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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
4-1-1927 Volume 45, Number 04 (April 1927) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 45, Number 04 (April 1927)." , (1927). https://digitalcommons.gardner-webb.edu/etude/744
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Although every possible care is taken 8thetpublishers5 M-vT^oTT ZapR« United ^States of* America^ Great Br,ta'° The World of Music Felix Weingartner has been chosen as conductor of tc Becoming well-known as a b called some ten years ago tc__ the General Music Society of ui mal relics of the gre„t —latist, Basel, one of the chief musi- at __Theater Exposition, t> be University Band. He later established In Chi¬ cal organizations of Switzer- Magdeburg held at cago the Cragun School of Music for the new three-act opera ' - — will also become ” f"— to December. special purpose of teaching band and orches- (itosa of Pompeii ’ director of the local Con¬ tral music. Well-known as a composer, he servatory and will conduct a . TI,e Clileagro Clvi ■ the ' the City J* to Lave a new home __ o The Etude ‘It House at Bonn is to be ineartner J® J statement of President Samuel Insull turned ii eum in memory of the coin- that ground has been acquired for the purpose - . .. - restored and furnished with rchitects asked to prepare designs for ^building. Thjs is to be a great sky- creat*or ' o^'the^nn isie^drarnn t*S "mm - of the editors and publishers of to make each issue of the journal worth many times more, in practical instruction, stimulating inspiration and real entertainment, than the price of the entire year’s sub¬ scription. The music lover can not possibly ftnd a better two- THE ETUDE APRIL 1927 Page 25S Page 252 APRIL 1927 The Musical Lighthouse In the Home or Studio ilil ttax* 'tUm. The remarkable work of a man of YOU can secure that coveted Diploma or Degree right in your own home, as many other established teachers and musicians have done by taking our Extension Courses. The following letters whom a great British writer said: 1 are but a few of many thousands of similar ones in our files: “He Has the Loftiest Mind, the Biggest Heart and the Richest Soul of Any Man in England THE PROOF OF THE PUDDING! Gives Her Pupils High School Credits It Is Different Now This man was SIR GEORGE GROVE: Thank you for the Diploma in Harmony. Let me say that during the time I was For the past 28 years I have written marches and other compositions. They have taking your Course, I took three examinations, offered here by the Minnesota Music been played by the best professional musicians and I have had the pleasure of hearing His life ambition seemed to be to illumine thevvorld. Teachers’ Association, in Piano, History of Music and Harmony. I passed all three them over the radio, but with that uncertain feeling—“I wonder what a first-class Lighthouse at Bermuda—Built by Sir George Grove As an engineer he built many of the greatest lighthouses of and received a certificate. This means that pupils of mine can pass and get high arranger thinks of the arrangement.” Now I can arrange a melody that will stand school credits for work done with me. This is but one of the results of taking your criticism. Your Harmony and Composition Course has given me that thorough course in Harmony. Great Britain. training I needed. I recommend yours as an outstanding school of music. Mrs. Alpha H. Lienhard, 1937 Aldrich Ave., S., Minneapolis, Minn. Charles Fremling, Band and Orchestra Director, Buhl, Minn. Increases Her Class From 40 to 63 Pupils I find that the satisfied pupil is the best advertisement I have. I am giving better Teacher in Convent Praises Courses Later he rerote THE FINEST MUSICAL ENCYCLOPEDIA OF ALL service to my pupils and that always brings a financial increase. The fact that I have As a graduate of your Harmony, History and Advanced Composition Courses, I taken the Sherwood Normal Course after all my years of experience, tells better than want to say that I think they cannot be improved upon. While they are not in any anything else my opinion of your Extension Courses for an established teacher. way a short road to success, they surely are a safe one. I trust that this year wilt GROVE’S DICTIONARY OF MUSIC AND MUSICIANS Jessie E. H. Pettersone, 28 So. Wellington St., Dundas, Ontario. bring you a large class of eager new students and that they will enjoy the work as much as I did. Now published and revised by over 200 authorities (with the American'Supplement) in six magnificent Credits Accepted in States Sister M. Agnita, 60 Broad Street, Providence, R. I. It would require much time and space to say all the good things concerning the volumes and it is this superb latest edition that the THEODORE PRESSER CO. offers for a short Public School Music Course by Francis E. Clark. I find this Course very thorough From the Chairman of Education, Oklahoma Federation of Music Clubs. and beneficial. None of the essentials have been omitted in the preparation of this work. The credits received from the University Extension Conservatory have been I have enjoyed the Teachers’ Normal Course very much and feel that it is not only time only at the ridiculously low price of $20.00 ($19.00 for cash). a great opportunity to study Mr. Sherwood’s Methods, but an honor. I have taught . . . * _— hiu ‘‘nintionarT of Music and readily accepted in the States in which I have taught. At present I am holding a position as Music Supervisor, all due to the training received from you. music for more than IS years and consider the Sherwood Normal Piano Course an Alice Tombleson, Loup City, Nebraska. ideal one for teachers. Mrs. Ida Rockett, Wilburton, Oklahoma. Makes a World of Difference in His Playing The knowledge 1 have gained from your Harmony Course as far as I have gone Doubles Classes in a Year 1 has not only improved my playing immensely, but has made me a “top man." Every¬ The Sherwood Normal Piano Course has taught me many points that I had not THE TRIUMPH OF THE “GROVE’S DICTIONARY” IS NOT ALONE IMPOSSIBLE TO REPEAT body wonders how I make an organ sound different from other organists. I apply learned before—things that my private teachers had never thought of mentioning. the rules of Harmony, Instrumentation, etc., to my music and have found they make Martha Dahl, Pekin, N. D. DUE TO ITS VOLUMINOUS, INFORMATION AND HUGE SCOPE- THIS PRICE a world of difference. S.x Large Well-bound Volumes. 5,000 Pages, Illustrated, Covering ^ ^ s of this great work A. A. Lachance, Hotel Sheridan, South Manchester, Conn. Superintendent of Schools M Progress BUT ALSO TO THE HEART INTEREST AND HUMAN INTEREST WHICH The lessons of your Public S IfSL’S of more value than I can si $20.00 in easy payment plan ($19.00 cash). The Superintendent of Schools 3 of the children. Special po SIR GEORGE GROVE PUT IN EVERYTHING HE DID. PAGE AFTER This was the result of making a huge edition with the customary Presser of great value are Ear Trainm; e Development. Co. policy of giving the best quality at the lowest cost. Maxwell, Mantin, Michiga; PAGE OF THE DICTIONARY IS AS INTERESTING AS A NOVEL. Has Diploma Indorsed by Secretary of State Thank you for my Diploma. It was immediately endorsed by the Secretary of State of Illinois. I had taught for six years before studying with your school, but had not found a good systematic course to follow. Your course has solved my problem. Bertha Guerrero de Raudales, No. 1438, 38 South Dearborn St., Chicago, Ill. Violin Course Greatly Improved Playing Order Now if You Do Not Want to Miss 1 enclose the last examinations on the Violin Course and want to say that I found The work is the it most interesting throughout. It has improved my playing more in these eight the Biggest Opportunity Offered to the Musical Public months than if I had taken lessons from a private teacher for three years. Raymond Berod, Ladysmith, B. C., Canada. Nothing Better Than The Sherwood Normal Course For problems such as Melody, Harmony, Rhythm, Expression, Sight Reading, Ear Training, and the knowledge of technic alone, the Sherwood Normal Course is invaluable. I had 9 pupils when I started the! course and I now have 22. Easy Payment Plan Mrs. Fred Barlow, 301 Greenwood Ave., Punxsutawney, Penna. Now Feels Sure of Herself The Normal Piano and Harmony Courses which I have taken from you are the best that could be procured. They are making me an authority, as before I always felt just half sure of myself. You should use lists of teachers in the various states and show them what your courses are. Every teacher needs them. Mrs. Claude C. Brant, 198 Butler Court, Akron, Ohio. Mail the Coupon Today University Extension Conservatory LANGLEY AVENUE and 41st STREET >EPT. A-5 CHICAGO, ILL. THE GROVE’S DICTIONARY IS THE MUSICAL LIGHTHOUSE OF THE HOME ._I_ —--———————- TEE ETUDE Page 25J> APRIL 1927 CHICAGO jjow! Everywhere! THE ETUDE MUSICAL J^SOUSA’S^ APRIL, 1927_Single Copies 25 Cents VOL. XLV, No. 4 Better Days in Light Opera Buying the New Piano 62nd Year A shout time ago a celebrated (or shall we say notorious) Buying a new piano is really a matter which demands very GREATEST RECENT MARCH Jazzaphonist explained to the writer how some of the “weird” careful consideration. COLLEGE effects were produced in Jazz. You simply played the same First of all, consider the use to which you must put the melody on one instrument a half tone higher than the other piano, in relation to the amount of money you have to spend. HERBERT WITHERSPOON, President instruments in the group. Simple! What better recipe could Of course, the object is to get “the most piano” for the there be for Cacophony. Lacking the genius of Gershwin and amount set upon. Do not dream of getting a piano that is “Power AND Glory” others who have employed jazz as a ladder to climb to greater really worth $1500 for $459. Despite certain advertisements FALL TERM OPENS SEPTEMBER 12 heights, the improvising Jazzaphonist deliberately makes all and talk of lively salesmen, you will not get any more in the kinds of musical grammatical blunders under the misconception end than you pay for. Don’t buy a cheap piano represented to that he is doing something particularly smart. Just now the be equal to an expensive one. Manufacturers and merchants are More than 125 teachers of world-wide reputation. Private Introducing Sir Arthur Sullivan ; public is waking up to all this clap-trap and is beginning to not philanthropists. They have figured costs and overhead, so “Onward Christian Soldiers’ lessons only or courses leading to Teachers’ Certificates, realize that it is largely a waste of time to expect unusual that you will have to pay for what you are getting. Graduation and Degrees in Piano, Voice, Violin, Cello, results from people who make a brag of being illiterate. Your main protection in getting a new instrument is the Church Organ, Movie Organ, Theory, Public School Music, A TRIUMPHANT The theater managers know this, and in recent years they reputation of the manufacturer. Reputations are not made have been turning to better and better operatic productions. over night. They come from established good will earned by Dramatic Art and Expression, Toe, Ballet, Interpretative STIRRING MARCH The performances of Gilbert and Sullivan’s most subtle oper¬ the name of having turned out substantial instruments of real and Classical Dancing, School of Opera, all Orchestral In¬ etta, “Iolanthe,” in the presentation made by Mr. Winthrop artistic worth, made by experienced workmen. struments, Chautauqua, Lyceum, Concert and Languages. FOR HOME, SCHOOL Ames, amid artistic surroundings which have established new The making of a piano requires capital, experience, a well- AND FRATERNAL standards of good taste in the theater, has been, contrary to equipped plant, a well-designed scale and facilities for making john'philip sousa the predictions of ignorant Broadway Jazzaphonists, a huge the furniture side of the instrument substantial and in the best ORDERS_ popular success. “The Student Prinoe,” “The Song of the of taste. It is not a business in which anyone without these 85 Flame,” “Rose Marie,” “Countess Maritza,” “The Vagabond factors can enter, as one might open up a small enterprise. King,” all are light operas with excellent stage music gor¬ Pianos come and pianos go, like automobiles. The failure geously presented by capable musicians. The public flocked to of some piano companies is by no means always due to inferiority FREE FELLOWSHIPS 'Tower and Glory” is very playable the box offices, and the managers hunted for more such works. of the instrument. In fact, we know of several firms no longer One of the most praiseworthy efforts of the year was “Deep existent which made fine instruments. Lack of enterprise, poor (Two Private Lessons ^Weekly) to be awarded to the students who upon the piano, giving brilliant River” by Franke Harling and Laurence Stallings, which was judgment, bad business methods, careless advertising, any num¬ after an open competitive examination, are found to possess the produced by an American manager, Arthur Hopkins. This ber of things may contribute to the collapse of a well-established greatest gift for playing or singing. effects with moderate difficulty. was an American opera from curtain to curtain. The music house. On the other hand, many purely “commercial” makers was excellent, the story fine, and the production one of the have existed for years. most beautiful Broadway has ever seen. It was given with a The Etude has received thousands and thousands of let¬ PROFESSIONAL DEBUTS, PROCURABLE IN FOLLOWING ARRANGEMENTS===: managerial daring and generosity that will long reflect upon * ters from people who have been in a quandary about buying ENGAGEMENTS and SITUATIONS Cat. No. 19209, Piano Solo...Price, 50 cents the artistic career of Mr. Hopkins. Those who saw it and pianos. We do not sell pianos. We have no piano that we are enjoyed it know what to expect in beauty from Mr. Hopkins promoting. We merely give the opinion of reputable authori¬ Cat. No. 19210, Piano, Four Hands.Price, 75 cents Public debuts are given artist students in Centra! Theatre, Chi¬ in the future. He is reported to have a vast amount of money ties about instruments, when our patrons ask. We know that cago, when they are ready : to commence their public careers. A Cat. No. 19211, Full Band...Price, 50 cents in this production—an investment in beauty which we trust we have saved many of our friends from buying cheap, unknown, special bureau established in the College assists artist students Cat. No. 19212, Full Orchestra.Price, $1.1.5 will bring rich returns in the future. stenciled pianos that might have fallen apart in a few years. in obtaining professional engagements. Graduates who have quali¬ In fact, our friends have come to depend upon us so exten¬ fied as teachers will be assisted in securing situations without charge =ASK YOUR TALKING MACHINE DEALER FOR IT C Musical Boswells sively that it has become necessary for us to organize this matter VICTOR RECORD NO. 20192 to teacher or employer. Most all of the great masters have had Boswells who of service for piano buyers upon a more systematic basis. We have in their way been as faithful to their heroes as was the shall be glad to answer inquiries from our friends. We must dutiful James to the cranky old Dr. Samuel Johnson. Appre¬ insist that we shall not be asked to compare one manufacturer’s ciation is an invaluable asset for genius. Moliere found it in product with another. That would be unfair. We have records STUDENT DORMITORIES of practically all of the established instruments. It is not our Artistic and comfortable dormi tory accommodations for men and women in the person of his cook to whom he often read the wet manu¬ purpose to condemn any instrument—merely to give informa¬ college building. Piano furnished with each room. Prices reasonable. scripts of his plays. Socrates poured his wisdom into the Make reservations now. open ears of Plato, and thus was much of his rich philosophy tion relating to those about which we have some reliable account. Kow! Everyth In writing always state the style of instrument you contemplate preserved for the world. ereft Schubert’s friend Vogl was of immense importance to him buying and the price asked for it. Address your letter to COMPLETE WINTER CATALOG ON REQUEST when he was writing his immortal songs. With a great singer Etude Educational Service Department, Attention of Piano Expert. “POWER and GLORY " is “registering at his side, Schubert learned in a practical manner the true limitations of the human voice. Therefore he did not treat the big now everywhere throughout the Summer Master School larynx as though it were an oboe or a tuba. Schubert’s songs country. Bands are playing it, countless The Musical Millionaires “sing” largely because of his admirer and “encourager” Vogl. school children are marching to it and There seems to be an impression that the very large June 27 to August 6 (Six Weeks) Anton Schindler, “who tagged after Beethoven like a many report it ideal for other drill and fortunes earned by musicians of today are without precedent. Winter’s hound,” helped the master immeasurably. When SUMMER CATALOG ON REQUEST march needs. This is by.no means the case. Of course the wealth of Caruso, Beethoven’s irascibility became so acute that their friendship Paderewski, Galli-Curci, Puccini, Verdi and Richard Strauss Address parted, Schindler was big enough to forgive his master and was ^PUBLISHED BY= can be compared with that of artists of other days only through at once at hand when he learned that Beethoven was approach¬ an interpretation of the relative value of the monetary unit. CARL D. KINSEY, Manager ing his end. No son could have been more attentive. After the It is very hard to estimate what the dollar of today would THEODORE PRESSER CO. master’s death, Schindler had printed upon his visiting cards, !0 E. Van Buren St. Chicago be when translated into the ducats of the seventeenth and 1712-1714 CHESTNUT STREET “Friend of Beethoven.” eighteenth centuries, but it is nevertheless interesting to learn A Conservatory Pledged to the Highest Artistic Standards PHILADELPHIA PENNA. THE ETUDE APRIL 1927 Page 257 How to Use the “Weight and Relaxation” Method that when Sencsino, the famous male soprano, retired to his some fifty-five residents. At present it has a waiting 1 st for native Italy, his wealth was estimated at seventy-five thousand women. There are one or two vacancies for men. Full pai- Ay Explained in Five Practical Lessons dollars. That was in 1735 when a few shillings made up the ticulars may be had by addressing the Executive Secretary of weekly wage of the average workman. Farinelli, another male the Foundation at 1713 Sansom Street, Philadelphia. By GABRIEL FENYVES soprano, received a salary of 50,000 francs a year from King The Department of Scholarships has at present 142 Schol¬ Hungarian Virtuoso to Arvid A. Erickson Philip of Spain whom the singer cured of melancholy. But arships, amounting to $250 each, in as many Colleges with that was one hundred and eighty years before the world war, music Departments. A scholarship is-granted to the College Critics and audiences of the most important European music centers the modern composer. Later, Mr. Fenyves appeared zvith great success in and the franc was not then dancing around the financial gamut which in turn selects the individual who benefits thereby. 1 lie have acclaimed Gabriel Fenyves as one of the most remarkable pianists of cqncert tours in Austria, Roumania, Holland, England and other European countries. In the middle of his London successes, he zt'as brought to this from 1.84 to 5.00. Fifty thousand francs in those days were Foundation does not influence in any way the giving of the the day. Mr. Fenyves, who zoos born in Hungary, made his debut when he was twelve years old, playing the “Second Hungarian Rhapsody” by country to head the piano department at the.Minneapolis School of Music doubtless $50,000 today. Farinelli, however, was rich when Scholarship. The list of Colleges selected to administer grants Liszt. On completing his studies in piano and composition at the Royal and Dramatic Art where he conducts a master' class for artist students he went to the morose monarch. is determined independently by a group of Directors, mostly Academy of Music, Budapest, he continued his work under the famous and teachers. Recently he was soloist zvith the Minneapolis Symphony Many composers, from Handel to the present day, have college presidents, representative of different parts of the Professor Stephan Thoman, who had been a pupil of Liszt, and zvho was Orchestra. “The Etude Music Magazine” has in preparation a large number been well provided with this world’s goods. Handel was enabled country. teacher of Erno Dohnanyi, internationally-known pianist, and Bela Bartok, of practical articles of this type. to give over' $35,000 to the Foundling Hospital in London, The Department of Relief for Deserving Mysicians ad¬ through his musical efforts. ministers a number of pension grants to musicians who for HEIGHTS of real success are tion and to convince him of the necessity method the thumb is held down flat on the arm and upper-arm, as far as the shoulder, various reasons are not eligible to the Home for Retired Music reached by only a few of the thou¬ of relaxation by demonstrating the differ¬ keys, which depresses the wrist and stif¬ resting on this finger. This is a con¬ ence in tone color produced by stiff mus¬ fens the fore-arm muscles. Instead, the tracted position and is followed by relax¬ Nationalizing the Composer Teachers. It has also administered sizable emergency grants sands of piano students despite daily practice of from two to four hours. cles and that resulting from relaxed arm thumb should be held almost perpendicu¬ ing the whole arm letting it fall or slump. to musicians in distress in America and in Europe. In Europe What hope has Japan, or China, or South Africa, or This percentage can be increased materi¬ and relaxed muscles. lar to the key, the inside fleshy portion Repeat three or four times. North America for a national composer? the Foundation has cooperated with the Friends’ Committee ally through studies in the proper direction The latter especially are necessary for touching it. Take care that the thumb The same movement should be executed (Quakers) and with the Deutsche Hilfsbund. Musicians of the melody touch. The tone produced nail does not touch the key. This will with each of the other fingers as pivots, If we would believe the nationalists,'the composer should with a resultant saving of from three to ' international renown, reduced by reason of the great war, have five years of work. with relaxed muscles and with the arm result in a higher position for the wrist upward and forward with the full arm write only in the idiom of his grand-daddies. Therefore, a weight will be singing, sonorous, pleasant and the whole fore-arm, assuring an- easier weight, and then letting arm, wrist and frequently been helped by these means. This is the firm conviction of Gabriel Chinaman who produces a symphony worthy, of being ranked Fenyves, famous Hungarian pianist. .and beautiful and will possess carrying and more natural motion. The wrist, fingers fall. After the third finger, try with the greatest symphonies of Beethoven, Brahms, Cesar The Department for Music Buildings at Colleges was “I do not pretend to bring any inven¬ power. The tone produced with stiff fore-arm and knuckles are on nearly the the second, then the fourth and finally the Franck or Respighi has really no business to dabble in such planned by Mr. Presser during his lifetime, to assist colleges tions or original ideas to the piano stu¬ muscles and with fingers only will be dry, same level, the wrist just a trifle higher fifth. Fore-arm, finger and wrist—in fact, empty, harsh and metallic. than the knuckles. The knuckle-joint of all muscles involved—are virtually limp. a form of art, because his blessed ancestors had music of a with excellent music departments to secure adequate buildings. dents of this country,” he said, “but I would like to present a few practical hints Here, then, are the lessons, as outlined the fifth finger should, not be depressed This is known as the first “up and down” totally different sort. Nonsense! If an oriental can write a One building was in course of erection during the Founder’s on how to use the weight and relaxation by Mr. Fenyves, the first containing ex¬ but extended with the other fingers, the motion demonstrating the difference be¬ great symphonic masterpiece, let us recognize it for its worth lifetime and was inaugurated last March (Hollins College, near method. There are excellent theoretical ercises in relaxations. fifth being straight rather than curved. tween contracted and relaxed muscles; the and not because it was written by a Chinaman. Roanoke, Virginia). Three other buildings are now in pros¬ books on this subject, especially those by The right hand should be placed so that motion used for all melody touch. LESSON I Greig is said to have been the most “nationalistic” of the pect, one of which, at Hardin College, Mexico, Missouri, is Tobias Matthay and Rudolf M. Breithaupt, the fingers are poised above C, D, E, F, Next is the rolling movement of the General Relaxation Exercises and G, thus: wrist used to eliminate stiffness and the composers. Yet there are a great number of compositions of now nearly completed. Over thirty applications for. buildings but few of them explain how to put these principles into actual use, so that the stu¬ tired feeling of the wrist muscles. Place Grieg that are thoroughly cosmopolitan in their type and de¬ have been received from colleges. The Foundation is consider¬ THE PUPIL SHOULD take a nat¬ Ex.l 4 « dent, even without a teacher’s assistance, ural position at the piano and then the third finger on E, same hand position velopment. Possibly the genius of Grieg was hampered by ing these applications in the order of their believing as for illustration No. 1, and roll the receipt, may go to the piano and work out the center his attention on the knuckles. The nationalistic moats and walls. wrist in a circular motion, both directions. that to be the only fair method of procedure. It will therefore weight and relaxation method for himself.” first obstacle to overcome is to see i r f i ^ C hopin is called by some a Polish composer and by others be some years before the revenue of the Foundation will permit These principles, as worked out with the that the knuckle joints, instead of being Then use a horizontal motion, the palm of pupils in Mr. Fenyves’ master classes, the hand moving in a plane parallel with a French composer. As a matter of fact, he was one of the it to assist many of those who already have applied. depressed and sunken, causing contraction the keyboard, both clockwise and counter are outlined here in five lessons. Teachers in the wrist and fore-jarm, are raised, form¬ most cosmopolitan in type. Some of his pieces are distinctively fr'fr c c P clockwise, the upper arm and the elbow The Foundation has therefore an elaborate program de¬ of advanced students or master classes, he ing an arch which gives freedom in the With the arm weight resting on the third Polish, others of the French Salon, and still others of distinctly remaining almost passive. This motion signed to consume available revenue for several years to come. explains, find that ninety per cent of their wrist and fore-arm muscles. finger, raise the hand, wrist and arm so German model, as in parts of the great Sonatas, Chopin would 1 lit- Trustees will expand each department in proportion to the pupils have some or all of the following Then notice the thumb. In the old that you feel the full weight of the fore¬ should be continued until the elbow and not have been the giant he was had he not been able to speak difficulties : shoulder feel loose. needs of the Department and the income of the Foundation. in many musical tongues. 1. Lack of touch and tone production. Follow this with the rolling motion of The founder provided that no new department designed 2. Stiffness in the fore-arm,' upper-arm the upper-arm, the elbow making a com¬ What shall be the musical idiom of America? John Powell to accomphsh a major pkknthropy, such as the foregoing. and shoulder muscles. plete circle, first in one direction and then contends for the Anglo-Saxon idiom of our ancestors. But what 3. Poor octaves and chords, especially reversing, the hand always in the same about those Americans- whose ancestors came' from France, Trustees ofrt * 7^°'% consent of all of the in fortissimo passages, caused by lack of position; that is above C, D, E, F, G. Spain, Scandinavia or Germany over a century ago? Surely rp, . . ' . . le Foundation for three consecutive meetings flexibility of the wrists. As before, use the third finger first, then 11ns provision has been of immense value to the officers of the 4. Poor trills, broken octaves and tre¬ the second, thumb, fourth and fifth fin¬ A™C™S’ according to all American conceptions. molos. gers. M hat Mr. Powell has to say, is, however, most interesting, and Foundation who have naturally been importuned to support numerous different projects since the death of the Founded The Fundamentals Finally, try the shaking motion for we shall have the pleasure of presenting his opinions in more OUCH AND TONE production are trills, broken octaves and tremolos, using detail m a later issue. T increased’11^The H \nUmher of Scholarships has been considered the most important ac¬ the whole arm instead of the fingers only. fZT > vt l haS been maint»int‘d as during the quirements in piano playing, being char¬ Shake the fore-arm from the elbow down roundel s lifetime, no very great denifirwl f,.,. i r, n acteristics which distinguish the artist using each finger separately as a pivot. having manifested itself/ fhould7„cha^ from the amateur. Stiffness in the arm Few students will be able to do this Practical Vision correctly at first. As a help to get the Foundation will increase the capacity of the Ho. a,lst ,c and shoulder muscles causes uncertainty , i . T" ,LATE Theodore Presser, with his keen mind, remarka¬ The Department for Needy MuScians h , '•* re(lu»^1- in the playing and this, in turn, results in shaking sensation in the fore-arm, throw ble initiative and vigorous personality, was first and foremost fear that the mistakes made during prac¬ out the hands, palms down, then turn tures very greatly duringth“y^ ’"tST’ *" palms up with the thumb out. This is a a practical man. He had the gift of looking far into the tice will crop out when playing before an fact that the musical public has become * s seldom used in daily life, except for Sonata 18, in E Flat, Op. 31, No. 3 creasing in fast passages to a point where softly, crescendo and decrescendo, ascend- twisting an object, such as a door key. third and second, E and D; third and it can hardly be discerned. Until you get ing and descending, and in all keys chro- This twisting is done at the rotary joint in first, E and C, and second and first, D and THE THIRD of these brilliant The flourish of sixteenth-notes for the wants to sound as it would on a viola, or In the graceful Minuet, which forms the the “feel” of this motion it will be better matically. If done properly, the pupil the elbow. C, as follows. Sonatas arrests the attention'of the right hand which follows, being very as if played glissando. The startling ff third movement, it is to be noticed that it to exaggerate it. These movements, when should then play exercises No. 3, 7; second I*1 order to acquire the “feeling” for this hearer more than either of the straight-forward, had better be left to chords at 34-5 are like a postman knock¬ takes the place of a slow movement and used by an artist trained in the modern book, No. 12, and third book, No. 30 in motion, try the following exercise. Extend others on account of the originality of its that hand and not assisted by the left; ing when he is in a hurry. Only you have therefore demands a grave, pensive mood. technic, are scarcely noticeable. Czerny: No. 20 in Cramer, and Nos. 7 and both arms and hands forward, palms down, subject. The opening phrase of this re¬ but there is no reason why 75 and 76 the added difficulty of knocking with both It being very short, the composer has indi¬ Now play the scale, but combine the mo- 23 in Clementi. All these books have nu- then turn palms up, thumb extended, fin- quires very delicate accentuation, neither should not be divided better, saving the hands at once and with extended fingers, cated that the two sections of the main tion just described with the “up and down” merous exercises in scale, arpeggio and sev- gers close together, which is a contracted too short on the C, nor too long on the F, which tends to stiffening. Perhaps it will movement shall be repeated after, as well movement outlined in the first lesson, enth chord selections. position. Now turn the palms down, let- but exactly as if ejaculating with quiet help you to concentrate upon the fifth as before the Trio. In the Minuet you going up with the arm and resting its Remember to alternate between right and ting the hands relax. This exercise, in ad- : fervor, finger of each hand, in fact, to play the must subdue all the lower parts and con¬ weight on each finger and relaxing at once, left hands in practice so that both will be dition to loosening the rotary joint, makes ' “rat-tat” a few times with the fifth fingers trive to make the melody sing out like a Play C, D, E and then passing the thumb developed at the same time. one feel the difference between contraction Ex.l only. Then do it with fifth fingers stiff horn solo. In the Trio you need to dis¬ with the wave-like motion just referred to, i pocriM in and relaxation. and the others dropping loosely. Finally pense with the pedal, except, perhaps, for play F, then G, A, B and C, remembering LESSON III Now take t|]e piano position—elbows ; all loosely. the six measures on the dominant. The Octaves and Chords always to movemuve theuie arm forwardiorwara with it-its a«u miuuu close to your sides—and do the above ex- But when, four measures later, the sud¬ simple—almost too simple—Coda needs a natural weight on the finger used, relaxing /CONTRARY to the old method of ercise, but with the forearm only. Drop Practice this until you can play the trill den chord of Bb comes, do not dash at nicely graduated diminuendo; and I do at once, and repeating on the next finger. ^ playing octaves With stiff wrists, the your hands to your sides and turn palms with the minimum shaking of the fore¬ it too suddenly, as if you were hitting at a think that, after so much of the plain E This gives the preliminary exercise for new method of relaxation is used, the upward. Then turn them back with To be sure of accenting the last note with arm. proper delicacy, take it with the fourth fly; but have the courage to take breath, flat bass, no one would be shocked if you acquiring the touch used for all melodies, wrists being perfectly loose. With the thumbs inward, toward each other. Use just as you would in speaking, when, after ended up Eventually you will be able to play the en- weight of the upper-afm, immense power the whole arm, although the contracting finger wherever practicable. The trill at 78 would begin on C with In measures 3 and 5, as elsewhere, it a triplet so as to continue D, C, and in¬ detailing a number of unwelcome proposi¬ tire scale with one wave-like motion of the ln. fortissimo octaves and chords is ob- and relaxing is done mostly in the fore¬ tions, you exclaim—“No 1” Time must wrist. Diminishing the up-and-down move- tained. To avoid the harshness of tone arm. Repeat, increasing the speed, until a seems to me that the dots so invariably crease its velocity as it proceeds. The Ex.fO occasionally give way to elocution. ment to the minimum, and using the weight anc* pounding in attempting big orchestral shaking motion is produced, with a conse- placed over repeated chords are quite su¬ next portions need little advice. There I think that in most. modern editions of the arm for each note will assure even- effects, use your shoulder and body, lifting, quent sensation that the elbow itself is perfluous. The chords can be played only are the same material, the trills offering attention is drawn to the fact that, in meas¬ ness and beauty of tone. The more relaxed “weighing” and pressing, so to speak, the shaking from the rotary joint. This mo- in one way, so take no heed of these the same problems. Just before the re¬ the wrist, the greater the freedom for wrist chords and octaves out of the keyboard. tion is used for trills, tremolos and meaningless marks. A more important turn to the subject there is a succession ure 54, the right-hand-figure should be the and fore-arm. This latter, in turn, pro- First. P]ay the octave, using the staccato broken octaves. thing to notice is the mode of performance of trills, the last of which—in 127 and same as in 53. You know, don’t you, duces a n that the old pianos did not go above F? l, sure and balanced scale, touch, thus: At the keyboard, do the preliminary ex¬ of the very numerous trills which occur following measures are on this pattern By this time the hand should acquire The left hand accompaniment in double ercises for the trill, with fourth and fifth so frequently. As the time is pretty brisk Ex. 4 the natural rotary motion for interval uch Ex.5 notes (50-56) has to be played with an in¬ finger on F and G. Turn out your hand, it is clear that the trill on a quarter-note will as sixths, which will prepare the n . cles cessant change of fingers on the repeated using the fifth finger as pivot, until the always contain the same number of notes, A strange, boisterous, rollicking affair is for larger stretches such as octaves. ing notes; otherwise some note or notes will be palm js up and the back of the fingers in and six being as many as you can get in the Finale that now follows. The main this rotary motion, play octaves instead of with comfort, you had better make up sure to get missed. Next, although the direct contact with the keys. Then strike sixths. theme, which is only a cadence, suggests Quite different from the legato touch swiftly repeated thirds of the same hand a F with the fourth fifiger, not as an inde¬ your mind to play them in this form, the refrain of a low-comedian’s song in a produced by the foregoing method is the little later (72-77) are not difficult, it pendent part of the hand, but rather as an ex. 15 neither more nor less: comic opera with some such words as, “I staccato obtained by pressing the key and would be wise to attend closely to their suddenly relaxing the arm, at the same extended part of the forearm, the finger know my way about!” while the eight Ex.2 staccato which is best maintained by using time releasing the key. Practice this at itself remaining passive. Play, repeating measures of / that follow seem as if 1,2,3,4, for each measure, ; continuously the same two fingers, and first on one note, then play an entire scale same : the four times, his voice failed him and he were speak¬ e observing the thumb to sei not playing, for instance, m one motion without relaxing until the it is r that Ex. II ing the lines. It carries on, however, with n the key, but rather that the Ex. 8 spirit—though Presto ceems to indicate wfff'the staccat^'touch because If hefi “fu th^k tipJS a rather imprudent rate of speed—and gets loosen the muscles in the arm and is a We thf ^udd^J°“*t m ‘he fiufth finSer a nice contrasted rhythm for the second great aid in building up velocity * see that it is extended, rather than flat, to If the rotary joint in the forca In the last section there is nothing to subject. To get the accent of this to the After practicing the scale in legato and ** ^ f°Undation loose enough as a result of these ex trouble about until we come to the last best advantage finger the eight-note groups staccato, play the following exercifes using tint Tl The ?-°Wer of the octave you should be able to shake the fo- The second subject (46) comes bustling cadence. This, which has been impending which is apt to cause a slur between the (42-5) so that each phrase finishes with both touches: Czerny Op 299 Book f !! m d firmness disappears when the - » •> | so rapidly that the result is a trem 1 along very gaily, but the left hand must for so long, is liable to sound an anti¬ pairs of thirds, which is to be avoided. the fifth finger. This can always be man¬ Nos' 2. 5, 9 a„d 251 Cramer, Sixty Ex- lev**" " SUnkCn The tri11 exercise PrePares 7™ for the Ex. 16 not deal too heavily with its accompani¬ climax, if played exactly as written. But The next thing to look out for is the ex¬ aged by leaving out the second finger. The erases. No. 1 (Biilow Edition); Clementi, See that the fourth firmer i , , , broken octaves which require a more . Tremolo Tremolo ment figure. Transfer the last note of 52 if you emphasize the chromatic progres¬ treme smoothness of the runs in 88 and trill in 63, you will notice, by the absence Gradus and Parnasum (Tausig), Nos'. 1, 2 b]ack keys ia the octaves. Practice !le ItTtVt" f0^3™' to the right hand, won’t you? The wild sion and make a considerable ritardando 90. The trill in 91 can be only a turn, ex¬ of a turn, is meant to go run in 53 need not be so very wild. Bee¬ you give it the importance that it needs. ceedingly distinct. The numerous short thoven evidently wrote it first and forced runs will sound properly clear only if care scaItes’try the arpeggi- Ex. 11 This is produced in exactly the same it into four measures afterwards; but that be taken that each of the five fingers manner as the broken chords and octal as, was only for the look of the thing, like come away instantly from its note; and only it is done with a rapid shake, "he the cadenza in the introduction to the this, simple as it seems, will only be in¬ f. ■ ■ ■ .... “ *”kw ‘““'fr ■ ST2 £ wi”™e «ri“4 ¥£ wrist should be held slightly higher than Pathetic Sonata. In plain language, take sured by a slight rotational movement of f J f ;ll f . :J (* J :| y I shifting the weight to the fifth finger which usual, keeping the thumb perpendicular and no heed of the time and simply play the the wrist in the direction of the run. The development section gets very rowdy. There is no fresh material, but the knuckle-joint of the fifth finger firm. passage at an even pace, resuming the The quick ending is also enhanced. Meanwhile, the left hand must do what it Use the same touch as in the scales, first jjl TTTXji_L_L L C aga!n' Strik« C withThfthmh^ew^ J J I f tfXj these rotary motions are of immense time insensibly during 56. The second movement of this Sonata can about the alternations of p and f. the second half of the first subject is re¬ practicing the legato full-arm weight for „ 1 1 ‘ Tf IT " 1 an.d sPeed «P the exercise. In practicing The next difficulty we encounter is the is a singularly original Scherso, the most On the return of the subject the right exhibited on many chords and alternated, each note. Then take the entire arpeggio Separate motion each note, ' ' this rotary motion, be careful to see that ,e p for velocity, and after some practice you should acquire a brilliant trill without chain of trills commencing in 65. The pianistic effort, perhaps, of all Beethoven’s hand has additional labor in the form of in four-measure patches, with broken much6 next’ practice the staccato Practicing these with staccato Touch ‘h(; thui"biis Perpendicular to the keys—not ettort. As compared with the old method first two present no obstacle. They can works. As a mere exercise in staccato repeated middle notes, instead of chords, chords in half-measure notes, the whole noteh’andPthf fg™ ,ln,ovement for each heIPs t0 produce loose, easy octaves called fat—aljd that the knuckle-joint of the fifth of using the fingers alone, there is no be played either tying the first of the six touch and variety of touch it is unsurpas¬ and needs a very loose thumb to execute keeping at a noisy ff, suggestive of some pi i e Wu0le arpeggl° !n one kggiero, one of the most difficult phases of finger ,S extended out and UP- limit to the speed obtained by using the notes to the half-note, thus bringing the sable and though its difficulties are con¬ them properly. You will, of course, take dashing “act” at a circus. When at last twoortavfsin thl?Ugh pian° playing' After the octaves! try the r chromatically, first shaking motion. Playing crescendo or de- first Eb a fraction after the beat, or thus: siderable, they are amply worth con¬ great care that where the two hands have this has exhausted itself it dies down, yet sfendifr Tfi. I y-’ asce?d,nS and de- same method for the chord, dropping the C ** A’ then C# A#- D B* and so °n. crescendo is accomplished merely by allow- quering. a simultaneous trill they shall play exactly still with gusts of frenzy, till the return m.ore \rm w«ght for the former and Ex. S To begin with, you must have acquired the same number of notes of the original figure (mind you, don’t a sound left hand technic; the separate lose the right number of measures) warns releasing the arm weight for the latter. Ex. 9 Ex. 6 Moreover, this rotary motion produces a sixteenth-notes, whether pp or ff, must us of the return of the principal subject. genera1 looseness and freedom in the whole seem to be shaken off a loose hand like so After some 26 measures of this, the second many dew-drops. The wayward sforsandi frmri half dashes through Eb minor to Gb This is the first part of the rotary or playing^ ^ WhicH results in natural on the fourth eighth-note of the measures (which might just as well have been shaking motion in which the forearm ro¬ want to sound momentary, to which marked) and the second subject is gone tates toward the right and returns to the from°WJletCn aCC°rding to your ability, • end the two sixteenth-notes must always through in that key, presently modulating On completing the arpeggi, try the sev¬ Tg exercises: Czerny- left Now use the fourth finger as a pivot At the pace the halt in the trill will net sound to the dominant of Eb again. The treble enth chords on the black keys as well as ™ F a"d play.G with ‘he fifth finger, the iT s ’k iv aTd,20; Book IU’ Na be noticed and a trill of seven notes is a and play them precisely together, whatever and bass fling phrases at each other (for the white, using the thumb instead of the and 2R r' 35- Clementi—Nos. 3. 18 mere scramble. You see the melodic out¬ Ex. 7 may be the fingering. I ought to have re¬ usual third finger. Also use the wrist mo- and 28. Cramer-Nos. 3 and 37. These all the world like circus clowns flinging line of steady descending quarter-notes, minded you of this before at 6 and 30. hats or hoops) at greater and greater dis¬ s before, by passingPassing ,nethe thumbihomb under H»M >»', ‘°"r from 68 to 71 must be preserved and if The ff chords are now less difficult and tances, until (at 301) one executes a su¬ the fourth finger, for both legato and K reEg ffiedyhaf.!d ^ *** tW° exercises sepa- the first note of every trill were to be cato touches. (intentionally) less startling. Give extra preme feat. You cannot possibly jump tied, this would be lost. There would be care to the ensemble and light-and-shade more than two octaves in the time of one —' ** - --Saf-JS ssz a £ nothing on the beats where the sforsandi as they are apt to do. The little run up of the final eleven measures, making the (Continued on page 315) eighth-note presto, without making an ugly at 19, of which so much is made later, last really all but inaudible. gap in the time, but if the right har.i is Page 260 APRIL 1927 THE ETUDE adroit enough to help the left the gap c an hour earlier and get it over before Games for the Club Meeting THE ETUDE APRIL 1927 Page 261 be rendered imperceptible. breakfast. If you customarily spare one hour daily for your music, try two separate By Charles Knetzger half-hours at unusual times. The Secret of Touch or How to Extract the Most Beautiful Let your practice be honest, concentrated ' . , , • . .. , work. If you find yourself thinking of Word-Spelling m hne< °"e the other about two other matters when you are actually play- The TEAC11£R 0r leader gives the name feet apart When the leader cries Tone from the Pianoforte ing, you can be sure that the pUyi^wfll 0f a” The£Sb£. of the class “March! and they * do no good. write thi;name on a piece of paper. At keep step until the leaders call. Halt !” By the Noted European Critic and Teacher Never be careless. a given signal a]I beg;n to spell words Anyone who gets out of step, bumps One very common fault in practicing from the fetters contaim * the- com- againstgainst hish.s companionscompanior". i front or behind GUSTAV ERNEST This is a trick of my own invention, and s Jo give an equal share of attention t< .t,*. Unchas both fppffeet m THE ETUDE Page 268 APRIL 1927 APRIL 1927 Page 269 THE ETUDE The Counting Spectre Character Building Through Music ity and a higher degree of responsive¬ (This is a reproduction of an address in the eyes of the experienced educator By Caroline V. Wood ness, nothing that accelerates the mental made by James Francis Cooke, President of and the psychological experts, an invest¬ processes to a greater speed, nothing that the Presser Foundation, at the recent meet¬ ment which must bring rich dividends. A NEW DEPARTMENT OF PUBLIC SCHOOL MUSIC develops a finer sense of form and balance Appealing to his sense of humor and ing of the National Educational Associa¬ Charles M. Schwab, America’s great presenting new ideas in terms of things tion at Philadelphia. The article has been steel king, has long made music study a than does music. Take music from our Conducted Monthly he already understands will arouse in the very widely copied and is here reprinted in part of his daily program. In a confer¬ schools and we would rob them of one of pupil an interest and a desire to do things The Etude, from the Journal of Educa¬ ence with him, he said that he knew noth¬ the most powerful and illuminating dyna¬ By GEORGE L. LINDSAY, Director of Music, Philadelphia Public Schools right. On the other hand, simply becom¬ tion, in response to many urgent requests.) ing in life to excel it for the great pur¬ mos in the whole scheme of mind develop¬ ing cross or insisting on his doing this or poses of relieving the strain of modern ment. If you look into the history of edu¬ that will render any girl or boy with any THOUGHT energy is the dynamic business. At least twenty other men of the cation, you will discover a whole chorus spirit indifferent and unresponsive. There force of civilization. Because the front rank in business and in industry have of the greatest pedagogues of the ages must be given a basis for comparison and teachers of America are the con¬ told me the same thing in the most chau¬ emphasizing this opinion. a reason for doing the task at hand as it struction engineers of this great force, vinistic terms. The value of music in connection with The Production of a School Operetta should be done. their work takes pre-eminence over In musical therapeutics, every month character building is largely that of put¬ Ask the little boy who “just won’t keep all other forms of human endeavor. brings reports of the almost miraculous ting the mind in tune, in proper mental HE DEVELOPMENT of all oper¬ ment of material written expressly for the charm are often more important than For instance, the basses may be called T for a single rehearsal on one day and the time” whether he wants to be a soldier It makes little difference whether this value of music in treating mental and ner¬ condition, for the reception of great ethi¬ etta furnishes a splendid educa¬ purpose. voice. Many singers are excellent actors when he gets older (or a boy scout, if he boy tenors on the next. The soprano and is recognized by the public of the moment vous trouble. I doubted these reports, but cal principles. Music in itself is something tional project for a school of any and carry their audiences away with their is not one already). His face will brighten Selection of a Suitable Operetta alto groups may be rehearsed together. or not. The' fact remains, and the public I went personally to three of the' most quite apart from ethics, but when these are grade. There is nothing which appeals dramatic power, while often the vocal up at the suggestion and he will eagerly As soon as the different vocal parts of is being compelled to recognize it for the prominent psychiatrists in the state of combined, the effect is like that of turning more to school pupils and sustains their IN ORDER to stage successfully a well- short-comings are little considered. Every reply that he does. a chorus or of a few choruses have been protection of civilization. Pennsylvania and found them thoroughly on a mighty electric current to a piece of interest better than a production which balanced production great care should principal must have an understudy. Many “Well,” you continue, “When your cap¬ developed, the entire group should come The vast interest taken in music and convinced of the practical value of musical idle machinery. calls for individual and group participa¬ be exercised in the choice of an operetta. school productions which run for a series tain says, ‘Right! Left! Right! Left!’ together. It is a most wasteful process musical education is one of the significant therapeutics when applied by experts in In a period of unheard of crime of every tion in music, dramatics and the dance. Many pitfalls await the inexperienced di¬ of evenings have two and often three com¬ you are going to keep step, aren’t you? to teach a single part while the rest of signs of the increase in general education. cooperation with the brain doctors. imaginable description, our own police and There are educators who sincerely believe rector who may attempt to produce a musi¬ plete changes of the cast of principals who Do you suppose your captain would think the chorus sit idly by and await their It has been estimated that from two to It is unnecessary to comment upon the courts have shown their impotence by the that the time spent in the production of cal Work which has easy melodious music alternate in taking the leading roles. It is you were a good soldier (or boy scout) turn. The director who has ability as an three million dollars a day are being spent importance of music in religion. fleets of armored motor cars in the streets. an operetta amply compensates for set¬ and later find that the text is too im¬ well to have a series of try-outs before if you just walked along, any old way?” organizer, will seek help from the other by the American people upon music. A In education it would require' several We are really at war with an enemy and ting aside the regular school program mature for adolescent pupils. Or he may the chorus or a group of judges selected “Just suppose that you are a soldier music teachers or teachers of other sub¬ very large portion of this is being devoted volumes for me to recount the results of a nobody seems to realize it. On one side temporarily in order to give the pupils decide on an operetta which calL for two- for the purpose. Two pupils, at least, now! When you count ‘One! Two! jects, who are musical and ask them to musical education. More and more, vast number of conferences upon the value are the most desperate crooks and drug who are taking part in the production an part choruses and attempt to use boys must be selected for each role. Withhold Three! Four!’ your captain is giving to train one or more of the groups as¬ music is becoming a part of public school of music in education. From the first fiends the world has ever known; on the opportunity to develop their social and with changed voices to sing in the choruses the final assignment of the roles until sat¬ orders for you to march, and you are work. signed to the vocal parts. steps in music study, rote singing, dancing other side are the clergy, the home and the artistic possibilities in the chance afforded when the writer intended that these should isfactory proof is given of the superior going to keep step. It is just as impor¬ Every participant should have a copy When Dr. Charles W. Eliot, president in rhythm, musical appreciation through school. The child in the school must have them. There are leaders in education who be sung by unchanged Voices. Again, he ability of certain pupils over the others. tant to keep good time in music if you of the vocal score. The pupils cannot be emeritus of Harvard University, proclaimed the talking machine's and the player piano, what ethical training he does not get from have frankly stated that every pupil should may attempt to produce a standard musi¬ want to learn to play right as it is in the expected to make rapid progress by at¬ some fifteen years ago that “Music is through the practical study of music, by the church or his parents. Through regular have an opportunity to develop his or her cal comedy or a Gilbert and Sullivan Preparations for the Production army if you want to be a good soldier.” second to no other study in its educational tempting to memorize vocal parts which means of musical instruments, there is study of character training and through dramatic sense and that the entire school comic opera with too immature a group HE WORK of the musical director This usually turns the trick, at least value,” he was merely emphasizing what have been presented entirely by imitation. nothing in the whole pedogogical field the powerful inspiration of music at the program should be set aside on occasions of boys for the solo and chorus work. If in rehearsing the chorus and prin¬ for a while, and the boy takes some pride laboratory psychologists and educational The visual must be called on to help the which leads to develop a higher degree of same time, we can grow and train a new for this special work in order that every the male leads call for mature voices they cipals plays the major part in the prepara¬ in counting evenly, in crisp military clinics have scientifically ascertained, and aural memory. As soon as one choral fashion. coordination between the mind and the generation of young people whose stamina pupil may take part in a series of oper¬ should not be sung by boys with soprano tions for an operetta. There arc other what the great educators from Plato to body, nothing that demands more accurate or unchanged voices. A wise choice wins number has been developed mechanically, Put this question to the older boy or and character will not be questioned in etta projects. While this may seem to be important forces which must be utilized, the present, know full well. another should be added, until all of the girl: “When you get out on the floor to thinking, nothing that promotes the excelling the forces that would destroy the a radical point of view, the fact remains more than half the battle. however, and without which the produc¬ America’s huge expenditure for music is, musical memory to a larger capac- choruses in the operetta have been covered. dance do you try to keep time to the music highest standards of modern civilization. that practically every high school—junior The experienced director who is cast¬ tion will be a failure. Some work should When this is accomplished, a cyclic scheme or just dance around any way you please and senior—and a great number of the ing about for a new work to perform be found for every department in the should be started and each chorus re¬ and let your pardner stumble along after elementary schools of large and small com¬ will invariably get in touch with musical school in order that it may be said that viewed in the order in which it occurs in you?” A laugh from the pupil follows munities everywhere produce one or two agencies or music loan libraries and pub¬ the production of the operetta is an all¬ the operetta. The memorization and the this query and the way is opened for Finding Beauty operettas each school year. lishing houses and frankly state what his school project. The art department must further discussion. needs are in the field in which he is work¬ play an important part in planning the shading or interpretation should be de¬ By Leonora Sill Ashton Dramatization in the Class-Room ing musically, and request a selection of scenery and in organizing groups of pupils veloped simultaneously. THE IDEA of introducing dramatic various operettas which have been given to assist the art teachers in painting the projects in the class-room in con¬ successfully in places similar to his own. stage settings. This scenery will need Rehearsing the Principals These is a children’s story about a stupid, tor instance! If We look closely Piano Accessories iriaa again you will begin to know the junction with History, English, Geogra¬ It is much better to produce well an frames which must be made in the school MENTION HAS been made of the gloomy old man who started to go to the at them—that is, really think what they beauty of the arpeggio, named after the phy, Music, Nature-Study and other sub¬ operetta suited to the capacity of the shops, together with other stage settings fact that the principals should be baker’s to buy a loaf of bread. He began are and what we can make them—they By Sarah A. Hanson great golden harp. jects has gained wide-spread recognition. pupils than to produce what amounts to a and furniture. chosen for their dramatic ability and fit¬ grumbling at the outset of his journey will become round, lovely tones, as full of You will also be creating that beauty The dramatization of historical events burlesque performance of an operetta The English department should be called ness for the specific roles. Vocal qualifi¬ music as the golden cup of the crocus is because there was nothing beautiful to yourself; for with sure, light touch, your which is beyond the ability of the group. cations must receive due consideration, The piano-bench and piano-lamp are of sunshine. makes a great impression upon the class, on to coach the principals in the dialogue cheer his way. But the newsboy told him fingers will be flying up and down the key¬ especially upon the pupils participating. Many junior and senior high schools and to work out the dramatic action. however, and if the numbers cannot be equally valueless as far as practical use is Hold your hand, palm up, like a cup there was beauty hanging to his front gate. board, with graceful curves; very much have successfully produced Gilbert and recited to music or spoken as part of concerned. Compared with the latter the itself, curving the fingers in a little. Then Wurk in these subjects may easily be The art group may arrange the tableaux. The milk woman told him it was under as the swallow circles to and fro in the Sullivan’s “Pinafore,” “Pirates of Pen¬ the dialogue, it may be necessary to select small, adjustable light with the green in that position, turn it over on the key¬ correlated with music. The sewing teachers should make the evening air. zance,” “The Mikado” and others. High a pupil of poor dramatic ability, but of shade, fastened to the centre of the piano, his hedge. The grocery man said it was board and begin to play your exercises. It is not difficult to dramatize narrative costumes, with the exception of the cos¬ Then the scales! Up and down the schools and normal schools can ably pro¬ tumes for certain major principals, which fair voice, as it is nearly impossible to is inexpensive and far more convenient. beneath the eaves of his barn. The more you look at these with your and even mood songs found in the list of piano-often, every key, black and white. duce the modern musical comedies of Vic¬ improve the vocal work of a poor singer Sitting on a piano-bench is tiring, since The old man was suspicious of all three mind—that is, the more you try—the more songs used in conjunction with the regu¬ will have to be rented from a theatrical What can we find in these that is beauti¬ tor Herbert and his contemporaries and in so short a time. it is apt to be too high or two low and is reports, but, when he started home, he strong and sure becomes your touch: and lar work in school music. There is no costumer. The color and lighting effects ful? the standard light operas, but it is unwise Attention must be given to the correc¬ non-adjustable. This renders correct tech¬ decided to look and see what he could find. suddenly you realize that the golden tone end to the possibility of dramatizing the may be decided upon by the art depart¬ tion of vocal faults on the part of the nic difficult. Perhaps, though, a long-suf¬ Lo, and behold! He found a crocus un¬ is there. Keep on, working, working, working; entire term’s program of songs. This fur¬ to attempt grand opera although it is ment, and the arrangements made for watching always for what is to come. tried occasionally. carrying out the lighting scheme bv the principals and the conductor, or vocal fering piano instructor may be said to be der his hedge. He found some swallows Then, the arpeggios—hard, catchy things nishes a splendid back-ground for creative coach must find time to help all of the unduly prejudiced. Housewives have long in a lovely nest under the eaves of his that you never can get! How your fingers Keep your hands cup-shaped over the work for the entire class. The plot will electrical shop teachers. The physical keys, die fingers sure and strono. and the The Operetta Club principals individually. The pupils hav¬ been attracted to both these accessories for barn. He found, hanging on his own gate, slip off the keys! How your thumb sticks naturally grow out of the many sugges¬ training teachers should train the chorus ing the leading roles must enunciate clearly decorative purposes despite their expensive- a cobweb sparkling with drops of dew and out! ^ Now, if you look hard enough and thumb always on the alert under the palm tions furnished by the song texts. The MANY SCHOOLS carry on operetta or ballet in the dances required, and the sunlight. and should turn and face the audience as practice hard enough in placing each fin¬ of the hand: and suddenly you will find dialogue may be spoken and the solos and clubs as an extra-curricular activity. commercial teachers should take over the much as possible in order that they may The stool, however, is available for ad¬ Let us see what we can find scattered ger surely on the separate notes of the you are sounding a “pearly” scale. The choruses furnished by the class. This proj¬ If the most talented pupils can be inter¬ printing of tickets and programs and ob¬ be heard. The audience will understand justment to varying sizes of performers. along the road of practice! Those tire¬ triad and keeping the thumb always in tones will be clear and round and perfect ect will increase the interest of the pupils ested in joining the club, the project tain sufficient advertisements to carry the what is being sung if they can see the With a chair-back it is still more desirable. some five-finger exercises which seem so readiness to take up the first note of that hke the dewdrops hanging on the cobweb hi their efforts to learn the choruses or may be developed entirely by this organiza¬ cost of the printing. A group of teachers Even an ordinary chair can be “boosted” on the old man’s gate. songs, as the objective will be the final tion. Difficulty may be encountered in should be made responsible for the proper facial expression and watch the lips of with books, pillows and the like for com¬ public production or the production of the weeding-out or rejecting those pupils who publicity needed for the sale and dis¬ the singers. The enunciation of the chorus fort and the requirements of piano posi- quasi-original operetta before the school are undesirable musically. The member¬ tribution of the tickets. Something should must be extremely dear as the continuity “Scaling” the Keyboard with “Do-Mi-Sol” assembly. ship should be limited to those who have be found for every department in the of the plot must not be lost sight of. A little foot-stool should be kept at the Out of this movement there should come a singing voice of the range and balance school to do. A junior high school group Occasional tones of extreme register in piano for the' small player when he is not an attempt to write an operetta with an required for the several chorus parts and of cooking teachers did their bit in an the solos may be changed to tones of easier By May Hamilton Helm using the pedal. Consideration of these original libretto and musical score. If the solo roles. If enough pupils do not apply, operetta production by making candy for range in order that no embarrassment may points all “work together for good.” incentive is strong enough, much can and it is wiser to drop the club idea and use the pupils-to sell between the acts. be caused the singers. “What is gained by singing well-known Sol-fa names are not intended to re; has been done in original work of this in its place the entire senior group or tunes with sol-fa syllables?” When this sent tones but merely the place a tone than it is to remember a different letter- highest grade of the school to study the Training the Chorus The Prompters and Helpers name m each scale. type. There have been some very inter¬ question was given on an examination one cupies in a series called a scale. Thus esting children’s operettas written by chil¬ choruses of the operetta selected as the HE DIFFICULTY in rehearsing the ROMPTERS should be stationed In "There is no greater force for peace and Sight-singing of course does not help T pupil asked “Are we supposed to write is easier to remember: dren themselves under proper guidance. term program of choral music. The re¬ chorus for the many ensemble num¬ the wings or better still, a prompter’s happiness than music. We, in America, piano-technic, but familiarity with sol-fa the usual answer or what we really think?” Many of the higher schools and colleges hearsing will then come in school hours bers which occur in the average operetta shell should he sunk In the front center could take no single step that would ad¬ In all sharp scales (except f#) ri has proved to be helpful, not only in learn- vance our nation along the road to happi¬ The reply, Yankee fashion, was, “Why hand fourth finger plays “ti,” produce original plays and operettas or and the more talented pupils will be avail¬ is often d«e to the amount of part work of the stage, if the arrangement can be not both?" musical comedies annually. Although these able for the solo parts. that the composition demands. The chorus made. A prompter may be seated next ness further than the establishment of a In all flat scales right hand fourth fin; hannony ’ ^ “ PraCticaI’ la*JboarA original works may not approach the work of many school operettas is given to the conductor or the conductor may national means of music. There should be When asked later to state her own views, plays b-flat, Very small children learn to find “do-mi- Selecting the Principals act as such if he so desires. A stage a musical instrument in every schoolroom this same pupil said that to her it was only quality of standard material, yet they ap¬ entirely in unison (when the composer In all sharp scales (except b, and °n„the Pano, and also find that “sol- peal far more to the successful writers, UCH CARE is needed in the selec¬ wrote in parts) with the most colorless director should he responsible for the in the country, and every child should have confusing to call a tone “do” at one time, M where it starts the scale) left hand fou ’-re-ta makes a good chord, which must their classmates and the audience of par¬ tion of the pupils who are to take and monotonous effect. An attempt should entrance of the cast and chorus. Pupils the chance to learn to play some instru¬ “re” or “fa” at another. The difficulty finger plays “re,” go to do-mi-sol.” The two kinds of ents and friends. We have stressed the the principal roles. Voice alone is not the be made to sing some of the choruses, at may act as stage hands under the direc¬ ment. For music makes better citizenship.” in this case seems to lie in a misconception In all flat scales (except f) left ha ,, ‘C’ S1"gmg‘ and playing, help each least, in parts. If the vocal parts of the tion of the stage director. They should —Hon. James J. Davis. of the use of these syllables. value of creative work as one phase of full requirement. The physical qualifica¬ fourth finger plays “fa,” “nf’.f5 iqUOting the oM Italian proverb) musical dramatization for it has much in tions for the various roles must receive choruses are rehearsed separately, there be trained to shilt the scenery quickly Une hand washes the other ” its favor. The other phase is the develop¬ careful consideration. Personality and should be little difficulty In preparing them. (Continued on page 311) Page 270 APRIL 1927 THE ETUDR THE ETUDE APRIL 1927 Page 271 DEPARTMENT OF BANDS AND ORCHESTRAS The Teachers’ Round Table Histdry of the Orchestra Conducted by PROF. CLARENCE G. HAMILTON, M.A. Professor of Pianoforte Playing at JVellesley College By DR. HANS HART HAN of the Conservatory of Music, Lawrence, Kansas TO ANSWER the question, how was Orchestral Beginnings The Suite is as a series of pieces, not in Mozart’s immensely improved, or in the orchestra augmented and de¬ XTOW THE QUESTION arises, “What connected among themselves, mostly in Robert Franz’s modern instrumentation, it Certificates for Teachers you might try Presser’s Beginners’ Book rather than how they should sound. When veloped, we are assigned to indirect 'L ^ dld the early orchestra play?” Till a dance form. The Allcmande, Courante, is always Handel’s mighty language that or John Williams’ First Year at the the composer indicates a staccato with the material: pictures, sculptures, biographs, (1) If one has taken piano lessons short time ago it was the general belief Saraband, Polonaise, Minuet, Gigue, Ga¬ for a number of years, should he ask pedal on, he means merely to release the letters and finally old instruments. In for a teacher’s certificate or is this that independent orchestra music began votte, and others, are pieces we meet fre¬ Haydn, known as the father of the sym¬ (2) Any boy or girl who has a normal key immediately, for technical reasons, medieval times, when the clergy dominated unnecessary ? about the end of the 16th century, but quently in the compositions of this period, phony and the modern instrumental music (2) Also, is it necessary to pass an heart action and who can walk straight while the tone continues to sound because all arts, profane music was ignored. An examination in any city before one later research resulted in the finding of of which Schein’s suite in five movements in general, wrote over one hundred and the pedal is down. Fictitious rests are exception from this rule was found in must have a sense of rhythm. The prob¬ manuscripts from the 13th century in Eng¬ is one of the most remarkable. Schein fifty symphonies. Paris was enthusiastic A Reader. sometimes introduced with similar effect. Michael Pretorius’ "Syntayma Musicum” lem is to get him or her to pay the proper land, and from the 14th century a collec¬ was one of the three great musical S’s about him and the French editor, Sieber attention to this sense and to follow the in 1618. It informs us that the first cause , (1) If one is applying for a position in tion of French and Italian compositions of the 17th century (Schein, Scheidt, published later sixty-three of his sym¬ to employ musicians in public service was dictates of the inward metronome which 3 and 4 of number 1, where it occurs four for orchestra were found at the British some institution, letters from one or more the necessity to safeguard towns and Schutz) ; and his orchestra suite contains phonies. The French titles under which each, one possesses. Museum and at the National Library at former teachers, certifying to the quality times sequentially, always inverted: castles against hostile attacks or other not only entirely new effects of combina¬ we know a number of his symphonies are In the case which you mention, the me¬ (1) What do you consider the best Paris, and consist of dance pieces played of one’s work and ability, are always help¬ way of keeping up a repertoire? It dangers. The town-warden, who in case tions, but its various movements also show “La Poule,” “Le Verdi,” “Le Snir,” “Le chanical metronome may become a real lakes so long to play all selections on different instruments in unison. John ful. Outside of such letters, private of threatening peril had to alarm the relationship in themes, and unexpected Neatin,” “La Keine,” “La Chasse.” These aid toward developing due attention to the daily that scarcely any time remains Walther published in 1542 twenty-six fig¬ teachers do not ordinarily present formal for further practice. sleepers with his trompet or tuba, is the changes of tempo and tonality appear. works were special favorites and had rhythmic sense, if properly employed. (2) Please explain the construction ures for one and two cornets and John certificates which are the prerogative of originator of the “town-piper.” The town Of the many composers of the orchestral therefore to be distinguished by descrip¬ But apply it only to very simple five-finger of Bach's “Inventions.” I often be¬ Morley published in 1595, a collection of conservatories or college music depart- come confused when trying to trace piper, with his apprentices and fellows, suite in Italy, Germany and France, I tive names. From Paris, Haydn’s pop¬ exercises or scales and rarely, if ever, to ' i dividing the two-part canzonettes. only mention J. P. Kamean (1683-1761), ularity spread over to London which he ■ Inventions” i furnished all the necessary music for ( ': T know of no city which requires formal compositions. Set the metronome church, dance, wedding and funeral, and France’s greatest master. His works are visited twice, following invitations, and at about 88 and have the pupil play first A. B., New Brunswick. The Piano Appears graceful in melody and rhythm; we meet was highly honored. such examinations. The subject has been was still in existence in most of the mooted and bills regarding it presented to one note to a beat, then two, then three, (1) Keep constantly on or beside your smaller towns in Germany, that is, until TA BRING the 18th century the piano always with attractive fancy. Handel’s and finally four, as follows: piano rack a long slip of paper similar in celebrated “Fire-music” for nine horns, legislatures, but, so far as I know, such the middle, of the 19th century. came more and more into usel for ac¬ shape to a laundry list. On this slip write To understand the sections of an inven¬ nine trumpets, twenty-four oboes, twelve bills have never become laws. At the courts of the pr'-icipalities, the companiment and the full sounding chords The Cultivation of Expression and number the names of pieces which you tion, watch out for the spots where a con¬ bassoons and three kettle-drums and his musical watchman was usually a trompeter, of this instrument invited new combina¬ Apathetic Pupils have! thoroughly learned. It is better to clusion is reached in a certain key and a “Water-music” consisting of twenty short who was at the same time employed as tions. In 1584, Florentio Maschera pub¬ By J. B. Cragun alternate pieces of different lengths and new passage begins. These divisions are pieces written to reconcile King George I herald or as courier and! soon had a num¬ lished at Brescia his “Libra dette Canzoni styles, putting a short piece after a long usually at least three' in number, and the with tlie composer, who had fallen into ber of assistants. About 1400 Karl VI da Sonar” for four different instruments No one can argue the value < t expres- one or a modern after a classic, since such ending or cadence. of each is often sig¬ disgrace, may be mentioned besides Bach, entered Reims with thirty trompets; and which for a long time erroneously passed ion in music; it is the very sou! of the variety makes your practice more interest¬ nalized by a mordent or short trill. In in Holz there already existed the trompet as the beginning of independent orchestra who in a number of orchestra suites marks 1 unci a few from whom it is abso¬ measures 6 and 7 of No. 1, for instance, the climax of perfection of this species. lutely impossible to get intelligent ing and gives due attention to each type orchestra. At the end of the ISth cen¬ music. Through Monteverdi's opera “Or- You and. I may be able to sing Annie practice: and the parents of these of composition. we find this cadence figure which ends the tury we meet with the first military band. feo” orchestral music obtained in a certain few seems extremely anxious about first division: Laurie and other ballads to our personal their music. The first day, work on numbers 1, 2 George Frimdsberg assigned tq every small measure its sanction; a number of other Influence of the Opera satisfaction, but John McCorm.uk can M. K. and 3. If you can play a piece perfectly composers, among them Vitati, Nevi, Al¬ O INCE 1650 the opera has had an in- Ex.3 troop two or three musicians, principally sing a program of ballads In a ten the first time, once or twice through is to signal. It was during the 18th century legri, Bassanis, published collection’s of ° strumental introduction entitled sym¬ A slogan of modern teaching is the thousand dollar audience. It is because he enough; otherwise you should practice that our modern band developed. orchestra pieces. phony; and with it began the history of project method. Whatever the pupils do, sings with so much more expression than doubtful passages until they are conquered. The canzone soon appeared with con¬ the modern symphony. Later, in Naples, let them have in mind a definite project or Next, varied rhythms may be used with you or I. Expression may even be placed Do not play at concert speed, but, prefer¬ trasting themes; it developed into the the symphony consisted of three short goal toward which to strive. he same succession of notes, such as these: Early Dance Instruments as of greater value than playing technic. ably, only half as fast. Use your notes capriccio, fantasie, sonata. With Giovanni movements, Allegro, Largo, Presto; and In piano teaching such a project may If then expression be so valuable to occasionally even if you know the piece pROM THE SECOND HALF of the Gabrieli’s “Sinfonia Sacra” (1597; be¬ this frame became the model for the per¬ take the form of a performance of a piece musicians how is it to be obtained? A well from memory. You should keep on 1 17th century we have dance-pictures gan the golden epoch of a solemn, majestic fection of this class of music which was or study at some future time. Recitals li J! ii Ij:ii of Teniers with only one musician, some- few suggestions may be of value. your music stand the scores of the entire and noble orchestra music. It has the accomplished through Haydn, Mozart and provide opportunities of this kind for the Similarly, the! second division ends with times a clarinet player, other times a Beautiful expression in musk is at¬ list, arranged in the numbered order, and characteristic brilliant pomp and noblesse Beethoven and further enriched by com¬ ni< i ■ advanced pupils. Even the slow or the first note of measure 15, after which fiddler. In pictures of Raphael, Diner and tained only with the constant -eking. ot the Venetian art, which we admire in posers like Schumann, Schubert, Mendels¬ elementary pupils may be provided for by Jj il J! J>1 each piece should be on the piano rack, the third division extends to the end. also Teniers we find often the bag-pipes. Every note you play should recei e your ready for reference, as you play it. the pictures of Titian. Some of these sohn, Brahms, Tschaikowsky, Saint-Sacns meetings of your pupils, at which not only Look up similar divisions in No. 8. In Holbein's “Death-Dance” death appears most careful attention. Every ex. . sc you The next day, treat in a similar manner compositions are for a two-part orchestra Rubinstein and Dvorak. forma! pieces, but also simple studies or Divisions in the other two-part inventions as a man with a psaltery. The viola and play must be played lovingly. E\ ry ex¬ j.g j J73.-I —the first partition begins with an ex¬ From the time of Haydn, the de¬ numbers 2, 3 and 4, the next numbers 3, and in the three-part inventions may not psaltery were found in early pictures as ercise you play must be made a musical technical exercises may be played. tended theme; then both unite to a majestic velopment of the symphony was for 4 and 5, and so on. When you have be quite! so clear, but with a little practice well as the violin and guitar. The flute recreation. Every piece you play must be Institute a monthly meeting of this kind After the child’s rhythmic sense has finish. In the development there appear a long period left to German composers at your house or studio, at which a pro¬ mastered a new piece, add it as the next you should be able to determine them. and drum were found on Spanish rugs of studied carefully and continuously, in order been awakened by these means you may imitations between the two orchestra lhe new composers did not come from gram lasting half or three-quarters of an number to your program. the 13th century. Ensembles of three in¬ to arrive at the utmost expression of ' pick out characteristic rhythms from the choruses, sometimes with intricate rhythms Holz, as one might expect, but from the hour is presented. Afterward games or In this way, by devoting fifteen or twen¬ Elementary Materials struments appeared for the first time dur¬ which it is capable. studies or pieces which he is studying and varying the principal theme. “Pian e fore” countries hitherto not participating in simple refreshments are in order. Not ty minutes each day to the matter; you Cim you suggest material for a ing the 15th century in pictures of Carpac¬ Artistic expression is largelv a matter fit them into five-finger exercises which he pupil who has studied Wieck, and is the title °f the most famous of working out problems in higher art. Niels only will the pupils be furnished the de¬ should be able easily to keep enough pieces cio; that is, the lute, viola and comet. In of imitation. With the wealtli of good may practice with the metronome. hooks 1, 2 and 3 of Czerny arranged Gabrielis “Sinfonia Sacrae” In its first W. Gode, a Dane, was the first who sired "project” thereby, but also the slow under your fingers to form a recital pro¬ by Krentzlin ? I believe that a pupil pictures by Bellini we find either two music in the air and the abundance of ...a becomes tired of passage work and orchestra partition are four cornets and brought into the symphony an element of ones will be inspired by the more able gram ready for execution at any time. flutes and small violin, or flute, gamba radio receiving machines, there is no rea¬ Kinds of Staccato needs variety. three high trombones, in the second, viola national color. In his noble music we work of others of their own age so that (2) Study out the fifteen two-part “In¬ Can you also suggest some piece and flute. The ensemble of three instru¬ and three low trombones, and the contrast¬ son why anyone should be lacking in (1) When should the wrist stac- , ventions” before taking up the more com¬ for a pupil who has studied one year recognize the spirit of the Frithof-Legent a wholesome spirit of rivalry will be culti¬ but whose hand is large enough to ments is of importance in so far as Haydn ing, effect of the two partitions is very sig¬ models of g00d artistic music rendition. cato be used, or is this method of plicated group in three parts. in many of his symphonies made use of and of the Edda, not intrusive like the vated. throwing back the hand old-fash¬ play octaves and stretching exer- nificantly composed to “Good Friday and works of his pupil and follower. Grieg And with the wonderful new electrically ioned and now going out of use? Each “Invention” is based on a short ft in certain episodes. We find it used too recorded records of the various companies, I hope that other members of the Round (2) Does not the use of the pedal Easter.” Gabrieli’s influence on orchestral but always amiable and essential. Through Table will suggest projects which they theme which is clearly stated at the very in Lully’s operas and even in Bach’s anew avenue of approach is offered. destroy a staeeato effect ? Why do compositions is as noticeable as that of Dvorak came a touch of the Bohemian, have tried. some composers indicate both ? beginning. Sometimes this theme is given B-minor Mass. Town music started in A. T. Bach. through Tschaikowsky, the spirit of the Most of you have also available good out by a single voice, as in No. 1: Leipzic about 1749 with three musicians, concerts by recognized artists whose art I agree with you that pupil number one Hans Nail and his two sons. Russian. As every nation in the world First Studies: How to Teach Rhythm (1) Observe the difference between should be given some more musical studies. German Influence seems to have its spiritual mission, to add /LUTem°,ned’ and wdlose interpreta¬ The enlargement of the orchestra began tion should be your guide. (1) Do you think that the Kohler throwing and pulling the hand back from Try using the Heller Studies, in the order at Holz. A picture in 1560 shows an ROUND-~ the uuuutcmiddle uiof thecne i/cn17th cen- a part of spirit and color and to develop Practical Method ]or the Piano is a the wrist. I do not advocate pulling the of Op. 47, 46, 45. Meanwhile her purely tury, after Gabrieli had many im¬ a ’World Symphony” understood and Expression is not to be wooed and good book for beginners from seven orchestra of twelve instruments—portatif, to ten years old? If not, will you hand sharply back to produce' a staccato, technical work can be provided for by ten itators who wrote “Sinfonies da Chiesa,” V°” °Vef "lght Y°u must be patient, viola, lute, harp, flute, big and little drums, oved by all, we may look forward with please tell me of a better one? I since the same effect may be better ob¬ minutes of daily drill on scales and ar¬ “Sonatas Concertantes,” and similar com¬ hope and good cheer. in ^ .constant in your endeavors nave gotten good results from this small hand drum, timpani and cymbal.’ tained simply by relaxing the finger as the and sometimes it appears against a second, peggios. positions by such composers as Castelli, von m dlrectl0n- But when once yours, book, but have often wondered if I Of course, such combinations were not could get better from another. tone is produced. but less important voice as in No. 14. Do not be in a hurry to give “stretchy” Faltorini, and many others, this style be¬ (2) Can the use of the metronome used in our modern sense as contrasting Modem Instruments lifted om nf!caSS,UrC‘d that you wil1 be But when staccato notes are played in Now trace throughout the entire inven¬ work to pupil number two, even if her came antiquated. New life came into the teach rhythm to a child who feels groups, but rather we suppose that they into that c tf16 c ass ordinary players **■ —v little? Or does it destroy quick succession, it is often advisable to tion each appearance of this theme and hands are large enough, since such work orchestra sonata in Germany, and although TP HE MODERN orchestra has enriched mto that of the artist. trL has? played in unison, like the big choruses of play them by throwing the hand lightly mark with a blue pencil its beginning and might develop a stiff wrist. For good sec¬ we may be able to trace an indirect in¬ ...and refined considerably the pos¬ 12000 and more voices which sang the sibilities of coloring and expression by up from the wrist, perhaps an inch or two. end. Of course it appears in different fluence of Gabrieli to Haydn, a new im¬ ond grade pieces I recommend selections Gregorian chorales. Soon, however, were involving new instruments and using force (1) The Practical Method is a standard This kind of “hand staccato” is especially keys and on different degrees of the scale, pulse made itself perceptible. The popular from Kullak’s Scenes from Childhood, Op. formed the trombone, horn and flute quar¬ combinations in a most effective way book on which thousands of piano students valuable when octaves or chords are in¬ as in the first two measures of No. 1 where 61, and Grieg’s Lyric Pieces, Op. 12. music, at first in dance, which has pro¬ hriHlJlf Uj n-eCd to encourage an indc- tets. An arrangement for mixing wind But, after all, it is the musical idea that have been nurtured. Sometimes, however, volved, repeated or in succession. See, for the theme' is heard twice in each voice. duced the Suite, later in popular or na¬ tin,:A ■„ yorous ..«American ...... ■*-<* ■ For pupil number three try the Book and string instruments, and new- com¬ counts m a composition in the first place Hon is a Ttexrrwillingness to listen to new tcork it is a useful stimulus to both teacher and instance, Etude Melodiquc by Henry Sometimes, however, it is more obscure, tional song-melody, is the soul of Haydn’s for Older Beginners by John M. Williams, binations for orchestral effects developed and not its dress; the picture, and not its Z \tjy,f°Und uUe*y beyond the pale pupil to vary one’s materials. Kohler’s Holden Huss, in which both hands play since Bach loves to play with the theme which contains, besides exercises, melodi¬ symphonies and the secret of their eternal Very First Exercises, Op. 90, for instance, about the end of the 16th century. freshness. frame. Whether we hear Handel’s “Mes¬ fhinkmn b/yond the America we may be staccato chords at once. by turning it upside down or repeating it ous easy pieces. The pupil may soon take siah” m its poor original orchestration or is shorter and more compact than the (2) Sometimes staccato marks are! em¬ wS;v ^the t. in a continuous passage. Both of these up Easy Studies in Early Grade by Practical Method. Of more recent books. ployed to show how the notes are played, devices, for instance, are found in measures Mathilde Bilbro. Page 272 APRIL 1927 THE ETUDE IKS ETUDE APRIL 1927 Page 273 "ITALY’S OTHER AUTOCRAT" THE CHAMBER IN CHAMBER Under the title, ‘Italy’s Other Auto¬ MUSIC „.. „ f v.,. SINGING WATERS crat,’’ H. E. Wortham, an English critic, Originally lor Violin and Piano, now arranged as a piano solo, in response to numerous demands. Grade 4. Recently the writer heard the Elman T. D. WILLIAMS tells us something about the La Scala Orchestra in Milan, and its conductor, The Musical Scrap Book String Quartet give a concert of “Chamber Toscanini, in his genial book, “A Musical Music.” The “chamber” consisted of a Odyssey Anything and Everything, as Long as it is Instructive vast auditorium in which about 5000 peo¬ “Toscanini is an autocrat, but, like Mus¬ ple were seated. Apparently the listeners solini, his power depends on the enthusiasm and Interesting were well satisfied, though the delicate he is able to generate around him,” says Conducted by A. S. GARBETT music necessarily lost some of the intimacy Wortham, describing the many rehearsals which is the chief charm of true “chamber given to opera—-rixty-six for "Meister- music.” But when is a concert-room a singer” alone. chamber anyway? “The orchestra,” we learn, “is to-day the H. E. Krehbiel in “How to Listen to finest in Europe. The renown of La Scala "THE LITTLE ROUND GENTLEMAN’ Music,” gives the following description of is sufficient to attract all the best talent the origin of the term: “In the times of in Italy, and Toscanini has the initial ad¬ Children, according to Jeffrey Pulver “At middle-age he remained somewhat the Frankish kings, the word chamber vantage of being able to count on the very ' “♦u"rVib0°k 0n Brallms> knew Brahms below average height, out of proportion, applied to the room in the royal palace7n best material .... Toscanini, with tne ; the little round gentleman” who joined broad and thick-set. His head was al- which the monarch’s private property was democratic spirit so congenial to the mod- „their games. ways the object of admiration among his kept, and in which he looked after his .... Italian temperament,.. .cwugL.zesrecognizes no a„ appearance was always friends—a ‘St. John’s head,’ said one- private affairs. When royalty took up the difference between second and first violins. stlnS- WPen at th<; age of twenty lie and later in life when he allowed a full cultivation of music it was as a private All his violinists are engaged on the same a?Peared at Hanover, Weimar and Leip- beard to cover his hitherto clean-shaven not as a court function, and the concerts terms, and a player may be one day at a .- 6’ , was,sIT "’lth a face, his head, with its long hair, became given for the entertainment of the royal first violin’s desk and the next among the f? stoo£llng .P°*tur« of the body; quite leonine .... To the children of his family took place in the king’s chamber or seconds, or vice versa, a plan that un- his hair was very fair; his blue eyes flashed • ultimate friends he was ‘the little round private room. The musicians were nothin^ doubtedly helps to give the peculiar bril- ^I* .^lvaClty from a pa,.e face’ ,Mis ex" gcntleman’ who always romped with them more nor iess than servants in the royal hance to the strings at La Scala. traces "ffWpass!on° ?Urlty’ devold ?.f a11 « a g/eat clumsy child. Dress was a mat- household. This relationship endured into In his arrangement of the orchestra \ f of passion He was exceedingly ter of indifference to him: he preferred the present century (the 19th of Toscanini is equally, unorthodox. Thus the d- ®rentialt rather shy and, m the presence old clothes, hated stiff collars and ties, and Haydn was a Hausofficier of Prince Ester' strings are to the front and the right of °f Stranger,s’ embarrassed and gauche. As felt constrained in dress-shirts. His fa- fa/y As vice-chaSaster h hS t the conductor, the woodwind on his left, he °lder be br°adened considerably, vorite wear was a brown woolen shirt anular everv morning n the net•. . and beyond the horns. The rest of the ac9ujred great breadth of shoulder and without collar and a suit of soft, rough room to rete:ve orders rone ' ‘mt,e' brass and strings are behind the strings d^el°Ped a distinctly squat figure. At the material that would stand any usage and Zn”r muslc and otherenter YY" V < on the conductor’s right. The arrange- f?1 Wy y0uth- any weather- Out-of-doors he wore a soft 71" a"d °ther enterta'™s of ment enables Toscanini probably to get just and’ Wlt,h . s IghBy projecting under- felt hat of slouchy character, carrying it a If Another explanation given in “The that little more from the woodwind which gave . e lfflPressi°n of his being a in his hand more often than on his head Story of Chamber Music” by N. Kilburn separates the good from the superlative per- * e. cynica .an impression that his .... a large, strong cigar : seldom formance .... Since Toscanini has ruled speech on certaln occasions did not remove, out of his mouth.” is that about the end of the 15th century at La Scala .three rows of the stalls have ■ 1 _ “if became customary to introduce instru¬ been removed to make more room for the mental music at the banquets of the orchestra, and mechanism has been in- QUARTER TONES NOT NEW wealthier classes, and what may be re¬ garded as chamber music was used as a stalled by which the height of the floor The modern tendency to divide the ^SsfeasissSri securing proper balance between s«rr=s=S=the half tone is apparently a return to divisions were regarded a- SSAlttjsssp voices and instruments in different types of Greek tendencies, according to the descrip- unlimited. Thus he tells > that there __ °peraS- ’ tlonMnnrn of In,the “Tl, Greek: 'Trli modes-was given by D. B. was a constant tendency tol flatten the Musi— ” - The^ ModesM°deS of°f AnclentAncient Greek ‘moveable’moveable’ notes of the Chromatic genu^genus, PIANO CONCERT-PLAYING WITH d'T'L .. . . , andSlid^ thuslHUS ummiibiidiminish theine smaller intervalsinfer-.,., 1 I LOVE THEE! — IN A The most striking characteristic of for the sake of ‘sweetness’ or in order ORCHESTRA Greek n&n AdEEtL iTSTT"- A* f°r .the. sake. of. ‘sweetness’ or in order PICKWICKIAN SENSE • ” mUS'ir especia.lly■ in its earlier pe- to obtain a plaintive tone.” “Leschetizky As I Knew Him” a Why are drawing-room ballads often delicacy of the intervals into which the ?f _thC teCkn,'' fla!e,WaS diV,ided; A sort of frame-work tYally based' cal difficulty of writing good ones, while was formed bj ffie divisLn of tC'octet SVno^ th® d,f^'c scf ~the scale famous teacher of Paderewski and artless lirtle folk-songs endure for cen- into tetrachords, completed by the so-cahed It is TrotT fhe m.dtl 1 ”d aen,lt0ne!\ , , , tunes and win the respect of even Doctors disjunctive1 tone (a tetrachord consists of modes that n„r (Gregorian) If Leschetizky had set the seal ,-,f his of Music? Possibly the fact that the four scale degrees such as we find from together with th “f ^ TUS'C,denved’ approval as a pupil either as pianist or sentiments expressed in the drawing-room A to D); and so far all Greek music was J ^ te®pered scale to which teacher, declares this writer, “he did ballad must be taken “in a Pickwickian alike. But within the tetrachord, the reign likelv howeve^^t “* T ‘ Tt ‘S everythmg in his Power to make that sense” has something to do with it. Con- of diversity was unchecked 11 °7 ' ’ ? any, m°dern attempt career a success. He never pretended that sider the following from “English Folk- “Not only were there recognized divi tone mtervals than the half the road to success was simple or easy; MTry’’NeM :tten * ^ ^ staining intervals of a fourth, a wide/ knnwlSJTf °Li!pointed aad « “The drawing-room vocalist has not the When accompanying a concerto, he same constancy to his songs as the folk¬ himself often played as a poor orchestra song singer, nor have his songs the same would accompany. Then he would add, GYPSY MUSIC stability. When the stout, respectable Hut your orchestra may be a good , ne; vfather r of .a family. .. proclaims.» his passion „ ‘Beoele. have often asked me ‘What Holyrood Palace. To every land they ‘T wouId P'ay this way, and you for a fascinating nymph, and entreats her good are the. gypsies, anyway?”’ says Ir- have brought delight in artistic exoressinn t st od prepared for their good playing. to fly with him his wife smiles approval y'n| Bcown in a fascinating book, “Nights “Those of Hungary, especially are the 11 u 3 Sadly not!ceable thing when the and sdently applauds Ins efforts. When a a d 0,1 thd Gypsy Trail. ’ To this greatest folk-musicians in the world ac 0r^stra pla^ better than the soloist.’ feeble-lookmg young man voices senti- h? says- One might reply by ask- cording to Liszt, who paid them the sincer" H« often referred to experiences of his ments of a bloodthirsty or gruesome char- ^ha'igood are redb.rds .or the purple est form of compliment-that of imitatTn- Wlth orchestras. One director said acter nobody is expected to believe him. ^gweed that grows along the roadsides?’ them. Liszt is only one of the great com" u° hlm’ Exeuse me, Mr. Leschetizky we In fact, he ,s not in earnest, and in neither Apart from their contribution to the world posers, from Haydn to Dvofikand EnescY ^ P'ayed that “”certo a dozen times of the two cases I have supposed do the b3’ Just being, and by inspiring writers and who have learned and borrowed from h'S year' and have never before taken singers voice their general sentiments. artists for hundreds of years, Gypsies have them. The debt which music owe* J SUch a temP° as this.’ ‘Am I vour soloist “On the other hand the folk-song singer kept alive and helped perfect to the highest race of natural boTn arti's's immex.se °F n°t?’ asked he. ‘WYL l L th really does feel the sentiments he sings. dcKrcc the folk-arts. “Gvosv mns.V Y , melody you are mv -A 7 If he likes fox-hunting he sings a fox- “In Spain a great number are singers somber emotion of il, ixpres.SIon o{ the another p,ace hg , y mpamst. In hunting song, and is in perfect agreement and improvisers of folk-songs, and many mad gaiety. It touches^thT dentil ^f different harmonies, which^gave^rTse lo with the ditty that proclaims fox-hunting of the best dancers are gypsies. In Serbia pathos and height* f ■ deTpt,.ls of controversy ‘If surnric gf f a noble sport. And the song represents his d™ng the World War, certain regiments’ of fir passS tnd wilfT J°y' ^ ’S-fnl1 Leschetizky ‘if UpftS yoU’ sa’d feelings when he sings of ■the !joys I , of- hadc their■ ■gypsy I bards . who sang■ Wimith! song oo. —aaeSouffirste n l o- rY^^ " ’t aH SUrp^^prisednSed in’ r hea ^l thaY ^ ‘° . ir of any other subject that appeals to him as a man, in¬ cluding love. “When a young girl or < sings, ‘Oh, my very heart for the love of him,’ we may be quite . _I near the pjano then>, replied Lesche. that either hold possession of the soul or authentic NiPiZ’the’JagLficcnlll"^! ’n'm’JP “""T “ **** tttuggle. thepiano ((Jl ‘ j"rn. a handspring to recalls certain sacred memories, pared £ ffSSJT. RSWSf* ” *>} -■ Aflft Copyright 1927by Theodore Presser Co. & From here go back fo the beginning and play to ^; then play Coda. British Copyright secured Page 274 APRIL 1927 THE ETUDE THE ETUDE CORTEGE DE PULCINELLA APRIL 1927 Page 275 PETITE MARCHE H.UMORISTIQUF R. LEONCAVALLO A valuable study in the staccato, and in dynamics. By the celebrated opera composer. Grade 5. Tempo di Marcia m.m. J.±io8 > > . Jn 2 iF1 - fry -3-T-Jh 7 Jy ^7 dr-1 *=. XI if 1 IB111f17 Hir> > p yp 3 'P rp Copyright 1903 by Gebriider Reinecke,Leipzig. THE ETUDE THE ETUDE Page 276 APRIL 1927 APRIL 1Q27 Page 277 PLAYING SOLDIERS PLAYING SOLDIERS Marcia,poco moderato m.m.J= 108 PRIMO LEON TESSEL 3 5* 3 1 "T r ff r 3?—L- M MM if f tHF p >■ 4 3 i i 4 2 1 '' 4 1 5 3 SECONDO THE etude APRIL 1927 Page 281 'II if*rT y ^rfrr! rrCTf rfr/r—fri P^jTp^fc-i 1 cf * ^S»3t== jj a tempo ( raU. _ =“- l f 6j’ I! Copyright 1927 by Theodore Presser Co. British Copyright secured APRIL 1927 Page 283 P«ze 282 APRIL 1927 THR RTUDR TEE ETUDE A valuable'study piece1 to b , , VALSE CHROMATIQUE FRANCES TERRV ^ ^ ’ e P^ay®d ^ith the hand “set” for passages derived from the Chromatic Scale. Grade 4j Tempo di Valse m.m. J- = 72 Copyright 1907 by Theodore Presser Co. British Copyright secured J P«ge 284 APRIL mi TEE ETUDE APRIL 1927 Page 289 TNI ETUDE TAMBOURIN ON THE TRAPEZE JEAN PHILIPPE RAMEAU Excellent light finger practice. Orade 2 £. One of the very entertaining older classics .Grade 4. WALLACE A.JOHNSON 1683-1764 Copyright 1926 by Theodore Presser Co. The figures in 16ths notes should be treated in an orna- I b)Figures like this arecalled“mardents”the//>.vtnoteof i c) It wi 11 beeasier to produce British Copyright secured mental, lighter manner than the melody notes. I them bears the stress both rhythmically and me lodically. I this odd accent by adding, the upper E with the lower. THE ETUDE the etude APRIL 1927 Page 291 d) The subject,omitting its melodic notes,re-opens here. BIRDS IN SPRINGTIME R.S. MORRISON A graceful drawing-room piece, affording good practice in arpeggio work and in triplet rhythms. Grade 3 5. j if, if- 3 f* 1 * "i- £ rV » 1 aN l 1 «) ^ 3 3 3 3 5 5 ij a * ^3 3 t 3^ ^ *4 g; / g | -„ >- ^ ‘-r 1 4 Uj*8 1 ^ ^ ^ a ^ f £ t 5 » _ O'"! APRIL 1927 Page 293 Page 292 APRIL 1927 THE ETUDE THE ETUDE FIELDS IN MAY STROLLING ALONG WALTZ M.L.PRESTON An interesting example of 5 time; also a study in wrist legato. Grade 21 An idealized waltz form; but adapted for dancing,if not taken too fast. Grade 3. T= sstvo1 . 1 erese.T . [fMfr |f-fn r r rr^ 7 fP-S Copyright 1926 by Theodore Preaser Co. British Copyright secured Copyright 1926 by Theodore Prosser Co. British Copyright secured Page 296 APRIL 1927 tsprtudr !Sw. Pull,Vox open Gt. Full. Sw. coupled GRAND CHCEUR Cb. Fate 8ft. Ped. Full, Gt. coupled CUTHBERT HARRIS A dignified Grand Chorus, with some neat modulations. Moderato e maestoso m.m. J=io8 Manual 1 Copyright 1927 by Theodore Presser Co. International Copyright secured Page 298 APRIL 1927 T the etude WHEN I SURVEY THE WONDROUS CROSS Words by Music by ISAAC WATTS LAWRENCE HOPE Andante molto sostenuto con espressione °;/hi0h ^iflCe Glo-rydied, My rich-est gain I count but loss, And pour eon-tempt Savg^in the Cross of_Christ my God; All the vain things that charm me most, I sac - ri - fice them all my pride; My rich-est gain I count but • loss, Aul pour con - tempt on all myprfde. to_His Blood; All the vain things that, J F ’ Copyright MCMIV by Turner & Phillips British Copyright secured Page 300 APRIL 1927 F THE ETUDE TEE etude APRIL 1927 Page 301 Educational Study Notes on Music in this Etude By EDGAR ALDEN BARRELL Singing Waters, by T. D. Williams. Valse Chromatique, by Frances Terry. The grace notes in theme one are exception¬ This composition of Miss Terry’s ally telling Let^them he lighter than the notes culated to lull an infant t is first-rate study material t0 TheL four-measure introduction is typical of tice it conscientiously it will certainly d_ _ «,hat a good introduction should be The second ders for your accuracy and fingering. The com¬ theme of Singing Waters “sings itself.” The bination of three-four time and triplets is some¬ last eight measures of the piece constitute the how reminiscent of Schubert’s E flat Impromptu. This piece is in G minor; the first measures °Tliis composition must be made very rhythmic. are in the dominant of that key. That there is -*|| -f *— For the student who has mastered his chro¬ a well-known are in doubt of this, matic scales, this valse will offer scarcely any listen carefully ar of the ocean, the difficulty whatsoever. The pedal point on G, babbling of thunderous peal of a toward the end of the number, is of good effect. cataract. If the accompaniment is kept subdued, and the gradations of tone in the right hand part are Cortege de Pulcinella, by R. Leon¬ carefully thought out, this Valse Chromatique cavallo. will gain perceptibly in charm. Ruggiero Leoncavallo, Italian dramatic poser, pianist ---„ _l of"f letters, — . . Playing Jacks, by Anna Priscilla Risher. Naples, Italy, 1 1858. He died in 1919. Playing Jacks pagliacciPagliacci (The(Th< Players), which is one of steadiness < favorite<•-:+e operatic offerings the world over, rhythm, a neglectea point ms urte really successful opera. La Bohcme with nearly all pupils. not successful because it appeared - - ' The notes marked stac¬ Pucinni’s opera of the " cato, but slurred, are to be played “half staccato,” and the places marked sf (sfor- iposer is what is generally known as a sanao)t must be executed lie lived at various times in as indicated. cce, Turkey, Qermany, Belgium, Hol- The theme of the com¬ nther countries. In Paris, which he position is based on the ■dingly, he resided for a long time. tonic triad, F-A-C. Miss Risher is well ; of the fore- t humorous, mock-heroic march. - - - composers in the Italian word for “Punch.” (The the United States. She is a composer who always inivalent of this, “Polichinelle,” is has “something to say,” and she seldom says amiliar to you all.) The title there- that something in anything other than a very “A Lovely Small Grand” •, The March of Punch. clear and pleasing manner. She would never, e sequences and the humorous accen- for instance, write such a circuitous sentence as ake this a very characteristic number. is the invariable comment when musicians try our ntvidamente signifies “roughly,” and the second in this paragraph. Birds in Springtime, by R. S. Morrison. Five Foot Colonial Model. Petite enough for Professor R. S. Morrison is one of the leading the tiniest home, of Puritan simplicity in design, musical educators in the country, and one of the best-liked piano composers For sixteen years yet its wonderful volume and quality of tone, (1884-1900) he taught music in various colleges Country Dance, by Ernest Newton. throughout the middle west. His composing This is in two-part form, A-A, or if you ] dates from the year 1885. Professor Morrison superb workmanship and finish, proclaim it a fer, A A'. We would call your attention to now resides in Adrian, Michigan. sequence in measures nine t This piece is filled with all the joy of the piano extraordinary. quence is spring sunshine and the budding greenery. The first theme consists of an ascending arpeggio, in triplets. Always, in triplets, accent th c .. than the other two The second the dominant, is not spaced so widely Playing Soldiers, by Leon Jessel. as the first and hence is well-contrasted to the Mr. Jessel has already been mentioned in Ivers & Pond these oul mins as the composer of the “Wooden The Trio is in the sub-dominant. In this, the Soldier-.'' This likewise military composition triplets still persist, though occasionally a sense is as e<>. • ! as his former “success,” perhaps even of repose i* felt The li Let t' e rhythm be very steady, and PIANOS r playing typical of that On the Trapeze, by Wallace A. John- your wrist or arms should be . This is a jolly rousing piece. The cantabilc Combine the fine traditions of old time Boston theme F very lovely and memorable. Play it as Wallace A. Johnson was expressively as possible. Plainville, Con- piano building with the most advanced scientific t, and lives at pres¬ ent in Pasadena, California. In Hardangerfjord, by Trygve Tor- He is a highly successful ideas. Built, as from the first, in but one quality— jiissen. and very “dependable” Whicr, -.vans “In the Hardang Fiord.” A composer; and out in Pasa¬ the best—by the same interests, with the same fiord, or fjord, is a narrow inlet of the sea be¬ dena they say that he is tween big \ banks and rocks; it is a formation also one of the best piano artistic ideals, they are used in over 600 institu¬ associated in our minds mainly with Norway. ' the State. Torjuss.n is a contemporary Norwegian com¬ tions and 75,000 homes. poser a * 1 music critic. He was bom in 1885, :h, atiu and received his musical training under Rosati A new catalogue showing latest style tenden¬ in Rome and Wiehmayer and de Lange in Stutt¬ i each of the several gart. Tt rjussen has composed in all the musical ...ions are doubtless meant » represent the swinging cies in Uprights, Grands and Players mailed for a Christiania newspaper. His piaim pieces on request. Write for it. \ small pair of hands will find the left-hand Tambourin, by Jean Philippe Rameau. part in this piece occasionally very taxing. The first theme is simple but effective; the second is Notice first of all that a pedal point, E, runs more typical of Tqrjiissen’s usual style. throughout the entire piece. This E must be How to Buy Observe the nine-eight measures interposed be¬ strongly accented wherever so marked, for other¬ tween the six-eight. This practice is not at all wise the composition loses much of its color and If we have no dealer near you, we can supply illogical when used with proper restraint, and it meaning. frequently produces fine results. The tied-over fourth beat in the right-hand part you from our factory as safely and advantageously The analysis of the piece is as follows: at the beginning of the last section is splendid. as if you lived nearby. Distance is no obstacle. 2 measures: Introduction. This whole composition demands what has 16 measures: first theme. previously^been spoken of in this column as a Liberal allowance for old pianos in exchange. 16 measures: first theme transposed an octave higher and a countermelody added. This Add an “e” to “Tambourin” and you will get Attractive easy payment plans. For catalogue, the English equivalent of Rameau’s title. Ra¬ prices, and information of much value to any meau, who has been called “the creator of the modern science of harmony,” was born in Dijon intending buyer, write now. in 1683, and died in Paris in 1764. For several The Caravan, by Maurice Arnold. years his operas dominated the French stage; A fine musical picturization of the dreariness besides his operas he wrote a multitude of com¬ of the desert; it is very Russian in character, positions for the clavecin. and might easily have come from the pen of Cui or Rimsky-Korsakoff. Fields in May, by M. L. Preston. Note in measure six the effectiveness of the Ivers & Pond Piano Co. altered supertonic triad (B flat, D, F) over the To stroll down a lovely meadow in Maytime A in the bass. This chord, if in the first inver- is an inexpress ble delight, a sensory intoxica¬ s,°n» would be called a Neapolitan sixth. tion second to few others we know of. Express, 141 Boylston Street, Boston, Mass. The coda of The Caravan—last four measures is very beautiful indeed. Its first measure containing the Fg, after all the previous F nat- Preston in her waltz. uri|s, is an inspiration. The second theme is in B flat, the sub-domi¬ The major ending to the piece is as though an nant of the main tonality. oasis had been reached just when the heat and There a._ __really no difficulties in this. pi_ dreariness of the vast desert seemed most op¬ though certain measures of the right-hand* part pressive. The Caravan is most excellent recital will gain by being practiced separately. material. (Continued on Page 321) Please mention THE ETUDE when addressing onr advertisers. APRIL 1927 Page THE ETUDE tiie etude Page 802 APRIL 1927 interferes. Further, one must be a con¬ and quality of these judgments will de¬ But this need not occasion despair. A THE OLD GREEKS who still rank stant and persistent student as long as he pend entirely upon the breadth and sound¬ good pianist will make any kind of a piano fairly high among thinkers were sings. He will not be with teachers all of ness of his musical experience—in other that is in tune sound well; and a good much given to sitting around in the his life but he must have cultivated within words, upon how well he has been trained. singer can do the same with any fairly grove of Academus and entertaining each The Singer’s Etude himself the spirit of study, of investiga¬ A bare assertion is neither knowledge good voice. other with wise sayings. Then, as now, tion in order to keep abreast of his times. nor judgment. Merely believing a thing The point to be emphasized here is that they were trying to learn what is the chief Edited for April Otherwise he drops behind and is soon is true is no basis for a judgment. In the voice and the singer are two different end of man, the ultimate, the irreducible forgotten. the realm of belief is where all theorizing things, and that good singing depends at V/URLlIZER unit, the meaning of wisdom, the nature by is done; and we are asked to believe the least as much on the musical training of and function of philosophy, and so on. D. A. CLIPPINGER Better Teaching most astounding assertions as to the nature the singer as it does upon the proper de¬ Finally, one of them, Thales, I think, AT ALL CONVENTIONS of music and function of the different parts of the velopment of his voice. This has been closed the debate with the statement, teachers, national and local, gtH-at vocal instrument, none of which could stressed ever since the beginning of the Studio "Player "Know thyself;” meaning that there, It is the Ambition of THE ETUDE to Make This Voice Department stress is laid on raising the standard of stand the test .of a sound judgment. The art of singing and in all probability it will within, is the fountain, of wisdom. Cen¬ “A Vocalist’s Magazine Complete in Itself” teaching. It is unanimously agreed that world, and this includes the singing world, be necessary to continue it to the end turies later Pope voiced the same thing we ought to teach better. This speaks has reaped many a sorry crop of disap¬ of time. when he said, “The proper study of man¬ pointment due to believing a thing with¬ well for our modesty. We cheerfully Tone Production kind is man.” In the language of today admit that there is still some mediocrity out subjecting it to the searching analy¬ RTICLES on the voice are written it means, “Think for yourself.” Do not in the fraternity, that there is still a con¬ sis necessary to forming a judgment. Only A On the Subject of Teaching primarily for vocal students. Pro¬ be afraid to think. Approach every sub¬ siderable amount of voice teaching that is a trained musician can form accurate judg¬ ject with an open mind and follow the fessional singers pay little attention to may be easily proven. Let him select a his teaching effective he must awaken in not up to grade. Oil these occasions we ments in the training of a singer. This .truth no matter .where it leads. them. We are particularly concerned with theme and begin to think about it and the student an enthusiasm and love for his do not stop with bald statements of fact is what the singing fraternity has in mind The habit of original thinking is having the student know the most im¬ write down what he thinks. He will find work. Inspiration is that which comes but we suggest ways and means whereby in its attempts to raise the standard of one of the most important things a portant things relating to tone production, that the longer he thinks about the subject with a deep love for one’s work and en¬ our shortcomings may be overcome. Of teaching. It is trying to check, to some student of singing can learn. Most of us to have a clear mental vision of what he the more he has to write, for the germs of ables him spontaneously to say and to do course, these imperfections have existed extent at least, the immature leaching of believe that we must get our ideas from is undertaking. all truth are in the mentality of every one, things better than would'be possible under ever since teaching began; but that is no which there is far too much. To this end someone who is greater than we are, and All manufactured instruments are played and it is only necessary to learn to think ordinary conditions. The greatest things reason why they should continue. A lie the best teachers are urging their students we measure their value by the greatness of with the hands; but the vocal instrument to discover what a vast treasure house one in the world are done by inspiration. A is no nearer the truth because it has been to longer periods of preparation, not only the man. Many of us pass through the is played with ideas. If the ideas con¬ has to draw upon. lesson that is barren of inspiration is not believed a long time or by a large number in vocal study but also in musicianship, stage where we believe that whatever we trolling the voice are right the tone will A thing which interferes seriously with much of a lesson; at any rate it is not of people. with emphasis on theory and piano. The read in a book must be true, and we ac¬ be good; but if the idea of tone, the tone original thinking is the limitations with what a lesson should be. The best singing Granting that the standard of voice piano is the most practical instrument in cept it without question, and thus store concept, be wrong, and the idea of control which students are so apt to hedge them¬ and teaching are done under its influence. teaching is not as high a- it should be, the world. By means of it the student our minds with what others have thought of the voice be wrong, then all is wrong. selves about During a long experience Nothing is so contagious. If the teacher how shall we improve it? The only way may acquaint himself with the best of the arid give little attention to thinking things Therefore the most important thing is the in trying to help students make the most has it the student is almost certain to to change an effect is to change the cause. entire musical product of the ages. The out for ourselves. This habit of accepting ear; and this applies to both teacher and of themselves I have learned that prac¬ catch it. The remedy is easily named but not so study of the piano will give the vocal the conclusions of others accounts for pupil. tically every one has, in some degree, fixed easily applied. If we are t teach better student an acquaintance with the melodic there being so few original thinkers, so Is Music Easy? Learning to sing is largely learning to his boundaries. He has decided just about and harmonic elements of music which he few people of quick and accurate judg¬ it means that we must be lr■■ter prepared listen intelligently. The ear is to the singer how high he can rise. Iri most instances ANOTHER THING that often inter¬ can get in no other way. If he is wise he ments. A small number do the original before we begin teaching. 1 means not what the eye is to the painter. The these convictions have no foundation in feres with progress is a belief, not un¬ will not neglect his piano study. The urge thinking and the rest of us are merely an only longer and better voice training but painter criticises his expression through fact, for the beginner has no basis for common among students, that music ought for better preparation is becoming more echo. The truth of this is so obvious that better musicianship. Lack , >i musician- his eye. The singer criticises his expres¬ forming accurate judgments. At best his to be easy for them. They like music. They insisted every year and is certain to con¬ it need not be supported with argument. ship has been charged again si voice teach¬ sion through his ear. In both instances conclusions are only opinions, which, as will tell you that they are “wild about it.” tinue. That it will be effective there can ers since time out of mind, . ud not alto¬ it is the taste that criticises. What one is is well known, require no judgment. But Most people are charmed by a “concord of be no doubt. The Meaning of Teaching gether unjustly. When om di-rovers that musically manifests itself in his taste. If these attitudes of limitation interfere sweet sounds,” and they accept this liking A S I APPREHEND it, the aim of he has a voice the impulse to sing be¬ one’s taste were sufficiently refined, learn¬ greatly with the student’s growth and as an evidence of talent; and to one who Things that are Bothersome teaching is not so much to impress comes altogether overwhelm n; ; and the ing to use his voice properly would not make the work of the teacher difficult. has talent music ought not to be difficult. HEN ONE TAKES his first voice one’s own ideas on the pupil, but rather hard grind necessary to gaining musician- W be difficult. The problem confronting the The student, who has thus limited himself, What is talent for if it is not to make lesson there is little that goes well to help him to form the habit of think¬ ship strikes many as drudgery, as a tread¬ teacher (is that of making an unformed rarely approaches the subject with an open things easy ? Consequently they shy at the The tune is likely to be thick, harsh, ing for himself. In other words to teach mill, and they evade as much of it as kind of study that requires concentration, breathy, thin, small. He may find himself taste produce beautiful tone. The voice him how to teach himself. mind; because if he does he is soon think¬ possible. ing beyond what he believes to be his pos¬ perseverance, industry. Many go on the short of breath. The phrase dies while improves as the student’s| ear, which is If the student merely remembers what This is a restless age. “hurry up” is Music fills the evening sibilities. Oftentimes the teacher finds rocks at this point and begin to cast about he is trying to hold it. In the upper part his taste, improves. is told him and is satisfied therewith, he the slogan. Everything mow- so rapidly there is much to do in getting rid of pre¬ for something easier. If the teacher is too of his voice the tone is hard to produce is not getting from- his study what he that students in all lines find it difficult Breath Control conceived notions before the student is insistent it becomes a legitimate excuse and it hurts his throat. These are a few should. But if the ideas given by the to settle down quietly to long periods of EVERYTHING that has ever been af¬ hours with contentment really ready to receive instruction. So for changing teachers. of the symptoms of the untrained voice. teacher stimulate his mental processes to study. On all sides we hear it voiced that firmed of voice training has at one long as this limited idea of his possibilities Looking back over the years I can recall What is training supposed to do for such time or another been categorically denied. original thinking, his growth will be rapid. many otherwise estimable young people the most difficult thing in aching is to obtains he will do little or no original think¬ a voice? Will it make a perfect voice of The favorite method of alleged genius is Some students never get the best there who spent a considerable number of years hold students long enough give them ing. A great philosopher once said that he it? Hardly likely. Perfect voices are to deny everything in toto and start with is in the teacher because they accept what going about from teacher to teacher look¬ the right kind of preparati There is is imparted to them without question or did not learn philosophy from books and a tremendous urge to get before the foot¬ scarce. I do not recall one at this mo- a clean slate. Notwithstanding, it can teachers but from’his own thinking. ing for some one who would make it easy comment, doubtless thinking that silence lights, or to earn money. Some of their scarcely be denied that the use of the WuruIzer If one gets nothing from his university for them, someone who would train their Training may remove every one of the breath is necessary in singing, and it often in the presence of the teacher is the proper voices without any effort on their part. arguments are hard to meet One says, PIANOS course save what he gleans from text¬ imperfections mentioned and yet it may happens that the supply is inadequate. attitude. Such mentalities make teaching The peculiar phase of this aberration is “I must get out and teach: i am out of . UPRIGHTS very difficult. But if the student has an books he has little that is practical to carry money.” Another says, “So and so hasn’t not be a perfect voice. We must not Why is this? Speaking entirely from my $475 to $295 . away with him. But if during that time that each one is thoroughly convinced that appreciative and inquiring mind he inspires studied any longer than I have and he is make the mistake of believing that train¬ own experience as a. teacher, I affirm that PLAYERS he learns how to study, how to think for not one of the teachers understood his the teacher and gets the best he has to give. teaching.” And so this goc- > c.; and at ing is everything. The belief that a good this is never due to a lack of breath.capa¬ $650 to $445 himself, everything will be open to him. voice teacher should be able to make a city. In fact the problem in breath man¬ INTERPRETIVE Given such a student and a conscientious It may not be amiss to say once more the next annual meeting we cuss ways He will have a logical basis for his judg¬ perfect voice out of any kind of a vocal agement is to control the flow of breath, $2,700 to $545 teacher, what they will do for each to yoling students that to become a good and means to raise the standard of teach¬ GRAND ments. His conclusions will be the result instrument is rather too prevalent. It is to convert it into voice without wasting it. other is almost boundless. Some students singer and a good musician, as every ing. That the only way to improve the $2,500 to $625 of accurate thinking. not well to lean too heavily on the method. A thing so vitally associated with-life, get far more from a lesson than others singer should be, is a tremendous under¬ grade of teaching is to impn the teacher PERIOD Even vocal methods have their limita¬ as well as with singing, ought, not to GRANDS do from the same teacher, because they Inspiration taking. No other branch of study requires is apparent. Further, we all kn-.v that all tions, although this is rarely admitted. baffle human understanding;, but there is $5,000 to $850 are ready for more, and their readiness, HAT WHAT IS known as inspira¬ such concentration, industry, perseverance, mistakes in voice teaching are due to er¬ T A good voice teacher should be able to a wide divergence of opinion on how the REPRODUCING alertness and interest inspire the teacher. tion should be present in teaching will and sacrifice of many things which seem rors of judgment. This matter of judg¬ give anyone a perfect use of his vocal in¬ breath should be taken and controlled. $5,500 to $675 Inspiration is as necessary to good teach¬ surely be admitted. Primarily the respon¬ important to young people. One must ment is worth considering for a moment. strument, but there his resppnsibility ends. There is neither space nor inclination to ing as it is to prophecy. sibility for this rests upon the teacher. In have within himself that driving power When the student has learned how to ap¬ Musical Judgment The singer may not have a perfect instru¬ discuss these methods. I have always suc¬ order to get the best results and make that rides over everything that opposes or ment in his throat, in which event to ex¬ proach a subject, how to weigh and- com¬ pORMING A JUDGMENT involves ceeded in getting rid of difficulty in sing¬ pect the voice teacher to do what nature pare ideas and form accurate judgments, * comparison, resemblance, identity, and ing long phrases byt looking carefully after failed to do is asking too much. he has achieved something the value of relation in general. Every human being two things. First, the vocal cords must There are some millions of violins on Upright Division which can scarcely be estimated. Many The Words, and Legato is continually forming judgments in this vocalize all Of the breath, convert it into earth but only a few “Strads.” Violins WuRuIzER N. Tonaurmda, N. Y. never get it because they have not been way. From morning till night the mo¬ sound waves. If they are not doing .this, range from the rare old Italian instru¬ if breath is escaping without being vocal¬ Dealers andnd Branches Everywheref made to feel its importance. Hence when By H. E. Hughes ment anything is presented to us this pro¬ ments down to the five-dollar conserva¬ ized, no system of breath control can oper¬ they teach they merely pass along another’s cess of forming a judgment begins and a and up. Convenient tory fiddle; and voices do pretty much the ate successfully. Second, the diaphragm Studio ideas. Needless to say that they never rise One who ever heard Patti sing the Patti’s right by birth. But- much of her conclusion of some kind is reached before 445 erms gladly same thing. The principles of acoustics must function properly. The diaphragm Player higher than their teacher: on the con¬ Batti, Batti, from “Don Giovanni,” or such skill in the beautifully sung word is possi¬ the subject is dismissed. Thus the pro¬ arranged apply to voices no less than to violins. is the resisting muscle, and it resists only trary they always fall a little short, and deathless songs as “Home, Sweet Home,” ble to many. cesses of logic are operating in some de¬ The construction of vocal instruments, when it is vitalized. In the process of their progress ends the moment they stop or “The Last Rose of Summer,” never can On the vowel sound which happens to gree in every human mind, and the aim of studying. their materials and form, vary greatly; vitalizing or contracting it moves down¬ forget the magic with which her words be most easily sung by your particular all logical reasoning is to reach a conclu¬ and to produce a great voice the form ward and forward. As long as it remains Mail this Coupon for Free Beautiful Portfolio linked themselves liquidly on a stream of voice, vocalize a phrase with the most sion based on absolute fact. The basis of Looking Within must be acoustically right. A voice with vitalized it will resist the pressure from WuriSzer, North Tornwanda, N. Y. perfect tone. That was the acme of beau¬ beautiful tone of which you can conceive. one’s judgment is his experience, and the LONG EXPERIENCE as an edu¬ an imperfect vibrator or imperfect resonat¬ without and regulate the flow of breath. A tiful song. Others have thrilled by some Do this with the utmost freedom of tone. validity of his judgment is governed by Without obligation, send me beautiful portfolio of Wurlitzer Studio Player cator has taught me that a majority ing cavities will never be great, no matter The moment it devitalizes, its controlling When this is acquired, then, while the tone the breadth and nature of his experience. Pianos showing how wonderfully these little pianos fit into small rooms. of students think that all they learn must individual quality which brought fame. how perfect the vocal method may be. power is gone. continues to flow in all its beauty, produce The voice teacher, most of all, needs a come to them from others and are en¬ “Patti” and “perfect singing” were syn¬ This may not be cheerful reading to vocal The result of my observation is that Name--—-—- Address-—_ the well-linked words without in any way logical mind. From the beginning of voice tirely unaware of the great mental store¬ onymous. students; but it is the truth. All a vocal those who have trouble in singing long impeding the course or quality of tone. production to the end of interpretation he house they have within. That each one has Now none ;may hope to acquire that Herein lies one of the greatest secrets of method can do fs to make the most possible phrases lose control of the diaphragm at is every moment called upon to form in¬ greater mental resources than he suspects voice of superlative charm which was the charm of song. of the student’s natural equipment. (Oontinueil on Page SIS) stantaneous judgments; and the character TBE etude APRIL 1927 Page- 805 Page 80It APRIL 1927 THE ETUDE With the great Bach number so shortly able. Perhaps we have not taken proper Our art is one of the few eternal glories The Second Number followed by the most impressive dramatic care of ourselves physically to prepare of the world. Empires pass but their art OINCE the opening number will be bril- or emotional number, the climax is reached for the recital, and are out of condition; remains; dynasties fall but what their age ^ liant in character the one immediately and passed. Now the artist’s business is or we have not made the program with has contributed to an understanding of following may advantageously be broad to" effect a reconciliation between the trans¬ thought and care; or we doi not know our undying beauty becomes a part of the heri¬ and sustained; this will depend on the The Organist’s Etude cendental world of ideas and emotions and music well enough to give the audience tage of all the world. We are priests of the highest; to us is given the privilege of exact quality of the first number, to which the real world of everyday life to which all anything more than its outward form; or we do not really care about the people to interpreting something beautiful, spiritual, the second should offer sufficient contrast. Edited for March by must shortly return. He must therefore whom we are to play and to whom we everlasting. This means that the unfailing Such numbers as the Stamitz “Andante," Clarence Dickinson and Helen A. Dickinson follow this number with one which, while not too great a shock, that is to say, not have an opportunity of bringing some of purpose of our lives as artists must be, “Andante from Symphonie Pathetique,” It is the Ambition of THB ETUDE to make this Organ Department too far removed in spirit, from the fore¬ the noblest and most beautiful things in through physical care, thoughtful study, Tschaikowsky; “Ave Maria,” Arcadelt- and reverent passion for our art, to keep “An Organist’s Etude Complete in Itself” going yet shall relax the strain. Such the world; or we are artists and, of ne¬ Liszt; “Aria from Concerto X,” Handel; numbers as the Dvorak “Goblin Dance” cessity, temperamental, and, sometimes, we ourselves fit to be purveyors to mankind, have been found useful in this position. with its whimsical fancifulness conjoined AUSTIN ORGAN CO. do not know why, our selves get in the of beauty and joy and sweetness and This number, while it should be very pleas¬ to a poetic melody; the Massenet “An- 165 Woodland St. Hartford, Conn. way of our work and mar it. tenderness and peace, and high resolve and ing in character, should not be too light; gelus” with its union of gaiety and serious- Let the organ recital be exalted in the struggle and victory, and all the great it is not wise to put the sweets too early in The Building of an Organ Recital Program and the less; Russell’s “Bells of Ste. Anne de Beau- mind and spirit of the player himself. eternal things. the meal. pre;” Kinder’s “Moonlight;” Novak’s “In Following upon it must come, for relief, Psychology Which Should Govern It the Church,” may be found to suit. Guilmant Organ School a number full of movement. It may be Part II The Lighter Section Dr. William C. Carl Hymn Playing staccato, and should certainly be some¬ When this is done they take on a de¬ If this section is very serious it is some¬ thing fairly rapid and scintillating, that Director lightfully archaic quality, refreshing, times well to add also one of the gayer ' I' HEN FOLLOW the lighter numbers, HERE IS no single part of the serv¬ selves to silence. The organ must give the audience may not settle down to a T little Bach numbers. But the idea here is -*■ graceful or fanciful, such as Stough¬ A Distinctive School for ice concerning which there are made, unfailing support to congregational singing, staid mental pace but be stirred to a cer¬ sometimes amusing. Others again, bigger to make a transition from the very "defined ton’s “In a Chinese Garden;” Nevin’s from the side of the congregation, so but not drown it out. tain alertness or nimbleness of thought. or more impressionistic, blossom out into Serious Students formalism of, say, a Bach Fugue, with its “Will o’ the Wisp;” DeLamartcr’s “Foun¬ many requests and so many protests as Third, the organist regulated the tempo Such numbers as “Toccata,” Le Froid des exquisiteness only with the judicious em¬ strongly intellectual quality (and I do not tain ;” Wolf-Ferrari’s “Dance of the the playing of the hymns. It would be of his hymn-playing according to the ‘^Armour-Gad Mereaux, "Prelude in D minor,” Cleram- ployment of the resources of the modern Free Scholarships mean by this that it is devoid of emotional Angels;” Tschaikowsky’s “Danse des Mir- amusing if it were not rather pathetic to character of the text of the hymn; and, bault; “Gavotte” Martini; “Minuet." organ. So might their composers have quality)—to make a transition to the next litons;” or such a happy and popular num¬ Write for Catalog know the number of times every estab¬ fourth, he gave the congregation time to J. J. Rousseau, may be found suitable. dreamed them. And, in any case, the "Worshippers number, which should be the emotional ber as the Paderewski “Minuet.” This lished organist has been asked one or two, breathe at the end of a line, the end of a There are many gay and brilliant little limited registration proper to an archaic climax of the program. This number is may be followed by a touch of humour, as 17 East Eleventh St., N. Y. or both, of the questions: “What can we verse, and even in the lines where neces¬ numbers, but the lightest tones must be instrument should never be employed for '4 were inspired set thus late in the program that the in Liadow’s “Musical Snuff-box,” Yon’s do to get our congregation to sing ?” “How sary—time to breathe, but not too much saved for later in the program. too long a time at one stretch, as the audience may be at its very best, perfectly can we get our organist to play the hymns time, as that destroys both the rhythm and audience—even an audience of organists— delicious humoresque, “The Primitive Or¬ - by tOi£en prepared for it; yet it must not come any gan,” or some other number in this vein. so that the congregation can sing them?” the enthusiasm! Program Notes will weary of it and be lost in boredom. INSTRUCTION IN later lest they should begin to be weary Then comes the most human number on Usually the lament appended to the sec¬ It is by no means an easy thing to play Or^anl&nej npHF SECOND PART of this section before it is reached. This piece will be one ond question is: “He plays so fast we a hymn well. The organist should ap¬ The Historical Section the program; we are getting down to earth -*• of the program, or the small section out of all your repertory which, at the again, but poetically; therefore this is THEATRE ORGAN PLAYING just can’t keep up with him; we can’t-get proach it as if he were about to play the following upon this, may well be historical f I 'HIS historical section may properly time, appeals to you most strongly as the place for a short “Meditation,” “Even¬ Practice Facilities. Special course for a breath from start to finish.” sustained movement of a sonata. If he JNIGHTS who were plumed and in character; made up of pre-Bach or other pianists changing to organ. lead into the big Bach number, or possessed of the most poignant dramatic song” or “ReVery,” or, if you like to play With respect to the first question, “How accords it the same consideration, he will mailed paused on chivalrous early music. This affords a certain men¬ Advanced pupils have the advantage of whatever is played to take the place of quality, the deepest feeling. Among such a Cradle Song, use it here—there are lessons before the screen under the can we get our congregations to sing ? find that his hymn-playing will be vastly tal, and what might be called a social Bach. Upon this—let us say a Bach Pre¬ numbers are Cesar Franck’s “Piece Hero- same conditions as prevail in there is a large metropolitan church whose improved in a short time. If, for ex¬ journeys in houses of worship many lovely ones. any large theatre. stimulus, as it effects that broadening of lude and Fugue—should follow something ique,” Liszt’s “Fantasia and Fugue on And now a joyous, brilliant finish, full splendid congregational singing of the ample, he is playing repeated notes in the the interests and sympathies which makes OUR PUPILS SUCCEED WHERE OTHER (or services attended by Kilgen of emotional quality; it may even be a B-A-C-H;” (if a long Bach Fugue has organ! This number fulfils somewhat the ORGANISTS FAIL hymns is a joy to all churchgoers, which, Andante movement of a sonata, he will for wider culture. It will help if the short emotional Bach number such as the not been used just before it); Liszt’s Vari¬ same function, but reversed, as the open¬ not many years ago, was the despair of its give the first note half its value—unless Organ tones. Even back in those background of such numbers is made clear Arioso. “Do Stay Here,” from the “Cap- ations, “Weimen, Klagen” (the Bach ing number on the program, and some VERMOND KNAUSS SCHOOL OF minister and all those interested in con¬ the repeated note is a very long note, occu¬ and picturesque by' means of program early days the faithful were in¬ riccio on the Departure of My Beloved Themes) ; Held’s “Prayer for Peace” and pieces are suitable for use in either posi¬ gregational singing. The change was pying a whole measure, when he will give notes or verbal explanations. If he writes THEATRE ORGAN PLAYING Brother;” the “Air in D;” the “Aria in “Introspection;” Reubke’s “Psalm XCIV,” tion. Effective numbers are of the char¬ brought about by the adaption and con¬ the first note three-quarters of its value. spired by pipes fashioned by such notes the recitalist must not neglect 210 North 7th St., Allentown, Pa. F” from “Sonata in D minor;” the “Sona¬ in whole or in part; Fimle to “Symphonie acter of the Widor “Toccata” in Symphony sistent carrying out of two plans. As a If he does not do this he cannot repeat the to put himself in the place of the man Kilgen craftsmen. It was in tina in E flat;” “Praeludium in E flat Pathetique,” Tschaikowsky; Overture to V: the Vierne “Finale,” Symphony I; first measure, care was taken, first, that note at all on the organ, but must simply in his audience who is without specialized minor,” some of the Choral Preludes. “Tristan and Isolde,” Wagner. Mulet’s “Toccata, Thou art the Rock” of the three hymns sung at any service tie it over, with resultant destruction of 1640 that Sebastian Kilgen built musical education and must make a point two should be familiar hymns; second, all definite melody and rhythm. Yet the from “Byzantine Sketches;” the Sibelius 0RG0BL0 the first instrument that bore his of telling what will win the attention of that one of them should be a real old- organist who will carefully repeat the a person with a general interest in human “Finlandia;” Tschaikowsky’s “Overture The true Standard of Ex- time favorite which everybody in the' con¬ notes in an Andante will tie the repeated name. Since that time one family affairs but having no concern whatever 1812” (cut a bit); Schubert’s “Marche gregation was certain to know; third, that notes in a hymn so that the playing is with the technical analyses of the profes¬ Militaire;” the Chopin “Polonaise;” Winner of the highest award has striven to make Kilgen mean sional. Program notes for average audi¬ “Finale” to Widor’s “Symphony VIII;” or, these hymns should be sufficiently varied without pulse, the congregation hardly in character of text and music to appeal knows just where it is singing, and, as a ences should give human information in December, for example, Dethier’s Special Orgoblo Junior fo the utmost in religious music. which will increase the enjoyment of the “Christmas.” You have wide choice here Reed and Student Organs to different tastes and sensibilities; and, result, the singing soon becomes weak and Today in thousands of schools, moment and add something to the average for we are back, as Browning says, in fourth, that the hymn before the sermon indefinite. store of culture. “the C major of this life.” This number should be in some measure a preparation auditoriums and houses of wor¬ But no picturesqueness or charm of must not be of too great length, however, of mind and spirit for the very theme of An Exception program notes will help enough if a num¬ ship, both impressive and modest, as, seeing that it is the last number on that sermon, and that the hymn following ERHAPS we should note one excep¬ ber is inherently dull. ' There are some P the program your audience is consciously, the sermon should express the conviction tion to this rule for the treatment of Kilgen tones inspire millions of musicians whose historical interest is so unconsciously or subconsciously preparing or emotion the sermon had been designed repeated notes. In playing a gospel hymn keen that they are firmly convinced within Earn $50 to $100 a week to depart. to evoke. In this last connection the min¬ of the least musical type in which identi¬ worshippers and music lovers. themselves that all music bearing an' early Although this number is spoken of TUNING PIANOS ister of that church said recently that he cally the same chord is repeated many date is sufficiently interesting to be included Let us tell you about Kilgen briefly and it is noted that the choice is gauged the response to any sermon by the times in quick succession, the organist may on a recital program. By no means. The wide, this does not mean that it is of degree of enthusiasm with which the con¬ sustain the inner voices and repeat the craftsmanship that has been car¬ proportion of dull music written in the gregation joined in the hymn immediately outer ones only. This will permit him to sixteenth and seventeenth centuries was secondary importane. By no means; the ried on through almost three after it. The careful carrying out of this give the rhythm pointedly yet at the same greater than it is today, for composers final impression is vital. The effect of plan necessitates the expenditure of much time lend greater dignity to the hymn. centuries. This interesting story were bending their energies to the solution the entire program may be seriously im¬ time and thought on the part of the min¬ In playing a hymn for congregational of technical problems, and caring much paired by a poor finish, and, at any rate, r TUNE-A-PHONE is told in a brochure which will Anyone^with ordinary hearing ister, who, in that church, chooses the singing the three upper parts are taken on more about the various ways in which they the effect is always heightened by a bril¬ liantly played closing number. hymns. He finds it necessary to spend the manuals, the lowest part on the pedal. be sent on request.Geo. could work with a certain material than from one to two hours every week just about the attractiveness of the material Now the recital is concluded. “So it is This pedal part should be played where it Kilgen 6 Son, Inc., 4034 North itself. Hence much of their work is gone at last, the palace of music I reared 1” to choose the hymns for two Sunday is written, although, occasionally, when devoid of the essentials of melody and Browning’s “Abt Vogler” characterizes services. there is a large congregation singing, it Union Blvd... St. Louis, U.S. A. charm. But, on the other hand, there is truly the ideal we have before us. Our Another Question is permissible to drop an octave to give much that will delight a present day program-making scheme is truly architec¬ HE SECOND measure involved the greater sonority. This should never be FREE book, ** .. .uusucuuuuvc ~ T audience, even one which is quite “unmu¬ tural : first the excavation, the freeing ANTYPLAN. co-operation of the organist. First done, however, when it destroys the out¬ sical.” For the proper interpretation of from sodden everydayness; then the solid BRYANT SCHOOL OF TUNING of all, he abandoned the habit of announc¬ line of the melody of the bass, as, for this music it is necessary that the player foundation, which should also be beautiful 82 Bryant Building - Augusta, Michigi ing the hymn all ornamented with runs and instance, when it would run below the spend much of himself in “feeling himself though solid; then the real building which trills and played it over clearly and defi¬ pedal keyboard and necessitate a leap back into” the period, that he may present these is at once the meaning and purpose of the TINDALE nitely, that the congregation might surely in the opposite direction. SRa« old numbers with clearness of line and planning, and the triumph of all the labor Music Filing Cabinet get the tune. Then he stopped accom¬ The tempo at which the hymn is taken Organs gracious rhythm, for these are the supreme and struggle; then the decorative effects, panying the congregational singing of should, in every case, be suited to the senti¬ qualities which must be brought to their graceful, humorous, appealing: then the hymns “with expression;” for it was found ment. In some churches in which the hymns interpretation. lanterns of the towers, perhaps for popular that when the organ dropped to piano and have always been sung so slowly that it has The question of registration rears its admiration perhaps with a touch of brav¬ pianissimo the singers in the congregation been painful to sing or to listen, a new head so .often that a few words about it ura, a sort of brilliant challenge. felt the support pulled from under movement towards infusing more life and are ventured here. Many piece's lose their them, could hear their own voices, became brightness into the music has led to the character unless the player reduced his The Human Element self-conscious and stopped singing. The hymns being taken at a rapid pace, and result is the same if the organ is too loud; all hymns at the same pace. Of course, organ to the simple terms of the primitive TX7’E HAVE here set up an ideal, but the singers in the congregation feel, “Oh, we no longer want our hymns sung so instrument for which they were written. we fall far short for many reasons which are human and entirely understand- well! what’s the use!” and resign them- (Continued on page 319) When you adv« iys mention THE ETUDE, It identifies i- in meh with th« higher i<]< «f art and THE etude APRIL 1927 Page 307 Page 306 APRIL 1927 THE ETUDE E- □ Organ and Choir Questions Answered Musical Pointers Do You Get Your Share of Profit and By HENRY S. FRY Prestige from Summer Classes ? Former President of the National Association of Organists, Dean of the Pennsylvania for Chapter of the A. G. 0. ORGANIZE A MUSICAL HISTORY CLASS Will you Mndly explain what multiple Q. have been red a the articles , Musical Parents The Etude every chance I get'pi tal and pedal-bass organs are/—C. B. S7an® my s _ , Using As a Text-Book Multiplp-manualjiml Pjdal-basH ^organs paratory£ fo to my study of the organ. I ,vou than* one"manual « &"&&&* ihPeonar^Z Conducted by THE has developed a decided liking. Wc have also a piano, fust recently purchased, which never j difference between the receives much favor unless played with the MARGARET WHEELER ROSS Standard specifications of a""unit" or "theatre” organ organ. I have played in ohiirch for three ..."'i«' Isthere fSiKe,During this time, T°cou?of course,1- ^I have thC acquired * any differa absolute independence of my hands, feet and —• — vr•the use of the swells (the tiro controlled bu limit on the -111111' plan, while "church, or th knees). This. I realise, is a. decidedlu Only questions of general interest mill be answered in this department. History recital organs are more generally built on smM < essential to a resonant quality. The sound and I have seen many voices restored to SCHOOL PROFESSIONAL waves must be of sufficient strength to usefulness and success by using a far create resonance in the upper cavities, lighter, or thinner, vibrating tissue, string, June 27 to August 6 (Six Weeks) This is not a question of ^whether we be- mechanism, or register, the name does not SUMMER SCHOOL with our°theories°r if if in" the acoustics fiddle of the'wff * d°Wn **“ Five Weeks June 27 to July 30 PASQUALE AMATO can do it. We can no more dodge this J T IS THE OFFICE of the teacher to Many Special Features for A breathy tone cannot he resonated so haggling with words, PROF. LEOPOLD AUER long as it is breathy; and a breathy tone The terms: head voice, middle voice, and the Teachers of Music cannot ^be correct with ^breathing exer- so on, answer m^purpose in solving these MOISSAYE BOGUSLAWSKI INTERPRETATION FOR ARTIST STUDENTS EDWARD COLLINS INTENSIVE COURSE FOR SUPERVISORS PIANO, THEORY, VOICE, VIOLIN CHARLES M. COURBOIN NORMAL TRAINING rD A CERTAIN ELEMENT of the terms is usually done by those who have teaching fraternity registers were long a “low visibility.” PUBLIC SCHOOL MUSIC ago outlawed and are not to be CHARLES H. DEMOREST in polite society. ^ The rest^ of us have theory and formula where-principles are areg PERCY GRAINGER Send for Summer School Booklet COLUMBIA SCHOOL of MUSIC RICHARD HAGEMAN is sure there are at least six that are well The process of training a singer is psy- Box E 509 South Wabash Avenue defined. chologic. It is training the mind rather The secret, if there is one, W. OTTO MIESSNER CHICAGO TsHtSSIUNION PACIFIC about the untrained voice? If there is any of the instrument will be ample. Let us THE OVERLAND ROUTE one thing a voice teacher is supposed to do, not forget that many of the greatest sing- ALEXANDER RAAB that thing is to hear; and one who never ers of the world were trained before any- CONSERVATORY of MUSIC LEON SAMETINI in the c I, mentary principles of voice train- Any one of a scientific turn of mind can D. A. CLIPPINGER ing. take the voice apart and study it in de- Thc \oice can do many astounding tail. But the. training of a singer is syn- HERBERT WITHERSPOON things, but there is one thing it cannot do. thetic, not analytic. It is combining a Summer Term for Singers Five Weeks, Beginning June 27th more than 125 Artist Teacher, FREE FELLOWSHIPS COSMOPOLITAN agree that registers are not to be talked Blowing TEACHERS’ CERTIFICATES and DEGREES about; but it is the business of the teacher Tosiiiv:^ “Do.jou .know, m ™EOnHeTt= scsrcMiJSic&“™ SSSSSfe:::. STUDENT DORMITORIES spas is too n sSi “HSSr£5="'p"“>ly- Pianologues NEZ SggSBS5SiKSaNO voice this error is ajniost universal. Un- SgsSSfiffiiS=S CHICAGO less it is corrected that part of the v is not at all unusual to near a soprano —T --- ~~ “ ° ” , Bmi?r»«TwMVhc^fro«PJxctM' MUSICAL sing a thick, unsteady, throaty tone on the voicCjhas^been tried) ^ Anyhow much PIANO TUNERS and COLLEGE TECHNICIANS 60 EAST VAN BUREN ST. (sssaa Smi for Catalog E. sue. It is far too thick. This soprano is on talking so much about music? X. S. DENISON & CO. Y. M.C. A. Piano Technicians School using a string which would be right for a Jealous Rival: He has just learned Dramatic Publishers 1 AVE., DEPT. 73_CHICAGO s you as one in touch with the 1 fffB ETUDE APRIL 1927 Page 315 Page 8U APRIL 1927 THE El Weight and Relaxation by Gabriel Fenyves (Continued, from page 258) SUMMER LESSON V n succession. The following exercises on DETROIT The Various Touches striking the same note repeatedly are very EGATO. For this touch, hold the first eSpeciall7 for. acqu‘™gf3Peed; . ... ., . • , Start these exercises with middle C, first Lt key down until the next is struck, CONSERVATORY by relaxing with the full arm weight and MASTER leasing the first only after the second key using a separate motion for each finger, jjas started downward, thus making a per¬ as in the staccato exercises. Play C with OF MUSIC fect connection between the two keys. To icll ^— methe iuuifourth in uiiKcr,finger, menthen withwun the third, produce a sonorous round and singing second and ^ , the salIlc I1ULC SCHOOL tone, as m the melody touch, use the arm ifa hfi fif h fi ’ P y f h third SUMMER OFFERS courses in Piano, Voice, Violin, Cello, Organ, weight rather than muscular or finger and Theory, Oral Interpretation, etc. Work based on best MASTER modern and educational principles. Numerous lectures, Concerts pressure. Use a separate arm motion upward for June 27 to August 6, 1927 (41st Season) Staccato. The staccato touch is each quarter note or its equivalent. Thus, SCHOOL- duced either by the finger, wrist or there should be' but one arm motion for or a combination of all depending o „ one IQr eacn June 27 to eighth notes, one for each group played. Inr %rL22**?L2JSlrapid passages, the so-called •« «■»*• «* «? —. August 6— for each group of five sixteenth notes. In leggiero touch is used, being a combination other words, there is a single arm tnotion JOSEF of finger staccato and loose wrist. The LHEVINNE Six Weeks JAMES H. BELL, Sec, Box 7,5035 Woodward Ave„ DETROIT, MICH. for each beat, no matter how many notes , arm staccato is used only for loud octaves tQ the beat World Renowned Piano Virtuoso. Repertoire Teacher’s Classes. Auditor Classes. and chords and is obtained by releasing the Play the. following exercise, starting key the moment it is struck and with middle C, then playing CS, and c relaxing the finger, permitting the key tinuing chrom;tically. Qne of’ the chief Premier Aristocrat Small Grand Model to rebound. reasons for playing different r 5 feet, 3 inches long. Price* $695, f.o.b.New York. TheGunn School The finger and the wrist staccato are relieve the tension brought on by monotony. OSCAR used mostly for soft passages and those SAENGER marked leggiero, which is a combination THE thousands of Premier Baby Grands in active, eveiy- Internationally Famous Master of the Voice. Opera Classes. Teacher's Classes. of Music day use the world over, are the best proof of Premier Repertory Classes. Public of staccato and what is known as non-le- gato and is accomplished by immediate re¬ musical value and thorough reliability. ANDDRAMAJICART. lease of the finger from the key, whether Studios, conservatories, teachers and students pin their HENIOT LEVY School you use the finger alone or the finger and faith to this instrument because of its remarkable quality CHICAGO with price combination. Much staccato practice will result in the SILVIO SCIONTI Be sure to see and hear the Premier at your dealer. Brilliant pianists and eminent instructors. Repertory and Teacher’s Classes. Music loosenes that is so necessary in playing Percy Rector Stephens leggiero, the touch used by nearly all con¬ Our latest literature—most attractive and convincing— Chairman Board of Directors c/in Intensive, cert artists in playing rapid legato pass¬ yours on request. KARLETON HACKETT ages. In other words the notes are not Distinguished yocal instructor and critic. Repertory and Teacher’s Classes SUMMER MASTER Six-Weeks, Summer Session connected as they are in true legato, but, by After this, play the repetition exercises CLASSES, 1927 Nos. 12, 43 and 52 in Cramer, No. 14 in PREMIER GRAND PIANO CORPORATION Course playing them softly, the effect is as though America’« Foremost Makers of Baby Grands Exclusively E. WARREN K. HOWE Voice they were. This gives a pearl-like bril¬ Clementi and No. 22 in Czerny. 514-594 WEST 23rd STREET NEW YORK Eminent Teacher of Voice June 20 — July 29 Percy Rector Stephens liance to a run or passage. Ability to play After the exercises outlined in these Manually Played Sme Franz Proschowsky leggiero properly is one of the final steps lessons have been learned, select numbers JACQUES GORDON Burton Thatcher in acquiring a brilliant technic and is the containing some of the technical difficulties Famous violin virtuoso and Concert Master Chicago Symphony Orchestra. Our Public School Music students enjoy Albert Borroff result of constant practice of staccato. already explained. Gradually the student Stuart Barker the musical atmosphere found only in a The forearm and full-arm staccato are will acquire suppleness and greater free¬ large conservatory. The Summer Session Piano used mostly on loud single notes and in dom ; the arm and wrist will feel loose; HERBERT BUTLER course represents one-fourth of the credit the touch will be improved; and technical Eminent teacher of the violin. required for our regular Public School Glenn Dillard Gunn octaves and chords. It is done by releas¬ Music Teacher’s Certificate. A Sperial Martian Thalberg ing the key, immediately, “weighing” up¬ difficulties which seemed impossible! to Certificate is granted to those who com¬ Arthur Granquist ward the whole arm. The louder the effect overcome at first will be executed with Theodore Militzer WILHELM MIDDELSCHULTE plete the Summer Session course, in desired the more “upward” should be the One of the world’s greatest organists. recognition of the credit earned. The Violin pressure, and it should be exerted in leav¬ tuition for all class work of the Summer Faculty of over one hundred artist teachers Amy Neill ing rather than in striking the keys. This Self-Test Questions on Mr. Fenyves’ Article Session course (120 hours of instruction) Guy H. Woodard is only #70. Special courses are offered gives the sensation of weight drawn up¬ 1. IVhat are the four most common BUS Special Summer Courses for Supervisors of in the advanced phases of Public School Theory ward. faults of advanced piano students? Public School Music-o. E. Robinson, Director Ralph Ambrose Portamento. This touch is not used for 2. What is the first "up and down” Theodore Militzer passages or rapid runs, but rather for motion and in what type of playing is it CONSERVATORY melodies or disconnected notes. Play le¬ Special Summer Courses in Dramatic Art, See o especially needed? EDGAR NELSON Dramatic Art gato. But, instead of connecting the notes, Chicago Expression—ID niton Pyre, Director Edwin Stanley 3. In what way does the “wave-like” Sophia Swanstrom Young release the key before the next note is motion facilitate scale-playing? School for Theatre Organ Playing Viola Roth struck. Or, to put it another way, play 4. Describe a method of acquiring the staccato. Only, instead of releasing the Frank VanDusen, Director Courses of study leading to the granting rotary motion. key at once, sustain the note a moment, of diplomas, degrees, and certificates 5. What two phases of technic combine Summer School Lectures by Eminent Educators, Recitals by Distinguished Artists SliEiulooi) (DusicSchool according to the curricula established by then release without connecting with next to produce the “leggiero” touch? (Founded 1895 by W». H. Sherwood) the National Association of Schools of note—as though the key were “sticky.” June 27 to August 6 Fine Arts Building Music and Allied Arts. FREE SCHOLARSHIPS Finger-Position To talented and deserving students awarded after competitive examinations. 410 South Michigan Avenue Clara Schumann’s Memory Joset Lhevinne will award one scholarship for private and two for reper¬ CHICAGO, ILLINOIS JENNE BERHENKE^^jirtrar OYV, as to the position of the fingers: GUEST ARTISTS tory class lessons. Oscar Saenger will award two scholarships for Fine Arts Building, Chicago N' When the arm weight is used, play By Iva Dorsey-Jolly FREDERIC ALFRED private lessons and five scholarships in the Opera Class. with the fingers almost flat, although firm lamond blumen Wire or write for application and particulars. from the knuckle-joint out, as they are If one often gets discouraged and feels WORLD FAMOUS PIANIST NOTED VIENNESE PIANIST able to stand the concentrated weight of he will never be a musician because it is ARTHUR oenvefi the arm better than curved fingers.’ The Qlebdan&JnfltitutP difficult for him to. memorize, let him Superior Dormitory Accommodations. Rates of Tuition Moderate straight or clinging finger should always listen to this little story of Clara Schu¬ MIDDLETON G0LL6GE OF flUISIG me FOREMOST AMERICAN BARITONE EDITS h® gi??n for summer coura“ taken, toward Certifici cr6 LnRGesc m cue cue sc be used in the melody touch. mann. Diplomas. Degrees—granted by authority of the State of Illii_ ofQufiir On the other hand, quick passages, scales After it became the style to play every¬ PRIVATE INSTRUCTION AND NORMAL COURSES An Endowed, Non-Profit. Public Inetitution and arpeggi should be done with bent fin¬ SeSS'0n Pectus regular catalog and Public School Music circular Degrees snd Diploma. Offers Complete Courses for thing from memory, Clara Schumann re¬ IN ALL BRANCHES OF mailed free on application. For detailed information address Students of all Grades gers and loose wrist. The position of the pealed her programs a great deal because Excellent Faculty and Educational Four-year course leads to teacher's certifi- cate or diploma. wrist has been the subject of much discus¬ it was difficult for her to memorize. It MUSIC, CLASS PIANO INSTRUCTION, SCHOOL MUSIC, sion among piano teachers. Wrists either was said that she often cried over the Uembi,etrtr;iningrd °PPOTtunitF DRAMATIC ART, STAGE CRAFT, EXPRESSION, extremely low or extremely high are hand¬ necessity of thus learning her pieces. This ^fessionaU^8 f°r teachers and Pro- icaps to velocity. The important point is goes to prove how necessary it is to mem¬ DANCING, LANGUAGES The Student Re.idcnce is open throughout the not so much the position of the wrist as orize from the very beginning of music MASTER REPERTOIRE CLASSES American Conservatory that of the thumb. Holding the thumb al¬ EDWIN JOHN STRINGHAM, Mu,. B.. P. D„ Dean Snd for catalogue outlining courses and fees study, for then, as one grows older, mem¬ most perpendicular to the keyboard in itself CREDITS GRANTED TOWARD CERTIFICATE, DIPLOMA and DEGREES 10th Ave. and Grant St., Denver, Colorado Mr„8- Franklyn B. Sanders, Director orizing becomes the smallest part of piano 2827 Euclid Avenue, Cleveland, Ohio will result in a higher position of the wrist, study, while, if it is not practiced, it gets • Entire Faculty Available During Summer School of Music as well as forearm, which is the position to be more and more difficult as time goes STUDENT DORMITORIES to be desired. Write for Summer Catalog 571 KIMBALL HALL Chicago, Illinois ScoSSS«US*l!si rA S,0ME fading school ™ Repetition Exercises T. E. SCHWENKER, Manager, i N. Dearborn Street, Chicago, Ill. JOHN J. HATTSTAEDT, President toTH,EArK"& 'T'HE AVERAGE player encounters “It is a worthy ambition to hitch your A much difficulty when attempting to wagon to a star; but, if you do not know "j e™» «*» -r ■Asasais' *u,h°" hvays mention THE ETUDE. It identifies Play the same note rapidly several times how to drive, it avails naught— Sousa. as one In loach with ,hc h„.her idel|ls of n When yon write to our advertisers always mention THE ETUDE. It identifies yon e in touch with Hie higher ideals of art and life. Page 316 APRIL 1927 THE ETUL TEE etude APRIL 1927 Page 317 99 SCHOOL FOR gftr QlrhHani*Jnatttufe Question and Answer um of Qttfiir Department THE TRAINING OF is the SIX WEEKS SUMMER SCHOOL Conducted, by . June 20 - July 30 J ARTHUR DE GUICHARD word f THEATRE ORGANISTS Regular Summer Course gives credit for one quarter of full year’s work toward certificate or diploma. Intensive work under regular faculty for students of all grades. w w To be always “at your best”, Pedagogy courses in piano and violin. June 27 to August 6 (Six Weeks) Signatures and Aceompaniinent However it would t it is essential to prevent the un¬ Swimming pool and tennis court for students residing in student (J. (i) What signature should I us pleasant odor of perspiration. do»mitory. transposing the ancient Church Scales! («) “Mum” is the word! “Mum” is In playing them shall I play them as Pyorrhea Wins . Coale (or f the personal deodorant cream that Direction: CHARLES H. DEMOREST and HENRY FRANCIS MASTER CLASSES ARTIST RECITALS change tliesc church modes or to write in peptK'i; Touch. neutralizes every body odor and assures GIVEN BY 4 times out of 5 their keys a step or two higher, what signa¬ ) Where, i v relation to the complete personal daintiness through¬ PARKS, Famous Theatre Organists tures shall I use!—Ruth W., Pittsburgh, Pa. should small “ in enclosed t out the nuhole day and eajening. WILLIAM SIMMONS—Baritone and distinguished American concert artist. played! (ii) What 1,is the differen Watch out! Pyorrhea is a ruthless foe. Its poison sharps), or Eb (three flats) ; Phrygian: from “suspended weight” touch, usvu joi u, So effective is “Mum”, and so safe, BERYL RUBINSTEIN—head of the piano department and soloist with leading creeps through the system and often causes facial C to D, or Eb; Lydian: from C to D, or Eb; age work, and finger-touch, as taught that it is used regularly with the sani¬ Students have lessons and practice before the Screens pro¬ Mixo-Lydian: from C to D or Eb ; for the four ■s age!!* (Hi) Is hand-touch, using orchestras of the country. disfigurement as well as rheumatism, neuritis Plagal scales (Hypo-Dorian, Hypo-Phrygian...... date!—Etuiie tary napkin. vided by the College in its studios. New two, three and four JOSEF FUCHS—Concert master of'Cleveland Orchestra. and anemia. And 4 persons out of 5 past 40 are Hypo-Lydian and Hypo-Mixo Lydian) write “Mum” is 25c and 50c at all stores. Or from us postpaid. Also special manual Wurlitzer and Moeller theatre organs for lessons its victims. from C to D, or Eb—or into the key of the in¬ VICTOR DE GOMEZ—head of the cello department and first cellist with terval to which you wish to transpose, based size of “Mum”—10c postpaid. Cleveland Orchestra. These uneven odds are due to neglect, A little upon the original interval as of the key of C. and practice, owned and operated by the College. care an J you can protect teeth and gums against (ii) Keep to the diatonic notes of the scale Mum We- Cf 1119 Ch'Onut St., Phila. Pa. this enemy. See your dentist at least twice a year as indicated by your signature ; 1 use uo accidentals. Therefore, j SCHEDULE OF LESSONS and start using Forhan's for the Gums, now. will all resemble the Hypo-Dorian This dentifrice, containing Forhan’s Pyorrhea is the oldest form of minor. 1st week lessons—Preparatory for Screen playing Liquid used by dentists everywhere, forestalls 2nd week lessons—Playing of weekly News feature Pyorrhea or checks its course, if used in time. March!an Tempo It keep, gum tissue firm and strong. It protects Triplets. Q. You would do 3rd week lessons—Short feature film and jazz teeth .'gainst acids which cause decay. It keeps steering the following ,. 4th week lessons—Short feature film, comedy and jazz them snowy white. the exact time for marchh Don't gamble! Use Forhan’s morning and 5th week lessons—Long feature film and comedy night. Teach your children to use it. They'll 6th week lessons—Long feature film, comedy, cartoon, scenic like its taste. It is health insurance. At all drug¬ Beryl Rubinstein Josef Fuchs Victor De Gom< gists— 35c and 60c. and effects; and playing of song slides. MRS. FRANKLYN B. SANDERS, Director Formula of R. J. Forhan, D. D. S. •dialogue with Forhan Company, New York Improvisation, modulation, arranging orchestral works for 2827 Euclid Avenue Cleveland, Ohio organ, harmonizing from violin and melody parts; dramatiz¬ Forhari’s for the gums ing the picture musically; taking cues and playing from cue lists and playing with orchestra are all given attention in the course. Various styles of playing jazz, ballads, intermezzos, characteristic numbers, etc., will be thoroly covered. Cincinnati (fonsertiatoria ^fUiisic INSTANTLY.makes them appear A COMPLETE SCHOOL OF MUSIC naturally dark, long and luxuri¬ Affiliated with the University of Cincinnati ant. Adda wonderful charm. twauty K^r"u“d\“mMona S&! Pianoforte—-V°iee Culture—Violin—Organ—AH Orchestral Instruments of the triplet!J - £joot»W be ve>^0^tefuljor FREE FELLOWSHIPS Public School Music (accredited)—Opera—Drama—Languages—D ing Pa. Mr. Demorest and Mr. Parks have each consented to award Catalogue will be sent on application Free Fellowships of two lessons weekly, each of thirty min¬ Ideal Dormitories on the Campus for Students from a Distance A. (i) For a slow march, J heat = 80 President and Director Highland and Burn, - utes, to the students who, after an open Competitive examin¬ Burnet C.Tuthill, General Manager and Oak St.. Clnclnm . O MM.; for an ordinary pace, J bo ation, are found to possess the greatest gift for playing organ. Free Fellowship application blank on request. 96 ; a quick march, J DANA’S MUSI CAL INSTIT UTE Kill The Hair Root MM. (ii) Yi’es, slurs indicate WARREN, OHIO he marked by raisi „ FALL SESSION OPENS SEPTEMBER 12 _ _ re or less, according to the char- The Only University of Music in the World er Park, Providence, R. 1 ■r of the phrase, (iii) Each group of notes COMPLETE SUMMER OR WINTER CATALOG ON REQUEST must be played altogether, as one chord. They Also kindly explain where si 11 All branches taught on the daily lesson plan : : Special Music Supervisors Cours are so printed, either for convenience or to written before the accented note, as in Men¬ WINTER TERM NOW OPEN FOR ORGAN STUDY show the progression of parts and to keep the delssohn’s “Spring Song,” and Mozart’s “Rondo Catalogue on application to LYNN B. DANA, Pres. Desk E. melody paramount, (iv) The second eighth- alia Turca.” (iii) I have noticed several signs liibwN’S .-“TROCHES note may not be played with the last note of for staccato: please explain their use.—B. M. FOR COUGHS AND THROAT TROUBLES the triplet. Not only is it wrong hut it would B„ Shelby, N. C. . .. sound too jerky. A little mathematical calcu- A. (i) The best advice to give you for the BROWN’S Camphorated ...... - .i... place for the trill in Paderewski's Minuet, is to recom¬ STUDENT DORMITORIES DEPARTMENT OF mend the Presser edition for your study. It is Artistic and comfortable dormitory accommodation Saponaceous DENTIFRICE excellent iii every respect. Ask for “Menuet a building. Piano furnished with each roon Prices reasonable. **--'■is with the right-hand VAntique,” Op. 14, No. 1. Paderewski. Oil) .A Make reservations nov Theatre Orgaa Playin; to three notes witn tue left is to practice each simple acciaceatura shuld be played with its Francis T. York, M. A., Director hand separately, again and again, until it chord, but the Anger playing the acciaceatura flows freely, almost automatically ; then play should he released immediately upon striking EVERYTHING IN MUSIC PUBLICATIONS FAF£a£?»,SC^POSED OF DETROIT’ both hands together, and you will And their thus leaving the chord susf1"™’ ’r,’“ LEADING THEATRE ORGANISTS PARKER’S rhythms evei - • - * peggi in Mendelssohn’s Spring Our mail order service is prompt and accurate. HAIR BALSAM needs a t deal of p Teachers' needs given special attention. Removes Dandruff—Stops Hair Falling: the Mozart Rondo are appoggiature; they THEODORE PRESSER CO. Philadelphia, Pa. allies half the time of the next note and the a< CHICAGO _ _ autyt^Gray ancf Fadmi Hair the figure consisting, therefore, of a sen Have Fun Advanced students prepared as theatre and cone gruppetti of four sixteenth-notes, the organists. Unusual demand for gradnates. Salar are big. fir “““ estral conductor. Must he note of each being played with the bass learn several instruments, or are pin and this rule holds good for the fifth and Making Money For Detailed Information Address harmony sufficient! Should he stud measures also, (iii) The three ft Yes,You Can—Anybody Can make position also! How long does s take!— cato are : a dash (i) whi-’-“ a lot of money right at home and, MUSICAL DETROIT CONSERVATOR IJUSEESIM I,. ,R„ Seaton St., Toronto. Canada. yhat’s more, have real fun doing it. James H. Bell, Secy. OF MUSIC PSa£8 lTseZto^ZZ A. He should study Solfeggio, Sight-read¬ ing, Piano, or Organ (the latter preferably), only a quarter of its written valu^ J—t you how, we furnish everything Box 70, 5035 Woodward Ave., Detroit, Mic an orchestral instrument (Violin, Viola or JW*) STUDIOS, Dept. D-8, 3900 Sberldan tU" ’Cello), and should have all acquaintance with a dot (.) which makes its note worth technics and color of all the instruments, a COLLEGE MILLIKIN CONSERVATORY OF MUSIC working knowledge of other languages besides only a half of written value | J = J'tj j; DECATUR, ILLINOIS Diplomas, Certificates of Awards, Medals a his own (particularly, musical terms and phrases in Italian, French. German and Eng¬ Offers thoro training in music. Courses leading to Other Requisites for Awarding Pupils East Van Buren St. © Chicago, Ill. Bachelor, of Music Degree. Diploma, and Certifi- lish), Harmony, Counterpoint, Canon, Fugue, --te m Ptano Voree Violin Organ, Public School Completing Courses in Music Form. Musical Analysis, Composition (as com¬ and dotted and tied notes onservatory Pledged to the Highesl usic Methods and Music Kindergarten Methods. prised in Musical Forms), and Ensemble play¬ Jj) Bulletin sent free upon request ing. How long would this take ? That depends THEODORE PRESSER CO upon his present attainments, musical re¬ ■e worth three-quarters of their written value W. ST. CLARE MINTURN. Director. 1712-14 Chestnut St. Phila., f ceptivity, diligence in study, sympathetic sponsivr-*" tttt | •s’ intentions and. 3 ETUDE. It identifies you as one in touch with the higbe ppreciation of balance of art and life. squired by a composi- (.V-.4 lon THE ETUDE. It Identifies you a with the higher i APRIL 1987 Page 319 Page S18 APRIL 1987 THE the etude Hymn Playing NEW YORK SCHOOL OF MUSIC AND ARTS (Continued from page 305) *10.1 Slingerland Ideal location at Central Park entrance. One of the most beautiful and best equipped school buildings in New York slowly as a Mr. Walter described the sing- " On the other hand, it does not do to allow ing in an old church in New England, too much time, or enthusiasm is killed, Given 25th YEAR 26 West 86th Street Ralfe Leech Sterner, Director when, as he wrote, “I, myself, was obliged For this reason it is seldom desirable to to pause to take breath twice in the same play an interlude between stanzas, except SIX WEEKS SUMMER COURSES for Teachers and Professionals, also Beginners and Advanced Students notebut we do need the exercise of some in the ease of a processional, A most ef- Maybell Starting May 15 pupils may enter any day Rates: $250 and $300 Composers, Attention ARRANGEMENTS ELDRIDGE and CASSEL TEACHERS warn SS£ 30V APPR°Y viouN^s^psr [FT Mr. andJWrs; Crosby Adams r™ IjjiJJ PEABODY'“S™ ANNUAL SUMMER CLASS # HAROLD RANDOLPH, Directo- FOR TEACHERS OF PIANO NORTH CAROLINA Page 322 APRIL1927 Music, an Educational A Ragbag—Six American and Social Asset Pieces for Piano By Edwin N. C. Barnes By Henry F. Gilbert This is a book for progressive teachers Henry F. Gilbert is an American com¬ and active music leaders and music club leaders in all parts of the country. It is poser of striking talent, who has confined himself chiefly to the larger forms. Mr written in very sympathetic and under¬ standable language, is very interesting, Gilbert is modern without being ultra¬ very convincing and is very desirable for modern. He has written recently a set music workers who find the need for dem¬ of six piano pieces which are highly dis¬ onstrating to the foremost men and tinctive and original; collectively, he calls women in all fields in their community, them A Ragbag. Naturally, one would the practical value of music in education. suppose from this title that the pieces Every teacher should be a potential were somewhat “syncopated.” They are- missionary of the art, and in the hands of also, they contain an element of what an active teacher such a book becomes the might be called “glorified jazz.” Fur¬ very finest possible kind of propaganda thermore, there is plenty of modern har material. Here is an opportunity which mony. The pieces are exceedingly inter¬ no person whose livelihood depends upon esting to play and they are well worth NEW WORKS of producing a suitable quality of work- m^}c 1shoul<1 neglect, study. In point of difficulty, they ar» inanship in keeping with the importance the book is now on press and our read- about the fifth grade. For'the editing Advance of Publication Offers of these destined-to-be-lifetime treasures, ers , 1 haYe vel7 scant opportunity to and fingering, Mr. Gilbert has called upon are very, very busy at this season. Suf- Purc“ase this at a reduced rate. When the services of the well-known pianist and April, 1927 ficient time shouldsliould be allowed, therefore, Published it will cost $1.50$1.50. teacher, Mr. Alfred De Voto. in nlarnnr* nwlnrr --:.,l _• ’ Those OrHprintr if nf fl Album of Study Pieces in Thirds and in placing orders for special engrossing Those ordering it at the introductory The special introductory price in ad¬ Sixths .SO.30 Ul°f diplomasutpioinas or engraving medals to avoid rate 1“?icav3r bave*1C*'VV' copies for «pj$1.00, postpaid. vance of publication is 30 cents per copy , Beginner’s Method for the Saxophone- .40" the possible disappointment of delaydelav in Actively and properly usused, , the book postpaid. Book*of'part^!3ong?for ^Boys WitiT Cfoanv 1-5° ,deliverydeliYery and not havinghaving the award at should®bould m“time time bring manv.many, m»nvmany tirr.cctimes ing Voices .7 S 30 llandhand on the day set for its presentation. t le cost of the work through the develop- Twenty-Five Primary Pieces Brehm’s First Steps for Young Piano ' mentgixv.ixi. mmand piupeigauunpropagation 01of musicalmu activity By N. Louise Wright Beginners . 25 in thetb„ intelligentir.t^llin-or.1- community. for ae Summer Classes of Interest Miss N. Louise Wright is so well pleased with her little work, the Very i First Garland of Flowers—violin and '30 to the Progressive Teacher A New Set from James H. Rogers First Pieces Played on the Keyboard iust FortynNegro eSpUituals—Wliite!'75 an<^ Ambitious Student coming off the press, that she has writ¬ mdamental Studies in Violoncello Tech'- The ambitions student, -n u T , was our exclamation when me—Schwartz .. • * ambitious students soon wall be look- a delightful new set of pieces came in ten another work, a collection f little pieces to follow it. In this new b , k the Mcmmn;.,P15.^?reT^?uUlvf1 V.50 *ug for Summer study opportunities and from the famous American Composer, pupil really begins to play. The pieces ex^Sartorio7 Y°Ung Play‘ 30 tbfT6 teacher w;U/ee to 5t that James H. Rogers. After we had pkyed are a Jittle longer and they go into dif- Jfiss Polly’s Patch Work Quilta-Operetta ' ® bn*® arfj accorded such oppor- them we were even more delighted. Few iu~iStuifcs • --1.46 tumtles while at the same time arranging composers have the wonderful personal ferent keys, sometimes both hand- are in —Barnes 0Ual and Soclal Asset a profitable source of Summer income for claim of Mr. Rogers. Just read a few the treble clef and again both 1- ,„av be in the bass clef. Although vr easv New Collection of 'Favorite' Song's 'and ' Tif» If™ . . ., , lines from the characteristic letter from Choruses for All Occasions.10 Fife moves so fast these days that the the Composer: to play, the pieces are char s-s -die. bearing such striking titles as ’ r ibo Nevio^ldanpdiaLhird POSi.tl0“ Album- 50 Summer^ has the , “A ro11 °f >“™c *°es forward to you Raindrops, The Rooster, Flute and Viol 1 SiT A^^erioan ' Pieces ! for ^ n^soZTy lin, The Bee, and others. This is , , the sort of a book to take up when - ( is Song Collection . . . ."."’ IS EchoWcoifegf ?T ^ -dinl 'aS rnkture,^ nearing the end of the first im'> on book. Si--LmSati°dU^P^8^’k°ur Hailds ’4° pianotevM°f kttin-8 “-P T the customary with °a few renSders-^consecutiv^^fths The special introductory price in ad¬ vance of publication is 35 cents per corn- ;fl SLglVe and SgloHous^^ge^e Six Recreation Pieces For Four hands for Teacher and Pupil :: ::;z: “ Primo Part in Compass For Commencement fcSn^suZ^i £$£ pl'Sh th,e I took amm froTpercy Of Five Tones By Georges Bernard &.of the March* 1927s issue 'S^tSr'the There is always a certain demand f„r here, and in many schools, colleges, Of course, the outstanding favorite weeks. The advance of unWiMtin a four-hand pieces for teacher and m pil. academies and other institutions of learn- fPecial Masses doubtless always will be are as follow °nPrices In this new set of six pieces, by i! |- ing throughout the country teachers and Wstory and harmony classes. Hundreds o( 7ndInteHude U ^ known modern French compo-- students are engaged in preparing for the ™p,^s„ °f the “Standard History of 4 Modern Instance. Georges Bernard, one finds much ad- ; “big event” of the year, the Commence- Musk," by James Francis Cook/ are 24 cents- A tLuXe)’ mire. There is a certain delicacv of work¬ ment Program. In other schools, where utdlzed each Summer for history classes and Bnlh Tian w* l ™a'tz’ 24 cents i manship and a subtlety of-harmony that 4 the program is not so elaborate, prepara- and for harmony classes, the book that is TomZ to Town) 2V*Mfor tions will soon begin. Music has always m £reat: demand each year is the “Har- ) 5 24 cents. contribute to make the pieces very'inter- esting to play. The pupil’s part through- .i been considered an indispensable part of ™onJr book for Beginners” by Preston A Helpful Catalog the Commencement exercises, and evervevery Vrare Orem. Pimictc * u out is In the five-finger position in both effort is made to procure appropriate WeWe would be glad to assist teachers in!,, findtnd^escrintiZ. Oafnfnn _“PfPe.claI1CiaI1y,y’ willw.iU hands, although, of course, the picc-s are musical selections within the capabilities ever7 way possible with regard to Summer So/o and Fr.lThi 9 Pmn° Music’ set m different keys. When on, insid¬ of the available talent. Whethcrone has ‘'Ws, sending material for exam,” .rinct fZZm T^ ers the- limited compass the melodics are begun this musical preparation and it is °r> through correspondence, supplying any dividual desorb,tinn.° P« j i glven ln_ exceedingly good, with plenty of rhvthmic still incomplete, or whether no selection desired information. i P > S y fodav V nP Send for -vour copy variety. The teacher throughout lias ofv/a ixAuoiuctimusical iiutuuersnumbers nashas beenDeen made, every V‘ N° charcre mid°’ .although the Part is not dif- teacher and school music supervisor will r ni The Ple£fs are= Marche Joycusc in find something of interest in the Tlieo- I p’ Plae.tte ’u D> Valsette in G, Melodie dore Presser Co.’s folder, “Commencement in A Minor, Badinage in C, and Ronde in Music,” a copy of which will be sent gratis upon request. The special introductory price in ad- Why Every Child Should Have a Musical Education This informative circular lists choruses in unison, two, three and four parts for postpaid! PuWiCation is 35 cents Per copy. treble voices, choruses for male voices A Very Remarkable Prize Contest and numbers for >nigh school and college Fundamental Studies in mixed choruses. It also gives a list of Violoncello Technic Baccalaureate anthems,. vocal solos and ANNOUNCEMENT By G. F. Schwartz duets and ensemble piano music. For the convenience of patrons and to It is not to be supposed that the be¬ assist them in making their choice, the ginner on the cello needs, as a general Theodore Presser Company has in its rule, a downright beginner’s book. Those employ experienced music clerks, who at masttakf 1? the3.’Cel'o will have at least all times are ready to make up selections mastered the rudiments, or possibly have of desired material in any of these classi¬ some knowledge of some other stringed fications, which will be sent with the priv¬ instrument. When such is the case, this ilege of returning any found not desirable came extremely difficult. * S that cholce be" book is just right for them. The author, or appropriate. madJbv ^ difl£°»ti?i8 °f ab“UL?nc hundred manuscripts is now being Wb u’mlelf a Poetical ’cellist and In the folder “Commencement Music,” ‘‘swr’ deY,sed a number of technical above mentioned, there are also cuts show¬ short-cuts which will be found more Sf? hclpful. Moreover, he has given full ing various styles of diplomas and certifi¬ ask tba dealr,R t0 ma¥ tbe decision very carefully and therefore must cate forms and medals of gold and silver. mstruetmns as to the application of his Those who contemplate giving any of returned geDCe “ contestants whose essays have not been P/ ‘Ples to the various standard studies these awards to graduating and honor mLj advanced methods for the instrument. pupils will do well to remember that the This book is now nearly ready. few expert penmen and engravers capable the special introductory price in ad- postpald. p^blicat*on *s cents per "copy.