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

5-1-1919 Volume 37, Number 05 (May 1919) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 37, Number 05 (May 1919)." , (1919). https://digitalcommons.gardner-webb.edu/etude/657

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PRICE, 20 CENTS $1.75 A YEAR THE ETUDE 1919 Page 265 NOTICE:—On January 1, 1919, the Subscription Price of THE ETUDE Advanced to $1.75 the Year II1 SELECTED RECENT PUBLU^TIONSOFJIEWT 1 5* 1 W During Past Months *

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Alb^s o FIFTY-ONE OLD HUNGARIAN ALBUM OF PIANO PIECES BY MELODIES FOR THE PIANO ALBUM OF DESCRIPTIVE PIECES WOMEN COMPOSERS Price, $1.00 By Arthur Hartmann Price, $1.00 Price, $1.00 In this unique book some of the most distinctive Owing: to the characteristic style of the pieces, Women composers have made wonderful strides which afford a change from the conventional forms and characteristic of the Hungarian folk-songs have 'been collected. There is interesting data in connec¬ of composition, this album will appeal to every piano inte rpositions player. There are twenty-nine novel numbers in ^^TS^s tion with these melodies and their origin in the of women composers. This album contains some^of this album that portray various moods, pictures, introduction. scenes and occurrences. the best representative compositions of s women composers. STANDARD ADVANCED PIECES NEW AND MODERN SONATINA ALBUM MISSISSIPPI RIVER SCENES Price, 50 Cents Price, $1.00 By C. W. Kern Pric«’ $10° This volume contains such pieces as the good Not all the pieces in this volume are Sonatinas. A suite for the pianoforte of charming character- player delights to turn to continually, not pieces of They are pieces of similar nature by various com¬ istic nieces lying chiefly in the fourth grade, tney the virtuoso stage, but real advanced pieces by posers, such as Merkel, Spindler, Lichner, Becker are truly American, being suggestive and descriphve standard, classic and modern writers. Such com¬ • and others. Altogether this is an important volume of a trip taken by the composer upon t ^ Mississippi posers as Haydn. Mozart. Beethoven, Chopin, Men¬ from an educational standpoint, inasmuch as it River. These numbers are excellent for teac" nf^ delssohn, Moszkowski. Liszt and MacDowell being tends to cultivate a taste for a better class of music purposes and also make very novel and taking recital and also will act as a stepping stone to Sonatas for represented. numbers. the average pupil. Vocal Material | ^Piano—Four Hands | Teaching Works for STANDARD SONG TREASURY Elementary Instruction MUSIC LOVERS’ DUET BOOK Price, 50 Cents A Collection of Songa Price, 50 Cents An album of twenty-six four-hand pieces. This This is a fine collection of songs chiefly for the collection is one of the best obtainable for general middle voice, both sacred and secular, and » pn«ed CHILDREN’S RHYMES use in ensemble practice, sight-reading practice and from special large plates. It consists lM|dy From A to Z recreation playing. The duets are both original works of modem writers, but includes some sdec- tions from the standard writers. The songs are By M. Greenwald Price, 75 Cents four-hand pieces and transcriptions from classic, modern and contemporary writers. They are largely mostly of the intermediate grade. It is just the book An interesting little book containing an' attractive of intermediate grade and well balanced throughout. for general use. teaching piece for each letter, of the alphabet. The Includes excellent numbers by popular writers ^such title of each begins with one of the letters of the as Sousa, Holst, Stults, Morrison, Lindsay and others. ARTISTIC VOCAL ALBUM alphabet, and each number is in characteristic style A few classics by Mozart, Schubert, Gluck, etc., are Low Voice ***r,ce’ with the text, which may be sung. A very taking also included. This is a collection of songs especially adapted to collection for young folk. the low voice, including all of the most popula songs in the original Arlutv I ocal | Piano Technic | Voice. The numbers in this collection are by such INTERPRETATION STUDIES writers as Ward-Stephens, Coombs Galloway. Ud- FOR THE JUNIOR GRADE THE PIANOSCRIPT BOOK man, Shelley. Huerter. Douty. Bischoff. Rogers ?nd By Alberto Jonas Price, $1.00 many others. As will be noted the songs areallbs By F. C. Bornschein Price, 80 Cents A distinctive work in musical pedagogy. The modern composers, and therefore the collectiu These Interpretation Studies are intended to in¬ book is classified and annotated with special exer¬ not of the usual type, that includes so many num cite the pupil’s imagination. Each title is suggestive, cises in such a way that it maps out a fine course bers found in other collections. subjective or objective; thus through subtle emo¬ for any teacher to pursue. Special blank pages are provided, whereon the teacher may write special tional influence the physical conditions of each study exercises to suit the pupil’s needs. This enables the can be readily apprehended. They are especially pupil to save for a lifetime those valuable helps that 1 Violin 1 adapted for the junior (second and third) grades. otherwise might be lost. The book is substantially bound in cloth. COMPREHENSIVE VIOLIN METHOD . . 1 Organ | | Biography | By Mr. and Mr*. Frank T. Benjamin Price, $1.00 AMERICAN ORGANIST MUSIC MASTERS, OLD AND NEW The one method among all violin instructors'™' Price, $1.50 By James Francis Cooke Price $1.00 is really adapted for •’self-instruction. A comp'" This collection of unique biographies is one that system of diagrams and pictures shows tne A collection of organ compositions by American will be read with delight by all. The romances of position of each finger on each .ttnng in a composers. All the numbers are chiefly of inter¬ music, the interesting bits, the human nature, the scales. A book which does something . mediate difficulty and cover practically all styles _ A charm of music itself, are all included in the most ening so pleasantly the labor of routine instru wealth of moderate length Voluntaries and Recital fascinating manner. Best of all, the work takes in Besides the usual scale; and exercises, the book Pieces, such as organists are always in need of, will composers about whom very little is published in tains 100 easy duets for violin and piano, incmoi™ be found in this volume. The volume is of the con¬ current works in America and about whom all active many old-time favorites. The more advanced venient oblong shape. musicians want to know. cises are selected from standard works.

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MAY 1919 , - /, ;V r- THE ETUDE MAY, 1919 Single Copies 20 Cents VOL. XXXVII, No. 5

Music, Savior of Civilization Insurance for Teachers The great and good things for which men and women are Teachers as a whole, particularly music teachers, give happy to sacrifice their all, have little kin with the Anarchy— comparatively little attention to the important matter of insur¬ camouflaged as Bolshevism—which many workers* the world ance. As a whole, teachers make a select risk. Musicians are over, have been led to swallow as the one and only remedy for usually very long-lived, and voice teachers often attain a very all their ills. great age. Therefore it Would seem as though they came in the Russia, mad and drunk with the new life, recoiling from actuary’s class of “Select Risks.” the horrors of Kishinev, Siberia and the foul military debacles There lias been considerable discussion of the advisability of war, has plunged blindly into the first things proposed by of insurance in groups for music teachers. The group insur¬ the loud-mouthed, dominating fanatics. The result is that never ance plan applies admirably to industries. It is, in most cases, before in the history of the world has so much of the earth’s the very cheapest form of insurance because it is possible to territory been given over to extremists and mob government. define the risk expected, and also because it is purely term in¬ Family group life, so priceless to the American heart, surance—the insurance being taken for one year at a time. This becomes a foul mockery in the program prepared by some latter feature is most unsatisfactory in the case of the music Russian Soviets. Systematized doggery might be a better name teacher, because of the very fact that musicians are notoriously for it if reports are true. Shall we barter the beauties of the long lived. They are likely to die at an advanced age—past, American home for the habits of the kennel? The blood, mur¬ the time when most insurance companies will issue term insur¬ der and license of Anarchist peace is poor relief from the ance or accident insurance. slaughter of the trenches. The Carnegie Foundation has just formed a corporation to Realizing that th^re is good in all things, many wise people insure college professors. It is the outcome of the evident inad¬ have been looking for that in the Bolshevism of Russia—just equacy of the former Carnegie plan to pension teachers in col¬ as our astute statesmen one hundred years ago were content to leges on a somewhat broadcast basis. The new Carnegie Com¬ let the political volcano of France smoulder, knowing that some pany is capitalized for $1,000,000.00 given to it by the Carne¬ How We Banished day, when the heat of the lava died out, great things would gie Foundation, and will conduct its business upon a cost basis grow and flourish. at a considerable reduction to the teachers admitted. But since In America the larger number of our people are too sen¬ this is reserved exclusively for college professors it will mean sible to forget the great blessings that have come to all of us little to the musical profession. Metallic Sounds from our glorious republic, guided by men of sanity, judgment, Perhaps, at some future time a provision may be made to character, our patriots, our Jeffersons, Franklins* Lincolns. look out for those music teachers who desire to protect their old Yankee horse-sense slues at red flags and garlic-flavored This achievement, all acknowledge, is one of the age and their dependants, by scientific insurance methods along EFORE The Brunswick Phonograph ever came orators. B great steps in the progress of phonographic art It some such lines as the Carnegie Foundation has provided. In to market, Brunswick executives were insistent The indisputable unrest in certain labor circles is not based brings out tones hitherto lost. It banishes the raucous. any event, the need for sufficient insurance is a serious matter, upon low wages, since it has repeatedly broken out in parts of upon a vital betterment: Reproduction. and teachers should give it plenty of common-sense considera¬ Another amazing advancement is the Ultona, our the country where wages are highest and the cost of living low— We had been making phonograph cabinets for tion. own all-record player — in-built, not an attachment as, for instance, on the Pacific Coast. There are always certain others for years. We had won top place during the \ This reproducer, at a turn of the hand, presents to “anile souls” in all grades of society who take up with the latest past 74 years in the wood-crafting art. 1 o stake our each make of record the proper needle and dia¬ social eruptions and exploit them. That such festers of revo¬ Musical Holdups reputation on a Brunswick Phonograph was a mo¬ -U/. lution have been started by fanatics, extremists or paid agi¬ phragm. Each record is played at its best. Every now and then some alert reader will send The mentous undertaking. tators, does not make them less ominous. The Brunswick Method of Reproduction is one Etude a remarkable instance of similarity between two musical And so tone reproduction was studied for months. We cannot imagine serious protracted danger to our compositions, that seem explicable only as plagiarism., In of the greatest triumphs of The House beloved Homeland. But if we shall preserve our economic and We tried every known method, the ones many cases the “steal” is hardly to be judged as such, as the of Brunswick since its establishment in social equilibrium, it must be through the sanity and under¬ then accepted as supreme. material has been treated in such a different manner that it has 1845. standing of our people as a whole. The very foundation of all the characteristics of a new composition. A reader once called But every phonograph we ever heard this is— Hear—Then Judge our attention to the well-known Narcissus of Nevin, claiming in all our tests had good tones and bad Good Music Good Sermons that it was purloined from the Soldier's March of Faust. The tones, alternating in annoying frequence. You owe it to yourself and to your Good Plays Good Games deadly parallel will show how far-fetched such a statement is. family, as you decide upon which phono¬ Good Periodicals Good Books On the other hand many popular publishers made a prac¬ Higher Standards graph, to become acquainted with The Good Sports Good Nature tice of introducing a few measures of some very well-known high Brunswick. In your town there is a grade compositions, in many instances for the purpose of sug¬ Our task was to do away with the All these educative factors are just now the saviors of Brunswick Dealer who will be glad to gesting atmosphere. Therefore, such pieces as Mendelssohn’s so-called metallic sounds. These, we civilization. Without them the war-tainted world will decay play this super-phonograph for you. Wedding March, Moszkowski’s Serenade, and the Spring Song found, came from metallic construction. into the mire of Bolshevism. are thus suggested. Now, however, there are instances where a Tone waves must vibrate to attain their Let us recognize the value of music in every whole section of a composition, such as the main theme in the volume. And so, as a superlative feature The Brunswick-Balke- possible way. Every group, every community, every Chopin Fantasie-Impromptu, has been deliberately stolen and of The Brunswick Method of Repro¬ Collender Company section should unite in making or listening to the the melody so man-handled that its resemblance to' the original duction, we evolved the scientific Bruns¬ General Offices: CHICAGO and NEW YORK setting is pathetic. Shall we condone the popularization of such best music. wick Amplifier under our own patents. Branch Houses in Principal r — J;.« numhutort: a theft because it puts a popular melody on the lips of thous¬ Cities of United States. You who are working in music, grasp the situa¬ It is built entirely of moulded wood. ands? What should we think of a man who deliberately printed tion and help with all your might. It is a mission Lincoln’s Gettysburg address (only changing a word to slang as noble as any ever given to man. here and there) and put his own name to it? the etude MAY 1919 Page 271 THE ETUDE Page-9 70 MAY 1919 Launching the Beginner call C (he firsI of .hoc two ”h*1 r0“ Helps in Teaching Note Reading call D? By Maso Brevooit

By Edith W. Hamlin .. .if*.,.. f. <*???££ There is something immensely fascinating about the we call the distance between those letters a s first lesson at the keyboard. It has something of tht j After a number of seconds have been fo“nd ^ Every experienced teacher is sure to discover many thrill of the launching of a vessel when it slides down J little helps in note teaching which the instruction bboks the ways toward its initial splash in the water. Start- j Individualism in Piano Study ing a career on its way musically is one of the privi¬ do not suggest. For instance, I have found at the first From an Interview Secured Expressly for The Etude, from the Noted Piano Virtuosa lesson that it was advisable to teach the notes on the leges of the teacher, who should look forward to the lines first. I made a grand staff of eleven lines and counted from the lowest note W”*"* 1- first lesson with keen interest. ETHEL LEGINSKA then showed by means of a dotted line how one o The especial point to impress this first lesson The first thing is to enable the pupil to get his bear¬ ings_to receive the proper kind of launching. If you these lines was eliminated. Thus: intervals*however, is as follows: If BIOGRAPHICAL NOTE lines, or both on spaces, the interval will be an odd like to begin with table exercises, or notation, or finger- Leginska, whose sensationally successful tours in America have occasioned much comment, is not a Pole, as her name suggests, but of English birth and number, as 3, S, 7 or 9. But if on, “"J and-hand position, it is your privilege to start a pupil ancestry. She was born in Hull, and appeared as a “wonder-child” in London when she was nine years of age. Later she studied with James Kwast, at mi and the other note on a space, no matter which is at any point you think best. But always remember Dr. Hoch’s Conservalorium in Frankfort, and then for three years with Leschethky, eventually extending her interpretation work with the artistic advisement below, the interval will be an even number, as 2, 4, o this that when you give the pupil more than he can of Senor Alberto Jonas. She was in fact one of the few pupils Leschetizky taught without remuneration. Her concert appearances in Europe and in thoroughly assimilate, you are robbing him of that America have been very numerous and highly successful. °rTo illustrate this point, write a number of intervals, “First, fine, careless rapture" that means so much in “The subject of individualism in pianoforte study is Mozart Fantasie, the Beethoven C Minor Concerto, seek his own line of personal development. For in¬ the laying of his foundation and all his later artist and have the pupil write the word odd or even Dne that makes a. peculiarly strong appeal to me, since and the Italian Concerto of Bach, before I was nine— stance, I have been told by many that Mme. Clara nothing more “individual” could possibly be imagined Schumann played with a more or less rigid hand, the above each one. , . this was because I had a real and deep love for music, Next it became apparent that, while the child could UfFor instance, in teaching the location of the notes than my own musical upbringing in Hull. My father and had a music lesson every day for a long time, and second knuckles often higher than the back of the In later lessons, however, the pupil should be on the keyboard, do not puzzle the pupil with too much think and recite the alphabet in its regular form with assigned work in writing the correct name of the inter¬ came from the distinctly middle class. If you have no regular schooling to interrupt or divert my training. hand. This—“one of the faults of the great”—may science, or talk learnedly of "groups.” The most im¬ never lived in England, you can hardly conceive what great ease, quite a different matter arose when the val over the example with the names of the notes Instead, my mother would often walk with me, book have accounted for some of the neuritis or pains from child was asked to recite it backwards, or with alter¬ portant note on the keyboard to the student, until he this means. My mother, on the other hand, came from in hand, when I was going for some distance, and she which she suffered in later years. he.lnw as example 3: nate letters left out. Consequently I have had pupils “finds his way about”in the mazes of black-and-white, very poor people who, in Yorkshire, live according would teach me on the way. It was all fun with such The avoidance of unnatural strain and the develop¬ recite the names of the notes on the lines to train the is MIDDLE C to stern ideals of religion and duty. Puritanism in a mother, and I am sure that I learned more in this ment of strength accompanied by relaxation, appears I have seen a pupil quite flustered in playing upon mind to think of them quickly. I usually had the America seems to have succumbed to the vitality and intimate, individual way, than I could possibly have to be what is most sought after in pianoforte technic. a strange instrument, simply because he could not find pupil recite in rhythms, such as groups of three, thus: activity of the new world. But the sense of duty in acquired with my restless disposition, straight-jacketed If the student will keep these ideas broadly before his G-B-D: F-A-C: E-G-B: D-E-A: C-E-G: B-D-F: at once the middle C that seemed to be right.under hit Yorkshire is often synonymous with a sense of harsh in the ordinary school room. mind while practicing, he will not go far astray. finger on his own piano. repression of many beautiful and natural things in A-C-E, etc. i Point out to the student the exact location of tht life that make existence worth while. With stern relig¬ After the letters had been learned so that the little Leschetizky Ideas Misinterpreted Older pupils can usually grasp these ideas readily, Middle C, how it comes almost opposite the first letters ious conventions in front of one all the time, progress minds could think them rapidly in this order, I taught Quite naturally I think Leschetizky the greatest of but it is sometimes necessary with younger ones to of the maker’s name on the piano, to the left of the m in art is sometimes difficult. ' My mother rebelled' at them the positions of the clefs and showed them the all teachers. »My association with him as a student for this before I was born. In fact, she was a revolutionist evolution of the clefs from old forms of the let¬ devote a lesson entirely to seconds, or seconds and black keys. Make the pupil go lack to it again and at heart, and I was the medium through which she three years, was a rare privilege. Yet, forceful as he ters G and F. The next step was to make an ex¬ thirds, and then to add one new interval at a lesson as again until he can point it out unfailingly. Then get was, many of his ideas have been wholly misinterpreted, chose to develop some of her principles. Accordingly, ample like the following, showing what might be it is found they understand the old ones. him to lay his finger on every C on the keyboard. when she discovered that I manifested, at two years of often by his own preparatory teachers, who were di¬ called the pilot notes, or guide notes, which the stu¬ To aid in this, write one letter in a measure, and When this location work is thoroughly mastered, make age, a marked interest in music by haunting the hurdy- rectly connected with his teaching plan in Vienna. This dents should have firmly impressed at the start. These have the pupil supply the required interval as: Write a him take the identification swiftly. “Find me all gurdy in the street, looking big-eyed at the artist who, in itself, is very interesting and extraordinary, and I notes lie very nearly under the name of the maker third above each note and the names of notes below the C's on the keyboard, as quickly as you can-while by the mere turning of a handle, could produce such find so much misinformation about it here in America, of the piano, and if the pupil has them well fixed in I count six—■" them: “beautiful” music—my mother decided that I should that I cannot refrain from giving these facts. When his mind and also their location on the piano, he will “Which one of these is Middle C?” be trained in the thing that I liked the most, and that Leschetizky. achieved fame, he became a Mecca for not have much difficulty in finding the other notes. After the pupil is letter-perfect in this process, give I should not go to school. How I ever got an educa¬ more students than the ordinary teacher could possibly The guide notes, then, are F, C and G. him the key that is likely to puzzle him in the identi¬ tion, I don’t know, for of schooling I have had none. accommodate. Accordingly he adopted the “prepara¬ fication of middle C—i F. Coming as F comes, tory teacher” plan. He had a number of these pre¬ directly to the left of the group of three black notes Of course, I have read enormously and ha^e mastered three languages by self-study—have traveled and met paratory teachers, several of whom were Americans. (as C comes at the left of the group oftwo Additional drilling in writing intervals may be given all manner of interesting people. My mother did not The Americans make exceptionally fine pedagogs. notes) he will often be misled if he is not well dnlled My own preparatory teacher, when I went to Lesche¬ in this way: Have the pupil start on a given note (as intend that I should develop after the conventional in the difference. The next task, therefore, is to give tizky, was an American, Miss Ethel Newcomb, with middle C) and write from it up a fourth then down a pattern—and I did not. Father used to take me to him the location of the F as you gave him that of the whom I studied only one month, this is all the pre¬ third, up a fourth, down a third, etc., until C on the hear the Carl Rosa Opera Company, and was amazed C. After he has mastered the location of F in a paratory work I did. These teachers served two pur¬ second line above the staff is reached. that I did not go to sleep during the long performances swift drill, mix the two keys and give the eomnsmd: of Carmen, and other operas. poses. First of all, they were there to impart certain At the next lesson the work undertaken in the first Next in the F clef write from C on the second line “Find me all the C’» and Fs on the keyboard.' Now Fortunately there was a Royal Academy teacher in technical principles in which the master believed, so lesson may be reviewed and a similar process of below the staff up a sixth then down a fifth, etc., again, while 1 count ten.” Hull, who shared my mother’s views, and who taught that, when the pupil came for the first lesson, some learning the names of the spaces and the position of the until middle- C is reached. Write the names below the Exercises like this, while they require quickness o me according to my needs, and not the needs of the of the worst faults might have been removed; and, “space” notes on the keyboard may be undertaken. notes always. vision and good co-ordination between the fingers an great average, as most educational systems are organized secondly, they were there to help the advanced pupils Particularly desirable is the drill on alternate letters As soon as a pupil can write intervals even up to a the eyes, do not introduce technicalities into the lesson to do. I was given abundant study in ear training and in preparing special lessons. of the alphabet. Follow this with drill in the leger fifth they are ready for the next step which is this: to such an extent as to fatigue or bore the beginner elementary harmony. Why should harmony be put off It must be remembered that several of the two hun¬ A lesson should be just enough beyond the young line notes: Give the pupil a lesson from whatever studies he is as a study solely for old folks? It is just as much dred or more Leschetizky pupils received a lesson only student’s capacity and knowledge to be interesting and 1. Above the treble staff., to practice, and tell him to name the notes, intervals a part of music as learning the notes. Why not take at rare intervals,—some once or twice a year, others and direction in this way: stimulating, but not so far out of his mental an 2. Below the bass staff. the child when its mind is most receptive and let him one lesson a month, and a very few at more frequent physical grasp that he will feel undue fatigue, tor intervals. Otherwise the master could never have 3. Above the bass staff. see the “how” and “why” of chords? Let him observe nothing is more detrimental to continuous interest ® taught so many pupils. But the Leschetizky lessons 4. Below the treble staff. that there is a certain order in music, as in nature— his studies. Better, also, one simple fact surely an that certain chords, for instance, resolve just as the were not in any sense ordinary music lessons. The thoroughly apprehended, than a number of facts or Pr sition of Notes on Keyboard calyx of a flower opens under the blessing of the sun. student worked like a beaver to prepare certain work rules half learned. The student-whether child or assigned—far more than is given at any ordinary piano An every-daj, problem which confronts the teacher Ethei. Leginska adult—should leave the lesson with the feeling of some What the Child Should Have lesson. The lessons themselves were often very long, is that in which an apparently bright pupil appears Teacher.—The first note is C, play up a third to E. definite attainment—not with a bewildering sense o and the master was very tired after they were done. Melody, improvisation and rhythm can be made im¬ suddenly to lose all sense of position or direction on down a second to D, up a third to F, down a second his teacher’s tremendous knowledge, and the vast® If anyone should ask me the most important thing In some curious way, the idea has gotten abroad the keyboard. For instance, let us say that the pupil mensely interesting if taught intelligently and simply. to E, etc. of the subject before him. The former means stimu¬ in the musical education of the child, I should say— that Leschetizky made it a practice to teach entirely has played B on the third line of the treble staff and History is a great inspiration to a child if the story¬ After this is recited correctly, the notes may be the training of the ear. The student in school, who in class. Of course, he would get his entire class to¬ the following note is F on the fifth line^ Instead o lation and the lure to effort and study—the late book side is brought out. It brightens the dullness of recited in time without naming the intervals. means discouragement and slow progress. could not write at dictation what he heard, would never gether every two weeks regularly, and some of the playing the right F, the pupil plays the F on the first technic, introduces human interest and makes music an get much further than the lowest grade. Yet how few altogether different thing. I am also strong for ensemble advanced pupils—the Paderewskis, the Hambourgs, the could listen to a piece played slowly, and write down Gabrilowitsches, and others would play. But only the SPThe reason for this is insufficient preparation in practice—playing with other instruments. Why isn’t every note that he heard? Not one teacher in a unusually brilliant ones ever got a chance to play at learning position. At the first lesson the teacher Practical Examinations at Home this more of a part of the regular musical work of thousand is capable of doing this—yet they waste hours these assemblages. In the matter of personal lessons, should make it clear to the pupil that the right side children in America? Why do not the parents of over position at the keyboard. Position at, the key¬ Lesehetizky was an individualist. The student would of the keyboard is the “up” side or “higher side, By T. L. Rickaby musical children bring together those who play violin, board is important, and there must be some standard- apply for a lesson when he had his work prepared so since the tones produced are higher. The left side is and those who play piano or ’cello, and organize little some conception of right which must be given to the The majority of music pupils in smaller towns never edge of intervals, the structure of major and m1’10. that he dared face the master unafraid. Then he correspondingly lower. If a note appears higher on ensemble parties? It is all a very essential part of student. Yet, when it actually comes to position, noth¬ take any further study than is provided by the local scales, common chords, dominant sevenths and t®e' would receive a card like these th^t I have carefully the staff, it must necessarily be played more toward musical education. It was fortunate for me that my ing really seems to count. That is, great pianists do teacher. A course in a conservatory—and by this is resolutions. To this might be added the names of t saved as records of my many lessons with the master. the right hand. Simple as this may seem, very young mother had experienced the severe repression of York¬ all sorts of things that the books say they shouldn’t, meant a real conservatory with all that the term great composers of different countries and some w These cards assigned a particular period for the lesson. pupils are almost invariably confused by it until they shire—repression so wonderfully described in Mrs. and seem to survive and become very successful artists. implies—is possible for but few, and many do not of their work. In this way Leschetizky was an individualist. But find their bearings. Gaskill’s classic story of the Brontes—fortunate that Mr. Gabrilowitsch and Mr. Bauer, for instance, choose desire it, being content with what they can attain at At. intervals examinations might be held. T there it stopped. His idea was to bring his pupils up my mother had rebelled at everything that would hinder to play with their seats very high, While Mr. Paderewski Teaching Intervals to Help Note Reading home. With all the improved conditions surrounding to a certain standard of excellence and let them develop examinations will not carry with them the wei®“. my wholly individualistic training. has his so low that he sits only about fifteen and a half present day music study the fact remains that much of those at a conservatory', but they are a source of P>» ’ their own special individualities after leaving his hands. Even in the case of some quite young pupils, I have A very great deal of time is wasted, however, in inches from the floor. Arthur Schnabel, the great Ger¬ it is desultory, without method, system or aim or ure to the pupil and a decided satisfaction to This I have personally sought to do, through self-study, found that practice in reading intervals and learning object. giving more than ordinary musical advantages to chil¬ man pianist who was very popular in Berlin, but little parents. Further it puts the pupil in the positioni1 dren who have no gift for music—children absolutely reflection and conferences with my colleagues, Mr. God- to recognize them was very helpful in training the eye Why not map out a course of study for each year known in America, thought nothing of committing that knowing just where he stands. Few can ever P' and entirely without talent. This is a ridiculous waste. owsky, Walter Damrosch. Paul Goldschmidt, of Ber¬ to grasp the musical outlines more rapidly and more and pupil? Pieces and studies are numerous enough greatest of all piano pedagogical crimes—permitting the definite account of what they have done or lea No amount of cultivation will ever make a turnip bear lin, and at present with Mr. Alberto Jonas and many accurately. Shorn of all unnecessary words, the (and excellent enough) to prevent getting into a rut, finger to “break in” at the first joint. except to give the names of a few pieces and some roses—and it is cruelty to the turnip soul and ambitions other artists. In the splendid fraternity of art, the method pursued was this: and there are some pieces and studies that every pupii The safe plan is to give the student what seems to not do that * to make it think it might achieve what is so out of its workers of the higher type are always glad to cooperate Tvin,™ _I am going to play two keys on the piano should take any way. A certain amount of theory- be a happy medium in the way of position, and then A procedure like the one suggested here would nature. While it is easy for me to learn to play the for the benefit of their personal technic and interpre¬ should be insisted on, if nothing more than a knowl¬ tell him not to copy “the faults of the great,” but to tation. do* USlJW c .id D). if I a much-to-be-desired reform. THE ETUM MAY 1919 Page 278 THE ETUDE Page 272 MAY 1919 Tone That is Live, and Tone That is Dead Silly ? or No “Ear for Music ?” Some Important Leschetizky Principles Take the first three members of the common chord Among my pupils, some years ago in a small to*, Much has been told of the wit and the personahty of of C (C, E, G). Hold the fingers to strike, immedi¬ was a girl about twelve years old who was, in ^ Leschetizky, but little that is essential seems to have ately oVer the keys; depress the wrist slowly, so that ways, a good pupil to have. She was anxious to V. been told of his ideas on pianoforte playmg. Of course the fingers gradually sink, depressing the keys and the piano,” civil, willing, obedient, and not inclined t- he was really a great wit. He used to delight iri telling sounding the wires without any percussion, or hammer- laziness. the story of a stingy banker who had rapidly sprung up likc blows This is the modern method. I lien, per The piano was new and needed frequent attention. front'the peasant class to sudden riches. The banker contra, strike the same keys with the hammer attack After about three months’ instruction the C strij, The Golden Age of Singing approached* Leschetizky, when he was teaching m b . of the old school. Practice this several times alter (second space in the bass) broke. Naturally they hac Petersburg as a very young man, and asked the pianist natelv till you note the difference thoroughly, both to await the convenience of a tuner from the nearesj •By the Noted New York Critic to teach his daughter. When he learned that Lesche¬ as to^the mechanism and the quality of tone. Auer city, a delay of possibly two weeks. tizky charged ten roubles (about five dollars) tor a this make your own application of the principle to At this time she had an exercise on this order: lesson at that time, he was aghast! the’various forms of finger, forearm and wrist touches W. J. HENDERSON “Look here,” said the banker. “I dont want her This is a crude exposition of the principle, but it points taught everything. Now I see that there are white keys the way toward the Leschetizky ideal of “pouring Handel went to London in 1710. Scarlatti composed legato was studied in the Scliola Cantorum of Rome erable agility was practiced in the delivery of ecclesi¬ on the piano, and black ones. Couldn’t you teach my out” the tone. It may, I hope, lead some Etude read¬ his Mitridatc Eupatore for Venice in 1707. It has been in the sixth century, and that the .trill .was assuredly astic music. It is interesting to compare a chant with daughter only the white keys at—let us say—half ers with perverted touches, toward a more beautiful asserted that hardly Bach himself surpassed the gran¬ known as early as the third century. It would a dramatic scene and note how each, after its long- price (five roubles) ?” tone. Of course,, merethere cutare times whenmu-!. «a harsh,- brittle,-- deur of the recitative O Mitridate mio and the great be tedious to trace all the steps in the develop¬ sustained legato, invariably ends with a short florid “Ah,” replied the master, “but you don’t know how e is necessary' for the artistic expres- hammer-like ... and she commenced to play it thus: aria, Cara tombd, in the fourth act of this masterpiece. ment of vocal technic from the time of Gregory the passage. To train pupils for such singing Cerone has beautiful the black keys are. Let me play you a piece n certain pieces. But these times must sion demanded . Yet a little later Scarlatti wrote another significant Great to that of Peri and Caccini, at the begin¬ special vocalises for each voice and on all the inter¬ all on the black keys.” opera for Rome, and finally again for Naples, where So Leschetizky sat down and played the black-key ning of the seventeenth century. Not all are known, vals. He and other writers of the same period show his first lyric drama, Pompeo, was heard in 1684. but we have sufficient material to enable us to make that the use of chest and head registers was well known Etude of Chopin so much to the delight of the parent, Leschetizky Misinterpreted Handel was a German who had made Italian operas a clear outline. There were many interesting va¬ and followed the same manner as that of our own time. that he exclaimed: for Hamburg after the manner then approved in Ger¬ “Well, if the black keys are as beautiful as all that, Here, again, the Leschetizky idea has been misinter¬ garies. Taste and practice advanced and receded As for the study of breath support, of which we have many. France was struggling in the throes of creat¬ I guess my daughter ought to have both—and I’ll pay preted. Students attend a recital of Mr. Gabrilowitsch, in irregular waves. The chants of the Ambros¬ often been assured the early masters took no notice, for instance, and see him making motions like this. ing her national school of opera, while invading Italian the full price of ten roubles.” My question : “My 1 what are you doing in the bass'-’ companies excited Parisian curiosity with performances ian period (toward the close of the fourth century), Cerone says: Leschetizky had very serious and earnest views on And what do they do? They go home with the aural Her answer: “Well, I had to play on the next keys of operas by the disciples of Cavalli. of which some certainly survive in Milan in almost their “The singer must know how to breathe impercept¬ technic. One he stressed especially was the need for recollection of Mr. Gabrilowitsch’s beautiful tone, and original form, were of two types, either Doric in their because the C was broken 1” Those who have read the story of the conditions ibly among the long notes so that he can take the final a loose wrist whenever it was wanted. Just-why some start in to copy—not that tone, but what they think simplicity or opulent in ornament. Yet some of the under which opera composers wrote in that brilliant diminutions with force and vivacity." In fact there of his preparatory teachers should have taught in such tiiey saiv him do. Accordingly, they press down the commonest decorations of singing, such as the trill, fell period known as the “golden age of bel canto” will is much more information about Italian vocal technic a way that a stiff wrist was the result I do not know. notes, and then, after the key has been struck, they into disuse in the fourteenth century, and were revived Confidence in One’s Art readily understand how the name was applied. The in this book than in Tosi’s, published in 1723. In some mysterious way it has come to me time and elevate their wrists, and press down hard upon the in the sixteenth by Giovanni Comforti, a singer ih the Yvette Guilbert. the celebrated French Chansot- singer was lord of the musical world. Throughout the again that Leschetizky was said to have urged a rigid keys. Now, after a key has been struck, the sound has papal chapel. ncusc, was once singing, in her early days, at Lyons whole seventeenth century his throne had been steadily A Training School for Singers wrist. This he did not, except in very forceful bravura been made, Its quality cannot be changed, no The effect to be obtained from the portamento was She was little known, and the audience not understand¬ settling itself upon its foundations. Because instru¬ I quote from Mazzochi’s history an account of the passages, where a forearm stroke is occasionally re¬ matter how much one presses on the key. Try known very early, and the study of the consonants ing her art, hissed her off the stage. Her manager flew mental music was in its infancy the singer, already pos¬ system of training in a school for ecclesiastical sing¬ quired. He was very insistent upon the arched hand, it, and let yourself see that you cannot make was quickly taken up. We find no written record of into a rage, and vented his anger and disappointment on sessed of astonishing technical facility, was the only ers of the early seventeenth century : rather than the flat-backed hand. Look at your right any difference. What the observer has really seen, this matter till that of Guido of Arezzo, who flourished the singer. Far from being discouraged by an experi¬ virtuoso-before the public, and it is not remarkable that was the artist’s approach to the key, and not some¬ in the first half of the eleventh century, He said: “The pupils were obliged to devote every day one hand on the thumb side. If the line from the tip of he speedily became its idol. His royal road had been the forefinger (second finger) forms a Roman arch thing he actually did after the tone had been pro¬ ence that has been the end of many a promising caretr, hour to the practice of difficult pieces in order to ac¬ opened for him when Peri, Caccini and Monteverdi pro¬ "Liqucscunt in multis voces, more littcratum. ita ut leading to the joint where the bones of the thumb join duced by the striking of the key. Yvette retorted, “Patience, mon ami! some line day yon quire the necessary experience. Three hours were dis¬ duced their operas in the novel stile parlante in the inceptus modus ttntus ad altcrem limpide transiens ncc the hand—then you have the ideal line or arch as de¬ This “pouring out” of the tone is a great principle. will be offering me ten times the money you are giving finiri videatur." tributed, one to trills, the second to passages, and the ntc now, and you will be very lucky if you can get mt first years of the century. A new and glorious field sired by Leschetizky. This is the most natural and It must be worked out according to the special needs (“The voices melt together in many after the manner third to ornaments. During another hour the pupil to sing at that price.” She was then receiving twenty for the exercise of the vocal art was discovered. That the most economical position of the hand conceivable of the individual. Like the will-o’-the-wisp, it is very of the letters, so that one tone begun seems limpidly worked tinder the master’s direction placed before a dollars a night. A short while later, she had increased art was already in existence, and with the first chant¬ for easy piano playing. elusive, and can be captured only by years of hard, flowing into another and not to be completed.”) Emilius mirror, in order that he might acquire no contortions this to the sum of two hundred a performance. To-day ing of Monteverdi’s immortal Lasciatemi Morire (Ari- persistent effort. It is so fundamental in all beautiful Probus, a grammarian of the fourth century, used the of the eyes, the face or the mouth in singing. Such Yvette Guilbert is a wealthy woman, and her original anna) the march toward the golden age of bel canto Leschetizky and Preparation playing, however, that it is worth all the drudgery to began. verb liquescere to describe the melting together of were the occupations of the morning. In the afternoon develop it. Finally, it should be developed in such a art is known all over the world. The aforesaid arched position makes for. better prep¬ We have been told repeatedly that this age was syn¬ m, 1, n and r with other consonants, but the quotation theory was studied for half an hour, an hour was de¬ way that it is characteristic of the individual, and not She had confidence in herself, and in her ability to aration. The fingers can travel over the thumb, and chronous with the period of Handel’s activity as an from Guido is the first account we haye of the musical voted to the study of counterpoint and another to the of the mere bare fact that such and such a pianist rec¬ succeed. How much this one characteristic has had to the thumb under the fingers more readily. Lesche¬ opera composer. But there were kings before Agamem¬ effect. study of letters. For the rest of the day the student ommends it. The application of the touch where it do with her great success, it is hard to say, but the tizky laid great stress upon preparation in playing non and famous singers .before Cafarelli and Farinelli. As for rapid running passages, we know that “divi¬ exercised on the clavecin or in the composition of a belongs in the interpretation of a masterpiece, is far chances are. that, had the singer given way to the That is, every movement was prepared in advance if Old histories of music used to inform us that the great sions,” as they were called, entered western song from psalm, a motet, a song, or some other composition more important than the mere achievement of the touch despair natural to her Lyons fiasco, she would never possible. It seems to me that some of the accuracy Italian schools of singing came into existence in 1700. the orient at the moment of the birth of the Christian according to the talent of the pupil.” as an abstract mechanical principle. again have had the opportunity to sing in public And which marks the playing of his pupils, is due in a Indeed, we find Porpora, Fedi, Redi and their friends 'liturgy. Marks of expression date back at least as far I have translated this literally that the force of its Leschetizky was very keen in his observation of this confidence in her own artistic ability must surely as the closing years of the eighth century, when Pope measure to this. The thumb, in passing under the teaching at this time, but the whole system of vocal simple statements might not be diminished Here we this, and he had little patience with the pupil who per¬ have had a marked effect upon her manager, who was Adrian sent chanters into Germany at the request of finger, flies to a position immediately over the note technic was ready. Where did Porpora, the greatest find the shaping of the great Italian conservatory sys¬ sisted in banging away after the old-fashioned hammer thus encouraged to try again to introduce the artist Charlemagne, to teach th : correct method. Romanus, who that is to be struck. It is there when it is wanted. master of that epoch, learn his art? The truth seems tem of instruction, which gave to the world singers method. He was wonderfully appreciative of honest to public favor. fell ill at St. Gall, remained there the rest of his life, After much slow and deliberate practice of this it to be that the golden age began before Handel was thoroughly equipped as musicians and fitted to make effort and hard work. He knew, for example, that I established a school of chant, and introduced the use becomes as habitual as walking. You don’t think born, and that its celebration was neglected till Brit¬ their own ornamentations and. cadenzas with skill and about it—you are, in fact, quite unconscious of doing was dreadfully poor, and he taught me for nothing, Are You One of Those? ain discovered its magnificence. of the Romanian letters, as they are called, to indicate to the ponderous Germans the graces of expression. understanding. Too great stress has been laid on the it. The well-trained hand does what it should do, and giving me his precious time and skill, with greater lib¬ omissions of Tosi and Mancini. They took much of The Rapid Rise of Opera The most important were those bearing on tempo or the mind can be centered upon the higher or interpre¬ erality than to many other pupils who paid him high By Elmore Hoppox the long-established technic for granted, and in their We shall probably not go- far wrong if we accept the rhythm as c for celeriter, t meaning tenere (to hold) ; tive side of the music. m, mediocriter (moderate). Combinations are fre¬ books dealt with matters which seemed to them to In those days I had to keep myself on five dollars 1. Those who lightly tread and surface-skim will year 1637 as that of the beginning of this golden age. The same idea was made to apply to chords. As quent, as h t, meaning bcuc and tcncre, or our molto require more detailed explanation. A glance across the hand went to position to play a chord, it shaped a week. And Vienna, even then, was not a cheap city. see their musical house collapse upon the sands. _ In that year the first public opera house, the Teatro the border into France and into the pages of that San Cassiano, Venice, was opened, and before the close ritardando. itself immediately over that chord, with fingers individ¬ Leschetizky knew this, and once when I had played 2. Those who try to instill lofty ideas and ac¬ closely packed little volume, “Remarques Curieuses sur of that century there were eleven opera houses in Registers of the Voice ually aimed at the keys to be struck. Do you wonder the Henselt Concerto for him at one of the classes, he tions into tlie musical dullard will find it is 0* P'Jt' I Art de Bien Chanter,” by Benigne Bacilly (Paris, Venice alone. With the presentation of opera to the It is hardly necessary to go further. With the note that the pianist who moves the hand carelessly,. with told me to come to his room the next day. He dis¬ ting nectar in a sieve. 1668) would have satisfied the superficial students of general public the exaltation of the singer began. We that registers of the voice were known at least as far the fingers hanging purposelessly, like tassels, moving appeared into an inner room, and remained for some 3. Those who nourish their minds on musical the history of vocal art that even outside of Italy the have only to trace the progress of operatic composition hack as 1300 (wheie they were mentioned bv Jerome time fussing with papers. I was fearful that I had must not complain if found musically unbalanced. broad foundations were already laid for the splendid from one position to another on the oblique, instead from a simple and direct and dignified style to one blaz¬ of Moravia) we may pass to the year 1613, when played so badly that he was going to dismiss me. On 4. Those who plunge into depths beyond their teta¬ edifice of 1700. of perpendicularly—do you wonder that, in this state ing with artifice, seeking only for methods of exhibit¬ Cerone published his monumental II Melopeo. At this the contrary, he reappeared at the doorway, with this nic must expect a chill. ., If we turn from the records of the schools and of unpreparation, he almost invariably plays chords ing the skill of vocalists, to understand how syiging moment, when Vittoria Archilei was astonishing her blurred? Leschetizky used to illustrate this at the little envelope in his hand—an envelope which contained 5. Those who allow their fingers to be their gut * studies to the history of the singers, we find that the marched forward from the chaste recitatives of Monte¬ adorers with her scintilating decoration of her hus¬ fruits of industry were most opulent. Revert for keyboard. It was one of his secrets of accuracy. Move one hundred kroner, in ten-kroner notes. This, he while their minds arc busy with a hundred other su verdi to the gorgeous fiorituri of Anfossi and thence band’s madrigals, when Leonora Baroni received not the moment to the accounts of the art of the famous straight to the position above the chord. Aim every told me, was a gift to me. because I had played the Con¬ jects must not be surprised if the wind of whisper* to the better disciplined floridity of Handel. The pub¬ only the homage of the Italian poets but the admiration Loreto Vittori, born at Spoleta in 1588. He was at¬ finger. Then play—and not till then. This, too, be¬ certo so much to his liking. I wanted terribly to keep topples over the musical structure. . . .. lic had found a new amusement and prostrated itself of no less a personage than John Milton conveyed in tached to the house of Ottavio Doni, father of the his¬ the Kroner, but, alas, they had to go to appease the 6. Those who would astonish with their technic w >• in worship of the performers, just as in other times it comes habitual—a matter of routine. You do it after two Latin sonnets, when Jacopo Peri had composed torian of music. He studied under both the Naninis appetite of a growing girl. Fortunately, I still have their souls are musically non-existent must expert11 bent the knee before pugilists or baseball players. a while, without thinking about it. Leschetizky was his Euridtcc and sung his own Orpheus, and when and under Suriano. Afterward he entered the serv¬ descend to earth with a jar. , The singers quickly seized their advantage, and by a great believer in legato scales for the establishment the envelope with his handwriting, as a beloved souve¬ Monteverde had produced his unsurpassed Orfco there ice of the Medici family, and sang in some of the prin¬ 7. Those who deviate from the palace of truth *" Handel’s time were in a position to dictate the exact of the preparation principle. Slow scale study is most nir of Leschetizky’s appreciation and generosity. was, indeed, no complete code of vocal technic, but its cipal Florentine representations. In 1622 he became a the chapel of sincerity-need experience no surpnse ‘ manner in which an opera should be constructed. They beneficial and advantageous. materials existed in somewhat disjointed form and can singer in the Papal chapel, but did not altogether dis¬ find themselves caught in the maze of their own W- deeided how many characters there should be, what If one thing was paramount with Leschetizky it he found in Cerone’s work. continue public appearance. He died in 1670 and standards. kinds of voices should be used, how many arias each was tone—tone big enough for the largest concert Setting the Standard II Melopeo was a treatise on the rules of singing, there is a monument to him in the Church of Minerva 8. Those who seek to substitute the short cut for ® hall, yet so under control that it could be administered should have, what kind they should be, and what condi¬ pronunciation, the conduct of the singer and the at Rome. • • • "But as when an authentic watch is shown long road to art may find it necessary to retrace 11 tion of obscurity should be imposed upon choruses, with "a reserve that made its whispers potent. How Each man winds up and rectifies his own.” hygiene of the voice. The book contained many pages Vittori was one of the greatest masters of the young steps. ensembles, quartets or other combinations tending to was this done? How shall‘I say? Perhaps the best of exercises' for the development of the voice in the art of recitative. According to his biographer. Xicias —SuDEUNG. 9. Those who expect to reap praise without practio dim the splendor of the solo singer. way to express it is, that the tone should be poured out execution of florid song. Cerone directed his atten¬ Erythraeus, and other contemporaries, the “stile par¬ There is nothing more inspiring and improving to will merit their chagrin. Whence came all this mastery of the art of singing, tion chiefly to the chant, but both in its outline and in —not fired out. This is the vital diffeience between lante,” as it was named, found its most eloquent ex¬ a young student of music than to hear a piece which which we find at the date 1637 assigned to the begin¬ its vocal characteristics the chant was identical with the tone of the Leschetizky or modern school and he is studying performed by a really great artist. More pression in his delivery. It is told that his singing “Music can express the feeling, the sentiment, w ning of the golden age? We shall discover it already the recitative of the new lyric drama. Cerone lays that of—say—the old Stuttgart school, where the notes may be learned by example, even unconsciously, than moved hearers to astonishing transports. Erythraeus an event engenders in the soul, but it cannot P'rtu_ exercising both the tenderness and the agility of its down rules for making cadenzas, in the middle and at were shot out from precise but angular fingers, as bul¬ the most skillful and conscientious teacher could impart utterance in the last years of the sixteenth century. declares that when he sang many persons were almost the event itself. That is the task of poetry and, the end of a chant. His pages prove that independent lets are shot out of a machine gun. But how is tone in a lesson. It is not an extravagance to spend money After that we shall not be astonished to learn that suffocated by the violence of their emotions and were way, of the graphic and plastic arts.”—FO-IX <’ vocal ornamentation was encouraged and that consid¬ freely to hear good concerts. obliged hastily to throw open their garments. Sq “poured out” ? It is easy to show, but hard to tell. GARTNER. THE ETUDE MAY 1919 Page 275 THE ETUDE Page $27Jf MAY 1919 The Fall of the Walls of Jericho distinctly marked and supported if the airs are "ot.“"r The physical explanation of Biblical miracles is the great was his popularity in Rome that the people broke common pastime of young space writers. In these ...-■ into the Palace of the Jesuits at one of his represen¬ Havs when such marvels are being accomplished in the tations and literally drove out the nobles and Cardi¬ pass, time and style, the composer is not a P wkMX&Sm nals in order to make room for themselves. Litton realm of sound, the fall of the walls of Jericho is re¬ was not only a singer, but a composer, and his opera, dded by many as a mere physical phenomenon. “Galatea,” still exists. It is an admirable example of mZr^‘T,y"c0"n Mi down to P»“*f The force of sound in affecting certain bodies of mat¬ Je been repealed. Be. ho. U»»to»ttoM£ recitative art and the poem, also by Vittori, is sweet, pearance of some of our latest operatic gemuse if they ter is so well known that it hardly excites comment. m-'.-T A Year in the Fundamentals of Musical Composition fresh and natural. I.. ,trirtlv aoolied! Characterization has not deeply When a man standing in America can converse fluently Afs T ' A younger contemporary of Vittori was Baldassare W "'-15 concerned the facile Puccini until quite recently, when over a wireless ocean with a friend in Europe, there Ferri, born at Perugia, in 1610. He became a chor¬ • littje ieft to marvel otfer in the sound world. This 1 i »< 1. have alm.«tee. h...rdo,.;. H..; The Dominant Seventh ister at Orvieto in 1621. In 1625 a Polish prince car¬ does not explain, however, the marvelous prescience of •• -1 ever as Mr. Kipling says, that is. another story, ried him off to his father’s court, whence, in 1665, he Toshua in giving such minute directions for his tonal continue with the extract from Burney s history. X was transferred to Germany, and finally returned to attack upon Jericho. The seven priests marching before $ By FREDERICK CORDER Italy to die in 1680. Enthusiasm followed him every¬ the ark each with a ramshorn trumpet; the daily pro¬ j- . Professor of Composition at the Royal Academy of Music, London, England What Good Singing Requires where, and adoring followers covered his carriage with cession’ around the stone walls of the city until the flowers. Bontempi, the historian, has placed us under “Good singing requires a clear, sweet eYen and flcX- seventh day, when they marched around the city seven a debt of gratitude by describing the art of this famous ihle voice equally free from nasal and guttural detects, times blowing continuously, culminating with the THIRD MONTH man. He says: it is but iy the tone, of voice and articulation of words deafening shouts of the people—all sounds more like “Whoever has not heard this sublime singer can [ The next article in this valuable series will deal with Ornamental Notes, generally called. Passin’g, or Auxiliary Notes. These are, so to speak, the that a vocal performer is superior to an ‘"smimental. the ritualistic overture for a miracle, rather than a form no idea of the limpidity of his voice, of his agil¬ graces of music, yet closely associated with the fundamental or groundwork of musical composition. They should prove of great interest and value to student- laboratory experiment in physics. ity, of his marvelous facility in the execution That the city and all in it was demolished, composers. The Etude cannot attempt to correct Harmony Exercises, but will answer questions upon obscure points.] most difficult passages, of the justness of his save for a woman who had sheltered some intonation, the brilliancy of his trill, of his All books on harmony try to teach you quite a num¬ you directly.’ Meanwhile the best way to guard against The transposition of these will probably give you some of the messengers of Joshua, shows that the inexhaustible .respiration.” ber of difficult things before they dare to trust you with faults b, c and d is to notice that in the dominant seventh trouble. Take the keys in the following order, each tonal method was quite as successful as Zep¬ Then follow statements which sound in¬ this chord, which is the nicest and most natural one of chojd the dominant itself cannot go down a third. It first major then minor: C, G, D, A, E, B, F sharp, credible, but which can be accepted without pelins or “Big Berthas.” all. I think it is always best in studying anything what¬ may move a step up or down and skip a fourth or fifth, E flat, A flat, F, D flat, B flat. I cannot too strongly reserve by those acquainted with the amaz¬ The picture given herewith is by Gustav ever to learn the most useful things first; to hark back bu^a third—never. impress upon you the benefit you will derive from this ing resources of singers in a period when Dore, and it graphically portrays the mir¬ and pick up loose ends may be unsystematic, but not Next comes the important and curious case when the playing of all chords and harmony progressions in all purity and beauty rather than volume and acle as only the great French artist could. necessarily confusing. seventh breaks its oWn rule ,and resolves upwards instead the keys. It is the only way—and a certain way—to force of tone were demanded. Bontempi Dr. G. Ashdown Audsley, to whom we re¬ The chord called the dominant seventh is one of Na¬ of downwards. This is when we ,are using it in the build up that connection between eye and ear which continues: ferred in an editorial in the March Etihe, ture’s own manufacture, as you will perceive if you second inversion (as there are four notes to the chord is the vital part of musical education. Most learners “One often heard him perform rapid and exhibits an apparatus made by the great refer to the diagram given in the first of these papers.* there are, of course, three inversions) and the bass begin by having no notion of the kind of sound any difficult passages with every shade of cres¬ acoustical expert of Paris, Koenig. Imagine It.consists of a major common chord with a fourth note wants to move upwards. Play the following on the given interval makes: they will play C followed by D, cendo and diminuendo. Then, when it a wcathervand with four arms, on the end added, this fourth note being a minor seventh from the piano, listening intently to the bass and treble, when for instance, and quite fail to perceive that E followed seemed as if he ought to be tired, he would of each arm a little canister not unlike a bass note and a minor third from the fifth. I think further explanation will be unnecessary. by F sharp (and not F) will produce a similar musical launch into his interminable trill and mount miniature milk can with an opening at one If. you try you will find that the dominant (5) is the effect. and descend on it all the degrees of the end. These canisters arc resonators, all only note in the scale upon which such a combination To return to our dominant seventh. Having grasped chromatic scale through a range of two carefully tuned so that the air contained will can be built. Chords similar in appearance can be- and the fact that the tonic chord is the thing it really needs octaves with unerring justice. All this was vibrate when a tuning fork of a given pitch are based upon all degrees of the scale, but they all to follow and complete it, we must now find if there is but play for him, so that the muscles of his is sounded. At the same time the arms of sound more or less harsh and unnatural, while the any other that will do instead. There arc three really, face did not indicate the least effort. More¬ the tuning fork commence to rotate, always dominant seventh appeals to the most rudimentary ear but only one of any account. over, gifted with sentiment and imagination, in a definite direction. According to Dr. as the natural product which it is. 1. The chord on the sixth degree (submediant). he imparted to all his singing a touching Audsley the phenomenon of this apparatus You will hardly need telling that it demands impera¬ The rising of the seventh is of course to avoid the 2. A first inversion on that note, or a second inver¬ doubling of the E, which would occur if it descended. expression.” has never been adequately explained, but tively to be followed by something else—usually'the sion on the tonic (two positions of the same chord). There should be no astonishment that the the definite mechanical result is so plainly- Tonic chord; but you will be surprised to rtnd what This difficult detail of what notes may or may not be 3. Flatten or sharpen any one of the notes and so slide doubled I have hitherto avoided, in order that you Handelian era, the golden age of bel canto, seen, that the miracle of the Walls of Jeri¬ a number of details there are in this business which into a fresh key. should not get confused by a quantity of details; we was glorified by the art of Caffarelli, Fari- cho seems less and less astonishing. will trip you up if you are not careful. First and nelli and their associates. The centuries foremost is the way that the third and seventh must shall presently have to go into the matter thoroughly. For the present it will be sufficient to point out that before their birth, too much neglected by move. The third, beinj the leading note (seventh de¬ historians of vocal art, had prepared their Program Making gree) of the scale will always want to move up to the no-npte that has a fixed and obligatory progression can technic, their style and their taste. In order key-note, just as it does in common chords. In these be used in both treble and bass at once. We have seen properly to appreciate the manners and we found that it occasionally slid down to 6, but it can this,with the leading note, it will be the same with the By Herbert B. Rawlinson methods of this golden age we must shift hardly do that with good effect in the dominant seventh. dominant seventh. Then since two out of our four our adoring gaze from the two princes of notes may not be doubled, which may? It is seldom song named above. Consider Carestim In making up a program for a recital, or wise to double the fifth of any chord, as it is so apt to A is agreeable and is generally called “the interrupted (1705-1760). All authorities agree that he concert, or musicale, remember one important lead to consecutive fifths, so only the root is available cadence.” The effect on the ear is that we were on the for that purpose. But as there are foqr different notes „ sang rapid passages with great skill, and thing—do not make it too long. An audience point of finishing and changed our mind. You may try in the chord of- dominant seventh you will, as a matter that in later life he greatly improved his will gladly “stand for” a long program pro¬ placing the chords in inversions, but you won’t like the The seventh, you will easily feel, wants to fall a of, fact, not often require to double even this. result. cantilena. Mancini says: vided the artists are of the first water, but step and very seldom to rise. Yet you will find yourself' .When one has newly made the acquaintance of this “Although his voice was naturally beauti¬ for home talent it will be best to cut it a frequently forgetting this obvious rule in the inversions B. This sounds better the second way I have given it interesting chord—just as when ofte has learnt a new ful he did'mot neglect to' perfect it by study little shorter than—from your own persona' of the chord, or when the seventh does not happen to than the first. But it is not final, because, as you know, wotd—one is apt to over-use it, and you will for some and to make it suitable to every kind of song, be at the top or bottom—in other words, when you do the second inversion will need a direct common chord standpoint—you consider it should be. For time find yourself positively unable to use a dominant and he raised it to a point so sublime that not hear it. Well, I don’t know that bad grammar is an after it. The dominant seventh sounds equally well this if it is the least bit too long they will yawn chord at all without sticking in a seventh. Perhaps the he established his fame in his youth. He had before the end. And if they yawn they are unpardonable crime in music any more than in speech; way in the inversions. Try it for yourself. following illustration will show you the weakness of C introduces us to a new feature, called modulation. a fecund genius and a discernment so delicate in pitch, qr the intonations be false, ignorance and sci¬ only too likely to go out—as unobtrusively as possible, but I cannot agree with Artemus Ward when he says, that, despite the excellence of everything he did, his this. Suppose this to be the end of a phrase, or the We are switched off into a new scale and key; our ence are dually offended; and if a perfect (shake, good of ^KJurse—but one of the audience going out, is apt “Why care for grammar so long as we are good?” If great modesty prevented him from being satisfied. One middle of a verse: dominant seventh has disappeared, but has been re¬ taste in embellishment and a touching expression be to start the rest. And this is bad for the success of day a friend finding him at study and applauding his placed by another, which will have to be disposed of wanting, the singer’s reputation will make no great the performance. singing, Carestini turned to him and said, My friend, in one of the ways already described, or else followed progress among true judges. If, in rapid divisions, the Do not make the program too much of one color. if I do not succeed in satisfying myself how can I sat¬ by yet another. It is not uncommon in music to find passages are not executed with neatness and articula¬ Try to put a lighter piece between two sombre ones a whole procession of chords like this, each one drag¬ isfy others?’” - tion, or in adagios, if light and shade, pathos, vari¬ to give variety. Also intersperse the music of one "One gathers from the various accounts and com¬ s'118 us int° a fresh key, and perhaps coming back after ety of coloring and expression are wanting, the singer period with those of another. In doing this, remem¬ ments that have come down to us that the singers of all to where we started: for instance, in Chopin’s pretty may have merit of certain kinds, but is still distant ber that humor has its place in music as well as m Variations, op. 12. J the golden age reached the acme of perfection in those from perfection.” everything else. There are songs and instruments elements of the art which had focussed the attention pieces which, while escaping any tinge of vulgarity, ye of Theirtheir predecessors.predecessors They sang legato of flawless What a pity that we do not lay as much stress as avitv. and. used_ it for the ovnrpQQinnexpression ofnf the tenderer the auditors of Handel’s time on good taste, on lightljght achieve a pleasing hilarity. And these may be made on; it is incomplete in itself. the high lights in the musical picture you are plan¬ lotions The stormy tragic vociferation of later an(j shade,hade, pathos, variety ofot coloring and expr.es- That you may get really acquainted with the dor ning. One of the most favored singers before the vric■ic drama was unknown to the classic vocalists.vocalists, Theyi ncy sS;ton.on. Our(jur operatic stage is a fieldheld fortor too muchmu sten-sten¬ nant seventh chord it will be necessary to play t public to-day, the baritone. Reinald Werrenrath, when ane rapid passages with swift and elegant smoothness, torian display of merely powerful tone, while most of following exercises on the piano in all keys major.a he was soloist for tlic Maine Festival a few years n all11 ttheir fiorituri sought for purely decorative tthatjjat which constitutes the purest beauty of singing-issi a is the least offensive of these; in writing for piano neglected. Yet there can be no doubt that beautiful ago, had the courage to introduce a humorous song ot we do not very much mind incorrect part writing in the very highest type, with funny words exquisitely set ^Burney, who has left to us faithful accounts of vocal1 art is certain otof public reward,reward. Wewe may not take middle parts: b is very disagreeable to those who can to music, and with an “irresistible refrain.” Since ome of these old singers, was also generous enough to .. ofr\f ?tcits ah«if»nre.absence, andanrl mavmay rnntpntcontent nnrsplvpsourselves \«ith\OitFi hear a bass, but a common lapse with those who cannot. then, other artists have pm high-class humorous music an essay on criticism, which the curious^ reader what- is brought before us; but whenever an operatic Point out to such an one that it can be agreeably avoided nav find in the third volume of the doctors com¬ on their programs with great success. by putting the seventh in the bass and he will receive artist delivers a piece of finished and ravisflingly beau¬ It is well not to have two long compositions fol¬ ploying it. You may fully appreciate examples 2, 3 and pendious history of music. The value of the essay tiful singing, the astonished and delighted public 're¬ the emendation with joy; but it will not prevent his 4, but yet in harmonizing a tune that rises from the lowing each other, for this breeds weariness on the making the same mistake again. Nothing will do that ies in the information which it gives as to what w s sponds with glad acclamations. If the artistic con¬ foyth to the fifth degree you may easily put a dominanl xoected of singers in the author’s day. In regard part of the listener. Vary the length as well as the till he learns to hear his bass. C is another version of science were more rigorous, and if every singer would style. And, above all, to return to the first admonition. seventh to the flrst note because it sounds nice, only to 'fonera and operatic singing. Dr. Burney says: feel, as Carestini felt, that he must try to satisfy him¬ the same fault, less excusable because the seventh is au¬ find that you cannot follow it correctly. One begins by "Raring dramatic music little attention is pointed cut the program a little shorter than you think it dible, and can only rise—do you know when ? I will tell self before expecting to satisfy auditors, we should ought to be. It will pay you in the increased inter¬ hearing one sound (or bunch of sounds) at a time- soon have a cultivated public and a new golden age of est with which the audience will attend your next * The fact that have slightly modified Nature’s 7th we have now to hear also what the next sound is qoina mav bp ignored for to be before it has- * • y SrX™ <■« pevW in .he piec, in no. song. effort. TI1E ETUDE THE ETUDE MAY 1919 Page 277

Page 276 MAY 1919 Getting Results in Arpeggio Teaching : ■■ Wiv ■ ant stage in the development of our ear. Try to think Music in the Wilds By Leonora Sill Ashton ■ ■■ ■ ■■■ ’ '—--- of this dominant seventh chord with its ordinary reso¬ ByC.H-T. lution (that means the chord that completes it) as the first syllable of the word A-mcn. The various ways in Picture to yoiirself a lonely lake, upoh which the In the first few music lessons, the practice of arpeg¬ which it behaves might then be compared with other red Northern sunset has left a dusky, parting slow. gios will not be explained until an easy position of the words: e. g. The woods that hide the shore are engulf« hand is formed, and a somewhat sure, firm touch Jill Why Some American Artists Don’t Get On m growing shadows—those forests that are the haunts ° acquired^ at this junctUre, take your pupil to the lumbering bear, the prowling gray wolf and the , From a Manager’s Point of View shy, fleet deer. . „ hear a harp. ... . , , Explain to him that an arpeggio is formed by play¬ f 1 i‘Jl Now as the gloom deepens, danoes begin to arrive ing the notes of a chord consecutively (harp style) from all points—canoes filled with Indians. By HARRIETTE BROWER They come alongside the little wharf and wait— and with that instrument before him he will be able to inLr ascertain the character and use of this particular For what?—what is the lure? [Editoh's Note.— 11 first. Miss Brower’s standpoint may exhaustive inspection of conservatory conditions in Europe. teacher in America would insult a pupil with them—yet The first alone of these is quite final. musical expression. seem somewhat pessimistic. However, she has probably While there were many finely equipped institutions, he found Americans were flocking to these schools because they bore Of course, for practice on the piano you will begin encountered some of the class stupidity of students who that American students were actually going in large bodies great reputations. Artists of foreign birth who by their TheKttle Frenchman who keeps the nondescript store feel that the European label is all-important. .1 pood teacher to schools with faculties greatly inferior to the best Ameri¬ lung service to America have become closely identified with beside the wharf comes out of his tiny shop, looks with the simple triad of a familiar scale. is a good teacher in any country. Joseffy in Xew York was can schools, housed in buildings, in some instances with this country are now striving with the best of . 1 madams to just as great as Joseffy in Vienna, and only a natural-born almost unspeakable sanitary conditions—rooms and passages put down the provincial attitude that artistic value must be Something About Encores about him—then, with a smile of comprehension ana In the first instance tell the pupil to place his thumb, --. - ould- think otherwise.•”-1 America-- . - -mificently where the •none-too-squeamish American would be compelled imported. Let us tear the veil of prejudice everlastingly friendliness, he re-enters. . . , , second and third fingers of the right hand, on the supplied with great teachers of Amerk...ierican and a. % birth. to clamp the nostrils shut—pianos fit only for a museum of from our judgment and listen to music ami musicians for Many years ago the editor of The Etdde somewhut antiquities and organs so much out of date that no organ what they arc really worth.] By_E. H. Pierce . In a moment there floats out on the silence of the lake first third and fifth of the scale; also the fifth, fourth Celeste Aida—Caruso is singing for as strange an audi¬ and thumb in the left hand on the same intervals an The French composer, A. Adam, in his miscellaneous ence as one might find the wide world over. octave lower, and impress the fact upon him that the “It was not until I had made a name for myself courage home talent; that they have become tremen¬ If a native artist has a big repertoire and really knows writings entitled Souvenirs, remarks: “The English thumb must snap under the palm of the hand as soon in Europe that I found the field open to me in Amer¬ dously patriotic, and acclaim everything American, the things, not merely pretends to, then we can depend public is a great hand to demand things over again, as it leaves its key—as in the playing of scales-and ica,” said Mme. Bloomfield Zeisler to the writer on one also, that native talent has come into its own—and all on that artist. Pianists come here, show the length of occasion. We know that her words are gospel iruth, and expresses its wish by a French word, as we do by a be ready for its next position. the rest. If we are comfortably credulous we settle their repertoire, and say they have played everything Latin word.” Th6 French word to which he alludes is, The figure of going up and down stairs may be used and find a counterpart in the experience of most of our down to the belief that native artists at last have more that was ever written. But call upon them in a hurry of course, encore: the “Latin word” used by the The occupants of the clustered canoes listen in abso¬ again at the beginning, witli the explanation that hav¬ native artists. It is. all very well to blame our girls for than equal chance and are recognized at their full French is bis, meaning “twice.” Indeed, they some¬ lute silence. There is not a word or a sound of applause ing learned to go up anil down you will now proceed rushing to Europe to finish their musical education. value, and are paid accordingly. Not so the man¬ to play any one of the concertos on their list, and they times even make a verb of it—bisser—meaning to when the lovely song is ended. The braves take their to go two steps at a time, or even more; hut this also But there are two sides to the question. Our girls knew agers; they regard the situation with different eyes. would want a week's practice on it before they would repeat a piece of music, although such a use does not music as solemnly as their other pleasures. must be practiced very slowly, the same as the Kales, they had no prestige in America if their studies were be willing to appear; whereas we might need a pianist seem to be recognized by the dictionaries. A band record is the next—a stirring march-tune for fear of slipping or falling. .... only made in tile home land. No one would think them The Public’s Taste to play it the next day. It’s the same way with sing¬ The question of encores is one which practically con¬ that makes the cool air tinkle to its brass and the pulse When the arpeggio has been carefully practiced with at all out of the ordinary unless they took the trip to The writer had a recent talk with two prominent ers. I could mention a singer who, at the beginning of fronts every "player, and opinions differ as to the best of its drums. due attention to fingering and position of the hand, a the other side and had lessons from some all-but-unat- managers, who look at the matter from different her career, answered a hurry call to substitute in the policy to pursue. Wagner absolutely refused to allow A pause—then Annie Laurie steals out on the darken¬ mild form of velocity must begin at once. tainable famous master. It’s not at all strange they angles. Said one: Messiah. The fee was nominal, but she took the en¬ it in his music dramas, because of the break it caused ing twilight, like a plaintive whisper from a day long A favorite example of Albert Boss Parsons used to should wish to get out and make a reputation. They "The likes and dislikes of the public are often very gagement because she was ready. She went to that city in the dramatic action, and organizations like the Bos¬ past. be to liken the playing of two or three octaves of arpeg¬ had the object lesson constantly before their eyes, that hard to account for. I have just returned to my office and sang so beautifully that she was re-engaged for ton Symphony Orchestra are traditionally averse to gios to the movements of the water bug. which nearly the big engagements and fat salaries were always cap¬ from a long booking trip, during which I have seen another occasion at three times the salary. That’s what encores, because the make-up of the program is itself all children have seen on the surface of a pond. tured by foreigners or by Americans with foreign train¬ and talked with many local managers. Especially have it means to be ready. And that is the great trouble regarded as a serious work of art, and liable to be lay me doon an' dee. “There they lie," said Mr. Parsons, “with their four ing, who had. gained a reputation over .there If they I visited quantities of Musical Clubs all over the coun¬ with American girls; they are not thorough enough, marred in form and effect by the superfluous repetition were singers they had to note the annual visit of Amer¬ And so it goes—classic arias, band records, and that feet stretched out, then—with a dart-they are across try. We hear so much about the good work the clubs as a rule; they are not sufficiently prepared to measure of a number or by the introduction of pieces which ican managers to Europe to find new talent for the sober fabric of music in every age—the people s songs the pond.” It is just such a dart as that which one must are doing. Well, it is true, in many things. They up to the demands of the best managers. I could tell do not enter into the original plan. next season, while they stood back and waited. The and ballads—follow each other in deliberate succession. make in the playing of arpeggios. are a wonderful source of musical culture wherever you of another singer, a most admired artist in con¬ In less serious musical performances, however, such managers said: “American girls had not received the And the floating audience listens in solemn enjoyment Place the hand in the correct position over the keys they flourish. But—and here comes in the “but”—they cert, who, though her position with the public is as light opera, music shows, or miscellaneous concerts, right kind of training, nor did they have the neces¬ to the varying music of the steel needle on its whirling and think of that one position as being simply repeated should be the first to support worthy native talent, and well assured, is constantly studying; she never lets up. the encore often is a source of great pleasure to the sary experience.” Was it any wonder that our girls as far up or down the piano as one wishes to play. that is just what they do not do. If they arrange for IV hen a new work appears, by a good composer, she at audience, and the artists take a certain pride in the panted for the bigger opportunity, the chance to study The little Frenchman pops his head out. He decides, One must take great care, however, not to have any several recitals or concerts for the season they always once procures a copy and studies it: so she keeps number of times they are recalled. and the experience they could gain over there; above by some occult process, that he has given them enough break between the triads. The fingers and hands must want to secure the biggest artists for those concerts. up with the times in every way, besides constantly It is often a matter demanding great tact and judg¬ all, the chance to make a reputation, so they could for one evening. In a moment he has locked himself in glide with the same swift sure motion over the keys If it is a choice between a native violinist, let us say, adding to her financial 'assets, front a managerial point ment to decide on the moment whether one should return to the home land with some certainty of con¬ and a foreign player, they will choose the latter every of view. It's the same with the pianists. The other respond to hearty applause by a repetition of the piece for the night. It is bedtime. as the water bug over the pool. sideration from managers or heads of schools, or a time. We have some splendid native violinists, both day^ a pianist—scheduled for an orchestral concert— just played (or some attractive portion of it), by In another moment the last number is heard, slightly As soon as the notes and position of the hand are clientele for teaching. men and women—masters of their instrument. But was’ unable to appear. Here was an opportunity for another piece, or by simply coming forward on the muffled by the closed door—the British national hymn : clear: play in triplets, accenting, with a good strong the clubs would rather have one of the Auer pupils, an unknown player to come to the front. We appealed stage and bowing one’s recognition to the audience. accent, the first of each. Then accent double triplets— America for Americans and Auer has been teaching in America for a year. to several; some of them had offered us lists of pieces Professional performers and organizations seldom then the first of each four notes. We are told over and over that those days are long Is it the lure of the sensational, do you think? Then a mile long, but it was almost impossible to secure a leave these things to chance, but have a well-formed Set the metronome at a very low speed for this past; that times have changed, and we hope they have, there is the young American woman pianist; it is substitute. The majority were not ready. It is well plan in regard to their probable action. It is interest¬ practice and for the velocity, but on no account neglect The concert is over. though sometimes our hope is considerably shaken. almost impossile to book her in small- cities and clubs. to look at the subject sometimes from the manager’s ing to look over the score and parts of a music show either, for it is fatal to think of arpeggios one note at The canoes detach themselves from the wharf and We are told—and we are absolutely certain it’s true— It is hard enough to find any recognition for the point of view.” or a light opera as prepared for actual use by the a time. slide off into the darkness, their paddles making hardly that quite as good training can be had in America as American man artist; for the woman there seem few leader; exact directions are given in blue pencil as to As the lessons go on you will teach your pupils the a sound. A far-off coyote utters his melancholy howl— in Europe. We have splendid teachers here, the best opportunities. Are You an American? the place to begin in event of an encore, a second encore, minor and diminished chords as well as the major a loon, faring high above the lovely lake, trails his opera in the world, the greatest artists in every line "But this question of clubs turning down the Ameri¬ and sometimes even a third encore. Sometimes to ones. It is, indeed. Here we have two glimpses of the mocking music across the sky—a faint breeze stirs the come to us every year, or make their home among us; can artist in favor of the foreigner makes me hot avoid mistakes, or to indicate some differences in the There is no better exercise in the world for question; both invite serious consideration. It is doubt¬ water till it laps against the wharf, we have our own musical atmosphere, too. Yet, in whenever I think of it. I have talked .and preached manner of performance, the music to be repeated is strengthening small, weak hands and widening the less much more difficult to make engagements for na¬ “And the rest is silence.” spite of all these things, in spite of all our native tal¬ about it—all to no purpose. I wish you could arouse even written out in full. spaces between the fingers than the practice of the tive artists, especially women pianists and violinists, ent, and the really fine artists we are producing, the some interest in this vital subject. It is a wonderful It would be well if amateurs took equal pains to pre¬ diminished arpeggios, one octave at a time, for it places than it is for men. Also, the foreigner generally has managers make their annual trips to Europe just the opportunity, the clubs have in their hands to support pare for a possible encore; a piece chosen hastily on the the dependent fourth and fifth fingers in just the the preference over the native, in nine cases out of Like Attracts Like same. We must have foreign conductors, foreign and encourage worthy native artists. How are they spur of the moment often fails of its intended effect. ten. Clubs want big names for their concerts. They position to accomplish this. trained singers and instrumentalists. Even now the using this opportunity?” If one has no well-defined plan in mind, and still deems By Gertrude H. Trueman For example: might help amazingly to foster native talent, but they native artist must adopt in many cases a foreign name, it fitting to play again, a repetition of the same piece, decline. What can he done to improve this condition? French, ^Russian or Italian, in order to secure suitable or if it is long, a portion of it, is the safest thing, but When I showed a friend the above title, she laughed, A Business Point of View If you are an American here is an opportunity for recognition. Ever and anon when this fact comes there is a large class of short pieces and songs so par¬ evidently thinking this was a love story. But, no—it The second manager looked at the situation from the splendid work. home to us with fresh force we feel moved to cry out, ticularly suited to this purpose that they are well recog¬ applies to music and was suggested by seeing a row angle of the salability of the artist. We also hear that an artist who is entirely capable “How long!” nized as “encore pieces.” It is well to have a good of songs on the rack of an upright piano. “Lovely “I speak from a purely business point of view.” lie and ready is likely to secure the engagement, irrespect¬ We are told so often now that the great war is variety of these in one’s repertoire. Lou,” “Rattlety Bang” were some of the names I saw; said. “We must sell the talent of the artist as we do ive of whether he or she he American or foreign leveling all ranks; that Americans are cured for all Generally speaking, an encore piece should be brief and, oh 1 the colors—enough to make one’s brain reel. any other commodity. It is the person who can deliver This is encouraging and inspiring to the really gifted time of their foolish admiration and imitation of all and of a lighter character than the number which pre- Once in a while—and, thanks to our modern teach¬ the goods who secures the engagement every time. No native workers in Art. things foreign; that they are ready to accept and en¬ ceeds it, yet the contrast must not be too violent. One ing methods, more so these days than formerly—we With the very beginning of the study and practice matter whether it’s a man or woman, native or foreign. For, as Hamlet put it—“the readiness is all.” should avoid anything which would seem to lower the see good editions of sensible music on an upright piano, of arpeggios, play something for your pupils to show character of the concert Something a little piquant but mostly they attract the songs with brilliantly and “catchy,” yet refined, is particularly in place. An colored title-pages. encore piece need not be always lively, but if the chief Then there is the dear old square piano, found in What Do You Want, Big Names or Real Music? number has been in a slow or moderate tempo, it would home where the old folks still linger. And don’t they match—the feeble souls and the sweet tinkle of the be very bad judgment to have one slow piece follow THERE is a story told of a famous Virtuoso, who, when in his cups, patriotic music lovers—but goodness knows, we don’t want American keys? What music do we hear now? The soft strains thought that he would have a great joke upon the unknowing Amer¬ music unless it is very fine music. The point is, that we have very fine ^OmTshould above all things be able to infuse the of the good old hymn-tunes and those pieces that were ican public. Therefore he started his program (which called for a in fashion when grandma was young. music and very fine performers. Let us help them and enjoy them for encore piece with the same amount of vitality and per¬ Beethoven Sonata), with a Cramer etude. The second group was a set of But, best of all, now come our superb grands— sonal magnetism that was present in the previous per¬ Chopin etudes—but our playful virtuoso substituted Czerny. The moral what they are worth. We want the great musicians from all the countries baby and concert. What wonders we can now per¬ formance; if one feels at all wearied or played-out, as is that he was gently but firmly escorted from the stage before his mad of the globe—we can not get too much of the best. At the same time let is sometimes the case after a long and difficult concerto, form! for we have sweetness, richness and brilliance career had continued more than five minutes. ? The audience was not dis¬ us sanely determine whether we are being bamboozled into paying for for instance, it is better to shun the task, and respond at our disposal, waiting only for the right touch and satisfied, because it had something to talk about for the rest of its musical cheaply-made publicity, “billboard” and “press-notice” greatness. Why simply by a polite bow or courtesy. temperament to give us just the effects' we desire. Speaking of bowing—if one has been performing And, strange to say, it is the music that was composed life. The American career of the virtuoso was cut short—very short. He can’t we judge for ourselves and let our ears, minds and souls decide with an orchestra it is considered good form, in case before even the square piano was made that sounds what a beautiful accompaniment and embellishment thought that the American people didn’t know—but they did. whether it is more enjoyable to hear Mischa Sapiniefkoffskv or plain thev too pay one the compliment of applause, to recog¬ so good on our grands, showing that good things will they form. Mr. Josef Hofmann’s recent laudable effort to program works of William Brown? Perhaps William really plays twice as well, if we will nize them in the same manner that one does the survive the ages, despite what comes between and And thus give them a glimpse of something beyond American composers at his recitals brought the merited applause from tries to outdo them. only be open-minded, or rather, open-eared. audience. what may seem to be the drudgery of the moment THE ETUDE MAY 1919 Page 279 THE ETUDE Page 278 MAY 1919 The Most Powerful Effect in Music " ■ Memorizing Your Piece By Edwin H. Pierce By Frederic W. Burry Mozart is said to have declared that the most power¬ memorises “four measures at a time. A ijteut man) su ful effect in music was-«o ^“i,CmfJJ s'cificallyJ a dents and teachers do this regularly, and apparently with skillfully placed rest, or perhaps more specihcat y, great success, where every other method has failed. l t is only fair to Etcde readers, however, to tell them that the «..™. —e psychological exper “Tfs "strange that this fact is so little appreciated to the fact that the best and quickest plan for by the ordinary run of musicians; the cutting shor Secrets of the Success of Great poetry and recitations is to go over and over tthe work as a whole and. not to pull it to bits and memorize .. ... S2 .»•«* those .intended by the compose M be disjointed fashion. Perhaps this also applies to music, out we do not know of any scientific pyschologtcal tests having Musicians been made in the musical field.—Edit-liter ofj mThe"” xnEtdde.] T'” First thing, it takes time to memorize a piece, By CHEV. EUGENIO di PIRANI therefore, patience. amateurs; professionals whose work ts aimost enMrely A pianist of some renown once told me she could of a solo nature are likewise pronetoft m many not memorize more than four important pieces a year, rases The best cure for it is habitual practice Analogous to the effect of actual “rests" is the con¬ and that she had never met anyone who could. She ensemble playing, or in orchestral playing » scientious rendering of a group of staccato notes, for Anton Rubinstein a staccato note is really nothing more than a very was accustomed to practice <}aily for hours, and she really good conductor. Lacking this, much may be short note followed by a very short rest, the two had a wide experience with music and musicians. No achieved by a resolute counting of time. . together making up the exact nominal value of the This is the Third Article in this Interesting Series by Chev. Pirani. The Former Ones Were dbubt her standard was high. She would hardly be One of the most familiar examples is found m the mPas„res of Beethoven’s Sonata, Op. 2, NO. o- printed note. A very common failing is to omit the satisfied with results that did not at least approach Devoted to Chopin (February) and to Verdi {April). “rest” (if we may so term it) which should come after perfection. The pianists before the public seldom play the last note of a staccato group as certainly as anything that has not been worked at for two or three between the previous notes. It would be well if piano loing, and in Paris he was brought in Contact with that years. teachers more commonly gave the same attention to Some days ago a distinguished musician was dis¬ glorious circle, Heine, De Musset, George Sand, Chopin, In memorizing one should first see and take the this small, hut important detail that is observed hj cussing with me the title of these essays: “Secret of piece as a whole, then in detail. First, the universal, good violin teachers. In Krcutzer's Fourth Etude, Success of Great Musicians.” “How is it possible,” he Liszt, who had such an inspiring influence on each then the particular. Divide the piece into sections and great stress is always laid on the fact that there mui said, “to discover their secret? If that were the case other. Liszt attended Rubinstein’s' first concert and sub-sections, giving extra attention to any awkward be a decided break between the last sixteenth note aid then everyone could become a great musician.” embraced the then eleven-year-old boy. or difficult phrase—one hand at a time—both hands Here the rest on counts “three” and “four” serves to the half note which follows: That is a mistake! To unearth and analyze the On Meyerbeer’s advice the young artist then made together—from many angles, viewing and reviewing. fix the opening motive on the mind and arouse ex¬ secret does not mean that everybody could repeat the serious study of composition under the famous Dehr. Some of the signs may be overlooked at the very pectancy for what follows, but if the player yields in trick. Sometimes .it is the magnetic personality; some¬ What an inspiring teacher this man must have been is first—such as expression marks, pedal directions, fin¬ the least to a careless tendency to cut the rest short, times the wonderful inspiration; sometimes the suave, proved by the fact that (besides Rubinstein) Glinka, gering ; or such features can be supplied subconsciously the only impression made is that of uncertainty and fascinating touch—and so on. One can possibly find Kiel, Kullak have been among his pupils. This circum¬ out of the performer’s own brain as he goes along. rhythmic deformity. (For the benefit of those unfamiliar with violin technic out the reasons for success. An ambitious musician stance, that Rubinstein had an excellent teacher, should The composer’s intentions in these matters are by no An almost parallel case is found in the well-known we should explain that the curve used in “this example can, also, to his great advantage, try to imitate those not be forgotten. means to be ignored. But, broadly speaking, a good Lenten hymn, St. Andrew of Crete, which suffers is not regarded as a legato sign, but merely as an indi¬ peculiarities; but imitation, even exact reproduction, Rubinstein’s first compositions had, however, a very composer and a good executant naturally supply very mutilation at the handd of many careless organists. Rubinstein’s “Sacred Operas” cation that the notes are taken in one bowing, the very seldom revives the original. It becomes, at the ludicrous end. He took them with him to Petersburg similar notes of expression. Rubinstein’s dream was the establishment of "sacred staccato remaining as decided as ever.) best, a good copy, but never the real thing. Such gifts in the year 1848. Unfortunately, the Russian police, Primarily, then — technic. Measure by measure, opera,” that is, of oratorio produced on the stage, like Sometimes a great artist may produce a wonderful as are responsible for success are either inborn (and, always suspecting the smuggling of seditious matter, phrase by phrase, build up by endless repetition. To effect by the skilful insertion of a very minute pause the “Passion Play” at Oberammergau. He wrote on in that case, cannot be acquired,) or they can be reached confiscated the trunk containing the manuscripts and, relieve the monotony and tedious routine and in order in a place not specifically indicated by the composer, this subject: “The best known masterpieces of this form only through a whole life of study and toil, like the after some months, instead of returning them to the to gain a wide grasp of the piece play over the whole yet wholly in sympathy with the composer’s idea. The (not during the study of them, but when hearing them marvelous technic of some virtuosi. The mere men¬ owner, sold them as wrapping paper to various green composition or a generous portion, at intervals, always writer still retains a vivid memory of such a proceed¬ performed) always left me cold; indeed, often posi¬ tioning of it as one of the reasons of their success is grocers and butter merchants in Petersburg, as later the seeking further improvement, constantly giving added ing on the part of the great Russian violinist. Adolf tively pained me. To see and hear gentlemen in dress attention to the little details—watching for curves and by no means sufficient to render other musicians cap¬ young composer found out, to his disgust. No need Brodsky (now residing in England). Although unable coat, white cravat, yellow gloves, holding music books As we have quoted Mozart’s opinion in the first para¬ able of doing the same. Even granted that some to say that these, his first efforts, were never heard of. strokes and dots and figures that may have been at the present moment to verify the source of th:s before them, or ladies in modern, often extravagant, graph of this article, it seems but fair to furnish an quotation, he is able to give it from memory with suf- would-be imitator is possessed of the necessary predis¬ overlooked at first. If the composition is a good one— toilets, singing the parts of the grand, imposing figures a classic—everything should be noticed and no changes example from his works, and we present an excerpt position for developing certain abilities, he must add At Kamenoi Ostrow from the minuet of his violin sonata in E minor. (No. to his ’own initiative all the application required for of the Old and New Testaments has always disturbed made. 4). Here a charming little melody which first appears In 1852 he found a gracious protector in the Grand me to such a degree that I could never attain to pure Some think they may put in their own fingering, or the attainment of that high aim. with a half-close (just before the entry.of the violin) Duchess Helene, who invited him to her palace in enjoyment.” their own bass here and there—why be fussy? The This preamble is necessary to dispel the assumption in the following inconspicuous form: Kamenoi Ostrow, where he could leisurely attend to The gigantic task he set himself with the great his¬ better way is to memorize a few pieces thoroughly—one that I am going to put into the hands of the student, his favorite studies as pianist and' composer. The two torical concerts remains unique in the annals of music. by one— paying respect to careful • editings, rather a magic wand which will open to him the golden portals A perceptible break after the last sixteenth note caused well-known melodies (one of them in F major) dedi¬ These series of concerts were given in Benin, Vienna, than to take up a number superficially. The lady pian¬ fl>-j h~Vh of fame. the long note which followed to have the effect of being cated to the Grand Duchess, were composed in that Petersburg, Moscow, Paris and consisted of seven piano ist, to whom I have referred above, said she would $J==U wonderfully and powerfully accented—an accent so Rubinstein, to whom to-day’s article is devoted, offers ft ^ recitals, whose programs included the most important take four bars—no more, no less—repeat them ten intense, that any attempt to have produced it nitrelj to the investigator a wealth of dazzling traits which works of classic and modem composers. The first was times—no more, no less—then proceed to four more, by the force of the bow would have resulted in an In 1854 he undertook a tournee in Germany, and in rrH can be esteemed as guiding stars to the ambitious devoted to the old, including Bach; the second to Bee¬ and so on. This may appear to some a mechanical 1858 returned to Russia, where he became the leading unlovely harshness of tone. musician. thoven (eight sonatas), the fourth to Schumann, the procedure; nevertheless, it begot fine technical results There are some passages which admit well of to spirit of the Russian Music Society and founded the He was (like many other renowned musicians) a greater part of the fifth to Liszt; the sixth and part of in her case at least. treatment in the Finale of Beethoven’s Quintet m C Petersburg Conservatory. In 1862 he was again engaged “wonder child,” a fact which ought to silence the the seventh to Chopin. The whole program was played major, but space will not permit us to present an in a triumphal concert tour, and 1872 he visited Amer¬ And it is technic we are after. It is all very well to critics who decry “les enfants prodiges.” There have from memory, a prodigious feat. disparage velocity and mechanical agility, declaring example from the score. ica, on which occasion was laid the foundation of his been enough of them whothave developed into world- He was, indeed, above’criticism as a pianist. I had that the aesthetic side of music is the main thing. This We have chosen several illustrations from noun famous men, as in the case of Beethoven, Mozart, Bach, subsequent wealth. the privilege of hearing this series in Berlin. Who may be true enough, and technic only a means to an music because small points of phrasing are more dis¬ Handel, Chopin, Mendelssohn, Liszt, Hof man, Busoni, He delighted in telling of many strange experiences could describe his fascinating, velvety touch and sweet end. It is, however, the means that requires a quantity tinctly audible as rendered by the violin bow, but etc., to justify the belief that genius is in most cases he had here. Among others, after one of his con¬ caressing of the keyboard, his awe-inspiring impetuosity of attention—calling for much time; the artistic part— they are equally important in piano music. It 1S 1 precocious. certos, where he had played various selections from suggesting the thundering of infuriated elements. His the expression—belongs rather to the realm of space— is greatly enhanced in beauty on its later appearance by very common fault with pianists, both old and Little Anton Rubinstein’s debut was at the age of Chopin and Schumann, a prosperous looking American exuberant temperament even sometimes overmastered and to a quality of attention that is very much a matter the enlargement of the half-close and the introduction to slur the last note of a staccato passage. Remembet nine years, at Moscow. After the performance he was of rests. One should observe these rests with most came up to him and, patting him condescendingly on him, but just this overwhelming temperament made the of life and. experience. that the last note marked staccato is every bit as stac¬ put on a table in order that he might be seen. In 1841 minute accuracy. the shoulder, said patronizingly: “Waal, you hev played great splendor of Rubinstein’s genius. He could sing Memorizing is not merely the photographing of the cato as the others. he set out on his first tournee with his teacher, Vil- well, Mr. Rubinstein, but why don’t you play something on the pianoforte with all the beauty of a human voice printed page on the grey substance of the brain. You and again dash into enormous difficulties with a fire and for the soul?” njust absorb the composition into your whole being. Gaining the Pupil’s Sympathy at the First Lesson passion that carried away all before it in its astonishing The finger-tips contain little brains, so to speak. The “For the soul?” replied Rubinstein, puzzled. “Well, grandeur. • piece actually sinks into you. It becomes part of your¬ I have played for my soul, if not for yours.” A Great Teacher By Ellen Fairborn He did not like the long sea voyage. “To look at self. But all this superior ability did not come from Heaven A piece thus thoroughly learned is never forgotten. the sea, that is delightful, but to be on it,” he said, alone. The student should not forget the thousands of After a while, you may lay it aside. Then when you Here is where true understanding and sympathy . A sensitive child looks forward to a new “horrible!” hours Rubinstein devoted to study especially to find a want to take it up again, you will always find it on the with the little pupil is most necessary—at the very with a certain amount of dread, and a quiet, friendi. At Peterhof, in his enchanting summer home, Ru¬ peculiar softness and delicacy of tone and how long great shelf of the subconscious, ^stored away in some beginning. and informal manner will go far to reassure her an binstein kept open house, and one evening he, Davidoff, he was working at the problem. Also the enormous pigeon-hole of your cranium, ever ready for service. I happened to be in a house where the first music make the next lesson one to be looked forward to. the great violoncellist, and Auer, the eminent violinist, sonority he could extract from the piano was a pecu¬ It=may require a polishing up; you may have to re¬ lesson had just been given. The teacher was hoarse It is better not to insist upon much depth of to ■ who now sojourns among us in New York, made music liarity of his own. In every concert it was said he view'it a little; but you will discover that the time from loud - and continuous talking, and the small together. Large as the villa was, it was always too broke several keys, and a second piano was always in and labor formerly expended have not been wasted. at first, where the hand is small, as there is P6 pupil looked bewildered. I have always tried to make small to hold the multitude that sought admission, reserve on the stage, but never, even in the most tre¬ Nothing is ever forgotten. Concentration helps to the first lesson a happy one. It is not wise to give too danger that the first joints of the fingers will bee in, and a habit be formed which is very hard ■ and out on the lawns that surrounded it, under the mendous fortissimo, did his touch become rough or dig the subject in—it also aids its resurrection. And much information, and always some little thing which trees, on the steps of the terraces, everywhere, were harsh. the child will be able'to do easily and enjoy. I often break. As the fingers become stronger the tone - concentration does not imply any strained pressure on groups of people listening in silence to the sounds that He was also a great teacher, and in spite of his im¬ talk about other things in a casual, friendly way and be increased, and until then let the tone products the brain. It is tke calm, attentive, receptive attitude floated out to them from the open windows of the petuous and capricious nature, he possessed those qual¬ try to get some idea of the little mind and character that counts. We live and learn by absorption. “Try keep pace with the ability of the fingers to remain music salon. ities required of a good teacher: patience and gentle- easy” rather than “try hard.” with whom I have to work. the proper curved position. MAY 1919 Page 281 THE ETUDE THE ETUDE Page 280 MAY 1919 From An Old Musician’s Wallet vousness or absentmindedness was usually wrong in ness. He never lost his temper as Biilow did and, in Both Handel and Bach were not above helping them¬ contrast to Biilow, he was absolutely objective in his ^aSrS^l“^oiSX. selves to another composer’s melodies when they felt lessons. While Biilow “revised” the classics and some¬ like it. Bach composed numerous fugues and fan¬ times indulged in distorting phrases and accents (see tasies upon themes that were not original with him. ‘^rheSgrowing f. i. the G minor Gavotte of Bach). Rubinstein was soon after this" to relinquish his PosUmn as conductor Handel went further and took bodily passages of con¬ against revised editions of the classics, as he considered of the Imperial Musical Society, as welastbed'rect^ siderable length. This was due in a measure to the exigencies of the times, when it was not unusual for it execrable taste that some of the present day artists orate of the conservatory, and in the year 19U4 h Building Up an Octave Technic should presume to present the classics after their per¬ a noble patron to demand a certain composition by a denly died of apoplexy. certain date, and the poor musician had to furnish it sonal ideas. “I want Beethoven, I want Bach, I want or risk disfavor. Accordingly, Handel kept a book of How to Play Octaves Smoothly, Rapidly and Tirelessly Chopin as they gave themselves to us,” he often said, Anecdotes and Bon Mots themes that he liked, although written by other com “they are good enough for me; and for my pupils they March, 1881, I had to give a recital at the Philhar¬ posers, and used them in his own works with a naivete must be good enough too.” Nothing with him could be monic Academy, in Bologne. The /P1®"'- number that was—to say the least—audacious. Nevertheless, By CONSTANTIN von STERNBERG done for mere effect, no change made to /suit the indi¬ had sent several days in advance, included * "umber this does not belittle Handel’s ability, because he was of Anton Rubinstein’s. The president: of the acad vidual taste. His lessons were studies of poetry in the quite equal to writing works far finer than those he emy however, informed me that Rubinstein, being Assuming now that the • foregoing advice has been conception of the ideals of the great masters. Technic, pilfered when the circumstance of the moment urged Many piano players—and not amateurs only—find seconds in the same position in order that the player of course, the pupil had to possess before coming to still among the living, could not be conwderedas may make sure that the fall is not a masquerading punctiliously followed, other scales may now be prac¬ haste. great difficulty in playing octave passages, especially him. The first and last composer Rubinstein pre¬ classic, and requested me, therefore, to «a“el when such passages demand a rapid tempo and great depression. In this “fall” the arm should be as if it ticed with the fourth finger and a high wrist on black sented to his pupils was Bach. number. The day of the concert a telegram from keys, even when there are two or three black keys in "Play always as if a master were listening," said endurance. Such passages some performers find so were dead. Some externals of his playing ought not to be over¬ Paris announced that Nicholas fatiguing as to be unable to carry them through without This first study is the most important in the whole succession. (If the hand stretch is wide enough the nowned brother of Anton) had suddenly died The Schumann. The trouble is that most pupils play as looked. His trick of tossing back his hair, his way experiencing a lameness in the wrist amounting almost matter of octave technic. third finger .may be used on the first of two or three president of the academy then haktened to inform though they were themselves deaf, to say nothing of the of raising the hands high above the head, his leonine, to a feeling of being momentarily paralyzed. The word Assuming now that this first study was made on the consecutive black keys, as in the scales of E, B, A flat, me that Rubinstein having just died he became ipso auditor. Beethoven-like head—had, especially with the public, a “paralyzed” is used here purposely because that which facto a classic, and I could consequently replace his keys of C, the next move will be a slight spreading of D flat, e. a.) certain share in the deep impression he made. is so often taken to be fatigue is in reality a temporary number on the program. I, of course, had to ca Three things mark Chopin’s individuality: the hand while the wrist is lifting an4 the thumb and Finger Octaves In private life Rubinstein was what one calls a good or momentary paralysis. fourth finger reach for C sharp. Here .he fingers the attention of the overzealous president to the fact 1. He was the first composer of Polish birth to be¬ Coming now to “finger octaves’’ (No. 4 of the fore¬ fellow. He was fond of a good story, especially when We know that a muscle, when put to an unusual should be astraddle of the black keys. In going then that it was Nicholas and not Anton who had passed come internationally renowned. going statement), it may be said that they are not, or highly flavored, and he was always happy paying com¬ strain, accumulates a lot of blood which causes that back to C, the wrist should again fall and the fifth away, and the number was again expunged from the 2. He was the first composer of renown who was only in exceptional cases, used in passages that move pliments to a pretty woman. On one occasion in Lon¬ muscle to expand. The muscles ot the wrist, when put finger and thumb take their C’s as before. By and by, specifically pianistic. to an undue strain will thus expand and by this expan- on white keys only; this manner of octave playing is don the Princess of Wales sent for him. Rubinstein, How often public recognition is delayed, or alto¬ the study may progress chromatically to E and back 3. He was the first great composer to give extended siotl press against the many large and small blood used in scale or arpeggio passages that contain a num¬ when bowing, was about to kiss the hand of the prin¬ gether denied for this same reason. Envy, jealousy, again, always taking the black keys with the thumb consideration to the smaller forms. vessels which nourish and stimulate the finger nerves. ber of black keys on which the fourth—if not also the cess, when she hurriedly withdrew it, saying it was not hatred, business considerations, are often seemingly and fourth and with a highly raised wrist, which must This pressure makes the circulation difficult and by third—finger is employed. Such passages should be the custom in England. “With us” (he should have unsurmountable obstacles to success. In that case the promptly collapse again when the white keys are re¬ There is no more persistent dance than the waltz. Child forcing matters this difficulty increases more and more, taken, while the thumb and fifth finger resume their practiced with the fifth and fourth (or also the third) said with me), replied Rubinstein, “it is a law.” secret of success lifes only: in . . . death! of the Landlcr.it is said to liavc appeared first in an opera, until finally the circulation of blood in the hand is gripping attitude. finger alone (without the thumb) while the hand re¬ That reminds me of one of my publishers who con¬ Personal Memories “Unacosa rara." of Vincent Martin (1787). They were stopped—which produces a condition of partial or tem¬ When the chromatic scale is extended over an oc¬ tains the outstretched position as if it were playing fessed to me recently that, if I were dead, my compo¬ porary paralysis! The hand becomes in reality para¬ When I was in Petersburg in the year 1888, I be¬ German in origin but became, afterward, wholly inter¬ tave (of octaves) the shifting of the thumb and fifth octaves. When the upper notes of the octaves with sitions would prove much more commercial. I replied lyzed ; but this word need pot frighten anyone, because came acquainted with the master at the hospitable national. Mozart, in fact, called his first waltzes from E to F and from B to C should be done (slowly the fifth and fourth fingers are so well learned that that, for the present, I had to forego this effective this particular paralysis is not only temporary but home of Mr. Petersen, the owner of the world-renowned "Deutsche.” With Weber’s “Invitation to the Dance,” at first) by lifting the wrist very slightly and throwing they can be played in the required speed, then—and advertising medium, as it would prove prejudicial to admits of an instantaneous cure by dropping the wrist. Becker piano factory. Then and there he invited me to the art-form developed. With Chopin the waltz became the hand upon the next white key. In all these motions not until then—the thumb may be permitted to “trolley" my . . . health! a classic. How its popularity swept everything before Through this dropping the muscles relax—it might be visit him. Rubinstein led, at that time, a retired life in . The well-known writer, Eugcn Zabcl, a friend of the hand should endeavor to lean a little toward the along; to make the keys speak and thus to complete the it, is indicated in th; following couplet of Byron: said, collapse—the pressure against the blood vessels is thumb and beware of leaning toward the fifth finger. the greatest simplicity. He was very taciturn and ap¬ Rubinstein, has published an interesting study on the octaves. In case of necessity the thumb may practice “Endearing IValt:! to thy more melting tune thus released and the circulation of the blood is re¬ peared as though lost in thought. He would let minutes hand of the great pianist. Leopold Auer, knowing its notes separately, but while so employed the hand Bow Irish jig, and ancient Rigadoon. established. This cure works instantaneously, whereas Avoid Speed at First pass without uttering a single word, and now and then Zabel’s admiration for Rubinstein, sent him from it would take from five to ten minutes, if not more, to must retain its outstretched octave position. These Scotch reels, avaunt; and country dance forego The student should keep up this slow practice for a he hummed over a musical phrase to himself, and in Petersburg a plaster cast of his hand. Zabcl wrote, restore the force of the hand if its inability to continue “finger octaves” are very useful in passages that require Your future claims to each fantastic toef week at the very least, however much he may feel that great rapidity. the air or on the table he carried on fantastic exercises concerning this dear relic: “It grows out of a very a lengthy octave passage were really due to fatigue. he could do the lifting and dropping of the wrist more “Arm” octaves are used only where great strength is with his fleshy, muscular fingers as though yearning robust wrist. It develops afterwards full and fleshy, This supposed fatigue is often accompanied by a quickly. The essential point in the beginning of this for a piano. At all events Rubinstein was never much strikingly enlarging almost in the shape of a quad¬ Here are some musical names that are often mispro¬ pain which is felt about two inches above the wrist, but needed, while “shoulder’’ octaves should be used only study is not speed, but the forming of the habit of sud¬ of a talker. Music was the language in which he pre¬ rate. The first impression, upon looking at the plaster nounced : Berlioz ( Bair-li osc not Bair-li-oh) ; Carrciio this pain only proves that the blood that was intended for sforsato moments, where one or two octaves or cast, is not of great sensitiveness, but rather of un¬ denly devitalizing the arm that upheld the wrist. A ferred to express his thoughts. As a straightforward (Cahr-rain-yo, not Car-rcnn-oh) ; Cramer (crab mcr, to nourish the finger nerves has been stopped in its heavy chords form the climax of a passage which, in usual physical strength. Similar was the impression premature reaching for speed is very likely to produce friend of Italian cooking, he had engaged an Italian not Cray-mcr; Cui (Kwec, not Koo-ce); Czerny course; that it has accumulated where it found no out¬ itself, was to he played forte. Of these two manners one received of the personality of Rubinstein. Any¬ a failure and preclude all future speed. cook who often prepared his favorite dishes such as (Chair-ney, not Zer-ney) : Delibes (Dch-lceh, not Dec- let and thus exerted that pressure which caused the nothing more need be said than that the “arm” octaves one who did not know him would have supposed him The next step will be the repetition of each octave macaroni de ravioli and other Italian specialties, which lcebs) ; De Rcszke (Dch Resh kay, not Deh Rcs-kec); pain. should engage the arm up to the elbow only, while the to be accustomed to carry heavy weights, the more while the hand retains its position. Play the C octave I was delighted to find at Rubinstein’s home, in the Dussek (Doo-shek, not Doo-sek); Eamcs (Aims, not This is the physiology of the difficulty and it had to “shoulder” octaves employ the entire arm, deriving so as he walked in a stooping posture and with shuffling Eems) ; Fauri (Foh-ray, not Power); Gadc (Gad-deh, twice; after a while thrice to the same time beats, “fatherland.” be made quite clear here in order that the reader may their strength from the shoulder muscles and that gait. The shape of Rubinstein’s hand suggests a not Gahd) ; Kjerulf(K’ay-roolf,not Jur-ulf);Liszt,List, then four, six and eight times with a low, hanging He lamented, even at that time, the vanishing power understand that the means to conquer the difficulty, as these two manners should not be confounded with each claw improved to human form. Marvelous in the better than Least); Massenet t Mass-nay. better than wrist. Then do the same on C sharp with a high of sight, and this w?s one of the reasons for his dejec¬ suggested in the following, are entirely in line with the other but be considered as distinctly separate; for, strong development of the small finger. Rubinstein Mass-sen-nay); Moszkowski t Mosh-koff-shkce. not wrist and the fingers astraddle of the keys. tion. I say one of the reasons, for another ajid perhaps physiological aspect of the matter. they employ two entirely different sets'of muscles. used to say that through a simple pressure of this Mos-kow-skee) ; Saint Sacns (Sam g)-Sah(ng)), not When this has been accomplished, play the diatonic a deeper one soon became evident to the attentive ob¬ finger on the key he could break any hammer of the Sane-Sanes, the French nasal "n” must be suggested in scale of C in such a way that C, E, G, B have the wrist server. He spoke mainly with bitterness concerning Gripping the Octave Prolonged Octave Passages the correct pronunciation). low while on D, F, A, C the wrist is high. Use always the injustice of people who praised him only as a A lady once asked Rubinstein what city he liked The most common error committed in playing pro- the thumb and fifth finger and throw the hand from Prolonged octave passages played with one and the pianist. He regarded as a great misfortune the fact best. “This is difficult to say,” he answered. “It ,longed octave passages consists of playing them—or key to key without losing sight of coming as nearly as same degree of strength would be as monotonous as that his world-wide celebrity as a pianist diverted public would be easier if you had asked, what country I like Keep at it. Terrance used to say that “Nothing is endeavoring to play them—with one and the same set possible to a legato. The time for throwing the hand any other passages that were devoid of dynamic shad¬ attention from his works as a composer. Perhaps he best. Then I would reply: In Russia I live, in Ger¬ so difficult but that it may be found out by seeking. of muscles, instead of distributing the passage over from key to key can be so minimized as to make the ing. It is to the dynamic undulations that the student was right in that respect, for the world is little in¬ many I think, in France I enjoy, in Italy and Spain The most difficult piece usually responds to persistent four different sets. It would be well to understand breaks in the legato inaudible, if the hand—at first— should now pay the greatest attention, because they clined to acknowledge the preeminence of a man in dif¬ I admire, in America I do business, and everywhere practice—when the practice is properly directed. that the octave technic comprises: remains long enough on each key for a complete mental will show him the places where he may change from ferent realms, on the assumption that versatility gen¬ ... I love." 1. Wrist octaves; preparation of the next motion. Here again—it has to one manner of execution to another. It would be use¬ 2. Arm octaves; erally precludes thoroughness. Success Traits Have you ever noticed that whole notes are written be repeated—the motions are to be made quickly, but less, to say here that soft octaves should be played in in the middle of the measure in orchestral works 3. Shoulder octaves; not in quick succession until the motions have become Cunning directors and managers recognized Rubin¬ 1. Study only with great masters. The time you the manner of No. 1 and No. 4, because the choice (scores, etc.) whereas in most piano music the whole 4. Finger octaves. habitual. And even then the increase of speed should stein’s peculiar position, and offered to perform his employ with an inferior instructor is wasted. The would depend upon whether the octaves are to be Nos. 1 and 4 are more difficult to acquire than Nos. 2 be made very gradually. How soon the speed may be Operas only on condition that he would bind himself to happy choice of a teacher is half guarantee of success. note is written at the beginning of the measure? played legato, non-legato or staccato. Nor was the and 3, because Nos. 2 and 3 are used only for forte and increased is a question which every student must de¬ appear in one or more concerts. He was, therefore, purpose of the foregoing to furnish a “recipe” which 2. When you are developed into an artist do not fortissimo places and never long in succession, while cide for himself, but long abstaining from speed and rather offended if one spoke to him of his triumphs as care for the praise of the vulgar and ignorant. Be Is the work you have chosen worthy of your best the student could follow without doing his own think¬ efforts? There was a man named Charles Eulenstem Nos. 1 and 4 are much more frequently used and the greatest self-restraint cannot be too highly ing and experimenting. The purpose was, on the con¬ a pianist. It pained (lira also that the works which, your severest critic, and seek to come as near as pos¬ demand a very attentive and time-consuming study. recommended. in his own opinion, were the most important, were sible to your ideal. Pursue this ideal even when it is (1822-1890) who l>ecame a noted performer on the trary, to stimulate his thinking and experimenting after The study of wrist octaves should begin—as Kullak having made him acquainted with the fact that there neglected, and only his less momentous compositions in contrast with the common taste. Jewsharp! Contemporaries estimated that similar ap¬ suggests in the masterly first book of his “Octave arc four distinct manners of playing octaves and ex¬ were popular. <% a matter of fact, Rubinstein has cre¬ 4. Set for yourself some colossal task. Even if you plication might have made him a virtuoso pianist or School”—by striking an octave on white keys in such plaining how these four manners can be acquired. do not succeed in attaining it, the effort alone will bene¬ violinist. ated works of great importance and beauty in all a way as to grip it, somewhat in the manner of tht fit and improve your art. In the course of his pianistic experience the student branches of composition, but very few appear now tongs which our summerly friend, .he iceman, uses. Your Musical Magazine may find that—once in a while—the various manners 5. Do not forget that great mastery of any subject on the opera stage or on concert programs. Who Neglected Opportunities The thumb and the fifth finger should show in their may form combinations, c. g., the arm and wrist knows to-day of his operas: Lalla Rookh, The Dccmon. is obtainable only at the price of long and persistent position a tendency to “face each other.” While thus We think that anyone who reads Mr. Stern¬ study. "Alas for those that never sing berg’s article and tries out the exercises will may work for moments together or that the wrist may Makkabccr, Nero, Lulamith; of his sacred operas. The holding this octave the wrist should be alternately help a little in the finger octaves. Such experiences, 6. Specialize, if possible, in one thing. The world But die with all their music in them.’' surely benefit from them. Tower of Babel, The Lost Paradise, Moses; of his elevated as high as possible and dropped again; this however, are granted to those only who have a very does not give credit for too many accomplishments. Some of the best articles in THE ETUDE symphonies, Oceana, Eroica, and all his other numer¬ We meet many grown persons who go through “dropping,” however, snould not be a “depressing” but have been suggested or requested by our clear conception of the four manners stated before. If ous works for orchestra and chamber music? 7. When you have accomplished something in the harboring a constant regret that they refused or neglected an actual dropping, that is: falling. The arm that had readers. We want you to feel that this is they are not thoroughly understood, the student may world and you are anxious to get recognition die as Rubinstein must have been in his best years an lifted the wrist should suddenly become, practically, your magazine in fact, and we are always by chance hit upon a combination that may be of mo¬ soon as possible! opportunities for musical education, and that it is eminent conductor, but when I saw him direct a con¬ late to remedy the fact. One such man we knew who devitalized and allow the wrist (as well as the arm glad to have our readers write us and tell us mentary help to him, but, as it would be mere chance what they most want to read in THE ETUDE. cert of the Imperial Russian Musical Society 1 was 8. If you are not in a special hurry for fame take used to joke about it with affected gaycty, saying. m itself) to fall; to fall instantly and to fall so low that work, it would be more than likely never to help him astonished to notice how poorly he handled the baton. care of yourself, have a good time, and manage to the finger tips are in danger of losing their hold on the Perhaps we might hit upion just what you chock full of music : I must be—liccause none ever came have been waiting years to learn. again. Hence it is best to learn and understand the Afterwards somfe of the members of the orchestra told live a hundred years, for. as the Italian saying goes : out!” but he really nursed a painful regret. Think o keys. Of these two motions each one should be made four fundamental manners so thoroughly that, in case me they took care never to look at him during the “Meglio tin asiito vivo chc un dottor inorto” (in Eng¬ this when you are tempted to neglect your praettee or quickly but, at first, very far apart so that the wrist, of any combination suggesting itself, the student should performance, for Rubinstein—whether because of ner¬ lish : “Better a live donkey than a dead doctor.”) postpone lessons for some triviai cause. whether high or low, should remain at least four or five know what he is combining. THE ETUDE MAY 1919 Page 2SC Page 282 MAY 1919 Pre-Practice Paragraphs Hints on the Study of Octaves, Thirds and Sixths ■ - . . ■■■■ By W. F. Gates By Mrs/Noah Brandt The person who advertises a "method” with a pat- ent double-humpcd-interlocking name may catch many Society and Musical Success ing legato t^^’^^^play^Th the Irm^whS The performance of pure legato octaves is undoubt¬ pupils; but tjte teacher with the largest supply of old- edly the greatest stumbling block in the path of a pianist fasHionecf common sense is the one who will give the How Social “Savoir-Faire” Helps the Young Music Worker in the striving for virtuosity. This is surprising, as with best instruction. _ Upward Climb proper placing, correct use of the down-up motions of the wrist, and relaxation of the muscles, octaves may Don’t worry about the world’s necessity for another By CAROL SHERMAN approximate the speed, depth and equality of single symphony. Write another “Spring Song” or “Polish notes. Pure, perfectly even, resonant odaves cannot be and over the keys. Most performers retain only one Dance” or “Humoresque” first. When you are success¬ acquired when muscles are rigid, ha^nds misplaced, and note of the thirds or sixths, thereby destroying the equal¬ ful at those, then is time enough for the symphony. a faulty principle applied. ity and perfects of the passages.. By using the same The ear plays a very important part in octave playing, “Simple Simon went a-fishing rules laid down for scales, relaxing the wrist when The imagination is the great creative mainspring. Not a Matter of Trickery teacher in a western city who suddenly acquired quite as it requires constant listening to each tone, in order to crossing over and under, and retaining both notes until For to catch a whale; discover inequality. All previous training of the fingers Without it there can be no originality. Yet, imagina¬ All the water he had got At first thought the reader might conclude that the a sum of money through the death of a relative. He the last moment, a perfect connection ,s assured. The tion, uncurbed by judgment and discipline, simply and muscles for scales, chords and arpeggios has been a Was in his mother’s pail.” success of the musician we have described was due decided to better his business conditions by investing bis Chopin Berceuse in D Flat Major is an except onally results in a wreck of good intentions. splendid preparation for octaves, although the latter fine work for developing thirds and other intricate ,^s- almost entirely to the wire-pulling of an ambitious inheritance in his professional work. This to him was should be a daily study'jeven for comparative beginners, sages, and some editions have a set of preliminary Of course poor Simple Simon did not get even a woman. In a certain limited way, it was. Remem¬ a purely material matter. Accordingly he fitted out a A child’s musical education consists of 20 per cent minnow. Are you a Simple Simon fishing patiently in as they are a great ajd in developing strength and giving studies to prepare for the difficulties. However, l ber, however, that the musician himself was a most fine studio, bought a piebald automobile, advertised some pool where there will never be any fish if you go elasticity to the first and fifth fingers. In the case of the technical rules have been carefully observed studies teacher, 60 per cent, mother and 20 just plain child. worthy man and really had something to sell which his extensively, and announced rates four times as large on fishing for a thousand years? Are you trying to children unable to'reach an octave, use sixths in place will be unnecessary, and thirds or double notes of any The mother holds the controlling majority. Lucky the former patrons were hot able to appreciate. They, in as his previous rates. The expected business never get the kind of pupils you want where there are no of octaves, in the early exercises. kind will glide smoothly and perfectly, to the complete child where the mother exercises her majority to the many instances, thought more of “rag-time” and “Jazz” came. Why?—the man was socially impossible—not¬ One case, of a very gifted girl who performed in pub¬ such pupils? Are you eating out your soul with ambi¬ satisfaction of the performer. best advantage. _’ than they did of Bach, Beethoven or Debussy. withstanding the fact that he was a clever actor. lic the Rubinstein D Minor Concerto, comes to mind. tions and doing nothing to better yourself materially? What the second wife did was to “sell” the products Everything he did and said shouted “newly rich.” If The task wag^ccomplished only by applying the prin¬ These are questions that young musicians must ask A Modem Course We enjoy l>est that which we understand. The of her husband in the right market, in the right way. ciples for octave playing to which I have so often refer¬ themselves constantly. There are great opportunities he had invested his money in himself by patiently seek¬ When students once understand the importance of exercise of the full mental powers gives the mind its She had a knowledge of human nature and a way of red, as the young girl had little mechanical develop¬ in music teaching. Thousands of happy people are ing the environment of cultured people in some col¬ sound conscientious training and faithful adherence to own joy in activity. Consequently, the better we under¬ meeting people that engendered confidence. ment or capacity. With a very short thumb, and no earning fine incomes in the field. Thousands of others lege where he might have improved his mind and his studv they will find that absolutely nothing is beyond stand music, the better we enjoy it. stretch between the latter and the index finger, she equally well-prepared technically and artistically, are The “savoir faire” is, after all, a most important manners, to say nothing of his viewpoint in life, it is their reach and that even those ordinarily talented just merely “getting along.” Who and what is to blame and valuable asset. It is the thing which lifts the conceivable that he might have evolved his fitness to certainly had enough to contend with, but added to that The army may be strong and eager, the commanding attain surprising results. Modern methods are so infi¬ for this? In nine cases out of ten the teacher is him¬ bushel measure from the proverbial candlestick and attain a new social stratum. the fingers were stiff and the hand not large by any general able: but if the lines of communication between nitely superior to the old-fashioned routine hammering self to blame for lack of foresight and the good sense permits the artist’s light to shine afar. It is the ability means. By means of dogged determination and patient the two are uncertain, no victories can be obtained application of the correct principle, she was enabled in formerly in use, that results are accomplished in half to sail into the right seas where the fishing is worth to discern what the public wants, and then to be able Evidences of Prosperity So with the musical performer. It is not only mind six years (from the time she received her foundation) the time, and without the torture of hours spent in end¬ while, and. then, having reached the right sea, so to to purvey what is wanted at the right time in the right and muscle; there must be a well-drilled nerve system The young musician starting in upon his profes¬ to make her debut, performing an entire program of less books of unnecessary studies, as everything can be navigate his boat that he does not run counter to the to carry the orders to the fingers. Absolute coordina¬ sional career should take a lesson from the cruel extreme difficulty, winning encomiums from press and developed in the solos. The few necessary studies to be obvious rocks, winds and currents that lead to ruin. Stress those words—“the right way.” The writer recommended are Berens, New School of Velocity; tion is essential. behavior of animal society. The sick and dejected public. That convinced me how unimportant compara¬ Social navigation is an art and a science which every knows of one case of an ambitious musician who had Loeschorn, Op. 66 Book 3, First Studies in Octave Play¬ animal gets little consideration from its fellows. It is tively, a fine hand was, and how much could be accom¬ living being must understand to a given extent no an adjoining studio' to his own in a fashionable Fifth ing; Cramer, Books 1 and U (Von Billow Edition) ; Godowsky says that music is at least two-thirds left alone to recover or be destroyed. Only rarely is plished by musical and intellectual gifts, when com¬ matter how short his life voyage may be. Avenue district in New York. The rental of the studio Inventions,. Preludes and Fugues of Bach, Gradus ad scientific. That would mean that every musician is at this otherwise. The human animal is much more con¬ bined with perseverance and correct guidance. The shams of society are so distasteful to the sin¬ was $150.00 a month. # The musician tenanted that Parnassian (Clementi-Taussig) and the Etudes of least two-thirds scientific. Is he? cere, the earnest—not to say the honest—individual siderate, especially where the afflicted individual openly studio and advertised by means of circulars for fifteen Chopin, Op. 10 and 25. Phillipp’s Octaves at e also to be that music workers with their minds focussed upon invites charity. Otherwise we seem to be guided in¬ White Key Octaves months, and at the end of that time had not nearly When performing on white keys only, the hand commended. Maybe that unprogressive pupil of yours is a the big things in life, fail to make a right estimate of stinctively by evidences of prosperity. This is a mean, The above mentioned cover the entire ground from square peg in a round hole. Maybe she never was the value of social finesse in making a success in life. enough pupils to make the venture worth while. He but very human trait. should remain over the margin between the front of the was a capable, gifted man, and anxious to give his best. keyboard and the black keys, always using the straight foundation to finish, as the use of studies depends intended to be a musician. Maybe it is your busi¬ After all, every individual is dependent upon some Society that is progressing has a characteristic fond¬ What was the difficulty? He had moved into the lines for scale and arpeggio passages, but when using entirely upon the pupil. Often I have dispensed with ness to tell her so. In future years she may think social condition, fenced about by some social customs, ness for things that point successward. Lord Roths¬ all but the most important, developing the technic more of you for so doing. and promoted or ruined, as the case may be, by the right district geographically, but had not moved into black and white, never move in and out, but invariably the right society. child’s pitiless epigram, “Have nothing to do with an remain inside. The rules for octaves are as follows: in the solos. No two pupils can be trained exactly society in which he seeks his livelihood. unsuccessful man,” is more a matter of the creed of Play in a straight line; use even pressure; observe regu¬ alike, either technically, tonally or musically. Each one A tack is more pointed than a big nail. The more To attempt to ignore one’s social surroundings is He Did Not Know “ the Right Way ” society than most people realize. Society takes you larity of the up-down motions and complete devitaliza¬ has individual faults; hands are formed differently, and caustic and defamatory the mind, the smaller it is. to invite possible disaster. The degree of indifference at the valuation you establish for yourself, just as our temperaments in particular, are totally dissimilar. While ranges from a few slight breaches, to absolute anarchy tion when pressing down the octave. Don’t worry about the fault-finding and vitriolic What, then, does social betterment depend upon? grandmothers went to the market and picked the best The chromatic scale in octaves should be a daily the principle of technie and tone is alike for all, the remarks of the small-soulcd critics. If you worry m which the individual feels himself supreme, and all First of all it depends upon the individual’s capacity and discarded the worst. faults are different, consequently it is the instructor who society (organized or disorganized) inconsequential . for fitting in with the social situation. Society accepts study. Assign one study weekly of Kullak’s Octaves about what they say, you are simply doing what they On the other hand, we are—thank goodness!—suffi¬ must be ingenious and find what is amiss in order to what it wants and rejects what it does not want. It (Book 2), in order to prepare for staccato. In the chro¬ want you to do. ciently advanced in our social mentality in America to correct it. An Interesting Case usually puts a premium upon matic scale (played in octaves) use the slow, deep cling¬ accept the ambition to succeed, even before we accept The wise woman will "keep up” her music after mar¬ A few years ago in New York, a musician who had Evidences of Ability. the material evidences of prosperity. We know of a riage and not make the house duties an excuse for been struggling along with a very poor patronage of Intelligent understanding of your art. musician who called upon a prominent man recently neglecting it. The mother's music is one of the workaday pupils on the outskirts of the city found Accomplishment (good technic), with the view to getting one of his works published’ inherent rights of the child, to say nothing of the Do Not Condemn Music of Futurists! himself a widower with one child. His wife had Capacity for expression. He was poor, and his clothes were decidedly shabby. tried hard to help him in his work, had saved and husband. Personal Character. The famous man’s stenographer noted this and was had sympathized with him in his bitter struggles. How By Edward Kilenyi, M.A. Many a girl has passed a soured, disappointed life Sincerity of purpose. inclined to sneer at it. “Ah,” said the business man was he to do without such a faithful helpmeet ? Two Integrity, because she did not look herself squarely in the eye years thereafter he married another woman. Unlike ‘but did y°u see how clean his hands were, and how Prompt, regular, business methods. clean his handkerchief and his frayed cuffs were? Did One must always be carefu in condemning the music and trying to show how they “ought’’ to have been writ¬ before she essayed the career of a professional singer his first wife she was not a musician. His friends you note his quiet, gentlemanly manners, the sincerity of new composers. These, on account of their novel ten by the composers. Nothing could better illustrate or pianist. The use of the mental looking glass is a deplored the fact that he had apparently married a Evidences of Prosperity. ideas, are often called revoluuonary, ultra-modern, and the absurdity of this method than the following quo¬ good thing {jt the would-be artist girl whose first thought was social prestige. They Good management. of his eyes, his carefully chosen remarks? That is futuristic. We should think of our great classical tation from Leopold Fuchs’ quaint text-book on Har¬ predicted a married life that would shortly result in Good clothes, the reason, Miss-why I invited him to my home masters who suffered neglect because their contempo¬ mony (published 1840), which reads as follows: “In Good tone depends, more largely than anything else, separation. Good surroundings. to dinner, when I could not think of having some raries could not understand and did not want to give using a variety of passing notes in the upper parts, one on the demand for it.- In other words, the player This is what happened. Wife number two, realizing Sociability. others there under similar circumstances.” credit to new ideas. For instance, in 1601 orchestra should be very careful to avoid such harsh progressions must think good tone before he can produce it. Here that her husband’s income and position were not to Affability, The stenographer mastigated her gum at forty miles violinists refused to play this passage from Monte- as occur in connection with their bass in the following enters attendance on the recitals of artists, where her liking, resolved to better things in many ways, Sensible deportment. an hour, and did some very introspective thinking that verde’s Orfeo, which they said was unplayable: example, taken from a composition of modern times, good tone is the usual thing. If one gets the idea she sought out an uncle who was trustee of a church Desire to be an active participant in the social afternoon. 6 in which the dissonances are not mitigated by even a in a fashionable district. She knew that her husband of good tone well photographed on the mind, one progress of the world and your circle in par- Social Events very rapid tempo: will require it in his own performance. was a fine organist, and that with better material, a tirulnr better organ, and a more intelligent congregation, her No matter how small the community, the value of And the same idea applies largely to technic 1® husband would be encouraged to do better work. She social events should not be underestimated by the mu¬ actually landed the position for him and did it by A similar fate befell Schubert’s C Major Symphony, general. Technic is more a matter of mental con¬ sician. Society is naturally gregarious, and the indi¬ arranging to give a tea in the studio of an artist friend which was laid aside after a few rehearsals as “too cept than it is of physical agility. The quicker the • ' ; .ncieuuy piays a sigmhcan vidual who chooses to avoid or neglect social events, who was “in” with the scheme. The studio was a difficult to play.” The simple beauty of Gluck’s music music student arrives at the realization that music part. Many of us navigate in social waters that ar is apt to find himself in the possession of a very small beautiful one, and the artist had reputation. The whole and not very select, following. was considered by his contemporaries and enemies as study is mind study, the quicker will be hi» mere fuddles, and we are there because our ancestor afternoon was stage-managed as though it were a “of little melody and refinement, with harsh harmonies advancement. did not have the strength and courage to swim out t Studio gatherings, where the refreshments are noth¬ and incoherent modulations which are drowned in noisy It would sound much better with this accompaniment: dramatic production. The wife borrowed a sum of larger streams. We accept our social status in the man ing more than tea and nabiscos, are often better means orchestrations.” Even Beethoven's great Symphonies money from her uncle and with it fitted out her hus¬ ner in which we accept our religious and political be of acquainting a community with the teacher’s pupils, were condemned as “monstrosities,” and were char¬ Nothing New Under the Sun band, her step-child and herself, with new clothes of nets—from our fathers and mothers. Do you wonde th^n pages of advertising in the local papers. Make the type which she estimated her husband’s future acterized by Weber as music “without clearness or Thouchtless persons who insist on talking during* that some people seem hopelessly stuck in the mu< these events as interesting and significant as possible. patrons would approve. Her husband secured the force, spirit or fancy.” The antagonism and even musical performance, marring the pleasure of_tho>« when they are content to take what fate has placei Get your best-appearing and best-mannered pupils to laughter aroused by the music-dramas of Wagner are who would listen to the music, we have always with u> position, and in one year from that time he was estab¬ lished in a beautiful studio in a great music center in thingsVhem’ and ”eVer rCaCh °Ut f°r bCtter and nob,ei help you entertain. Train them how to do it. Splurge well known. Even his melodious Flying Dutchman It is curious to note that this particular pest was *' in flowers; nothing adds to the charm of such an occa¬ made contemporary critics “seasick.” ready extant more than two thousand years ago 1 Wew York, earning more than he had ever dreamt of With many musicians this is unfortunately realizet earning. ^ sion as beautiful flowers. Endeavor to have one or But nothing is so dangerous to the music-student and Dear old Professor Fuchs was so contemptuously the ancient book “Ecclesiasticus” we read, “Speak, thoo far too late m life. There comes a time when the more especially interesting people (not necessafil^ teacher as taking out single passages from contempo¬ superior, that he did not even deign to mention the that art the elder, for it becometh thee, but with soun , The. soeial “know how” the “savoir faire” had done savoir faire can be acquired only as a veneer and ; musical people) present. Write to friends in surroijn.J raneous compositions, criticising and condemning them, name of the composer—who happened to be Chopin! judgment, and hinder not music.” very thin veneer at that. We know of one’ mush ing communities to find out from them who wou/d' THE ETUDE

Page m MAY 191-9 anv social group. It pays to be affable, if only for the instead of the 6«ers shall he Mptoy'f J sake of one’s health. Where there is any kind of busi make a helpful guest.' It is not necessary that such ness relation, optimism, cheerful manners, polite toler¬ ntdeted table « „d a guest should speak or take an active part. ance are imperative. The writer has seen musicians We know of one teacher in an eastern city who has Seme « behave at times in a manner that would cause their gained a very desirable clientele by such methods ex¬ „ £ instant discharge if they were clerks in a department clusively. She has never bought a single line of adver¬ Ee^S^^co^usbtgeh^ store Don’t worry others with your own troubles; tising in a paper—never. She contends that her pupils deportment, may Pass ^ h ^ B above social don’t fail to greet people cheerfully; don’t be sus- are her best advertisement. If your business is a The Teachers’ Round Table purely local business, and you have no desire to be nicious of others; don’t forget that only angels are known beyond your little circle, this is the best form without faults; don’t expect everything from every¬ Conducted by N. J. COREY of advertising. body you meet; don’t be thin-skinned and assume that Playing the Game every remark made about you is intended to insult you; This department is designed to help the teacher upon questions pertaining to “How to Teach,” “IVhat to Teach,” etc., and not technical problems per¬ Affability and deportment mean far more than most exist for the common pleasure and comfort ot . don’t be dismayed if your playing is criticized; per- taining to Musical Theory, History, etc., all of which properly belong to the Musical Question and Answer department. young musicians realize. Society is a game; and one haos you deserve criticism ; don t be disagreeable, unless Full name and address must accompany all inquiries. must know the rules of the game to .play it. I his some one is deliberately doing you an injustice. Greet does not imply hypocrisy or sycophancy. Nor does the little niceties which have ten estabhshed to make newcomers with a smile they won’t forget-thousands it refer solely to the society of civilized peoples. None social matters as frictionless as Posslble- , , of social successes are due to that. Make others wel¬ Nint Lives 9. Absolute pitch is one of the most desirable assets invariably brilliant and showy in character, and me¬ knows better than the explorer how dangerous it is not Just as the snarling, snapping dog is folded so ti come, and make yourself welcome. ^ “1.Is* the hammer stroke style of piano playing in a musical nature. Unfortunately it does not spon¬ lodious. There has been an attempt to revive some of to know the social customs the social ritual of the bar¬ pessimistic, fault-finding person is rarely welcome in taneously show itself in every person who would like barians. If society decrees that certain implements “2. Is the^pressure touch the only accredited one the best of them of late. to possess it. It may be cultivated.to some extent, 6. She may learn to become a sincere and earnest however, and many maintain that it can be taught to teacher of pupils in the elementary grades, but her anyone. This may be true, but I would not be too possibilities are doubtless limited. Teachers’ Association Examinations for Teachers sure of it, knowing, as I do, how difficult it is to teach New York State Music some people even to carry a tune of the simplest na¬ Music and the Farm 1 Candidate will he required to sing one Italian sons, ture. I have known musicians, however, who did PRACTICAL WORK AT THE PIANO and one song in English. (SonRs to 1* of mod¬ learn it by hard work under direction, and who main- ami a half hours of daily lmtiiunl labor (odd Job* The New York State Music Teachers’ Association, Compositions to be played from memory or no •^ erate difficulty, or even easy, and to lie approved founded 1888, possibly "the largest and most significant lame' they had had no vestige of it when they began about a farm) injurious or not? If Injurious, Sonnetto del Petraca No. ..' by the examin'-rs.) why? And if harmless, why? of the state organizations, has just issued the follow¬ The examiner’s judgment will be based upon: “Also do you think that a teacher should con¬ ing list of requirements for its proposed examination Dreams of Love No. ..Chopin A Recital of Spring sider It a duty to himself and his work (o put iu Tone Production, Diction, Phrasing and Interpre¬ Fantaisie Impromptu op. .. "0. Do you think the Little. Preludes and J ss is made up cf little tots from six to some daily practice at the Instrument? It so, for fitness to teach. _ . ■ of Iinell too difficult for a third or fourth what do you think a reasonable amouut of time?” In a letter from Frank Wright, Mus. Bac., President tation. / . * most advanced pupil can play Xairltsiis —A. D. L. Impromptu in C sharp minor...... ,. ..Reinhold pupil? Is Bach only used for exercises? want to give a little recital witli tliein of the Association and Chairman of the Examination 2. Singing at Sight, words and music. (A Hymn Tune “7. Is the Op. 200 of Czerny too diffio Prelude and Fugue in D, No. 4, Book . .Clavichord d would like to have it all on Spring, so Committee, it is stated that this examination has been .Chopin may lie given.) Pi/teen Proi ■ it unique and different. Can you send This depends entirely upon the nature of the jobs. Etude in F minor op. 25, No. 2.; • "8. Please recommend e good duets for the patterned after the examinations of the American 3. Playing of a simple accompaniment. a little pieces that would be appropriate? If they are such as to cause one to hold the hands Pedal Study on "Home Sweet Home’ third and fourth grades. in second grade and four in third."-— Guild of Organists and other examining bodies abroad. "0. What do you think ot absolute pitch ?”- tightly grasped upon some implement they are decidedly (with one finger).Ma*°" PAPER WORK In commenting upon examinations in the past, The detrimental, as this stiffens the muscles, and if per¬ Technical Work: , , 1. Question on the Physiology of Tone Production, in¬ Etude has always pointed out that the importance of First grade—Red Roses Walts. Kern; Maypole Any major and harmonic minor scale called lor, cluding Breathing and Resonance. 1. The hammer stroke is not obsolete, but it is not sisted in will prevent any high degree of technical skill the examination and the worthwhileness and signifi¬ Dance, Bugbee; May tunc Revels. Rugbee; Sing, Robin moderate tempo. .. . , . 2. Questions on the Art of Singing as set foith in stan- used as in former years when it was the only finger ever being attained. Exercise is good and healthy for cance of whatever title or certificate awarded depended Sing, Spaulding; Signs of Spring Rowe; The Oriole’s Common chord, dominant seventh, and diminished dard works on the subject. stroke. Complete control and mastery of the playing Lullaby, Hipscher; The Robin, De Reef. the player, and any work that does not demand a close upon the character, proficiency and earnestness of the seventh arpeggios of any key called for, moderate grasp on the part of the hand will be excellent. Years 3. Dictation (as described in piano examination). mechanism demands that every possible sort of action Second grade—A May Day, Rathbun; May Dance, examiners and the exactions required by,the examina¬ ago, during the bicycle craze, I found that I had dif¬ 4. Analytical Harmony through chords of the Seventh. be learned. There are many passages where the finger Renard; The Cuckoo, Van Gael; To A Daisy, Stein- tion itself. If the examiners merely lend their names ChotTstudy No. 112, book 4, Mason “Touch and ficulty in breaking myself of the unnecessary habit of to the scheme, for a consideration, or if the examina¬ 5. Questions in General Musical Knowledge, including stroke action is necessary. A complete control of the heimer; Walts of the Flower lames, Crosby; June Technic,” played forte, also staccato. grasping the handles, acquired by nervous fear while tion is merely a camouflage for some money-making History of Oratorio, Opera and Song. liammer-like action of the fingers is of great assistance Morning, Foreman; Rose Petals, Lawson Chord study No. 106, book 4, Mason ‘'Touch and learning, and soon, found that unless I stopped it I scheme upon the part of a commercial enterprise, then in securing a good pressure touch. Grade three—77ie Skylark, Tschaikowsky; Cherry Technic,” to be played as written, also in half notes For the Certificate of Associate should soon be unable to play at all, so stiff and rigid the examination and everything connected with it legato, bringing out in turn the melody in the so¬ FOR TEACHERS OF VIOLIN PLAYING 2. The pressure touch reigns more universally than Blossoms, Engelman; June Roses, Spaulding; Spring¬ stands in the same class with those medical degrees did my hands and fingers become. I gradually forced prano, alto, tenor, and bass. Candidates must lie prepared to play from memon it did. The term is practically synonymous with weight time Coming, Ludebuehl; Softly Sings the Brooklet, which once upon a time in America, could be pur¬ myself to discard grasping the handles, until finally I Sight-Reading: or notes the whole or any portion of the following: touch concerning which we hear much in these days. Wenzel; Golden Meadows, Wenzel. chased for anywhere from $5.00 to $100.00. was able to ride all over town, like the small boys, with¬ Some compositions selected by the examiners. 1. Ability to perform satisfactorily any etude in Book? There is monotony in the hammer stroke touch. There We gladly print the foregoing as it may give a sug¬ The writer recollects that the initial steps to estab¬ gestion to other teachers who would like to vary the out touching the handle bars. If your farmer pupil Simple modulations. 1 and 2 of Mazas Op. 36. and c.rtain etudes in is infinite variety in the weight or pressure touch. The lish an examining and crediting system in the New routine of their recitals by devoting one to a single can acquire a similar skill with, the farm implements, Harmonization of a simple melody. Kreutzer, Rode and Fiorillo with ability to ana.yze accredited touch among artists is every imaginable York State Association were taken at least six years subject. Possibly you could yourself play Sinding’s his work will be harmless. the purpose and worth of given etudes. sort of touch for every possible effect that it may be ago. Many enthusiastic and able men have been at PAPER WORK Rustle of Spring, and Godard’s Renouveau. Mendel¬ A teacher should consider it a duty to keep up his 2. The ability to play a movement from a standard desired to produce. When you get around to it, pro¬ work upon the matter ever since. The gentlemen con¬ 1. Fingering and phrasing of a short passage. ssohn’s Spring Song should not be forgotten, which is ability to play by practicing a moderate amount. If it corcerto (such as the DeBeriot 9th), or a concert cure the four volumes of Mason’s Touch and Technic nected with the Association, who have supervised this 2. To a figured bass add soprano, alto and tenor parts. in the third grade. is merely to preserve acquired technic, a half hour may work, have been men of character, interested m schol¬ 3. To a given melody add alto, tenor and bass parts. nun.ter (as the Romanze of Svendsen), style and and study them for ideas. If you cannot afford all, Six Items suffice. More will be required to increase that technic, arship and giving their time without remuneration for 4. Counterpoint in two parts in various species. general detail to be taken into consideration rather buy the first volume. and still.more if one’s repertoire is to be increased! the betterment of the profession. Three examples will be set. than technical accuracy. 3. Both are right. Here you can study your Mason “1. What elementary book do you suggest as a self-help to harmony? The “reasonable amount of time" will doubtless vary If these examinations are conducted through suc¬ 5. Ear Tests: Write down from dictation two brief 3. The ability to read at sight an unfamiliar movement to advantage. It would take us too far afield to dis¬ “2. Do you advise a student of piano, harmony with the individual. ceeding years in the‘same spirit in which they have melodies, of which the keys will be announced and of the grade of Viotti’s, Spohr or DeBeriot’s duets cuss the question now. and dramatic art to study voice culture also? been conceived, the possession of the “Certificate of the Tonic Chords struck. Each passage will be for two violins. 4. Both are again right. The question is sufficiently ' if ? * vocal student understand the Associate” for teachers of pianoforte playing, for in¬ played three times. PAPER WORK answered in the foregoing for present purposes. “4. What does M. G. mean when printed over a stance, will possess credentials in some way more valu¬ 6. Questions in Form and in General Music Knowledge. note In the treble? 1. Fingering and Bowing of a short passage. 5. Very small children have not sufficient strength in able than a degree from an educational institution in 7. Questions in Pedagogy. ■ Please tell me something about Sidney Smith. which he has previously studied. He will have ap¬ 2. Analytical Harmony through chords of the sevent their fingers to play the heavy action of a modern "(1 I have a pupil of twenty-five, in the fourth For the Certificate of Associate 3. Dictation (as described in Piano examination) piano with only their finger strength. They must be grade, who wishes to become a teacher, but is very hies constantly when reading."—A* c."8’ “* “tUI“' peared before an impartial board of examiners and FOR TEACHERS OF SINGING slow at learning. Are her chances small?”—S. M. made good. No one should be able to question his 4. Questions in General Musical Knowledge, including allowed to use the arm pressure motions at first, grad¬ To be eligible for this examination, candidates shall This question comes in so frequently and has beer ability to teach. He is at once removed from the ually teaching them to acquire definite finger motions as have had three years’ experience as a teacher in the the History of the Violin. 1. By all means Orem’s Harmony Book for Bcgin- answered so many times in the “Round Table” that ] •pin money” class and becomes identified as a regularly Ihey gain strength. After a time, as they advance, they art of Voice Production and the art of singing. 5. Question in Pedagogy. must infer that the circulation of The Etude is in¬ accredited member of the profession. will begin scale work, and as much finger motion as CONDITIONS 2. There is a limit to physical endurance. Yet if creasing at a rapid rate, resulting in a new list wh< The success of the examinations will depend largely possible must then be gradually taught them. Very your time is not too strenuously filled a knowledge of have not seen past answers. Stumblers are of twe upon the persistence and enthusiasm and care with Candidates for the Associateship must be Colleagut-j little should be said to small children about touches. voice culture will be of value to you, especially the kinds. Those who stumble in everything, whethei which the system is carried out in future years. There of the Association, and Associateship must be *tw,I'. Honest Standardization before proceeding to the Examination for Fellow IP- It means nothing to them. They should be shown ability to sing if you make use of dramatic art. "Fur¬ learned and memorized or not. This is a menta have been a great many fine altruistic workers in the how to play and how to move their hands and fingers, thermore, as an all round well educated musician, you New York State Music Teachers’ Association and with Candidates for either of the certificates must secu trouble akin to stammering. The second kind stumble 70 per cent, of the total marks in each section ot in and then shown howthey can do it better; then how would abr, find it valuable if it should come in your from inability to grasp the musical idea or quicklv the same spirit much good will be accomplished. The HE Etude wants Abundant Data upon they can hold their hands and move their fingers bet¬ way to direct a choral society. examinations will be adjusted to new conditions every T examination, i. c.. Practical Tests and Paper. decipher the notes when reading the page. To over¬ what is being done in all parts of but the Examination Committee reserves the . ter, etc. Keep your recondite explanations for those 3. It 'vould be a good thing if all singers were com¬ come this spend as much time as possible playina duets year and the whole scheme is thus relieved of any who can understand them. suggestion of proprietory' influence. the country in the matter of such Stand¬ decision in the case of any candidate who fails to obta pelled to study piano. The colossal musical ignorance with the pupil, selecting those simple enough so that The following is the list of requirements for the ardizing Examinations as are outlined on one half of the awardable marks for each item. 6. The Little Preludes and Fugues of Bach may be of singers is the wonder of the profession. Many the pupil may be forced to play them up to time In examinations associateship in June of this year as sent this page. Please write us what is being The fees for examination (payable in advance to used in the fourth grade, but not too early. They vocal teachers are not able to play even a simple ac¬ order to keep up with you she cannot stop for errors to The Etude by the Association. The requirements Chairman of the Examination Committee) are as should not be used as exercises. No pupil will ever companiment for their students. In the majority of her interest will at once become enlivened and keen' done in your district, and your opinions cases their knowledge of music as an art is far less for Fellowship have not been forwarded as yet. lows: be taught to like Bach who thinks he is practicing an your jolly companionship while playing will keep her upon the prospective success of the scheme. than that -of a cultivated amateur. Their opinions THE NEW YORK STATE MUSIC TEACHERS’ Associateship . exercise. good humored, and cause her to enjoy the work and We are firm in the conviction that any ex¬ are of no value, and yet the public will listen to them ASSOCIATION Fellowship .>5.00 7. Czerny’s Op. 299 may follow the Duvernoy. Mean¬ gradually she will acquire facility in recognizing the m preference to the most educated musician, simply Founded 1888 amination based exclusively upon the pro¬ Certificate, either class. s0° while you will find LieblLng’s selected studies of Czerny notes and their places on the keyboard, and an ability prietary publications of any one publishing because it has enjoyed hearing the singer in a song Frank Wright, Mus. Bac., Chairman of Examination Candidates failing in either section of the ex.aI™.n"‘, in three books far superior to them as usually bought. which was taught him or her by rote. There are many to grasp the musical phrase. Then urge her to keep Committee, 46 Grace Court, Brooklyn, N. Y. house is wholly Un-American, and will not tion may, upon payment of half fee. be re-examm Liebling has brought together the best out of an enor¬ splendid exceptions to this. up this work by herself in simple pieces, at least a Requirements for the N. Y. S. M. T. A. Examinations that section, provided that such candidates re-enter mous number that Czerny wrote. grade simpler than she can learn by study, and even be tolerated by thinking musicians. With 4. An abbreviation for the French words Main for 1919 to be held in the month of June our National Courts dissolving monopolies, the next ensuing examination. . '3t 8. There is a very rich field here Ask the publisher Gauche, Which means left hand. simpler, playing constantly at tempo and stopping for All correspondence should be sent to the Chair no mistakes. For a time she will need help in this For the Certificate of Associate what must we think of mercenary attempts to send you a list such as you desire “on selection.’’ . 5. An English composer, whose compositions (en¬ FOR TEACHERS OF PIANOFORTE PLAYING of the Examination Committee. . . You can then pick out what you wish for pleasure pur¬ also, which you can give by setting aside five or ten to create them in Art? Frank Wright, Mus. Rac., Chairman of Examina'1 tirely popular in character) enjoyed an enormous minutes of the lesson hour, nr even adding a little until Candidates must he prepared to play from memory poses. vogue from twenty-five to fifty years ago. They were or notes the whole or any portion of the following: | Committee, 46 Grace Conrt. Brooklyn, N. Y. she shows that she understands the game. THE ETUDE Page 287 THE ETUDE MAY 1919 Page 286 MAY 1919 On Recent Improvements in Piano 1 caching FIRESIDE TALE LEON RINGUET, Op. 107 By ERNEST R. KROEGER A useful teaching or recital piece, in characteristic style. Grade 3. twenty, fifty, one hundred times. That is the sort of nractice which makes the artist. But it is not advan¬ The observant teacher of experience, who con¬ tageous to sight-reading. There is nothing better for templates the progress of the teaching of piano play¬ S'SSSSflS making a good sight-reader than duet practice, and ing, cannot fail to he struck by the trend towards sys¬ ^ should be done regularly, aside from the day’s tematization. The standards established by educa¬ work With duets, one must be particular about the tional institutions whereby “credits” can be obtained, SjcwSSSttjs; time being exact, in order that he shall play accurately are largely responsible for this development. on the pa,? of teachers of long experience when they with his comrade. Then it ;s advisable to study first Many a teacher, long accustomed to a purely indi¬ are asked to define some simple intervals T X the treble part and then the bass, so that the clefs vidualistic method of instruction, has found it nepes- when anything is right or wro»S; bn. toy ^ shall be thoroughly mastered. Accompanying songs . sary to conform to the prevailing “standardization in indicate just what it is. Mealing * or violin pieces is good practice for sight-reading, but order to keep up with the times. This has compelled appeal is to the ear, they are almost tone-deaf. It nothing is so good as playing duets him to experiment in fields previously unfamiliar, and the fault of their early education. Theoretical work such as a knowledge of definitions, he has seen that he has effected improvements by do¬ Teachers a generation ago did not drill the r p P some acquaintance with the laws of acoustics ele¬ ing so. The writer has bad occasion to observe this h, ear-training In fact, such a e mentary harmony, a comprehension of general fea¬ movement, for during the past three years he has con¬ To-dav it is a matter of primal importance, lner tures 0f form, are taught along with the study of piano ducted piano classes during the summer sessions ot many pianists whose playing lacks rhythmic accurac^ playing. Some good editions contain annotations of a great Eastern university. Students (most of them They have had no well-defined work in rhythm the the greatest value, and even include brief biographical teachers) came from far and near to attend these result is an uncertainty of performance most distress¬ accounts of the composers. AH of these features lead classes, in order to become acquainted with the very ing to the lover of exact rhythm. So nowadays the towards musicianship, and this is the tcndenc) of the latest ideas in modern piano teaching. With most of piano teacher takes pains to teach rhythmic exer‘‘se ^ musical education. The modern student knows them the logical development of a plan, was an impel¬ and to develop the various kinds of meter *at ther something more than merely playing a certain number ling desire. They wished to see the kernel eventually will be no more lack of surety in piano pKvmg than of notes at a given metronomic tempo. He obtains become the flower and fruit by a natural process. there is on the part, of a reader in interpreting Byron a perspective of his chosen art. and is able to discrim¬ They were keen to detect any omissions m the way of or Longfellow. Clapping hand exercises or marching inate He is even better able to arrive at a correct explanation, and they followed with the most minute to metronomic ticks is helpful in developmg accuracy viewpoint of his own work, and can criticize and anal- attention the exposition of the subject in hand. They of time. Formerly only those pupils who studied har¬ yze his practicing. He really aid* the teacher by his were eager for practical illustrations on the piano mony could place notes on paper It never °c^rr^' method of work .luring the week *0 that when e of the text material. These were often even more con¬ to piano teachers that notation of music could be ong receives his lesson lie is commended, not only or the vincing than the explanation or the .elucidation. to piano lessons. Now, dictation is a commonplace. accuracy of his playing, but also for the intellects The fact is that the old haphazard style of teaching Only a few piano students are able to write music mastery lie has displayed. Such being the trend of piano playing, selecting studies or pieces at random, ir¬ correctly. Good teachers to-day encourage sight read¬ the modern way of practice, it is not too much to hope respective of the needs of the pupil, and giving no ing. It cannot be a part of the lesson to be mastered information whatsoever, is obsolete. Proper instruc¬ that the great majority of piano performers in the upon the keyboard, beer se proper practice demands future will have a quality about their work which tion involves a thorough acquaintance on the part of concentration for a long time on a small quantity. they have never attained in the past. the teacher of the pupil's especial needs, and a careful The hands are taken separately and go over passages planning of his work along these lines. This involves

Playing from Memory

By FRANCESCO BERGER Professor of Pianoforte Playing at the Royal Academy of Music, London, England ing more convincing than "it looks well”. Granted. heart” except in his own pieces. But I have sat by No terms that I could employ would be too strong “Does it sound any better?” No. “Is music £ question most of the greatest pianists of the past (in many cases to express my complete and absolute disapproval of the of looks or -sound?” Surely of sound. Did Charles turned the pages for them), and I know that Mosclieles, ^ Dickens read his books in public, or tell them without modern craze for playing from memory. To see, as Mendelssohn, Sterndale Bennett, Rubinstein, Halle. we do an announcement in the syllabus for examination book? Do most preachers preach from written out Clara Schumann, Thalberg, Jaell, Pugno, Sophie Men- sermons, or not? A few, a very choice few, who are at our public music-schools, that “credit will be given ter, Carreno and Essipoff did not play from memory, horn orators, do not require a written out text, the for the performance from memory of at least one of excepting their own music, or in a concerto. Billow majority do. Extempore speaking is but.very rareij the test pieces” fills me with impotent rage, so incon- may have done so, but his was an exceptional memory, equal in logic, in eloquence, or in convincing lottt to sistent do I consider such an exhibition with true artis¬ and he was an eccentric man. that which has been carefully prepared, weighed an tic endeavor. And it is strange that while such an exhibi¬ Exceptions and eccentricity do not establish prece¬ tion of empty virtuosity is exacted from those who play selected. I have heard such commonplace staff, sue dent, in music, any more than in poetry or any other trite conventionalities uttered in what was credited wi a solo, no such demand is made upon those who take subject. There have been persons who could mentally part in concorded music. Why this why-ness? being extempore delivery, as made me wish the speaker add up figures extending to four ciphers as quickly had taken the trouble to prepare and read his speech. Let me not be misunderstood. If the pianist has as they could be called out. But that does not mean Had he done so he would probably have realized ho» played his solo so often that he feels he no longer re¬ that others should train to do likewise. The specially little there was of originality or of any other value in quires to consult the music-pages which face him, feels gifted ones may make use of their special gifts with¬ that he can dispense with them, there is no objection out detriment to themselves; the effort which others his remarks. t . . to bis doing so. What is objected to is: that he should would have to make to obtain similar results is inde- ^ be required to wake efforts to achieve so poor an end. fensible. And there is this additional reason why mgher musicianship. If he labors at it long That he should be invited to devote precious hours-, playing from memory is undesirable, viz: it frequently any fool can commit a piece to memory. It is the “memorizing”,—hours, which he could far more profit¬ leads to inaccuracy of text, as well as to scrambling. musician who disdains such drudgery. He. ably employ in “reading” new music, or in perfecting Something very like the composer’s music rn,>y be pre¬ very wisely refuses—to tread the same limited bit sented, but in nine cases out of ten the deta 1 will not ground over and over again, until, like the blind bo °'“Reading” is an accomplishment which bears fruit. be quite truthful. at the kiln, he cannot go wrong from sheer habit The more one “reads” the easier it becomes. And Raoul Pugno was a distinguished pianist, whose per¬ artist’s soul revolts from such a cramping oc

Copyright 1919 by Theo.Presser Co. British Copyright secured Copyright 1919 by Theo.Presser Co. MAY 1919 Page 291 THE ETUDE THE ETUDE Page 290 MAY 1919

MARCH OF THE VOLUNTEERS A. SCHMOLL,Op.l69 . have proven so delightful and profitable to so many students,!* The distinguished French teacher and composer Mr. Anton Schmoll, w ose J^tten especially for the ETUDE. Grade III. ^v here represented by his most recent, a fine and stirring processions- mar , 1 | Maestoso M,M.J=i08 a a I h ■ • • * * ‘

-4. dufi 4 1 " 1 r i; P 1 > ' "" r L-ffy ^_s 5 4 --- 1, W 1 , Js_ . I | J ^ --■■{-J-i- j- r' fv t N-rr P r

BUTTERFLY’S LULLABY JOSEPH ELLIS A graceful reverie movement, easy to play. Grade II. Andante m.m.J=108

Copyright 1919 by TJieo.Presser Co. hritish Copyright secured

Copyright 1919 by Theo.Presser Co. tecuf International Copyright *1 THE ETC Dir Pag« 293 THE ETUDE MAY 1919 BY THE WOODLAND SPRING W. FINK , PRIMO frm m=.

jJ 8 ' 8 sr iATv-^: 5 * t1 2 TMETUDz MAY 1919 Page 295 the ETUDE Page 294 MAY 1919 HUNGARIAN DANCE HUNGARIAN DANCE TVTrw *y THE ETUDE MAY 1919 Page 297 Page 296 MAY 1919

bright summer hay DAVID DICK SLATER | A good study piece, exemplifying the dotted rhythm. Grade 2. Moderately fast M.M.J=126 i

% FromTmrTgo to th^beginning and play to Fine, then play Trio. British Copyright secured Copyright 1917 by ThjfefPresser Co. {sOTIVElNTK

Arr. by E. A. Mueller x FRANZ DRDLA ] A_new and very playable arrangement of this famous number. Grade 8-jg Tranquillo M.M.J = 9J3

Copyright 1919 by Theo.Presser Co the ETUDE }>(bge 298 MAY 1919 OLGA POLISH MAZURKA GEORGE W. ARMSTRONG fc* composer. Grade characteristic number by a promising young Amer' A well-written Con forio-MLM.eUias

FAIRIES’ LULLABY

Copyright 1919 by Theo. Presser Co Copyright 1913 by Theo.Presser Co. British Copyright secured British Copyright * Pag, 300 MAY 1919 THE ETUDE MAY 1919 Page 301 THE BEE L’ABEILLE VALSE . . „ . . A fine ex^amjph^of a modern “running waltz’,’affording excellent practice in light and rapid finger work. Grade 4 Animato '

r<~^_r<. i-VaiSevIvoM M J.=72 -’ .

A melodious salon piece, a real song without words. Grade 4 IRENE MARSCHAND RITTER Andante moderato m.m.J=72

Copyright 1910 by Ed.Hamelle Fils

Copyright transferred 1918 to Theo Presser Go. MAY 1919 THE ETUDg the etude MAY 1919 Page 303

Piu mosso the etude MAY 1919 Page 3O’)

Copyright 1919 by.Theo.Presser Co. TH£ ETUDE Page 306 MAJiM the ETUDE ANGBLIj MAY 1919 Page 307

A real singer’ssingers song, excellent forror methe study of sustained toneproduction. Moderate) espressivo flame, And as some wood - land spir-it grieves, The wail-ing winds in sorrow came. The lone-some paths were

tears fell with the leaves For love and hope seemed far be-hind And lone - ly youth for lov-ing grieves? One

. voice up^on tie lone-some way. One step the dy ing leaves a-mong, Ah! sud-den - ly tfie month was

—m. -m ■ -m* ... . Copyright 1919 by Theo.Presser Co. r r J 3 p } 1 7 J*Tj jv^ t» NelleR.Eberhart IN THE MOON OF FALLING LEAVES JTlj 7 ,„rTT2 A refined and artistic lyric by a favorite American writer. CHARLES WAKEFIELD CADMA>' Andante cantabile motto legato I? 1 i -V—--

year was C "'L >TI" A "> If r “ f i . vivo | ’Zmf Joyously^ /»-p

Copyright 1906 by Theo.Presser Co. Bri»h CopjrrifhijeC4ie

MANUAL

Unpoco animato

»/S *

Copyright 1919 by Theo.Presser Co. MAY 1919 Page 311 Page 310 MAY 1919 TH*xnn THE etude DREAMING OF LOVE AND YOU Etude Club Day ARTHUR R TaTf * By Viola Albright success. If desired,the lower notes of the “double-stops’’may be omitted 1 A charming violin solo, arranged^from Mr. Tate’s great song In small towns The Etude is a veri¬ thusiasm. I give a prize to the one hav¬ a_s table musical missionary. I am writing ing most correct answers. A bust of a my method of conducting our club be¬ musician is appropriate, but no reward VIOLIN cause it is a success, and there may be has been more pleasing in our club than some whose plans are unformed. In the motto on a brooch. Southern California teachers have to Part two is the recital in which we offfcr very interesting work if they wish have playing from memory. The pro¬ to keep their pupils indoors, when' ocean, grams are our souvenirs. We have mountains, and climate are inducing them found it advisable to have two parts to to play in the open. Private teachers the program and sandwich the refresh¬ often lack the conveniences for giving ments between them. This gives the PIANO hospitality to large audiences but this visitors an opportunity ' to become ac¬ monthly club day has solved my social quainted and relieves the danger of problems and given a stimulus to musical monotony. After the second half I interest in our little circle. My pupils thank our guests and announce the date are not exceptional in disliking to per¬ of the next meeting. form in recital and they would not con¬ Thus one can form a clientele of persons sider an afternoon of questions a recre¬ caring for good music. We are all con¬ ation. Yet early each month I am be¬ cerned with those whose chances for sieged with “Have The Etudes come?” hearing artists is limited, because of I REMARK, “Don’t you see they have a grand piano? As soon as I receive the first copy of financial or geographical conditions. I Only the best homes have a grand; only the artistic The Etude I make up a list of questions advocate a teacher taking instruction esthetic, cultured folks own a grand.” upon the contents of each issue, including from a still better musician if it be pos¬ “But you own an upright,” is the response. questions upon the music. These re¬ sible. Pupils are quick to appreciate semble the questions which used to ap¬ virtuosity in their teacher and no better “That’s because I think I haven’t the room for a grand, pear in The Etude under the "Etude Day favor can she give them than for her to and that 1 can’t afford it,” I timidly answer. Page" some years ago. give half of the program. This puts her to the test, but why not? “Well, here’s your opportunity,” my friend suggests. “A Preliminaries grand which takes no more room than an upright and The magazines are distributed to the Officers and Expenses costs very little more.” pupils as soon as possible, and as the “Who are your club officers?” I am date of our ‘meeting is late in each often asked. I am proud to say my club month, they have ample time for prepar¬ is too democratic to give one’s voice ing the answers. Each one is encouraged more power than another’s, but I lessen ICH’ffBACH to bring visitors with her. I send invita¬ the probability of anarchy by being its tions on post cards of composers or absolute ruler, thus excluding jealousy. Our members pay the cost of their copy (Srandette suitable quotations about music. One 59 inches long ONLY, always has her own friends—old or and five cents toward expenses. This does more expensive than a good upright prospective pupils to whom these are not defray all the cost, but the remaining share is not much for the value received. welcome. I make it a rule to continue a It’s only 59 inches long—measure your upright tonight. Change friendly interest in those who have dis¬ your upright and make your place as obviously a really musical continued their studies with me. Yet for Results home as the one in the picture above. The name of the makers guar¬ no consideration would I personally make (1) The best personal advantage is the antees you the satisfaction and musical excellence of the instrument any advance toward another teacher’s advertising. If our guests are pleased scholars. I do invite their teachers and their praise is invaluable. Word-of- KRANICH & BACH feel their acceptance is a proof that com¬ mouth advertising is the best to my mind. Established 1864 Monthly the local papers give an account petition is no cause for enmity or indiff¬ 237 East 23rd Street 16 West 125th Street erence. It is difficult steadily to interest and publish our programs. (2) .My girls between the ages of twelve and pupils acquire a broader knowledge of sixteen, but these are very popular ages musicians and their requirements. I am ■11111. for parents to have their children “take convinced that in no other way would music.” they so thoroughly study the important Conducting the Meeting articles in The Etude even if they sub¬ On Etude Day we have the meeting scribed for it. (3) They hear others’ Sweetheart, I’m Dreaming of You divided into three sections. First, I work, and emulation is aroused. (4) Y CHAS. \ t. H. BANCROFT MUSIC BY RALPH KINDER f read the questions and receive their The social and business advantage of answers. We often digress into discus¬ meeting the parents and having them in¬ Price, 60 cents sions of other musical events, and this spect the very field of my labors when Dedicated by Permission to Mme. Alma Cluck it is not a distraction to have them, can is another step toward knowledge. After PUBLISHED IN TWO KEYS: HIGH VOICE, E — LOW VOICE, D FLAT finishing each group, I ask, “How many best be appreciated by the teachers who mistakes?” In this way grading can be have had their work upset by interrup¬ done at once. Contrary to expectation, tions made with the best of intentions. but much to my satisfaction, the visitors (5) An opportunity is given to make like the questions. Parents who would corrections or suggestions that will be a disapprove of a pleasure club endorse help to all, and save the time of repeating this with their attendance and their en¬ them at each individual’s lesson.

A Painting Lesson

By Dora Trafton Nye

“Now let’s have a painting lesson,” I delicate shading Nature gives us, and it say to my piano-pupils. Of course they is splendid to have a rose at hand. After \ THEODORE PRESSER CO. - - PHILADELPHIA, PA. immediately ask, “where are the paints this appeal to the imagination, they seem and the brushes?” “Your ten fingers”, to feel that simply to play loud or soft say I, “each has a part in making our is not playing, but that we must have musical picture.” Then we take an easy shade on shade. One can take up dif¬ piece, such as Rose Petals by Paul, or a ferent kinds of touch to produce different MUSICEn^^^tointers more difficult one, like Forget-me-not by shades, in the succeeding lessons. P. Johanning. In the former case I have It may also be made a point that one cannot use their “brushes” effectively, Music Printers Gladly Furnished the pupil tell me what colored rose this West Of M»wYn^L\ Wgpurq-rrim ._ll y hnlnylki^iHU..^ piece best represents. If she says a red unless the technical work be done thor¬ rose, we play the composition a little oughly. This always interests the pupils, more brilliantly than if it is a pink rose. and leads them before long to play with Copyright 1917 by Theo.Presser Co BAYNEB, DALHEIM fe CST "2054-2060 W.LakeSt..Chicaqo.lll. Then we speak of the wonderful and much better expression. Please mention THE E 5 when addressin£ 01 advertieers. Inter national Copyright**^ Tim nmi Sage SIS MAY ISIS TEE etude MAY 1910 Page MS high or too low then the piano (fhe vio- every student individually. The iin were better; can be resorted to. teacher not only understands how i correct an aberration from the true pitch tb.use, but also in his turn can draw in¬ strike, in the first instance, the tone an spiration from each student in such a octave lower, in the second an octave manner that it is often the latter who higher. Otherwise the teacher and his points out the way to the teacher show¬ Department for Voice and Vocal Teachers voices is the best medium, and he should ing how best to fill his individual needs. «...--give the example • by singing- - each tone — .10. The gradual addition of newly- Edited by Well-Known Voice Experts exercisehimself. If he cannot do this he gained tones to the already existing range has no right to teach. 3. At this early enables the student now to extend his ex¬ stage the student must learn to sing on syl- ercises and also practice the conventional IVERS & POND “Thank You. for Your Most Sweet Voices ."—SHAKESPEARE tables, choosing at first easy labials and scales, arpeggios, etc., all of which can linguals like b, m, v. . - • 4. Having be found in any good exercise book. A mastered exercises on three tones, a useful variety can be introduced into fourth one may be added, and so on; one’s study by singing exercises legato, PIANOS, A “Vade Mecum” for the Youthful Singer and Singing I eacher each newly gained tone opening the field and staccato right afterward, or vice to more numerous and varied tone com- versa. The field of the messa di voce, By S. Camillo Engel binations. 5. No matter how heavy the too, may be broadened, nay, has to be, voice may be, it must be trained to trill by increasing on one tone and carrying What is a phonautograph? It is an ex¬ complished also in this direction by in¬ proved through proper attention given to chine, or even one whose parts—one or after two or three months of study. 6. the increase (without portamento) to an- pensive instrument difficult to prdcure. by sistent exercise. At all events, while one them. Vice versa indifference to the more—are wanting in excellence. is unfit Do not overlook also to add new con- other tone. on which the decrease takes means of which a sound can be triade to is singing the first tone of a given inter¬ resonating cavities and their function to accomplish the mind’s mandate, which sonants to the old ones, f, i, „n," ,,g" place. The second tone should include produce a visible trace or record of it¬ val, the. second is already reflected in will, even under the most favorable phys¬ aims to be faultless. Music exists all (gold) »d," winning new syllables and in- all the intervals counted, from a third up self. Experiments with it have proven the mind, and imperceptibly, full grown, ical conditions, impair the quality of the around us. It is a divine idea and ever cidentally new laurels. 7. After a few to an octave, not only from a lower tone that there are, in the human voice, only takes the place of the one vacated. natural voice. By a “natural” voice I present. Its mental conception or vis¬ months’ satisfactory progress, the study upward, but also from a higher one five or six tones—naturally and intrinsi¬ Each tone, whether vocal or otherwise, mean an untrained one. Pitch, the rela¬ ion is available to everyone who seri¬ of chromatic progressions within a minor downward. As a rule, the messa di voce cally—strong enough to imprint a vibra¬ has three characteristics; i. c., intensity, tive height of a given tone, is greatly in¬ ously desires it. But one cannot possi- and major third should be begun and need not be executed above the high G tory impression upon it. Hence the con¬ pitch and quality. The larger the masses fluenced by the shape of the oral cavity, Hy give expression to it and simulun- very gradually extended to larger by sopranos, mezzo-sopranos and tenors; scientious teacher will start the training of air set into motion by a tone, the •(one of the resonating chambers of the tously attend to the machinery, or its vals. 8. The grade of piano in which not above the fourth line D by altos; and of the voice on these tones. The ones louder the resulting sound. The quantity head) which must unconsciously adjust parts that produce it. Therefore, it is all these exercises are practiced should not above the fifth line A by the lowe: outside this restricted range can only of air necessary to increase the intensity itself to a position in harmony with the illogical and unreasonable to try to de¬ now yield to that of the mezzoforte; and baritone and bass voices. That the tempo be producedjjwith an effort, no matter of the tone is found, not in the outside pitch of each sound, whether high, me¬ velop the instrument, i. <■.. the agency that the evenly sustained tone to the messa di —in which the little runs, scales and ar¬ hew unnoticeable at first which, in the space, but in the ones within the chest, dium or low. This is another reason why effects the result, by singing, which is in voce. In some cases it will lie found peggios are practiced—should be very end, is bound to react injuriously on the neck, larynx and the cavities of mouth, the lips, the jaw, the tongue and the ilcelf tilt result. This is, indeed, pm- easier to begin this last mentioned ex¬ gradually increased, goes almost without vccal organism. A phonautograph not nose and head. pharynx must be developed by means of ting the cart before the horse. ercise with its second half: T==—• saying. In everything the student does, being available to the average person, one The cooperation of the first named suitable exercises. Mancini, a celebrated As before mentioned, the first exercises adding the first half —(>n one he must learn to hear with the mind first, is quite safe to assume that the founda¬ three organs, chest, neck, larynx, is eas¬ teacher of the early eighteenth century have to be practiced on the toms of the breath) later on, and finally arriving at then with the ear. The latter is merely tion tones are found, as a rule, in the ily secured if they are not allowed to says, “The more perfectly the pharynx, foundation series. This, "however, does the entire increase and decrease of the the supervisor and inspector, whose duty medium part of the voice. But this stiffen up. The cavities of the mouth, the tongue, the lips are developed, inde¬ not mean that they should, at once, ex¬ tones. 9. The staccato also must be be¬ it is to analize the mental product and should, by no means, be taken for nose and head, however, must be made a pendently of each other, the more perfect tend over all of the five or six tones gun at about this time by all students, eventually have it corrected. granted. Experience proves that there special study of, in order to insure one’s will the voice be.’ constituting them. On the contrary, even by bass singers. Again, of course^ are exceptions. Each individual stu- self of their valua’ble help, and to bring at first, only on a few tones. 10. Re¬ Proper Care of the Voice Vowel Study only two and three contiguous ones | dent’s own voice only furnishes the solu- to bear upon the voice the air enclosed should !>e begnn with. Following, is the peated tones also are to make their en¬ It is important that proper care should The different mouth positions for the ' tion of this very important problem and in them. Special exercises for the chest outline of a general plan safe to adopt. trance now. A repeated tone is not a be taken of the voice. This includes different vowels should be studied with it requires a cautious and attentive voice ar.d neck are required to rid them of 1. Softly sustained tones on say from staccato one. It is written in this way the “when” and the “how much” to prac¬ the aid of a looking glass occasionally trial to arrive at definite conclusions. stiffness, and also for the jaw, tongue, tice. Outside the breathing—jaw—tongue pharynx to endow them with the indis¬ and a mental picture be taken of each of —lip and pharyngeal exercises, which de¬ The Beginner’s Voice pensable elasticity so necessary for their them. Before they are sung, and that mand daily repeated attention, one should, The beginner’s voice should be tried instantaneous adjustment. An adjustment softly at first, they must be whispered. in the beginning, not sing beyond one- first on single tones, then on little runs, which differs with each vowel sound. As in singing, the whispered vowel sound c Though the first tone is separated from half hour per diem, and, if possible, al¬ TTatuP but always at first on the vowel which he The variations in the tension of the must not be initiated with a click in the ■ i nr** note* l«>lns meant for soprano or the second, the breath is not stopped as prefers. Afterwards the teacher chooses vocal bands which, in their turn, neces¬ throat. It must be emitted with just course ,oirrr Vo,rr* tr*n»po*e lower, of ways at the same time. Start an hour or the vowel by trying first one, then an¬ in the staccato. The repeated tone must an hour and a half after a light break¬ A PIANO OF UNUSUAL MERIT sarily cause corresponding changes in the enough air to make it appear concen¬ 2. Combinations between the tones: other and finally selecting .the one on shape of the glottis, the opening between trated and not breathily diffused. Not be ever so little emphasized. An aspir¬ fast, practice ten minutes, rest twenty, ate between the two tones is to be ta¬ which—in his opinion—the voice sounds the vocal bands, produce the pitch of the only does the student, who learns ar¬ then add another five minutes. Same to Short of a grand, the trained musician is never "best and issues with the greatest free- different tones in the compass of the tistic voice-emission by means of the booed. The psychological aspect of the be repeated in the afternoon. Two hours ' dom. Just as little as one can guess the whispered vowel sound arrive much study of singing goes hand in hand with should elapse after a heavier meal be¬ wholly satisfied. Among small high-class grands ’ the physiological, that is, technical side nature of an object which is hidden Exact Execution sooner at his goal, he will also save much fore one may sing. Naturally, as the or¬ combining maximum musical qualities with reason¬ as for instance: of it. The ambitious student must never under a covering, just so difficult is it to When two or more tones follow each wear and tear to his voice and, indi¬ gans become more and more seasoned, able price and space requirement, the Princess' determine the foundation tones, unless other, whether in the form of a trill, a rectly, greatly aid his breath control. As belittle his efforts, even if they are not the time given to singing (with the proper always quite satisfactory to himself, be- * “ makes a strong appeal. In design, construction the voice issue with, at least, approxi¬ gruppetto, a scale or a run, these then said before, only after having attained rests) must be gradually increased to cause this too critical attitude breeds mate freedom. As there are a great progressive variations in the tenseness of some skill in the use of the whispered finally two hours distributed over the and tonal charm it has that touch of distinction doubt and dejection. Both are a formid¬ number of combinations possible between the vocal bands and form of glottis must voice should one commence to sing. But day. Never more. On lesson-days the which always marks an Ivers & Pond. It is not five or six tones, by means of which the be exceedingly exact, heat and rapid. I for quite a time not above piano, this to able obstacle to progress. Inspiration ideal “legato and Messa di voce”—the have heard students and those that taught and stren'gth~for~ continued endeavor will length of the *^ £"***£ an experiment born of the present-day popularity be followed by a mf. degree of strength - • Kv nersnective which therefrom. Suspend the practice ot sing two subject matters first to be mastered them, sing from one tone to another, and finally by forte. There is all the by he true perspective: w that of the other exercises) of grands, but a resume’ of our broad experience of —can be acquired, this limited range must even on the next degree, dragging the reason in the world why the study of the looking backward and com- » _ i a cold overtakes you,vou, cor fa- years. Refinement after refinement has been paring one’s present accomplishments suffice in the beginning. Only gradually, voice through a number of indefinite consonants should go hand in hand with tigue makes itself felt. Don’t practice by half tones—to each two above, one with the different phases of inability at added to the Princess until it has developed into pitches between them. This was cater¬ that of the vowels, and none whatsoever when you are hungry*. Don't moisten the below—should this nucleus, so to speak, the beginning. On the other hand, it is wauling, bleating—but not singing. The to leave it for the future or. as is so throat’ if it feels dry (when singing) one of the world’s standards of grand piano value. of the voice be extended. Often the new good, occasionally, to mistrust one’s self quality of the tone depends on the per¬ often the case, entirely to ignore it. If with a drink of water, hut swallow a few tone is weak in comparison with the snd constantly raise one’s ideals of at- When you take up the matter of a new piano, you will fection of the “composite” sound-waves either the tongue, or the lips, or the times. Never allow icy or hot things t~ others. If so, it must be strengthened set into motion by the vibrations of the teeth and the lower lip, or the tongue Many a student again want a grand. Why not start now by letting us mail you a through the agency of one of the founda¬ vocal bands Sound-waves are composite and the upper teeth obstruct the outgoing too timid for his own catalogue showing the Princess and all our grands, uprights tion series. First choose a tone above or if the ground tone evokes and embraces breath, imprisoned air impacts vainst has not enough confidence ii and players. below the one to be strengthened, as the the overtones, commingling with them. the obstruction more or less violently. Such a one must be cqaxed i a number of consonants, also the pro¬ case may be. Have it sung and followed Without overtones the quality of the Ihis causes a sort of explosive noise, the mast be made to see that it requires fre¬ nunciation of the five elementary vowels Wherever in the United States we have no dealer, we by the new one without, however, slur¬ voice is thin and reedy. But when there study of which must precede that of the quent and patient repetitions under the is well-nigh perfect. 11. Hence it is fit ship from factory on approval. Liberal allowance for old ring up or down to it. Not only must is perfect union between ground and consonants themselves. most favorable conditions, even as in all that he now not only increases his dyna¬ pianos in exchange. Attractive easy payment plans. the second tone quickly and neatly take overtones, the voice sounds full and vi¬ Having written about this subject be¬ ether branches of music—to master what, mic shading of the exercises to forte, but the place of the first one, but must in brant. Under such a condition even a fore, .t suffices here to say that the lung at first, is difficult for anybody, but in¬ also commence singing solfeggios, r‘it first*--* Write us to-day quality and quantity, be the very image relatively feeble voice will travel a great air must be reserved exclusively for the surmountable for no one who has enough of the first. Then choose another, wider distance. Quality has as much to do easy ones, on__ the syllables_ do, . . hi. fa- tone and vowel sound and the air neces¬ strength of character and trust in Jiim- r da, dah, me, ni, po lu, la, interval between the two tones in ques¬ with the study of the resonators of the sol. la, ti; ' sary for the removal of the opposing ob¬ tion. Finally, as the range of the voice head, as that of intensity. self to persevere. Others, again, after ^e;" not overlooking the dynamic shades Ivers & Pond Piano Co. stacles should be that of the oral cavity. grows, one should also begin from the It is, therefore, the business of the A bar and a fragment each. few attempts, say: “Well, it is of Qf each solfeggio, which, in the better Jhe pronunciatory and articulatory or¬ 141 Boylston Street sixth, the seventh and the octave below teacher to see that the student shall ac¬ They should lie sung legatissimo; io use—I can never do it.”‘ To~ correct~ " editions, are carefully marked. Having or above, uniting with them the weaker gans must be developed quite apari and as to what that means, I refer the re the student’s attitude in this respect is safely arrived so far. the foundation of quire quality on each tone'and every independent from each other. BOSTON, MASS. tone. The mental image of this exercise, vowel sound through the entire com¬ er to what I said before about the “f not easy, and it requires a great deal of a lasting voice is laid. The rest of the Why is it better first to aim at the per¬ road is—comparatively—easy to travel, a requisite that also applies to all others pass of his voice. True, the physical gressive variations” in the tenseness patience and love on the part of the fectly of each separate part of the vocal that are made use of for the training of shape of the different resonating cavities the vodal bands and appearance of teacher. and even the worst and most ignorant apparatus, rather than to follow the gen- the voice, must be that of a simultan¬ in different individuals has a great influ¬ glottis. The student must leam to h Altogether, teaching is a great art and teacher could hot do any great harm. erally accepted one, to begin at once to eous fifth, third, etc. It is not given to ence on the quality of the “natural” voice, the intensity, quality and pitch of Choose your teacher well! Run from smg. Singing is a function of the mind. though much of it can be taught, its es¬ everyone mentally to hear two (or more) renditions the voice can be greatly im- tones. No piano, therefore, or other him who promises to land you in grand Ihe vocal apparatus is the machine car¬ sence—its soul—is open only to those r less. Also from tones at once, though much can be ac¬ But even under the most unfavorable strument. should accompany any eJ rying out ns behest. An imperfect ma¬ whose minds and hearts are'capable of fl*™ 5lSi you’ prematurely to e: cises. If the student pitches the tone sympathetically vibrating with each and him who exmmts yo v Please mention THE ETUDE when addressing onr advertisers. MAY 1919 Page S15 T0 ETUDE Page SU MAY 1919 etude The mere fact that we know to a certain ploit his own selfish ends. Never take limited extent—and to that only—the Gathering A Musical Library lessons from one who cannot sing him¬ self. More than that, avoid him who working of-the muscles and cartilages of TheFick#'W^% cannot himself illustrate to you with his the larynx does not add one iota to the ; own voice your.faults to be overcome, as skillful use of the singing voice, or take 4 well as the vocal virtues to be attained. avvay from the time necessary to acquire p Making Trials of True Tone by Tune-a-Phone "Please tell me something new to buy, music or music belonging to pupils but Why should not an earnest student before it one day. As little as the knowledge g '■““ffiassaai | Ben.” This was not the speech of a left in my studio by mistake. Both of the muscles of the fingers, wrists and 0 Learn This Independent Profession engaging a teacher of singjng, ask him at Home spendthrift whose money burned in his these shelves, are most convenient, in use. most amiably, but also most insistently, to arms enables the budding pianist to com- 4 Our Patented Tune-a-Phone simplifies learn- pocket, but of a friend who was grad¬ plete his studies in half the time formerly § Ruih Rutherford Th™, r iF . Manures euess work, assures accuracy. We sing something for him?'*-! don’t see any ually acquiring a choice musical library, Large Bound Volumes Undesirable demanded of him. On the contrary, the 4 C (lcr*J D (medium) Ej plausible reason why not? Flee fro™ and who sought my advice from time to The difficulty of keeping sheet music him whom the French call a “poseur." conscious knowledge of the function of jf Suo* b' 0-2?*- uncmJed. working conditions are pleasant, your time whole and neat suggests to some persons He is generally^ built on large lines; his the muscles during their activity -can “&°*Sday for free illustrated booklet which Not every one is fitted by taste or cir¬ only retard perfection. And even though ..scribes the school and its methods, with proof of the plan of having it bound in one or, face just oozes self-imposed importance; to remarkable success in teaching by correspon- cumstances to gather a largo and com¬ and his attitude towards you is that of the great sage of Chelsea says that "per¬ plete library of music, but every student more large volumes. This is seldom sat¬ patronizing condescension, combined with fection is under no condition attainable,” of music must have at least the nucleus isfactory. The large book is heavy to unctiousness. he adds that, “on the other hand, no great of one, and should understand how to carry, if one goes out to play anywhere, SIEGER As T lay down my pen, I ask myself thing was ever, or will ever be done with take care of what he has, and how to add and never will stay open properly-on the ease.” Goethe tells us “he had nothing Perfect Tone Reproduction An Ideal how many of the readers of The Etude to it discriminate^ as often as means rack until its back is broken, when, of come to him in his sleep.” And the his¬ Plays All Records will pay more than passing attention to TWTEREST allow. course, the element’of neatness vanishes. Medium-Size Grand this article? We live in an age of fever¬ tory °f all great men teaches us that their Correctly A student pf music who is disposed to Small volumes, not over a quarter of an ish haste and hurry. ‘It is “par excel¬ greatness lay in direct proportion to their How to gain and hold the INTEREST "THIS MASTERPIECE of , be extremely parsimonious in the pur¬ inch thick, bound by a binder who under¬ ■ lence" the age'of time and labor-saving patience and willingness to work hard. of music pupils fully explained." 1 refined design, faithful re¬ stands the requirements of musicians, machines. It is the age of “ready-to-eat” Carlyle tells us further that “even the -CIRCULARS FREE. = chase of new music, will prove in the end production and marvelous breakfast and other foods. And it is this article manufactured with no pains be¬ R. B. ROBINSON to be a mere trifler, and not amount to may in some cases be all right. mechanical operation has been spirit of our times which is imbibed by stowed on it will be worthless always, or Dept. E. 4243 Garfield Kansas City, Mo. much. On the other hand, I have known rightly named the finest re¬ the baby already—not with its mother- nearly so.” many .earnest young musicians who spent Do Not Buy Costly Subscription Works producing phonograph — the Steger. milk—but with its bottle, another time¬ So it happens that never in the history money rather lavishly in filling up their The inconvenience of large volumes, as saving instrument. It extends to and of the art of singing (i. e., since 1600) shelves with pieces so ill-chosen as to be above described, is one reason against The patented Steger tone arm existed such a debasement of the voice and wonderful Steger tone withers even art itself. Add to this un¬ of little or no real value to them, show¬ this, but another good reason is that your healthy condition the average mind, which as is prevalent in our days; and I am Park!""ProvldenM^1 ILL purchases should go hand in hand with chamber faithfully reproduce This beautiful instrument seems ing that intelligence and good advice is every delicate tone and color¬ is too indolent to investigate for itself, afraid that of the many who, perchance, your advance in knowledge asd represent as nearly perfect as skill, experi¬ eagerly reaching out for new methods read this article, perhaps none will be needed. Again, I have known others ful sound. It gives you the Learn Harmony and Composition your own personal discriminating taste. voice of the artist and the promising quick returns. Take, for in¬ willing to learn, or to unlearn, and learn who purchased liberally and wisely ence, and manufacturing facili¬ The possession of complete sets of hand¬ music of your favorite instru¬ stance, this false and misleading state¬ according to the lines laid out therein. enough, but v^ho took such poor care of ties can make it. somely bound volumes, even of the stand¬ ment in all its l eaut#. All ment by not a few, that our knowledge Its fate probably will be that of so many what they had that many pieces would be disc records sound best? on the Its tone is purely that of the of the function of the throat, that is, its photo-plays. We enjoy seeing them but lost, and many damaged almost beyond ard classics, is not a mark of real musical Steger. See it at your dealer's Concert Grand, having great different parts during singing, both facili¬ in a day or two we have forgotten all I possibility of use. Allow me to offer a culture, but only of the willingness to —hear its clearness of tone— play it yourself. Style bdok {power and sympathetic qualities. tates and hastens the making of a singer. about them. 4 few hints which may prove helpful. spend money in order to appear cultured. The well-chosen collections put out by sent on request. Dealers in Principal Cities Care of Sheet Music good publishers as Bach Album, Chopin STEGER & SONS Music for the Wedding PIANO MFC. COMPANY Some Big Voices STUDY HARMONY Never under any circumstances roll Album, Schumann Album, etc., are both Founded by John V. Steger, 1878 and COMPOSITION Ceremonies in June your music—use a flat portfolio. The convenient and valuable. Steger Building, Chicago, Ill. Emerson Piano Co. Mere bigness of voice in itself makes tor, by blowing into a drinking glass by MAIL ' Factories: Steger, Illinois, inhere the , Established 1849 ' music roll is an abomination, a delusion “Lincoln" and "Dixie" Highways meet no musical appeal, but if accompanied by could crack it, and by singing into it his 0 Perfect Love and a snare. Do Not Hoard Up Trash Boston Mass. fidelity to pitch, is unquestionably ex¬ mighty upper D, could burst it. The Have some folders made of stout smooth If you feel constrained to play or sing hilarating, even to fastidious ears. The biggest singing voice of the last century rag-time music, and buy the newest atroc¬ record big voice of history unquestion¬ belonged to Luigi Lablache, the greatest H. T. Burleigh manila paper, the proper size (some 22 x A beautiful wedding song, quite differ¬ 14 in., some 20 x 12J4 in., and some 18^ ity in this line as soon as it appears, THE HEAD VOICE AND ably belonged to Stentor, a herald of the bass singer that ever lived. His upper Greeks in the Troja'n war, whose voice ent from the time-worn number—a x \2Yx in. (this last named size is now then all my cautions about the care of D, like Cheron’s, was overwhelming in real novelty to the musical part of the m FRECKLES OTHER PROBLEMS was as loud as that of fifty men shouting its sonority, and could dominate both becoming much in use), and if you have sheet music are needless for you will wedding festivity. The music is charm¬ be tired of every piece long before the together. It is to be regretted that chorus and orchestra at their full power. Your Music Is Torn! ing: the words appropriate: worthy of aov octavo choir music, some 10 x 14 1% Homer tells us nothing of its musical But he never confused bigness with It will Take One Minute to the consideration of professional mu¬ in.),—and put each piece in such a folder, pages are badly worn. But how much quality. beauty of tone, and could moderate his Repair it by Using sicians everywhere, it is not difficult to writing the name neatly on the outside of better to care for something which will at* homely spots. sing and comes in bo»h high and low Towards the end of the eighteenth cen¬ tones to the softest pianissimo. The each, near the top edge. If you possess a increase in value to you as years go by tury there was a bass at the Paris Opera, Multum-in-Pano Binding Tape voice. Price - $-60 9 O T H I N E — biggest and noblest voice that this young roll m( « Ml* U»r» ic-jari Tegular music cabinet with shallow draw¬ and as you learn to know it better and double strength—from your druggist, named Cheron, who in earlier life had century has listened to was Edouard FAITHFUL AND TRUE, “Lohengrin”, little of it night and rooming and you 8h r»ll mtpmprr. «fr ref cork P.U- ers you are fortunate, but if not, you can better! that even the worst freckles have begun been a blacksmith. This modern Sten¬ de Reszke’s, now, alas 1 forever silent (Wagner) Transpirent Adhesive Mending Tissue Mixed voices.*0 at least have one certain place to keep Take Frequent Advice SYSTEMATIC VOICE TRAINING l»rc»U pttp—kmf Women’s voices.10 your pieces on shelves where you can Not only your teacher, but other exper¬ implexion. Men’s voices . ’10 U your music dealer does not cany it, send to always find them. Have some form of ienced musicians, may often give you The Good Accompanist WEDDING BELLS (Woofer) Learn how TO TEACH as well Theo. Prewar Co.. Philadelphia, fc classification which will make it easy for good advice about purchasing music. The essential quality demanded in ar accompaniment has a stimulating and in¬ Two-part Chorus or Duet.12 as how TO SING. I have a ROSE MAIDEN—Bridal Chorus (Cowen ) you to find what'you want without much Concert and recital programs are another accompanist, besides precision and ade¬ spiring effect on the sensitive artist, just long list of successful teachers quate technic—including the power of Mixed voices.10 hunting. I might tell you of my own, but source of good hints, and if you study ALBERT ROSS PARSONS as the wooden, inelastic player will abate Studio, Stelnway Hall, 109 East Utb Street, New York to my credit. Let me help you. transposition at sight—is sympathy. But it probably would he less suited to your Musical History, you will certainly wish his energy and damp his enthusiasm. luthorof THE VIRTUOSO HANDLING OF THE PIANO. SUMMER TERM we believe that all artistic singers will Instrumental Music particular needs than one which you to have a few* of the most representative FORTE, J. H. Schroeder, Publisher, 10 But l«th St, S. T. In short, the co-operation is so close and compositions of the composers there June 26th-July 31st readily admit that, while a certain meas¬ Nadine Suitable for Weddings would devise for yourself. But I will ure of subordination is necessary, they vital that the best singers cordially rec¬ mentioned. Then again,-there is the op¬ Mr. Clippinger trams singers for all branches of pro- in Church or Home merely mention the fact that besides the by no means wish their accompanists to ognize their debt to their accompanists, Face Powder regular classifications I have one shelf portunity to choose from music Studio, 617-618 Kimball Hall, CHICAGO, ILL. carry it to the extent of entire self- NEW WEDDING MARCH (Mendelssohn) and it is a much more common occur- (/» Greta Boses On!)) for music in actual immediate use, such selection” from the publishers. This effacement. In the interludes and the rate accompanist is the biggest asset in Piano Solo.35 Piano. Four Hands.50 as daily practice, duets with pupils, etc., helps to educate the taste, and to keep opening and closing symphonies of many a singer’s success, next to his own mag- . Keeps the Complexion Fipe Organ.35 and one shelf for keeping borrowed one "up to date.” The Vocal songs there is considerable scope for in¬ rence now than formerly for a singer BRIDAL CHORUS "Lohengrin”, (Wagner) dividuality, even for virtuosity. But in acknowledging a call to bring on his Beautiful Piano Solo.35 Instructor 9 Soft and velvety. Money tod apart from that, singers are dependent accompanist with him. The really first- Piano. Four Hands.20 By EDMUND J. MYER PRICE $1.00 on accompanists to keep them from un¬ if not entirely pleated. NadiK netism.—From Post-Victorian Music by it pftre and ban ".eaa. Ad- Piano and Violin.30 All Book Prices Temporarily Advanced Twenty Per Cent. duly slackening the tempo. The good uil washed off. Prevent.* aunborn Pipe Organ.30 Seeing With the Ear Charles L. Graves. >f discolorations. A tnillioo deiifited user, prove itt value. Popular tint. Fletk. SPRING SONG (Mendelssohn) A PRACTICAL, COMMON SENSE SYSTEM Pink, brunette. W hite. 50e. by toilet counters Piano Solo ....35 EXCELLENT FOR SELF INSTRUCTION or mail. Oapt. E. Piano, Four Hands.50 bymrs.a. m. virgil This instructor is based on nature’s TEACHING PIECES National Toilet Co.. Pari., Tenr.. U. S. A. Violin and Piano.40 laws or demands and is excellent for ATTRACTIVE, INSTRUCTIVE—FINE FOR RECITALS Pipe Organ.30 The hearing of the music student minished intervals, somewhat disagree¬ the study or development of the sing¬ MELODY IN F (Rubinstein) should be developed so as to recognize able and mildly dissonant; augmented to 6- gra°ed catalog Piano Solo.35 ling voice. The work is born of the _ ORDER THROUGH1 YOUR DEALER OR DIRECT Arranging and Correction^ Mss. Scale degrees; intervals, harsh discords. author’s many years of practical and Piano, Four Hands.50 A SPECIALTY Intervals; Sing all of the intervals with their successful experience. It aims to give THE VIRGIL PIANO CONS. 11 W. 68th St., NEW YORK A. W. BORST, Presser Bldg., Phil*-, ?*• Violin and Piano.00 inversions, eyes closed, naming the fun¬ Pipe Organ.35 The identity of simple melodies. to the vocal profession the movements Com voter or funp'oru ,-t rhvt'- .tfu* damental position of a chord, first ' upon which the whole system is based; CALL ME THINE OWN (Halevy) In fixing intervals in the mind, the sion, second inversion. Sing the the singing movements, the necessary __ _ A Wholesome. Cleansing, Pipe Organ.25 following plan is practical: Zauel Huotiikhs vals on which the major scale is built, physical exercises and nerve calisthen¬ Tour Re|r'sbin« "•■"■t' MELODY OF LOVE (Engelmann) Sing all the steps ascending and de¬ ics. Vocalists will find all the ma¬ M '“**’** Lotion—MtrineforRed- scending, giving their letter names. Note then the minors, parallel and relative, in MUSIC PRINTERS and ENGRAVERS Piano Solo.50 terial and information in this book of KIT _ r _ _ ness. Soreness, GranuU- Piano, Four Hands. -00 the position of the half steps and whole both harmonic and melodic forms. the highest value. r/Vtion,Itchingand Burning Violin and Piano.50 Besides developing concentration and ^ ^ of the Eyes or Eyelids, .TTJ Pipe Organ.50 St Some people seem to find help in think- “seeing with the ear” the different ' Theodore Presser Co., Philadelphia, Pa. J! Drops" After the Movies. Motoring or COLUMBIA AYE. AND RANDOLPH PHILADELPHIA, PA. wilt win your confidence. Ask Your D'vrP* vals and scale relations,.it teaches you to "1 for Murine when your Eyes Need Care THEO. PRESSER CO., Phil*., Pa. think intelligently and to reason logically. 16 mention THE EXUDE when ad.™ isine our advertisers. Marine Eye Remedy Co., Chicag? MAY 1919 Page S17 TIie etude

1 tween being “hired tc play the organ” and to the children themselves, it is not neces¬ becoming “identified with the church.” sary to speak. The most inspiring and, When the organist is a member of the at the same time, the ideal music for the ustin Organs! Scliomacker church employing him, it is easier to be¬ church is the chorus; and children’s (A come completely identified with -it of choirs form the effective “feeders” for course; but it is quite possible, even when the chorus choir, which should always /CONTRACTS since Sep- Style F he is a member of some other communion. form &rt of the musical, equipment of a 'w‘ tember show reasonable There is yet another side. Few organ¬ church even where the quartet is consid¬ balance of largest and small¬ Department for Organists GRAND ists realize what opportunities for the ered .necessary^ The organist’s work in est organs. We have reached advancement of musical knowledge, prac¬ playing for the morning and evening like success with both. Both Edited for May by T. L. RICKABY tice and appreciation, lie ready at their services only is looked upon as a matter have equal excellence of con¬ The quality of its tone hands, with their church as a center. A of course, often passing unnoticed; but struction and voicing. choir of boys can be formed very easily his work with children’s and adult choirs, ••/ look upon the history and development of the organ for Christian uses as a sublime instance of the gui Melrose. Mass.. Soldiers enraptures the heart as its and, once started, this can be made a together with the special services and en¬ the most complex of all instruments, it is the most harmonious of all, it is the grandest ^ all. No orchestra that i and Sailors’ Memorial will beauty of construction de¬ permanent musical feature of any church. tertainments they generally give^Reep him have four manual, 78 stop, existed had the breadth, the majesty, the grandeur that belongs to this prince of instruments. HENRY WARD BEECHER. This choir can be used on special occa¬ continually before the people, and, as Austin organ. lights the eye. sions at evening services—giving the stated in an earlier paragraph, this is free ’’All were enthusiastic,” quartet an appreciated rest, and the con¬ advertising of the most effective kind. So. gregation an equally appreciated change. if it ever occurs to any organist that he is writes prospective purchaser Our Faults and Failings after inquiring widely from Schomacker Piano Co. Similar work can be done with the not paid enough, or that he is not getting Established 1838 By T. L. Rickaby younger girls with very good results. all that is coming to him in appreciation, Philadelphia, Pa. "Children’s Choirs” have proven a very let him take the trouble to look closely acceptable part of the musical activities of into the matter and sec whether he, him¬ all his playing with one hand. In this Shoddy Recital Programs is Dr.- (Supply your own choice Organists, being human, have faults, a few churches, and they are worth the self, is living up to the full measure of [A,Austin Organ Co. failings, weaknesses and shortcomings, case, there certainly is variety of tone. One weakness we all have to a beauti¬ of name. Anyone will do. It was at¬ while of any organist. Of the advantage his responsibilities and opportunities. ] 165 Woodland St. Hartford, Conn. which continually exhibit themselves in ful degree is that of giving organ recitals. tributed to every London organist of the STUDENTS PREPARED FOR THE their musical no less than in their physical The Overworked Swell-Pedal Bill Nye, an American humorist now for¬ day) like a cab horse?’’ Answer: “Be¬ life. In the fable the man carried two The swell-pedal is not to be over¬ gotten, said somewhere: “Avoid whiskey cause he is always wanting another stop.” Church Service Transcriptions Again as you would a piano recital.” For some¬ sacks—one behind him and one in front. worked. It is for a crescendo effect—to Now while it might be excusable to want thing to be avoided, the average organ and Recital Work By T. L. Rickaby The latter contained Kis neighbor’s faults produce a gradually increasing volume of another stop, too many organists make sound. The incessant pumping of the . recital is in a class by itself. I ought to WfucTiiKR transcriptions should be used ilar pieces is due to the sustaining pedal and frailties, and was always in view. the mistake of finding all manner of fault The one behind him contained his own, swell gives the same uncomfortable feel¬ know, for I gave one myself once. Re¬ or not, will never be settled by law, regu¬ of the piano. The bass note struck on the ’ with their organ. Not enough of this, and, of course^ these he never saw. Our ing as, the exaggerated Tempo Rubato of citals of real organ music, with a program GUILMANT lation or edict. Every player must be a piano and held by the pedal is a “vanish¬ own shortcomings are usually not ap¬ the pianist. Schumann said that the play¬ of contrasted schools, with each indi¬ too much of that, and so on. To quarrel law unto himself. If I do not like trans¬ ing” tone, decreasing in intensity from parent to us. We may admit they exist, ing of some people was like the reeling of vidual number varied as to form and con¬ with one’s tools is not a good sign. When criptions, I will not play them; and if I the moment it is struck, but kept full and but we usually keep them where they will a drunken man. The rhythmic ebb and tent, might be productive of much real Rembrandt was commissioned to make ORGAN SCHOOL do like them I will most likely play them sonorous by the repeated chords played Over ISO now holding prominont poeitlone • cause us the least discomfort—out of flow of the sound from the swell organ musical enjoyment, and be actually edu¬ the beautiful gates for a Florence palace in spite of what any one may say against by the left hand. On the organ the bass note sustains its full strength throughout sight and mind. It is just as well, now gives that same reeling effect. Don't do cational. But the usual collection of (maybe it wasn’t Remhrandt and it may ... DR. WILLIAM C. CARL, Director them. At the same time, there are certain transcriptions, trembling reveries and immutable laws of taste, judgment and the measure or quits entirely. Either way and then, for someone to take our sack it. Keep your feet for pedaling. not have been Florence, but it was some hX" 44 W,.t 12th St., Now York of faults and hold it up for our inspec¬ brass-band marches is not only useless musical fitness, which ought not to be lost destroying the musical effect intended. In artist and some gates) enemies stole the tion. It may lead to good results in the Meaningless Extemporization and inartistic, but soon palls, and people sight of in deciding' the desirability or long arpeggios the piano pedal sustains artist’s tools, but he managed to “deliver A Pipe Organ Ingtructor for Pianists way of improvement if not reformarion. When the English comic magazine go no more. If a preacher were to say the reverse of transcriptions. There are the full chord, but it is a “vanishing” It will in ,a way be investing us with the Punch was asked by a correspondent for the same thing, and in the same old way the goods” just the same. Stupendous Price 81.00 certain orchestral extracts which make chord and as such has a peculiar charm. Try the same arpeggio on the organ with gift to see ourselves as others see us, advice about getting married, the answer Sunday after Sunday, he would very soon achievements have often been attained good organ pieces; and the better a sustained bass and notice the differ¬ which you will remember the poet Burns was a laconic “Don’t.” This would be my preach to empty benches. with very inadequate means. By criticiz¬ equipped the instrument, the more satis¬ ence. So after all the question would remarked would “from many a blunder advice for extemporizing—Don’t. Play¬ ing and finding fault with your instru¬ Graded Materials factory they will be, as the orchestral col¬ Loud Playing Overdone seem to reduce itself to this: transcriptions free us, and foolish notion.’’ ing one chord after another is not ex¬ ment, you may create an effect entirely oring may he approximated to some ex¬ are desirable-and useful, if they arc an temporizing. An extempore speech must “The organist played too loudly” is a tent. But for obvious reasons there different from that intended. Rather en¬ improvement on the original form; or, if Do We Overdo Registration? have a definitely stated topic, it must be criticism which may be heard over and lor the would be nothing attained by putting even deavor to secure the best possible results Pipe Organ they serve to familiarise the public with It is not necessary continually to change -grammatical; and while not having the over again in any church—at recitals as these pieces on recital programs in a city rAlbum of with such means as you may have at your By JAMES H. ROGERS music that they would not otherwise have registers. The little push-button pistons, finish of the prepared speech, it must yet well as at religious services. It is a com¬ that had the advantage of hearing orches¬ Designed to give a good working an opportunity to hear. Often music writ¬ with which many modern organs are be clear, logical and cohesive. Extempore mon fault from which few organists arc disposal. It will make more friends than tral concerts often. In towns where no knowledge of the instrument ten with the peculiar ididm of oYie instru¬ by equipped offer a temptation that amateur playing ought to be the same; but it free. Where the console is detached, the other wav. Further, there are always orchestras exist, and where traveling Compositions ment in mind, loses its identity when players seem incapable of resisting, and it hardly ever is. In the Lost Chord the there is no excuse for this fault; but some—and r.ot a few—who always recog¬ HE author, a most competent organ¬ orchestras do not play, the educational T transcribed for the organ, and becomes as is a very usual experience to hear compo¬ narrator says: even where the organist sits where he nize real worth when they see it (or hear ist and musician, has attempted to value of such transcriptions will be con¬ Woman Composers- cannot get the effect of his playing, he get from the great mass of valuable siderable; but only when the musical Maurice Perlmutter would- say “some¬ sitions (cr accompaniments) played with , "My fingers wandered idly it). And earnest efforts and genuinely Price $1.00 a succession of changes at about every had better play too softly than too loudly, material of Bach. Stainer, Rinck, Merkel, effect of such pieces does not depend alto¬ thing else again yet.” Such transcriptions Over the noisy keys.” disinterested endeavor never go unnoticed and Guilmant, only the best, and to pre¬ All Book Price* Temporarily Advanced Twenty Per Cent. four measures. With a sensitive vocalist thus giving the singers a chance, and the gether on orchestral coloring. are best avoided. Real organ music is for very long. sent it in as practical and concise a form The Theodore Presser Co. has done (or other soloist) this could not fail to Wandering idly is not calculated to make ears and nerves of the congregation a Where piano playing is a drug on the abundant enough. And by real organ satisfactory music for others to listen to. Such are a few of our numerous fail¬ as possible. music I do not mean slow, sustained more for the Compositions of Woman have a distracting effect—and it is far rest. Soft playing might become monoto¬ The explanations and directions jn this market, it would seen that little would be Composers than any other publisher. In the same poem the dreamer confesses: nous, but it will never hurt anyone, which ings and weaknesses. To eliminate them gained by playing transcriptions of piano adagios and andantes and long dry fugues from artistic. I have heard the greatest work will be found so clear that any one This early recognition of the merits of of English, French and American organ¬ “I know not I was playing.” is more than can be said of the loud va- all would not make fine organists, but with a knowledge of music or of the piano compositions, except for the fact that and sonatas, but music with rhythm and vitality; with clearly defined, healthy and such compositions brought a wealth of ists, and they made few changes. This This is equally true of the average ex¬ would make better organists. Anyway, can study the work without the aid of a piano players are notorious for the pau¬ material to hand for the compiling of this, teacher, even though it is not so intended graceful melody; vigorous and decisive was especially true of Guilmant. It is temporizer—and nobody else does either. Finding Fault With Your Tools hold up this mirror and see if you are city of their repertoires; and not much above the average, piano collection. by the author particularly. movement; yet all written with the organ not uncommon to see an organist manipu¬ Don’t—at least not until much private Fifty years ago a venerable joke lived not reflected herein. Then act accord¬ chance is offered of hearing more than an Woman composers have made wonderful Ad instruction book of great worthy providing in mind—not (as is often the case) com¬ strides in the domain of art. There is a late stops continuously—practically doing practice has 'taught you how. in London. It was to this effect: “Why ingly. abundant pedal practice and without wicrificing infinitesimal number of really fine things exercises for the manual^. Hints on registra- that are being written by the composers posed at the piano, and then transplanted. delicacy, a refinement, and a tenderness Probably there is more such music being displayed in the compositions of woman chorals and many other important details go of the day. composers. This album contains some of to make up a valuable addition to literature. In some cases a piece originally in¬ composed at this present day than ever before in the history of music; partly be¬ the best representative compositions of THEODORE PRESSER CO., Phfli., Pa. tended for piano is better in some other successful woman composers. The Organist’s Opportunities form. Rubinstein’s Melody in F, for ex¬ cause of the notable improvements in It is generally conceded that organists modern organs, partly because of the in¬ Arrange a Recital Program of Com¬ tional enurenes. wnere the music is in erous, and by being willing to make con¬ nothing more, he is merely hired to do so ample, is one of these exceptions. The positions by Woman Composers as a class are poorly paid. It is no com¬ creasing demand for organ music that is the hands of the organist and quartet— cessions to the people who pay the sal¬ much work for so many dollars. - But if Last Hope and Kamcnoi-Ostrow. Noc¬ from numbers in this album. mon thing to find the janitor of a church tuneful and attractive without being which may be truthfully described as fol¬ aries, much—if not all—of the friction be¬ he identifies himself with the church, he turne in Eh, and scores of other pieces Such a novel and interesting program receiving fifty or sixty dollars a month, lowing the line of least resistance—the trashy. The organist who makes it a tween Music Committee and musicians becomes part of it. and a partner in the which have been transcribed for organ, would be ideal for W omen's Clubs, etc. By and the organist a dollar or two a Sun¬ rehearsal is often held before the serv¬ musi part of his work to search diligently, and will be avoided. Then again, while church work with the pastor and the other work¬ cannot, bv any stretch of the imagination the use of biographies and other data an day. While it must be admitted that ice on Sunday morning; and so the organ¬ to examine much music with discrimina¬ excellent lecture recital could be developed. membership (being made up of human ers. If he identifies himself with the in Art, Culture and Education or good will, be termed good organ music. conditions are gradually improving, many ist’s working hours are not encroached They lose immeasurably when transferred tion and judgment, will find enough to play beings) will contain all sorts and condi¬ church he will not look upon his work as Theodore Presser Co., Phila., Pa. churches in the large- cities paying from upon at all. tions of men—and women—there will he AN ENCYCLOPEDIA to pipes and pedals. The reason is that without making excursions into more or a separate and distinct entity from the fifty to one hundred dollars a month, and The practice is not to he recommended, found amongst them those who are un¬ of Educational Musical Thought one of the chief charms of these and sim¬ less undesirable fields. some few very much more, there yet re¬ but it prevails to a considerable extent; kind, critical, fault-finding, unreasonable other branches of service; but will so con¬ A COMPENDIUM main hosts of musicians who give expert and where it does prevail, the organist and apathetic—but not many. form to the general scheme of things that for Music Teachers and Students Learning by Negative Example service (often representing considerable cannot conscientiously complain of the Take the combined church membership his contribution will be a closely fitting PRICE, $2.00 expenditure of money, time and energy) time spent in the work of church music. of any town, and you have the cream part of the harmonious whole. He will By E. H. P. for very little financial return. CAREFULLY indeed: a large volume 7**10 Further, the work of the organist brings of the population, its representative citi¬ discuss musical matters with the pastor inche, in size, of more than 300 pages, con¬ In a conversation with a certain organ¬ tunity to do so, nevertheless 'Considering However, it must not be forgotten that him into close association with the mem¬ taining article, of permanent educational value zenship ; and it surely is worth much to he and have a thorough understanding as to , practical bearing upon the work of teacher ist who was admittedly the leading man the fact of his superior skill and experi¬ the position of organist is of distinct bers of the quartet, the pastor and the identified with a church. The larger the the pastor’s wishes. The organist should and student. 200 essays on 100 subjects. in his profession among those located in ence, this remark seemed over-modest value to a musician, outside of all mone¬ Music Committee. Generally speaking, Teachers who meet with obstacles in certain better. not refuse to do anything in reason that the same city as himself, the writer was almost to the point ot affectation, hut he tary considerations. He gains a publicity they are people of culture and refinement, directions will find the work a record of succcss- the pastor asks for—nor should he do it '“l teaching devices, methods of study, working much struck by one remark he made. He that is worth a great deal to him as a with whom it is a privilege to be intimate. assured me that he.never listened to an¬ Bring Out the Hidden Beauty Indentify Yourself With the Purpose under scowling protest. The pastor—and "? patronage, with information—all on subjects lamented the fact that he was so seldom teacher; and this advertising must not be The Music Committee is not seldom the »l vital interest. other organist without learning some¬ Beneath thyoil^ discolored^faded or ajted cotn- of the Church not the organist—is head of the church: able to attend other churches than his forgotten. Further, the amount of time rock on which the barque of the organist thing, though in many cases it was merely =absorbs the dmtUalized’surface skirTrel But observe, I use the word identified own, in order to hear how other organ¬ ■ ' ■ spent on the work is not excessive. One is wrecked. But usually it is the organ¬ and while music is an essential part of learning what to avoid! and I use it purposely. If an organist worship, yet churches do not exist for ists conducted the musical part of the natura)nessnedaveIi/0M trieditcomple!ti. I. Philipp, V. da Packman, W.H. Tha London Muaical Stand By w. F. G. Don’t Have Corns attack of nerves. Do not grumble. A Don’t Slightjthe Last Page cheery outlook will inspire the choir. The most refined torture for a conduc¬ Begin a rehearsal sometimes with the When there is under discussion the J Doctors All Know Blue=jay Corns Are Out-of-Date last part of a work. Some singers habit¬ We Will Help You in Securing a Class raising of a fund for some charitable or f tor is to receive the commiseration of his In the old days corns were common. ually come late—it may be unavoidable— Send us a postal request for information regarding our “Special History Class Plan," and teceivt in religious purpose, the first thought is to p It is made by a surgical dressing house friends when a performance is unsuccess¬ Nearly everybody had them. ful. Friends, spare him. and never hear the first part of a work. return the material which will enable you to start at once and make your plans loi turning your Sum¬ get several musicians to give a concert p whose products doctors use. mer from Waste and Loss to Profit and Pleasure. We have a special introductory price by the doten. Failure is hard to bear, but think of the Skip repeated movements when they “under the patronage of Mme. So-and- % People pared them, padded them, coddled are printed out, if they are done well So.” So the performers give a day or p Doctors’ wives use Blue-jay when a corn joy that the conductor feels when his THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. them and kept them. forces score a success. It is to him a where they first appear. two of their time, all told, to preparing ^ appears. And they end it at once and Put a blue pencil circle round a difficult and presenting a program for which the p Nowadays, most people never suffer crown of glory. He is ready to withdraw forever. , every harsh word that he ever uttered. passage and dissect it part by part. society people get the glory. corns. Yet tight, dainty shoes are more The finest pick-me-up for an anxious How would it be to call on other pro- p The first rehearsal after a concert is the Millions of others now use the same common than ever. conductor at a concert is to hear his FILL IN YOUR fessions or businesses for the same || time to be friends again. method. In a moment they apply a Blue- singers put their best effort into the open¬ ISTS IDLE TIME amount of time, or the earnings of the p Consider that fact. The reason lies in Talking in the Choir ing of the first chorus. same period and apply that to the char- p jay plaster. The wrapping makes it snug this scientific Blue-jay. An excellent way to frighten timid si FOR EVERY 30 MINUTES If talking is common in a choir, con¬ ity? and comfortable, and they forget the corn. ladies is to threaten to throw the baton at One user told another, until millions sider whether the conductor is not to Send us your professional card and we will show you how For instance there is the lawyer who p the choir. The baton, however, may be to teach ADULT beginner and advanced pupils what THEY gets his $50 to $200 a day. The surgeon p In 48 hours they remove the Blue-jay and now employ it. blame. Is he interesting? Is he busy? useful next week, and the ladies may also Is he alert? want to learn to play—Popular Music in effective style who gets a like amount for an operation : p the corn is ended. Only a few of the tough¬ be missing when wanted. the merchant whose profit is $25 to $100 A Some conductors are more addicted to Winn Method of Popular Music and est corns need a second application. Ragtime Piano Playing Particulars regarding a day; the banker who makes much more ? p talking than any member of the choir. In Exact Serious Attention Correspondence Course of Quit Old Methods Book No. 1 SI Booh No. 2—50c Why not ask them for the day’s time, p The pain is stopped instantly, The corn a choir of a hundred voices, a conductor 10 Lessons for Pianists The time to be serious is when a just as the musician is asked for his? A Paring is unsafe and temporary. Pad¬ who wastes a minute, wastes one hundred Obtainable at All Music Stores Mailed on Request is ended—and completely—in two days. special effect rehearsed last week is for¬ Would it be as willingly given as by the p ding is.unsightly. Old, harsh, mussy treat¬ minutes. A singer who wastes a minute gotten this week. But allowance must be WINN SCHOOL OF POPULAR MUSIC jgj 155 West 125th St., New York musician? It is not fair to ask $i0 to A Blue-jay has done that for millions of ments have been discredited. These are has usually only one hearer. It would not made for members who were absent last $20 worth of time from the performer |f week. corns. Your corns are not different. It scientific days. be difficult to find a conductor who talks and let the lawyer off with buying a dol- | Use your tongue smartly when a mis¬ for about half the rehearsal, and then lar’s worth of tickets. will do it for your corns. Try Blue-jay on one corn. Learn that take that just been pointed out is re- begs the choir to stay a quarter of an In this respect, the musical f^ternity p the pain does end. Learn that the corn hour after time, or, “he must have an pe-ted. Some careless people need the Give Your Pupils---> If you have corns and don’t prove this whip. is the most generous of all classes and A does disappear. extra rehearsal.” gives more in proportion to-all forms of A you do yourself an injustice. Extra rehearsals are like surgical oper¬ Notices should be like texts, not like Learn that these results come in an easy, sermons. public aid, such as the Red Cross, and to p ations, they should only be resorted to in Special Three Months’ Summer Subscriptions charity. But why not urge the other § gentle way. There is a time for sermonizing. It is extreme cases. Try first such ordinary businesses and professions to do their A when you are explaining a work, its When you do, your corn troubles are measures as saving time at the usual prac¬ For THE ETUDE share? tice, or lengthening the time of the re¬ plan, form, intention or character. A over—all of them, forever. . , ‘ \ , ““vc curing me summer, overcomem hearsal. little picturesque description will make the characters live before the mental eye of Try it to-night. Let the choir go home a few minutes Snrinn reLi° c°nsid,ei: .the,r musical studies completed with t “Without Works” the choir. Then they will be likely to give Sprmg reatab awaken the.r interest at a time when you are not in close touch w How Blue-jay Acts before closing time" occasionally. It has a real performance, full of the higher ex¬ them, budge over the vacation interval, by having each pupil take advantage There are actually a few people who A is a thin. soft, protecting ring which stops a more bracing effect upon the singers are totally insensible to the charm of all pression which cannot be set down in the pain by relieving the pressure. than any amount of throat-tiring. Italian terms.—Musical Herald, London. music, good and bad alike. General Grant The Etude Special Summer Offer B is the B&B wax centered on the com to Blue-jay and Wendell Phillips being well-known THREE ISSUES FOR 30 CENTS gently undermine it. examples. * C7* The Scientific Corn Ender C is rubber adhesive. It wraps around the Charles Villiers Sanford in his Pages toe and makes the plaster snug and com¬ Stops Pain Instantly-Ends Corns Completely pieces of mus,c, as well as many interesting articles by leading mu'siciaVs'anc tc^ The chairman of a music committee in the old; (2) that as far as possible the from an Unwritten Diary tells of a weal¬ fortable. 25 Cents—Jit Druggists a. country church suggested to his fellow- materials of the old organ should be used thy man by the name of Latham who members, he having a great idea of sav¬ thus shoXedth°e;rtTnrCherS Toronto ing pennies, that the contract for the new that (3) the old organ should not be re¬ parents at the begmnmg of the new season. It is an excellent business invest*. sidered that a grand piano was an abso- organ should be given on the following moved until the erection of the new one rately necessary piece of furniture for Makers of Sterile Surgical Dressings and Allied Products conditions: (1) that the new organ was completed.—The Organist and Choir¬ The Etude, «• Philadelphia Pa *n elegant home. He dropped in at should be erected in the same position as master. woadwood’s to purchase one. and said, I should prefer one without works.” Please mention THE ETUDE when addressing our advertisers. mention THE ETUDE when adding our advertisers. THE ETUDE MAY 1919 Page 321 Page 320 MAY 1919 ■J^jSSEND YOU SOME OF OUR required impulses more rapidly than is half-step trills for whole step, or, vice the case with others who are more slug¬ versa. Great care must be taken that the -USE VIOLINS gish. note produced by the trilling finger is a Violin players who have commenced- neither too flat nor too sharp, for the J5 non-prohibitive prices the study of the violin in childhood learn trill to sound well must be played in per¬ TROUBLES VIOLINS been looking for and could not the trill much more easily than those who fect tune. PI USE Department for Violinists . find elsewhere. Convince yourself. commence later, and it is rare to find a The trilling finger must be well lifted j^ctlon' “S good trill in the case of players who from the string when trilling, but not too MULLER & KAPLAN Edited by ROBERT BRAINE Th. world-renowned “Gemiinder have commenced after the age of eight¬ high. Many spoil their trill passages by STRINGS Violin. $200.00 to $500.00 each. een or twenty. hardly lifting the finger at all, and by Special $1.00 Offer .Tvwi" 0U family relic, repaired Bndre.tored. In executing the trill well the' brain not delivering the blows of the trilling containing our celebrated “Intuna” E, A and D, and ■ If Au Would Play First Violin We Could Get No Orchestra Together:1 — R. SCHUMANN U Time payments arranged. “Nonpareil” pure silver G. Satisfaction guaranteed or We hire Eyerything for Violinist. must be taught to conceive and the finger with sufficient force to make the money refunded. ONLY ONE SET AT THIS PRICE. Educational Pamphlet. Free on Request muscles trained to produce the notes trill clear. One of these weak, smudgy with the greatest regularity and even¬ trills gives more the effect of an exag¬ The ’Cello as a Solo Instrument ^.b,^i0,inWOrld’im0n,h,y’ ness, and much drudgery must be gone gerated vibrato than a trill. august gemOnder a sons through with in preliminary practice be¬ As soon as the student has acquired By Herman Sandby Dtpt. E New York fore the desired result is attained. The sufficient technic he shquld proceed to the study of the many fine exercises for the The following article by the eminent Danish ’Cellist Herman Sandby, for many years solo 'cellist of the Philadelphia Orchestra, will prove especially interesting to lovers of that instrument. start should be made with comparatively trill in the Kreutzer Etudes. These are slow passages in quarter or eighth notes. the best exercises ever written for. the and percussion instrument. This beauti¬ sympathetic undertones, adds a marvel¬ Very few violin instruction books con¬ In a recent issue of The Etude, in an that “its middle register is fine, but the raa jcquirement of the trill in violin playing. ful, noble body, is capable of so many Professional tain much material for the practice of article upon “Anton Dvorak in the Class upper voice squeaks and the lower ous effect to every true double-stop. The The student whp really masters them will varied and surprising nuances that one the trill, and it is not until we reach the Room,” the following statement ap¬ growls.” This is the case only with very pizzicato of the ’cello, rightly done, has become the possessor of finger technic feels as though it were a human soul Directory peared : bad players; in fact, the middle register a volume of tone very delightful, and Kreutzer Etudes that we find an ex¬ encased, a soul enthralled, which is only of a high order. These studies should OUR “SPECIAL” “In the discussion about Beethoven’s is rather weak, but the upper voice very greatly exceeding that of the violin. EASTERN haustive treatment of the trill. be learned under the direction of a first- powerful, and x>f a passionate character awaiting the greatest of ’cellists for its Fifth Symphony, somebody remarked Pizzicatos can be full and poetic, deep ConajrTatory D«^>t rate teacher, as it is practically impos¬ OCr 10 Tested Lengths, OCf that no other instrument possesses. The liberation! When the public realizes it, Exercises Based on the Scale what a fine part the 'cellos play in the and sonorous, nimble and graceful, low sible for a violin student to learn them ^O^Silk Violin E, for LO'" lower register is of the most wonderful the violin might be ranked as the lovely beeghwood Adagio. Thus ensued 'a general talk on and portentious, high and snappy. In lieu of sufficient material, the stu¬ properly with poor instruction or with Send for Violin and Cello Catalogue the ’cello and ’cello literature, on which sonorous and mellow quality, especially little brother of the great man! It is true that the technic i9 more dif¬ dent cap construct his own preliminary r.o, instruction at all. The Kreutzer trill MUSICIANS SUPPLY CO. occasion the master surprised us with his on a fine, old Italian instrument. What ficult to master on the ‘cello than on any trill exercises from the scales, in the fol¬ exercises practically exhaust the art of 60 Lagrange St., Boston, Mata. views about his own ’Cello Concerto. other stringed instrument can sing out in other instrument, due to the largeness lowing manner: Take any scale, the trilling in all its forms. ‘The ’cello,’ Dvorak said, ‘is a beautiful organ notes, with a volume and round¬ of range. That is, perhaps, the rea¬ scale of D, for instance, and make the instrument, but its place is in the or¬ ness which satisfies the very soul? To sum up, it might be said that the son we have comparatively few very great following exercise from it: chestra and in chamber-music. As a It is strange that so much propaganda majority of violin students fail in exe¬ solo instrument, it isn’t much good. Its appears from time to time against the ’cellists. But this is no reason why the cuting trills which sound well, because middle register is fine; that is true; but ’cello' as a solo instrument. One of my ’cello should be decried. All the great they have not done sufficient practice to the, upper voice squeaks and the lower most gifted pupils was bombarded with composers, Bach, Hayden, Beethoven, acquire the necessary finger technic. The growls. The finest solo instrument, after such articles by a violinist, who advised Schumann, Brahms, Dvorak, Tchaikow- first requisite for a perfect trill is an all, is and will remain, the violin! I her most strongly to change instrument, ski, Rimski-Korsakoff, Richard Strauss, exact conception in the brain of how NEW GRADUS have written a ’cello concerto, but am and study with him. Nevertheless, the Saint-Sacns, Lalo, Debussy, Grieg, Svcnd- such a trill should sound, and then suf¬ sorry to this day I did so; and I never 'cello holds its own. “I love the ’cello sen, Sibelius, Sinding, and many others, ficient practice with the fingers, so.that AD intend to write another. I wouldn’t have more than any other instrument” is what have composed for the 'cello as a sold Play slowly at first, with the notes fol¬ the muscles attain sufficient mechanical written that one, had it not been for one hears everywhere from music lovers PARNASSUM instrument. Wagner uses the 'cello for lowing each other with perfect regu¬ precision to respond to the commands of Professor Wihan. He kept buzzing it —not professional. Why does it rouse the most exalted and tender passages of larity. As will be seen in the exercise, the brain and nervous system. This en¬ IN EIGHT BOOKS into me and always reminding me of it, jealousy? Is it because the ’cello can sing love, compassion and redemption. The tails .long study, but is fully worth the till it was done. I am sorry to this day each group is based on a note of the a melody in a way that surpasses all other ’cello seems, by its very quality, to be time devoted to it. for it.’” instruments, even the human voice? scale. Even the beginner can use this Price, *1.00 Each sanctified! It does not flirt with the This statement from a composer who Songs such as Dvorak’s Songs My exercise with the easier scales in the Sound-Reproducing Machine Recitals has written such wonderful compositions Mother Taught Me and Tschaikowski’s public. It lifts them up to a higher plane, first position, and as more advanced TN THIS unique work each separate dc- -A- partment of technic is considered by for the ’cello as the Waldesruhe (Forest Nur IVer die Sehnsucht kennt” (None to the plane of true music every time. technic is attained, can extend it to scales The violin teacher who would keep his If it attempts to compete with the violin itself, all the studies bearing upon any Quiet), the Rondo, and the finest con¬ But the Weary Heart), and Rimski- in the different positions, until the three class and add to it cannot afford to ne¬ in popular antics, it will loie out, of particular technical point being classified certo in our whole literature, is rather Korsakoff's Song of India, and many octave scale is reached. One advantage glect the social side of the business of surprising. It is true that the ’Cello others, when played on the ’cello arouse course. Of this I, as a devotee of this violin teaching. Too many teachers give together and arranged in logical and pro¬ of this exercise is the help it gives to¬ gressive order. Proceeding in this manner, Concerto was not a great success at the the enthusiasm of the public even more glorious instrument, am heartily glad. their patrons only a certain number of wards playing trills in good tune, since each subject is treated exhaustively in a first performance in London; Dvorak than when sung by the best singer! The The dignity of the ’cello is its strong¬ hours of instruction for a certain number separate part. The entire literature of conducted it himself; but the ’cellist, how¬ same is true of many a piano piece, which, hold. the intervals of the scales are, or ought Herman Sandby. cf dollars, and let it go at that. They educational piano music has been ran¬ ever, was not up to the mark. I am sure when adapted for the ’cello, becomes so to be, familiar to the student after the There is no doubt that the ’cello is give no pupils’ recitals, have no pupils’ sacked in order to select the best possible Dvorak never heard has concerto played effective that pianists stop playing it, be¬ Let us examine the ’cello a little. It first year of study at least. As ability to waiting for great 'cellists; not senti¬ orchestra, never gather their pupils to¬ studies adapted to each of the classifica¬ the way it is played now. For if he had, cause they cannot vie with the ’cello in has a range of about five octaves; as a play the exercise smoothly and evenly mental mediocrities who play with the >e. Vole*. Organ, Violin, it gether for a social hour of music and, in tions. Each classification is published as he never could have said that he was expressiveness. I would compete with singing instrument, it has four different sentimental violin tremulos! There is improves, the speed can be increased, fact, never see.their pupils except during a separate part. sorry he wrote it. any pianist in expressing The Swan, by registers—bass, baritone, or tenor, con¬ too much of that on the ’cello. There are and two or four groups, or more, can Arnold, PLrocUwr^ the lesson hour. Such a course is a great A similar case of a great concerto that Palmgren! And as for the Sketches tralto and soprano. A great player can too few who play the Dvorak concerto be taken in one bow. It is better to was not a success, when first played, is mistake from a business point of view, Part /-LEFT HAND TECHNIC From the Land of the Thousand Lakes, produce perfection of sound in every as it should be played. When it is play this exercise without watching the Part 2-RIGHT HAND TECHNIC the Tschaikowski Violin Concerto. The LVID Concert Planlit Teacher. and is also a loss of opportunity of by Sibelius, they brought an ovation when range, and without conceit feel himself played as well and as often as the great Part d—HANDS TOGETHER composer was quite in despair over it,' Ioron A Healy Building. Chicago printed music, as the mind can be bet¬ building up the interest and enthusiasm I gave them for ’cello. What instru¬ to be the wondfer singer. As for the violin concerts are. Dvorak will went Part 4—ARPEGGIOS and could hardly get anyone to play it. ter concentrated on playing the passages of the pupils of the class for their work. ment could sing out the sustained double- mere technic, a first-class ’cellist to-day to come to life again, so as to contra¬ Part 5-DOUBLE NOTES The critics also ran it down. Now it is evenly, and in getting the intervals in Arousing interest in violin playing is the* Part 6—OCTAVES and CHORDS stops of the Solitude, or give the quaint does as stunning feats in double-stop¬ dict his own words, if these really have one of the great gems of violin repertoire! good tune. This exercise is a. great one sure way of holding' pupils and get¬ Part 7 THE TRILL picturesqueness of the Pastoral as the ping as the violinist. The double-stops been quoted without misunderstanding. Coming back to the ’cello as a solo in¬ ’cello does? Many musicians have re¬ time saver, for we, as it were, kill three ting more. Pupils and .their parents and Part S—VARIOUS DIFFICULTIES on the ’cello are far richer and more No propaganda in the world is ever go¬ strument, Dvorak, according to Mme. Va- marked to me that it was as if the ’cello Mtiwm p«ast birds with one stone while doing it, for satisfying than on the violin ; the large ing to muzzle the ’cello as a solo instru¬ 55 88 friends appreciate advantages which are jackova-Wetche, is supposed to have said had every quality of sound, reed, string body gives a resonance which in the | SCHOOL OF MU8IC it develops exact, even fingering, smooth, .offered to them, to hear violin music, or ment. Its day is here! ra Oaborne Baed. Director COLUMBIA” singing bowing, and good intonation. to hear lectures or papers about violin¬ One advantage is that the student is more ACADEMY Of MUSIC ists and violin playing. Social hours The Accurate Study of the Trill liable to play the exercise in tune than an or this kind establish a class on a A violin student writes: “I am writ¬ graces of violin playing, and the violin dahni-petersen ordinary trill exercise, because of his duces the upper notes must fall on the amount of preliminary hard practice of friendly basis and convey the idea that ing you for advice in performing and student should make every exertion to string with blows sufficiently strong to familiarity with the intervals of the the teacher is alive to the interests of his studying the trill. Should it be pro¬ finger exercises, at first slow, and then scale. I have used this manner of prac¬ master it perfectly. In the first place, produce a clear tone; fifth, the bowing pupils and their progress. duced the same way as ordinary finger¬ it should be understood that a good trill gradually taken quicker until the neces¬ DETROIT ticing preliminary trill passages in my must be steady and elastic, so as to pro¬ sary speed for the trill is reached. If the teacher is accustomed to play ing or some other way? I can produce is only possible when the performer pos¬ duce a fine singing tone, without which own personal teaching, with the most ex¬ a very rapid trill with the third and sesses technic of a high order. Badly cellent results. The scales in all keys, in public himself he would find it wise the trill will lose much of its effect. Easy for Some fourth fingers by a nervous movement done, it is of little effect, and entirely major and minor, are used, and the ex¬ to give an informal recital of violin Mr of the fingers falling from the third misses its purpose. The elements of a It is undeniable that certain violin ercise is also an admirable one for be¬ music every month or so at his studio, joint. But this trill cannot be con¬ good trill are these: First, it must be students learn the trill and all sorts of MARLOWE coming familiar with the various scales, to which he could invite his pupils and Many students imagine that there i trolled, nor is it very distinct. I am performed at sufficient speed, otherwise velocity passages much more readily than their friends. Two or three phonograph , ?or f°rtY Years some trick involved in producing th luUtate of Made and Dramatic Art. as it is for the trill. VV.V \ . Fashion has put her wondering if. by constant practice along it is no trill at all; second, the movement others, just as certain singers seem easily recitals at the studio in the course of a trill, some royal road or short cut t .' > stamP °f approval on these lines, it will finally come out crisp of the finger must be perfectly even, to acquire the trill and all sorts of pas¬ WESTERN Trilling in Tune learning it. In this they are mistakei season would also prove enjoyable to the and brilliant. Upon the other hand, and not spasmodic and irregular: third, sages requiring great agility, while 7frpQi77a7is The action of the fingers in performin When trill passages are met with in students. The leading phonograph com¬ c when trilling, as in ordinary fingering, both the upper and lower notes of the others, with the same training and the the trill is in no respect different froi exercises and pieces, the student must panies now offer a vast number of vio¬ \CE POWDER, I cannot get it faster than M.M.-92, trill must be in exact tune; fourth, the same amount of practice, seem unable that employed m playing ordinary pas note carefully whether the note to* be lin records, played by the world’s great¬ All tints 50 cents (double quan- eight notes to the beat. If possible for finger which remains stationary on the BRYANT! sages. A good trill is the result of su! to do so. Such singers we call colora¬ Degree* Conferred'. Durham. N. trilled is a half or a whole step above est violinists. If the violin teacher had Jana for*■ ■ c°un'j^''**nd you to give me any helpful advice on lower note of the trill must keep the fiment practice in the right manne tura singers. The difference no doubt the principal note. No mistake is more no phonograph of his own. he could eas¬ The Freeman Perfume Co. the subject, I would appreciate it.” string firmly pressed to the fingerboard Many students try to jump to its pe, lies in the co-ordination between the Edmon Morris. Dean frequent when trills are produced in sing¬ ily borrow one, and also many interest¬ Dept. 86 Cincinnsti. O. The trill is one of the most beautiful at all times, while the finger which pro¬ brain and nervous system of the per¬ ®WEC0LIEGE formance without having done the gres ing or in violin playing, than to make ing violin records. Please mention THE ETUDE when addressing former, which permits response to the OUr advertisers • MAY 1919 Page 323 TEE f0 ETUDE Page 322 MAY 1919 Missed Lesspns As the Bible says of the poor, the lessons caused by accidents, cases of se¬ missed-lesson problem is always ‘‘with vere illness and other unavoidable causes. Question and Answer Department us." There are very few violin teachers It is probable that there are very few “The Efficiency Idea” who do not loSfe a considerable portion of private teachers, or even schools of THE ETUDE is pleased to announce that this important Department will ?Free music, who are able to eliminate all loss By WINIFRED STONE their earnings through the missed lesson. iatAlet be conducted by the well-known French-American Musician Trade Mark Reg. , tftttii W ’ 1 ’ * 1 People are often thoughtless when it from missed lessons; but the loss can be comes to dealing.with musical instruction. reduced to a minimum, if the teacher will A Wonderful New Short Cut For ARTHUR DE GUICHARD 1 nal They are too apt to think of the music but bring his view of the matter politely lead your full name and address. No questions will be answered when this has gun (fears of insmi mem makmj to his patrons, either verbally or by means teacher in the same way as they think of The Piano Student or a chosen nom de plume will be printed. the photographer, the florist or the hard¬ of a circular. One of the most success¬ On1! miestions short and to the point. ful violin teachers in a city of 125,000, ir Makei°,aregarding particular pieces, metronomic markings, etc., not likely to be of interest Week ware dealer, whom they can patronize (Endorsed by CHARLES WAKEFIELD CADM AN, e 0“*,“°c“et number of ETUDE readers will not be considered. Play the Middle West, has his patrons sign the nt A nitric an am four) choice o^morethM^.O^instniments^ for a^weeVstriaHa or not as they wish. What they should 10 „ rehut are the distinguishing characteris- Q. la there any difference in the meaning do is to think of the lessons which they following circular when they first ar¬ V- v„n,ioi Are there many different of the following terms: Itallentando, Ritenuto __ does not^OTt^oa0^penny. Don;t miss this big offer. range for lessons, and he has found great Astonishingly simple, you will wonder hoiv if has been overlooked for (the English lexicographer, D. Dunstan, ' have engaged as so many tickets to a * . Th„ distinguishing characteristics of insists that this term means "immediately theatrical performance, where, if they benefit to his business through its us so long, in the face of a world-wide difficulty. ,,A'5o T The^flrs^jpart to,, no, slower/' Ritard f-M. R. Convenient Monthly Payments failed to use the tickets, they would lose M.- This book solves the worst problem of teacher and student— A. Itallentando means slower and slower ; Mate, but reappears accord Ritenuto, held back, slower than the pre¬ the price paid for them. Violin School Tells why so few read music well at sight— the end of the first period, L ceding ; IUtarda ndo, going slower—hut not \ nearly two centurie*s. Every known musical instrument, sold to you at direct- ter the modulation of the second ^fg>m-the:manufacturer’s ^grice. ^ We’ve supplied U. S. ^ _ ' The teacher’s time is his stock-in-trade, Desiring to put my teaching-on a more Why your pupil loses interest and fails to progress, and gives remedy— making th“*e "times In all. (X. B.—Apropos to a recent query in The find anyone who engages that time should systematic business basis, so as to give no Contains one lesson based on the Efficiency Principle that will revolu¬ su t I', ^eT?‘fcS!''4.'One point' ~ -. Send the Coupon / pay for it, even if he fails to keep the one pupil undue advantage over another, tionize first years of study, save years of weary plodding, and enable keyboard having tuning forks in the place of Just put your name and a°oressonjtne^coupon ^ s. Wabash Avenue,^Chicago, jii. appointment. Anyone who engaged a £ is that the chief subject reappears sev- strings, the writer has had his notice di¬ and thus be fair to all, I have made the pupil and teacher to show wonderful results from the very beginning. rai times and that several secondary sub- rected to such an instrument for which it is merchant to set aside for him goods of following rule, which will be strictly tots alternate with it. 5. The Rondo is claimed that the tone and pitch are unaffected Mmagiftookfreeand p^p^id.’s^ndraopOTSow*! B * ,bo«0r?w'TO;c*a“°oaeriirect from tho Enables pupil of normal intelligence to learn to read all the notes in a 0f a joyous nature, lending itself to by extremes of climate. It has a harp-like a perishable nature and failed to call for enforced : St variety of touch and rhythm to express thern, so that the goods were a clear loss, few hours easily. (This seems impossible,—every pupil to whom the quality of sound. As its compasB is only NO LESSONS WILL BE EXCUSED Sts eood humor. .... from three and a half to five octaves, it would naturally expect to pay for them, author has given this lesson has done so in two hours or less.) He can then ' lie Rondo is generally the last movement could not ff>e used for modern pianoforte EXCEPT ON ACCOUNT OF ILL¬ in sonatas. There arc three Rondo forms, but with music lessons it is different. music ; that is, from the tijne of Beethoven NESS. begin work on worth-while music, instead of the monotonous variations differing from each other by the number of till now. But it would seem to be well How often does a music teacher receive ndnptcd to accompaniments and to serve as I am always willing to accommodate on a few treble notes, which kill the interest which is the greatest factor StTett TLX a telephone call from a pupil half an hour a traveling musical companion. The writer a pupil as regards a change of time, etc., in successful effort. I). 1 hare a thanks his correspondents.) before his appointment, that he cannot if possible, but lessons missed must be The foundation every future student must have.—without it he cannot take the lesion, and to “give the time to iflirancAs nutic study. Iter intonation Q. What is the best thing for me to do made up or paid for. If not possible to possibly progress as he should. An inspiration to the adult student. ,eem to be all right : pat is, she ran siny to overcome nervousness, uhen playing or someone else.” mid ham on the key, but still is "a little hard singing to ann oneT Can it be overcomet— make up the following lesson, then longer Does not conflict with any good method, but makes it fully effective. Thariny" 1 hate recently heard that the II. A., Anthony, R. f. Chas. Wakefield Cadman Of course, the ideal solution of the time will be given each succeeding lesson mat French authority on acoustics, Joseph No “devices” to multiply mental processes—merely Efficiency applied. Saweur, teal also deaf in his youth and did A. Nervousness often indicates a weak or problem would be to put the payment for until the thirty minutes are made up. an overstrung state of the nerves, but it may A COMPOSER OF WHOM AMERICA IS PROUD lessons on the same basis as tuition in he caused (and is so frequently) by a weak Lack of practice will not be accepted as The Short Cut We Have All Needed! Then »««t’be a number of similar rases to state of nuyslcal health. For these, consult schools and colleges, the payment of a he one l mention, and there mau he many an excuse for missing a lesson, as a pupil your doctor. If, however, you are otherwise Note the significance of the following letter extracts: JurfoiM readers of The Eti dk who would strong nnd healthy, your nervousness arises terra in advance, ending at a certain date, ABSENT' can always profit by the time spent with “Dear Miss Stone—.If you can do all you claim for this like adrirc upon the matter about which t from vour mental attitude. Perhaps, you the purchaser of the term losing all les¬ the teacher during the lesson period. hare tariff™.—Yoi'SO TBACHKH. think too much of yourself and not enough sons not taken before that date. This system, you will be revolutionizing the first years of Study, and will 1 The question is one of great Interest; of your music: or, you arc overanxious to A pupil arranges for a certain amount give a great impetus to the cause of Music. hat its application, from a musical point of plan is followed with more or less suc¬ please; or, vou fear the criticisms of the of time each week, and to fill my time, Charles Wakefield Cadman. Feb. 23rd, 1919.” view, is limited by natural musical endow¬ press or of'a competitor; or, a score of cess by the conservatories and colleges pf ments and proclivity of the person affected. things which are really outside the sphere and to be fair to all, and thus insure “.After seeing your method demonstrated during the past •It is true that Joseph Sntiveur (10153- music in the larger citifcs, but private of your music and Its interpretation. results with the pupil, regularity and week or two with students who have never taken lessons before, I am 1116), who was dumb until the age of seven I am aware that it Is rather a hard thing teachers often find it difficult to conduct to tell you, but you know the dictum “we punctuality must be observed. convinced that the theories you have put forth in your most interest¬ their business in that manner. Many must be cruel to be kind.” The nervousness The signature of the pupil or parent ing book are sound, and worthy of the utmost consideration of all of singers nnd players, who arc otherwise mhsic students wish to take only a few normal, is caused by i. self-consciousness; ii. signifies an acceptance and a willingness progressive musicians and teachers. You have undoubtedly con¬ lessons, to pay for each lesson as they vinced me that the notes on the piano as related to the printed page .- study to abide by this rule. 1 It would seem that the Young Teacher's concentration : iv. by ,f interpre- take it, or have not the cash to pay for a can be easily learned without the old-fashioned drudgery which so pupil Is fur from being a hopeless case, bc- tation. The effective way to combat (Signed). tause she is only "a little liurd of bearing, perfect preparation, in a A Selected List term in advance. If the teacher gives often drives well-meaning pupils to distraction. (pupil, parent or guardian.) and, indeed, since she can sing and^hum "on •ntlous endeavor to deliver the com- them the term on credit, they frequently What has amazed me more than anything else is the ease and facil¬ tsage, in losing one's self ♦« the. OF Since securing these signed agreements ity with which the little pupils (and bigger ones) have mastered the to sins it to tune. The only questions to be the absolute reliance upon your discontinue the lessons before the term - verdict. to pay for missed lessons, this teacher notes on the leger lines of both staves . . . You deal with the problem Does she desire ardently to become profi¬ ____mind and emo- is ended, or else miss lessons, and when in a very clever and convincing fashion .... Very sincerely, Be sincere, throw all Cadman’s Songs has had very little difficulty in securing a cient? If the answers arc In the affirmative, tlon IntoIuw thev„„ ,-j$*_j rotation, and say to your- the term is ended they object strenuously regular attendance of his pupils, and he Charles Wakefield Cadman, March 15th, 1919.” the! teaching of such a pupil shouldsi- be beforc beginning; "My teacher is the . in sailing. The writer knew a musician host musician here; he knows more than any to. paying for the lessons which were considers that the above circular is a suc¬ who could not hear sixiken words, but whose 6558 In the Moon of Falling Leaves.40 9561 Lilacs—High Voice. 40 missed. Even the larger music schools cessful solution of the missed lesson “The Efficiency Idea” by Winifred Stone (Cloth, $2.10, postpaid; often find it policy to allow for missed 4987 Lilacs—Low Voice.40 problem. Lilacs is a delightful little number. Winifred Stone, No. 170 So. Virgil Ave., Los Angeles, Calif, onsotins of pitch, the study of music Judiciously ' nervou8 artists nnd always to their •riledEg on■ ..‘-bly,will probably, in time.tl— *-*“Improve KJtlM advantage, provided they were s n- 4492 Little While, A.35 er sense of hearing inn general. ^' conscientious and concentrated all theli 12368 My Heart.. ■ ..60 0. ITers there any other descend<. Ld upon their work. 6867 Rose of Cherokee, The.25 Hamel del Popolo (larch, other than his „ ,, „ „ote is sharp r fat, f- 4970 Sailor’s Life.• • • • ■ ■ -30 daughters lltilibran and Pauline Yiardot Oar- Q. In a turn, if A real man’s song. The song ranges from low G to C above middle C. Violin Questions Answered do, and hU son It. P. R. (larcia, who achieved you sharp or flat the following notes of the fume as teachers or singers t That is, were same pitch in that measurer ar(J 4969 Shrine, The. 25 there any others to carry on Jhr /owe of A medium voice gem of Cadman’s that is not as well known as it Wlpand its "traditions'—S.. N.N.'T. T. A- Y®s'tlf„nj1 the* accidental he not cor- I . MacL.—Having a good knowledge of the good violinist and have him test it and Presser Victrola Service Manuel del Popolo Vicente Garcia (son written out anu ? chromatic turn deserves to be. piano, and starting the violin at eighteen 12577 To-morrow—High Voice.30 years of age, while you might not become a out what gauge for each of the strings virtuoso or even develop enough technic to d give the best results. 2. It is probable 12369 To-morrow—Low Voice.30 become a professional violinist, you could no the use of a steel E wears the hair of 4732 To What May Love be Likened.40 donbt acquire the ability to play violin music -rapidly than in the case of gut —F-.gr L“fri?matlc, eunless«n^- e ~s of moderate difficulty. The musical founda¬ £ strings. It is not known to what Victrolas, Cheney 4958 When Love Smiles on Me.30 any, the u > of s The' si 6866 Where You Are.40 tion you have obtained through the study of "*en«y injures the violin. Personally, Manuel (1805-1006). had for the piano would greatly facilitate your pro¬ it thinir ft it « i „i„ and Brunswick e-cis. ms wile, Eugenie, who sang at the gress on the violin. As to how far you could Opera-Coraique. Paris; Julius Stockhausen, mmns# advance or how rapidly, it would be impossi- i»26-1906, a renowned tenor and teacher, and ANY OF THE ABOVE NUMBERS GLADLY SENT FOR EXAMINATION Mn tn „i„„ „„ sjnce SQ muc]j d(?IK’IldS Phonographs we noted Jenny Lind, 1820-1887, who, dur a studen dollars. They u__ !$s tte last three or four vears of her life, THEODORE PRESSER CO., PHILADELPHIA, PA. playii „ 1 musical taught singing at the Koval College of Music, sh0Uhorribly discordant '—Sensitive. telligenc The bes' settle the ques- they thought the use of the s wndon (England), but the writer is ignorant -would be tc mt a violin and the tone permanently. »■ the names of any of her pupils who may take lessons fro! e, conscientious we achieved success. violin teacher. few lessons he K lb T Sevcik is one of the world's The daughter, Michelle Pauline Viardot r life,” musi- h‘l'st ' olln teachers, and his studies and We Garcia). 1821-1010. had for pupils her technical works are enjoying an ever-increas¬ VICTOR RECORDS daughter, Louise Pauline Ildritte Viardot, ing vogue. A partial list of the famous Mo was teacher of singing at St. Petersburg, punils he_ has produced is as follows: Ku- (Petrograd). then at Frankfort. She was liv- CHILD’S OWN BOOK 1F GREAT MUSICIANS R. R.—Your idea of making a scrap hook helik, Kocian, Marie Hall, Ondricek, SametinI, ™8,nntil recently in Berlin, where she taught of the Violin Department of The Etdde is fffiartres, Marjorie Hayward. Zach- f,™ composed. Two other daughters of A charming series of useful books for little folks a good one. In time you will have a book arewitsch, Ralph Wetmore, and many others. Manie Viardot are also singers nnd teach silently, to,, Deg,ln,.i!,'Tthe“i6th"notes ; othe containing quite a storehouse of information Sent to any part of the Msri smgmK; Madame Cbnmerot Viardot and pressed while play ing t fingers ( By THOMAS TAPPER about the violin and how to play it. °,ne purchasing a Stradi- United States by parcels Marianne Viardot. Madame Mnlibran did Merely ke.q. thejst 3d ana ocu^s ^ 1 ™ch- the keys indicated, the latt C. M.—Violin strings are graded in thick¬ the if ? thtge sum, would require inclined to recommend^ __ BACH—HANDEL—SCHUBERT—SCHUMANN — MOZART-MENDELSSOHN-CHOPIN the strongest kind of a guarantee as to its pest free of cost. ness according to the pitch to which thev are being genuine. I doubt if there are more method. At f1 y ™' rather than musi- BEETHOVEN—HAYDN and WAGNER to lie tuned: thus the 10 is the thinnest be¬ half dozen experts in the United be regarded ns practiced on a cause it has to be tuned to such a high pitch, cal. and might as wei tab*le.top. and the other strings in proportion. How¬ ') state anthori- Aumh kpvboard or ® These biographical “play-study” books are designed for very young children at that ever, each of the strings of the vtolin can age when they love to cut out pictures. There are no illustrations in the books, but be procured in slightly varying thicknesses. Rome violins sound better with slightly Write for Catalogues blank spaces are left for illustrations. The accompanying pictures are printed on a thicker and some with slightly thinner large sheet to be cut out and pasted in the book. After writing in certain questions strings. The best size of any violin can only ahec“stomer PforS an® InVt^ WaS of’o1>tai"inS 1; he ascertained by experiments conducted by fc*.M,Co«,A Ut‘Cr Fr°m Mr' on expert violinist. After the best size for 10,000, e l> string has been learned b.v experiment, «JSSjtae Stradivarius, asmauyof ‘th? fines' he shre c— e which c .THEODORE PRESSER COMPANY Single Biographies, 15 cents each you may feel quite sure that I appreciate it ™ »e. II^too ^ a few vm much l°efSsbthan that “sum. be/3 inches in length and two security holders, holding I per cent, or more NEW WORKS. On Sale Settlements an excellent volume of modern church S. This work is not one for beginners, small pins each 1 inch long, gold filled. of total amount of bonds, mortgages, or other character will no doubt exceed expecta¬ Our special introductory price is but 30 securities: music, will be able to procure one by tak¬ L anneals only to mature pianists. cents, postpaid. Hanger Sets. Something new; collap¬ Some of our patrons have neglected to tions so send for your copy early. Ten ing advantage of our special offer. Advance of Publication Offers— either return the unused or unsold selec¬ Sur special advance price is but 50 cents sible coat and Skirt hanger; comes folded Special cents in stamps procures a copy. Profes¬ Our special introductory price is but THEO. PRESSER CO. , tions sent them last season On Sale, or sionals who send their card or letterhead a copy, postpaid. in small, compact case. Can be carried (Signed) Theo. Presseb, President. May,A/To.r 11919.01 q price $1.00 a volume, postpaid. Pedal Book in hand-bag. Indispensable on vacation arrange with us to keep them until the close can obtain professional copies free as well By Johann M. Blose Sworn and subscribed before me this 18th Album of American Composers.J .50 of the present season in June or July. as band or orchestra arrangements when David Bispham’s day of March, 1919. To everyone who has not yet made settle¬ This work will still remain on special Lingerie Sets. Consist of a pair of lin¬ [seal] (Signed) Jas. D. WlNCHELL. Brahms' Hungarian Dances, Four Hands, requested. Brahms’ Hungarian Dances gerie clasps and two dainty oval-shaped Vol. 1. 40 ment for last season’s supplies, we want to Four Hands. I Volume ^Jasttohave*«i artist like Bispham pick offer during the present month. It is now (Mv commission expires January 21, urge that they write us about it at once. ant a list of the best songs means a great going through a second revision, and there pins. Useful and attractive. 1921.) Difficult Four-Hand Album.50 An arrangement can be made to keep the American Recital Series for the We have concluded to publish an edition deal to the aspiring student. To have him are some new features that we concluded FOR TWO SUBSCRIPTIONS David Bispham’s Album of Songs.60 selections still on hand until the present of this interesting work for piano' four arrange them in programs, edit them, re¬ to introduce before sending the book to Concert Album. F. Liszt. Organ (in Sheet Music Form) hands. It will be brought out in our usual vise the translations, provide copious Finger Gymnastics, Philipp . .60 season’s close, if taken up with us now. A the printer. This will delay the Issuing of Nocturnes. Chopin. payment approximately covering the value Edited by Edwin H. Lemare style in the Presser Collection. This work study notes in many cases, makes the the work for several months—so there is Beginners’ Book for the Pianoforte. L’Art du Clavier, Lack.50 of the ON SALE selections used or sold is too well known to be commented upon coming volume one that singing teachers Special Notices We are again calling attention this still an opportunity of procuring the book Theo. Presser. Little Tunes, by F. B. De Leone.25 wiE meet the requirements. here. These dances were originally ar¬ and students will surely welcome with at a reduced rate. Silver Thimble. Sterling silver, heavy month to the fact that we are about to ranged for four hands, and they are best great delight. While we are getting it If, whenever patrons find it inconvenient This is not a theoretical work, hut a and beautifully chased. Any size. EEi ANNOUNCEMENTS Pedal Book, Blose.B0 issue, in regular sheet music form, a scries suited for that form; in fact,"the four- ready, vou mav order copies at 50 cents to promptly remit on receipt of a state¬ practical work. It teaches the use of the Manicure Brush. Fine horsehair bris¬ ment or letter, they will send us a card of Organ Pieces by prominent American hand arrangement is more popular than each. Mr. Bispham is working as rapidly Spaulding Album for the Pianoforte.... .26 pedal through exercises and pieces. It is tles, twisted in wire. Can’t come out. advising us WHEN we may expect pay¬ Composers, all to be edited by the well- the two-hand arrangement. Tnesc melo¬ upon it as his busy life as a concert artist I WANTED and FOR SALE j Sunny Day Songs, Op. 27, by H. L. ment, they will always find us entirely known concert organist and composer, dies are the National folk songs of Hun¬ and teacher will permit. a book for beginners, and it will pay the FOR THREE SUBSCRIPTIONS Cramm .80 willing to grant any reasonable extension Mr. Edwin H. Lemare. gary, arranged by Brahms; they are full average pupil to study the work, as the • Seven Memory Songs. Tod B. Gallo- Verdf, Child’s Own Book, by Tapper... .12 of time. To neglect a letter sometimes Two of the pieces are already In press of character and are unique in every way Child’s Own Book of greutest fault that we have found among and will be ready shortly. These arc EXPERIENCED piano and harmony leads to misunderstanding, confusion and We know of no more interesting four-hand Great Musicians: Verdi piano players is the use of the pedal. Choir and Chorus Conducting. F. W. teacher, conservatory graduate, desires posi¬ additional correspondence, which can very Douree in D, by Wallace A. Sabin, and music than just this volume. Teachers welcome additions to this set Our special price in advance of publica¬ Wodell. tion in college or conservatory. Address Graduation and easily lie avoided by acting on the above An Old Dance, by Frank H. Colby. We W’e will offer our usual low price in ad¬ of stories of the lives of the great com¬ tion is 50 cents per copy, postpaid. Standard History of Music. J. F. M. D. M„ Etude. Commencement Necessities suggestion. predict a great success for this series of vance of publication, and the special in¬ posers, told in child language and accom¬ Cooke. pieces, and we look for a large representa¬ troductory price for this volume will be panied by a sheet of pictures ready to cut Your Own Subscription FREE for Music, Awards and Gifts We are always striving to further merit tion among American composers for the Difficult Four-Hand Album the courtesies of our patrons. We ask as 40 cents a copy, postpaid. out and paste in the places indicated in three others at full price. '..in. We are continuing, during the current Cake Knife. Sterling Silver Handle; A glance at page 266 of this issue will a special favor that we be notified at once each little volume. It Is simply the FOR SALE—Jacobus Stainer violin. 1661. greatly aid those laden with the respon¬ if there is ever dissatisfaction with any “something to do” idea, joined to very month, the special introductory offer on latest thread design. Ecautifully made and possessing a tone of sibility of commencement or graduation Summer Selections this new volume of piano duets. These Lady’s Silk Hand Bag. In black, navy tare loveliness. Remarkable for carrying branch of our service. By keeping silent Foreign Postcards charming, practical biographies. The power. Its brilliancy makes it most ef¬ exercises. Our “On Sale Plan” will allow when there is cause for complaint, patrons It has been our custom to supply teach¬ boob already out are Bach, Beethoven, duets are intended for players who are blue and taupe. fective In concert work. Fully guaranteed. the obtaining of any of the music numbers are really doing us an injustice, for it will It has been impossible, as announced a ers with new music that is used during the Chopin, Wagner, Handel, Haydn, Men¬ fairly well advanced. The book will con¬ Reasons for^dlsjiosing, death of —""" 'A suggested for examination. If you are dress Box 4: S. Dakota. help to pave the way for an indefinite number of times, for us to obtain foreign summer months. There arc quite a num¬ delssohn, Mozart, Schumann, Schubert, tain such numbers as: “Save Money” Price.® doubtful as to specifying which pieces you musical publications, published in Europe, business relationship which will be mutu¬ ber of teachers who nrc even busier and mav be had, postpaid, for 18 cents Hungarian Dance fn A, by Brahms; On Magazines FOR SALE—“Modern Music and Musi¬ woui,d like to examine, just address a note and it also has not been possible for us each. The new volume on Verdi may be cians.” Good, all grades, $15.00. L. Rea, ally pleasant and profitable if we are during the summer season than during the Slavic Dance in C, by Dvorak; Through advai. ageous arrangements to the Theodore Presser Company, re¬ promptly notified of any grievance. to get the very popular and very much winter, and to this class our arrangement secured bv the advance payment of 12 Rochester, Ind. questing a selection of music for com¬ Norwegian Bridal Procession, by Grieg; made with the publishers of the best mag¬ To the great number of our patrons who desired foreign portrait postcards. Never¬ is very welcome. We will have to have the cents, with the understanding that It will mencement. Mention the class desired theless, we find that we have a great many be forwarded to you the moment it Is Hungary, by Moszkowski; azines, The Etude is able to offer its have ON SALE packages sent at the be¬ name and address of the teachers in order readers combinations of the leading mag¬ (piano solo and ensemble, songs, choruses, on hand, the sale of which Has fallen off to supply these packages. We will send and many other numbers of equal merit. etc.) when writing. ginning of the season, and for which settle¬ published. azines, together with The Etude, at real because we have not the variety that we out at least two of these packages during This will’prove to be one of the best duet As for the Novelties and awards sug¬ ment is not expected until the close of bargain prices. Below a few of these their teaching season, we suggest a sup¬ usually carry. The price is 50 cents per the summer, about July and August, and Spaulding Album albums of its kind ever published. FOR SALE—Genuine Antonius Stradi- gested, we might state that this stock that dozen, and we would be glad to assort The special introductory price in ad¬ clubs are listed; there are hundreds more varius Violin. Cremonenfis Paclebat Anno 17. we carry as an accommodation for our plementary selection at this time to freshen any teachers wishing them will kindly send for the Pianoforte shown in The Etude Magazine Guide. ’Antiques, 217 E. Vine Street, Murfreesboro, these cards at the above rate. They are at vance of publication is 50 cents, postpaid. patrons has aided many a puzzled one to up their present stock on hand. in their name and address and we will see By George L. Spaulding Your copy will be sent free on request, the present time worth much more than that their music is regularly sent to them. obtain just the right thing to put the this price, and in addition wiU very' soon The announcement of this new album pleasing touch in the program for the par¬ be unobtainable. In the alphabet from has met with a very enthusiastic response L’Art du Clavier Mail Order * the part of admirers of Mr. Spaulding's THE ETUDE. \$1.75 ticipants. only A to H, we have sixty-eight subjects. Album of By Theodore Lack People's Popular Monthly. j Save 25c Wm. of ability? This is'one of the h_, Music Supplies We mention the following: Abt, d’Albert, music. It will be similar in style and portunities In the entire conntry for a young American Composers scope to our popular Engelmann Album, This splendid new teaching work, by a man who is a good pianist and also a good New and Important The simplicity of getting one’s music de Beriot, Bizet, Bridge, Bruch, Bull, for the Piano popular modern French composer, is just THE ETUDE. *1.80 business man. Bargain for a quick sale. Cowen, Cui, Eames, Eddy, Franz, Gade, containing some of Mr. Spaulding's best \ Compositions in Sheet Form supplies promptly and economically by pieces, lying especially in tne easy and in¬ about going to press. The book consists Woman’s World. ( Save 45c mail has developed a large and steadily Gadski, Garden, Halevy, Halle, Henschel. This new collection of Piano pieces is Special attention is directed to the list very nearly ready, but the special intro¬ termediate grades. of a hundred (100) special exercises in of New Sheet Music Publications of the increasing patronage for establishments The pieces are all of melodious char¬ Mechanics for the piano of medium dif¬ THE ET^DE. . I *2.25 specializing in this line, particularly those ductory offer will lie continued during the Theodore Presser Company appearing New Edition current month. In order to give some idea acter, drawing-room pieces of the best ficulty. The exercises are short, but thor¬ To-day’s Housewife. i Save 50c _ _ _ _ ssful con- each month in The Etude. Among these making a feature of music for teaching class. servatory or with a good city with an purposes, and the teacher, wherever lo¬ of the excellence of this volume, we give a oughly musical in character, not merely opening for a live musician. Wide experience new publications are listed many excel¬ Grove Dictionary partial list of the contents as follows: The special introductory price in ad¬ THE ETUDE. 1*2.25 cated, is by this means brought into direct dry repetitions. All conventional teaching McCall’s Magazine. I Save 50c as a choirmaster, conductor, baritone soloist, lent and important compositions by well- Making a university musical education Caprice Characteristic, by Homer N. vance of publication is 25 cents, postpaid. requirements are thoroughly covered, in¬ teacher of singing, lecturer and director of known composers. Recently we have pub¬ touch with all the conveniences of a fully community music. Can furnish references equipped music store. into five volumes, and then making it so Bartlett. cluding scales, arpeggios, holding notes, from leading musicians. Is open to a first- lished an excellent song, particularly plain and simple that the ordinary music- Blandishment, by Charles Wakefield Advance of Publication THE ETUDE. 1*2.75 class college position. Address Musician, adapted to the present day. This number. Patrons of Theo. Presser Company doubled notes, repeated notes, cross hands, Modern Priscilla. f_Save 50c lover or teacher could find the wanted in¬ Cadman. Offers Withdrawn trills, embellishments, staccato, octave and Freedom’s Day, by Edwin H. Lemare, is everywhere testify to the advantages of formation at a few moments notice was purchasing music supplies by mail from Scottish Tone Pictures, by E. A. Mac- The following works have appeared THE ETUDE. I *8 00 splendid for the many celebrations being what Sir George Grove did when he made Doweil. ’ ’ People's Home Journal. , . ’ DIRECTOR wishing to ease up, seeks this company; not only are their orders from the press, and at the present moment These exercises may be used for daily held in honor of returning heroes. It is his great dictionary. Danse Rustique, by Wra. Mason. are being sent out to our patrons who have To-day’s Housewife. ’ Save 75c capable young man pianist-teacher (25-35 very effective as a solo, and at the same filled promptly, but also more cbmpletely study for a considerable period. __ —— *-0iiy successful The really worth-while people in music Triumphal March, by E. R. Kroeger. ordered copies in advance of publication, The special introductory price in ad¬ Chicar ‘ ' time is peculiarly adapted for unison sing¬ and on terms not obtainable from any are those who have done most of their THE ETUDE. 1*3.25 other music supply house equipped to Concert Polka, by A. W. Lansing, it is now possible for us to send these vance of publication is 50 cents, postpaid. ing such as by a large community chorus. study by themselves. That is, they have Concert Gavotte, by Newton E. Swift. works, or any other of our books and sheet Pictorial Review. ) Save 50c Three charming little compositions by fill miscellaneous orders. But perhaps known where to find the learning that pro¬ the most important particular by which This will be a splendid volume for either music on inspection to our patrons. R. Huntington Woodman are also worthy ficiency demands of the expert. recital or study purposes or for use in Birthday Jewels, by G. L. Spaulding, is Special Offer THE ETUDE. 1*3.50 of special mention. These piano composi¬ our business is distinguished is the high ....ino. vocal (English and German), fine he. Considered in this sense, the Grove Dic¬ club work. a birthday album containing a piece for For May Renewals Christian Herald. J Save 75c included, for $5,400. House alone worth tions are entitled Petite Serenade, Slum¬ educational value of the Presser publica¬ tionary is one of those things which the much more. Only $1,500 cash necessary. The special introductory price in ad¬ each month in the year, accompanied by a During the month of April The Etude ber Song and Legato Melody. They are tions and their comprehensive adaptation ambitious person must have, one of the Yearly minimum, 12-1,500. Reason, falling vance of publication is 50 cents, postpaid. elever verse. These compositions are, of will give readers their choice of any of the American Magazine...... 1 to one health. Address W 100, care Etude. about grades 2-3. The Master Melodies, to the need of students of all grades. indispensables. Woman’s Home Companion 1 address 1 Save$1.25 transcribed by Mr. Moszkowski, bid fair These publications may be had on trial, Wurse, suited for the very young; to lie following musical albums if 15 cents is Now that the very latest edition of this played or sung. They are primarily in¬ to exceed other arrangements of the class¬ subject to return after examination or work can be procured for $17.00, and by Little Tunes for Little People added to the price of a year’s subscription THE ETUDE ... i *4 50 ics. Each one is in separate sheet form. “On Sale” (no return or settlement to be By Francesco B. De Leone strumental piano numbers. The retail ($1.90 in the United States and $2.15 in ANNOUNCEMENTS the easy payment “three-dollars-a-month” Price is 50 cents. Canada) providing the renewal or the new Everybody’s { Address} . . . . . )Save$l.25 They are as follows: Theme and Varia¬ required until the close of the teaching plan, there is no excuse for not having it. tion from “Kreutzer Sonata”; Fragment season). This new work is now about ready, but subscription is sent us in April: You soon forget the money spent, but the the special offer will be continued during from “Emperor” Concerto; Minuet in For miscellaneous needs our general book remains, a permanent spring of musi¬ Piano Player’s Repertoire of Popular O, No. 2; Fragment from the Mendels¬ stock, representing practically every the current month. It consists of a set of ^ pieces of approved popularity; VIOLIN STRINGS cal education. Remember, the whole five a dozen or more studies, each of which has standard pieces that everyone wishes to Pieces. lessons. Dr. Wooler, Buffalo, N. V. sohn O. Min. Concerto; Lascia Ohio American and European publisher, may volumes are understandable and interest¬ Standard Brilliant Album. Used by the leading artists of the Philadelphia Orchestra Pianga, Handel; and Minuet from “Don be depended upon as a reliable source of a characteristic title, all of these being so P'ay and hear. Almost every standard Four-Hand Parlor Pieces. lolo and Orchestr^pUiyera wjivjjindorRtand good ing—not dull, pedantic, scientific theses. tuneful as to lie considered a real piece. UKULELES and flat-back mandolins our Juan,” Mozart. supply, and a trial order for any wanted composer, classic and modern, is repre- Selected Classics. 19 pieces for violin specialty; correspondence course of lessons $17.00 pays for the complete unabridged They cannot fail to interest the student All the above mentioned numbers are music or music book will bring quick and edition, with the latest corrections, each sente^. The following are some of the Wm. Buslap, 3731 on the market and immediately procurable. satisfactory results. We issue a number The Studies are graded and carry the stu¬ “umbers included: Butterfly, by Grieg; “"standard Vocalist. 50 songs, medium 750-page volume bound in handsome dent through ths keys, major and minor, It will pay to also consult the list on page of useful catalogs, any of which may be cherry-r#d cloth. We will send the com¬ jjcaad Waltz and Second 'Mazurka, by and lead up gradually to the Third Grade, rUdard; Romance, by Rubinstein; Scarf CORRESPONDENCE HARMONY_Mud 328, since" something by a favorite com¬ had on application, but all such requests plete set to any responsible person upon '°Readers are urged to take advantage ern method with new features. Elnsth- poser may be there brought to your should mention the kind or class of music but start in the Second Grade. “od Flatterer, by Chaminade; Sere- Study Plan, adaptable to student reoulre- receipt of the first monthly payment. Cir¬ The special introductorv price in ad¬ attention. in which the applicant is interested. cular giving details on request. !"a> by Moszkowski; Traumerei, by | THEO. PRESSER CO. - Philadelphia, -its.Garrmin Carl fmrnHoffman. Philo 33 PnW. Ashmead Place vance of publication is 25 "cents, postpaid. Straust; Prelude, by Rachmaninoff. The (S), Germantown, Pbila., Pa! "tail price of the volume is $1.00. j0 ETUDE MAY 1919 Page 829 Page -f28 MAY 1019 TTTE ETUDE

Summer ^Schools

issued by the Summer Schools THEODORE PRESSER COMPANY AN INSTITUTION OF NATIONAL PROMINENCE PIANO SOLO—Continued Accredited courses leading to Certificate, Diploma and Degrees in CHICAGO MUSICAL COLLEGE SPENSER, GEORGE Gr. / 1 BARTLETT, HOMER N. Expression MlffO/P Dancing BERGE, IRENEE WALLING, JOHN C. --53rd YEAR---- 16083 Over the Tyrolese M 16121 Good Morning.2 Languages Physical Culture WOODMAN, R. HUNTINGTON J1V11 (LJ BOHM, CARL 16249 Leg o Melody .'..2 Announces Engagement of “Guest Teachers 16182 Peti NORMAL COURSES in these subject* and PUBLIC SCHOOL MUSIC 16248 Slut 16154 LaBelle Allemande, Op. 327 N< Summer Session beginning June 23 16151 Shower of Cold. CRAMMOND, C. C. LEOPOLD AUER [PERCY GRAINGER 16107 An Autumn Evening. ARNOLD. DR. SAMUEL CHARLES W. CLARK ^ RICHARD CZERWONKY f.Wnnd(Second Y*av\Year) I (First Year) FONTAINE, OSCAR L. J. 16299 The Star Spangled Banner. . MME. JULIE RIVE-KING MME. LOUISE DOTTI MOSES BOGUSLAWSKI HERBERT MILLER 16189 On Land and Sea. FONTAINE, L. J. OSCAR DORMITORIES Master Violin Instructor in the World Most Brilliant of present day Virtuosi FORMAN, R. R. EDGAR NELSON EDGAR A. BRAZELTON 16049 Happiness. Entire faculty available during Summer Session GEIBEL, ADAM 16188 Momus. Academic credits given Summer students GRODZK!, BOLESLAUS Marche Dea Hen Weekly Recitals by faculty OSCAR SAENGER 16157 Valse Capritieuse, Op. 47... (Third Year) HERBERT WITHERSPOON 839 N. Dearborn Street, CHICAGO ■ World renowned Teacher of Voice (Second Year) GOTTSCHALK, LOUIS F. JUVENILE MILITARY 16225 Till I Come Back To You.3 Famous Singer and Teacher of Voice SUITE HAHN, REYNALDO , 16051 My Songs ol Love .4 (Mr. Grainger. Mr. Witherspoon and Mr. Saenger FIVE CHARACTERISTIC PIECES LEMARE, EDWIN H. COLUMBIA CLARENCE EDDY FOR THE PIANOFORTEj 16305 Freedom s Day. 3 " J SCHOOL OF ■■ l will conduct Repertoire and Teachers Classes in TERRY, ROBERT HUNTINCTON (First Year) Grade 3 16009 A Japanese Fantasy.3 Addition to giving private lessons.) By WILLIAM E. HAESCHE ROCKWELL, GEO. NOYES /MUSIC \ Well known Concert Organist and Teacher 16068 The Boys Are Marching... .50 16071 Longings.30 Music Festival NORTHWESTERN UNIVERSITY GYMNASIUM S UM M ER SCHOOL 6 Weeks, June 23 to August 2 SACRED VOCAL May 30, 31 and June 2, 4, 5, 1919 Piano. Theory, Voice. Violin SUMMER SESSION Pete* Christian Lutein Musical Director Public School Music Course ROCKWELL. GEO. NOYES East, Oberhoeee* Orchestral Conductor (SIX WEEKS) Osborne McConathv Associate Conductor 16265 The Wondroi Festival Chorul ol 600 Singert : Children’. Chorus of 1500 Voicoi : Entire Minneapolia Symphony Orchestra JUNE 30th to AUGUST 9th Soloists: Paul Althousc, Roac Lutigcr Gannon, ANDERSEN’S FAIRY Mabel Garri»n, Arthur Hackctt. Florence Hinkle. Clare Osborne Reed Gertrude H. Murdoch All the well known members of the faculty of 100 artist-teachers also will be present to give private instruction. John McCormack, Rosa Ponsclle, Cyrena Van Gor¬ Ludwig Becker Welter Spry TALES don, Reinald Werrenrath, Herbert Withe,poon. George Nel.on Holt Loi.be Si. John WttUmll Normal Trainirig1 Classes for Teachers of Piano, Voice, Violin, Dramatic Art and Opera. ROTHLEDER, E. G. Arthur Cranquiet Winifred Lamb SIX PIANOFORTE COMPOSITIONS 16180 Song Without Words Course Ticket. (Five Concert.) $10, $9. $6. $4 & $2.50 Helen B. Lawrence A. Cyril Graham Boas* $9IL Single Tickets. $3. $230. $2, $130. $1.50c Mary StrawnVernon France* Fro thing ham Grade 2% Wilhelm j Monteliua Erne it Toy By E. R. KROEGER ORGAN mail order. CARL D. KINSEY, Bualnecs M*n»jr*r RsrscsruassiysiittcrJsSGgt FREE SCHOLARSHIPS 16184 The Fir Tree. GALBRAITH, J. LAMONT 624 South Michigan A venae. ChtcRgoTml 16187 The Old Church Bell. 16103 An Evening Melody. 16183 The Red Shoes. GEIBEL, A. 16210 A Shepherd's Idyl. HOSMER, E. S. Write for catalog or complete summer announcement. . t-ngage lesson penous * . . T1) 16224 Tha LEMARE,‘"^DWiN Hi 7UMMER at SHERWOOD MUSIC SCHOOL chicaco 16231 Thanksgi ' ” 1 c> FELIX BOROWSKI, PRESIDENT CARL D. KINSEY, VWmjd-tAv,,•■ m' A. M Q OZw • ^ur'!,R ,*>e summer the Sherwood Music School keep* all its departments of instruction open for the benefit of Teachers who are busy al home in the winter, DR. F. ZIEGFELD. PRESIDENT EMERITUS (C ‘ 8 '___ - J. F. ZIMMERMAN in beautiful O^ago"'1*^* “ T Bra^ch's•0,, «ccount of Teachers changing. Take t LEHRER, OSCAR J. s, parks and summer orchestras—and do sc ,S’ SECRETARY, SHERWOOD MUSIC SCHOOL, 330 Fine Ad LEVERING, EFFIE Schools and Colleges In The Swing. NEW YORK STATE_ LOTH, L. LESLIE 15589 Come Unto Me. Hark, Hark My Soul. . . Lead, Kindly Light. Summer Class—Pianists and Teachers-June to Sept. COLBURN, A. G. tomenal Results.150 WEST 80th STREET. NEW YORK ► The Lord is My Portioi GARRETT, GEO. M. GRANBERRYsi McCOY, ROSE 15547 1 Little Wooden Shoes.. 1 DUNNING SYSTEM Pianists :: Accompanists MOSZKOWSKI, M. 15598 1 Teachers’ Training Courses PEASE, S. G. B*cauae its atandard ha* never Seen equaled re*U 1 15581 Booklet CARNEGIE HALL, NEW YORK MOTER, CARL MRtCiRRE LOUISE DUNNING NORMAL CUSS FOR TEACHERS. MILWAUKEE. OREGON. I Village Beauty. 15580 PHILIE, J. ERNEST ITHACA CONSERVATORY OF MUSIC 15595 The Resurrection. Crane Normal Institute of Music ! Aurora. 1,2 w""' trfeducntJonal^or'cRmcert0work* WAU instruments, RICKABY, T. L. Secular, Mixed Voices OONsgfroRY Training School for Supervisor* ol Mu*ic Vocal, Dramatic Art, and Physical Training. Gradu¬ Across the Lawn. M?aAnnI'aIig Bate*, Normal Claaa, Marshall, Texas. May 1st. Address Adolphus Hptel, ates of Musical, Public Speaking and Physical Train¬ In the Fairy Glen. CAMP, JOHN SPENCER ing Departments^ lgibte toteach In N.Y. Ste tePnMc 15548 SCHOOL FOR PARTICULAR STUDENTS MiuMsJ'E^'reekisen, Normal Cleans, Muskogee.Okla.. June IS, 1919, Toledo, O., July 21, RINGUET, LEON CLARK, F. A.. kiaen, Normal Claw*, MuiWgae.vw... --- yceum field. Dormitories and Caprice Serenade, Op. 10 15590 Crossing The Bar. Embracing aU Branches of >4 Irving St., Toledo, Ohio. _ M_v lst. 1919; Tulsa, Okla., ROLFE, WALTER Drilling Away With The Tide... For catal^address 15588 Good Night My Love. MUSIC-EXPRESSION — ART-LANGUAGES sssmhsrst grtSfeTS?- sx»» *- POTSDAM, NEW YORK The Registrar, DeWitt Park, Ithaca, N.Y. LIEURANCE, THURLOW i By The Waters Ot Minnetonka Public School Music and Teachers Training Course ZECKWER, CAMILLE W. Nov. 11th. Address 117 E. Third St., Wichita, Irt. Carrie Munger L jng. Normal Clasr “=— t 3d, 1919. 15583 Two Word SPECIAL SUMMER COURSES ' 1, 1919: Ft. Worth, Texas, ss SO Erion YOUNG AMERICA IN DORMITORY FOR LADIES t, 1919, Rochester, N. Y. PORTABLE PLAY AND SONG Grade lj^ \WB2±i : KEYBOARD By GEO. L. SPAULDING fillip FOR PIANISTS and STUDENTS 16011 The Antique Clock.3< .these if von „ ?*uch DePends Upon Where You Go ind booklet of Foreign and Amt Fine Touch, Changeable Weight INTERESTING CATALOG Any of the Above Numbers Gladly Sent for Examination INSTITUTE OF MUSICAL ART FOR SALE AND RENT THEO. PRESSER CO., PHILADELPHIA, PA. OF THE CITY OF NEW YORK VIRGIL PIANO CONSERVATORY FRANK DAMROSCH, Director, '“new torkcitt 11 WEST 68th STREET_NEW YORK Please mention THE ETUDE when addressing o Page 380 MAT 1919 THE ETUDE T0 ETUDE MAY 1919 Page 331

S’Tivnmev Schools &£> Summer Schools American Conservatory of Music Thomas Normal MUSIC - EDUCATION CHICAGO’S FOREMOST SCHOOL OF MUSIC Training School Summer THIRTY-THIRD SEASON NEW YORK SCHOOL OF MUSIC AND ARTS Summer Session John J. Hattataedt, 1 [ Associate Directors Normal Courses ^ Opposite Central Park, cor. 95th St., New York City RALFE LEECH STERNER, Director July 3d—Aug. 7th The Conservatory announces the exclusive teaching engagement for the MUSIC INDUSTRIAL ART Summer School, of the renowned vocal artist and teacher, CUMNOCK SCHOOL New York City’s most beautiful and home-like School devoted to Music and the Allied Arts with HOME ECONOMICS LOS ANGELES, CALIFORNIA UNSURPASSED BEAUTY OF SCENE FACING CENTRAL PARK Fall Term opens August 29th DAVID BISPHAM July 7 to August IS n Mul Indus rt-Dra ng, Hon sold OF NEW YORK CITY Calvin Brainerd Cady, “Principal —,_____Training, THIRTIETH SESSION Secretarial and Commercial Work, Mr. Bispham, aside from his private instruction nd Vocational College for HAROLD RANDOLPH, Director Brookfield Center, Conn. for the Study of Teaching Material Woram. Fine and Applied Art, Home Eco¬ Desirable dormitory accommodations. Many free advantages. Teacher's Certifi¬ nomic*, Muiic. PhyiicAl Education, Secret*rial and Recognized as the leading endowed musical conservatory of the country Herbert Wilber Greene, Director MONTREAT, N. C. cates and Diplomas conferred by authority of State of Illinois. Catalog mailed free. General Studio*. Athletic Add. Non-sectarian. An opportunity for singers and teachers Writefor'bookies’con August 6-2< Send'for Catalog and Summer Session Prospectus. HAHN MUSIC SCHOOL letters from Teachers who hav! tafftoe^ouree!11* DEGREE GIVEN to study the art from every standpoint, 3919 Junius St. Dallas, Tex. . Four-year eouraca lead te> B. S. Degree. Two- and MONTREAT, NORTH CAROLINA American Conservatory of Music, 571 Kimball Hall, Chicago, i tkrevjear Normal Couraea command teacher* and Summer Session Aug/mh amid surrounding^ ideally adapted to a •opervitoncertificate. Residence accommodation* healthy, recreative summer. hr lour hundred student*. A ca takagtie of regular Staff of eminent European and American Masters including: Send for Prospectus George F. Boyle Adelin Fermin J. C. Van Hulsteyn , Gustave Strube 701 Carnegie Hall New York City Samewr Seaano SARATOGA SPRINGS, N. Y. Elizabeth Coulson Henrietta Holthaus Harold D. Phillips Mabel Thomas Carlotta Heller Concert Pianist PIANO TEACHERS Roy David Brown and Teacher Tuition $10 to $30 according to study Are You Prepared lor Peace? PITTSBURGH By special arrangement with the JOHNS HOPKINS UNIVERSITY Assistant and Successor to the late EMIL LIEBLING cretin certain branch*, may be offered for tho B. S. degree tile 'Shepard '"piano' bystem TdtenU?Ui'’r« Stw!ig! I orthwesterJ MUSICAL INSTITUTE Inc. Practice Pianos and Organs Aoailable Summer term of six weeks from Circular. Mailed FREDERICK R. HUBER, Manager Send for flee bootlet, "Music After the anal War" Summer Course for Teachers an° Serious Students UNIVERSITY June 23rd Arrangements for classes now being made S0--Atlg. 2,1919. 40 min. from N. 1 SUMMER SCHOOL OF MUSIC 4259 Fifth Ave. SHEPARD SCHOOL OF Ml Six Weeks—June 30th to August 9th On the shore of Lake Michigan, in Chicago*s most attractive suburb Six Weeks .June 30 to August » Write for Circular pplied Music and in Public School and Community Music with private lessons it ; and c a(?s,lcs?°ns « Harmony, Analysis History of Music, SightSinging, Organ! ance of School Orchestras and Bands, and Scoring and Arranging of Music fee same TheAmerican Institute of Applied Music ANN ARBOR = MICHIGAN Address, ROY DAVID BROWN, Lyon & Healy Building, CHICAGO .edagogy, with Children s DemmutnnnnDemonstration r'l,.—.Classes. c_iSend ft_ SUMMER SESSION, June 23rd to August 1st UNIVERSITY PETER C. LUTKIN, Dean School of Music, Evanston, Illinois ._tun VO ICE, PIANOFORTE, VIOLIN, HARMONY SCHOOL OF MUSIC iVy JOHN B. CALVERT, D. D.. President 34th Season, October 1st. :919 IYC EU/V\ \£f KATE S. CHITTENDEN, Dean Send for Circular, and Catalogue ““A Gathering-Place for Advanced Students’ ’ ' ' 212 West 59th Street, NEW YORK CITY_ DR. ALBERT A. STANLEY, Director Albert Lockwood, Head of Piano Dep’t NfcRTS Theodore Harrison. Head of Vocal Dep’t Henry Purmort Eames MacPhail School S. P. Lockwood, Head of Violin and Conservatory DIRECTOR of PIANO and ORCHESTRA Orchestra Dep’ts 4 FLOORS DEVOTED TO MUSIC E. V. Moore, Head of Organ and Theory DEPTS. OF THE COSMOPOLITAN SCHOOL OF MUSIC, KIMBALL HALL. CHICAGO 806 Nicollet Ave., Minneapolis, Minn. CARL V. LACHMUND, Pianist-Composer courSe^orteachers Dep’t announces his annual Florence B. Potter, Head of Methods “LISZT’S METHODS AND TRADITIONAL INTERPRETATIONS” Dept. Hall, 109 E. 14th St., New York City Byrl Fox Bacher, Dean of Women. Summer Course of Five Weeks ht voars with MoBzkowakl. Scharwenka, 25—ASSOCIATE TEACHERS—25 SUMMER SCHOOL OPENING MONDAY, JUNE 23d aod lecturer at Scharwenka Conservatory. rj*JiJS|1BuSr and Sauer as fellow For Catalotue, Booklets or Special Information, world's greatest artists tthbrtHSrhrillani puplfindpupil and gav June 23—August 1 and Encyclopedia ol V Session to college year This course consists of Ten Half-hour (private) lessons in Piano Technic and Inter¬ recommendation.” tfhe American History and Encyclopedia Charles A. Sink, Sec.,1000Maynard St. pretation; Five Lecture Recitals and Five Weekly Class Lessons (2 hours) in “The SEKD FOR CATALOG AND SUMMER FOLDER September 30tb Summer Session: June 30—August 23 Essentials of Musicianship” and Pedagogy. The Course (inclusive! $65.00 >0 teachers :: Over 1400 students ADDRESS SCHOOL MANAGER OR MR. EAMES PUPILS MAY ENTER NOW EDWARD B. FLECK Condensed Summer Course Edwin hughes Teacher of Artistic Piano Playing Valuable points for present gain and further s. -PLAN FOUR SUMMER NOW-STUDY AND IMPROVE YOUR MUSICIANSHIP- Technic, Interpretation, Repertoire development.^ Private lessons, with concentrate Modern technical development. Repertory and to Special Summer Coarse for Teachers 1527 High Street Denver, Colorado GUSTAVE L. BECKER, Steinway Hall, Please mention THE ETUDE when addressing our advertisers. CTm01** of c°rr*ct tone-production at the piano. MFVV YORK STEINWAV I ton idtH Street, NEW YUKis. Delightful Climate for 8ommer Stndy n addressing our advertisers. Page 332 MAY 1919 the etude "Valuable Premiums Given for Etude Subscriptions:: chools and Colleges We illustrate below only a few of the many useful and valuable articles given to ETUDE friends who sen us su scnptions. n addition, music books and musical merchandise of all descriptions may be earned by a few moments spare-time work among musical friends and pupils, in introducing THE ETUDE COMBS CONSERVATORY and obtaining subscriptions. Write for further information. HILADELPHIA THIRTY-FOURTH YEAR THE SURPRISE RACKET CAMERAS md Day School of unparalleled Facilities for the attainment of a complete Wright & Ditson Make Premo Junior, Model B—Six Subscriptions A SCHOOL OF INDIVIDUAL INSTRUCTION May be had for Four Yearly Subscriptions or Box type with universal focus lens, the simplest in¬ (Theoretical and Applied Branches Taught Privately and in Classes) with Racket Case of Felt or Canvas for Five Yearly strument for picture making that can be devised. Pro¬ moderate*cost, combined with efficient management, the "colins Subscriptions. duces excellent results Size of pictures, 2inches. Gilbert Raynolds Combs.Piano; Hugh A. Clarke, Must Doc., Theory; William Geiger, Mus. Bac.,Violin: The Surprise Racket has recently been greatly im¬ Loads in daylight with the Premo Film Pack. Open l. Chestnutt, Voice; Herman Saodby. Violoncello: Russell King Miller. Organ, and 75 assistant teachers. All branches, Norma! Training Course for Teachers. Public School Music Supervision. proved and is the latest and most popular shape. The back, drop in Film Pack, and all is ready. Instructions Complete Military Band Department. Four Pupils* Recitals a week. Two Complete frame is strongly made and attractively designed with with each camera. Pupils’ Symphony Orchestras. Reciprocal relations with University of Pennsylvania. stringing of high quality gut. Made in light and cGhe only Conservatory in the State with Dormitories for Women Premo Junior No. 3—Eight Subscriptions. A School of Inspiration, Enthusiasm, Loyalty and Success medium weights. Pictures, 3Xx4X inches. Otherwise same general construction as above. Illustrated Year Book Free Premoette Folding Pocket Camera —Ten Subscriptions. A GILBERT RAYNOLDS COMBS, Director 0ffic|V02l£“^ g^.tori" One of these Championship marvel of compactness. Automatic shutter for time, bulb or instantaneous ex¬ Atlanta Conservatory of Music TENNIS BALLS posure. Reversable finder. Makes excellent lyisSyi pictures. THE FOREMOST SCHOOL OF FINE ARTS ALL CAMERAS ARE SENT BY EXPRESS, COLLECT. IN THE SOUTH Adv.nla(e. Equal In Thom Found Anv,h.rr will be sent you for DETROIT INSTITUTE OF MUSICAL ART Foil Ses.ion Borin, September 2d, 1918. Studonl. ran, eiMer^.n, lime. Send for only Two new BISSELL’S “GRAND “Strongest Faculty in the Middle West” Peachtree and Broad Streets, Atlanta, Georgia yearly RAPIDS” SWEEPER Subscriptions Given for 8 Subscriptions A School which offers every advantage This ball is used in the Championship Tour¬ The Bissell “Grand Rapids” Carpet Sweeper incidental to a broad musical education. School of Music naments of the National Lawn Tennis Associa¬ is an indispensable convenience. Made of the tion, and has been the adopted Ball of the Fifty artist teachers. Highest standards. OF y choicest cabinet wood, highly polished. A mere Association for the past 30 years. touch propels it. Sent charges collect. Artistic environment. SHENANDOAH COLLEGIATE ■ INSTITUTE For Catalog Addre.. LEADING SCHOOL OF MUSIC IN THE SOUTH OUR MOST POPULAR PREMIUM YOUR OWN SUBSCRIPTION FREE T14F FTIinF THEO. PRESSER CO.. Publishers GRACE CHAMBERLIN, Business Manager FOR THREE YEARLY ETUDE SUBSCRIPTIONS 1 nc Ei 1 U L/Li PHILADELPHIA, PA. UI7-1I19 WOODWARD AVENUE - DETROIT, MICHIGAN el FREE. S.C.I. BOX 110 DAYTON, VI

Lawrence Conservatory One of the foremost Conservatories of the Middle West UNUSUAL BARGAINS IN THE LEADING MAGAZINES prog resell vc European « Etude readers may save money by taking advantage of the bargain club offers listed newal subscriptions, and we guarantee that no responsible publisher or agency can offer below, as well as the hundreds more shown in The Etude’s new 1919 Magazine Guide, these magazirves at lower prices. Elocution MUSIC Languages wttLlJ'puWUh^"x are enabled'to offerThese3 magaz^es?togetlfeTwUhThe These prices are for subscriptions in the United States only. Canadian and foreign Faculty of Intel Etude, at prices that afford substantial savings. These offers are good for new or re- postage additional. Exceptional ad vantages for p work. Department of Opera. THE ETUDE . . .i$3qo THE ETUDE . ;|$350 Special Low Rates for Beginners . ChristianHlicfld BEETHOVEN CONSERVATORY Send for handsome Catalogue to the THE ETUDE . . 1$J80 McCall’s Magazine McCall’s Magazine __BROS. EPSTEIN Directress, Cincinnati. Ohio. EUGENE YSAYE Today’s Housewife ] J Saw 75c Modern Priscilla One of the oldest and best Music Schools in the United States 4525 Olive Street. St. Louis, Mo. Woman’* World . j Save 45c THE ETUDE . . THE ETUDE . . • 1 $025 THE ETUDE . . .-)$300 McCall’s Magazine . ;]$075 People’s Home Journal People’s Home Journal DANA’S MUSICAL INSTITUTE McCall’s Magazine . J Save 50c Today’s Housewife . j J Save 75c Today’s Housewife WARREN, OHIO of advantages at very low cost. Aim Is to educate, not make money. Faculty of unquestioned standing. Cntirvec Offered- VIOLIN, PIANO, VOICE, HARMONY. HISTORY OF MUS1CPUBUC THE ETUDE . . . THE SCHOOL OF DAILY INSTRUCTION IN ALL courses unerea. SCHOOL MUSIct languages, expression and dramatic art I $400 Special Couream Giving Teachers Practical Work Applicable to Their Needs People’s Home Journal . BRANCHES OF MUSIC BOARDING FACILITIES EXCELLENT—NO BETTER ANYWHERE Pictorial Review . . Addre.. LYNN B. DANA, President Desk E, WARREN, OHIO detaKdmiroiy^nyi^A^Uontoired. Addreas, Box 512 - - - HUNTINGTON, INDIANA THE ETUDE . . Pictorial Review . ' 1$425 Lake Forest Milwaukee-Downer College Modern Priscilla . : jsafc University School of Music VALPARAISO UNIVERSITY “'S-T Department of Music THE ETUDE . vironment. Internationally trained teachers. Four The University School of Music offers courses in Piano, Voice, Violin, Organ, Theory and Public School Music Offers Piano. Organ, Violin. Voice Training, Woman’s Home Companion >.$425 years’ course required for Performer’s and Teacher’s Students may attend the Music School and also take the regular work at the University. Theory of Music and a Teachers' Course m Certificate. Special courses in Keyboard Harmony, rp . . ^ THE expenses are the lowest Public School Music. The degree Bachelor of McCall’s Magazine .... chorusf and recitals. (Credits allowed by Lake Forest Tuition , $36.00 per quarter of twelve weeks. Board, with Furnished Room, *39 to $51 per quarter. Science in Arts is offered for music specialists. College and Ferry Hall for Music School Work. Address CataIoguew.il be mailed free. Address Register. 46TH YEAR-STUDENTS ACCEPTED AT ANY TIME. For catalog “U,” address REGISTRAR THE ETUDE

Minneapolis School of Music, ORATORY AND DRAMATIC ART Private Teachers Associate Faculty Membership INTERNATIONAL cationalAacency THE ETUDE WILLIAM H. PONTIUS CHARLES M. HOLT Delineator 1 To Oi CONSERVATORY may offer their pupils regular CONSERVATORY ADVANTAGES MRS. BABCOCK AT HOME with Certificate, Catalog, etc., instead of merely “giv-imt lessons ” and then “more lessons ” Everybody’s f Addre 60-62 Eleventh St., So. MINNEAPOLIS, MINN. ("OFFERS Teaching Positions, Col- LARGEST SCHOOL OF ITS KIND IN THE WEST Address Pres. E. H. SCOTT, Kimball Hall, Chicago. ALL BRANCHES OF MUSIC AND DRAMATIC ART leges, Conservatories, Schools. 60 Artist Teachers Year Book Free on Request Also Church and Concert Engagements THE ETUDE . . .) g qi;o THE ETUDE. Woman’s Home Companion . CARNEGIE HALL, NEW YORK Woman’s World . Pictorial Review . . J save 75c Youth’s Companion (new) School professional BURROWES COURSE OF MUSIC STUDY of icture Playing magazines to any club at the full PMC* Send All Orders to THE ETUDE - L Kindergarten and Primary—Correspondence or Personal Instruction CoSfe^LY . . . $2.50 I •LADIES* HOME JOURNAL. .*1-75 Individual and class instruction . Practical work Hippr Pupils—Sllitfiad Parents—Prosperous Teachers. Classes are doubled b, use of Ibis method THEO. PRESSER CO., Publishers, Philadelphia, Pa. Sure employment lor graduates . Send for folder. aioo'd’scripti ve * H tera tu re “a KATHARINE BURROWES swfflfflssg* •: : is I Ssssr' is P. O. Box 582. LOS ANGELES, Cnlifornia Dept. D. 246 HIGHLAND AVE., H. P., - - - - DETROIT, MICH. Please mention THE ETUDE when addressing our advertiaora. Can You-PrizeXeliThes&^S Contesttars by Their Eves?

Above you see photographs of the eyes of six of the many famous motion picture beauties who endorse and use Ingram’s Milkweed Cream and whose names are listed below. These pictures are taken from portraits used in our advertising during the past year. Your problem is to identify the actress by her eyes. First, note the number above each photograph. Then, when you have decided upon your guess as to the actress, write the nutpbpr tog^fe, wtih, the proper paawe .Qft a slip of paper bearing your own/name and address and forward to us. If you send in correct guesses as to the names of three of the six actresses we will forward to you, without charge, our charming Guest Room Package.

May Allison Ethel Clayton Mtyguerite Claytorj* Corinne Griffith Louise L

and other Ingram Toilet Requisites

What the gift you win contains : Our Guest It is the therapeutic quality of Ingram’s Room Package contains Ingram’s Face Milkweed Cream in combination with Powder, Rouge, Milkweed Cream, its softening and cleansing properties Zodenta Tooth Powder, and Ingram’s that has made it the ruling favorite Perfume in Guest Room sizes. It is a for 32 years. Time and use have very attractive and conveniently useful proved it the best for you. Get a jar gift, and one that will introduce you today and begin to use it every night properly to Ingram Quality. and morning.

FREDERICK F. INGRAM CO.

Australasian Agents, T. W. Cotton, Pty. Ltd., Melbourne, AustraHa

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