ length, the hand rising in up-spring at the Liszt had his fortune told by a Gypsy, when he was satisfying solos as well. Clean-cut phrasing, with a clear perception of jK I piano playing, and his father gave him lessons from Liszt determined if possible to become Capellmeister end of the notes’ duration with free wrist and ajrm but a small boy: “he was to return to his native vil¬ So a student, aiming to lay a solid technical founda¬ where to place the main stress in each phrase, is oi the I that day. When nine years old he played in public, to the Bope, and in 1861 he went to Rome and became action. But if written thus:— lage, rich, honored, and in a glass house (coach). This tion based upon polyphonic structure, could start out utmost importance. j with much ease and courage; in fact, he had a natural an abbe, as it was necessary that one to be in that all turned out true. with the 12 Little Preludes and Exercises for Beginners If the player has been taught to master every com j inclination toward public appearance, from the first. position should have taken “orders.” He found Rome Liszt invented the term Symphonic Poem to describe (a fine edition). .Then the 6 Little Preludes may position phrase by phrase, to lay the hand, as it wen. Liszt, when a boy, was much fascinated by the Gypsy less congenial musically than he had hoped. He felt a number of his works for grand orchestra, symphonic follow. Also the 20 Easy Piano Pieces and 6 Little right over the phrase and to lift it slightly at the mb musicians whom he heard in Hungary on frequent he could do better work back in northern Europe. in style, but not in the usual classic form of the sym¬ French Suites. of each phrase right where the singer would take occasions, and doubtless at that time stored his memory After his return, he wrote the oratorios Christus and phony. Most of them describe either the mood of breath, then he is already on the high road to intelligm; Follow this up with the Inventions, Fugues, Suites with many of their airs, which he used, years after, Saint Elisabeth, the Hungarian Grand Mass, and other some poem, tell a story in tones, or picture some poetic and other more difficult works of the great master. musical enunciation. the second note is played with true Staccato up-spring, in the Hungarian Rhapsodies. Especially he admired sacred .works. idea. Among the best known are The Preludes, Tasso, the tone is without duration, the accenting impulse as in a Gypsy fiddler named Bihary, whom he later heard Mazeppa; but there are twelve such works, all well Liszt, after his career as a virtuoso, had settled down No. 18, but with no delay of finger on the key. In very worth hearing. He also wrote two symphonies, Faust An Ideal for Piano Practice in Vienpa. at the little city of Weimar. He wrote to his friend rapid passages the difference in effect is scarcely ap¬ Liszt’s father took him to Prince Esterhazy to inter¬ and Dante. Berlioz, before that time: “The study of art is uni¬ preciable. In slow music these closely defined differ¬ est the prince in the boy’s career, if possible, but received Liszt’s name as a pianist was sufficient to fill a hall By T. C. Jeffers, Mus. Bac. versally less superficial here, the feeling is truer, the ences in touch process are of great importance in inter¬ only a small gift. Six other noblemen, however, gen¬ at .any place and at any time, but as a composer (other usages are better. The traditions of Mozart, Beethoven pretation. In rapid music, the finer lines of differ¬ Do you wish to become an artistic player? Then No! No! No! Don’t delude yourself. The time ii erously guaranteed a stipend to provide for the boy’s than of brilliant piano music) his recognition was slow and Weber are not lost. These three geniuses have entiation are often lost, especially in the shorter notes realize, once and for all, that the secret lies in that now; the test is at once; the great achievement is then, education for six years, and with this end in view, in arriving. It is said that lie and Wagner were to¬ taken deep root.” gether listening to a production of one of Wagner’s of rapid rotation. very passage before you. That very one. Do you un¬ right in front of you! I f you do not conquer it, yen the family moved to Vienna. Liszt is described by Miss Amy Fay, who was one operas, and that Wagner told him that he would pres¬ The more complete analyses of the Pedal and of derstand this? Thoroughly? A bidden but profound may be confident that the desired prize will always Liszt’s teacher in Vienna was Carl Czerny. He of Liszt’s pupils at Weimar, as “the most interesting ently hear a theme which was partly borrowed from Touch processes are not for this essay. My purpose truth lies concealed there, undler your very eyes. learned his lessons well, but not content with this, evade your grasp, always be a little beyond you, just and striking man imaginable, tall and slight, with deep- one of Liszt’s own compositions. Liszt smiled a little is served if in this analysis the facts regarding degrees The first thing is to imagine, as clearly as possible, used to .visit the music stores, buy the most difficult missed. To fall below a high ideal at each passage is pieces, and surprise people by playing them at sight. set eyes, shaggy eyebrows and iron-gray hair. His sadly, and replied that at least some one would hear of Staccato have been made plain, and the correct just how a great pianist would play that passage. Form the most artistic, finished, definite, and vivid ideal that to be eternally amateurish, everlastingly second-rate One of these pieces was the B Minor Concerto of hands are very narrow, with long and slender fingers, it, then! uses of the duplex (combined) symbols have been you can. Then set to work to realize your ideal, using Oh, for a clear flash of vision, to penetrate at a stroke HujnmeJ, which he afterward (December 18, 1822) which look as if they had twice as many joints as other Liszt wrote fifteen Hungarian Rhapsodies, six of clearly defined. the utmost care, concentration and perseverance. When to the secret of how to practise this passage,—only played at a concert where Beethoven was present. peoples’. Anything like the polish of his manners, I which he also arranged for orchestra. Of these fifteen, Though not entirely satisfactory as a musical term, your hand fails to achieve your purpose, observe care¬ this-one-little-passage! For all you have to do is to Beethoven recognized his genius, and congratulated him never saw. All Weimar adores him, and people say the numbers 2, 6 and 12 are among the most familiar I believe the word "Marcato” to be the best and most fully the finger-action until you discover the exact practice one thing at a time perfectly, and in a little with marked cordiality and affection. that women still go perfectly crazy over him. When pieces in the repertoire of concert pianists. readily understood term for the marked Legato effect, cause of your failure, and proceed to remedy the de¬ while all will be done, and well done. Liszt now moved to Paris, first giving concerts suc¬ he goes out, every one greets him as if he were a king.” Liszt wrote two concertos for piano and orchestra, the greatest defect in the use of this term being in fect by means of minute attention to detail. The gem engraver spends long hours in cutting and cessfully in Vienna, Munich and Stuttgart, but was Liszt enjoyed a pension from the Duke of Weimar, in E flat and in A, respectively. In the first one he the fact that it is used in many cases to indicate spe¬ It all lies there, so near you, and with such an im¬ polishing the most minute portion of his work. Tb disappointed at not being allowed to enter the Con¬ so that he was enabled to teach a few specially talented gave an unusually important part to that usually insig¬ cial emphasis of a tone, a group or a passage, regard¬ mediate demand. The crisis is now, this instant. The jewel of perfection is so passionately desired, so ar¬ servatory. His father, too, was much downcast, but pupils without accepting pay. Other pupils he would nificant little percussion-instrument known as the “tri¬ less of quality of tone or process of touch, but while decision as to your musical future is now, this mo¬ dently sought for, so supremely necessary, that no price had no need to be, as young Liszt, though but a boy not receive at any price. The Duchess of Weimar per- angle.” Hanslick, a rather sharp-tongued Vienna critic I always object to the' using of a musical term to ment, in front of you; under your hand. If you do not is too great to pay for its attainment. Each passage., in his ’teens, was already a finished artist, and soon cursed the work for a few years by dubbing it the express two facts, yet the original or simple meaning achieve your aim in this, rest : ssured that by just so became the popular idol of the day. Triangle Concerto, but it is now one of the stand¬ of the word Marcato is really carried into its use as then, should be like an intaglio cutting of a p«i much will you fail in the conquest of the greater diffi¬ studied and wrought over as if there were no other Liszt heard Paganini in Paris, in 1831, and his style bys of concert pianists. a Touch Variety, and the marked Legato is legitimately culty with which you will be confronted farther on. exerted a profound influence on him. He determined Liszt’s numerous Operatic Fantasias for the piano a “Marcato” touch. A concluding thought is that a object in the world save just that one brief extract. For your future technical powers will be just as far That is the way of the true artist—to produce a sin¬ to become the Paganini of the piano: to search out had their origin in his giving piano recitals in Italy, very serviceable touch results from the marcato action below the greater difficulty with which they will have and master new, strange and sensational effects. That where a more serious style of music failed to find (bounding touch) without the pedal. This, however, gle little bit of beauty, flawless and perfect, with u: to deal, as your present powers are beneath'the present regard to time or trouble or any further undertaking he became even‘greater, we now know. favor. They proved so popular that he was besieged is not the true “Marcato.” difficulty. And remember, no task is tedious if you work by the Liszt retained a most affectionate memory of his for them by publishers. Do you dream that, by practicing so much each day, minute, and banish from your mind the imaginag I birthplace, Raiding, in Hungary, and wrote a little Liszt frequently undertook to improvise on a given with a certain style of technic and with your usual nervous fret and burden of the work yet to come. 1 book upon Hungarian Gypsy music. In 1838 he made theme, as a feature of his recitals, and invited sugges¬ jog-trot mode of working, and after going through such Be happy now; do not wait for the good time com- I a visit to the old home, and falling in with some tions from the audience. On one occasion, in Italy, An Inexpensive Cure and such studies and pieces, that at some distant date tng. Only the present is yours; the past is gone, the Gypsies, spent several days visiting them, proving him¬ some one sent a paper up to him on the stage, contain¬ you will, in some mysterious, magical way, suddenly future is not yet, and may never be. Death and eter j self a most welcome and popular guest. ing, not a theme in musical notation, but the question, find yourself a good player? How can that be, when By Nef Niplag nity will come without your looking for them. Live 1 Liszt had sent to him from the Gypsies, a young “Is it better to marry or remain a bachelor?” Nothing each day you fall farther and farther below an artistic daunted, Liszt read the question aloud, and made a joyously and completely, moment by moment, day by boy named Josy, who showed great talent for the vio¬ tout ensemble? lin. Liszt wished to provide for his education, but the witty little speech, in which he told the questioner that Little Mildred, aged seven years, could not keep boy proved unruly, extravagant, and intractable, and whichever he did, he was sure to regret it. Curiously her place in reading music. Otherwise her work was Should Youth Restrict the Teacher? after a rather chequered career, was allowed to return enough, this is the very earliest example on record, of splendid. The cure cost one cent and was a small to his tribe. His relatives, however, in spite of the a recitalist making a speech to his audience. Later on. the custom became common enough, only remarks are box of color crayons, with which the four phrases in By Anna Marie Bell disappointing outcome, showed a sincere and lasting her short exercise were marked. She likes to speak gtatitude for Liszt’s generosity. supposed to be confined to elucidation of the program. of her phrases as “question and answer.” Children A YEAR ago, when the writer was sixteen years of Liszt and Wagner met in Paris in 1840, but were Liszt took a generous interest in rising young art¬ like colors; why not, once in a great while, make age, her teacher advised her to take a class of small , dim amcies on music, i not at first greatly prepossessed with each other. Nine ists of real genius, as for instance, Tansig (as pianist) augnt for a year with success, and have given things look different in music books? It surely makes children. She said I was capable, and had a talent years later, when Wagner heard Liszt conducting Tann- and Grieg (as composer). The young Brahms, how¬ our school-readers in first grade more interesting. ome recitals at which my work with my class haiiser, at Weimar, he was astonished at recognizing ever, was so unfortunate as to fall sound asleep while for teaching. I had taken a short course of Normal prised even my parents. his second self in Liszt’s rendering. “What I felt when Liszt was playing him one of Liszt’s own compositions Training under her, and she had confidence in me. ai?°UTld/ person’s musical ability be measure 1 wrote fhis music, he felt when he conducted it,” said —an act which he found it difficult to forgive! We all know that teaching music is a science as age. I do not believe so. I have always bel Wagner. From that date they were the warmest Liszt’s purse was, no one knows how often, open to well as an art, and that the ability to teach is a gift music to be a broader sphere than this. We re; friends. the needs of his friends. He helped Wagner repeatedly My teacher believed that to develop this gift was tnv the great masters giving public concerts at the Liszt’s good offices toward Wagner may best be with substantial sums, and when Robert Franz, the duty. I have studied for twelve years, both summer ot six, eight and nine years, and of Beethoven p! learned from the latter’s own words, spoken in the sum¬ great song-writer, grew deaf and infirm, he took the Try it and see your little pupils’ eyes beam and and'winter, and have assisted my friends quite fre¬ the cathedral organ at twelve vears. If one mer of 1876 after the first production of the Ring of lead in raising a sum of money which would provide see them smile. quently, over rough places in their musical studies proven ones self capable of teaching, such a the Niebelungen at Bayreuth. “Here is one who first LISZT AS A YOUNG MAN. for his comfort the remainder of his life. r as age should not limit the development. JANUARY mg Page H THE ETUDE before this he had felt a premonition of his approach- THE ETUDE Page 25 Liszt, besides his musical works, has some claim to Liszt passed away on July 31, 1886, after a brief ing end, and said, with sad humor, "They have sent January 1918 TEEPEE DANCE attention as a literary man. He wrote a book on Cho¬ illness, and he was buried in the cemetery at Bayreuth, me the boots for my long journey." pin, and another on the Gypsies, besides essays on although Weimar and Buda-Pesth each asserted a c aim Liszt liked to encourage sociability and good-fellow¬ CHARACTERISTIC Goethe, on Lohengrin and Tannhaiiser and on Robert to the body of the illustrious dead. Franz; also various articles for musical periodicals, ship among his congenial little circle of pupils in Wei- A fresh and original characteristic piece, bold and vigorous, and well worth playing. Grade IV. Liszt, during the last few months of his life, suf¬ both French and German. He was quite a cosmopoli¬ mar, but found it necessary to discourage firmly any W. D. ARMSTRONG fered from great general weakness, but no pain. The tan and linguist, but is said 'to have been, most at home attempt at extravagance or display. On hearing that when expressing himself in French. In Hungarian, last time that he ever left the house, was to hear a one of them was intending to provide refreshments for his native language, he was not specially adept. performance of Tristan and Isolde, where he sat with the others, on a certain occasion, he laid down the Liszt’s songs are among his most satisfactory com¬ his daughter, Mme. Wagner. It proved to be a fine positions, although less well-known than his piano performance, .and he took pleasure in remembering it. law, limiting him to two very simple dishes, but adding, pieces. The Loreley is one’of the most picturesque “for the Old Master, perhaps, just a little glass of and dramatic; Thou Art So Like a Flower, one of the Liszt touched the piano for the last time, at the house if convenient, this cold weather. sweetest. of his friends, Mr. and Mrs. Munkacsy. Some time

Some Neglected Classics Which Deserve Attention

By Constantin von Sternberg

young folks will make them think and feel. And as . “The boy stood on the burning deck” used to be to the pupil: that is, if the pupil has not heard it for more advanced students, the writer frankly con¬ hundreds of times before attempting to play it. as inevitable at the commencement exercises of boys’ fesses that of all the many students who ha\e applied schools, especially in smaller towns, as "Curfew shall Haydn and Mozart Sonatas for his tutelage not one knew the beautiful second \ not ring to-night” was in girls’ schools. If it is so no Novellette; not one had ever heard of the line Fantasy longer; if the juvenile elocutionists’ repertory has in Now, there are among the Sonatas of Haydn a large number that are, practically, unknown and yet emi¬ pieces, Op. Ill, not to speak of works like the Kreis- recent years been more varied, the credit is not improb¬ leriana and others of equal beauty and merit. ably due to the comic papers which by persistently nently suitable for young pupils on account of their And what about the Mazurkas by Chopin? What a joking about it have shamed the teachers into reading ' fine combination of technical simplicity, melodic charm treasure-trove of beauty is hidden away in that collec¬ a few other suitable poems. There is, of course, noth¬ and unfading freshness with the best of good humor. tion ! Yet, many of them arc technically rather simple. ing i the matter with those two poems; they are all Haydn. They do demand a certain technical "unconstrained¬ right, but the boys and girls reciting them began at ness”—it is the best word we have for the French length to look as if they were thinking, with Henry VIII, 5 flat term degage—which really can be supplied by a little "I grieve at what I speak and am right sorry to re¬ more than usual mechanical security, but they certainly peat it.” A condition, not quite as bad but not altogether dis¬ pay well for the trouble of learning them. similar, obtains in a good deal of our music instruction. Philipp Emanuel Bach Out of a thousand young music students there are probably but few whose acquaintance with Mozart did Speaking of Chopin, one is at once reminded of a not begin and end with the little Sonata in C major Chopin of an earlier century, namely Philipp Emanuel and, possibly, the D minor Fantasy. Of Beethoven 1 I No.' 7 in D Bach, the son of Master John Sebastian. Ph. Em. they know only the everlasting Moonlight Sonata— “ ' o. 9 in D Bach (1714-1788) has written six charming Sonatas the least interesting of his Sonatas—and possibly the Mozart. which are never used by the majority of piano teachers. o. 2 in C Pathetique or the Variation movement of Op. '26. He was really the first to break completely with his Chopin shares a similar fate; his Valse in D flat, the great father’s contrapuntal style. He may have thought E flat Nocturne and the A major Polonaise are the that in that style his father has said the last word or never-changing repertory of every boarding school that his father’s works would eclipse his own, if it 1 in F were of the same style; at any rate he wrote in a style Miss, who knows of Schumann only—and of course— a. it; the Traiimerei. (.No. 13 in D totally different from that which we usually associate This is very deplorable; the more so as it is to be The numbers refer to Peters’ Edition; with the revered name of Bach. Philipp Emanuel’s hoped that the repertory is not selected by the pupils Edition, the Mozart Sonatas referred tt style prefigures very plainly the melodic charm of but by their teachers, who must be blessed with such under the following numbers:— Mozart (born 50 years later) and the elegance of cast-iron nerves as will not rebel at the incessant listen¬ 3 in C Chopin who followed him a whole century later. For ing to the same pieces. “Would that the gifties gi’ 13 in D 10 in B flat the development of style in piano playing his Sonatas us” the power to stop for a whole generation the sale 4 in F are unsurpassed; in this particular they rank with of those pieces. This is not said to disparage their ivo. 11 in C No. 9 in A those by Mozart and are—in certain ways—perhaps still . beauty, which is uncontested, but because every pupil more instructive pianistically because Ph. Em. Bach that learns to play them has invariably heard them indulges far less in plain scales and arpeggios. His many times before and unconsciously plays them just running passages are nearly always built of thematic as he heard them played; in the same hackneyed, im¬ Of Mqzart’s Sonatas there are at least six that are material. Both teachers and pupils who accepted the perfect manner. Owing to this preceding familiarity unjustly neglected and three that are but too seldom writer’s advice to study these Sonatas, have been sur¬ the pupil needs to read the notes only; he has no chance heard. As for the benefits to be derived from a study prised at and enthusiastic over the great beauty oi to exercise his mind in trying to find out what the of Mozart it is safe to say that whenever Chopin is them. piece is about; unable to disabuse his mind from the played poorly the defects are easily traceable to a lack Why have we not yet an American edition of them? impressions received through previous hearing, he is of Mozart study. For refinement of touch, clarity of deprived of the opportunity to form his own ideas of technic,: for giving every note in a melody its proper the pieces. due in tone and touch in relation to the entire phrase, The neglecting of so many works, of high beauty there is no study as profitable as a Sonata by Mozart— and merit is mostly due to the circumstance that for Importance of Forming the Pupil’s Early Conceptions with the sole exception of one by Philipp Emanuel some reason or other we fail to look upon a great 1 Yet, the forming of conceptions ought to constitute Bach, of whom we shall speak later. composer in the same light as we regard a great author a vital part of music study. The pupil’s conceptions or poet. Anyone that knows Shakespeare or Dickens should furnish the teacher with material for aesthetic Explore Further in Beethoven ias surely not confined his reading to some one par- discussion. He should show (not merely tell) the Turning t6 Beethoven, it would be interesting to tf “D- T°rk, by thcsc writers. One does not know pupil where he erred in his idea, should praise and canvass the music students—and their teachers—to find ♦ corroborate him where he was right and he should In P'f.kw,fk PaPers” or the “Christmas Carol”- °nt °f sage, resthetically conditioned and necessary. These Why art the many charming short pieces by Schu¬ qualities are well calculated to act as a fine mental mann not played? Op. 68, 99 and 124 contain a large krmw !!T,d "0t at,emPt to teach Mozart until we and psychical stimulus upon a young mind and will number and variety of pieces for young people; pieces this a^r, t,h‘S ,Tuthat So-ta. but—“Mozart." And- not fail to act thus if the piece in hand is really new which despite their small mechanical demands upon the them first, then teaJh Them. maSt'r COn,POSerS Page. 27 JANUARY 1918 THE ETUDE ■JANUARY i<)18 JANUARY 1918 THE ETUDE Page 29 Pagb 28 THE ETUDE EROS ADOLPH FOERSTER,Op.27,N0.i MELODY An expressive love song by a wen Known American composer and teacher Grade • Con moto, appassionato ^ -

Copyright 1890 by A.M.Foerster T*

JANUARY i9i8 THE ETUDE Page 31 Page 30 THE ETUDE JANUARY 1918 SIGHT SEEING e.fiSHe, SIGHT SEEING E. FISHER GALOP te of speed, well marked Grade IlPj GALOP PRIMO A brilliant galop, originally written for four hands. For the best effect play at a bris Vivo M. M. J = 144

1 \ A A A M. i. q i(“2 MMM J 11, lit

J

"4- n't li-

Wi f frf It

9 V W

— — J-] ][ ■/J"

— 0 #

g g-,- g . g., .. g— —g S~ £ i * Pa

—

F?-H ? J==rg: an ~ 9~ + 1 v w A Copyright 1917 by Theo. Presser Co. JANUARY Mis JANUARY 1918 M THE ETUDE Page 33 Page 32 THE ETUDE SECONDO * 5 , i a k .,srz ♦ N P h f b. m

p J — r * p r

>

8>.mmrrm' > t ^1^ ^ ^ p^ p\ f'N

-a? tolto 'rmm h—r-h—— it ¥— f r p r~-*toU’v ■lEjyrA UJ LJ i ppi*

f- dolcii s. sfT iv-.r “1- ■ 1 1-^ ipi 4 tor ito^ bn i ^ ^ ' 5 a5 58 i* ? <9" ^ k. k. n> J> J> r^4i !ff-l ,J) j) J> .iCTUa^^, Pp^ ,/■ • tto ijr ijyj- ? totol F^Ie "Yl ■ to ! life tea toN ■n n' v: tog r.? ? • ‘I- j— -P-^— ¥-4— w- > to- to-

$. > , > > > *; ^ rnf /[# frf f to 1 tT * ■■ / ~bM?——7— • i / 1 Hl 1 ill Tt : 1p iii --P rr—* 1 • =r to \?fr» JJ M- h» n y= - r „hgf--st f» pg p> 1-j. ■» y— - ir • ? '« « " 1 1 bJ L-L I/1 Ef | A*. • • • > to gg#. ~■ ■ -—-p ^ ^ ^

) t/ . . . > is > to tt$l j jy cresc. : f: i i if-

s.. * v> > ^ ^ j > | > > > p jr.-f-p Prr: f p, -11— r > ■ > > ’ 1—f— > > > =*=-])- r.: rn * Hi ■ e: ,rr r torr-r in~ # toli •■■■I to to to -IF f 1 f-- THE ETUDE Page 35 JANUARY 1918 JANUARY 1918 Page 34 THE ETUDE MORNING REVERIE^^m pZIMMERMANl( A tuneful and playable drawing room piece, with well-contrasted themes. A g

Moderato m.m.J.= 54

MAY MORNING SCHERZO An excellent teaching or recital piece, by a successful writer. Grade III. H. ALEXANDER MATTHEWS Allegretto m m,J = 144

t 1 ’ i" r fi T-T=E=| i t-U J 1 mm hn-rii irrtrHi r g mt .frii FFrd=j^i

Ji * a 4 , 4 i mtr "Pi+mmm P i- ff \f -prPrrr U.„B= iTTrrrT'UL,„LJ 1 ±= r-tf- -f ■■ T.= L-t-«—5- near— 1 34345 4 * 3 4 5 4 2 Lev : marcalo .2 'A*2 . . 5 mmr-v- ;f-tf #FF«

r 7^#- > J > J - f- - r| 1 -3.*

^.-J3 j | fl-fcua [• l - Tt|U ifeFFf —t— ***fcUJ - 9 l-r-rrr-j-LUL- 0* T * ~ ^. iml

Copyright 1917 by Theo. Presser Co. Copyright 1917 by Theo. Presser Co. British Copyright secured British Copyright

k JANUARY 1918 THE ETUDE JANUARY 1918 Page 36 THE ETUDE Arr. by W. M. Felton LOIN DU BAL A clever and brillant modern transcription. A much admired French drawing-room piece, newly arranged for concert or recital use. Grade V. FELTON-GILLET

i HIP 4#- Page 38 THE ETUDE JANUARY 1918 THE CHARMER AIR DE BALLET L.J. OSCAR FONTAINE, Op.l45,No.l Brilliant and melodious .affording interesting study in touch and rhythm. Grade IV. Moderato M.M.J=72

Ih. * /A. S57a

4^-v 4 5

(d »|T till fj 1^1 nil r d d d d^\--- r r r-N^= jS-*^p lag -c—tJtlLr

f££ffof= Iferf rfr M=.

I »i |T mm

b*sai m^\ ?,f m

at&npo JANUARY 1918 Page 40 THE ETUDE CAPTIVATION

British Copyright secured theetude Page 43 Page 42 THE ETUDE JANUARY 1918 JAMJBY 1918 THE SPARROWS PARADE OYER JORDAN MARCH i HANS SCHICK A MAMMY SONG HORACE CLARK A lively little military march, useful alike for marching purposes, for teaching or recital. Grade II £ Tempo di Marcia m.m. J= 120 2 a 3 a 1 3 1^5 4 3 2 1^;—3 i

British Copyright secured Page 44 THE ETUDE JANUARY 1918 THE ETUDE_ Page 45 JANUARY 1918 v 0 / BY THE WEEPING WATERS Jy THURLOW LIEURANCE There is Tin old Indian legend concerning the weeping waters in Min¬ tom for years to go there and mourn with the waters. The squaws nesota. Years ago Indians from the North drove a party of Sioux warri - would plant the wild roses on the banks below in memoriam. The ors across the river above the falls and killed all before they couldreach composition is mostly characteristic with the exception of two frag¬ the opposite shore. They say that the water was red with blood and that mentary melodies introduced at the beginning and endingof thecom- when it floated over the falls, the waters began to moan. It was a cus- positlon- T Andante conmoto Moderato - 3/iJ

LITTLE BROTHER Mr. Frank H.Grey is an American composer and conductor whose recent songs have met with much favor. Little Brother is a home song or encore song of much merit, an expressive setting of an appealing text.

tie bw-ther: _ Mas-ter of all in the mak-ing of noise- Lit - - tie bro-tiler: tie bro-ther;_TUr Try-ingoursoulswithhis mis-chievous-mirth- Lit. - - tie orop^ner. j

CuQ.ningaiidart-ful, yet gS.'?1 2 jSjSJiSL "topu-deni ‘

* * F°* 3,™rrteet effect trT «nd divide ^e halftone into quarter tones, producing a wail Copyright 191b by Theo.Presser Cc.

British Copyright secured Copyright 1917 by TheTPresser^o. ALSO PUBLISHED FOR LOW VOICE 'British Copy riel JANUARY 1918 Page 46 THE ETUDE

(Swell vox Humana 8' Regis.jciioir Clarinet 8' GAVOTTE in A ' Ped. Burdon 4LieblichGedact 16r 4 8' from “IPHIGENIA in AULIS” Transcribed for Organ by C.W. GLUCK-JOH. BRAHMS Leonard Adams _ , , A fine transcription of a well-known classic. This number lends itself very favorablv to organ arrangement. Good for recital use. Tempo di Gavotte m.m. = 84

■LLIj ___ P ^.

Ch. J V —.

1*2, i rT-

iCh.Celesta! J| only || * J

espressivo •U — F^rr nnr ]Tt^ J- 0, r-N . |n Ch.Soft String or Dulciana. It - Ch.Celesta o ff-lClar. 8'oii. rlolce. P Transcription by Richard Ferber MAZURKA r-fJMPti' " IT » " i One of Moszowski’s best known piano pieces effectively transcribed for Violin. Graceful and easy to play.

ir'».fr pas

. Li 1 .i —vJJ

'Nor ;C \ y^Cbpyright ght 4917 by Theo.Presser Co. THE ETUDE Page 1,9 >• JANUARY 1918 Music and the Movies

By Frederick W. Burry

It is gratifying to note the advance in showed the management willing to go to quality as well as quantity of music in lavish expense to provide musical attrac¬ the moving-picture theaters. tions. As it is, this theatre • supports an Thousands of these popular temples of excellent orchestra. entertainment make a feature of music— Organ recitals are also now a feature. Tfltra-Qaality PlANOSj and good music, too. Many of the regu¬ All these musical innovations will tend lar patrons go solely for the music, and to elevate the taste of the public. You while at times the exciting scenes on the will find the pictures become more Player Pianos! screen may be somewhat distracting to worthy, healthy and sane; a true source Bring into your home the noblest, one who came to hear rather than to of culture and upliftment, as well as of most enjoyable of all musical see, on the whole a better tone is observ¬ wholesome recreation. Music will be instruments, a GRAND piano. able nowadays in the pictures themselves. one chief agent in such a desirable evo¬ Nothing else will give you so Besides, it is always in one’s power to lution. much permanent satisfaction. close the eyes, if preferred. Cacophony (ill-sounding discord) plays Only the cheap and vulgar variety of quite an important part in illustrating houses make a specialty of rag-time, or certain stirring incidents on the picture- what is commonly but unjustly called stage. Bizarre instruments and effects “popular” music. The rude and rowdy are often employed, without which the tunes are not as popular as they used to picture itself would be tame. Operas are be: perhaps the people are developing given without words, and one scarcely more taste. One notices, too, that popu¬ misses the latter. The picture-drama is lar music is developing a quasi-classical of a different kind altogether from the quality. Even the least musical person spoken drama; it displaces nothing; it is appreciates and enjoys good music, if it a new field of expression and art. It is is rendered well, and classical music is constantly bettering itself. To what won¬ simply that which the concensus of opin¬ derful heights of artistic portrayal it is ion. for a number of yeafs has agreed on destined to rise, it is impossible, to as being good music. foretell. It is reported on good authority that The significant role that music has in a certain picture-theatre in Toronto of¬ the picture-drama makes each play of fered $1,200 for a week’s engagement, the nature of an operatic performance. to one of the noted concert jpianists. This is unconsciously one reason for the While the deal was not consummated, it popularity of the new photo-art.

Avoid the Pitfalls

By Laura Remick Copp

For the pianist who plays pretty well, the right hand chord has the notes F and but still lacks really thorough training, A, it is in the highest degree improbable _ , —■■■« —— A mcrica sLeading there are several common pitfalls which that the left hand chord could be C, E, Only , Lyric Soprano it is particularly desirable to avoid. One G, C, although it might be C, F, A, C. .long pitfall into which this type of pianist But when all is said and done, the prob¬ often stumbles is the filling-in of open ability is that if the composer wrote a Write jot booklet and papa pattern showing floor space covered octaves or chords with false harmonies, bare octave,. C—C, he knew what he was KRANICH 6? BACH 235 East 23d Street, New York City that is, chords which should not be used about. in the particular place. He does not For one whose ear is not very keen, or realize that the filling-in possibilities of who is inclined toward carelessness, there different chord-combinations within the is a wide field to play about in unmusi¬ compass of an octave are numerous, in fact, almost infinite. The possibilities of cally', if the player takes upon himself error are so great, and there is so little the responsibility of adding to the notes Tindale Music Cabinets real necessity of doing it at all, that it is written. Be accurate in reading; see what safer to keep to the notes actually writ¬ the inside notes of a chord really are, One of these Cabinets will give you a life-long satis¬ ten, but if one must do it, he should at before you play them. Avoid this one faction and pleasure. It will keep your sheet music least look to see what notes will chord pitfall, and it will help you acquire skill nicely in order; it will protect it from damage, and will with those in the other hand. Thus, if to avoid many others. keep it where you can find every piece. It will be a lasting ornament in your home, and we have 20 styles for you to select from. Write for Catalog I and state about Plays 5,595 Notes Within Four Minutes how many pieces you have. Tindale Cabinet Co., 8 E. 34th St., Ditson Bldg., New York By C. A. S.

Quite recently, when a well-known certain time and with a certain duration. IRGIL Piano Pieces ^ Studies (150) pianist was playing a Presto by Mendels¬ Therefore, there were four distinct qual¬ Merit the attention of all teachers. sohn one of the bystanders in a scientific ities in each of the seventy-two move¬ spirit set himself to counting the notes ments in each second. Grades 1 to 6. Graded catalog. Your dealer or and the time occupied. The pianist played Such were the transmissions outward. v▼ TiThe Virgil P. S. Co., 11 W. 68th St., New York 5,595 notes in four minutes and three And all those were conditional on con¬ seconds. sciousness of the position of each hand Every one of these notes involved cer¬ and each finger before it was moved and, HAVE YOU EVER BEEN IN A RUT AND HAD NO IDEA HOW TO tain movements of a finger—at least two while moving it, the sound of each note —and many notes involved an additional and the force of each touch. Therefore, GET OUT ? A GROUP OF THE MOST SUCCESSFUL AMER¬ movement laterally as well as those up there were three conscious sensations for ICAN MUSICIANS HAVE TOLD THE ETUDE HOW THEY and down. They also involved repeated each note. There were seventy-two trans¬ GOT OUT AND THEIR REPLIES WILL BE PRINTED IN THE movements of the wrists, elbows and arms, altogether probably not less than missions per second, 144 to and fro, and ETUDE VERY SHORTLY. DON’T MISS THIS FEATURE. one movement for each note, therefore, those with constant change of quality. there were three distinct movements for Then, added to that, all the time the each note. mind was remembering each note in its As there were twenty-four notes per due time and place, and was exercised ZaVisi^i^ Bisotiikkn in the comparison of it with others that second, and each of those notes involved MUSIC PRINTERS and ENGRAVERS three distinct musical movements, that came before. So,, according to this, there R ITEMIZED PRICE LIST AND SAMPLE! amounted to seventy-two movements in were 200 transmissions of nerve force each second. Moreover, each of these to and from the brain outward and in¬ notes was determined by the will to a ward during every second of the rendi¬ COLUMBIA AVE. AND RANDOLPH ST. chosen place, with a certain force, at a tion.—From Musical America. Please mention THE ETUDE when addressing our advertisers. THE ETUDE Page'51 JANUARY 1918 JANUARY 1918 Page 50 THE ETUDE every opera, there may be moments even The fact is that there is something defi¬ iiiif>»iip|iBiC;iiiinp'f in single sings, when for some definite nitely physical about the creative impulse. v dramatic purpose the voice is deliberately The musician who habitually expresses _ made to retire into a subordinate position. himself physically at the pianoforte feels But such moments are exceptional, and it in his fingers, and he cannot realize, derive their dramatic value from that very except by an effort of imagination, that fact. The musician of to-day is in most the singer feels an equal,perhaps a greater Department for Voice and Vocal Teachers cases so completely wedded to the piano¬ physical impulse, but in a different part of forte that he can hardly conceive what it his body. It is an impulse which one can Edited by Well-Known Specialists means that the voice should bear the main understand only by personal experience intellectual and emotional burden of the of it; and for this reason no musician ‘The Human Voice is Rtally the Foundation of All Mu sic. RICHARD WAGNERg musical thought expressed in a song. “I of any kind ought to go through life IVERS & POND L j can’t sing,” says the composer, in per¬ without doing some sort of work at sing¬ fectly sincere modesty, “but I’ll play it to ing, even if it be only in the back row of The Alleged Stupidity of Singers you and put in the voice part when I can a choral society. _I expect you’ll get the hang of it.” I For it must always be borne in mind PIANOS f Edward J. Dent want to meet the composer who will say that singing is the foundation of all music. It is surely obvious that this power of to me, “I can’t play, but I’ll sing it to you The voice is the oldest of all instruments, The stupidity of singers is proverbial, the ribald reader should scoff at me for of a singer but of a first-rate violinist. judgment will be greatly strengthened by and put in a chord or two where I can.” and it is the. most beautiful and the most and has been proverbial for so long that using such edifying language, let me There are plenty of singers who sing in the careful study of both music and poetry After all, Bach wrote no accompaniment expressive. Wind instruments and bowed hasten to explain that I have no patience tune, generally speaking, and plenty of one is almost tempted to say that it has as separate arts. For the present I must to the Chaconne, but one gets the hang of strings are in origin only feeble imita¬ been proverbial from time immemorial. with the “cavernous contraltos,” as Mr. violinists who play out of tune; but com¬ paring the good average type of each, it leave poetry out of the question alto¬ it all the same. tions of it; and the clavier and pianoforte No doubt in all periods there have been Plunket Greene so delightfully calls them, must surely be admitted by everyone that gether. It is with a view to training the I admit frankly that I am stating ex¬ little more than mechanical devices for a number of singers who were stupid; who, being too lazy to face the hard work the violinist’s standard of intonation, and purely musical understanding that 1 urge treme cases, in order to draw attention to faintly recalling to the hearer’s memory but I am inclined to think that stupidity of the operatic stage, ascribe virtue unto of phrasing too, is not merely higher than singers to try the experiment of singing, the fundamental principles involved. What the bare outline of what he once heard has not been considered typical of singers themselves for never singing anything the singer’s—it is a different thing alto¬ by way of studies, any instrumental classics happens in practice is very often some¬ sung. The whole of musical history as a class-for more than about two hun¬ beyond “O rest in the Lord” and its, de¬ that are within the range of their voices, thing like this : The composer starts with shows us that singing is and always has dred years. If this is the case, we may scendants. But I must not waste time gether. Teachers of singing will say that I am such as sonatas and other pieces for vio¬ a really vocal idea. He is determined that been the most important factor in the art possibly connect the fact with another over discoursing of the spiritual degrada¬ leaving out of account a very essential lin, clarinet, or violoncello. The passages he will not be one of the herd who have of music. It is, one might say, music phenomenon of musical history, namely, tion brought by the semi-religious'type of factor—the words. I do so of set pur¬ selected may probably be only incomplete no sympathy with singers. If he does not itself. For the essential of music is the the rise of the great violin schools, and, a sentimental song, the unfailing power of pose, for I want to turn the singer’s seri¬ fragments; but they should be studied sing himself, he has friends who do. lie continuity of the expressive impulse, mani¬ little later, the development of pianoforte which to ruelt the great heart of the pub¬ ous attention, and the composer’s too, to with the idea of reproducing, and if pos¬ has a real gift of melody, and if he thinks fested in sound, ordered in various grada¬ music. Corelli, as is well known, mod¬ lic may be observed in a single visit to sible surpassing, the best interpretations tions of pitch and rhythm; the line of elled his style on the singers of his day. almost any music-hall. The essential point the idea of singing as a thing by itself, of himself as accompanist, he will at least independent of words. And by singing of instrumental soloists. melody, as it has been called, or the total It is perhaps not quite so well known that on which I am insisting is that since the subordinate himself to the singer. But as complex of a number of interacting lines, Corelli's sonatas, beautiful as they are, human voice at its best is the most won¬ without words I do not mean merely the the song progresses to its climax, inspira¬ Wordless Music such as we call counterpoint or polyphony; are a long way behind the solo cantatas derful of all instruments, and even at its practicing of exercises to obtain flexi¬ tion overpowers him. He becomes ex¬ There are, it is needless to say. plenty and our natural, direct and personal ex¬ of his friend Alessandro Scarlatti both in worst the most humanly expressive, it bility, important as they are, nor the prac¬ cited, lets himself go at the keyboard, and of examples of wordless music in the perience of this melodic line is the mus¬ poetic feeling and in the technique of com¬ ought to be a point of honor with all ticing of such things as Concone’s studies forgets the singer altogether just at the vocal music of the great composers, from cular pressure exerted on our lungs as position. But Scarlatti was practically the singers to regard it as the singer’s duty —for this reason, that they are designed very moment when he' ought most of all the roulades of Bach and Handel to the we sing. Not all of us can be composers, last great writer to express himself in the par excellence to aim at the highest of all as studies, and designed as studies in to remember him. And the unfortunate IVagataweias and Hojotohos of the but the physical effort of singing is the form of the vocal sonata, if I may be per¬ standards in the intellectual interpretation vocal technique. It is one of the great singer, who is getting ready for his Ring. But the study of purely instru¬ most intimate and immediate means by mitted this contradiction in terms, and of music. defects of musical education at the present greatest effort of expression, suddenly mental extracts will give the singer a which we can understand something of since his day that particular intellectual We certainly have amongst us a few day that it perpetually emphasizes the finds himself suffocated, drowned, cut off, wider sense pf style; and even in the the creative impulse and be partakers of Player Piano de Luxe attitude which finds its best expression in singers who have done their best to fol¬ difference between, vocal and instrumental let down, and disappointed. “I like your coloratura of the 18th century there is al¬ it. It is in singing that the word is made what is called chamber music has turned low out an ideal of this kind. But I technique, and it may be added that it songs,” he says, “but somehow 1 never can ways a danger of literary distractions flesh.—From the London Musical Times. UR vtnsurpassed experience as manufacturers of to instruments rather than to voices for sometimes think that they have not rightly further over-emphasizes the difference make them come off.” O making themselves felt. There is a curi¬ its interpretation. understood their vocation. From sheer between the technique of the various in¬ high-class uprights gives the Ivers & Pond high-mindedness, I believe, they have been struments. This was pointed out some ous but deep-rooted conviction in the Player a notable advantage; for in artistic as it were almost ashamed of being sing¬ years ago by Ferruccio Busoni in one of minds of many musical people that there More Quantity Laying the Blame effect no player can rise above the capability of the ers, in view of trie stupidity generally his most suggestive essays. The result, is something naughty about semiquavers By G. de Martini The reason for this change is, obviously, ascribed to their profession, and have as he shows, is that instead of the instru¬ in vocal music—something “not quite upright piano composing it. the increasing stupidity of the singers. But made the fnusical side of their art sub¬ ments being the servants of the composer, nice.” And so singers of Handel’s florid How can the voice be made larger, have said so much about bringing the The Ivers & Pond Player offers dependable qual¬ why should the singers have become stupid ? ordinate to its literary aspect. And they the composer is the servant of thg instru¬ oratorio songs, and still more those sing¬ bigger? How can 1 get more quantity ' voice forward and focusing it around the There is rib reason to suppose that the have been associated with composers who ments. What he says of the instruments ers who specialize on Bach, will either How can my tones become stronger? teeth, that the pupil’s attention has been ity. It marks the last word in mechanical development, directed away from the larger resonating singers became less capable of understand¬ from the same motive tended to express applies equally to nature’s instrument, the try to pretend that the semiquavers are What singing teacher has not had these refinement of expression and ease and simplicity of cavities over the roof of the mouth and ing. What the change really means is that in their songs not so much the emotion voice: “You must learn to write vocal¬ not coloratura at all,—genuflecting, so to questions put to him time and again. at the back of the throat. One of the operation. musicians and audiences gradually became experienced by the poet whose words they ly,” says the teacher to the student; in speak, on every separate note,—or else What can he answer? In almost every content with a progressively lower stan¬ case the remedy is different. As a rule best cures for this is, to my mind, to be set as their admiration for his achieve¬ otper words, “you must never expect they will apologize for the unavoidable In finger playing the trained musician finds the dard of intelligence from those who were ment. They were in fact following the the questions are asked by pupils who found in the exercises recommended by singers ; to sing any sort of phrase to wickedness of them by exhibiting an ex¬ Evan Williams in his remarkable inter¬ possessed of good voices. The high de¬ tradition of Henry Lawes, and no doubt have no business to consider quantity, characteristic Ivers & Pond tone and touch, in no which they are not thoroughly well ac¬ aggerated virtue in their delivery of the view in The Etude for September, 1917. velopment of fine singing in the 17th the English singers of Lawes’s day inter¬ as their quality and general method of wise impaired. Yet the player makes the instrument customed, because they ate so stupid that quavers, the crotchets, and the minims. Those exercises, if properly taken, will century had made singing so popular that preted him in much the same style. It emitting the tone is bad. they can never learn anything new.” Let us turn back to the composition not merely bring about a better quantity available for general use and when intelligently directed the demand for singers increased to an Every one who knows anything about is in fact a very noticeable characteristic teacher and his pupil, for they, too, have but also a much better quality. offers valuable educational possibilities. extent which inevitably lowered the stan¬ of the curious English attitude to music singing knows that vocal power is by no Poetry and Music their share of responsibility in the matter. means dependent entirely upon physical Lack of quantity may, in many in¬ dard of quality in the singer’s art. The that we tend to think of it as a thing The teacher is not wholly in the wrong size or physical strength. Every one has stances, be due to lack of breath con¬ Whether you are interested in player-pianos, grands, blame is to be laid not so much on the brought to us from outside, or trans¬ The advantage to be gained from sing¬ when he tells the student that he must seen diminutive singers with compara¬ trol. Most singers use entirely too much or uprights, we want you to know the Ivers & Pond singers as on those who listened to them mitted through us as a medium, instead ing without words is that it concentrates learn to write vocally, for the student tively weak physiques who have voices breath, and the result is that the voice and on those who made a living by of as a thing created by us within our —the choice of over 4S0 Musical and Educational the singer’s mind on the purely musical has in all probability committed the error five or six times as loud as those of the has not a ringing, reverberating, carrying writing for. them. It has often been a own selves. Institutions and 65,000 discriminating homes. aspect of his art, and removes all literary not of treating the voice as if it were a vocalist who is literally a giant. An ordi¬ quality but a stuffy, shut in, muffled qual¬ subject of bitter complaint that the re¬ The time has in fact come—indeed, it distractions. A singer singing words is violin or a clarinet, but of conceiving his nary tom-cat can make more noise than ity. Think it over. Perhaps you have muneration of the composer was, and may be said to have come a generation twice the vocal quantity that you imagine A helpful catalogue arid letter with, valuable in¬ doing not one thing, but two; he is speak¬ whole song from the standpoint of a a rhinoceros. Size has very little to do still is, negligible as compared with that ago or more—when singers ought to re¬ you have, and do not know it. ing as well as singing. Not only is he pianist. To every composer who asked with it. But at the same time the vocal formation sent on request to any intending buyer. of the singer. Here again we must lay verse the process of Corelli and go to Vocal quantity depends also upon the doing two seperate physical things, but for criticism- on a song. I would put this teacher knows that all of his pupils should Where we have no dealer we ship direct from factory the blame riot on the singers as a class the violinists for a few lessons. Some be advised to place themselves in as fine health of the throat, and the health of he is doing two separate intellectual question: “When you were composing but op the general moral outlook of the years ago I listened to a lecture on Indian physical condition as possible, as the the throat depends very largely upon the on convenient “little payment” terms. Liberal allow¬ things': he is interpreting poetry and in¬ that song did you feel yourself to be the world which would have us value every¬ music given by Mrs. Mann, who, it need terpreting music. Now if the poetry and strain of singing is one that only the health of the alimentary canal. Most ance for old pianos in exchange. Write us to-day. singer or the accompanist ?” 1 venture to colds begin in the stomach and come thing in terms of money. It is in a cer¬ hardly be said, was in earlier years a the music are both of a high order, the singer can realize. suggest that a large majority of compos¬ from over-eating, or consuming irritating tain sense - perfectly reasonable that a child violinist of very exceptional purity singer will find that it is a serious task to Apparently, throat conformation has ers—I need hardly say that I speak only foods and drinks. I know a man with great singer should be paid a thousand and dignity of Style—Maud MacCarthy. interpret either of them even singly and much to do with quantity as anything pounds a note, or whatever the rate may She sang illustrations of Indian music and of serious composers, not of those who else. Some people are born with throats a throat so delicate that a single bottle separately. And when they are put to¬ of claret will upset him for a week. He be, because a beautiful voice is undoubt¬ its minute intervals in a voice that had turn out music as a commercial specula¬ that seem to be acoustically adapted for Ivers & Pond Piano Co. gether there is superadded a new diffi¬ has to avoid all condiments, particularly edly the most glorious instrument of no pretension to strength, but was under tion—would after careful heart-searching singing. They may not, it is true, be culty; for even in the greatest master¬ dishes with paprika and mustard. Ordi¬ music that exists. the most perfect control. Of her Indian admit that they conceived of themselves using all of the resonating cavity avail¬ 141 BOYLSTON ST. BOSTON, MASS. pieces of song there are inevitably mo¬ narily he has a strong voice but the What singers ought to realise is that a singing I am not coriipetent to judge. But as seated at the pianoforte. And in that able and it is the mission of the singing ments when the two means of expression moment he irritates his throat his vocal beautiful voice is not to be regarded case their songs are not songs at all. hut teacher to take such a pupil in hand and to illustrate some minor point she sang a do not coincide exactly, and the inter¬ power seems to go instantly. Throat simply as a commercial speculation, but few bars from a violin sonata of Bee¬ pianoforte pieces with a recitation going explain how physiological obstructions preter is therefore obliged to make a to good phonation may be removed by hygiene is one of the most important as a precious thing held in trust for the thoven, and it was a lesson to any singer, on simultaneously. Experiments of this series of compromises involving not only understanding the problem and practicing steps in the singer’s career. Unfortu¬ benefit of humanity, a great gift that in¬ fpr this reason—that her standards of nature have been made at various times- technical skill but a very subtle aesthetic suitable exercises. As a rule, one may nately many singers neglect it until it is volves great responsibilities. And lest and they have produced beautiful and intonation and phrasing were not those judgment, both of literature and of music. too late. poetical results. There are moments if find that singing teachers in the past may Please mention THE ETUDE when addressing our advertisers. THE ETUDE Page 58 JANUARY 1918 ■JANUARY 1918 Page 52 TEE ETUDE

The World of Music Requisites for {Continued from page 5.) THE Music Teacher ing vocalist with a range of one note or children and then disappears as they grow possibly two. iys said that a famous older. ^ This is attributed by^some physi- NAIAD Not a System SHIS! t they were all the a DRESS SHIELDS —not a Method “"‘SS “ - - - *“ 0= wwsw rpHERE’S the beauty of Melody

is coupled with a strong ambition to be means of persistent effort but the great a singer. It is quite pathetic to see some question is whether this is really worth you and your pupil.

n,e C. E. Codot«r Co.. 101 Fr.nklin St.,N.Y.Cil, of ticket They make them look forward to their lesson and change practice into play.

The writer recently saw a young man

tone sit, at. .a piano and sing through an who was on the boards for years in entire book of songs with much evident America, but who was so deaf that he £ YOU ? hadlt rnonths°ago. delight and rarely getting more than one could hardly hear a word spoken to him. of two notes away from.the original Yet he could hear music and his vocal E SUCCESSFUL • Mr. 1 dean.medicine ier phenomenal case. The

iaker has to talk in very •ectly in his right ear. He JUST OUT was hadly out of tune. The awful noises is, 1 The Head Voice and VthedlGrand ftnac SHB.-HEnn Converse wo^ recently Other Problems

Historical Characters in Opera

reason for this is hard to expfain, but of 27,000 operas that have been performed

only- ^"UraConJhTsuble^toTATe^ entfen Sings0; (over ander Hamilton, built after the play in forty settings) ; Cleopatra (twenty-eight which George Arliss has appeared,would settings); the various Henrys of Eng- be of slight interest in Petrograd, while land, principally IV, V and VIII, have ;SSS!i expected to fascinate audi’ences^nCairo. enough! Frederick^the GreXone^of'^he sssava-ss sss.®*

nosphere of reality have but one “et^n^and*’thTt^by* the Frederick H. Haywood Teacher of Successful - around Hamlet, Irish composer, T. S. Cooke (1782-1848).

mposers from the his name is given to only three operas, “UNIVERSAL^SONG”

:. They barber of Seville, trium Y find it of many ages, while I SKESjgSS Walter L Bogert

T< AN IMMENSE SUCCESS Sung by Mme. Julia Culp and Other Great Artists By the Waters of Minnetonka Faust School of Tuning ndian Love Song By THURLOW LIEURANCE Ksictssxa, sgssaagB pular chord, so successful has it become. The melody is quaint, noise and singable and the paniment ripples along in a delightful manner. THEO. PRESSER CO. Send for a Circular of Mr. Lieurance’s Complete Works Arranging' andCorrection of Mss. 1712 Chestnut St. - Philadelphia, Pa. THEO. PRESSER CO. Philadelphia, Pa, A. W. BORST, PressLrLBldg„ Phila., Pa. Composer of Cantatas. Songs. Piano/oru and Church Music Please mention THE ETUDE when addresslnf our advertisers. THE ETUDE -Page 55 JANUARY 19m JANUARY1918 Page 5 A THE ETUDE ■a written article, and especially in an very greatly in clearness, I may even say, article necessarily short. Having had the will be more limpid. great good fortune of being one of the Bach’s Sonatas, written in three parts, r.wwp? Austin Qrganj which are so extremely interesting, and few pupils privileged to Study under the master, Widor, during his short profes¬ which occupy quite an exceptional place in + l sorship at the Paris Conservatory, I have his works for the organ, are also interest¬ endeavored to show in a fe\V words the ing as studies and as exercises in independ¬ fine qualities of his school, of his man¬ ence. They are to be played as if they rj-ifiE World’s largest ner of playing the organ. However, be¬ were a trio of instruments. For instance, Department for Organists organ for the new fore closing this article, I should like to on the keyboard where the left hand is Edited for December by the Eminent French Organist speak of two other important points, .and playing, soft 8- and 4-foot stops may be Public Ledger build¬ in the first place let me say a few words used; on the right hand .keyboard, 8-foot ing, Philadelphia, is to oil the subject of registration. foundation stops with oboe, and on the M. CHARLES QUEF In the works of Bach, Handel, Cleram- pedal, 8-foot stops (without the 16-foot, be erected by the Aus¬ which would be too heavy). Successor to A. Guilmant, at La Trinite, Paris bault atid others of the old masters, it is Before leaving the subject of the old tin Co., and it will be preferable and logical to approach as works, and particularly Bach’s, I wish t.o spirit.”—Dole nearly as possible the “sonorite” or rich¬ e nt or g an waits for the master to waken the an epochal achievement ness of sound which the old masters em¬ make one more remark: as a general rule, they are played much too fast, which de¬ in organ building. ployed or were able to use. At this period, the instruments lacked all the prives them of a portion of their grandeur Susanna Cocroft strong and powerful stops of our modern and of their clearness. Dept. 29. 624 Michigan Blvd., Chic; Important Elemental Principles in Pipe Organ Playing organs; they had scarcely more than one In modern works, the composers have adopted the wise and prudent method of In beginning this article on the organ he were sitting in an armchair, but in lowing remarks, which may appear self- reed stop to a keyboard (and this'stop was only used on certain definite and very indicating their registration. Neverthe¬ and the organist’s art, there comes to my such a way as to have his limbs perfectly evident, but which are frequently forgot¬ Austin Organ Co. GEO. K1LGEN & SON special occasions) ; on the other hand, less, as organs differ so greatly one from mind an incident which' I should like to free in order to be able, without moving ten or at least often neglected. Woodland St. Hartford, Conn. the instruments had a large proportion of the other, the composers’ intentions may relate: The organist of one of the.great the body (which is not only unnecessary In a good orchestra, artistically com¬ Pipe Organ Builders mutation-stops, mixtures, etc. The “full- evidently be indicated in a broad general but harmful in playing) to touch easily posed and well directed, do not all the ST. LOUIS. MO. German cathedrals (an assiduous trav¬ organ” of this period consisted of an way only, and each organist must inter¬ the lowest as Well as the highest note on musicians begin exactly together? When eler, like all Germans) came to pay me a which will show whether the player is in ensemble of foundation stops and mix¬ pret these indications according to the the piece is finished, do we ever hear the visit, some years ago, in the loft of the the pedal-board. Consequently he is to proper equilibrium on his bench. tures ; the reeds were not used in the stops of his own instrument. I shall bass-instruments holding their note longer great organ, at Trinity Church, and later sit almost on the edge of the organ-bench In any difficult passages, I very par¬ full-organ, but were sometimes used, for consequently not insist on this question, than the other players ? These rules must on at my invitation, came to my home at so far forward as to just escape falling ticularly recommend the following way instance, to sustain a grand-chorus, or but I should like to add two remarks off; the organist must learn by experi¬ also be applied in playing the organ. Con¬ Moller Pipe Organs Bellevue; where I asked him to try my or working: Practice the part of the left as a solo-stop, to make a choral stand based on my experience. ence just where to sit on the bench in sequently every chord must be struck iundred in use. The highest organ, and he played me some of Bach’s hand with the pedal. This way of work¬ out, when the accompaniment was played It is preferable:— order to have a firm seat and at the same neatly, all the notes quite together and works. Imagine my. intense surprise on ing, which, it must be said, is rather dry, on another keyboard. In Conclusion then, First. In the full-organ (swell or time great liberty of movement for the never in arpeggios—a habit common to will be sure to give very evident and we may say that in playing, the works of choir) not to use the Clarionet, which ren¬ hearing him. His manner of playing was limbs. many pianists, and which at the organ is the old masters, it is preferable to use ders the sound flabby and disagreeable. M. P. MOLLER Hagerstown, Maryland wanting not only in grandeur, but lacked most excellent results. entirely jout of place, very ugly, and illog¬ After sitting properly on the.bench, the the stops we have just indicated; that is Second. Never to use a 4-ft. stop with clearness and precision as well, and he It is also very helpful to work with a ical. I may add that no matter how organist must place his heels and his to say, the 8-, 4- and 2-foot foundation the Vox Angelica; these two sounds com¬ did not even play in time! knees close together, he turns the toes metronome, very slowly, at first, and to strongly one may wish to play a chord, STEERE ORGANS stops, and the mixtures, excluding the bine very badly. And I remembered that there had been outward, he will be able thus to form a work gradually up to the proper time. there is no need to strike loudly and hard Guilmant Organ School each one ^^pp^eSte0 tlJe ^e8t When the player is at last able to play a Dr. WILLIAM C. CARL, Dir. 16-foot and the reed-stops. Let me now indicate the methods, both a time when, in certain countries where sort of compass, and accordingly as he for a ff, or to attack it weakly for a ft; NOTABLE ORGANS RECENTLY BUILT piece in the right time, when he has quite The shading, or, to speak more exactly, simple, clear and logical, employed at Bailey Hall. Cornell University. 1914. . the organ was honored and greatly in opens this compass or V more or less the only qualities which must be desired New Cllllof ReeOy 44 W. 12th St., N. Y. Springfield. Muss. Municipal Organ, 1915. mastered all the difficult parts, he will the different degrees of intensity in the present in France to indicate combina¬ favor (as is the case in the United -States widely, he will learn to measure easily, as well as demanded are preciseness, Woblsey Hall, Yale University. 1916. find it helpful to practice or to review sound may be obtained by changing from tions or couplings of keyboards. We in¬ We also build ’ and in England) the organists who de¬ and, what is more important, surely, clearness and a perfect ensemble. 4. W. STIC EKE A l the piece in much slower time than that Indian Compositions or.e keyboard to another; these changes dicate the keyboards by their initial, and Springfield. Mass. Established 1867 sired to perfect themselves, or to learn without looking at his feet, the intervals The organist must also, and for the in which it should be played. I may say are nearly always indicated; it must how¬ the manner of combining these initials to know other schools and other masters from seconds to fifths; if he wishes to same reason, remember in ending each for the Piano by that if he plays the piece five or six ever be remembered that, at this period, indicates the manner of coupling the key¬ than their own, crossed France without play farther apart (for instance, fifths, piece to drop at exactly the same time all times, he should play it once only as rap¬ the pedal and the keyboard could not be boards. Example:— stopping, or even avoided crossing France sixths, sevenths or octaves) the knees the notes of a chord, not forgetting a HOMER GRUNN idly as it should be played. I coupled together; the organist balanced G.—P. R.—means Positif and Recit on their way to the country which was kept close together will perform the same foot on the pedal, or holding the bass- The great advantage of studying with The Desert Suite his pedal and his keyboard by wisely coupled to Great; or, in English: the birthplace of Bach, of Beethoven, of service as the heels for the smaller inter¬ note, a habit one meets with sometimes, the metronome is that the player works choosing his stops; it was consequently G. Ch. Sw. (Choir and Swell coupled Mendelssohn, etc. vals. Working in this way, the young but which is frightful, abominable and up, little by little, without making mis¬ very difficult for him, and one may say to Great.) Burroughs. 0njy 71 But it came to pass that among the organist soon becomes very sure of his quite nonsensical. Price $1.25 Special Price SI takes, and almost unconsciously to the impossible, to change his pedal stops in Ped.r G.—(Great to Pedal.) organists traveling through Paris, a few pedal-playing. And I may add, for the Considering thus the organ as an or¬ right movement. the middle of the piece, for instance, in a At the beginning of this article, I spoke stopped there, attracted at first by our benefit of organists playing in public, that chestra, it becomes evident that each part Song of the Mesa Fugue by Bach. Furthermore, when the of the Paris Conservatory school of French organists .whose works are both this position is much more graceful than Metronome study develops other quali¬ of a polyphonic work must be perfectly Price 50c U Tl1” Ut Special'Price ties to which I wish especially to draw composer changed from one keyboard to organ, so fertile in results because quite Learn Harmony and Composition well and widely known, attracted also by if the heels and the knees are spread executed, as carefully and as correctly attention, because they are qualities which Indian Love Song another, he did not write the part for exceptional in its studies. The tests which the fame of such masters as Widor and apart. When I was a young student at as if it were played alone by a simple the Paris Conservatory, we used to speak characterize particularly certain artists of the pedal, and we may conclude from this must be passed at examinations or at Guilmant, they stopped off in Paris, went musician; consequently the legato must Price 50c “ S™' "‘Special Price of this position, very disrespectfully, to our French school—rigid exactness and fact, that in works like those of Bach, prize competitions are the following:— no .further, and studied in France. Why? be perfect, excepting, of course, when the be sure, as “frog-playing.” perfect control in the rhythm. Indian Dance Handel, etc., those passages which have First. Accompaniment and transposi¬ They had found out the worth of our author has indicated a staccato move¬ no pedal part are to he played on the school of organists, they had learned to All exercises must be begun very slowly. These qualities add wonderfully to the ment; in this case, the rule is that each Price 50c U D,m“ 01 USpccUl Price tion of a piece of plain-chant. The first exercises should be legato, and beauty and grandeur of an artist’s play¬ choir or on the swell. Second. Improvising: taking as theme appreciate this school, and wished to be¬ staccato note should count for just half aUW°n^ter“£orTL5()° I may add, that, in my opinion, the long to it. should aim at making hand and feet quite ing; they are indispensable in fine work. its value; by neglecting to observe this this piece of plain-chant and developing By an absolutely faultless rhythm, by the changes which I have just mentioned are What were the causes which brought independent of each other. I shall give rule, the execution loses its clearness; it (freely, as a prelude or an anthem). Your Music Is Torn! constant and perfectly regular repetition the only changes of timbre, color or in¬ about this change? here a few exercises or methods of work¬ the whole character of a piece may even i MPANY' Third. Improvising a fugue on a given ing, which may be of help in securing the of the measure, beating time, as it were, tensity to be tolerated in Bach's works, It will Take One Minute to I shall endeavor to explain and indicate be changed, or become confused, as the subject. Repair it by Using end jn view and which are not to be very regularly, never faster, never slower, or in other works of this period; the or¬ the causes which led to this change by notes which are not sufficiently cut off Fourth. Improvising a piece (Sonata- found in the published methods or treat¬ never hurrying, never lagging, the player ganist should endeavor to maintain a Multum-in-Parvo Binding Tape giving an analysis of the principles of the one from the other are not heard dis¬ form) on a given subject. ises on the organ. , must make his audience feel how com¬ STANDARD unity Of color, which can only be attained French school. Having had the good for¬ tinctly. It may even be said that there • by changing keyboards and by avoiding Fifth. Performing a piece of classical - As exercises developing independence pletely he is master of himself; he must tune of studying with the two great mas¬ are two ways of playing a piece: accord¬ any fancy registration, changing of stops, or modern music. Transparent Adhesive Mending Tissue in hands and feet (especially for the left make them feel how absolutely his will MUSIC WORKS ters whose names I have already men¬ ing as the organ may be in a hall whose etc.; all this seems quite out of place. (In the improvising tests, two minutes hand) I strongly advise playing with the controls the rhythm of the piece he is As rewards for obtaining tioned, Guilmant and Widor, I am able acoustic properties mav be very favorable This way of playing may doubtless appear of reflection are allowed before each left hand alone, scales in thirds or tenths playing, and this calm and exact rhythm Theo. Presser Co., Philadelphia, Pa. to speak on their methods from experi¬ or less favorable, or’ according as die ETUDE subscriptions somewhat severe to certain organists (and test.) with the pedal, interspersed with the fol¬ will force itself upon their attention and ence, and I shall add to these remarks a hall may be empty (in which case the Send us ONE subscription, not your own, The difficulty and complication of these lowing exercise for the pedal:— make them listen. The artist who neg¬ even to certain auditors) but it is logical, few words of personal observation and sound carries easily) or filled with peo¬ at 31.50 (31.75 in Canada) and we will send and one may thus reproduce exactly the different tests are so evident that any Philadelphia, Pa. lects this very important principle, is sure you your choice of any one of the follow¬ methods of my own, which as a rule I ple, hangings, etc. (in which case the sonorite best suited for rendering these comment on the ability of those who can to play poorly; his execution will be lack¬ ing works: reserve for my pupils. In a general way, sound carries poorly). It is evident that works. An objection may be made to this pass them brilliantly is unnecessary. ing in character, and will fail to hold First Steps in Pianoforte Study. Theo. Presser. our.school is characterized by great pre¬ It may be objected that improvising is THE MEDAL OF the attention of his listeners. Although the question of acoustics should receive Musical Poems (orthe Children. Octavia Hudson. manner of playing: by omitting the 16: ciseness in the rhythm, an exceptional foot and the reed-stops, the organ loses hardly useful for virtuoso concert or re¬ HONOR the organ is played by pianists, the only a great deal of attention, and a player Standard Opera Album for Piano. 15 pieces. clearness, an execution, clear and abso¬ It. Qucf Idas horn at Lille some of its power. To this objection I cital organists (so numerous in Amer¬ in Northern France and became common link between the organ and the should take care that when playing in a Four-Hand Parlor Pieces. lutely exact, and a great respect for the a student at the Conservatoire hall where the sound carries very readily, Selected Classics. 19 pieces for violin and piano. shall make this reply: the music will gain ica). At first view, this seems true ;how- authors’ ideas on the interpretation. of Paris under Dubois, Widor piano is the keyboard. These two instru¬ PANAMA8 PACIFIC and Guilmant. In 1808 he took ments differ fundamentally by their struc¬ his playing does not Become confused. INTERNATIONAL I shall speak in turn of each of these the first prise for organ' ping¬ I might add a great many more details, EXPOSITION different qualities, and shall try to indi¬ ing. In 1901 he succeeded the ture, by their very essence; but there is THE ETUDE Over JTLOOO «mipments in use great Ouilmant at La Trinite in much more advice, on the role of the cate the way to work in order to acquire another and very important difference: PHILADELPHIA, PA. Paris. Since then he has planed thumb, the fingering of the hands, and Two fe"uss0enfnttitable Christian Science Church THE ORGAN POWER Co! them. Thus in giving my readers an idea frequent recitals in France and the organ can hold a note almost indefi¬ other continental countries. He nitely ; on the piano a note ceases to sound of the feet, on the use of the heel, of Still, Still with Thee—Ward-Stevens HARTFORD, CONN. of \Vhat characterizes our school, I shall This is an impressive church solo, a convincing setting of these beautiful verses. has written numerous pieces for almost as soon as it is struck. the toe, the position of the feet, etc., but be able at the same time to give them dif¬ organ which hare been brought Price 60 cents. cc. Belgium and Eng- it is quite impossible to explain these ferent bits of advice which I hope they As a matter of fact, the organ must be The Power of Prayer—E. R. Kroeger considered as an orchestra, as an en¬ many important points in an article whose may find most useful and profitable. aim is to give a slight idea of how to A devotional song of more than usual merit. Price 60 cents. semble of wind-instruments. Taking as c.nH for our list of selected songs suitable for Christian Science church., This Let us take the organist at the begin¬ play the pipe-organ. Although I have list also incmdes announcements of interesting organ collections for church use ning of his studies. First of all, he must - foundation this rule that the organ THE ZEPHYR ELECTRIC hcen able to give a little practical advice. ORGAN BLOWER COMPANY THEO. PRESSER C&‘, Publisher* 1712 Chestnut St., Philadelphia, Pa. sit down before the organ, not as though uist be thought of as an orchestra. I shall call the reader’s attention to the fol¬ I can of course not give a regular course 4 on the organ; this is almost impossible in THE ETUDE Page 57 Page 56 THE ETUDE JANUARY 191$ JANUARY 1918 ever I believe that for every musician, ough study required for improvising cer- A Pig’s Whistle the study and practice of improvising are tainly makes an organist a more qualified to he commended: They develop the habit playfr able to .cope w.th any difficulty; AN IMMEDIATE SUCCESS By Julia A. Robinson of thinking rapidly, of keeping cool in it makes him an accomplished artist, difficult moments, and, in short, are an This is in reality the goal toward which The boy loved music: he felt the in¬ excellent mental exercise. The verythor- every true musician should strive. Harmony Book For Beginners Inspiring Easter Music spiration of the musician within him, and had a great desire to study. Finally By Preston Ware Orem lie approached his father on the subject. THE following selection is made up of new and standard Interesting Facts About the “Anthem” His father was a farmer, practical and numbers from our catalogue. Every number is a gem. Price $1.00 matter-of-fact. He could not understand The Anthem is a characteristically “* * * This the first day of hov- Solos, Duets and Anthems all have the true festal ring. Brief, Simple, Vital, Practical, New and Distinctive his boy’s desire to study music, which to English form of composition, in its ori- ing walls and other instruments to pky him seemed entirely useless; or appre¬ In addition to our own large and comprehensive catalogue we have gin and history, widely different from the a symphony between every verse of the Admirable for Self-Help ciate his feelings on the subject, and he a complete stock of the music of all publishers. We will gladly motet which is its nearest European anthems, but the mustque more full tha„ Lays a strong foundation for future musicianship by giving the main discouraged the project as foolish. “You send for your examination copies of any music we have. equivalent. ,ast and ver? fine * «” (Sept. essentials of the subject in such simple, understandable and interesting manner can’t make a musician out of a farmer’s The early anthems by Redford, Tye, 14, 1662.) that it will prove invaluable in the class or for self-help work. son any more than you can make a whistle Tallis, Byrd, Gibbons, etc., were written Observe that in the two years between This is not a re-hash of the old ‘‘cut and dried” harmonies, but a fresh, new, out of a pig’s tail,” he affirmed ; and with in a manner to admit of being sung unac- the first and last entry here quoted, vari- sound treatment along modern lines. that he let the matter drop. UPLIFTING EASTER SOLOS BRILLIANT EASTER ANTHEMS companied, but as a matter of fact, were ous changes had taken place. The king 12948 Christ Hath Risen. High. 10240 Alleluia, Alleluia!. ..Brander .15 Read this letter from Charles Wakefield Cadman, But the boy was not so easily satisfied, (Violin Ob.) .Rockwell 10796 Alleluia, Alleluia!.Stults .15 usually sung with accompaniment of had during the years of his exile, previous and was not to be put off. He pondered 14798 Christ the Lord is Risen Successful American Composer and Specialist in Indian (NewV Mod 10474 AS I* gegan to Dawn- N°rris .20 stringed instruments or of organ; often to this period, heard in France, composi- the matter, and his desire to study music = Emerson Piano 12530 Christ 10513 Awake! Glad Soul... .Bridge H2 of both. In the latter case, the parts tions (perhaps sacred, but more likely of Music: grew. It was the one desire of his life. Neidlinj known as verse, which were sung by a a secular character, for instance, the STYLE B 12531 10910 Awake, Thou That Slee] I have never seen anything just like it and it fills a long- At last there was a pig-killing at the Morrison few solo voices, were accompanied by operas of Lulli) in which an independ- 10033 Behold, I. Shei farm, and the boy lay in wait. He cut You a Mys- the viols; the parts marked full were sung ent instrumental accompaniment added felt want. Few learners of harmony can instantly grasp Minett the first elements of the subject because they meet with off the pig’s tail, dried it well, hollowed Not too large for moderate 12534 is Vanquished. High. 10009 Behold, i shet by all the voices and accompanied by the greatly to the effect of the voices, and it, made it the right length, bored holes in a maze of useless words and puzzlements. It seems to 12535 10920 Break Forth w organ. In no case, however, was the ac- when he returned to England and as- the right places, put it to his lips—when, sized apartments, yet won¬ companiment more than a mere duplica- sumed the throne, at his urgent sugges- me you have simplified things tremendously in this 12721 : r Triumph. High. listen!—There was a shrill sound, a f the yocal parts: many anthems his church musicians wrote anthems little book and I am sure it will meet with ready response. whistle! He had accomplished his feat. derfully effective in the 12722 “ “ Med. “ were published bearing the inscription in which this effect was utilized. Pel¬ 12723 “ “ Low. “ THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. Proudly the boy took his treasure to his large music room. 5330 Glory to God. High. .A. Rotoli “fit for voices or viols.” ham Humphries was one of the first in father and blew a loud whistle into his this line, though the honor of introducing 5362 “ « « Med‘* How Independent Accompaniment Was astonished ears. “See, father!” he cried, 8046 Hail Glorious Morn. Violin solos with instrumental accompaniment “I’ve made a whistle out of a pig’s tail. Ob. High.Geibel Introduced 5 feet 8 inches long 8047 Hail Glorious Morn. Violin 6040 Day of Resurrection. belongs to Henry Purcell. Both these Listen!” . Ob. Low.Geibel During the Great Rebellion, when had been pupils at one time of Cap- NEWEST AND BEST “Why, so you have!” exclaimed the 12748 Hail Thou Risen One. High. 10601 Death is Swallowed Up. Charles I was beheaded, and the young tain Cooke: Humphries had been sent to father, in surprise. Dealers in principal cities 12749 Hail Thou Risen^Onej’Lm' e"S 10237 Easter Even...... Bohannan .15 Prince Charles fled into exile, the Round- —France to be educated further in music “Now can’t I take music lessons?” 10114 Easter Triumph head soldiers destroyed organs, choir 6891 Hail to the Risen Lord High.8 10391 Glorious Morn. . t the expense of the king, and after his THE BEGINNER’S BOOK urged the triumphant boy. and towns. Send for catalog. Harding music and everything of the sort which 8077 In the Dawn of Early Morn¬ 10163 Glory, O God.. return, exercised a powerful influence. “Well, I ’spose I’ll have to let you,” ing. High. Violin Ob. 10487 God Hath Sent they could lay hands on. Doubtless their School of the Pianoforte laughingly admitted the father. leader, Cromwell, himself a lover of mu¬ s but natural that when these in- ! Hail! Festal Day...Morrison sic and the friend of Milton, was not novations had been made, their origina- By THEO. PRESSER That hoy was the founder of The New Emerson Piano Co. I Hallelujah! Christ is Risen! England Conservatory of Music—Eben Eastham altogether in sympathy with their actions, tor should take an interest in the out- PRICE 75 CENTS Established 1849 8061 Light of Hope. High..Geibel ! He is Risen.Stults but he had weightier matters to govern, come, and we are not surprised to read Tourjee. 8062 “ ’r Low... “ i He Was Crucified...... Solly This elementary piano instructor has had an unprecedented and did not interfere. in Pepy^’ Diary: "The king is a little Boston, Mass. 6837 Lord is Risen. High. Violin success, being welcomed by teachers everywhere as just the thing Ob.Lansing ! How Calm and Beautiful. At the time of the Restoration, when musical, and kept time with his hand dur- 6372 Lord is Risen. Low. Violin for the young beginner; the next thing to a kindergarten method. Crossing the Bar I I Know that My Redeemer' Charles II came to the throne, music was ing the anthem.” 10629 Jesu at the lowest ebb. Choir boys were not Now see how curiously things work 8059 Risen Lord. High... to be had, and as a temporary expedient, out:— By Mrs. C. Wyland 8060 “ “ Low.... 6244 Kinf if Glor THEO. PRESSER COMPANY, Philadelphia, Pa. 7692 Sing With All the Glad Voices. the cornet (not the instrument now 1. We owe ‘‘independent accompani- Glory. Low. The beginner invariably has difficulty -lory. I’ercippe known by that name, hut an obsolete in- of anthems to Pelham Humphries They Ca 10242 Lord, My God.Steane strument also known as Zincke) with time. The trouble can usually be High. 10162 Morn’s Roseate Hues. and other musicians in the employ of 6206 Victor Immortal'. ‘ High Berwald located at the bar. A measure is easily Charles II, including Henry Purcell, who Roseate Hues. anthems,SSjL!"* the vbasses ^ andtAe /tenorsrebIe KbeingPartS oldr; ^nar,es• «. » tnciuomg, ... .. Henry, Eure,, „ A PRONOUNCED SUCCESS grasped at a glance and played correctly singers who had survived the troublous a,S° introduc-ed lncld«*ta> solos.” by the average student, but the hesitancy 6202 “ “ Low. Charles II got his ideas from Lulli’s Stults times, and were again pressed into serv¬ comes in the preparation for the next 10801 Song of Trit ice. One of these, a Captain Henry operas, in France, whither he had fled THE STUDENT’S BOOK measure. Explanation • that the bar is EASTER DUETS Cooke, is mentioned many times in Pepys’ to save his life. School of the Pianoforte not a stopping point, but a dividing line 14467 Christ Victorious. (New., Diary, e. fir..-— 3. Charles II was fleeing from the to simplify the time, fails to bring the (Alt. and Ten.) .. . Roh-T-ts 10401 ’ 9447 Every Flower. (Sop. “After sermon a brave anthem of Cap¬ army of the Roundheads (Puritans), who By THEO. PRESSER PRICE, 75 CENTS first beat on time. I tell pupils that their Alt.) .R-.. Rockwell -1 10389 Triumphant tain Cooke’s which he himself sang, and incidentally were using all their spare mistake is in making every bar a high 14381 I am the Resun_ t Welcome, Happy h Intended to follow THE BEGINNER’S BOOK or any other (Sop. and Alt.) .Stults ° Brackett the king was well pleased with it.” I'"16 in destroying church music, root fence and taking time to climb over, 14403 - 'Sop. and (Aug. 12, 1660.) and branch, as they supposed. Instead, first instructor, this volume has met with a flattering reception. It when it is merely a chalk line over which Alt.) , .Schoebel “A poor dry sermon, but a very good they were contributing indirectly to one bridges the gap between the instruction book and the graded course they can step. WOMEN’S VOICES anthem o£ Captain Cooke’s afterwards,” of the most important developments of or the conventional series of studies and exercises. The following illustration will demon¬ (Oct. 7, 1660.) church music that ever took place! Send for a copy for examination strate my plan for overcoming the diffi¬ (Three Part). culty. Before giving a new piece for a THEO. PRESSER CO. Philadelphia, Pa. MEN’S VOICES Yesterday and To-day Twenty-five years ago an organist development in all lines of work. It i stuck'to his own business, going to his not enough to know the organ and th, services regularly every Sunday, meeting choir. One must know orchestras, effects 10806 Sing With All tl his choir once during the week, and car- organ building, orchestral instruments The Standard History of Music - .very little about other forms of Cultivate Your and hear everything possible, because lesson I check the notes that are un¬ music. He made a wry face at the A First History for Students at All Ages EASTER CANTATAS a^ter aH. a good portion of our work is By JAMES FRANCIS COOKE necessary. to the general outline of the mention of fiddle playing; opera was a Natural Beauty imitation. Therefore, the organist is no! THE GREATEST LOVE VICTORY DIVINE little out of his line; chamber music was Price, $1.25 composition. Then the pupil plays and so much fenced in as he used to be; counts, several times, the unchecked y 1 , By H. W. Petrie 75 cents By J. C. Marks 75 cents passable, but outside of a few concerts more is expected of him as he becomes notes. This serves a double purpose. DAWN OF THE KINGDOM THE WONDROUS CROSS he was rather indifferent as to what was more and more associated with the going on in the musical world. All this While the pupil is learning time he is By J. T. Wolcott 50 cents By I. Berge 50 cents general musician. Organ work is noi over and a marked change is going on 40 STORY LESSONS 250 PAGES 150 ILLUSTRATIONS also getting an idea of the foundation a thing to put away in the corner, to be IMMORTALITY 1,1 the world of the organist. He is being u j j t _ r. » t.-.l,,, uave creatlv enhanced the interest of their or principal notes of the composition. used only on Sundays; those days are By R. M. Stults _ 50 centi crowded from his former narrow field When this can be played correctly erase over. The organist should be proud ol into a larger world; the organ is being the checks and add the frills, ruffles, ac¬ the fact that he is at last being dis¬ Vladimir de Pachmann. Henry T. F.nck, Lome C. Elson and others. Any of the above Publications will gladly be sent for examination used for strange doings and the organist companiment notes, or whatever you may covered and is being called upon to give The 40 story lessons fit the 40 weeks of the school year. They demand no previous must follow it. Theatrical work is in¬ choose to call them. After using this pleasure to persons whoi*pver before experience in teaching musical history. All foreign words self-pronounced. All tech¬ creasing to such an extent that many of method the pupil will be able to play knew the beauties of orgjaR -tones. It *! nical terms explained 300 foremost masters d.scu.sed mdud.ng great present-day the best players are giving up the quieter virtuosos, composers, teachers, as well as composers of lighter pieces (Godard Sinding with decided rhythm. a wonderful thing to live in this age ol THEO. PRESSER CO. paths of church work and going into the Schutt, Chaminade, etc.). The work has 2S0 pages, 150 illustrations. Bound in active experimentation; to feel the de theatres. Church work itself is changing red cloth, stamped with gold. 1712 Chestnut Street :: Philadelphia, Pa. velopment of the musiqal life around us Music is a master which makes the and demanding more and more those The Most Popular of All Musical Histories and to realize that we are taking oui people softer and milder, more polite and GraceMildredCultureCourse musical capabilities which are to be had active part in the joyous' work.—Re more rational. It is a beautiful and noble Dspt. 29. 624 ^Michigan Ave.,Chicago, 111. only by keeping close to the musical THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa, printed from The Console. gift of God. —Martin Luther. Please mention THE ETUDE when addressing Please mention THE ETUDE when addressing our advertisers. our fidvertlRftrft JANUARY 1918 THE ETUDE Page 59 Page 58 THE ETUDE JANUARY 1918 “The Lord’s Fiddle.” ' /. x i y'p FOR THE VIOLINIST We are accustomed to think of the and in the year 1800 made the first piano _;_✓_ Ui Before an exacting performance or a early Pilgrim and Puritan stock in Amer¬ produced in America). ica as being people indifferent to music, The next maker of note was Benja¬ hard day’s practice—rub the muscles if not altogether opposed to it, and in min Willard, of Grafton, Mass., by trade of your arms and fingers with a few Department for Violinists general we may be right in this opinion, a clockmaker. He made at least sixty drops of Absorbine, Jr. This will fit but there is one little-known, yet very ’cellos and basses. your muscles for the extra exertion Edited by ROBERT BRAINE significant, exception which puts a new Probably the most representative of and prevent lameness and soreness. light on the subject. the early American makers was Deacon Abraham Prescott, of Deerfield, N. H. If All Would Play First Violin We Could Get No Orchestra Together.”- -R. SCHUMANN The violin, it is true, was regarded as a particularly worldly and irreligious His instruments were much in demand, instrument, and was held in s'pecial aver¬ and he not only gave his whole time Getting the Most Out of a what you are ready for. If there is a \[pw V V Old “T have known of Cremona violins, sion by the more devout, but not so to the art, but employed several assist¬ combines efficiency with safety, being piece you especially want to study, ask * which had been handed down in families, the “bass viol.” (Under this name they ants. A few of his double-basses are made of pure herbs, and is positively non- Lesson him to give it to you when you are ready Anton Witek, the eminent Austrian and which were kept as curios, and not classed both what we call the Violon¬ said to be stilly in use at this day and poisonous. Then, too, Absorbine, Jr., highly prized. is a safe, powerful germicide which The season of musical instruction is for it, and the chances are that he will violinist, at present concertmeister of the played much, which did not begin to com- cello and the Double Bass). On the makes it especially valuable as an ap¬ It is reported that Deacon Prescott, now in full swing, and thousands of vio¬ heed your request. Boston Symphony Orchestra, and for- pare in quality of tone with other Cre- contrary, this was regarded as a particu¬ plication for cuts, bruises, and sores. after completing a number of his instru¬ lin pupils are pursuing their studies with Don’t hang around after your lesson merly concertmeister of the Royal Phil- monas which had been in constant use larly appropriate instrument for use in No danger of infection if Absorbine. Jr., the accompaniment of hymn singing ments, would strap them around the — is applied promptly. moree or less.ess success,success. nowHow xewfew are theme and gps- harmonic Orchestra in Berlin :-a vio- by good artists.” and was used in multitudes of churches outside of his old-time chaise and carry A bottle of Absorbine, Jr., kept bandy for emergencies is excellent pupils who realise that it depends entirely dse. Leave prompl^when youflesson !“ aUth°rity. °f inte™ational fa™-has in New England at a time when both them through the neighboring country, on themselves whether they are getting is finished and your teacher wi„ a interesting views on the future of violin health and accident insurance. An Aspect of Ole Bull religious prejudices and material poverty disposing of them to churches as he USE ABSORBINE. Jr., wher¬ the full worth of their money from their ciate it. making and on the Cremona violin. In stood in the way of the introduction of found opportunity. ever.a high-grade brnment or a lessons. The pupil who is making dou- Don’t neglect your technical work and an interview with the editor of this de- Among his contemporaries we may BSORIIINEJI $100 a boUle , By Oscar Sathar organs. In at least one quaint old ♦ ble the average progress is really getting studies, and put all your time on your partment, Mr. Witek was asked if he writer of the period we find it spoken name David M. and L. Dearborn, Con¬ his lessons for half price, the one who is pieces. If you do it will serve you right thought it was possible to produce violins of as “The Lord’s Fiddle.” cord, N. H.; Benjamin Philbrick, Joseph A LIBERAL TRIAL BOTTLE making four times the average progress, your teacher stops giving you pieces at the present day, which compare favor- a fe“"t, '^Ue y°“r ef.teemed But the bass viol was bulky and ex¬ Darracut, William Darracut, William on recent of lOc^n’stamps. pensive to import and was often dam¬ Greene, Joseph Minot, Z. L. Hodges, W. F. YOUNG, P.D.F. ,c,ph«. o, p„«,,,*ssr.s l“'s yon *b,y wi,h L.re ly u" aged by the sea air during the long voy¬ at various places in New Hamp¬ 436 Temple St. other way, the lazy, indifferent pupil, who Don>t continua]1 fish for complimentsm ma^ers andr whichu possess toneCnm qualityr Mlum yirtuosi> in which 0le Bull is SPRINGFIELD - MASS. age from England, so it is not surpris¬ shire and Massachusetts, while at Brat- does not practice and who takes no . in- and try tQ get teacher Say that fufficlently sympathetic and sonorous to represented as a briber and a vile trick- ing that early attempts were made to tleboro, Vt., was what might almost be be used for concert work by solo terest in his work, is really paying two, you play better than this or that pupil, Of all the accusations hurled manufacture it at home. The first ef¬ termed a “school” of bass-viol makers, linists. against that remarkable man this is the three or four times as much as the eager, that you are making famous progress, forts were naturally rather crude; the comparable to the Cremona school of Harmonized and Idealized Songs of industrious student. A few “Dont’s” may etc. The best teachers are very^ sparing 1,ave no hesitation in saying,” said worst, being without parallel in wicked¬ Ovide Musin s Edition makers were generally carpenters, clock violin-makers. The leading names of be timely if the pupil will try and ob- about praising a pupil, but when a chance Mr. Witek, “that modern violin makers ness of thought and injustice. “Belgian School menders and others who had attained a this eminent group of artists were The American Indian serve them. compliment comes, it is double welcome, of the best class, are able to produce Were this true, then we must also sup¬ Woodbury and Burdett, Woodbury and slight familiarity with the structure of By THURLOW L1EURANCE Don’t be late for your lesson. If there Avoid teachers who are continually prais- violins which have nearly if not quite the pose that Ole Bull bribed Longfellow, in the instruments through being called Kibling, j. Woodbury, Benjamin Conant. Tales of a Wayside I tin. He must have Thurlow Ueurance first attracted[attention in are other lessons following yours, your ‘n£/°ur work, and telling you what won- tone of the Cremona instruments. When upon to make repairs on those already (This list is by no means exhaustive). the province oMhe folk-mu sic of t. T , , . bribed Lowell and Emerson and Holmes existing. The problem of 'reproducing The frequent reappearances of the teacher will either have to shorten your derfuI t*I“t you bave’ Such thing* have 1 Berhn } made ,some of my greatest and Lydia Childs and George W. Curtis lesson or else run if into the tim! of a Vefy bad effeCt °n yOUr Pr°gress, for the famous Cremona varnish was one same surname suggests that the trade roUecUng'of5 Indian music has^his^rk been^e- ... ’ f 11 T . , , y°u will get the idea that you know it all, . rrc Njtt; n jjjj| , . and Edwin Booth, all of whom spoke or which apparently never counted among ran in families, just as in Italy, and those following. In either case the and do not have to work. ments. Especially is this true when play- Inhish'ands’thesTra're aboriginal melodies have wrote of him in the highest terms. their troubles; they used a good quality among the bass-viol makers of New been recreated and harmonized, without losing teacher will be vexed, and cannot give Don’t neglect to examine your violin ing in large halls’ Again and again 1 It would seem that thirty-seven years of hard furniture varnish and let it England the family of White occupies their strong racial flavor and aijnoaghe^ The you as good a lesson as if you came on before you go to your lesson. See that have known of instances where new in¬ after the death of this great man the go at that. an honored place, beginning with John time. Hurry-up lessons are not good for your strings are in good condition, and struments have been mistaken for those envy and passions against him because of Benjamin Crehore, of Boston, was White, of Abington, Mass., and being either teacher or pupil, not just ready to break, that your bow of Stradivarius and Guarnerius, when bis greatness ought to have subsided. represented in every generation up to the have'been quick to recognize. the earliest maker whose work is to These songs are sung by Julia Culp. Alice Niel¬ Don’t get into the habit of leaving your ,s well rosined, and that you have all the played in concert, In Harper’s Magazine, Vol. 61, page be considered seriously. The writer has present date. Of course, however, we sen. May Peterson, Christine Miller, Henri Scott, 308, is an editorial declaring that when Helen Stanley, Francis Ingram, Oscar Seagle, violin at home and asking your teacher to t?u^c ln your satchel that you will need played on one of his instruments and find the later generations turning their Elsie Baker, Frederick Wheeler. Charles Clark, lend you one to take your lesson on. You d“"ng, the Iesson: , D,fficuIt to Distinguish Violin Tone Vieuxtemps was here at the same time, found it of excellent quality. It was a hand more to the making of violins Horatio Connell. Mabel Garrison, Merle Alcock, he was an exquisite master of the violin, rather than of ’cellos, in obedience to Watahtvaso, Nah Mee and Chanianiana, and other cannot play nearly so well on a strange ’ arg"* Jlth/°Ur *e.acher about “Listening to fine violins one after the OUR “SPECIAL” ’cello, somewhat larger than the stand¬ lamous artists. Voco, but that he was entirely eclipsed by the ard size, this peculiarity making it rather the well-known law of supply and de- violin as on your own, and there may be SltSrS ^ !s “By the Waters of Minnetonka” (Sioux) ....1-- * » » - ~ j—uu, uci.ik& lmnnssinle;n to. cpp wnat, t violin. .. . being, . phenomenon from Norway, OPr 10 Tested Lengths, O CC inconvenient to finger, except for play¬ string broken on the■ teacher’s extra correctly taught, hunt up another teacher l®P0SSlbIe to ?ee what violin is being In Vol. 48 of the Critic, in an article on £DCSilk Violin E, for£Jv ers with very large hands. It was dated, American musicians should know that HI0bbiigf.oLow.Vo*'-. F‘me a'ld ■ !" ».«o violin, which will make a delay until it is in whom you have confidence. played, is the most deceptive thing in the Edwin Booth and Ole Bull, Edwin Booth America has had her own “Cremona’’ “By the Weeping Waters” (Chippewa) Send for Violin and Cello Catalogue we believe, 1791. (By the way, he after¬ Medium.10 put on, with a consequent shortening of Don’t play in public without asking world- 1 have sten violinists who, when exclaims in an extravagantly dramatic MUSICIANS SUPPLY CO. ward turned his attention to the harp¬ as well as Italy, for it is a fact worthy your lesson. your teacher whether you are ready for blindfolded, and handed one violin after manner that “Ole Bull wasn’t a man— of a certain modest pride. ^KthVtoSS Flute ad lib. . . . .40 sichord, making one in the year 1792 “A* Sioux Serenade” Don’t tell your teacher that you played and always ask his advice about what tke other to play on, did not recognize Ole Bull was a god 1” Medium. Flute ad lib. .SO that difficult passage “just perfect” at P*eces y°u should play. This will save their own violin by its tone, when it was (< Music, Vol. 11. a writer declares: “Hymn to the Sun God” (Pueblo Ceremonial) Medium. -O® home, when he kno’ws better. The trou- y°u^ro™ many mistakes. An experienced handed to them to play upon.” “J bave heard all the great violinists, i What is good for one person is bad practice music five hours a day and not “The Sacrifice” (A Mourning Song) teacher knows just what is suitable for feel it, while for others two hours is the Low.« that you are your c Asked whether there was not danger cluding Paganini, but no person living, for another. Playing an instrument until “At the Sundown” (Puehlol , , , , every occasion, and whether you are corn- WILLIAMS limit of endurance. The object of all home, and unless you are an advanced petent to play it that violins made 150 or 200 years or °r T* CVe,r ,lved’ has done such wonders utterly exhausted may not harm one with Low Voice.10 good recuperative powers, but most as¬ students’ work should be to master the “In Mirrored Waters” (Sioux) artist pupil, the chances are that in many Don>t start Iessons with a wheezy Q,d more ago, would lose their tone and value °npr_p_y10 ln as ® e Bull. Medium with Flute ad lib. (Stoux and ’ . . vaiuc Emerson wrote: “What a civilizing, suredly will injure others. Excessive ex¬ art .and not to injure health while doing “In Rainbow Lsnd’MFrom the Hopi) ^ cases you do not know that you are play- $5 fiddle, and give your teacher that time- as musical instruments, owing to the dignifying influence is Ole Bull.” citement inevitably spells an injury to it. When one’s health is injured, all ing incorrectly. honored chestnut about “gettin’ a better decay of the wood and generaleneral wear in Even in sunny Italy, Paganini’s land, health. Some strong, healthy persons can else is vain.—George Hahn. “At the’Foot of the Mound” Don’t miss lessons at your teachers’ one when you learn to play good.” Teach- playing, he said: It all depends on the they declared he was an extraordinary (Group of two Songs with Flute) 1. “The Red Birds sing o’er the Crystal expense. His time is money, and you ers dread to see a pupil with a bad in- which they receive. Many Cremona have no right to expect him to i it around strument c the studio, and the violins have been badly injured by care- (Here follows a most convincing list ot ^2. ^heSwFsBleakCry” UP ^ ^ ^ 1--- _ .. , ■ . references to the lid„„ j„, \v„- waiting for pupils-- who do- -*—-not i Be- lesson suffers in consequence. less usage already, butuu. iif theymej aream keptacp. England*U^dfinet'i-mnana Age, Spectator, } 'entury and K nicker- the cry of the Owl and the scaleof an Indian fiute. sides it is not human nature for a teacher u°n 1 tal1.to be punctual, alert, polite, with great care, protecting them from the ,',or1A'pr, v. > obliged to omit for Its strings and bow are only Folio el Nine American Indian Sengs. 1.2S (Is beautifully illustrated and contains stones ,ouk,**£;**£ r; .« trifling things— and legends. This volume is exceptionally «eful changes of temperature, careless usage, A master-touch!—its sweet soul you take irregular lessons will suffer ii and the many causes which injure vio¬ American Strings any pageant. piano Solo consequence. wakes and sings. lins, there is no reason why they should It will be news to many readers that “By the Waters cf Minnetonka".10 'Don’t fail to keep i extra supply of Not Earning His Money “By the Weeping Waters” ...... 40 Maurice Francis Egan "Cheyene Flute Call and Lose Song . 25 strings on hand Many pupils An eminent concert violinist was play- Tjr iTLlV™ ^ £ gradef^‘ violin strings are now “Indian Suite”.« think nothing of missing a day or two of ing the beautiful Schubert-Wilhelmj Ave °rJIundreds >'ears to come- be ng manufactured in the United States. _of -7 Violin and Piano practice because they have out of Maria in a small town in the Middle “Do you believe the theory that playing 1 recently saw some of these strings in Folio ot Four American Indian Songs.75 i the violin improves it?” was asked. tbe w°rkshop of one of the leading violin Arranged by Forest Schultz and Harold Buck. strings. West. He was giving a violin recital at “By the Waters of Minnetonka”.60 Don’t arrive at the lesson with the town hall, and was playing on a guar- “Undoubtedly,” was the reply. “This makers and repairers in New York city, These Interesting Compositions Cheerfully Sent on two broken strings, and ask your teacher antee. The weather was awful, and the ao eajjauitcapable UZof demonstration.UC111U1I5U elllUIl. 1I nEVChave ex-eX- ThisA man,• a.. native' ~ Austrian, psaiavvipraised^the Approval to Any Musical Person to put them on for you. It not only takes village impresario who had engaged him perimented a great deal along these lines, w^rmTHe™11™-81™88 £ly.' u THE MOST POPULAR VIOLIN SOLO THEO. PRESSER CO. time to put strings on, but the strings stood to lose $200, fofor the expected by playing certain given notes on a violin New Ym-t Ch,cago and finished in 1712 Chestnut St., Philadelphia, Pa. will stretch during the entire lesson hour, packed house had failed to materialize, Pays for tbif Cornet' ’ ialize. a great deal. After these given notes had straight L. A J?* "V"8'' astounding offer! Only and the lesson will be a tuning match in- While_„ the long, _ofsustained the been much played, it was found that in a The V ( CO'',ed)* and were tested' ixx a day buys this superb stead of a lesson of good solid instruc- beautifulbeautiful composition floateifloated through the few weeks or months these certain notes A* ",'aS surprisingly good, and ADORATION hall, the manager tapped By FELIX BOROWSKI "- ' ’ °f his would “stand out” from the other tones ducr^Li^rTersT^T P h Wui^UlZER Write for ol^big offer. Don’t tell your teacher that you do not friends, who was sitting m This splendid violin piece has achieved a lemarkable success. It has melody, of the on the violin which had not been played time strides nf tu c tS rai?.d t0, J Free Band Catalog like the piece he is giving you for the back seats, on the‘ shoulder. much, and would be much more sym- produced S£t ■ fin«st q,ual'ty can be warmth, color, fascination and tender expressive quality, with a big climax. Also next lesson, and ask him to hunt up four ‘Can ye beat it, Billy?” he said, ii pathetic, sonorous and freer in tone. This Italian strino- P t, the ^"lted StateS, arranged for ’Cello and Piano and for Pipe Organ. r five and play them over for you, until of supreme disgust, “here I’m pay- proves to my mind that a violin which is owing to^Vet7hrdVa"Ced ALL SHOULD PLAY IT Price, 65 Cents you find one you like. Take what he gives in’ that cuss $200 for this concert, and rnnstflntlvconstantly nlavpHplaved by a good violinist will ?^^8JV he^. faCtisct ,thatthat the ItalItalian'an gov-fTOV- you, for he is supposed to know best look how slow he’s a playin’.” - improve in tone nment has just placed an export duty THEO. PRESSER CO. Philadelphia, Pa. on violin strings. rikiolph Wnrlitier Co., ^ Please mention THE EXUDE when addressing THE ETUDE Page 81 J0VAKT 1918 Page 60 THE ETUDE JANUARY igj8 Beethoven’s Romance in F, Op. 50 r New Etude Musical Questions Answered iaos no other piece in the If the change is made imperceptibly, FOR ALL VIOLINISTS Prize Contest

The catalog of the Theo. Presser Co. includes a com¬ prehensive Violin Section, especially rich in educational 4 Secular Part Songs Style F Grand grades especially adapted for students. Any of these pub¬ For Mixed Voices lications will gladly be sent for examination, upon request. For Women’s Voices and'desire6 “ For Men’s Voices Quality of Tone

r ayed in these past contests and . t b ^ ^ ^ advice and instruction from skilfod musician, Schomacker PianO Co...... LLt requests for contests have

Isas of .this kind will .^ket^a, wider Illustrute^aVs'e*relation1; f°U°WlnS ^ t0 -sl:,ts, ltlm: now ton ini SassSsjcS RAG REVIEW

375 Dollars gg|§§§| like a mordent nor a spirited one like a there may be a partial return to train trill. All things considered, this is the quility, though the sentiment it still in- best way to execute the one in question: tense. Firtt Prize - $75.00 Second Prize - 50.00 1

in all. The accompaniment is differ eachftime, aad the last time the solo p Class 3. For the best Secular Part Song for Men’s Voices (in Four parts) which place, as there is no ous pitpitfall rail min playing from memory than Here a firm, biting, resonant martele

not^^a^kT863 ^ Jowing '5 ordtT' L°°k °Ut f°r 3 pef‘

passioned, and bursts into bloom° sq'To ^lencl t,le two ,b>’ a few notes of 1;

putting a slight agogic accent on the notes In the c we have indicated by the sign A. That r f f Tf fgii SSvrSSr ffrprff LET US SAVE SUBSCRIPTION MONEY FOR YOU THE ETUDE can furnish any

. with THE ETUDE, at

mm THE ETUDE, Philadelphia, Pa. The Etude THEO. PRESSER CO Co., 1712 Chestnut St., Phila., Pa. CE MENT PHILADELPHIA, PA. THE ETUDE Page 68 Page 62 TEE ETUDE JANUARY JANUARY 1918 Music on Sale Music Teaching Supplies Perhaps the one greatest advantage to by Mail the teacher and school of music originated New Year Bargains in Leading Magazines The house of Theo. Presser Co. stands by this house, is the sending of music on preeminent as a source of endless supplies selection, or On Sale, as we caU it. This of music teaching material, not only is the sending of a bundle of excellent NEW YEAR GIFTS teaching pieces of the grade and style because the Company’s publications are Guide of a Thousand Clubs. always of an attractive educational char¬ desiredf-the same to be used and ordered For ETUDE Premium Workers acter of which the adoption and use are from during the entire season or even THE ETUDE . . . . * « universal, but also because teachers may longer, with no guarantee from the cus¬ ■ 1 1 HPHESE premiums, and many more, may be earned easily obtain these publications direct tomer as to the amount to be kept, every¬ Woman’s World . . . • J Save1 25c from the house promptly and at excep¬ thing not used to be returned, and a set¬ A in a few minutes of spare time by visiting musi¬ tionally economical prices, prices so far tlement to be made once each season. THE ETUDE . . . . . | $ “I 85 cal people and getting their subscriptions for The very little affected by the changed market Such a package will be sent to any ot our patrons. Special circular of informa¬ McCall’s. . A 1 conditions. ) Save 40c Etude. Write for a copy of our new Premium Catalog. The advantages of ordering music by tion and order blanks are furnished upon mail from a large establishment able to request. THE ETUDE . . . . .)$Ol0 send promptly almost any article of a In addition to the above we send our Non-tarnishable Platinoid Picture Frames new works. Special Advance of Everyweek ...... standard character are so manifest or so New Music On Sale, a package of seven ) Save 40c These frames are substantially built, made of Advance of Publication Offers— Publication Offers easily demonstrated that once tried the to fifteen pieces, one package during each the unsurpassed, non - tarnishable Platinoid, A Special Expiring January 1st habit is immediately acquired. All mail of the busiest teaching months of the year. THE ETUDE backed with velvet and will prove a most worthy January, 1918. Offer orders sent to Theo. Presser Co. receive This is called Monthly New Music On The following works have now appeared immediate and intelligent attention. Any ornament. Specify number in ordering. Sale. American Cooker Alinm of Modern Sonatinas. $0.30 from press and the introductory price is responsible teacher or professional musi¬ We draw particular attention to our THE ETUDE Size No. 1, height 6 inches,width 41 inches, 1 subscription Artistic Vocal Album for Low Voice.40 herewith withdrawn. Any of these works cian may open an account and get all the moderate retail prices, and the fact that $225 THE ETUDE . .j$04 De Beriot’s Method for the Violin, will be sent at our regular professional benefits of liberal terms, low prices, etc. our liberal discounts are the same on On Today’s Housewife Size No. 2, height 61 inches, width 5 inches, 2 subscriptions Part 1.35 prices on open account or On Selection The privilege of obtaining music “ON Sale music as on regular monthly cash Fifty-One Old Hungarian Melodies, Hart- McCall’s . . Save 75c Boy’s Life . ■ ,j ^ Size No. 3, height 8 inches, width 61 inches, 2 subscriptions for examination: SALE” or on approval is freely accorded account orders. Three Intermezzi for the Piano, by to all patrons of the company and every The plan is of such great convenience customer may depend upon the fairest THE ETUDE . . $050 Brahms, Op. 117. This is another volume to music teachers that it has been imitated in the Presser Collection. The new edi¬ treatment in all particulars. by almost every publisher and dealer of Pictorial Review . tion follows the editing of Sauer, but is For teachers without easy access to a the country, but without the same liberal Metronomes real music store the Presser mail order printed from specially engraved plates, all conditions. Let every teacher and school The metronomes offered here are of Mozart Album..36 service is the ideal assistant in selecting try a package of the Theo. Presser Com¬ New Standard Collection for Violin and carefully revised. music for teaching purposes. A brief out¬ THE ETUDE . . the'finest quality made, being sold* pany prints, whether they have a package Piano.25 Moszkowski Album for the Pianoforte. line of what is needed, sent in by mail, from elsewhere, or particularly so if they Christian Herald . |$2- regularly by us at $3.25 and $4.50. New Standard Four-Hand Collection. .. .25 Contains the most popular Moskowski will bring the music or instruction books J Save $!.(X have not a package from any place. They are fully guaranteed against New Standard Song Album.25 numbers, including Moment Musical, right to the teacher’s door. Try this, or Teachers who have once tried this method any defect of manufacture. Fur¬ New Vox Organ!, Pipe Organ, Buck.50 Yalse Brillante, Air de Ballet, etc.,—all in write for catalogs, terms, etc. cannot get along without it. THE ETUDE ..... Orchestra Folio, Parts, each.15 nished with hinged or detached door. one attractive volume. * Peoples Popular Monthly $265 Orchestra FoUo, Piano Part.25 Works Reprinted Moderate Prices Sent prepaid. Six subscriptions. Peerless Method for the Mandolin.30 The Message Eternal. By J. T. Wol¬ In these days of rising prices it is We believe that it is of considerable McCall’s Magazine . . . Pianoscript Book, Jonhs.50 cott. A Sacred Cantata by the author of almost unusual for prices not to be raised. Save 85c interest to our readers to know those S’LIFE Short Preludes and Fugues for the the “Dawn of the Kingdom.” We con¬ Business associates cannot understand why works and particularly those modern Organ, J. S. Bach.25 sider this one of the most attractive sacred everyone has not raised prices because THE ETUDE . . . .)*07e Circle newer works that are being used by the THE ETUDE . . . Six Airs Varies for Violin and Piano, choral works that we have ever issued. they have done so. Profiteering has Mother’s Magazine . _ $085 Banda, Op. 89.25 other leading teachers of the country to Mother’s Magazine Alarm Twenty-four Brilliant Preludes, Concone, Bel Canto Method for the Violin. By almost become the custom. McCall’s Magazine. . (save $1.00 such an extent that it is necessary for us Ladies’ World . . 6 Subscription* Op. 37.16 Mabel Madison Watson. This is especially to make new editions. The following list Those kinds of business which are not abnormally increased because of the war THE ETUDE .... Vocal Studies for Contralto or Mezzo, suited to young students—thoroughly is important for the reason that it con¬ PIOURM Given for Six yearly Subscrip¬ Whelpton.20 practical and up-to-date. tains some of our very latest works pub¬ and war conditions are entitled to every Ladies’ World .... tions. A product of the fam¬ Volunteer Choir. Anthem Collection.15 lished the first time in very large quantities, consideration. The music business is one Wohlfahrt, Op. 74, Melodious Studies of this kind. Every item of expense that \* 285 ous New Haven Clock Co. this first edition being entirely exhausted, Today’s Housewife fot the Violin, 2 Books, each.15 Biographical- enters into the publishing business has J Save $1.15 Nickel plated, seamless case, necessitating the printing of another edi¬ Peoples Home Journal . Portrait Supplement tion. Any of the works will be cheerfully been abnormally increased, even the gov¬ bell metal gong on back. Etude Prize Contest The Etude has given eight handsome sent to any of our patrons on examination. ernment income tax we understand hits the publisher harder than the war profit¬ THE ETUDE .... Height 4*4 inches, width 3X We would again call attention to the educational supplements of the portrait- We ask this privilege. If the work is not | inches, dial 2 inches. A most biographical character to date. These are found desirable the only expense is the ing class at whom it has been aimed, Modern Priscilla . . . Etude Prize Contest, a complete an¬ nevertheless we have retained our same :)*2- dependable timepiece and nouncement of which will be found on real supplements necessary to complement postage. McCall’s. the material in The Etude. They are moderate retail prices, and we are giving . / Save 55c arouser. another page of this issue. This Prize Con¬ Sutor’s Note Spelling Book. This is a produced by a very expensive process and the same discount on the publications of test is rather unusual in that it is entirely writing book for learning notes. The most .... have been given to Etude readers during other publishers as we have always done. THE ETUDE for part songs of secular character. It is up-to-date method of teaching the main the past year entirely free of additional principles of notation to the child mind. The small increase which we are asking Delineator /To One') . Trench Mirrors divided into three classes, for mixed cost. The expense, however, is so great Price, 30 cents. in several classes is so small as to be of Oblong or oval shape; made of voices, for men’s voices, and for women’s questionable value to us. Unless condi¬ Everybody’s VAddress/ . /Save $1.50 that it is not possible for The Etude to Organ Melodies, contains gems from solid metal that cannot rust. tions become worse we will continue to voices. The part song is one of the pleas¬ give a portrait every month. While these classic and modern composers compiled THE ETUDE . . . .)*onn Just the gift for the boys who antest forms of vocal part writing, and supplements provide in themselves an and arranged for the pipe organ by Mr. give the same discounts on the same mod¬ THE ETUDE . . . McClure’s.TO— will “go over.” Size 5 x 3 we hope to have a large number of com¬ ingenious means of being framed we real¬ Charles W. Landon, a veritable mine of erate retail prices. We ask the consideration of the entire Ladies’World . . .jsave$i.oo Collier’s Weekly (Re|j P0rice Given for 3 Subscriptions. posers represented in the Contest, not only ize that our friends will in many cases good things for the busy organist, at the experienced composers, but also the desire a more elaborate passe partout music buying public in the United States retail price of about $1.00. and Canada. Our every effort is to sup¬ THE ETUDE.)$Q35 younger and aspiring writers. Every framing. Standard Advanced Pieces and Piano i_ , Books manuscript received will be given most By an arrangement with the Dennison ply their needs for music and music books Woman’s Home Comp. . — Players Repertoire are two of the 50-cent as economically, promptly and intelli¬ SS600 f.tandfrd Dictionary. 5 Subscriptions. More careful attention, and absolutely impar¬ Comoany we are able to provide them Collections which we have mentioned in ier’s Everyweek. ssc ‘Nitrations; l.rnp leather, gold stamped bible paper, tial judgments will be formed in all cases. with* framing outfits costing respectively gently as is possible. We are equipped to another note. These volumes contain an take care of the trade of every music We would suggest that the manuscripts 25 cents, 50 cents, $1.00 and $2.00, whereby unusually large number of pieces by the 5KC.°rnerS’ rCd CdgeS' Colored charts and 1910 census.P Size, these pictures can be framed at home by teacher and school in the whole country. 7X x submitted be of really practical charac¬ very best composers. The titles are THE ETUDE . . means of a very delightful pastime. The Music buying by mail has been found to descriptive and the prices but 50 cents ter, singable, and melodious, and yet with size and the quantity of the material in be one of the greatest conveniences to the Review of Reviews O-Cedar Mop a certain independence of part writing, each outfit is of course in proportion to each at retail. teacher. Promptness is our forte. A specially constructed and with interesting piano accom¬ the price. We can furnish our customers Musical Thoughts for Little Tots. A THE ETUDE.)Sc*oe mop, saturated with O- paniments. with these outfits at the above prices plus 50-cent Collection of school songs by L. A. 50-Cent Collections Cedar Polish. Cleans and the postage or express charges. Bugbee, the composer who has produced Let our Catalog Department send to Everyweek. some of the most popular children’s songs all interested one of our booklets giving polishes at the same time. Year Book American.. of this day. This collection contains 26 the list of contents of a large number of Nothing equals the O- for Music Teachers Bargain Music very interesting melodious little pieces our series of 50-cent Collections. These Cedar Mop for floors, We offer to our patrons a lot of music with characteristic words. This is a little booklet of 96 pages about collections contain as many as 80 compo¬ THE ETUDE $085 woodwork or furniture.’ which we have taken from our shelves that Juvenile Song Book. This is a collec¬ sitions in one book, and at a retail price vest pocket size, of the greatest help to all was once popular, but which at the pres¬ World’s Work Cleans and shines linoleum. tion of 25 children’s songs including some of 50 cents. These volumes even at such engaged in the profession of teaching ent day is not extensively used. Much of for every purpose,—school, kindergarten, It gets down into the cor- < a small price have been given in their music. This memorandum note book will this music is surplus stock. Some of it is young children, and action songs for boys, preparation the same care as all of our THE ETUDE . . . , ners. Does not kick up the —- be sent free to any of our patrons who shopworn, but none of it has ever been girls, and a combination. Price, 75 cents. most popular collections at higher prices. American Woman’s Home Companion ( 50 dust, but holds it until 3 Subscriptions ask for it sold. Our offer for this music is exceed¬ Counterpoint. By Dr. H. A. Clark. A The same rules have been followed. Many \ \ M'A ingly low. We will send it for $5.00 a Woman’s Home Companion J Save 9dc Delineator /'To One^' * shaken out. Padded and will not mav ^ , , The book not only contains a schedule manual of advanced study including dou¬ collections of this kind have a few popu¬ of lessons but everything as well for the foot, or $2.50 a half foot, under the fol¬ ble counterpoint, canon and fugue. A lar compositions contained in them, and a Everybody’s V Address.if- *' Directions with each Mop. Shipped Xrges coHecU n'tUre' bookkeeping of the music teacher, not to lowing conditions: that no selection shall clear concise work, thoroughly tested and number of pieces as padding. There is ADD TO ANY CLUB AT PRICES OPPOSITE be made, nor any certain type of music, Country Gentleman.$1.00 Hearst’s . 1

ard and classical writers. An unusually DICTIONARY are quite simple will be an added recom¬ those precious instructions that otherwise coEect. Seven subscriptions. Zeisler, Gabrillowitsch, Grainger, Busoni, work, in which he says “These Interpre¬ instruments are desired. The usual large number of pieces will be found Carreno, Hambourg, Bauer and many tation Studies are intended to incite the orchestrations will be found in this folio, mendation to many violin teachers who would go out of mind a few moments OF wish to play the accompaniments for their beneath the one cover. Every piece is a after the lesson was over. Then Senor others equaly great have revealed the pupa’s imagination and through their namely, first violin, second violin, viola, uem well worth playing. The special sources of many of their successes in this psychological appeal there will arise tech- ’cello, bass, flute, first and second clar¬ pupils and have not a highly developed Jofias, who has himself taught many vir¬ piano technic themselves. introductory price in advance of publica- tuosos, realized that he must place in the interesting book. All of the conferences meal control, musical expression, and an inets, first and second cornets, oboe, horns, tion is 25 cents, postpaid. were secured personally by Mr. James elemental degree of aesthetic quality. Each bassoon, trombone, drums and piano. The The special introductory price in hands of the average teacher a book that MUSIC Francis Cooke during a course of several titfe is suggestive, subjective or objective; selections are all so arranged that they advance of publication is 2o’ cents, post¬ would be so classified and so annotated paid. . Artistic Vocal Album years. Many have been rewritten in con¬ thus, through subtle emotional influence will prove effective with any small combi¬ with special exercises that it would at AND junction with the artists several times the physical conditions of each study can nation from one or two instruments and for Low Voice once map out a fine course for any teacher or student to pursue. The book is so new The price of the new edition, over a third be readily apprehended.” Our special piano up to the full arrangement. Wohlfahrt, Op. 74 This collection is now about ready, but in type that it is difficult to tell about it. again as large as the old, is $2.00. It has advance price on this work will be 35 Melodious Studies for the special offer will be continued during been used as a text book at many leading cents, postpaid. The teacher must see it to appreciate its the Violin, Books 1 and 2 the current month. The low voice edition MUSICIANS institutions. It is finely illustrated with Mississippi Sketches great value. The advance price is 50 of the Artistic Vocal Album has contents cents a copy. portraits and contains biographies of all 24 Brilliant Preludes For the Pianoforte What the famous Kreutzer Etudes are somewhat similar to the high voice, but in FOR SALE!—Good as new, C. G. Conn alto artists. for the advanced violin student, these saxophone. L, Loughbridge, Givin, Iowa. Five Large Volumes Bound in Red By Concone, Op. 37 By Kern certain cases songs are substituted or excellent Studies by Wohlfahrt are, or are Special Offer Cloth and Gold. Price, $25.00 The Preludes come very near to being added which are more especially adapted FOR SALE—Conservatory of Music with Short Preludes and This is an original set of pieces on a fast becoming, for the beginner. Many for January Renewals established clientele located In the West. An improvisations. They are quite short, for low voice only. Where songs are excellent opportunity for a wide awake Music genuine American subject. Mr. Kern’s efforts have been made by various violin suited for both voices, they are retained, Fugues for the Organ about twelve measures. They are brilliant composers to provide material of this In order to induce Etude readers to Teacher with a small capital to establish him¬ THE KEYSTONE OF EVERY little pieces that are very often used by work is too well known and too popular of course. The best of modern song self. Address A. M. J. M., care of The By J. S. Bach kind, some of them excellent in their way, renew their subscriptions promptly, we Etude. MUSICAL LIBRARY salesmen in the piano rooms to show off to call for extended comment, but in this writers are represented. The special but none have succeeded in combining so' extend for the month of January the fol¬ The eight Preludes and Fugues which the piano. They teach fluency and grace set of pieces which will he published introductory price for this volume in lowing liberal renewal offer: PIANO TEACHER desires position. Con¬ go to make up this volume are taken from together in one attractive volume, he has happily pedagogic needs with musical advance of publication is 40 cents per servatory graduate. Will accept position as and ease at the keyboard, at the same attractiveness. To everyone who renews his or her sub¬ vocal accompanist or orchestra. M. F. G. Now issued in America exclu¬ the complete work of Bach and have been time being quite educational. They com- done some of his very best work. The copy, postpaid. The first book should lie studied in con¬ scription during the month of January, or care of The Etude. selected and edited by Bridge and Higgs prise one of Concone’s principal works, pieces lie chiefly in about the fourth grade sively by Theo. Presser Co. nection with work in the first position, sends us a new subscription at the full Our new edition of this book has been and should be better known. Our Siecial and are playable, melodious, and very Master Study before going on to the higher positions; price of $I.5fr-$1.75 in Canada—we offer This is the latest revised and carefully edited and revised by the well- advance price on this is but 15 cents, interesting, all in characteristic vein. in Music their choice of any one of the following if The Etude. known organist, Mr. E. A. Kraft. This postpaid. the second book is specially valuable to enlarged edition of Sir George The special introductory price in advance This is a series of biographies of the standard collections of music, on payment WANTED—The words and music of two volume is one of the most important of confirm one’s mastery of the third old songs called “The Ring My Mother Wore” Grove’s masterpiece of musical of publication for this volume is 30 cents, position. great masters prepared by Mr. James of 15 cents additional: all educational works for the organ, since Peerless Method and “Old Fashioned Photograph ot Mother.” postpaid. The advance of publication price is 15 Francis Cooke. They are different from Album for the Young. Robert Any one having an old copy to sell address scholarship. There are 4,000 it serves as an introduction to the poly¬ For the Mandolin Schumann. E. C. Kellar, Covina, Cal. phonic style of playing, and also to the cents for each book, 25 cents for both the conventional books of biographies in pages and over 5,000,000 words true art of organ playing. Any apt stu¬ This is one of the best and most com¬ New Standard Song books. that they take up the subject both from First Dance Album. 26 Selections. from great authorities upon all Album of Favorite Pieces. Engel- dent who has completed Whiting's Begin¬ plete methods ever offered for the mando¬ Album the pedagogical or text book side and also I ANNOUNCEMENTS I phases of musical learning. The lin. It is in the nature of a Graded the human or interesting side. Each biog¬ ner's Method for the Organ or Rogers’ New Standard Collection books are liberally illustrated Graded Materials or Stainer’s The Organ Course, starting at the very beginning This volume is now about ready, but raphy is accompanied by a set of ques¬ Musical Poems for the Children. should be able to go right into these with the elements of notation, etc., and the special introductory offer will be con¬ For Violin and Piano tions and many have lists of appropriate Octavia Hudson. MUSIC COMPOSED—Send words. Manu- with cuts, half-tones and notation tinued during the current month. It is an scripts corrected. Harmony, correspondence Fugues and to derive much profit thereby. continuing by gradual stages to an inter¬ This is a new volume in our scries, books for additional reading. Then work Standard Opera Album for Piano. 15 examples. Thousands of subjects excellent all round collection of songs lessons. Dr. Wooler, Buffalo, N. Y. Our special introductory price in advance esting series of exercises and pieces. The printed from special large plates. It will is illustrated and contains much informa¬ pieces. are discussed: Biography, His¬ of publication is 25 cents, postpaid. mandolin is not a difficult instrument to chiefly for middle voice, both sacred and contain a large number of violin pieces tion originaly translated from German, Standard Organist. 46 pieces for HAWAIIAN UKELGLES—Finest native secular, and printed from special large Koa wood from MAKER TO YOU. Complete tory, Musical Science, Theory, learn, and this instructor will make every¬ of all styles, chiefly of intermediate grade. French and Italian sources by Mr. Cooke pipe organ. plates. An unusually large number of with strings, $5. Prompt delivery, express Musical Industries, Instrumenta¬ “The Organ” thing clear and furnish all the necessary Such a collection is specially valuable for especially for this work. Much thus Duet Hour. An Album of Easy Piano prepaid. Each instrument guaranteed. Self¬ material for a considerable course of songs will be found in this single volume. receives its first appearance in English. Duets. instructor, $1. W. M. Devine, Honolulu, tion, ^Esthetics, Musical Terms, By Sir John Stainer home use, or for sight-reading in company Hawaii. study. The mandolin as an instrument Modern and contemporary composers are with a friend who plays the piano, as it The work is not a History of Music, but We hope that all Etude readers will etc., etc. The work is the most has come to stay. It has filled a place represented chiefly, but a few selections The work named here contains a com¬ furnishes a large and pleasing variety of it will cover the ground from Bach, take advantage of this liberal offer in notable musical compendium in plete elementary course in organ playing, which can be taken by no other instru¬ from the standard writers will tie music, both by standard and contempor¬ Handel, and Gluck right down to the sending in the renewals of their own sub¬ included. The songs are mostly of inter¬ any language. beginning with a short illustrated sketch of ment. Our special introductory price for ary composers, in a convenient form, and present day with Strauss, Debussg and scriptions as well as subscriptions for the history of the organ followed by an the new edition of this Method is 30 mediate grade. This is just the hook for at a merely nominal cost. Schoenberg, in fuller fashion than is done their musical friends. Part of the value cents, postpaid. general use. It should be in the library of Child’s Own Book See these splendid musical explanation of its construction and of the The special introductory price in in any other historical work of its type. of an Etude subscription consists in the books in your own home. What stops and their management, these sec¬ every singer and teacher. The special The book is especially adapted for musical fact that liberal offers such as these are Vocal Studies for introductory price in advance of publica- advance of publication is 25 cents per of the Encyclopedia Britannica is tions of the work combined serving as a tion is 25 cents, postpaid. copy, postpaid. dubs and for class work in schools but it made only to Etude subscribers. comprehensive text book of value to all Contralto or Mezzo Soprano is also adaptable for self study and for Renewals received during January, to General Information the beginners as well as to many players of By Whelpton DeBeriot’s Method reference. The advance of publication whether subscriptions have expired or not, Grove Dictionary is to Music. experience. The foregoing is followed by Mr. Whelpton’s Vocal Studies for Mozart Album for the price of this book is 50 cents. will entitle the senders to take advantage Great Musicians There is no better Musical Refer¬ a practical study course, covering the for Violin, Book I of this offer. Soprano or Tenor have met with much Pianoforte A splendid series of use¬ ence Library at any price in any main difficulties encountered by the novice success. This is a good book which will This is one of the mast melodious meth- Money-Saving in the management of the pedals, manuals, ■ °*lr new Mozart Album will be similar ful books for little folks language. Unabridged in any save the busy teacher from writing out ods ever written, for violin. Aside from Magazine Clubs New Year etc. The thorough mastery of the exam¬ indispensable scale and interval exercises, many exercises, which otherwise might nJl, ,? tj °Ur Ver-V successful Premium Offers BY THOMAS TAPPER ples and exercises in Stainer’s “Organ” have to be put down by hand. It contains Bach and Handel Albums. It will contain there is nothing in it which is not attrac- For the New Year The Etude offers its provides a perfect foundation for the a number of the favorite movements of all the necessary material for the early . e even fr°tn a purely musical point of readers some special bargains in clubs of To readers and friends who are willing BACH-HANDEL-SCHUBERT-SCHUMANN THE EARLY EDITIONS development of exceptional proficiency in and intermediate stages of voice training the master, practically all of the gems in view—something which can be said of hut the leading magazines together With The to devote a little of their spare time to organ playing. We have just issued a BEETHOVEN-MOZART-MENDELSSOHN SOLD FOR $25.00 In response to a general demand we are the smaller form, together with finale very few instruction books. Used in the liTimie. All orders may be sent directly visiting musical people and getting their . CHOPIN new and enlarged edition of the above now preparing an edition of the same movements, fantasies, rondos, etc. In to The Etude for prompt- forwarding to subscriptions for The Etude, many use¬ listed at $1.50 but we have a limited sup¬ lw. ti°,M er U Stand-Vit has been found to work for low voice. The material is point of difficulty the pieces will lie mostly 1L1UC ,rttpidl-v Progressive for the the respective publishers. Beside the sav¬ ful and valuable premiums are offered. ply of an exact reprint of the original selected and compiled from the very best in the intermediate grades. The special a\rr®p'' pupil, but this can be easilv rem- ing m money, it will be more convenient Some of these gifts are listed in the new This greatly enlarged English edition, bound in stiff boards, These biographical “play-study” sources. Our special introductory price introductory price in advance of publica- Rnot ]’y, ’"troducing Wohlfahrt Op. 74 Etude^ y°Ur orders directly to The Premium Catalog, a copy of which will be which we are offering, as long as they last, in advance of publication for the low tion is 35 cents, postpaid. sent upon request. All of these rewards books are designed for children latest edition costs for 35 cents each, postpaid, if cash is sent X , , (rrierd in anothcr Publisher's tlw fiji1 the.^,ose of the part devoted to A few of these especially low priced are well worth the time and energy at that age when they love to cut with the order. No copies sent on paW edUi°n ^ WiU bC 20 CentS’ P°St' are listed expended to earn them. Only a few of only $15.00 approval at this price. 51 Old Hungarian Melodies li me, ‘ P”Tt'°n’ before $oi"F "" to the below1'0115 °f nia&azines out pictures. There are no illus¬ Wnhlf „P:,S; i0ns’ and similarly, using the premiums can be listed below. Volunteer Choir for the Pianoforte trations in the books, but black New Vox Organi fl™„l rt> U’ II, to give addi the ETUDE. Notwithstanding the low price By Arthur Hartmann Platinoid Picture Frame-r-Non-Tamish- All choir directors and organists will sh°fting.raC Oe m the U,ird Position and in McCall s (or Today’s Housewife) able Metal. spaces are left for illustrations. for the Pipe Organ be interested in the publication of a new -IILS made for cash we have decided to In this unique volume Mr. Arthur Hart¬ and cheap anthem book. The success of Substantially built frame, backed with The accompanying pictures are accept orders subjeet to payment By Dudley Buck mann, the well-known violinist, has col¬ cents!” a<,Vance ot publication price is 35 the ETUDE. these little volumes is a guarantee that l *2.50 velvet; will prove a handsome ornament. printed on a large sheet to be within 12 months. Write for terms. This new collection is well advanced in lected some of the most attractive of the Pictorial Review... ..” . the present one will be up to the stand- * •) Save 50cU. Six inches high and 4'/4 inches wide, one preparation. It comprises a selection of cut out and pasted in the book. The set is also given as a premium ard This new one will make the seventh Hunganan folk melodies and arranged Album of Modern subscription; eight inches high and 6% the very best things in the original work THE ETUDE. for the sending of 15 subscriptions of these volumes that we have published them m practical and playable style for ■ X *2.50 inches wide, two subscriptions. After writing in certain ques¬ which was published in four large vol¬ Sonatinas Christian Herald. ’ ’ ” ’ to The Etude at 21.50 each. and every one thus far has met with the piano It is sometimes difficult to • i Save $1.00 umes. Only the most usual pieces have understand just how to play the Hungar¬ Trench Mirrors. tions the child binds his own unqualified approval and success, and THE ETUDE.... been selected, and these are all by well- ian music, but in his editing Mr. Hartmann Ladles’ World.. Made of solid metal that cannot rust, book with a cord provided for there is a constantly increasing demand .1 *2.85 REMEMBER known American and European writers, *mSr'.Sasaa-s Housewife. oblong or oval shape, just the gift to send for them. This volume will contain only whoZf Tnyahing S(> Plain that anyone ;;/save$U5 that purpose. A,ll who have used some of the modern masters of the organ. who has not had an opportunity of hear¬ .Peoples Bone Journal. to the boys who will “go over.” Size THE HOUSE OP THEO. PRESSER CO. those selections from our catalog that these books are delighted with STANDS BEHIND THIS TRANSACTION The collection is a well assorted one, con¬ ing the melodies will know just exactly ETDDB. 5 x 3Vi inches. Three subscriptions. have proven to be of permanent value. Delineator \ t0 on* ) i *3.00 IN EVERY WAY. taining material suitable for Preludes, There will be nothing in the volume that how to interpret them. There is an intro them. Postludes, Overtures, etc., and also num¬ ductory text by Mr. Hartmann, in which h".1* 5 srV£ grorbody’s 1 Address } . j Save $1.50 Self-Filling Fountain Pens. cannot be taken up by the average choir. Sonatina, "i",1 Plcusiny numbers of the 14-karat gold pen. Self-fllling attach¬ SEND YOUR ORDER TO bers for concert and recital use. The It is not intended that choirs should order the origin and characteristics of the mel THE ETUDE. Single Biographies, 15 cents each pieces are chiefly of intermediate grade. od.es are fully explained. This book will Fritz Snmrn -angA’ °I’- IU- also s°me of ment. Is simple and easy to operate. more than a' single copy as a sample, and renlete w;iK ^S v°p- 1B7' The book is CoUier’s Weekly (Reg. $2.50) .. . ••j Save 75ct*. Three subscriptions. The book will be a handsome volume. The we shall be very glad indeed to furnish be a valuable addition to the library of mfnrest c<,mP°sitions of Ell- THEO. PRESSER CO. special introductory price in advance of these samples to any choir leader for 15 any musician The special S in Loescht’ R°ht> *252 Reinecke, Bracelets. publication is 50 cents, postpaid. nVk°re dlan a thousand money-s THEO. PRESSER CO. Sole Agents cents, each postpaid. advance of publication is 50 ee^ts post- sjoeschhorn, and manv others Our Gold-filled. Exceedingly neat and IVa Usted ln our new 1918 Mal 30 cents. PnCC °n this voIuine postpaid is wfli uV8* Pa?es- A P«stal card r. attractive chased design. About % inch 1712 Chestnut St., Philadelphia, Pa. Philadelphia, Penna. U tmnS your copy by return mai in thickness. Four subscriptions. Page 66 THE ETUDE JANUARY ms ' JANUARY 1918 THE ETUDE Page 67

__ ■:

Bright Ideas for Little Folks and Their Teachers

Children must learn to^creepe ere they can learne to goe.”—IIEY WOOD (1565)

The Christmas Knight Music and Picture Post-Cards Alphabetical List of Practice Knecht Ruprecht is a merry, noisy Hints fellow who helps Santa Claus when he By Gertrude M. Greenhalgh is very busy; he harnesses the reindeers By Jo-Shipley Watson and does the driving; he opens windows I have found’ that my pupils gain in and describe the song of the gondoliers and crawls down chimneys; he is so spry expression if their interest is aroused by as .^hey row their graceful boats along A—Aim straight, play straight. B—Breathe deeply, chin up. that good old Santa Claus can not do pictures indicating the mood of the piece the canals by night. without him. Knecht Ruprecht, or Knight and the source of the composer’s inspira¬ Loch Lomond. {Song.) Show a C—Count aloud, keep on counting. Rupert, gives presents to obedient chil¬ tion. For this purpose picture postals, picture of the place, and endeavor to get D—Depend upon sound, not sight. dren; sometimes h.e forgets those who which are now so easily obtained, are the spirit of the Scottish Highlands. E—Energize. are not obedient, and then Santa Claus most convenient. As so many of our Spanish Dance. Scene of the Alhambra. F—Finger memory alone is not to be too scolds, because Santa gives to every child composers have been highly influenced by Dancing girls dressed in bright colors far trusted.

Rustle of Spring. Binding-. N scene. Spring gently thawing t

piece about Knecht Ruprecht,—it is in mountains and through the fiords in their 1—J°} th,s down-Play for the family, mad rush to the sea. K-Know first what you are to play be- the Album for the Young, Op. 68. You ChansonRusse. Smith. Picture Russia, fore you play it. can not fail to find it, and it is a goo^ piece to learn for Christmas day. In the plains, its exiles, L~L'^” s, "’orr'es hy havi"g a

The Early Trials of Great Artists s-siience is golden even in music so the lives of Bach, Beet- a fundamental law, which was long ago the rests. n fact of nearly all the recognized by some of the greatest sages T—Thinking music away from the piano rs, as well as of many Mencius, living in China about B. C. 100. is worth a term of lessons.

here - thev ™ u ! fnr thr0ugh a more or less Protracted period great office on any man it first exercises v~Very slow practise is the discipline iv,hn R, th Tp,b y ’ f of privation, suffering and lack of ap- his mind with suffering. It exposes his -vou »eed most. John and Ruth and^Elmer are sittmg^up predation on the part of their con- body to hunger and subjects him to ex- W—Without patience, nothing worth while

Rupert, who is as agile as a cat and as Mendelssohn.) 6 r

brightly. Santa’s voice rumbles in alarm “What is this I seel What is this I see!” (Measures 33 to 36). Santa is not used to bright lights and besides he is sus¬ picious. The Knight is satisfied that all is well (Measure 37), and he goes to work; someone has told him that John and Ruth and Elmer fell asleep an hour

My New Year’s Resolve is, practic Li noment of my practice period e THE ETUDE Page 68 THE ETUDE JANUARY iJ]0ARY SPECIAL OFFER-FOUR REAL SUCCESSES GEMS OF PIANO MUSIC Schools and Colleges*® NEW YORK wilISPsenW**>0rtUn^«y'*if SfCUre ^our our very popular piano pieces at a special price. Until March | will send any one of the four for 15 cents, cash, postpaid, or all four pieces for 50 cents, cash, postpaid Mme. Caroll Budham Preyer GOETSCHIUS’ Teacher of Famous Opera and SYSTEM OF HARMONY ° VOCAL TEACHERS Concert Singers COUNTERPOINT AND COMPOSITION taught through mail by EASTERN OPERA,'“CONCERT AND ORaToRIO lit of Marchesi and Lam per E. KILENYI, M.A. 20 E. 90th Street New York City Endorsed by Dr. Goetschujs. Individual attention. jasfeBww.*- ITHACA CONSERVATORY OF MUSIC 9 a complete musical educimtin^amDjmqucadva-'- ORGAN SCHOOLS CRANBERRY PIANO SCHOOL Crane Normal Institute of Music l'Serk^Graduntes ore eligible to tench In theNt EASTERN Training School for Supervisors of Music Teachers’ Training Courses V ‘ cl e ai h°^nHiSEXf-Sai ing har mflidS^Mncermu^an^dorm'tori^ Resldentand ? VIOLIN SCHOOLS FAELTEN SYSTEM. Booklet EASTERN catalog,-nie Reeistrif , DeWi„ ptrk nhaca, N.T. CARNEGIE HALL - - NEW YORK

-m.iiTiMlII MUSICAL AND EDU- The National Conservatory of Music of America INTERNATIONAL cational acency Incorporated in 1886 and Chartered in 1891 by Special Act of Congresa. Ad. Sec 126- 128 W. ISd^bireet, Take a few minutes to study the M. Thurber, Founder and Presiden MRS. BABCOCK school announcements on these OFFERS Teaching Positions, Col- pages. Here are the best Colleges, U leges, Conservatories, Schools. Conservatories, Schools in Alio Church «sJ Concert Engagements America. The American Institute of Applied Music (METROPOLITAfl COLLEGE OF MUSIC) CARNEGIE HALL, NEW YORK 212 West 59th Street New York City , courses in Voice, Piano, Stringed Instruments, PubI School Music, Th i and Historical branches OF THE CITY OF is on—October I Send for circulars and catalogt NEW YORK INSTITUTE OF MUSICAL ART: ik Damrosch, Director KATE S. CHITTENDEN, Dean AN ENDOWED SCHOOL OF MUSIC The opportunities of the Institute are intended only for students of natural ability with anearnest purpose to do serious work, and no others will be accepted. For catalogue BURRO WES COURSE 2f mJSjc study and full information address SECRETARY, 120 Claremont Avenue, New York. Kindergarten and Primary—Correspondence or Personal Instruction HawS Pupils—Satisfied Parents—Prosperous Teachers. Claaaea are doubled by use of Ihie method For a third of a century THE ETUDE hoo cha ,dSiappUcation^to KATHARINE BURROWES Forothirdof century THE ETUDE Kara ch.m, D. 178 FIFTH AVE., NEW YORK CITY, o- For a third of a century THE ETUDE has c< Dept. D. 246 HIGHLAND AVE., HIGHLAND PARK, DETROIT, MICH,

of Improved Music Study DUNNING SYSTEM for Beginners H) Teacher*—Cla**es Larger Every Year—Teacher* Earning $2500, $3000 and $4000 VIRGIL PIANO CONSERVATORY a Year with the Dunning Work Alone—Why i* This ? Because its standard has never been equaled or such phenomenal results obi Of importance to you if you wish to study by any other plan for teaching beginners. Piano, Theory or Harmony MRS. CARRE LOUISE DUNNING NORMAL CUSS FOR TEACHERS, New York City. Mr*. Addy Yeargain Hall, Normal Classes, Davenport, Iowa, Dec. 17th. Address Musical Art The “Tek” Results tell Mrs. Oscar E. Busby, Normal Class, Shreveport, La., Dec. 3,1917. Washington, D. C., July 15th, 1918. Address Marshall, Texas. 19 reasons why the Mrs Anna Craig Bates, Normal Class, San Antonio. Address 3303 Coke St., Dallas, Texas. Mrs! Harriet Bacon MacDonald, Normal Class, Jan. 7th, 1918. Address Bush Temple. Dallas,

“Tek” excels the Miss^Nettie Beth Davis, Normal Class, Whitman University, Walla Walla, Wash. Mrs. Harry A. Prentice, Normal Class, New York City. Address 78 W. 103d St, N.Y. City. piano for practice Miss Clara Winters, Normal Classes, Feb. 4th, 1918. Address Wichita College of Mime, Wichita, Mrs*CaiTie Munger Long, Normal Classes, June 5th, 1918, Birmingham, Ala. Address 812 W. 7th

Send for Literature and "Tek” Catalog Mm! Jeanette* A. "idler, Norma! Classes, Feb. 1st, 1918. Rochester, N. Y. Address 50 Erion A. M. VIRGIL, President Mrs! Wesley Porter Mason, Normal Classes, Dallas, Texas, Jan. 7, 1918. Address 5011 Worth Street, Dallas, Texas. 11 West 68th Street NEW YORK Full information and booklet of Foreign and American endorsers. h St., New York City

NEW YORK SCHOOL OF MUSIC AND ARTS 1 w nirRALFE rr LEECHv rrr-u ctcdmcdSTERNER, Directorn: Central Park West, cor. 95th St., New York City Unsurpassed beauty of scene facing Central Park, Our new buildings give us the most beautiful and which is the finest location in New York City. homelike school devoted to Music and the Arts Piano—Arthur Friedheim, the Great Virtuoso; Liszt’s Greatest Pupil. Foice-Ralfe Inch Sterner, Celebrated Vocal Teacher. Vidin-Clarence DeVaux Royer, the Eminent Violinist. Harriette Brower, Harold A. Fix, S. Re.d Spencer, Frank Howard Warner, Blanche Mabelle Kelley. DORMITORIES IN SCHOOL BUILDINGS AND PROPER CHAPERONAGE. OPEN THE ENTIRE YEAR. WEEK. TERMS, INCLUDING TUITION. BOARD. PRACTICING, ETC., ON APPLICATION. MEHLIN PIANO USED EXCLUSIVELY

>ese over. We have many more such eems ir, « i- Hosts of Students Planning Summer Courses Now It pays to advertise. Send your announcement for March issue of The Etude at once to THEO. PRESSER CO° °“" otu’V^ The Etude Advertising Department --— ' ' - t712jChestnut Street, Philadelnhh, Pa. Please mention THE ETUDE when addressing oi JANUARY ' THE ETUDE Page 71 THE ETUDE

Schools and Colleges IBs Professional Directory Schools and Colleges <2122 PENNSYLVANIA SCHOOLS SCHOOLS CHICAGO TEACHERS ADVERTISING _EASTERN_ SOUTHERN k Louise Burton I COLUMBIA OTHER PAGES OF THIS IS :OMBS CONSERVATORY AMERICAN JBBIEM5. BRYANT \ 7 MUSIC ^ VOCAL TEACHERS PHILADELPHIA A Residential and Day School of unparalleled F^jlito for th. attainment of a complete BAKER CONVERSE COLLEKHSr A SCHOOL OF INDIVIDUAL INSTRUCTION BARTEL AMERICAN BEECHWQOPgSgaS coiiiBsirra^^fe, BROWN “‘xSBaC DUNNING; CHICAGOS¥feSSSS GILBERT RAYNOLDS COMBS, c g|BR| maafiga&S C|NC|NN4T| ZECKWER-HAHN feMALCONSEWATOfit HAWTHORNE COLUMBIA ■’sSffl“- ’HILADELPHIA jjUSICAL ACADEMY KRIENS ‘ DETROIT1 AM ER1 CAN THE DETROIT INSTITUTE OF MUSICAL CONSERVATORY MANSFIELD GROFF-BRYANT mm /MUSIC moulton MARLOWE ff||5il.rs£ NEW YORK -EeHfe OREGON; ROGERS jjglgHSS TOMLINSONSS.ISk'S- PITTSBURGH MUSICAL INSTITUTE, Inc. VIRGIL WESTERN“SSSSHa .assess

CONNECTICUT I u\assau~J\lexico BEETHOVEN CONSERVATORY SYSTEM OF MUSICAL KINDERGARTEN

CHICAGO MUSICAL COLLEGE SOUTHERN

DANA’S MUSICAL INSTITUTE Hafcn Misic Sfhoi, r to the Oriental Race C

s and luxuries during your stay in this

— — uuva kiuiow at at tractive rates to INassan- PEABODY “SSf Bahamas, points in Cuba and Mexico. Liberal stop-over HAROLD RANDOLPH, Director P^deges. Write for illustrated folders and full information

PUBLIC SCHOOL MUSIC WARDLINE JANUA1 Page 72 THE ETUDE '

Famous Old-Fashiorjed Sqfigs in Puzzle Guise By ISAM LOYD

1 (31 {Tonight W£ sleep under] Come Hoi he Sally , h——-V—Ter CANVAS I r!i' / V—f

T, ... Each of the 10 Pictures Represents the Name of a Famous Old Song What a tk The puzzles this month deal with the titles of our SAM T nvn D , What are They? -*«-«»P“r ™ ^ ™ “*-»« • e all familiar and of which we never tire. Each ,°f the 10 Persons who send the best answers song tCn httle SketCheS represents the full title of one to all of the puzzles, will be awarded a copy of Z What are they? . Cyclopedia of 5,000 Puzzles, Games, Tricks and r™ undrums,” published at $5.00. "d Con" PRIZES FOR THE CLEVER ONES rectnescBy “Best” i is meant,’ in' thetne urstfirst piace,place, absolute cor- U000 equals M I Cod m. v 7 ’ • flllkaQc Write your answers out on one side of a single sheet of paper and send by post not later than Jan. 15th, to r ' ' wi" *•A