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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
5-1-1926 Volume 44, Number 05 (May 1926) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 44, Number 05 (May 1926)." , (1926). https://digitalcommons.gardner-webb.edu/etude/734
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Price 25 Cents MAY 1926 _♦ 2gg a Year
Beethoven’s Sonatas and How to Play Them, FredericK Corder ^ Getting Technic Away From the Keyboard, Eugenio Pirani 0 MaKing Changes in Tempo, Adolph F. Christiani £7 The Art of SKriabin, Siegfried Lavoie-Herz jz? A Master Lesson on Liszt’s “Les Preludes” by Victor Biart 24 Pages of Music
% MAY 1926 Page 321 THE ETUDE
IDEAL TEACHING HELPS A List of Interesting New Music Publications
Activity is the best public¬ FOR These works are recom¬ PIANO—Solos, Duets, Trios, Quartets and Studies. VOCAL—Sacred and ity. When school studies mended because they aid cease then the progressive in accomplishing much music teacher organizes in a short time. Teach¬ Secular Solos and Duets. VIOLIN AND PIANO-PIPE ORGAN Special Summer Classes of SUMMER CLASS INSTRUCTION ers may secure any of great benefit to the students them for examination. and the teacher's prest;ge. OCTAVO—Sacred and Secular Choruses.
An Immensely Popular Musical History The Most Used of All Harmony Books ANY OF THE PUBLICATIONS LISTED ON THIS PAGE MAY BE HAD FOR EXAMINATION
Standard History of Music Harmony Book for Beginners A Text Book for Students of All Ages Brief, Simple, Vital and Practical By JAMES FRANCIS COOKE Price, $1.50 By PRESTON WARE OREM study of Price, $1.25 « * HARMONY BOOK WITHOUT MYSTERY.” In laying a strong foundation for future musicianship this excellent IolicaTmanner. work is unsurpassed for class use or self help. It is not It is a thoroughly practical text hook of for a re-hash of the old “cut and dried” harmonies, but gives a ins chapters. Each chapter forms a complete s modern, sound treatment of the main essentials of the subject in ' e end for use in reviewing the an understandable and interesting manner, Many illustrations add to the interest-holding powers tensively used musical j ik music staves, furnished in the book, and a series of questions re most practical in testing the student’s grasp of the subject.
Secrets of the Success Music Writing Book Theory and Composition Musical Progress of Great Musicians A Thorough Course in Notation of Music
By EUGENIO PIRANI By ANNA HEUERMANN HAMILTON By PRESTON WARE OREM By HENRY T. FINCK Price, 60 Cents Price, $1.25 Price, $2.00 S IS a book of biographical ii TT 7RITING IS not only the surest A N UNEQUALLED guide in the WORK that will prove interesting forn .written » Plan! A T VV way of gaining exact knowl¬ practical application of harmony and inspiring to every music composer and teacher, whose edge—it is also the easiest to composition. This work is a wide musical experience and remark¬ way. Here we have an exceptional concise and logically progressive text lover, teacher and student. Writ¬ able intimacy with the masters of writing book which gives the theo¬ book, teaching such phases of the sub¬ ten in a truly fascinating style, it pre¬ many countries, lit him pre-eminently retical as well as the practical side of ject as melody making, harmonizing sents a wealth of musical topics in for the task of passing on to others mnsic writing. It is not a mere series melodies, writing of accompaniments, the knowledge of the attributes that of patterns to be worked out by the modulation and musical forms,—every a liberal and enlightened spirit. counted toward the success of great student, but gives abundant oppor¬ step explained in plain and colloquial The author deals with musical at¬ musicians. tunity for original work. language. Each chapter is an inspirational life This is an excellent book for class The whole aim of the book is to mosphere, prodigies, celebrities, ap¬ analysis, starting with Bach down to instruction, as it may be utilized for teach one to write—clearly, sensibly plause, business in music, natrons, fail¬ Debussy, and will stimulate to greater teaching the rudiments of notation to and fluently—and to know the “whys ures, and weaves into the whole col¬ endeavor and diligence those who are students who are but little past the and wherefores.” It is a sequel to the trying to succeed in the music world. elementary stages. ‘‘aTTlPv.™,U,t ™ s, immensely successful lection delightful shades that charm Harmony Book for Beginners.” the reader and easily hold his interest.
An Immediate Success Wherever Used A Fine Work-Excellent for Juvenile Classes
Young Folks’ Musical Composition for Beginners Picture History of Music By ANNA HEUERMANN HAMILTON By JAMES FRANCIS COOKE Price, $1.00 Price, $1.00 ‘
Tm" !™XE lmpart8 a wcalth of knowledge which is cal- Intimate touch which really A culated to further the musical intelligence of pupils and einating story book, makes possible the instruc- to keep alive their interest in music lessons. From the of young students in the origin and development simplest possible beginning the student is Introduced to the usic. It is compiled In a charming manner and fascination of “really truly composing.” Its primary purpose is s many phases of musical history, including anecdotes and. biographical sketches of great com- »h" “g^n^il^roV^ °f SenteDCeS iD It even tells how any little child may learn to compose a tune. One hundred picture Although designed for children as young as six years mas‘ered’ illustrations arc furnished on sheets, to be cut out and pasted in their proper places in the book. The young student enjoys this touch of play. hm„w^oStgUodeabout0fit“0re matUFe yearS WlU flnd !" “ ™t*-"Mle hhTafto
Catalogs covering any Unequalled service to classification of music teachers everywhere. publications cheerfully THEODORE Right prices, liberal ex¬ PRESSER CO. amination privileges and sent upon request. ‘Everything in Music Publications” convenient charge ac¬ ‘‘Mail Order Music Supply House” counts granted.
1710-1712-1714 Chestnut St. PHILADELPHIA, PA. Page 326 MAY 1926
Childrens CHILDREN’S MUSICAL MOMENTS
M usical Moments A Nc« Natural Method for the Pianoforte: By STELLA MORSE LIVSEY Edition Wood No. 614. Price, 85c net partying illustration. Price, $1.00 A New Natural Meikod Also published with beautiful multi-color title like the the alphabet, is applied®) his musical instruction. He first “To sit to play,' and why comes bye and bye.” 1«mg musical phras es and periods, and afterward notes. From the start, each exercise is built upon some nurs¬ IgaiHIS intensely practical work has well been called the ery rhyme or other attractive verse, so employed that the 1111“ Natural Method ” of teaching children the first steps words at once define the rhythm, and in many cases sug- Stella Morse Livsey The World of Music Scliuninnn-Heiiik returned to the Met¬ senre Ivounse vitskv re- Iltlrty Operas in Manuscript,liascript, includ- ropolitan on February 23 for a single dppear- ance as Erda in “Dili Rheingold, in celebra¬ tion of the fiftieth anniversary of her debut. Twenty-eight years had passed since her R,of;0trnlvCTElyU of ’ Prlrf- thelprlra01«m°reeel“ throe' thousand dollar, American debut, and nine since she had been heard in a Metropolitan performance. Her presence on the stage, the breadth and nobility William H. P. Faunee position. of style, the largeness of utterance, the depth red to the eminent mu- Tlle „£ Lenclitenberg, described of feeling and the epic manner which the i as “a distinguished ag
The advantages claimed for this method are: The train¬ Lfl exercises makes for real progress, as does the effec ing of the ear; superior rhythm; phrasing; all music mem¬ For diversity and uniform excellence * ive device of having the little student write his lessons orized; minimum amount of practice required; unflagging n a note-book. An Appendix is especially designed and interest of the child; love of music fostered and devel¬ Insist upon dapted to the purpose of practice in reading notes and oped; and the playing of music in a musical way. n counting, so that the passage from all words to no Teachers with very young pupils will wish to add this yords, which will occur when another book is taken up
Sdif/on -The Greatest Collection of Piano Music in the World MASTERPIECES OF PIANO MUSIC CLOTH-,- THE MUMIL PUBLISHING CO. 1140 Broadway, New York City 327 MAY 1926 Page 629 THE ETUDE THE ETUDE A. Teachers DiplomaT A Few Suggestions for Close-of-the Season Prizes or and Graduation Gifts for Music Pupils of all Ages EARNABachelor s Degree 1 Attractive Music Albums for Prizes and Gifts In’Your Spare Time at Home Piano Solo—Difficult Vocal Collections Piano Solo—1st and 2nd Grades Piano Solo—Medium Grades Be^^fJ^MOth".GOO8e*0.6, 1” The teacher who gives High School credit—the one whose work is recognized by the Department of Education—has the largest class. This is an age of credits. The music student today gets lessons where the credit will count and credits and Degrees are very TOO ■rsssas-* ” BSpi important factors in the salaries received. Get An Accredited Course lljtHSssii’ Album ’ J State Departments of Education recognize schools with high scholastic standing. Our Diplomas, Degrees and Teachers’ Certificates granted by the authority of the State of Illinois. Special Certificates Awarded Our Extension Courses Growing in Graduates to Teach in the Public Popularity Each Month Schools without Examination Earnest, ambitious students are invited to send for our catalog and sample lessons. We send them without any obligation and they show how it is possible to get accredited courses without Your experience should be the same as other having to go away from home for an expensive course. teachers. The following letters are from late mails: We have been offering our courses through The Etude ads since 1908. If you haven’t sent for literature before, do it now. Check on the coupon below what particular course you wish to “I have completed three of your courses see and we will send sample lessons and quote special terms to you. and am now Director of Music and Dean in a Music College. Your courses are indeed a The Piano Course is by William H. Sherwood; the Harmony Course by Rosenbecker and boon to teachers and it behooves every pro¬ Protheroe; History, including Analysis and Appreciation of Music, by Glenn Dillard Gunn; Ad¬ gressive teacher to be prepared.” vanced Composition by Herbert J. Wrightson; Ear Training and Sight Singing by F. B. Stiven, Director of Music, University of Illinois; Public School Music by Frances E. Clark; Choral Con¬ “I wish to thank you for your interest and ducting by Daniel Protheroe; Violin by Dr. Heft; Cornet by Weldqn; Banjo by Frederick J. Bacon; help in obtaining my state certificate from the Mandolin by Samuel Siegel and Guitar by Wm. Foden. Board of .Education. Soon I wish to take other work leading to the Degree.” MAIL THE COUPON TODAY! “I have gained many useful hints for my If you are a teacher of music, take the time to tell us something about yourself. It will aid teaching which are putting money in my us in selecting lessons for you—lessons which will show you how to get better results and save time pocket.” and make more money. “I have completed three courses with you and I am glad to get credit for four years’ work. I certainly gained a great deal of knowledge through UNIVERSITY EXTENSION CONSERVATORY, Dept. D-34 these courses and I never regret taking them.” Langley Avenue and 41st Street, Chicago, Illinois Please send me catalog, four sample lessons and full information SSI!" “Your course was very valuable to me and it has enabled me to climb regarding course I have marked with an X below. right up in positions. You know, of course, how exacting cities are be¬ □Piano, Course for Students □Violin nHistory of Music coming in engaging Public School Music Instructors. We have great □Piano, Normal Training □Mandolin □Voice Course for Teachers Guitar Public School Music opportunities and so much benefit can be derived from Mrs. Clark’s □ □ □Cornet, Amateur □Banjo □Harmony Course.” No°: 117-Same'ea' Itfo!' 18—Gold-piated on gliding -4° □Cornet, Professional □Organ (Reed) nChoral Conducting □Ear Training and Sight Singing □Advanced Composition These clev”P«usicallV-m4de seuiimenis Nos.’ 17 and’lS may be had also as stickpins. University Extension Conservatory LANGLEY AVENUE and 41st STREET DEPT. D-34 CHICAGO, ILL. Page 330 MAY 1926 • • IN MUSIC PUBLICATIONS EACH " AN OUTSTANDING SUCCESS IN THE ETUDE ITS CLASSIFICATION “LEADERS MAY, 1926 Single C°Pies 25 CePt9 V°L‘ XLIV’ N°‘^ OVER 10,150,000 COPIES REPRESENT THE ENORMOUS SALE OF THESE WORKS he was thoroughly capable of defending himself. On the other House Cleaning hand his liberality was boundless and immediate, when lie as¬ SCHOOL FOR THE PIANOFORTE STANDARD GRADED Springtime is house-cleaning time. certained that those who dealt with him were cooperating m But, Springtime is usually the harvest time of the music the proper spirit. He was sentimental to a high degree. In IN THREE VOLUMES BY THEO. PRESSER COURSE of STUDIES teacher. He has no time for the confusion of cleaning. looking over some of his personal effects we found a little faded FOR THE PIANOFORTE The result often is that the musician escapes the beneficent envelope filled with some leaves. A note enclosed read: In Ten Grades—Ten Volumes yearly upheaval of the housewife, the cascades of soap and “Leaves I Picked at the Grave of Chopin.” By W. S. B. Mathews Price, $1.00 water, the tide of fresh paint, the bang of the carpenter’s ham¬ yjj.. Presser was extremely sentimental and the great bar¬ mers and the swish of new hangings. ricades of flowers that appeared at his funeral were mere visi¬ Jin Unequaled Educational Work for Piano Summer comes. The music teacher is tired and seeks a ble evidences of past kindnesses reflecting the fine character s of the indispens- This is a complete,iplete, progressive seri 'Bfitiilif vacation. All too soon the Fall arrives and, with the rush of able studies for- the pipiano from the v of the man. __- highest grade. It is a o pupils. Except for you ig pupils, study ca the new season and a thousand and one important professional rith the fir6t book. Wher and business duties, the studio is “cleaned up a bit” and that Opera In-Comprehensible is all. Bands of enthusiasts, in Chicago and elsewhere, are wag¬ Really, Summer is the normal house-cleaning time of the ing a war for opera in-English as against opera in-comprehen- teacher. It is the time to refurnish the studio, paint up, clean sible. , . ., SUCCESSFUL TEACHING WORKS up, sort music, catalog the library—in fact, to make the music Outside of England and the United States, most of the FOR room so that it will shine and bespeak the good taste and in¬ operatic centers of the world demand that their opera shall be VARIOUS GRADES of INSTRUCTION itiative of the teacher. in a language they can understand. There may be some ex¬ Volume One It is not a bad plan to turn things around so that the cuse for opera in South America in Italian, because the sim¬ TOUCH AND TECHNIC—By Dr. Wm. Mason—In Four Parts - $1.00 ca. BEGINNER’S BOOK 4 One of the most remarkable works in the entire range of piano pedagogy. A room has a different aspect when the pupils arrive at the open¬ ilarity of the Latin tongues gives our Latin-Amencan brother Price, $1,00 each school for artistic piano playing highly endorsed by Paderewski, JoselTy, Gra- ing of the new season. The time to think about it is now. brillowitsch, Liszt and others. at least a cue to what is happening beyond the prompter s box. The Most Popular of All Modern Instructi New pictures, new decorations, new paint, new books, new MASTERING THE SCALES AND ARPEGGIOS—By J. F. Cooke - Pr., $1.50 In Italy and France, Wagner is almost always given m ier’s Book” is a veritable “first i Scale study from the beginning to the highest degree of proficiency. music, new wall paper, are quite as good investments for the the Latin tongues, precisely as Verdi and Puccini are given in tate that it is the best of elemei I “Player’s Book” are also very SELECTED CZERNY STUDIES—By Emil Uebling—In Three Volumes - $1.00 ca. teacher as they are for the business office or for the store. German in Germany. , covering the stages following thehe-Beghm “Begin :’s Book.” Throughout t Extensively used because these volumes give the nest ot Czerny's wonderfully One important investment is a good music cabinet. English is apparently taboo in opera for no other good attractive and pleasing and the teacher is helpful studies arranged in progressive order. The editing, fingering Nothing can give the pupil quite so injurious an idea of the reason than that which perpetuates pounds, shillings and pence, Pr., $2.00 teacher’s lack of system as a poorly cataloged music library. in England, and pounds and ounces in America. It is a poor thing for the teacher to talk of method and order A FEW “SUCCESSES” IN “SHEET” MUSIC PUBLICATIONS Surely it is not because of the English language itself ; PIANO Gr. Pr. VOCAL Pr and then spend ten or fifteen minutes of the pupil’s time in for the language of Shakespeare, Milton, Poe and Kipling is Melody of Lore, Engclmann By the hunting for a piece of music which should have been imme¬ a rich, sonorous, forceful tongue, possibly not as mellifluous Airy Fairies, Spaulding Lieurance OF Car’hna, James Franct Cooke FIRST GRADE STUDIES—By L. A. Bugbee Pr., $1.00 diately located. A good modern music cabinet is always a fine as Italian, as piquant as French or as ponderous as German, In the Arena, March, Engclmann Gipsy Trail, Tod Galloway No Surrender, March, Morrison I Heard the Voice of Jesu r lessons. investment—no modem business man would attempt to do bus¬ but, withal, an excellent language for singing. All singers Keeping Step With the Union, March. Ratkbun 4 Sweet Miss Mary, Neidlingcr (2 keys) ADULT BEGINNER’S BOOK—By C. I. Norcross Pr., $1.75 iness without proper cabinets or files. know this and are glad to sing in the vigorous, elastic and Dance of the Winds, Peabody 9 n * " ' • ' |* * ' American Indian Rhapsody, Orem intellectually matured piano student. In fact, the progressive teacher will make it a point to orotund tongue which is used by more people than any other have the “On Sale” assortment of music not only in the studio speech in Jzhe world. some weeks in advance of the opening of the season but also Opera, in America, is apparently designed for three select .so classified and identified by frequent playing that when the groups: Standard History of Music Harmony Book for Beginners pupil comes there will be no room for uncertainty in what Professors of languages. BY JAMES FRANCIS COOKE PRICE $1.50 BY PRESTON WARE OREM PRICE $1.25 materials to use. Court interpreters. A History that Has Pleased Thousands Teachers Achieve Speedy Results With This Harmony The teacher who buys at the very last moment the music Waiters. So Clear that a Child Can Understand Every Word Book. Also the Best and Most Practical Work necessary to supply the pupil’s needs makes a serious business As far as our experience goes, these are the only classes of So Absorbing that Adults Are Charmed With It for Self-Study in Harmony mistake, because by the modern system it is possible to have the our citizenship with enough linguistic glibness to comprehend . The i music available at the time when it is most desired. the polyglot musical performances given in our opera houses. imped in gold. Any progressive dealer, is only too anxious to discuss the In most of the older operas it really does not matter because :ibl4°cfcfhabindmga teacher’s needs hy correspondence or in person when possible. the libretti are so absurd that some kind of linguistic veil is There is no excuse for the teacher who dodges the Summer the one tiling which will save the performance from becoming house cleaning and adequate preparation for the Fall music a hilarious farce. Sortie of the modern libretti are, however, ^Helpful, Economical and Convenient Service to Teachers^ season. powerful dramas which cannot be fully appreciated unless the The Task of Securing the Best Publications for Teaching Purposes is Not a Difficult One for the Teacher Tak¬ words accompanying the action and the music are understood. ing Advantage of the Liberal Examination Privileges of the Presser “On Sale” Plan. Decide on Material Sentiment But the mere translation of an alien text into English is not all that is to be desired. After the translation comes the Tried in Your Own Studio. Some months ago in a conference with Mr. Charles M. Schwab, the “Steel King,” laid stress upon the value of senti¬ delivery of the words through song in the opera house. Much Thousands of Teachers of All Branches—Piano, Voice, Organ, Violin, Theory and Other ment in life. Incidentally he said that he had found most men of the operatic diction is so bad that its meaning is lost in an> language. Mr. Charles Henry Meltzer, one of the most respected Branches—Have Found the 4 ‘On Sale” Plan, Promptness and the Other Features Make of great accomplishment to possess sentiment of the sincere of American music critics, who has done more than any other PRESSER’S MAIL ORDER SERVICE THE MOST CONVENIENT AND kind in very marked degree. He stated that John Pierpont Morgan, supposed by many of the unknowing public to have one man to help in the cause of operq in English by translat¬ MOST ECONOMICAL METHOD OF SECURING NECESSARY MATERIALS been a kind of financial iceberg, would literally melt into tears ing libretti in excellent fashion, spoke in favor of his cause at a huge luncheon given recently by the Philadelphia Music Club. Details of the “On Sale” Plan as Well as Graded and Classified Catalogs on Any Bram'h Desired Will Be Furnished Cheerfully on Request when he witnessed human suffering. Greatly to our surprise we learned after the death of the Although renowned in his own field, he has not the gift of ad¬ Founder of The Etude that, because of his great business suc¬ dressing large audiences. The result was that, although he MUSIC PUBLISHERS AND DEALERS rHSrU^-MUSIC books THEO. PRESSER CO. cess, many who never met him thought of him as a hard, cold, spoke in excellent English, to an English speaking audience, MAIL ORDER MUSIC SUPPLY hOUSE 1710-1712-1711 chestnut street band ANnnnrurcTBLICATIONS his address was given in such a low tone of voice that only a Established 18S3 PHILADELPHIA, PA. CCSS grasping man. Quite the contrary was true. Naturally, if he suspected that anyone was trying to take advantage of him, comparative few really heard what he had to say. MAY 1926 Page 333 THE ETUDE Unconsciously he exposed one of the great weaknesses in rjlHE ETUDE has the Tj'RED ERICK CORDER the plan of giving opera in English. To be really e ec ive *■ honor to announce a very * has been Professor of the singers must deliver the text so that the meaning of the important series of practical Musical Composition at the words may be comprehended at all times. The size of a grea The pianist must often make his tonal mterp delicate Royal Academy of Music opera house makes this a tremendous task. Of course no musi¬ educational articles of the rapidity ot lightning and "f “.nd since 1886. He has composed cal comedy would exist! for more tlian a few nights if the audi¬ scientific apparatus, and yet with a sens tiveness 10 greatest interest to all lovers ence did not get at least ninety per cent of the words spoken for expression upon which the artistic value of his work largely of the pianoforte. Professor extensively in the larger forms or sung; but musical comedies are given in auditoriums one- deDends. ---—-‘ and has written widely used half or one-third the size of the metropolitan opera houses. Cordcr will discuss the best Oh, well, reforms are slow and tedious. Perhaps our Maurits Leefson known of the Beethoven So¬ books on Musical Composition. grandchildren’s children will be able to attend the opera and In February Maurits Leefson died in Philadelphia. natas. With his keen, penetrat¬ Many of the most distin¬ not go through the comedy of appearing intelligent when not In a wide international experience, meeting the most emi¬ ing mind and ivide experience, guished British composers of one word in a thousand has any more significance to them than nent teachers and performers for a quarter of a century and the present day (including Choctaw. Incidentally, the introduction of understandable words discussing with them all manner of teaching problems, we have these articles will be rich in will keep more tired business men from falling asleep in the rarely known a teacher who had greater personal gifts tor musical interest and exceed¬ Granville Bantock) are among middle of the second act. laying the foundations for fine technic and fine tone.. _ ingly helpful. his pupils. Unfortunately Leefson’s teaching was something which A Store-House of Melody could not be communicated completely through books. It was the man himself—the personal contact with the extremely thorough, The art of appreciating good tunes is something which painstaking, keenly artistic teacher which produced the results. BEETHOVEN PLAYING AT THE HOME OF THE SHOEMAKER, FRANZ one might assume needs little of teaching and no encourage¬ When his pupils entered prize contests they won so fre¬ ment. We are living, however, in an age when melody, appar¬ quently, even in the great national events, that his ability as a ently, is expected to take a second place to what is known as atmosphere. This atmosphere very often proves to be nothing teacher became more and more obvious. Beethoven’s Piano Sonatas, and How to Play Them Leefson had one serious shortcoming in so far as making more than a pall of smoke which obscures the natural beauty a very great name as a teacher. He was by nature very modest By the Distinguished Educator of the art, but unfortunately does not obscure the incompe¬ and retiring. He loved his work and conducted a certain lim ¬ tence of the would-be artist. FREDERICK CORDER Thus it comes that discords are accepted for great ited amount of publicity altogether incommensurate with his achievement, while well-turned, sanely-balanced “airs” are real worth as a teacher. It was with great difficulty that wo Professor at the Royal Academy of Music, London, Hi. Hand avoided. The charms that one finds in the beautiful passages induced him to set down certain principles of Ins teaching work tell you, for it is one of Beethoven’s pet devices, which the first subject this is now forte, and there should be no of Scriabine, Stravinsky, Ravel, Debussy, Moussorgsky, and which we later published in The Etude for November, 1925. ROM time to time much has been written in F he employs in the most unexpected places. This is one. ^==— p in measures 107-8. The angry mood has now We were not surprised that a very large number of our readers The Etude on this subject and I cannot hope others, are decidedly the charms of lovely original melodies. In spite of the slur, indicating a smooth legato, you must gained such power that Beethoven does not want to recognized the worth of this unusual article and wrote us about that I am contributing the last word; but as I We feel that it is an exceedingly good thing for the stu¬ make the tiniest of possible breaks—thus: weaken it. Notice the difference in effect between this it. Leefson told us that this was the first time he had been able learned the whole of the Sonatas in early youth climax and the corresponding one at measure 7. dent to get acquainted with as much melodic music as possible. and have been hearing and teaching them ever since—and to get into print to his satisfaction his ideas upon this im¬ At 140, and also at the similar point 41, the music is The old operas of Gluck, Mozart and their contemporaries are that means for over half a century—I do claim to speak Ex. 1 marked con espressionc. (Beethoven actually wrote con portant subject of preliminary training of the hand. We full of exceedingly beautiful melodies. Another storehouse of with some authority upon a matter of great importance to passione the second time.) What do you do different to exceptionally fine melodies is to be found in the 4 Light Over¬ rewrote the article with him several times in order to get it both pupil and pedagogue. The musician who does, not what you have been doing all along ? You cannot have teach the Sonatas of Beethoven proclaims him or her¬ tures” which may be procured in collections for piano solo at just as he w-anted it. He was not a writer and was very glad been playing without expression: that is not playing at self a mere trifler; the would-be pianist who does not all. And, anyhow, expression is not a kind of slop that a slight expense. “The Marriage of Figaro” of Mozart, the to cooperate in this way. Do this a few times quite slowly, when you Will find no learn at least eight or ten of the thirty-eight or so is not you ladle out as required. What ought you to do when “Orpheus” of Offenbach, “Pique Dame” of von Suppe, “Mig- His art now rests with his disciples. We keenly regret likely to get far. Why? Because in these works we difficulty in hopping off a loud G and coming down lightly on a soft F. Fancy in your, mind that the keys you see this direction: what docs the composer expect non” of Thomas, “Jubilee Overture” of Weber, all form ex¬ that his modesty prevented him from exploiting his skill and find not only noble music—that is a matter in which from G onwards are suddenly found to be too hot to you to do? He knows, and I know; but nobody ever cellent musical educational material when considered from many knowledge. A biography of Mr. Leefson appeared in The taste may be left to its own judgment—but also music troubles to explain, though it is really very important. which demands all the performer’s skill without taxing touch, but that you must on no account interrupt the aspects. They do 1 not, of course, rank with Bach’s Fugues, Etude preceding the article to which we have referred. passage. Then gradually increase the pace until you You are intended to make the melody stand out in all it unfairly. In using these pieces the teacher must natu¬ possible contrast to the left-hand accompaniment, to Beethoven’s Sonatas, or Chopin’s Nocturnes in the loftiness of He was an enthusiastic worker for the cause of his fellow- can do it up to time without the break being perceptible. rally exercise discretion and not treat the volume as one which end the character of the two must differ as much their appeal, but there is really nothing quite like them for the music teachers and had many firm friends. long journey to be toiled through, as the unthinking are The ability to change the tone instantaneously from / to p, or even from ff to pp, should be assiduously cul¬ as possible. So what you actually do is to play with a study of rapidly changing metre, tempo, rhythms and styles apt to do with volumes—even the Holy Scriptures—if heavy legato in the right hand and a light staccato in the one may say so without irreverence. Teach single move¬ tivated; it is indispensable to the proper rendering of of melodies. We recommend them very highly for their specific left. Many people will deem this explanation unneces¬ ments, by all means, to those whose age or technical Beethoven. pedagogical value. Music teachers will find them very pro¬ In the middle part of this movement the explosive sary, saying that musical instincts should be your guide, One of the most extraordinary books that has ever come weakness renders the whole work unsuitable. For a but the real teacher will know better. Reason is better ductive of good results in the cultivation of certain phases of Sonata, you must know, is usually a set of three or four sforsandi, sometimes in one hand, sometimes in both, can to our attention is “Chimpanzee Intelligence and its Vocal than instinct any day. musicianship, and especially in that important quality of instant separate pieces, with little or no relationship between hardly be overdone; they maintain the character of sav¬ Expression,” by Robert M. Yerkes, Ph.D., and Blanche age energy which continues to'. the end. The trills in adaptability. Moreover they form very sprightly entertain¬ them, save, that of key. But it will be most to the pres¬ Misleading Harmony Learned. The lattei" author has gone to the extent of pre¬ ent purpose to take each complete Sonata and survey it 85-88 are to be played with the upper note first; you ment for leisure hours. OWARDS the end of this movement (140-2-4) I senting in over three hundred notation examples the noises in detail. will then just be able to get in three notes to each eighth- T note for the left hand. Observe that on the return to find pupils very apt to play D naturals in the bass made by a youthful chimpanzee. Although these are shown instead of flats, in spite of the key signature. They are Sonata No. 1, in F Minor—First Movement Hands on different degrees of the scale, giving the reader the im¬ misled by the harmony of the corresponding passage pression that the noises are musical, the editor’s own experience THE general character of the music, conveyed by (41-43-45). You had better write in the flats. If the human animal had been born with claws or hoofs sudden changes of tone, and numerous sforsandi, with chimpanzees at close hand is that they do not sing but I make a point of teaching every pupil the second instead of hands with their ten marvelous digits it is hardly is brusque and impetuous; a favorite mood of Beethoven. movement of this Sonata. There are few technical diffi¬ that there is a great variation in pitch in~ the intonation of conceivable that art could exist. Musicians, who are depend¬ Notice that the opening measures are all piano, there be¬ culties, and it affords an excellent practice in Grace-notes, their “spoken” sounds. ing no crescendo as the passage rises; though one- is ent upon their hands for their support, often give entirely too the Turn, or Grupetto, occurring in every possible form. The remarkable thing is that the chimpanzee utters his marked in nearly all modern editions. One must always And as the sign «c employed is of variable meaning, it little attention to the marvels of this organ. remember that Beethoven was a law unto himself in these noises with quite distinguishable vowel color—mostlv Ooo ah does not appeal directly to the eye., and so causes end¬ The hand is one of the distinguishing characteristics of matters, and knew the value of the. unexpected better less trouble to those who read only with that organ. and ee. More than this, he will create very distinctive rhythms, man. Monkeys have prehensile hands and can do astounding than anyone before or since. The unexpected ff. is all To put, as many editors do, the translation into real notes things with them. Man, however, is the only animal that does the author is to be complimented for her patience in collect¬ the more startling for this reticence. In measure 10 I at the foot of the page, is quite useless: the eye cannot see no harm in letting the idle right hand play instead not use the hands as a means of locomotion asi well as for other ing this material; but there is really little in the book that could be in two places at once. Explanation is never a thing of the left which, in return, can relieve the right hand to be ashamed of; but many people think that to alter purposes. Thus the human hand is developed to a much higher hUSed4S, f°r the Sreat music drama of the of the accompaniment notes in the next four measures. future. The Saga ot Tennessee.” Readers who want to learn the look of music is somehow to alter the music itself. degree. Here, once for all, I bid the teacher remember that in Can any unprejudiced person say what harm there would The twenty-seven bones, the bundles of ligaments and mus¬ more about monkey music can secure the work from the Williams the old composers you seldom find any attention given be in writing the opening measures of this movement, for and W llkms Company at Baltimore. to the most convenient distribution of the notes between cles are the human tools by which Michelangelo, Pericles, Sir instance, thus the hands. In a mistaken reverence for what they deem Christopher Wren, Chippendale, Whistler, Rodin and Sargent some subtle intention of the composer, people often put have given their masterpieces to plastic art. The great writer Master Lessons themselves to unnecessary inconvenience in order to play can dictate his thoughts but it requires human hands to get a passage as it looks on paper. We shall find, as we • ag0 T“ E'nj“ commenced Its notable proceed, numerous examples of this error. these thoughts expressed upon paper so that you can read them series of Master Lesson, on Famous Compositions by Great in print or script. Artists. During the coming twelve months this snWV It t ‘t A Pet Device The musician’s hands are probably the most highly devel- will be greatly amplified. splendid feature NOTE the sudden p in measure 35. Do you know BEETHOVEN PLAYING THE MOONLIGHT SONATA how to produce this without making any diminu¬ This Contemporary Print Doubtless Led to the Fictitious Story endo in front of it? Very few people do, and I must of Beethoven and the Blind Girl MAY 1926 Page 335 the etude the etude Page 334 MAY 1926 S for example, in measures 19 and Getting Technic Away from the Keyboard What? You see no difference? That is just what I say: this would have been easier. Suppose you try it mis there is none, except to the comfort of the reader. But By the Noted Pianist, Teacher, Composer and Author, any classical-minded editor would have a fit if he saw way. it printed thus. Why, when Kroll printed Bach s 3rd Ex. 6 COMMENDATORE EUGENIO P1RANI Fugue in D instead of C there was such an outcry of horror that he had to cancel the edition and put his Then proceed to sixths, playing imaginary version at the end of the volume. Just make the experi¬ PIANISTS have to keep their fingers exercises like these: ment yourself. However well you may know the work, in good shape, well “oiled;” other¬ it will always be an effort to play the ornaments cor¬ wise, like the wheels of a machine, Ex.9 s t s rectly from the original notation, while there will be no they will “rust” and become stiff. “If I do need to hesitate if you have them indicated as above. not practice for one day, I notice that my In the 7th measure we find the grupetto sign placed There are cases, however, where slipping the fingers is fingers lose their nimbleness. If I omit over instead of after a note. However carefully you insufficient help and other means have to be sought. practicing for two days, my friends notice may have learned your “Rudiments,” you will find this, The character of the first movement is largely in¬ it. If I stop practicing for three days, Our program now advances to legato as well as the turns in measures 9 and 11, to be puzzling, fluenced by the manner in which the first two notes are the public notices it,” so said a noted octaves, describing in the air or on the owing to the three varieties of this ornament all being played. Very marked accent is called for. Make a pianist. But many a time regular prac¬ table exercises like the following: indicated by the same sign. To add to your perplexities great point of the sudden p after ff at the 42nd measure; ticing is interfered with by various ob¬ there is one place at the end of the 18th measure—where Once the unfamiliar appearance of the passage is got and let the left hand assist the right hand in the fol¬ stacles, as, fastidious neighbors, sickness in the composer has probably written not what he intended. over, I think you will find it quite easy to play with lowing measure, thus: the house, traveling, or lack of an instru- According to rule, Ex. 3 (a) the desired smoothness and speed. Then copy it neatly Ex. 18 on a slip of paper and gum it into your own copy. That For this reason dummy pianos have Ex. 3 R ^ is the only way to make sure of doing it. been invented, so small that one can even On no account omit to repeat the Minuet after the carry them around like a suit case. On .m .nsni Trio. my concert tours I carried one myself and Notice here, that the upper notes with_ The Finale, though marked Prestissimo, can hardly be was enabled not long ago, when Ignaz the fourth and the fifth can he played jgjgggNg11 played at a really furious pace. The five-note chords Friedman, the piano virtuoso, was in legato, while the thumb alone has to strike will usually be found too much for a small hand, but New York and at a loss as to how to Combinations of Three Fingers consecutively different keys, preventing a should go as at (b); though the passing notes clash the lowest note may be omitted without much loss of get such an instrument, to aid him by giv¬ perfect legato.' But an exercise like the sadly. I cannot help thinking that Beethoven must have effect. Here is a better fingering for the left hand At 84 the first note of each triplet was, of course, in¬ following, all performed with, the thumb tended to be played by the left hand; but, as Beethoven ing him mine. intended the far more euphonious version than the one usually given, it avoids using so much And now I am going to make a present alone, will ease the task: thought it superfluous to indicate this (indeed the simple thumb. to all my readers of a “dummy piano” Ex. 4 r—eassi method of doing so had not then been invented), people which will be as light as a feather, or, Ex. II used at first to essay the almost impossible task of R.H. as a matter of fact, weigh nothing at all, .I^TSTTL playing it all with the right hand. The proper way to and which will serve not only the pianists, write it is but also the violinists, the. cellists, in a word, all instrumentalists who use their which, indeed, I have often heard played by the really^ fingers for playing. musical who follow their ears rather than the letter of How is that? the law. It is just another instance of how composers Listen! used to regard notation as only an approximate indication It is not possible to play trills in measures 10 and 11; Is it necessary, when raising your fin¬ of their intentions. the speed is too great. Mere turns must suffice, thus: gers and striking them down, to press a Presently we meet with altogether another kind of Ex. 8 keyboard, string or valve? Why not do it difficulty. This is a slow two-against-three passage. away from the instrument? Why not seat Those who have not achieved the independence of the but to this day nobody has dared to do it. The pupil yourself before an imaginary keyboard, hands will never play this decently, and I advise them might understand it; and where would the poor teacher raise your fingers, one at a time, and strike Next practice trills at the imaginary to modify boldly the right hand part thus, be then? them down with all kinds of touches, first keyboard with all fingers methodically; Two Part Exercises At 104 you will need a deal of trick fingering, if you 1-2, 2-3, 3-4. 4-5, then combine them in easily with relaxation, then heavily with The foregoing exercises in double-note Ex. 5 are to keep the melody and the rising scales both various ways as: 1-3, 1-4, 1-5, 2-4, 2-5, pressure; first slowly, then increasing in playing are indispensable as a preparation legato. I must leave you to work out this puzzle for 3-5, and trill incessantly, first slowly and rapidity, then as quickly as you possibly for polyphonic playing, in which one hand yourself. Mind the sudden piano here! then more rapidly. By the way, most editions have measures 10 and 11 can? Something like this: sometimes has to play two or more parts alike; this is incorrect, Beethoven marked the tr. only Then proceed to double note exercises. Crossing Hands Difficulties First in order, thirds, raising contempo¬ at once. The following exercises in two- in 11. Ex. ^ ^ ^ ^ ^ ^ part playing will facilitate the task: which is at least better than making a mere muddle The two-against-three passage, which follows pres¬ T N THE middle section of this movement at 132, raneously two fingers: 1-3, 2-4, 3-5, like of the passage. Those who have patience and deter¬ ently, offers no difficulty in evenness, because of its 138, and others, broadly built persons will hardly this: Ex. 12 mination to overcome a difficulty instead of shirking rapidity, but it is well to use the 2nd finger of the right be able to cross hands to the extent demanded. There R.H. it will play the first group of four (r. h.) and the hand instead of the 1st, in places. can be no objection to exchanging hands, if it be done first group of three (1. h.) alternately, first quite neatly and in the middle of a measure. and similarly the-other fingers. Ex.9 quickly and then at the proper speed. When this can The passage of canonic imitation extending from 180 Sideways Motion of Fingers be done without hesitation, then try the two together to 198 is very difficult, especially for small hands, but as fast as possible, so that (as in Chopin’s Fantasic The mobility of the fingers must be would at least have looked easier had it been written then proceeding to third trills as follows: Impromptu) the hands have not time to upset each thus: developed not only in the up-and-down other. Then gradually relax the speed, always endeavor¬ movement, but also sideways: that is, the Ex. 8 ing to think only of the first note of the group, until Ex. 14 fingers must move as flexibly and readily the right hand ceases to want to divide up his four with from side to side as up and down. In any subordinate accent. This seems very complicated the following exercises the sideways move¬ when you read it, but is quite simple in practice. The middle part of this movement should go a shade ment is, of course, comparatively slight. slower, so as to sound leisurely, in strong contrast to First slowly: The Correct Pace the hustle of the other portions. When you come to NE other passage in this movement needs atten- the three turns on C, B and A do not be afraid to Ex.2 o’ tion. In measure 56 we find ourselves suddenly finger them all alike, thus: confronted with very quick notes—six to the beat. Start in the latter part of the preceding measure count¬ The small notes of the original, intended as a help 1 ing “five and six and’’ to the group of left hand notes, the- performer, are only a hindrance. A normal har and it will give you the correct pace of the passage. is forced to break the lOths; but this is not desirab Many of the greatest• pianists zee have known have But this is not all. The triplets are played by the al¬ and should therefore not have been indicated. repeatedly told, us that they have made a practice of ternate hands, commencing left, right, left, right, and In fc W,ra, in order to give the character ( then right, left, the rest of the way. If you will mark There is no difficulty about turning the thumb under playfvd lightness, the rests must be well observed at going over compositions mentally and at a table when onto a black note; and we have long got over regarding the first groups R. L. R. L. with a pen (neatly) you the chords played crisply. I cannot see that it won they have had no keyboard at hand. We are sure that will be surprised at the gain in facility and rhymical this as a crime. be a sin, when the theme comes in the bass, to chan( Commendatore Pirani’s article will prove a helpful as¬ clearness. For the final 8 measures go full speed ahead; and over the work of the two hands. The movement won The third movement—Menuetto—is a very simple and finish off with all you can do in the way of brilliancy. set to music students who are employed in business and pleasing one; but there are two unexpected difficulties. is^not?gCt bettCr Played’ and that is the chief ail Sonata No. 2, in A Major who may have a chdnce to put in A profitdble quarter of The appoggiature in the 11th and 13th measures—also J]'* ^rd to maintain the light and graceful charact in the 19th and 21st—are meant to be played exactly THIS is much more difficult, as a whole, than the pre¬ of the Finale through Us many difficult passages T1 an hour at luncheon time in practicing upon a desk. like those in 23 and 25. Beethoven only relapses into ceding work, demanding considerable agility of finger Why not? Digital exercise is exercise whether you do for the first and last movements. Also in this and all common-sense notation in these two measures in order Se^ela^atf ? "V“ it on tjie parlor mantel or on a keyboard.—Editor's to indicate a greater degree of smoothness; but you are the succeeding Sonatas there is much that does not lie under the hands and demands what is known as “fake” supposed to know that an appoggiatura is (or rather, ter“M'S Similar exercises should be practiced with Note. or “trick” fingering. This consists chiefly in slipping was) written as if it came before the beat but always ™ prjgsttfs,* the left hand. played upon the beat. a finger from one to another and is, of course, a breach The other difficulty is a matter of dividing the notes of the rules of good fingering. It has to be indulged Combinations of Two Fingers occasionally, in order to avoid breaking a legato and is better between the hands. In the second part of the treble, but in Beethoven, Schubert and Mendelssohn— Other “fresh air” exercises are as follows, mostly needed in double-note part-writing such as we find Trio the right hand has a passage of 4ths which it is first with the right: in Bach; but it is also pretty frequently demanded in the impossible to render smoothly. Beethoven apparently (Continued on page 338) THE etud$ MAY 1926 Page 337, Page 886 MAY 1926 THE ETUDE The Study of Scales Our instrument, the air or the table, is I Am Music a patient object. We are, therefore, free - By S. C. Gilson Going to Opera and Concerts in Europe to proceed to other exercises with the By Berton Beilis - wrist. What we did with the single fin¬ By CONSTANCE OH LINGER gers we can do with the wrist. Raise the - Opinions as to how to practice the I am the promoter of art and enlighten- scajes varyi but they all lead to the same hand independently from the arm, first I am the song of the Universe, of examining them to see what person or organization ment. purpose, to produce even, clear tones. bent on attending several operas and concerts a week, he slowly, and then more rapidly with a trem- I am the gurgle of the sparkling, silvery IDEAU a huit heures” (curtain at eight was the donor. With us, an artist of the sterner sex is not wearied through loss of sleep. . brooklet, the monotone of“ waters I am the kind words of admonition from The pupil may at first be given a great 1^ o’clock) amiounce the posters advertising the would be somewhat embarrassed at receiving flowers, a loving father to his son. variety of exercises for the thumb passing At both opera houses the ushers perform their duties of the mountain stream, the dance of the r\ weekly program of operas to be given at but not so in Vienna. They seem to enjoy it and to without a “tip,” and one may go in without checking Ex. 13 a lonely cabin roof. I am the thoughts of an artist who works lmder the other fingers, to be done at and Theatre National de L’Opera and at the be even more pleased and grateful than the ladies. _ his wraps, provided he keeps them on and promises to the patter of children’s bare feet on only for the betterment of humanity— away from the piano. When the thumb For profusion, however I never have seen anything Opera Comique in Paris. Accordingly everyone hastens keep them on throughout the performance The person city street that offsets the full clamor and forgets himself. pass smoothly, we then take up the equal to the flowers received by Jeritza upon the oc¬ to be in his place by eight o’clock sharp, which means who dares venture in, however, without checking is not busy commerce. I "am the devoted lover speaking wooing finger scale.” casion of her first concert in Vienna after her return um mmif's that he must arrive at the opera house at least a quarter infrequently caused some embarrassment due to the I am the harmonies of the earth and ce¬ words of magical fire to his soul mate, before the hour, as it takes some time to check wraps, from America. Three ushers were busy during the first with the right hand, then with the left, shouts of “Wardrobe!” which assail him from the at¬ lestial bodies. I am the sweetest and most enchanting which under no circumstances can be taken into the loges. whole of the intermission in presenting one bouquet after and finally with both hands together, in’ tendants on all sides. No coats or umbrellas are allowed am the voice of the reasoning power of chord that touches the human ear. 2 12 12 12 After checking of articles, buying of programs and tip¬ another, until the entire stage was covered and Jeritza the beginning, light, with relaxation, and to occupy space in the loges by being hung over the chair the eternal love of God. I am the beautiful voice of love that a D E F G ABC and back. ping of ushers (usually women), the audience is settled had only standing room left. . , then more substantially. This will give Lunching is as common in the concert hall as in tne an excellent wrist practice. am the unspoken, unarticulated voice of mother sings to her babe, for the evening. In a few moments three loud raps baAsS’for concerts in Paris they start at any time be¬ love. I am that hypnotic—something—that man are heard back stage, the signal for the rising of the opera, and of course everyone buys his own program. But this is not all. We must practice tween eight and nine and in Vienna at six-thirty or But there is still another institution of the Viennese con¬ am the siren of the Universe, can feel but cannot see, and I am free 1. h. 14 14 14 14 curtain, and the house instantly ceases from its buzz of also the whole arm, because staccato pas- ! seven. Concert etiquette is somewhat different in Europe cert halls and operas which is unique, that is, the ‘ Steh- am the spirit that breathed the happiness by the grace of God to both king and Next step ; the ‘‘three finger scale." talking, the orchestra men quiet down, and all is ready sages in octaves and in chords are not from what it is with us. In the first place, and as might platz” (standing place). When all seats are sold out of the Universe into existence, peasant. for the overture. Thus begins an evening of opera in limited to wrist, but often require the use 2 3 1 2 be expected, the audiences are much more demonstrative or the remaining ones are too high-priced, the peoples of the whole arm. am the tamer of wild beasts and soother Paris, and if the work presented is a long one, the eve- am the wooing voice that brings peace I C D E F G A in their appreciation than are the Americans. Parisian last recourse is “standing-place.” My first and only ex¬ Therefore, x of the savage breast. ' ning turns into morning, the curtain falling at twelve repeat all the exer- and order out of wreckage and chaos, 1. h. 1 3 2 1 3 2 1 3 2 audiences not only applaud and voice their sentiments perience going “standing-place” was to a symphony con¬ given above for the wrist, using now, 1 inspired the Songs of Solomon and I the inspiration of the human soul that or one o’clock. by “ah’s” and “exquisite’s,” but they also shout bravo, .. , . ^ ... Also exercises for the thumb pacing under cert directed by Leopold Reichwein. I paid 5000 Kronen instead, the whole arm, that is, making the Psalms of David, radiates from the stringed instrument ot . , h , "“cr In Vienna, going to the opera is quite a different “encore” and “bis” (the latter two meaping “again ). - the fifth finger are given, but should be story. Operas rarely or never begin at eight, seven be- for my place (seven cents approximately) and found staccato from the elbow instead of from I am the wordless, winning voice of the Pan, by lovers of beauty and mankind, And when this fails to bring back the artist they resort omitted if much strain is causes ing the usual hour. Long operas even begin at five-thirty the “standing-place" not only satisfactory, but very in¬ the wrist, a kind of staccato which brings Almighty, the Eternal God. I am the human soul in action and in tune ■ to stamping of feet, umbrellas and canes. Encoring an After these exercises are fairh mastered, or six o’clock; and this holds true, needless to_say, of teresting. Standing room is simply a large space at the forth more strength and power. Here also J am the paradise of deep love in human with the omnipotent infinite. artist is like an enthusiastic outburst of pandemonium. , ,. „ , ... the diatonic scale is introduced with its nearly all the Wagnerian dramas. “Parsifal,” I re¬ rear of the hall that is separated from the parterre and the motions should be in the beginning feelings and emotions. i the chimes of the combined merry rcguIar fingeiving at first with separate In Vienna, audiences become just as much, if not more, loges by a high railing. Just how many places are avail¬ slow and well controlled, increasing after- I both inflame and soothe, member, was presented in one evening and consequently e restricted to ap- laughter of children. hands and in strict legato, using firm pres- enthused; but their demonstrations £ able I could not guess; though in a crush, several hun¬ wards in speed and velocity the oscilla- j furnish comfort started at five in the afternoon. plause and cries of “bravo” or encore, s the checking My first visit to the Staatsoper was to hear “Rigoletto, dred persons might be accommodated. That night, how¬ tions of the arm from the 'elbow. ' * «« touch Page 340 MAY 192G TIIE ETUDE How Can I Raise the Standard of My Playing? Some Experiments in the Fundamentals of Passage-Playing NOTABLE MUSICAL PROGRAM By FLORENCE LEONARD American Representative of Ludwig Breithaupt THE PHILADELPHIA SESQUI-CENTENNIAL not necessary to all styles of playing, not even to all ff N SEEKING to overcome defects, it is wise to. con¬ I effTotSreturn to the experiment-when you are “leaning,” sider, at the beginning, whether they are defects of - the fingers will not feel quite as free in the knuckle as 1776 1926 ear, of musical sense, of general mental attitude, or when the arm was lying quietly and the fingers were doing of the playing mechanism itself—the hand and the all the work. That is because they are supporting a May Thirty-First to December First use of the hand. . , , . ,, weight and more demand is made on the muscles. But Rhythmic effects, for instance, may be clearly thought they must feel mobile and not stiff. When there is pres¬ oUt • and yet the hand may not carry out the thought. It The musical events planned for the Sesqui-Centennial promise to be of extraordinary interest. They have been arranged by a Committee of one hundred sure they will not feel at all mobile. may, or it may not be able to do so. The reason for its leading musicians of Philadelphia under the Chairmanship of Dr. Herbert J. Tily. All communications should be failure must be found. For rhythm is vitally dependent Rolling addressed to Craig King, Secretary, 323 Chestnut Street, Philadelphia, Pa. on tone, and tone is absolutely dependent on the use ot AFTER you are sure of this up and down movement the hands. . . . (vertical), try Exercise 3. Take position as in In many cases, tone perception and tone imagination Exercise 1. Raise the wrist, and let the arm rest, wit Chairman of Composition Chairman of Soloists Chairman of Choral may be latent but' not developed. They need constant high wrist, on the second finger. Roll easily sidewise, upon 3 4 5, and back to 4 3 2, with high wrist the wrist James Francis Cooke Helen Pulaski Innes N. Lindsay Norden training in connection with the development of the mech¬ anism which produces tone—the hand. describing short sidewise curves, while the fingers act like the spokes of a wheel. The fingers here may move Chairman of Organ Chairman of Orchestra Chairman of Bands What is the hand, besides being that mechanism which Vertical Arm Playing in the knuckles slightly, or, better, not at all, merely r Henry S. Fry Leopold Stokowski Albert N. Hoxie actually touches the keys? It is the free end of the arm. EXERCISE 2. Now, as each finger drops lightly upon ceiving the weight of the arm. The test of the weigh, One of our most common mistakes, in former days, was low„The Pro?rami although not yet complete, is arranged definitely to date, as fol- ORCHESTRA CONCERTS the arm, make-the wrist slowly rise, vertically and for¬ is as in Exercise 2, in the sensation felt by the left arm. to treat the hand as if we had no arms, as if we were ward, a little higher with each succeeding finger, 2 3 4 b, BAND CONCERTS The Philadelphia Orchestra of more than one hundred has been eh hi as the enormities, with our hands attached to our shoulders. ■», i „ , , ... , official Exposition Orchestra, and Leopold Stokowski has been appointed Director in one smooth, ascending curve the following bands will give free concerts daily, afternoon and evening, at a 0f the orchestra program, Then we went a little farther and tried, in the words of It is important to see that the elbow is loose, o hat music s e 1 overlooking the lake in League Island Park, on the Exposition Grounds: It is planned to have two symphonic concerts weekly (Tuesday and : .turday), Kohler, to let our arms “hang like a wet towel.” But it gradually straightens out, or becomes almost fully Conway.June 1st to June 19th and guest conductors have been invited from other American orchestra , ach for a that maxim of Kohler did very little to overcome the lhavm.June 21st to July 17th period of two weeks, covering the time from June 1st to October 1st. harmful effects of his other maxims in regard to stiff, StIDrop the wrist again, and repeat the upward swing. wuat?re,.July 19th t0 August 14th During October and November, if possible, the other American orchestras, with unnatural positions. But we tried to get some help from Let the weight of the arm thus move from its resting posi¬ wheelock.August 16th to September 11th their own conductors, will be invited to appear for a week of two concerts -ach. that idea; and then we went a little farther still, and tion in the lap (the wrist) to rest on the tip of each fin¬ Harmonica Band contests, massed bands, Army bands, the United States Marine ger in turn. The sensation in the left arm will tell you Band and other miscellaneous bands are expected to provide additional entertainment. PRIZE WORK swung our arms from side to side, at convenient pauses, and told ourselves that thus we were relaxed, and that whether the arm is resting on the fingertip, or whether CHORAI mwrFRTQ <- The following prizes were offered in the International Musical Competition of the ' , , , ^hukal U)ALHK1!> Sesqui-Centennial Association: somehow that relaxation would help our playing. How you are “carrying” the arm in the shoulder. Make this test to see whether the fingertip feels heavy or light, as and why, were pretty vague in our minds. For we were *. ^ ““r' eta, March ,« This movement is the sidewise rolling movement, side- still practically clinging to Kohler’s stiffness. We were it “plays” on the arm. . Make another test also, a test for pressing. If you are lr 10 F',,i,al ...... Sm* A. Moniim.Director cC'al^.lTO^Contelt'dljJSrn111 making grasshoppers of ourselves. Grasshoppers can wise only, with the wrist level. pressing, the fingers will feel stiff and tense and that Exercise 4. For the fourth experiment drop the wrist hop in one direction only. They are constructed that way. feeling of tension will run back, through the hands, up to the position of Exercise 2. Play with 2 345, On the fir* But our arms have the most marvelous mechanism for the forearm, even into the upper arm. You will presently second finger make the wrist rise, but instead of letting June 17. “Hymn of Praise” ..Conducted by N. Lindsay Norden The Pnze Works wlU be heard dunnff the Sesqui. moving in all directions, and each member of the arms, feel fatigue, and the impact on the left arm will be ex¬ it continue to move vertically and straight forward, make Mendelssohn Club, Reading Choral^Society, Strawbridge & Clothier NATIONAL INTERSTATE CONTEST besides, has its own equipment for moving in certain cessively heavy and “thick.” Experiment until you can it move diagonally forward,—a movement which is the June 19. Liederkranz of New York ,.T..Suc,ce*sfd1 works will be heard at the Sesqui-Centennial, to be conduct. <1 by the directions, so that most subtle combinations—compound distinguish between pressing and not pressing, or leanmg_ .combination of those in Exercises 2 and 3. June 21-22. German Sangerfest National Federation of Music Clubs under the auspices of the Scsqui-t uennial movements—are possible. Leaning on the fingertip is right, pressing is wrong. Why. Experiment with these three movements—vertical, rol¬ July 29. Negro Music Concert Mus£ Committee Pressing causes fatigue and often deadens the tone in¬ ling, diagonal till you can easily distinguish between them. Natural Players Aug. 6. “Requiem”-(Verdi) .Hollis Dann, Director VioWnfcfLd SoST°- Fontralto’ Tenor> Bass. Pianist. Organist, stead of enriching it. Pressure and weight combine m The next step is to vary the weight on the fingertips, THE NATURAL players (who knows where Tausig the most advanced playing, with splendid effect, but this Aug. 26. Concert of Negro sSSL£* ZSSZSiS!* '* *~** “ ^ - ** — 24 ■** * * <»' beginning with heavy weight and changing gradually to got his technic, or Liszt, or d‘Albert, or Carreno, or technic should be built up on the freer technic, and with light weight, or the reverse, and always distinguish be¬ p. 5: ®3«r.c™ uss even today, such players as Novaes; who have their tech¬ great care, to avoid injury to the arm. Moreover, it is tween weight and pressure, avoiding pressure. nic almost perfectly without academic training) make There is still another experiment to make with these T “ 'The Fa"°' “fiLd Suh„h,„ Chora, ***. --W- use instinctively, of the subtle compound movements which three, and the success of all of them depends on whether Ort pi Concert by Private Schools and Colleges.Bruce Carey, Director SPRING FESTIVAI Nature has provided, without regard to the restrictions the experimenter is watching the feeling in both arms Oct. 21. Associated Glee Clubs of Philadelphia The PhiUrMeV tut • t ^ rE&ilVAL of Kohler and his followers. They play! They go to So far it is probable that each individual finger has Nov fa rUbIiC ?Kh0r .George l- Lindsay, Director Stadium on the Shtsflf’W^d flm it$- Ffth annual SI)ri,1B Festival in the teachers to be taught many things indeed, but they use rested on the left arm in such a way that you have had Nov. 18. Concert by Combined Women’s Chorus ballet, orchestra, staged Suoe?iff’ ^ a mixed chorus of L00° voices, the sensation of a definite, separate impulse for each fin¬ Matniee Musical Club...Helen Pulaski Innes “America,” a patriotic fantasv in f ag6‘ their tools instinctively and rightly. Philadelphia Music Club .Clarence Bawden be rendered.' ' tantasy m four periods and twenty-three tableaux will And we have learned many things about their playing. ger for each spoke of the wheel. Perhaps you remember Up and down movements of the wrist were forbidden. that in the rolling exercise the impacts were not so dis¬ Nov. 24. A Cajella Concert *..‘.^ J‘ SCHNEIMR _ ’ ASSOCIATED GLEE CLUBS OF AMERICA Now we find them indispensable, if made in the right way tinct. But now imagine that there is a rim around the Choral Art Society.•.... H. Alexander Matthews r=,h,,e'F°f AnUSi^d m?,le ^ngers horn Philadelphia New Vo u , ,• and at the right time. Moving the elbow, to help the spokes, in each of the three exercises. Keep the finger¬ Mendelssohn Club .N. Lindsay Norden ' Sr27th 3°° WlU glVe a grand «Wt »Vi2dfc*E thumb pass under was forbidden. Now we find it most tips near the left arm, or touching it, and try to get the ORGAN RECITALS Leopold Stokowski will be invited to act as Gue useful, if it is done intelligently. Moving the hand m and smoothest possible connection in moving from finger to finger, so that you feel a line, and not a series of dots. , . A four manual organ with practically two hundred stops, valued at $150,000 is FESTIVA! rnnoiio S °n uctor’ out was a horror! Yet we find it a contributing factor of being built by the Austin Organ Company. * ’ . , ,_VAL CH<>RUS AND CHORUS OF witlv the finest legato, and a fundamental of octaves and other Try, also, with Exercise 2 to roll the arm along livthe Recitals will be given in the Auditorium daily from 12 to 1 o’clock by leading or- beinv oSwL°f Sf°0 7oices> comprising singers from » c S double notes. We are beginning to see with our eyes, same manner when the wrist is lower, the wrist about gamsts of America and Europe. V 8 rg“’lzed u.nder the auspices of thePhikdelnWAState m the Union, is and almost to hear with our eyes, when vie listen to the level with the knuckles. __ numbers for special events and to give one grand wncjfr^ LeagUe ‘° SUppIy choral great players; that is, we are beginning to be able to see Comparing Effects THE ETUDE welcomes you to the Sesqui. Make our establishment your Philadelphia Hpaa how they make their effects. If, then, we try to consider the hand as a part of the FINALLY return to the very first position, where the of the new financial, business, hotel and theatre section of the city Courteous^attendfmfaf n ^ We are located in the heart arm, how can we definitely apply that idea, to improve wrist is resting on the lap', and contrast the light tap¬ making your welcome memorable. If you desire, have your mail addressed care of 'Hffi ETITnp t0 extend assistance in tone and rhythm? First, we must consider tone, for that ping of the finger with the smooth rolling or diagonal up luut, Philadelphia. is, obviously, the material from which we make rhythm. swing of Exercise 6, and also with the effect of 4 2 and 4 4, Let us study the effect of finger alone, and finger plus where both finger and arm are in movement. arm. And we must remember that black and white, words Exercise 7 is a variation of Exercise 4. Instead of on paper, are a poor substitute for illustration and imita- beginning with the wrist low, begin with a high wrist, tion at the keyboard, and so let the ear, and the sense of and make a gradually descending curve, 5 4 3 2 , tone quality, be very much alive in these experiments What have these experiments to do with piano playingr Exercise 1. Lay the left arm diagonally across the lap, They enable you to feel, through the impact of the finger the palm of the hand down. Lay the right arm across, on the arm, that there are possibilities of richness and nearer the body than the left arm is, so that the fingers power, smoothness, and detachment, good tone (and bad of the right arm lie upon the left arm, just above the tone), all of which are found in the arm when we think wrist. Be sure that the right wrist lies upon the lap, so of the hand as the end of the arm. These are some of the that the arm is resting heavily at that point. possibilities which are utilized, day by day, by the great With fingers 2 3 4 5 of the right hand, and without mov¬ ing the wrist, play upon the left arm, repeating slowly Pl How shall they be applied to the keyboard, to obtain 2 3 4 5, 2 3 4 5. The fingers fly lightly and freely, in the their musical value? knuckle joint, the hand should feel soft and relaxed. The The postion in which you have held your arm for these left arm is conscious of a light, definite impact from each Portrait by Dooner „ experiments was well adapted to give you the results of FLORENCE LEONARD finger. MAY 1926 Page 843 THE ETUDQ Page 842 MAY 1936 THE ETUDE are clear if the balancing is right. A slight additional the movements. But it was not favorable for the move¬ smooth and “even” in quantity, before making varia¬ movement from the fingers will give more clearness, ments themselves; for the muscles are less free in action tions from the normal. as we have already seen. Making Changes in Tempo when the arms are crossed in front of the body. Now, if your ear is good, if you have a good s Ease and endurance are increased for the same rea- Try, then, the same experiment with the right hand of tone quality, of rhythmic accuracy, arid of legato, sons- absence of effort in the small muscles, the group By ADOLPH F. CHRISTIANI resting on the right knee, or just above the knee, the hand you have already discovered that in respect to tliese ing of rapid notes by the arm movements. I lying in almost a straight line with the shoulder. Begin three points, the movements which you have been prac¬ How far does this “lazy” sort of playing go? Are we with the very first exercise, in which the wrist lies flat, tising are vitally important in improving your playing. to play every composition this way. with more or less [Editor's Note.—For years we have been endorsing the notable time and'Zade^from^his notable book. After many pages of But if you do not yet perceive such possibilities, do not ■‘resting,” while the fingers only "beat the tattoo.” tilting of the arm, more or less vertical movement, more work on musical interpretation known as Principles of Expression ... following fnd ritardando he discusses all matters pertatn- feel sure that they do not exist, and do not feel sure that In this form of the experiment, watcli carefully the or less rolling, more or less linger? Every scale run or Pianoforte Playing/’ by A. F. Christiani.probably one of the very finest 1 °LalC*T*iLLms nf sudden changes in tempo as follows.] your ear is not good. The ear, too, develops with use. way the arm balances on the fingertip—whether it moves passage can be played in this way, and a few players use honk/over written ufion the art. Christiani lived in America for a long smoothly and evenly, or whether it “wobbles" and falls books ever written upon the c this style of playing exclusively. But the greatest play, „ndb or accelerando; while others, fancying strictness to more heavily on one finger than on another. Notice also On Tone Quality ers do not use any one style of playing exclusively. In fact, everything connected with time has its simili¬ he equivalent to stiffness, hardly play m time at all. the difference between the smooth movement and the 1. Ritardando or rallcntando, eU means: gradual, FOR example, the tone that you make—if the direc¬ tude in dynamics; for example; Of these two extreme classes of performers, the series of jerks in which the fingers had more the effect Individual Choice not sudden, decrease of tempo, vi .: getting slower, tions have actually been followed—is of a sweet There are; first is not quite so objectionable as the second; because of separate spokes. You will find that the manner in quality; it is long and singing. When you do not use the When we take lessons from a fam us player, we prob¬ not already slower. who would not rather behold the straight-laced, rigid which you guide the arm is the factor which makes these finger, it has very little percussive quality. That is, as ably go. to that teacher because we like his or her tone Accelerando or stringendo, etc., means gradual, marching of a well-disciplined soldier, than the unsteady, different effects of smoothness (unity) or jerkiness (sep¬ t already each tone begins it is less sudden, and more in effect like and style. Now each famous player lias crystallized his sudden increase of tempo, i. e., getting faster, vacillating gait of a musical rhapsodist, intoxicated by arated tones). the tone made by playing on instruments with a bow. Of ideas into a certain fixed combination of tones and mod¬ faster. ... conceit or ignorance. . . . The “Soft” Hand course that kind' of tone is not always suitable for the ellings, and therefore of movemenfs which his ear Both meanings are analogous to crescendo and di¬ The former, the realist, though he cannot interest, is, I) EFORE experimenting with tone-making, say to piano. Mo.'jt often we prefer the tone which is more de¬ and imagination prefer. That docs not mean that he nevertheless, a musician; whereas the latter, the idealist, finite in beginning (attack). But both tones are useful; minuendo. . _. yourself that a soft hand is important. We have to never varies from them, but that, in general, certain The former does not signify forte, but piano, . exasperates the listener, and is, in reference to time¬ remind ourselves frequently of that fact, for we are so and the ear should learn to distinguish them. ones please him, and certain others dispk; bis criti¬ becoming forte. __ keeping, simply a nuisance. , <. When you really lean on the fingertips your tone has cal judgment. These chosen movements ma> In- entirely Without discussing such extreme cases, which should accustomed to thinking “firm hand” that it is not easy The latter does not signify piano, but forte, to remember that the hand should not always be firm. a rich quality besides the sweet and singing one. And perfect for this player himself, and cm in ly wrong both be avoided, let us remember that the proper At the piano, sit with the elbow a trifle lower than the when you add the finger stroke to this arm tone, you for some one else, because no two hands at. mite alike, becoming piano. .. course to be pursued, in this respect (as m everything keyboard, otherwise wrist and elbow are not likely to gain distinctness, definition, without losing richness. no two dispositions arc alike. If one pci-on plays a It is both strange and true, that the distinction be¬ else pertaining to musical art), is to keep a juste milieu The tone may not be large, at first. But as you gain passage with no deviation from “a straiy1 line" on tween gradation and sudden change is frequently over¬ —the golden mean—between exaggeration and tameness. confidence, and allow the arm to move freely, the tone / E FJ? G# A# B \ black and white keys, that does not prove that some looked. Accepting this course as the only proper one we find Place the right hand c naturally increases, without losing quality. The analogy, in reference to individual points, is so "V 2 345/ one else could not accomplish it better by turning the Tempo has its sudden changes as well as dynamics. the surest and best safeguard ^ against overdomg, If you experiment with modelling —=c >— >— —=c great, and the symphony between emphasis and duration At first, play with contact; that is, the fingers are laid straight line into curves. Ideals of tone, .. lit ions of A suddenly faster tempo is not an accelerando. advice to his pupils, as and w.ith accenting, you will find that you can get a satis¬ so strong, that very frequently notes, marked fz, sfz, <, either direction, in Chopin’s upon the keys, and they are not lifted to make a stroke the hand and the nerve energy, must decidi the ques- cannot overrate the im- factory graduation of tones, with no hardness. Bril¬ A suddenly slower tempo is not a ritardando. etc., also need a tenuto (.ten). Or, in other words, em- already- quoted.- In fact, from the knuckle. There is no stroke. The tone is made too much attention to, the principle liancy and hardness are not the same! Further, if you I do not refer to those general changes of tempo which phasized points can generally bear, and frequently even portance of, or pay by the movement of the arm. Place the hand (resting on The experiments which have here been d< nbed, are apply these arm movements to various figures, such as occur at the beginning of a new movement, or sometimes demand, to be dwelt on, sustained, prolonged. of Chopin: the thumb) so that wrist and knuckle are nearly on a level. experiments in free curves, not in straight lim Straight within a movement, but to those temporary changes with¬ Swing the wrist down, to make the thumb tone, and swing lines, free curves and intently controlled cun. ,11 three, “One hand should be kepf i in a movement which are frequently confounded with Rubato up to make the remaining tones. are used by the greatest players. For some si I,- of com¬ hand retards or accelerates." Rubato, robbed or stolen; hence, rubato tempo, or ruba- Repeat Exercise 2. Play the ascending figure, 1 2 3 4 5, positions require one movement, others require . i < r move¬ gradation, viz.: to the words, mento di tempo, robbed or stolen time. The Italians have But several times, till you begin to feel some command of the ments. But certain players prefer only mu ule, and Now, it may be said that this is in also contra-tempo, and the French contre-temps, as syn¬ movement, then play the descending, 5 4 3 2 1, dropping play all compositions in that one style. ; and Meno—less; and others. such is, by no means, the case. Listen, m Italian opera, PiU— onymous terms, both signifying against the time. It the wrist on 5, and gradually rising to 1. also to Chopins Revolutionary Etude (measures 35-47) ; to a first-class singer, and notice how steadily the may also be observed that the simple term, rubato, is orchestral accompaniment proceeds, while the soloist re¬ . Repeat all the experiments, -without using the finger Prelude in C major; Etude, op. 25 no. 11; Liszt's Con¬ These, coupled with other tempo-terms, signify an stroke, hut following closely, with the car, ail the effects. cert Elude in D flat; Mendelssohn's Spring Song; and generally used in preference to rubato tempo. tards and accelerates, at almost every moment. abrupt, not a gradual change of speed; for example: 1. Any temporary retardation or acceleration is rubato. Remember that a hard tone means that'the hand is not countless other passages; you can with ease and cer¬ It is just this steadiness and general not-giving-way soft, or that the elbow is not moving loosely, or that the tainty bring out a note clearly, give an accent, complete Rubato may be described in several ways. _ of the accompaniment which the soloist needs and de¬ Piu mosso, Piit vivo, Pin allegro, Piu presto, Strefto, etc., 2. Any negative grammatical accentuation (for ex¬ wrist is not moving loosely. If the tones are unsteady, the rhythm—whereas that same note would sound weak sires, expecting only from the conductor that he will you are not leaning properly, or you are not balancing or thin, might even seem impossible, without the help ample, syncopation), by which the time becomes robbed follow, or either wait for him, at the tenuto or fermate the arm properly. of the arm. Do you ask if it might not be played with signify : faster, at once faster; and of its regular accents, is a rubato. points. Just so should the pianist keep time, and yet Next, repeat Exercise 2, first without finger, and then finger strength alone ? The answer is: perhaps, after 3. That capricious and disorderly mode of perform- be free in time. with finger stroke added to the upward swing. Finger months or years’of practice, and with a sacrifice of Meno mosso, Piu adagio, Piit lento, etc., by which some notes are protracted beyond their How well Thalberg understood the art of singing c" stroke means only a light swing of the finger, with a good, * quality. proper duration and others curtailed, without, however, ^ pianoforte> those wh0 heard him can bear witness, changing the aggregate duration of each measure, is a how little the majority of modern pianists know of firm “throw” toward the key, hut never at any time a Third, you find that one tone flows into another with signify: slower, at once slower. high tightly curved position. rn and without effort to make the legato, The difference between such a sudden change and the rubato. it, is shown by the unsteady’ -way hiii which they play a<-- At first, the upward swing of the arm may throw, the And a The first of these three definitions requires develops, you wiil hear that this sort of This is the extreme high and k ' gradual change implied by accelerando and ritardando, companiments. finger off the key. If this happens, the swing is too great, connection, by means of the arm, makes a mature effect etc., is frequently of great importance, and is surely observation. or too sudden. Keep trying, till the hand feels secure on The second, likewise, has been fully explained already, When Thalberg Played of grouping, of phrasing, which is usually not possible to worthy of careful notice. the key. The swinging motion should add security, should under Negative Grammatical Accents. the young student, and often r attained-by the older 2. The second distinction is this: When Thalberg played a melody, it stood out in bold swing the hand onto the keys, not off them. The words, accelerando and ritardando, are, strictly But the last mode, which is, in fact, the real rubato dynamic relief; not because he pounded, but because he Next repeat Exercise 3, hut with level wrist, and with This legato, although i is advanced in style, is not yet speaking, applicable only on a plurality of notes, and as is usually understood, will receive particular notice. kept the accompaniment duly subdued. And when he ac¬ added finger stroke. Finally take Exercise 4 in the ante the highest artistic leg? o; that develops out of still not on ann individual note. To10 accelerate, or^ hasten- This latter mode of performance is the rubato of cclcratcu>celerated, retarded, or-- embellished his melody, the accom- manner—rising wrist, in diagonal direction, and finger more advanced movemen' >• But, if you would get these individual note, is absolutely wrong, because Chopin; very beautiful and artistic when in its proper paniment proceeded with steady, unwavering precision, stroke added. effects which iiavc just been enumerated two things the rhythmical duration of the note would be curtailed place and limitation, but very ugly and pernicious when unaffected by the etnotion displayed in the sole parts. Using the Three Movements must be done: and disregarded; hence, the effect would be that of bad ofJ place,- or exaggerated.4_ This.. method, far from being “ stiff or rigid is not ~only First, it ccessary to allow the weight to rest on the It may be executed in two ways; rational and musical, but beautiful and highly artistic, All these three movements are used in playing, with ,,.„e-keeping, instead of permissible tact-freedom. both finger or without. No. 2 is used least, after the prepara¬ fingers, and constantly to vary the amount of it To retard an individual note or rest, although sub¬ 1. Both hands in sympathy with each other, never provoking and exasperating, as out-of-time playing tory stage has been finished. No. 3 gives most rapidity, Second, the arm must he balanced or swung,’ exactly stantially permissible, is, nevertheless, a misapplication of hands accelerating or retarding together. , with both hands, but always gratifying, attractive, and but, when it is used alone, it is the most difficult to con¬ right, neither, with too much impulse nor with too little the idea of ritardando; inasmuch as an individual note, 2. Or, the two hands not in sympathy, f.c the possessing a peculiar charm, which would be entirely lost, trol for accuracy in runs. It needs to be combined with neither dropping the wrist tor, often nor too seldom stS-iTimpiSi^^r-coimTi„ 1 • lg c,r controlled rr curve f° r p avmg. 1 or rest, may be dwelt on, sustained, prolonged, but can¬ companying hand keeping strict time, while the other if the accompaniment were dependent on the melody, in¬ There is an interesting and satisfying proof of the hand alone is playing rubato. No. 2. as in No. 4. But for broken octaves, tremolo trill, playt runPTe"tS arc a kc>- «» TIIE ETC])], the etude Page 31,8 MAY 1926 "WHITE GLOVES ON A SILVER SALVER" Great Orchestral Masterpieces u THOSE IGNORANT RUSSIANS John Philip Sousa, whose remjnis "We may be sure that the music of the ^ , n !• On the Talking Machine—and in the Movies twentieth century cannot live any more by cences have been running in the Saturdi As Heard in the Concert-Over the Radio-On the lam g theory than the music of the seventeenth Evening Post, quotes an old copy 0f J century could,” remarks Ernest Newman The Musical Scrap Book Sail Francisco Argonaut regarding Juiugi Described by VICTOR BIARI a distinguished predecessor of Sousa hini- in A Musical Critic's Holiday. ‘‘Music is it¬ Anything and Everything, as Long as it is Instructive Late Official Lecturer of the New York Philharmonic Orchestra self, one and indivisible; it will not submit self in the art of conducting: to be deprived of this or that mode of and Interesting • He (Jullien) used to say of himself Liszt’s Magnificent Tone-Poem, “Les Preludes” expression, this or that resource of technic, that his vocation in life was popularizing aloof from the turmoil of the large city by composers who happen to have no use Conducted by A. S. GARBETT music. He was a Frenchman, and, like way of preface or argument in the score. and the glamor of the concert-stage In of them because they have no sense of many Frenchmen, nothing if not theatrical a symphonic music, a man whose lmpor- This involves a certain mental partic.pa- HE orchestral works of Liszt take 1847, after a series of concert hmrs that them. . . . T tanceance is popularlypopular »«**--supposed to lie... exclu- , n on the'part of the hearer which does Those whose memories go back forty years us into the realm of program- had taken him through practically all of “Russian music of the last half century, will remember him as he used to appear music. In contradistinction to ab¬ inven- not figure absolute music, Europe steadily since 1839, he answered indeed, supplies us with corroborative ev¬ graciously smiling, in an enormous white solute music, which has no further purpose a call to conduct the Court Opera^ of idence of this. The ‘Five’ in their early tion of' the Hungarian Rhapsody: Franz Transformation of Theme THE SATANIC PAGANINI waistcoat, with huge wrist-bands folded than its own intrinsic beauty, program- Weimar, the capital of the small Gra days, revolted against the symphonic back over his coat-sleeve-, bowing his Liszt (1811-1886). . , Duchy of that name, m Germany. He “Until he was forty-four years of age, pression of his face, his livid paleness, his music is intended to depict or illustrate a The symphony, the greatest creation of The element ofoi vrnuyunity is» provided by a ‘working-out’ very much as the Florentine thanks for plaudits. As lie stood before had conducted the_ orchestra of this monodists did against counterpoint. The Paganini did not play anywhere except in dark and penetrating eye, together with the subject. This “subject” ,s therefore, the the classical period, had proved itself a type clever and interesting device.^ , -- the footlights, a valet in full dress brought theatre off and on since 1842 explanation was the same in each case; die cities of Italy,” says Henry T. Finck, sardonic smile that played about his lips, program that underlies the work The of. r_nr composition or form admirably suited to« tors formation of theme. Several themes him a pair of white gloves on a silver sal¬ In this little town the great Magyar mas¬ the men despised art art in which they in Success in Music. “In 1828, at last, he appeared to the vulgar, and to certain field of program-music is instrumental mu¬ the style of music that evolved it, namely, are evolved from one or more fundamental ver. Having donned these, and seized his or basic themes by altering the latter rhyth- ter unfurled his banner symbolical of the themselves were not particularly proficient; left his native country and gave a series diseased minds, unmistakable evidences of sic for only instruments can produce the absolute music. Its scheme of. movements, jeweled baton, he gave the signal, and very new style of music. Weimar thus be¬ it was the tailless monkey trying to induce of concerts in Vienna which aroused satanic origin.’ variety of tone colors essential to portral as well as their individual plan of construc¬ mically, in TO '£ capital music indeed ensued. and illustration. Program-music is a log¬ every requirement of thii style of fW’suoIi transformation AWf** came the centre of the new movement and the rest of the tribe to abolish tails.” frenzied demonstrations of enthusiasm. . P After it has been answered by the oboe The orchestra is the ideal for piano, is tenderly uttered by the flutes and clar- the happy, care-free shepherd playing; so rich is it in coloring and pen. . . rr • . . , . . . . . , _ _eliorhtiv altered etration of all the parts. mets, affecting the violins, which join with taken up in this slightly altered form by this closely-related motive: the clarinet. What one cannot do slowly, one cannot The three simple notes of the first meas¬ Ex.6 do at all. This has been said many, ure of this example, with the fall of a many times, but cannot be said too often. ^ semitone, followed by a rise of a fourth, form the kernel of the theme. In the Real progress is not measured by “how fourth arid fifth measures, flute and clar¬ much” you- practice, but "Imw thorough’’ inets shed a bright and beauteous light While the violins are “cogitating” over this in your work. on this fragment of theme. The entire theme, the horn tenderly calls out the first A graceful and dainty little scene be¬ theme is then repeated in D minor, fol¬ love theme (Ex. 3), with which-the sec¬ tween strings and wood-wind, into which Be sure that your piano is always kept lowed by its development by all strings tion dies out in flutes and clarinet. The the first violins soon weave a soft melody, in tune; for nothing is more harmful to and trombones, against a background of Love Theme in E-major (Ex. 4), the Sec¬ leads to a return of the second love theme the car than a piano out of nine. wood wind furnishing the harmonies. In ond Fundamental Theme, will play an im¬ (the Love Theme proper), now in A-ma¬ steady ascent, attended with a correspond¬ portant part later in the work. jor, and soulfully sung by the violins (the It is absurd to say you do not expect ing crescendo, like an awakening, all rises With the third transformation of First 61st measure of the Allegretto Pastorale). to follow music as a profession and, there¬ to a climax on the Dominant of the key Fundamental Theme (Allegro non troppo, This theme now dominates the rest of the fore, you need not take the study of music (C major) to usher in a new portion of C), which now appears in the celli, the section, in which it is constantly combined seriously. If this is your attitude, do not this section, that which presents the first Third Section, the one devoted to the por¬ with the following version of the Pastoral study music at all. transformation of the theme. In the trayal of the storm, begins. The substance Theme: Andante maestoso, 12/8 (C), the theme of the first portion of this section is the If you are going to play in public, do is given this shape, in which it appears in series of chromatic scale passages in the not practice the piece on the day of the majestic power: celli, followed by chromatic progressions concert. That is too late for practice and in chords of the diminished seventh. These Ex. 2 Andante ‘maestoso can only work harm. You may, however, howling passages lead into the Allegro tempestuoso, 12/8 (C), in which the storm practice exercises, or any piece or pieces reaches its height. Another variant of this not on your program. ff fundamental theme is In increasing animation and fuller or¬ chestration the Love Theme rises to greater Do not practice when you are physically Carried by bassoons, trombones, tuba, heights of exaltation, to appear, in its or mentally tired. Find out why you are celli and double-basses, the theme in this presentation in C major (especially in its tired, or why the progress is not what it form has been identified with Death- second appearance in this key, 28 measures should be, and then remove the cause. A Death, which shadows Man from his entry before the Allegro marsialc) in its fully half-hour of practice when you are in fit into life until his departure from it. The matured estate, like a mighty force to fit condition is worth more than hours of animation is heightened by the energetic Celli and double-basses Man for the great battle and his highest practice when conditions are not right. staccato 16th-notes of the arpeggio figures Of martial vigor is the following closely achievement. in violins and violas. The passage is related one: impressive despite a certain empty gran¬ Allegro Marziale Animato diloquence. A Creed for Teachers In this the last prelude in which Man The abatement of this passage _ figures, the Fust Fundamental Theme dons By Elizabeth P. Warden into the section devoted to Love. At the the garb of war, to be proclaimed in mar¬ change of measure to 9/8 (3/4), at mea¬ tial tempo and rhythm by the brass ac¬ I believe in giving every bit of help and sure 47 (L’istesso tempo), the theme companied by rushing scale figures in the inspiration that I can in every lesson. undergoes its second transformation, now After the sudden abatement of the storm I believe in doing my part conscientiously. symbolizing the passage in the preface: the oboe gently calls out the first love new11theme-'e l5att,e SCene brings forth a “Love is the glowing dawn of all ex¬ theme (Ex. 3), now. in B-flat major (un I believe that the pupil must do his part. istence.” poco modcrato), to simple arpeggic accom¬ I do not believe that a teacher has to do paniment of clarinetjaind sustained bass in police duty—invading the home—to see that horn. Ten measures later the silvery the pupil is practicing. strains of violins,' appropriately supported C*° not believe in retaining a pupil who by a soft harp accompaniment, repeat this hates music” and says so. theme in a radiant, exalted light. This } believe, however, that many persons, passage leads fittingly into the pastoral In thp n.A <■ c 1 • without outstanding talent, want and need A., me miast of this even the Love Sung expressively by second violins, scene, Allegretto pastorale (Allegro mod-, Theme i^nnL0 ,thlS CVen th« Love mus,c "?‘^ir lives-for solace and for self- erato), A-major, 6/8 (2/4). . ; Theme is conscripted, appearing. in march expression—and, although they may never joined in unison, first by the celli, a little time (ta^o di mania), the brilliancy later by a horn, the theme here acquires achieve virtuosity, they should not be dis¬ a character of tender ardor. In the eighth couraged nor stultified. measure it modulates to E-major, to work I believe that it is cruel to expect every up in impassioned aspiration with interpo¬ PUPI to be brilliant and showy. lations of the theme by bassoons and I believe there is no greater work than Prime 7- VT P c0"m wHu, o,„ ostering the love for good music in the double-basses, to the appearance of the ETUDE fried of those very Ivcid end iM„,tme article, Second Fundamental Theme, the Love heart of a child, and that music, rightly Theme proper (measure 70) : Great Orchestral Masterpieces, by Mr. Biart Redly us , will help to keep the human race sane and moral. iski„S a„en,„ of s„fdy ^ ’ “ * . Espressivo matranqnillo phshed by employing these articles, together with the excelle t From my youth upwards 1 have Talking Machine records issued by the leading companies or bv wen exposed to envy, so it does not surprise nte when any attempt is preserving the articles for use when one of these works i ^J° crush my poor talents; but nounced on your radio program. S an~ i f ™™*ghty above is my support ■ /y wife wrote to me that Mozart \ British Copyright secured wmnates mc vcry much, but this I hi“,.Tfabdclieve-' rf truc> 1 fors've Copyright 1925 by Theo.Presser Co. the etude Cantabile MAY 1926 A. SCRIABINE, Op. 0, No. 1 Page 354 MAY 1926 theetum THE etude PRELUDE ANDANTE FROM THE SYMPHONY IN C SeUn article on Scriabine on another page of this issue. Andante M.M.J = 54 A famous slow movement. Not to be played as a funeral march; but in pastoral, or contemplative,style. Grade . ^ F. SCHUBERT MAY 1926 Page 30/ ETVdx Page 356 MAY 1926 T«E the ETUDE GAY KATYDIDS’ MARCH H. D. HEWITT Good for indoor marching; a very GAY KATYDIDS’ MARCH PRIMO s teady “four - in-a - measu re.” SECONDO H. D. HEWITt Tempo di Marcia m.m.J=1!6 5 PROCESSION OF THE SIRDAR CAUCASIAN SKETCH M IPPOLITOW-IWANOW PRIMO | ‘ .... Allegro moderate. Tempo marziale M.M. J = ios MAY 1926 Page 361 Page 360 MAY 1926 NEAPOLITAN- SALTARELLO Play in a furious manner. Full of life and go. Grade 3£. EDUARDO MARZq Allegro vivace m.m. J.= 144 *. f i 1 3 7 British Copyright secured Copyright 1924 by Theo. Presser Co. * From here go back to A and play to B; then play Trio Copyright 1924 by Theo. Presser Co. British Copyright secured MAY 1926 Page L 1 'BE ETUDE I Page 362 THP ETUI)! nestle revolutionizes the permanent FAIRIES AND ELVES In the style of a modern air de ballet. In the A Major portion, it will be necessary for the thumb of the left hand to cross over the thumb of the right hand in several places. Grade 3. MARY M. 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It reveals the hid¬ Tust fill out the coupon below—and send a at once to insure receipt of your “reading with¬ den facts which the eye cannot see. It tells us small strand of your hair (about the thickness out delay. Please write your name and address the exact characteristics of your hair. We sup¬ of a pencil lead, and at least 5 inches long). clearly when filling out the coupon below ply you with this necessary information by Do not send combings. Enclose $1 Deposit to NESTLE LAN OIL CO., Ltd. mail—and the Nestle Permanent Waver in cover costs of testing. your own vicinity is then enabled to give you You will then receive from the Nestle Labora¬ 12 East Eorty-ninthStreet, Ncw Vork City Originators of Permanent wavii& the scientific, CIRCULINE PERMANENT WAVE tories,a card giving the result of the thorough your hair requires. 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British Copyright secured MAY 1926 Page 365 HTuDe THE etude Page 86f MAY 1926 Modern, Classical and Standard Piano Compositions Piano Pieces in the Early and Intermediate Grades Appropriate for Recital or Study Teachers and for Teaching or Keyboard Diversion Pianists of Students Ability will No. 19507 WALTZ OF SORROW-David W. Guion-Grade 5 P"ce> 60 cents will be find this Interested in Page Full of WHEN THE LEAVES ARE FALLING Edouard Schuett—Grade 5 g0 cents These No. 19790 Excellent Interesting Numbers Suggestions THEODORE PRESSER CO. THEODORE PRESSER CO. Prompt Mail Order Service on Music Publishers and Dealers Everything in Music Publications 1710-1712-1714 Chestnut Street 1710-1712-1714 Chestnut Street PHILADELPHIA, PA. PHILADELPHIA, PA. VALSE GROTESQUE-August Noelck—Grade 5 FIVE HOFMANN GEMS No. 22954 RIBBON DANCE—James Francis Cooke—Grade % Price, 35 cents By Josef Hofmann THREE HEROES OF THE CHILD-WORLD These five miniature masterpieces have received much attention on the recital pro¬ By Dorothy Gaynor Blake grams of some of the leading pianists. Three striking little second-grade ; icces e Cat„ No.. Price each preceded by a descriptive poem. 18690. Lonesome. Song without words 20 30 Cat. No. Price 18691. Wooden Soldiers. March.ru 22530 Captain Kidd.50 0 18692. Lullaby. Berceuse . “ 22531 Robinson Crusoe.30 18693. Sister’s Dolly. Polka. 22532 Columbus.to 18694. Nocturne (Complaint). BRAHMS’ ALBUM THE CAT CONCERT Edited and Compiled by Louis Oesterle By Russell Snively Gilbert FANTASIA FUGATA—Mrs. H. H. A. Beach, Op. 87 Grade 8^.^ gQ cents This fine collection of nineteen master Six characteristic pieces in Grades Iff compositions byjohannes Brahms will be a No. 18654 No. 23044 CARMELITA, Spanish Dance—Rich. Ferber—Grade 3 Price, 40 cents and 2 obtainable both in one book or sep¬ valuable addition to the repertoire of the arately. advanced pianist. it contains the most notable works of this famous master. '■'«» naaren in .jsu.-.i irvrnr Tjof. Cat Sings a Prayer.25 . Price, $2.50 ioto! The Prize Cat Fiddles.2: !q?07 The Three Black Cats Play a Trio .25 Iotoo Kitty Kittens’Dance .25 LOVE’S DREAM, No. 3 (F. Liszt)-Arr. by Wm. M. Felton-Grade 5^ ^ ^ MASTERLY TRANSCRIPTIONS 19798 The Moonlight Glee Club Sings . .25 No. 22534 FETE RUSTIQUE—George Dudley Martin—Grade 3 Price, 35 cents Here is a group of unusually attractive Complete in one volume.60 No. 19682 ^ .. , . . Ucgro.con >ffrettQM_M. d-e M piano transcriptions of gems from classic and operatic writings. Each one will ment the three piano pieces doles ten tan o ^ . attention of the best pianist, and will prove valuable study and recital matenal. FOR THE LEFT HAND ALONE Lot Price By Rich. Kreutzlin Si» Melody in F (Rubinstein) tirade 5. Tr.n- No. 22884 SPRING SERENADE—Georg Eggeling—Grade 4 Price, 30 cents Grade 3 Cat. No. p • KiSfv*? % >' (Chopini-Cende 7. 22504 Romance sin 22505 Voices at Even;::::.^25 2-506 Festival Polonaise.30 ,St iS*(k’ Wine;,- Grade 10. Transcription by E Hutcheson.,. L00 17293. Bridal Chorus. From Lohengrin (R- pt^O PIANO COMPOSITIONS Wagner)—Grade 6. Concert Transcription by E_ for the right hand alone 16433UetNocturne from “Midsummer Night’s Dream” (F. Mendelssohn) — Grade 5. Transcription bjr By Paul Bliss Send for -Tb-* -*£>™ “Thematic Catalog of Pianoforte Compositions for Easy and Advanced Players —Thl® “e* 'MRSgRH. A. Beach, Borowski, 19462 M°Shad^Dance fiom Dinorah (Meyerbeer)— Medium Grades” shows excerpts of 225 excellent piano pieces from •Cat. No. Grade3 Grade 5. Concert Paraphrase by E. Schuett.. .60 S,SiSi":HS^roro.»,. R—v-KorsAnow, Rooms, Grades 1 to 7, the major portion being in the first four grades. A post 23J38 Forest Echoes.. . 5^ 23139 The Winding Road.'..*jo card request will bring this interesting and helpful catalog to you. Schuett, and others. THE ETUDE MAY 1926 Pag* 367 Page 366 MAY 1926 jgS STUDS THE SUN-DIAL valse On, . tvpical drawing-room waltz (not for dancing) play rapidly and steadily. Grade 4. Tempo di Yalse m.m. «)•- 7a --GRAND AND UPRIGHT ^ piano actions MADE AT CAMBRIDGE. MASS. SINCE 1686 Guard Your Piano Investment with the “Best Action” The piano is most often a permanent investment—and the length of its life is largely governed by its action. It is only reasonable there¬ fore, that when you buy a piano you insist upon the very best action obtainable. For 37 years, the; Standard Piano Action, made at Cam¬ bridge, Mass., has been known everywhere as the highest quality action in the world. It gives a new meaning to lightness of touch— • a new conception to tone. It is the never-failing vital link between KIMBALL key and string. To guard your piano investment well, insist upon Standard Piano Actions—found in all better makes. SEND TODAY for our booklet describing what is essential in a good PIANOS piano. STANDARD ACTION COMPANY THE gift of a lifetime! Beauty of tone per¬ C. L. McHUGH, President petuates through the years the pleasure of Cambridge, Mass. its possessor. Kimball pianos. Grand and Have your piano tuned at least twice a year by a competent tuner Upright, have won high favor in homes every¬ where and are praised by artists of world renown. A Collection of Unusual Interest to Pianists The Kimball Player Piano also, and the Kimball MODERN PIANO PIECES THE WHOLE Phonograph have brightened the home-life of WORLD PLAYS thousands of families throughout America. If it is your pleasure to revel in beautiful piano Kimball prices are impressively moderate. compositions by famous modern composers, you will derive an unlimited amount of enjoyment Catalogs, also nearest dealer's address, sent on request from this book, which contains more than seventy masterpieces by Brahms, Chaminade, Debussy, W. W. KIMBALL CO. Granados, Grieg, MacDowell, Moszkowski, Rich¬ (Established 1857) ard Strauss, and many others. Each composition Department KE, 306 S. Wabash Avenue, CHICAGO, U. S.A. is carefully fingered and phrased. The book con¬ tains 256 pages. Angeius (Scenes Pittoresques' Murmuring Brook . Nachtstuck, Op. 23, No. 4... Nocturne . Papillon . A NEW MUSIC BINDER—“snap post music binder’’ Au Mali. Petite Mazurka . Barcarolle, Op. 33. Pciite Velse, Op. 10, No. 2.. Barcarolle, Op. 62, No. Accompanists, Church and Theatre Organists and Orchestra Beim Kranzewinden ... Leaders will find this a great convenience because of ease with Berceuse . Berceuse, Op. 16, No. 1 which contents can be removed and other music bound together Berceuse, Op. 26, No. ? . .Rachmaninoff as desired for programme use. Canzonetta .. ...Raff | AU Your Sheet Music in "Snap Post Binders” Makes an Ideal Library . . Lcschctizky .Liszt Scotch Poem . jj npHERE is nothing heavy or .cumbersome about these binders. Thev are Cradle Song . Serenade . Crescendo .... . Silhouette, Op. 8, No. 2.. 3 tV tn” .PfraCtlC?V^he most practical we have ever seen and are adjustable t Elegie, Op. 1, 1 u tUS1C/r0m °ne.shcet UP The music lies flat when open. The S mmV f r, u0t °dy c j",ve”jent and serviceable, but thev also protect and keep sheet music from becommg d> ap,dated. Each sheet of the music is attached to a gummed ■ .Karganoff GipSy Dar .Sarasate Spanish Dan SnloT t t-n! StnP) thue \ack 0f the strlP havi»S holes that go over neat brass Gondola, ] .Hcnsclt Spring Song . Merkel binding posts which are on the back hinge of the binder. The binding is completed .Chabrier Sylvains, Les . .. .Tschaikowsky Toreador et Andalouse. D0StsaPPitgi hremPSi aKiaCLCd t0 Ule,front hinge of the binder, over the heads of the .Poldini . Trauraerei . Fifteen detRrh/lTvn^ 6 ^ neatly the manufacturer has accomplished this, .Jadassohn VaIse Cracieuse . j The binders are ™de i» .L't'lf Valse Lente, Op. 12, No. 2.. Schiitt ...Granados ladrigal . '.'.'.'.'.'.'.'...Lack Villanesca . DEMY SIZE, 9 i 12, Price $1.00 [azurka. Op. 21, No. 1. .... Saint'Sains Waltzes, Op. 39 (Selected).. Additional Binding Strips, 45c [elodie. Op. 18, No. 1. ... .Moszkowski Warum? Op. 12, No. 3. . .Schumann °,c™° siztyy, * ny’, Pric- » Additional Binding Strips, 40c a doz. . band SIZE, 7 I sy2, Price 5 3 a l 4 a PRICE, $1.25—For Sale t all Music Stores la the United States. (Not So Additional Binding Strips, 30c * 56-Page Catalogue of the “Whole World” Series j THEO. PRESSER CO. ,„E. British Copyright secured D. APPLETON & COMPANY, 35 W. 32nd Street, New York City PHILA., PA. * From here Eo£Srto iegihhihS »"> M 5° l° Copyright 19-26 by Theo. Presser Co. THE etude Page 368 MAY 1926 PRIDE OF THE COMPANY May be played as a “parade march” (four, ur steps to the measure):measure); or in double - time (two steps to the measure), ra e j ^ E. ROBERTS Ukulele part added by VALDEMAtt OLSEN In strict marching time m.m. J = i08 c17 G# dim: Bp min. - r 3 S 07 i8 - H ci i j 1 i=‘ 1 ft II . 1 5_. 3 4 ® 4 3 7 2~j" 5 12 ^ ' |* |*jir J J m. Mr 0- P- J XQs... .t » £ I % ■ £ j £-( iiif D7: FmG7 ®\ I Dmin.^ ft 5 4 Copyright 1926 by Theo. Presser Co. 5 5 British Copyright secured ALPINE WALTZ A “yodlin^^faltz”. In the slow, old - fashioned style. Grade 2£ W. BERWALD Moderato m.m. J = 126 Copyright 1926 by Theo. Presser Co. British Copyright secured MAY 1926 Page 371 THE etude THE ETUDE VILLAGE CHAPEL , J0HNMl0p,„. „ Page 370 MAY 1926 CONSOLATION THEODOR LESCHETIZKY, Op. 19, No. 6 is the first study in “cross hands”. Brade 2 4. MEDITATION ' u Exemplifying an important device in piano playing: the bringing out of a melody in the middle register (chiefly with the thumb), with p^ ^ same hand^GradeT a) Moderate cun ettpressione e ben marcato la melodia Bringout the melody Ti ¥ j i m’ U ip a) All the accompanying chords played staccato , BARCAROLLE with the melody marked, slightly held and connected. frQm «LEg CONTES D’HOFFMANN” J. OFEENBACH A simple, playable arrangement of a great, popular favorite. Grade 2£. Arr. by A. GARLAND British Copyright secured ModeratoM.M.J-=54 _4 Copyright 1925 by Theo. Presser-Co. YESPER HYMN British Copyright secured Copyright 1925 by Theo. Presser Co. Copyright 1924 by Theo.Presser Co. THE ETUDE Page 372 MAY 1926 !Sw. Full, Sw. Box open MINUETTO POMPOSO Gt. Full, Sw. coupled Ch. 8'& 4' Flutes CUTHBERT HARRIS Ped. Full, Gt. & Sw. coupled , A “Full Organ” piece, with a lyric Trio (Reeds and Flutes.! An excellent teafching.number or Pos « Allegro moderato M.M. J = 108 > > > " MANUAL NOW THE DAY IS OYER ALFRED WOOLER Copyright 1926 by Theo. Presser Co. International Copyright secured r sins re-strain ^ Watch - ing late ix pain; Those who plan some e vil From thei - n\ 1 «J _j * * * * m * 3 «=rr.jooco rit. wf ns f\ i , ™P , i 4 • Mi. XIV.\.-- --- \m- .m ?■ m \y J 1 J. h '!■ 1 1 1 1 J. \:z=±=i ^ r. m ~ ^ ir white wings a - hove me, a templo Through thelong n:Lght watch - es, May Thine f m-gels spread_ The t- J; -o- < mp & Lt. ajemp° fry * * — Vp r — 0 Li f ■■aw- J. Ji f t 0 . J i.v . r— 11 r 1 P —M- *3 -- - ■~ h— v ' -*=■ Watch-ing round my bed. When the morn - mg wiik - ens, T1 ien may I a - ijTTj i if. ]J7] jH-THTi rfsjj] m mi, ifr- awHiiiisi-5 Ifirr British .opyright secured Copyright 1926 by Theo. Presser Co. Page 376 MAY 1926 MAY 1926 Dige 377 SHE STANDS THERE SMILING THE etude CHARLES O.ROOS THURLOW LIEURance Allegro Moderato British Copyright secured MAY 1926 Page 879 THE etude Using Pictures of Master Musicians By Mary Scott Drynan kqeei Little did I think I’d ever get gives them a point of contact with selec¬ acquainted with these men,” said a little tions over the radio, or gramaphone oi friend as she cut out pictures designed for with orchestra or band. They begin tc that purpose. listen. The remark, which was so ingenuous as Children of the teen age have the col¬ to give me a good laugh, gave me also a lecting mania for stamps or post cards; IVERS & POND theme for this article. why not encourage collections of pictures The child is one who helps me with of famous musicians? house work; and in return I help her with My suggestion is a common scribbler piano lessons. with pretty cover, a picture pasted on each PIANOS On my walls hang some pictures of the page with plenty of room for added dates masters; and she has been interested in or comments or incidents. If the teacher their names and stories. In her music note book I pasted pic¬ has time she will find it cultural and edu¬ tures of Beethoven seeing a vision, Bach cative to make books of the kind as re¬ with his family, Little Handel in the attic. wards. At school she had a reading lesson of the Why not give this work to waiting Moonlight Sonata and boasted to the girls pupils or for club work? It will be in¬ of her knowledge of Beethoven. One of structive, keep them quiet and interested her friends did not want to be outdone and give you an insight into their knowl¬ so she made a scrap book and cut out pic¬ edge by the remarks they make and pic¬ tures from the Etude; so now there is a tures that attract. rivalry in the collection of pictures. Pictures of the clavichord, harpsichord, It was witli my guidance that the child wind instruments will prove instructive was cutting out the pictures when she also. Stories of musicians, stories of made the above remark. She was greatly operas, stories of the growth of music taken with the picture of the famous from the time of Jubal, make the most woman composer, Chaminade. interesting reading and every intelligent It seems to me this is a way in which teacher should 'be conversant with such teachers can get the children interested in literature. "No time,” some say. “We classics rather than jazz. The story of the have all the time there is,” to use a trite composer gives them an added interest in phrase; we always find time for what we their new piece. The names of the musi¬ like to do; and this is along the line of cians, even just pronounced correctly, our profession. It is an asset in teaching. Two, Company; Three, a Crowd By Sarah A. Hanson An Aristocrat of Small Grands A question that comes up frequently son makes concentration difficult; the enough to be annoying is, “Does the pres¬ player wonders how his music is being Is our five foot Colonial Model shown above. ence of a third person at the piano lesson received; his train of thought is disturbed; Built today, by the same interests (as in or a second person during practice hours and he is checked in conquering his dif¬ tend to make the pupil self-conscious and ficulties, Moreover, he is tempted to play 1880, with the same high ideals of piano per¬ interfere with the work in progress? It more rapidly than his. technic permits. fection), its charming tone quality and chaste must be understood that at these times His mistakes confuse him, he plays still the pupil must give full vent to his feelings more recklessly, and ends by becoming beauty of design appeals potently to the cul¬ and study out his lessons with undivided attention. The presence of an extra per¬ discouraged. tured musician who knows and demands the finest in pianos. The Two Simple Rhythms By Hope Stoddard Ivers & Pond The Deal of nature occurs in regu¬ endowed with an accent. This can be lar strokes of unvarying intensity and caught in the simplest sounds, the tick of a PIANOS absolute regularity. Man supplies the clock, the chug of a train. It is the accent for his convenience and pleasure. rhythm of “hay foot, straw foot” or Are used in some 600 Conservatories and The modes of rhythm, the double and “ccny, weeny, winy, me.” Then, the triple Schools and 75,000 Homes. All are of but one triple, appear in their simplest forms in rhythm, a little more rollicking, but less two-four (owe two; owe, two) and in three- natural and less capable of sustention, has quality—the finest. Every intending buyer four (owe, two, three; owe, two, three) an accent on every third beat (each beat should have our Catalogue describing this, and times. When these two rhythms are defi¬ still a quarter note). This must be firmly nitely sensed and responded to, there will sensed at the start. A good verse to recite other Grands, Uprights and Players. be no difficulty in mastering all the others, 1-2-3 1-2-3 1- 2-3 1-2-3 for four-four, eight-four, six-eight, six- is “Hi'ggity, pigsty. ™y fat hcn” Our Unique Selling Plan four, and four-two are but variations of Get the “swing” of both these rhythms the double measure, and three-eight and and keep it and you will be able to add Where no dealer sells the Ivers & Pond, we can supply nine-eight, of the triple measure. any number of notes, holds, rests, and you from our factory as safely and as satisfactorily as if In two-four time every second beat (the runs, and still remain unconfused. you lived near by. We make expert selection and guar¬ beats being one quarter note in length) is antee the piano to please, or it returns at our expense for freight. Liberal allowance for old pianos in exchange. Thought Provokers Attractive easy payment plans. For catalogue, prices and full information, ierlie us today. By Eutoka Hellier Nickelsen 6. Who are the “Three B’s?” Op you know: 7. What pianist composed many difficult Ivers & Pond Piano Co. 1. Who is said to have invented white studies and compositions in order to (open) notes ? display his remarkable reach? 141 Boylston Street, Boston, Mass. 2. Who was the foremost Bohemian com¬ 8. Who was the first American com¬ poser? poser of importance? ... 3. Who created the Nocturne? 9 Who has been universally accorded the 4. Who was called the “Norwegian greatest of all church composers? Copyright 1926 by Theo.Presser Co. Chopin ?” British Copyright secured MAY 1926 Page SSI . THE ETUDE Page 8SO MAY 1926 f0 ETUDE How to Choose a Singing to move with a natural looseness, and men¬ N 1814 the Schuberts were living at Coloratura I tally hearing all words and sentences as Lichtenthal, near Vienna. On a win¬ Teacher 8 they, should sound in good, plain speech, be-. try afternoon the young Franz’s friend, By Orlando A. Mansfield fore giving utterance to them, will in Spaum, called and found the eighteen- By Beatrice Wainwright time find that clear articulation in year-old-composer in a state of excite¬ ;n the plural “colorature,” song becomes effortless. Tendencies to¬ ment over Goethe’s poem, “The Erlking,” The Singer’s Etude Having arrived definitely at the conclu¬ wards mispronunciations and provincial¬ of which he was madly endeavoring to . Italian word derived from the verb sion that one is to become a student of the isms must be set right. The words of Studio 'Player put on paper notes of his musical setting M meaning to color, and hence, to Edited by well-known Specialists colorare, tify In musical composi- songs in dialect, like those in a foreign lan¬ that was now completed excepting the ac¬ art of singing, the all-important question guage with which the singer is imperfectly companiment. How was it possible for arises as to who will give the best instruc¬ ad°r die expression “colorature” is applied tion possible. • This decision is a vital mat¬ “on thf. ,eale' passages or “runs, florid acquainted, naturally ' demand individual A wonderfully compact him to do this? Following his father’s It is the Ambition of THE ETUDE to Make This Voice Department ter, as future success or failure may result ,° rapid sCr.UsPand so forth, in fact to study before the attempt is made to sing desire he was preparing for the profession “A Vocalist’s Magazine Complete in Itself" little instrument that of a schoolmaster and had no special from the choice. *VlSSant passages in which each sylla- When the correction of habitual defects education in music. Having a good voice A teacher should not be chosen solely Kfnf ffie words has several notes sung in nronunciation is necessary, it will be fits in anywhere he was a member of the church choir, for his or her charming personality. This ble fTj;e term is employed with reference found helpful to read aloud good poetry where he sang the masses of. great com¬ is, of course, an asset to a teacher or any¬ m "instrumental music also, but not so or prose for ten minutes or so every day. posers. He had also taken lessons on the one, but it does not insure good instruc¬ frequently as to vocal, and was formerly piano. These were his only musical educa¬ An Interpretative Lesson on Schubert’s “The Erlking” tion. Some very charming and delightful known as “figurato or figured. This reading should be done in a steady tion. Not only did this work demonstrate people are poor teachers, due either to lack li the execution of coloratura requires and moderately loud voice with as much care in breath control as in singing (good his great talent; it also introduced a new By Gertrude Hartman of knowledge or the power to impart what . voice of great flexibility and, generally, era in song composition which was des¬ they know. An important step to take, / vl rnmoass a coloratura soprano is breath-control should also be a matter of tined to call forth and develop musical art. when seeking a singing teacher, is to find habit) and not too rapidly, so that there hand. The voice of the father is deep simple accompaniment. It seems that the In order to appreciate fully the im¬ out as far as possible the reputation of the these requirements; although in many is correct articulation of each word, even while the phrases of the child are in last energetic words of the father, spoken portance of this work it is necessary to the flexibility exceeds the singers when it has but one syllable. Indeed, it is a much higher register. The accompani- in a louder tone, have really pacified the person in the musical profession,, or from turn to the songs which were popular in other students of singing who have had power, or even his or her gift of expres- in the small words that the tendency to slur ment uses, to a large degree, the dimin- wildly-knocking heart of the child. Dur- and mispronounce is most general both in those days. In general they make no deep sufficient instruction and experience to give ished-seventh chord. The interlude after ing four measures we hear only the shriek- speech and song. Avoid exaggerations in impression. They merely breathe a charm, sound advice. 81 Amongst soprano coloratura arias may the father’s words, “it is some misty cloud,” ing wind and galloping horse. Again the accent such as the “er” and “aw” affixes, tenderness and mildness. Thc'r melodies It is decidedly an advantage and prefer¬ be mentioned Rejoice greatly, from Han¬ consists of single tones in the left hand. Erlking speaks; though this part also is and the careless ending of “ing” minus the and composition are simple and full of able to study with one who is an experi¬ del's “Messiah;” Irom Mighty Kings, to be played pp even considering the full “g.” These and other similar slovenly teasing humor or heartbreaking sentimen¬ enced singer, as it is of great value to be from the same composer’s ’Judas Mac- Ex-2 _ chord accompaniment. habits of enunciation are far more likely to tality, There is no room for real events. able to listen to good tone illustration and cabaeusand With verdure clad, from Every stanza repeats the air regardless of Haydn’s “Creation.” These are from ora¬ lie detected by the student or by a candid Ex. 7 the interpretation of a song at lessons. friend or relation during reading aloud whether or not it accentuates the mean¬ torio, while in opera the majority of the The demonstration will often help a stu¬ practice than during the actual singing cf a ing, and the piano gives only a few chords dent to arrive more readily at that for soprano arias in the early Handcl.an operas, to emphasize the melody. Beethoven, h k accompanied by triplet-chords in the right, m wm jrfo which he is striving. and in the early 19th century operatic works Mozart and other composers, who had and prepares us for the appearance of a Seeing a fine painting is a great inspira¬ of Rossini and his school and imitators, tried already to compose ingeniously, were new character, the1 Erlking. His speech tion to art students and enables them to were all intended for this class of voice. not recognized by the musical circles. is set in the relative major-key; it’s accom¬ grasp the various technical points the in¬ Hence any soprano voice capable of ade¬ The Singer’s Opportunity Shubert’s “Erlking” was the first song to panying triplets now divided between the structor has been explaining. The same quately executing this species of musical “The great opportunity of the American stir popular interest and enthusiasm. hands, which produces a ghostly effect. thing applies to singing, and does not mean composition would correctly be styled a singer is at hand. Opera in English is What is the new, the revolutionary ele¬ This part is executed pp and very smoothly. Soon the diminished-seventh chords, tc mere imitation or lack of intelligent under¬ coloratura soprano. coming, and coming fast. In this, because ment in this song? For the first time the A sudden f indicates the anxious cry of gether with a fast increase of power u standing, but acts as an inspiration through From its meaning of “colored the term it is their native tongue, the American mood of the poem has been taken fully the child, which begins in the same meas¬ to fffi rise to a dramatic grandeur. Th demonstration, and gives a much clearer “coloratura” has occasionally been inter¬ singers should have every advantage ove. into consideration, brought into music and ure in which the Erlking finishes. The boy’s excitement has reached its highes conception of the idea being presented. preted as referring to the quality or tone the foreigner. Their obligation lies in carried through the whole work. For phrase is again based on a diminished- point, and his strident phrase illustratin; The only way to become a singer is to color” of the voice; but this is a serious preparing themselves to sing their English the first time the piano gives the founda¬ seventh chord, with an added minor- his fearfulness is repeated another scale take individual instruction, as no two voices error, as the word is almost invariably as beautifully as the foreigner sings his tion for the evolution of the mood of the thirteenth, this time a sharper dissonant degree higher. are alike, and the teacher must be wise applied to matters of execution and agility, language. It has been done, and it can song. In order to prove this let us con¬ through the “d” in "the right hand. and not to details of quality or expression. sider first the contents of the poem itself. enough to use judgment in teaching each be done again, by just as many as are Goethe’s ballad, “The Erlking,” is a mas¬ student according to existing conditions. willing to pay the price. Remember terpiece of its kind. A whole tragedy Reading about singing never taught any Nordica’s, “I have’ heard many American is brought into eight short stanzas. There one to sing. It is necessary to go to a good "The opera companies are beginning to girls with voices better than mine; but I teacher. It is the individual instruction lake a renewed Interest in native works. have worked.” is no description in it; everything is in a HE more dramatic style; father, child and Erlking and correct guidance that develop the . . . There are Americans who interpret, T are the characters. voice and make a singer. To read books and other Americans can create and ‘de¬ you knpw and articles on singing is very helpful and liver the goods.’ to speak slangily, »/ they about music, Atmospheric Effects of decided advantage to the student. But are given the chance.” Frantz Proschowsky Further on the key changes chromatic¬ it is better for the beginner to do little —Charles Wakefield Cadman. SEVENTY-FOUR RIVERSIDE DRIVE the more you’ll A DARK and dreary day of No- This is the climax of the work. ally to B-minor. The shorter succession reading unless guided by the teacher; NEW YORK vember is merging into twilight. A The father cannot answer. His 01 marvel at the road winds through fields and meadows of tones in the melody (in quarters or otherwise confusions may result. Read of thought is to leave this terrible spot a In small apartments, in studios, fringed by deep forests. Nearby, a brook even eights) things musical, but not different methods. rich musical to bring his child under his home ro Articulation in Song small homes, etc. this Studio murmurs its monotonous melodies. The Experimenting with new ideas can bring The Way to Sing Ex. 4 For this reason he gives spurs to his hor qualities of Piano is filling a long felt want. calmness is suddenly shattered by the clat¬ disaster. Therefore, the choice of a good \c. c. Birchard & Co.. Boston. Publishers) The accompaniment, in the same style this dainty ter of hoofs. A rider and child, wrapped teacher in the beginning is of the utmost By Watson Lyle “ the beginning of the work, becon reproductions of any in a wide cloak for protection from the importance. DteRt me SpSTy'^preciation of your Wurlitzer Studio Player. ,„„re and more agitated, chromatica thorough understanding of the True Ait of cold, hurry homeward. In his phantasy The singer who fails to pronounce clearly standard music roll. With modulating to A-flat major when t The voice is subtle and needs care and the boy sees his surroundings filled with and the constant changing of the mode of guidance that can be accomplished only and intelligently the words of the songs Silu^dgtia ns, ththdough ^bicLi*C'hlve _ been Full Volume your eyes shut you’d be ghostly spirits. The white fog on the accompaniment reveals the father’s alarm. father arrives at his farm, and then su denly stopping. In the style of a recil through an experienced instructor. Those he sings, neglects the very essence of his meadows seems to be the wraith-like In C-major the Erlking is again wooing It hardly seems that so sure you were hearing a tive, the final phrase is interpreted by t who attempt to teach themselves soon dis¬ art. A good song makes its appeal to f ® —fheStlbeCamUulh0anfklasting art of ‘‘Bel Erlking. In the rustling of the dry leaves the boy, this time more softly, which is cover the impossibility of their undertak¬ emotions by the attraction of its music and small an instrument could full-sized player in action. he hears a phantom voice. The curious expressed by broken chords played ppp. singer alone, interrupted only by a dimi ished-seventh chord which is lengthen ing. Beware of the charlatan. He exists by the fact that the setting enriches the Ca"‘0" A M EL IT A* GTV LI T-C U R CI. furnish that same full- shapes of the willows become the daugh¬ in almost every community and abounds words by rendering still more intimate the ter of the Erlking performing her nightly ? paPse ‘he approach! “I ^miration rounded volume that The Price is Low tragic end With the shortest possil in the large cities. Go to a teacher in poetry or prose of which use has been ma e- dance. The father tries to soothe his It is in this way that the tonal art, so to of your method of instruction. Having cadence (the dominant-seventh chord f, whom complete trust can be placed; then skrd vour pupils, I frankly state that be¬ same delicate clarity of The price on this marvel¬ child’s excitement; the son cries in fright say, underlines the punctuation and rhythm sides th^perfeet.piacing of^the voice their owed by tonic triad) the song finish. follow instructions faithfully. tone which has made the as he feels the icy grasp of the Erlking. Things to be shunned as a thought of of the text, and accentuates the sound o ous little player piano is His father doubles, his efforts to reach It is this abruptness which is so extreme success.WES CCa TITO SCHIPA. impressive. evil are the methods in book form that the words, by the phrasing, the rhythm, larger Wurlitzer pianos on\y $445.00. Wurlitzer and the melody of the music. Plainly, the After this rather speculative analysis 1 claim to make singers without a teacher. MacPhail School of Music Minneapolis, Minn. such favorites among Studio Pianos, without us consider the composition as a whole ai I he money paid for such charlatanism had singer who cannot, or does not, enunciate The music is based on the anxiety and better be burned. It would at least pre¬ distinctly the words of a well-conceived June 21st to August 1st, 1926 generations of music lovers. player action, range up¬ dread embodied in the action, which are The same phrase as in Ex. 3 intimates the enjoy its beauty. We shall find that t vent the harm that is sure to follow trying song had far better limit himself to the expressed by the strong rhythm of triplets fear of the child but is one scale-degree music considerably increases the force Gunn School of Music and But when you hear it you’ll ward from $295.00. Prices to study in such ■ a manner. There are glorified vocalise, or composition for voices uninterruptedly carried on through the higher to show that his anxiety is growing. the poet s words. We are momentar Dramatic Art f.o.b.Factory. Convenient many excellent teachers of singing through¬ in which the sense of the literary text is ot agree this is true. whole piece, its regularity changing only calmed by the voice of the father- , The Fine Arts Building, Chicago Hi. out the country; so there should be no ex¬ secondary importance. terms can be arranged easily in the last three measures. The left hand sympathize with the anxious child • We a June 7th to 19th and August 2nd to 29th Only 4 feet 1 inch high cuse for choosing a poor one. The idea to Clear articulation should be amongst the with its rapid scale-passages like the fol¬ ^ thtC, a,luri"S words’ot t good habits of every singer, and although it and only a trifle wider with the Wurlitzer dealer. lowing : Erlking. Breathlessly we follow the even start with is that the best is none too good, inis does not mean the highest in price, is met with more often than it was a few Sold by Wurlitzer dealers everywhere Ex. 1 f tveep this thought in mind when making years ago it is still rather the exception than '^«^REESSEpONf.lS{:NEG The Rudolph Wurlitzer Mfg. Co., North Tonawanda, n. y. e quest. Then success will crown the the rule, Perhaps this is due to a preva- r k^dine Voice Culture, Sight Singing and Mu- rsas* effort and all will be well. 'ent idea that it depends upon conscious Principal Wurlitzer Stores effort alone in the enunciation of certain The father apparently has attained his Tw° the greatest masters—Goetl vowel sounds and certain words when and Schubert call forth these feeling suggests the weird surges of the wind former calmness which is expressed mu¬ they are sung. The singer who has It is done spontaneously; and for just th ., ,^e able to sing Mozart well, too, is through the galloping triplets of the right sically by a more sustained bass with a formed the habit of good articulation IANOS • ORGANS < HARPS « MUSICAL INSTRUMENTS reason we are deeply impressed. tne ultimate aim of all musicianly singers. m everyday speech, allowing the lower jaw elen Fetter, Washington Star. MAY 1926 Page 383 Page 382 MAY 1926 THE E 0E ETUDE Making the “Words” Understood SUMMER DETROIT By Ben Venuto verv best singers always make the enunciation in song, it is of great help to MASTER CONSERVATORY Ids understood; so do the very worst know just where the greatest difficulties v ° namely, the average singer of lie, and what is their real nature, in order S“ge nnes in vaudeville or burlesque to concentrate attention where the greatest OF MUSIC ws who have this one accomplishment need is. Any good teacher will train you toThe exclusion of all others that go to on the vowel-sounds; hence we shall speak SCHOOL SUMMER Ike up a vocal artist. The great singers here only of consonants. Among the easier consonants are m, n, i., Pres. Elizabeth Johnson, Vice-Pres. ™ ci.rrpss fully because they have made MASTER an° intensive study of diction, including the ng (as in wing), 1, and r, because they can June 28 to August 7, 1926 (40th Season) mo, VoIcei^VtoUn^Cello, Oreun. Theory, Wt enunciation of consonants as well be actually sung with a musical tone, and SCHOOL- proper towels. The other sort does it by con¬ even prolonged (though no good singer as vow would think of prolonging them, in actual June 28 to centrating their attention on the words and MME. DELIA VALERI SLg tone-quality go to the dogs. Bu use). Next to these may be named d, h, World-famous instructor of the Voice, Repertory Teacher’s and Auditor Classes. August 7— „ between these two extremes, the great and g (as in game); these represent a Available for instruction from June I to July 20. Six Weeks of fairly well-trained singers almost quick transient vocal explosion, yet the JAMES H. BELL, Sec., Box 7, 5035 Woodwwd Ave., DETROIT, MICH. Invariably fall down on the matter of clear tone of the voice actually enters into them, HENIOT LEVY enunciation of the words. so that a good singer may easily make Most good vocal teachers, at one time or them resonant. The most difficult are t, another in the student’s course, use exer¬ p, and k (or c as in can), because there SILVIO SCIONTI is really no tone in these; they merely in¬ Brilliant pianists and eminent instructors. Repertory and Teacher’s Classes. cises designed to improve the enunciation (finrinnati (fonser&atorig ofXtlnsic of. the various consonants combined witli dicate a certain form of attack in ap¬ vowels; for instance, such syllables as ma, proaching the following vowel: “t” attack¬ KARLETON HACKETT m do. These are good, as far as they go. ing it by means of the teeth and tip of the Distinguished vocal instructor and_critic. Repertory and Teacher’s Classes. The Home Beautiful Contains a Grand SUMMER SESSION OF THE DEPARTMENT OF However, it is not our present purpose to tongue; “p” with the lips, and “k” with the palate. The best one can do with these PUBLIC SCHOOL MUSIC (Accredited) enter into a technical discussion of this JACQUES GORDON phase of the matter. Suffice it to say, that three sounds is to make the proper action I”ltns^'tiS(m^eOrcheTi?I8!^nSmCntiit id*2"1 ccrtific“,e'’ "* *>"»*• of those vocal organs mentioned as quick Famous violin virtuoso and Concert Master Chicago Symphony Orchestra. ation with the University of Cincinnati provides a complete course for Public .Sch.'lol Music Supen the most skillfully-designed exercises are and decisive as possible, avoiding slug¬ futile to accomplish the object in question MASTER CLASSES IN VOI.CE, PIANO AND VIOLIN gishness or incompleteness of adjustment. C7\fo richer gift than this tist, normal and preparatory courses in ail depts. so long as the pupil remains set in those HERBERT BUTLER It remains to speak of the several “hiss¬ Send lor Summer Announcement slovenly habits of speech which are only Eminent teacher of the violin. ing” letters. Of these, z ( or s when it Highland and Burnet Avm. and Oak St. too prevalent among our population. A has the sound of z, as is wisdom), is not person who pronounces picture and pitcher GLORIOUS music on the bridal day . . . unduly difficult; neither is z (in azure), WILHELM MIDDELSCHULTE exactly alike, or who makes no distinction which is the same sound as the s in pleas¬ pleasure and happiness for a lifetime. All One of the world’s greatest organists. DANA’S MUSICAL INSTITUTE between consul, counsel and council, or WARREN, OHIO ure. But the sharp sound of s, as in sing, who regards “somep’n" as a fair equiva¬ ^Uis you give — and more when the gifts a is one of the most difficult of all, especially The Only University of Music in the World lent for something, in habitual every-day JOHN KENDEL at the end of a word. It is not a beautiful Brambach Baby Grand. All branches taught on the daily lesson plan : : Special Music Supervisors Course speech, has a long, long road to travel be¬ Noted authority on Public School Music. | sound at best, yet it must be pronounced, pens Monday, September 7th, 1925. Summer School opens Monday, June 22nd, 1926 fore attaining good diction in the art of The Brambach was the pioneer in the Small not slighted, or the words will be mangled. Faculty of over one hundred artist teachers Catalogue on application to LYNN B. DANA. Pres. Desk E. song. It is a sound that does not carry well, and Baby Grands. Today it is acclaimed by music The first thing to do, then, if you would the singer may often feel that it is even too lovers the world over. Special Summer Courses for Supervisors pronounce distinctly in song, is to mend prominent, when in fact it may not be your ,every-day speech. Avoid colloquial of Public School Music 0. E. Robinson, Director Qhbf lanii Jhatitufe audible to the hearers at all. There is not Compact, beautifully-proportioned, this instru¬ contractions, and pronounce every word the slightest possibility of its being too clean-cut and distinctly. When this is once ment is an achievement in piano making which nfQuatr distinct, only it must not be prolonged at Special Summer Courses in Dramatic begun, it will not be strange if you should all. ' As an example of its weakness in only Brambach’s 103 years of experience could awake to the realization that there are carrying-power—no echo ever repeats the Art, Expression Walton Pyre, Director Summer School, June 21st - Aug. 1st produce. It is less than five feet in length, yet some words of which you are not entirely "s” in a word, and it seldom registers sure. As long as you were satisfied to Complete courses under regular faculty properly on phonograph records. has all the responsiveness and tonal excellence School for Theatre Organ Playing for students of all grades. mumble them, y ou got by without trouble, The sound of th (as in thin) is an¬ but an attempt at a really clear and ade¬ of far more expensive instruments. Frank VanDusen, Director Special courses for teachers and profes¬ other difficult sound to make carry over the quate articulation leaves you in doubt. sionals. Exceptional living accommoda¬ footlights and should be regarded as much Thousands of American homes now enjoy this tions tor out of town students. Here is where the dictionary will help, Special Summer Courses in Musical in the same category as sharp s; but the beautiful Baby Grand. And its Mrs. Franklyn B. Sanders, Acting Director with careful study of the marks of pro¬ Theory nunciation. Ellis' book, Speech in Song, sound of th (as in then) offers no special popularity is easily understood 2827 Euclid Avenue Cleveland. Ohio difficulty to good speakers of English. As Arthur O. Anderson, John Palmer, Leo Sowerby contains many valuable hints worth study and, incidentally, takes up not only Eng¬ will be observed, it is necessary to distin¬ when you consider its beauty, Lectures by eminent Educators, Recitals by distinguished artists lish, but also several of the more impor¬ guish carefully between the name and the quality and dependability. , tant foreign languages. sound of a letter, especially in our own lan¬ FREE SCHOLARSHIPS guage, which has an unfortunately erratic &asijr to own one Mail coupon below for further DUNNING SYSTEM °nT,'^s“* Easy and Difficult Consonants Mme. Delia Valeri will award two free scholarships t The Demand for Punning T^hers SuM_whvt mode of spelling many words. information and for a paper i the most talented and Canno, fee In making a serious study of the art of Because of the enormous deserving students. Apply for application blank. Brambach production, this re¬ pattern showing how little Superior dormitory accommodations. das* J* IS, 1**. markable grand piano is priced floor-space is required by this Rates of tuition moderate. Chalking Up a Masterpiece surprisingly low, $650.00 and up, f o. b. blew York City. beautiful Baby Grand. The Are., Win,.Haven,V,orida, Normal Classes ;-Ju„e U,-Tampa Fla.' Jnl, 1 nand was appointed (in 1820) to the office Dinlnm ^ summerJc°“rses taken, toward Certificates, Surely a composer of genius was never On convenient terms, if de¬ diplomas, Degrees—granted by authority of the State of Illinois. of Regius Chon in the church of Altler- pattern will be mailed with our K'it”. eSh6M,, RobbTogden, Box 544, Waterbuxv T*Iai* Pk)rmal Claases, Feb. 1, 1926, three months; Ji to be heard. They may be able, and often OF MUSIC 'You see, by what we are doing to-mgl Mr.. Land r.-DL: 1536 Holly*St., DalU^Tex'u‘'nApra and Jun*- are to sing French or Italian better than ... u:n . ’ e,“’ claaa« held Dallas, T.ns. and Ada. Okla. mat opera in English can be accomplish native French and Italian singers; but al¬ 571 KIMBALL HALL Chicago, Illinois Isabel M. Tone, 626 S. Catalina St., Loa An/.I., r i t , a''d that it is beautifully effective, ways, when opera is given in French or JOHN J. HATTSTAEDT. President m". u Lu !«l_Wes. Alabama Areti; H^t“.^ "*t oeheve honestly that American voices a H- R. Watkinr! ,1 Gunn School of Music Free Conferences and Dramatic Art On the Business Side /{Summer Session of Music Teaching Fine Arts Building •' Beginning June 21st CHICAGO For the benefit of those Length of course arranged to suit individual convenience attending the 1926 Sum¬ mer Session of Master Classes SPRING and SUMMER MASTER TEACHERS (Write for Outline) L '■!. 1 fl 11 Master Classes in Piano, Voice I II II II and Violin, conducted by re- Piano Ik*.^/ nowned artist teachers, at so Moriz Rosenthal low a cost as to be within reach Lee Pattison SUloollQiisicScliool ~atan amazingly low of all. Founded 1895 by Wm. H. Sherwood Glenn Dillard- Gunn FINE ARTS BUILDING cost, averaging $150 Classes in Teaching Repertoire, Arthur Granquist 410 So. MICHIGAN AVE. or less for a full course Music Pedagogy (Normal), Voice fp> CHICAGO, ILLINOIS of study under Public School Music, Harmony, Counterpoint, Composition, Percy Rector Stephens master teachers History and Appreciation of Frantz Proschowsky Music; Accompanying, Ensem¬ Albert Borroff ble Playing, Sight Singing, Orchestra Conducting, Choral Con¬ Zarko Savic GIRVIN VIOLIN SCHOOL ducting, Dramatic Art, Dancing and Languages; a special course Burton Thatcher RAMON B. GIRVI.V Director in Community Music, and another in Motion Picture Organ. Stuart Barker Perspiring hands Teachers’ Certificates may be earned by completion of pre¬ A SPECIALIZING SCHOOL scribed Courses. Violin Double Bass i interpoint Private instruction available from the entire Faculty of more Amy Neill than one hundred instructors, in any subject desired. Abraham Sopkin ittractions of the School: Lecture., C certa. Rerit- have ruined many la. The Symphony Club Orchr.irThe Intermediate Dormitory accommodations provided at moderate rates. Guy Herbert Woodard Irchcstra. Junior Orchestra, v . Quartette* and Rachel Major Eight Vacation History, Harmony, Coun¬ terpoint, Composition 1430 Kimball Hall-Dept. E. a performance! Corner Wabash Ave. and Jackson Boulev: Excursions Felix Borowski CHICAGO ^cation All the good times of a real va¬ Leo Sowerby Odorono harmlessly corrects cation can be enjoyed in a Dramatic Art series of eight vacation excur¬ this unnatural condition. AH the good times of sions, conducted by the School. Sophia Swanstrom Young J Theater Organ ^ a real vacation along The schedule includes: 1. An Robert Strehl Emerson N intensive Summer Send for sample automobile trip through the H with the advantages Degrees and Diplomas Session course, em¬ Chicago Parks, concluding with of summer study Will be granted to professional mu¬ bodying the fundamen¬ formulated by a physician for be a visit to the studios of the The greatest annoyan sicians under conditions established bv tals essential to preparation famous sculptor, Lorado Taft. the National Association of Schools o’f the moisture and odor of perspi foraposition;givenby Mildred has to cope with, is 2. A visit to the Art Institute. 3. Capitol Theater Party. 4. A Music and Kindred Arts. Teachers’ hands Many a brilliant perform- tion. It is a clear, clean antisep visit to the Field Museum. 5. A boat ride on Lake Michigan. Certificates Issued to those having Fitzpatrick, one of Chicago’s ance has almost met disaster be- liquid now widely used in h 6. A visit to Newberry Library and the Chicago Historical necessary credits, taking the Normal highest paid and most popular Training Courses under Glenn Dil¬ theater organists. cause the player’s hands were wet pitals by physicians and nurs Society. 7. A visit to the Chicago Tribune, to see the printing lard Gunn, Percy Rector Stephens plant, the great Radio Station WGN, and the Observatory Burton Thatcher, Stuart Barker’ and slippery with perspiration- The perfect Underarm Toilette Tower. 8. A journey in chartered car to Ravinia Park. Picnic Amy Neill, Guy Herbert Woodard Rachel Major. supper in the Park. Opera in the evening with Metropolitan and Chicago Opera Company artists. condition is depend upon Free recitals will be given every week by artist teachers of Living Accommodations Sfimiloofl (DusicSclionl Founded 1895 by Wm. H. Shefwood the School. t of any kind, odor as well ai Teaching Positions as well as heat, f The Sherwood Music School Opportunity now has Thirty Neighborhood Branches in Chicago. These Physicians advise controlling Twice a week is all you need to ~for professional Branches give rise to positions COSMOPOLITAN this annoying and irritating per- use it! One application will safe- for advanced students and spiration in limited areas such as guard you for three days, from advancement teachers who wish to teach and Public School Music scsr music» at the same time continue their study under our artist teachers. There are also excellent posi¬ SUMMER session correct i. quickly and easily with clothing, and that repellent odor tions available for our students, when qualified, in the thousand course leading to a Odorono. One quick application which destroys your daintiness, a special Public School and more Branches of the School, located throughout the coun- assaij!liP several hours before playing will Just a short, little part of the try. Additional teachers for the 1926-27 teaching season in the Chi¬ Teacher’s Certificate. keep your hands dry, comfortable toilette—yet how much it saves; cago Neighborhood Branches will be engagedfromthose inattendance atthc Summer Session. The number of openings is so large that any and flexible. how much it gives in comfort and talented, ambitious student or teacher, with reasonable preparation, Odorono you know, is the orig- attractiveness! 35c, 6cc and $i at For particulars address—Edwin I,. Stephen. Mgr. may be sure of an opportunity in our organization. COSMOPOLITAN SCHOOL OF MUSIC inal perspiration corrective— any toilet counter or sent by mail. Boa E, 16th Floor Kimball Hall Bldg., Chicago Address inquiry for Catalog and Teaching Position Application Blank to SlicrulooD CDusicSchoot Founded 1695 by Wm. H. Sherwood INTERNATIONA! musical and edu- 11U1NAL CATIONAL AGENCY FINE ARTS BUILDING MRS. BABCOCK 410 So. MICHIGAN AVE. QFFERS Teaching Positions, Col- V? CHICAGO, ILLINOIS ~ ,. Conservatories, Schools. Snamood fl)usicSdiool Also Church and Concert Engagements CARNEGIE HALL, NEW YORK Founded 1895 hy Wm. H. Sherwood FINE ARTS BUILDING—410 So. MICHIGAN AVE. '"^^l^^i'WConservatory of Mas Graduation v, CHICAGO-ILLINOIS Total livins Michigan State Normal College Co'nservatnJT-" ^ '°W --1 conservatory of Music, Dept. 9. Ypsilanti, J MAY 1926 Page 3S7 Page 8S6 MAY 1926 THE ETUDE the etude THE history of the English anthem Kent, James, 1700-1776. Organist Tr’ Best William Thomas, 1826-1897. Dis- Brewer, John Hyatt, 1856. Organist, extends backward three hundred ity College, Cambridge and WincheJn' is’hed organ virtuoso. Organist, Pem- Lafayette Avenue Presbyterian Church, years, in an unbroken line of en¬ Cathedral. ter ,mgU p ad Chapel, Liverpool. New York City; Conductor, Brooklyn deavor to give to the church a musical Blessed be Thou, Lord God 0f br0 e Eord jS great in Zion. Apollo Club; Co-Founder, American service in keeping with her liturgy and em¬ Israel. * While shepherds watched their Guild of Organists. bellishing it. Song has ever been the The Organist’s Etude - - From the recesses of a lowly spirit. Hear my prayer. flocks. handmaiden of religion. The immediate O Jesus, we adore Thee. Boyce, William, 1710-1779. Organist Garrett, George M., 1834-1896. Organ¬ predecessor of the anthem was the motet Edited by Well-Known Specialists O God, the rock of ages. of the Catholic Church. This was a con¬ St. Peter’s, Vere Street; St. Michael’s’ ist Madras Cathedral, St. John’s College When the weary seeking r trapuntal composition, built upon the Cornhill and All Hallows’, Thames Street’ and Cambridge University. More love to Thee, O Christ. church or Gregorian modes, with voice It is the Ambition of THE. ETUDE to make this Organ Department By the waters of Babylon. In humble faith and lowly love. Rogers, James Hotchkiss, 1857. Organ¬ parts moving independently. In this style “An Organist’s Magazine Complete in Itself” Great and marvelous. Prepare ye the way. ist, Euclid Avenue Temple and First Uni¬ of composition, sometimes in sixteen or Lord what is man. Thy mercy, O Lord. tarian Church, Cleveland, Ohio. more parts, rhythm was disregarded or at Atwood, Thomas, 1765-1838. Organist Tours, Berthold. 1838-1897. Musical edi¬ Doth not wisdom cry. least subordinated and the movement of St. Paul’s Cathedral. ’ tor to Novello, Ewer & Co. I will lift up mine eyes. the parts in easy flowing melodic form Bow down Thine ear. Blessed are they that dwell in Thy Lord is my light. was the chief aim. English Anthems and Their Composers Come Holy Ghost. house. Lord is my rock. Much was accomplished along this line Coombs, C. Whitney, 1859. Organist, My soul truly waiteth still upon God hast appointed a day. of musical writing. For nearly five hun¬ Church of the Holy Communion and St. dred years the musicians of the Christian Including Many Works ly Leading American Composers for Ihe Church God. Pillars of the earth arc the Lord’s. church had been experimenting with the Callcott, John Wall, 1766-1821. Or¬ Barnby, Sir Joseph, ..*»* C«,U,c- ^ « Q ,„r of marked ability, fine organist and possibilities of the Greek modes and grad¬ By George Alston Brown ganist to the Female Orphan Asylum and Let your light so shine. • composer. Succeeded Gounod as conductor ually developing a polyphonic style, until St. Paul’s, Convent Garden. Heavenly message. of the Royal Albert Hall Choral Society. one great man stands out, overshadowing VI reign and are used to-day in the Eng- either as translations or adaptations. The Praise the Lord, O my soul. Woodman, Raymond Huntington, 1861. It is high time to awake out of al,„ h,'S Pr,edec.essors* G'ovanni Pierluiga, ijsh and American churches, church canticles and communion services Thou shalt show me the path of life. Pupil of Dudley Buck. Has held various called Palestrina from his birth place. 0f Farranf, it is interesting to remark are likewise not included. sleep. Wesley, Samuel, 1766-1837. Younger organ positions. His life was spent as director of music that the anthem. Lord for Thy Tender King all glorious. And in that day. brother of Charles Wesley. Introduced O how amiable are Thy dwellings. at Rome, in the service of popes ; and the Mercy’s Sake, so long attributed to him, Chronological List of Anthems Song in the night. catalog of his works includes ninety-five js now thought, by scholars, to be the work Bach’s music to England. Sweet is Thy mercy. Lord is my rock. masses. In melodic grace he excelled his of Tye. Tye, Rev. Christopher, 1508-1572. Rec¬ Sing aloud with gladness. Wood, David Duffield, 1838-1910. Born Parker, Horatio W., 1863. Professor Netherland masters. The. Palestrina model tor of little Wilbraham, Newton and Dod- Thou art a priest forever. near Pittsburgh. I Vnnsylvania, and lost his 0f Music, Yale University. remained the standard throughout the six- Form of the Anthem dington-cum-March. First composer of WEAVER* Passion music according to St. John’s Horsley, William, 1774-1858. Organist, sight at an early age. Organist, St. Steph¬ Bow down Thine e; teenth and part of the seventeenth cen- The form of the anthem is not restricted, GRAND PIANOS Gospel. Ely Chapel, Holborn and Belgrave Chapel! en’s Church, Philadelphia. Lord is my light. tunes. Then the germs of modern forms xhere is Uniimited scope for musical inven- There shall be no more night began to assert themselves, and the im- tion. and> as the E lish anthem has Father of all. Awake thou that sleepest. Light’s glittering mom bedecks the Praise the Lord, O my soul. provement in organs invited greater instru- never ^ affected by the secular style Hoi ye that thirst. Hear me when I call. sky. ecause of its beautiful and enduring tonal Twilight shadows fall. B mental support for the voices. The newly nor brought under the inflUe„ce 0f the How still and peaceful. Crotch, William, 1775-1847. Organist, Beach, Mrs. H. H. A., 1867. Gifted American composer and concert pianist. qualities, a host of cultured people—gifted discovered laws of chord formations, mel- opera as was the case with Italian musi(- In life’s gay morn. Christ Church Cathedral, St. John’s Col¬ Buck, Dudley. 1839-1909. Noted organ¬ O God of Bethel. ist, composer and teacher. One of the All hail the power of Jesus’ name. musicians, talented singers, skilled teachers, ody, rhythm and tone color, opened up an it has maintained a diginity and appropri- lege and Professor of Music, Oxford Uni- ‘ n u ’ 1 Q . , , ^ ^s maintained a diginity a Thou knowest, Lord. unlimited field which composers quickly ateness in style which is much ro its cream ...Tallis, ,- - • Thomas,----- 1520-1585. Organist, versify. first American composers to achieve gen¬ earnest students, and discriminating music lov¬ made use of. Another factor of import- American composers have followed the Waltha,m, Abbey- eral recognition. Praise the Lord, all ye nations. ers—acclaim the Weaver Grand Piano as one Methinks I hear the full celestial Strain upraise, Alleluia. I will lift up mine eyes. ance, which had much to do with the British style, giving to the church many AI1 People that on earth do dwell, choir. changing trend of church music, was the notabie anthems Hear the voice and prayer. As it began to dawn. Borch, Gaston, 1871. Pupil of Massenet. of the really artistic instruments of America. Novello, Vincent, 1781-186!. Organist, Conductor, Lausanne Symphony Orches- r7'g‘OUS “n,rest which marked ‘he close Mr. Edward Dickinson, in his History of ° Lord’ ChcIsfa and St. Paul's Cathedral ings. sacred words, the chorale for congrega- ventional commonplace must be largely at- 1623. Senior chorister of’ St. Paul’s Cath Hear O Lord, Awake, awake, put on thy strength. Blessed are the undefiled. [AUSTIN ORGANS) He that dwelleth in the secret place. tional evolved and developed, tributed, of course, to the absence of real Pupil of Tallis. O Savior of the world. 'THE standing of Austin in the one Lord is my strength and song. This was followed in the seventeenth cen- creative force in English music; but it is Bow Thine ear. O taste and see. Grieve not the Holy Spirit of God. * great city of Philadelphia, is indica¬ Demarest, Clifford, 1874. Organist, ted by Austin organs in St. Mark’s, St. tury by the church cantata which was also true that even if such creative genius I am Alpha and Omega. I will not leave you comfortless. Wesley, Samuel Sebastian. 1810-1876. Church of the Messiah, New York city. Luke and Epiphany .St.Clement’*,Church brought to perfection by that master existed, it would hardly feel free to take Sing joyfully. I saw the Lord. of the Saviour, Arch Street Presbyterian, Organist, St. James, Hampstead Road; St. I am the Lord, thy God. A Valuable Aid musician, Johann Sebastian Bach. He liberties with those strict canons of taste I will lay me down to rest. Sullivan, Sir Arthur Seymour, 1842- Cathedral SS. Peter and Paul, Girard Giles, Camberwell and other churches. O Israel, return unto the Lord thy College, Temple New Jerusalem. ignored the operatic style of the Italian which have become imbedded in the un¬ Come, come, help O God. 1900. Organist, St. Michael’s, Chester To Piano Study Ascribe unto the Lord. God. church music and by his genius domi- written laws of Anglican musical pro- Morley,_v> Thomas,_ 1560-1604. Pupil 0f ments; models of modern construction and Give thanks unto the Lord. Square and St. Peter’s, Crafiley Gardens. Praise ye the Lord. nated the ecclesiastical music of his time, cedure. In spite of these limitations, Eng- Byrd, organist, St.’Paul’s ’ I will mention the loving-kindnesses. beautiful churchly tone. Thou wilt keep him in perfect peace. Sing aloud unto God. In England the Reformation split the lish church music does not deserve the Father, I am Thine only Son I will sing of Thy power. church■' ' ‘ ' two hostile groups, the Ang- obloquy that has been cast upon it by cer- Dowland, John, 1562-1626. Lutenist to Smart, Henry Thomas, 1813-1879. Or¬ Harker, F. Flaxington, 1876. Organist O taste and see. and conductor Male Choral Society and St. AUSTIN ORGAN CO. licans and the Puritans. This had King Charles IV of Denmark. Shake- ff™4; Blackburn Parish Church; St. decided effect upon the church music, Philips, Regent Street; St. Luke’s, C" Martin, Sir George C., 1844-1916. Sue- Cecilia Society. 165 Woodland St. Hartford, Conn. «rv~r*'5=* ™ ceeded Stainer as organist of St. Paul’s Calm on the listening ear of night. ing two distinct lines of development— mass nor adopted the methods thatCjtb0 have„c Pilgrim. sionate treet and St. Pancras.Pancras, EustonF.nstnn RoadRoad. the ritual music of the established church transformed secular music in the modern Come Holy Ghost Pe glad, O ye righteous. Cathedral. Great is the Lord. and the psalm tunes of the Puritans. fra is not altogether to its discredit. Leav- Gibbons, Orlando, 1583-1625 O Lord hath done great things. Hail gladdening light. path of the just. abits of touch and of With these forms we have naught to inS out the wonderful productions of Se- Westminster’estminetpr Abbey!am,,,..’ ' urgamst, Lord is my strength. Ho, every one that thirsteth. _ Abide with me. ‘ ° Mioreover ,*’y our do in this survey. But growing up side bastain Bach (which, by the way, are no **-••- Holiest, breathe an evening blessing. Matthews, H. Alexander, 1879. Organ- Dr. WILLIAM C. CARL Nickel & Gross t Almighty and everlasting God i3CiarrCn' S!r George Alexander, 1813- This famous by side with the liturgical service, was the Unger heard in church service in Ger- Whoso dwelleth under the defense jst> st_ Luke’s and the Epiphany Church, Eyes of all wait upon Thee, O Lord 1 . Pr°fessor of Music, Cambridge Uni- Instructor product—the world's highest- anthem, the successor of the Latin motet, many), the music of the Church of Eng- Lift up your heads. of the Most High. Philadelphia. Conductor, Choral Arts So- only : and in England the anthem took a special land is amply worthy of comparison with Muskf’ Prindpal of Ro>’al Academy of players of e-—- -- — Why art thou so heavy, O my soul Hall, Charles King, 1845-1895. Organ- ciety. of Many Prominent Organists built by the oldest, largest and leading and significant form. The words of the tbat of the German Evangelical Church; Day is sinking to a rest. makers of high-grade piano actions. Blow, John, K48-^08. Organist, St. O how amiable. 1, Brondesbury Church. anthem are not prescribed by the church, and ‘.n abundance, musical value, and con- Peter s, Westminster. Lord is my light. Hear me when I call. Recessional. Director WESSELL, NICKEL & GROSS but they are usually taken from the Scrip- formity to the ideals which have always Shadows of the evening hour. I was in the spirit. Wherewithal shall a young man. Lord, who shall abide. of the Ouiimant Organ School Established 1874 New York City tures or from the book of Common Prayer. g°verned Publ’C worship in its noblest Look upon mine adversity. Gilchrist, William Wallace, 1846-1916. Praise be Thine. The hymnal has also furnished inspira- estate, it is entitled to be ranked as one of 18?,ennltt> Si.r William Sterndale, 1816- Come, O thou traveller unknown. Write tor Catalog Pi,rr^uVe rr°rC* and hear us. p • • • Cambridge-noiessor Professor orof musicMusic and Organist, Swedenborgian Church, Phila¬ tion for many beautiful hymn anthems. tbe E^eat four historic schools of Christian delphia. Thou wilt keep him in perfect wS£L I hrhy’ 169S- 0rganist> Pp °f Royal Academy of Music. Westminster Abbey. Blessed be the Lord God of Israel. Except the Lord build the house. peace. 17 East 11th Street, New York City Henry Purcell and His Successors flec‘ing thfr following chronological Let my prayer come up. Therefore they shall come God that madest earth and heaven. r , "St of atherns, the task has been a per- The Dragging of Hymns The modern English anthem form dates plexing one. To include all anthems of “7, Sir George J, Or- I heard the voice of Jesus say. rom the time of Henry Purcell (1658- merit would mean not a magazine article O all ye people, clap your hands. ganist, St. George’s Chapel, Windsor. Foote, Arthur, 1853. Organist, First To The Etude, Praise the Lord, O my soul. MOTION PICTURE MUSIC 1695) ; and Gibbons stands as virtually but a book. It has therefore been Jesu Word of God Incarnate. Unitarian Church, Boston. In reading your Etude of November I FROM FRANCE the 'father of pure ^ Blow 5 1678'1727' Succeeded Dykes, Rev. John Bacchus, 1823-1876. Still, still with Thee. find the question and your answer with Send for Complete Orchestra Catalogues touched by Roman influences. With the The inclusion'or exclusion, as we approach Put me not to mb, t Arise, shine. reference to the congregation dragging in FREE SAMPLE PIANO PARTS mor Canon and Precentor of Durham. and Special Offer to Organists advent of Tye, Whyte, Tallis and Farrant, the modern school and the work of living Sing praises to a V>car of St. Oswald, Durham. Christ, our Passover. singing hymns. My experience in over- we reach the time when the Wtnuia,,formality of composers,_ .... . „ omg Praises to the Lord. Chadwick, G. W., 1854. Organist, South coming this is to play the air m octaves, exacting. The Greene, Maurice, 1695-1755 n™ • , Lord is my shepherd. ManusMusic Co.,Inc.,145 W.45th St.,N.Y.C. harmonic rules stressed tonality which in list must be taken r less arbitrary. St. Paul’- .°r«a"«t, These are they.* Congregationalist Church, Boston, and using a good heavy organ. In using a earlier compositions was rather vague'.' For tte^k^f Uidg^UniverJhy^30'' °f MuS,C’ Cam'’ b-acher in the New England Conservatory two-manual organ I often play the accom- Tallis was the most famous of his age and factIrt that thicthis articlenrfiVla deals1 ~ exclusively with...m ~ y ’ 188QUSrey’ Rev' Sir Frederick A. G., 1825- °f Music, Boston paniment on the swell organ and the air 1889. Curate of St. Paul’s, Knightsbridge ; did much to give definite form to English anthems, Latin compositions are not listed - God is our hope and strength. Hark, hark,' my soul. on the great, either with a loud sing: e note Kill The Hair Root I will sing of Thy power, O God Professor of Music at Oxford. cathedral music. His responses, preces although many are available for use in Thou shalt love the Lord. or in octaves. By using this method I am O clap your hands together. Blessed be the Lord God of Israel. e. 'Vrlte^toda^m-losine 3 red^stnmps^We^teach^Beauty and litany, were composed during Edward Protestant Churches, with English texts, God who madest earth and heaven, sure no congregation willdrag the hymns. HARTFORD CONNECTICUT Thou visitest the earth. B rom the rising of the sun. Peace and light. ... ° praise tbe Lord with me. Please mention THE ETTIDE when addressing our advertisers. THE etude MAY 1926 Page 3S9 Page SSS MAY 1926 THE ETUDFj Organ and Choir Questions Answered Summer Master School June 28 to August 7 (Six Weeks) A School for the Training of Public School Music Supervisors and Music Teachers W. OTTO MIESSNER HAROLD B.MARY0TT RAYMOND DVORAK Noted Authority on Public School Music Well-Known Specialist in Public School Music Expert Band and Orchestra Instructor Classes in Classes in Classes in Music Appreciation Public School Music Methods Class Violin Instruction Sight Reading Band and Orchestral Instruments Class Piano Instruction Ear Training HS5&- PUBLIC SCHOOL MUSIC TEACHERS’- CERTIFICATES AND DEGREES Public School Music Teachers’ Certificates, Graduation Diplomas and the Degrees Bachelor of Music Education are conferred by authority of the State of Illinois at the end of each summer session upon music teachers and supervisors who have the required knowledge and pass satisfactory examinations. r. Raab, Mr. Collins, Mr. .Mr. Brady, Mr.h FREE FELLOWSHIPS SSS Mr. Eddy have each c st Sift for CHICAGO MUSICAL COLLEGE 60 E. VAN BUREN STREET Herbert Witherspoon, President STUDENT DORMITORIES {Chicago Musical College Building) CARL D. KINSEY, Manager A Conservatory Pledged to the Highest Artistic Standards. Established 1867 VALPARAISO Clare Osborne Reed L- awrence /COLUMBIA OonserveLtoTij of Music UNIVERSITY- oAppleton, Wisconsin smooior injgrQ VALPARAISO, INDIANA TWENTY-FIFTH YEAR A Department of Lawrence College Offers courses in Piano, Voice, Violin, Theory, Piano, Voice, Violin, Cello, Organ, and Public School Music. Students may attend the Music School and also take die regular work at Special Summer Courses Begin June 1 Band Instruments, Public School Music, Controlled by Lutheran University Associat,-- Professional since Sept., 1925. Open to all. For special Bulletin Public School Art, Dramatic Art. address office of the President, Dept. K.. VALPARAISO UNIVERSITY Valparaiso, Ind Summer School Orchestral and Choral Training, DENVER Five Weeks June 28 to July 31 Music Festival, Artist Recitals. COLLEGE of MUSIC, Inc. An Endowed Institution—Not for Profit Many Special Features for The Largest in the West—Diplomas and Degrees SUMMER SCHOOL the Teachers of Music June IS to July 27 Excellent Faculty and Educational Facilities INTERPRETATION FOR ARTIST STUDENTS Courses in Voice, Instruments. Public School Music Theory. Progressive Series, etc INTENSIVE COURSE FOR SUPERVISORS Fall Term Opens September 13th PIANO, THEORY, VOICE, VIOLIN EDWIN JOHN STRINGHAM. Mus. B.. P. D„ Dean 10th Ave. and Grant St., Denver, Colorado NORMAL TRAINING M1LL1K1N CONSERVATORY OF MUSIC PUBLIC SCHOOL MUSIC DECATUR, ILLINOIS n.uW ” W ™ A distinctively higher professional caatehinPia°noMVoi'c SCHOOLS Send for Summer School Booklet Bulletin sent fret upon request MUSIC Columbia School oE Music W. ST. CLARE MINTURN, Director. L Box E 509 South Wabash Avenue OR COLLEGE O^MUSTC P^You can[ PY u T SOME LEADING SCHC CHICAGO out all nearby homes where there are musfc tovers *nd °f y?ur a.mbitionus hlset The Etude. Write Circulation Department as to to" CSt them u a subscnpt,° ■zed Etude agent and earn money securing XripW i^s^re" Please mention THE E E when addressing our advertisers. Page 891 THE etude tiie etud Page 890 MAY 1926 Letters from Etude Friends cz The Child's Music in England’s Working Class Class Organization SUMMER T0 , THE7 fl Etudefew lines to snow you unit uie woi k- To The Etude: Approach to 1 rVwa°sf Recitals seem to be a part of the teacher’s and student’s life, in music. Yet tytyC >arsZaJ time ,01(1 aIT ntlineiikhea };itses artuructes, loins! "speciallyespecially 101 a organist.st. As a youth I always they are often boresome and not alto¬ Music Study MASTER tb0.3e<,n lmi)ltioif to play the organ. All my gether satisfactory, particularly in the hod “ as saved for the purchase ol pocket E« “ American Organ. I bought summer months. Many attend out of an Harmonium nt as j conld afforrt and courtesy; and those really interested are the boy or girl at the very outset has fouDd°a good i-tructorKh How ^rottd I felt only the parents and a few intimate always been one of the biggest prob¬ SCHOOL lems in music teaching. Leading friends. educators agree, today, that this can My class is organized in a club form, BUSH in?er wbicniiI5ih I1 11,1had'* been consecrated...... 1 f(ll. fIlvp played v»nrq be best accomplished by enabling the meeting about every three months at the lufs *c holr‘lead1 r Sitter leaving I hate kept youngsters to make music in their June 28 to August 7 (Six Weeks) h music, esppciauyspecially cichoir music, home of a student or at the studio. An own way with the aid of that uni¬ ‘“mT one son was taught piano ^and^ he tells informal recital is given each time fol¬ versal musical instrument—the Har¬ CONSERVATORY “y tales about playing among the war. My daughter is a singe. .. lowing a short business meeting. In this monica. After they have become Edgar Nelson Edgar A. Brazelton I * ^ _ _ her three children are getting on in way there is a continued incentive to pre¬ proficient on this instrument they PROF. LEOPOLD AUER Fresident Vice-President W /tlCtlgO pare a good recital piece and the interest will take naturally and enthusiasti¬ MASTER VIOLIN INSTRUCTOR OF THE WORLD gift and pleasure is kept up in the class. cally to the study of the piano, violin chimney sweep, ■ and other musical instruments. 1 organist, and I Occasionally a few friends and the A Hohner Harmonica for the boy ALEXANDER RAAB parents are given invitations to meet with or girl will help solve the problem. EMINENT HUNGARIAN PIANIST SUMMER SCHOOL us and they really enjoy the program. With the newly perfected Chromatic •e looked for in The club has its officers, colors and Harmonica they can play the com¬ found : that is, EDWARD COLLINS The Etude i i have help from class pins. Small dues are paid by the plete chromatic scale. It is not a RENOWNED AMERICAN PIANIST June 30 to August 3 an article abi toy, but a real musical instrument other church* singers who ap- members, this supplying a fund for deco¬ which will promote self-expression, The distinguished faculty of over 100 teachers includes such artists as— rations, refreshments and other interesting items. The comparison of the students’ rhythm, and accuracy, and lay the HERBERT WITHERSPOON foundation for serious musicianship. DISTINGUISHED SINGER AND TEACHER :>y liifferenccs in tl work shows so well their progress; and FREDERIC LAMOND phrases lieeause t WORLD-FAMOUS PIANIST ,n. B. Smith. they are thus interested in one another's work. Another thing it brings out is con¬ RICHARD HAGEMAN Peter W. Dykema, Prof. School I NOTED COACH AND ACCOMPANIST ARTHUR MIDDLETON A New Way of Learning the Lines fidence ; and when a public recital is given Columbia University. New York FOREMOST AMERICAN BARITONE and Spaces the students are much more at ease. Dorothy Enderis, Ass’t Supt., To The Etude : Often class members play a study num¬ waukee Schools. WILLIAM S. BRADY Since we nmv tench the (irnnd Stair a W. A. Gore, Supt. Schools, Webster HOHNER CELEBRATED VOCAL INSTRUCTOR whole, instead of first the Treble a ber to show their work on exercises, a EDGAR NELSON NellieVe’c. ° Hudd, Principal Mozart DISTINGUISHED VOCAL COACH study piece, or sometimes just a recrea¬ HARMONICAS tion number only, while others give a Harry0 YJ^sc^b,kSchoolMusic m FRIEDRICH ;;;rg 279 Fifth Avenue ^SSZSSZi New York. N. Y. We specialize in perfectly adjusted OUTFITS American Institute THE used by many of Americas most of Applied Music VIRGIL METHOD College of Music KATE S. CHITTENDEN, at the VIRGIL PIANO CONSERVATORY 20 W. 72nd St. New York City Very Shortest Way FRECKLES JOHN ML WILLIAMS Fine Pianist or a lid of These Ugly Spots and^ Surely and Have Superfine Teacher SPECIAL INTENSIVE TERM | SUMMER (for Teachers and Advanced Players) OTHINE MUSIC June 15th to July 3rd, 1926 SCHOOL Send for Circular Julia Weil, Secretary TWO NEW COURSES INSTITUTE OF MUSICAL ART 120 Claremont Avenue New York, N. Y. CRITICAL AND PEDAGOGIC COURSE reachers and Advanced Pianists under CARL FRIEDBE NORMAL COURSE FOR TEACHERS GRANBERRY PIANO SCHOOL 149 East 61st St., New York, N. Y. For PIANISTS, ACCOMPANISTS and TEACHERS DO YOU WANT TO HEAR ARTHUR HARTMANN SL.! They are playefd and recorded by Kreisler, Elman, Renee Chemet, Thibaud, Maud Powell Toscha Seidel, Andre Polah, ‘ ' Communicate at once with C. M. TUCKER 315 West 79th Street New York City n THE ETUDE when addressing our advertfs, THE ETPOj the etude MAY 1926 Page 397 Page 396 MAY 1926 Motion and Music recognition, the musician’s every movement will be hindered; his fingers will become heavy as lead; his voice will freeze in his By Leonora Sill Ashton throat; the notes will turn into unde¬ Ithaca Conservatory cipherable puzzles and the tones into 1000 Volumes It is an acknowledged fact among all sounds like squeaking doors and chugging of Music thoughtful music teachers that a deep sense steamboats. And worse, his habits of good of rhythm is inherent in the whole human technic will be undermined and replaced W. GRANT EGBERT, Musical Director A Revelation in the Classics, race and that the teaching of rhythm by slovenly ones. Thus, one careless prac¬ should be rightly a method of drawing it tice hour not only will counteract the Studies and Recreations out of a child rather than of presenting effects of a well-directed period, but also SUMMER SESSIONS it to him as' a new thing. will create wrong impulses that only days The pigeon story is a good object lesson of labor can overcome. “Mum1’ Offer a Summer of Accomplishment in a Recreational Environment for this theory. A man on the top of a high building in New York waved at Ten Weeks, June7—August 13. Six Weeks, July S—August 13. Rhythmic Methods is the word! the end of a long pole a piece of cloth as LEON SAMPAIX, Master Pianist and Pedagogue with corps of able a means of keeping a flock of pigeons in By Emil A. Bertl ^ to millions assistants will give special courses to young artists, teachers the air and thus teaching them to fly. Young pupils in general find it very dif¬ “Mum” prevents body odors and students. The birds, in an effort to get back to the ficult to comprehend the meaning of roof, instinctively • adopted the rhythm of Millions of women use FLETCHER-COPP Music Method Normal School under persona! the waving cloth. rhythm, and how to carry out difficult rhythms unless they are made to feel, “Mum” because they realize direction of Mrs. F!etcher-Copp, June 21 to August 13. The Thus, instead of endless explanations through the sense of touch, the various most noted method for children. Teachers in demand. and countings let the pupils see in the air that it is essential to their fem¬ beats. In the following example from the motion of the rhythm; visibly beat time inine daintiness and charm. ALL DEPARTMENTS IN SESSION with complete Facult Streabbog’s Op. 63, Exercise XI nationally known Teachers and Artists. for them in their earliest little marches Enjoy complete freedom and waltzes, even in the earliest finger Allegretto' NORMAL COURSES in all departments by well-known specialists. CHOPIN exercises. from the unpleasant odor of ORCHESTRAL REHEARSALS. Daily rehearsing orchestral works 117. Chopin Album No. 1.85 Pupils may also learn much about perspiration and other embar¬ and accompanying so'oists. 15 Well Known Compositions rhythm in the hours outside their piano rassing body odors. ‘ ‘Mum’ ’ 564. —Album No. 2.85 lessons if they are trained to develop is the dainty cream deodorant CHORAL AND ORCHESTRAL CONCERTS at end of term. 12 Well Known Compositions their powers of observation. Chopin 754. —Album.1.75 described tempo rubato, stolen time, as that keeps you fresh and All courses completed lead to Certificates, Diplomas, Degrees. 32 Favorite Compositions -■ [7 i f- r 510. —Ballades and Impromptus . 1.25 “A tree’s branches waving to and fro in sweet from bath to bath. Dormitory reservations should be made now. the wind, while the trunk remained firm.” it is an excellent plan to have the pupil 530. —Ballades.85 “Mum” is so entirely safe Other examples in nature of rhythmic count the beats as follows: “1 and a, 2 and Full details,- Summer School Catalogue and Year Book sent on 410. —Etudes. Op. 10 and 25, and Three New Etudes. Complete . 1.25 motion are a brook running evenly over a, 3 and a, 4 and a,” the teacher at the that it is used regularly with request. Fall Term begins September 23, 1926: Address: same time tapping out the rhythm on the 411. —Etudes. Op. 10.65 the stones, the ripples on a lake caused the sanitary napkin. pupil’s shoulder. Results obtained from 1 DeWitt Park, Ithaca, New York 412. —Etudes. Op. 25, and Three by a stone thrown on its surface, the drip- New Etudes.85 drop of rain from eaves or from melting this method are based on the fact that, 250 and 500 at stores or Jrom us 415. —Mazurkas. Complete .... 1.75 icicles, the flight of birds, the building though they cannot visually comprehend postpaid, 100 trialsize also postpaid. rhythm, they can readily feel it. 870. —Ten Most Popular Mazurkas . .65 of a spider’s web. Lessons from the city, MUM MFG.CO., 1119 Chestnut St.,PbBa. —College of Fine Arts— 350. —Nocturnes. Complete . . . 1.10 the whirr of machinery, the circling of MUSIC SUPERVISORS 375. —Polonaises. Complete . . . 1-10 wheels, the endless life and movement of Haydn’s “Creation” Syracuse University 637. —25 Preludes, 3 Rondos . . . 1.10 Make Summer School Count Harold L. Butler, Dean the streets, likewise lead up to a fuller “One moment I was as cold as ice, Syracuse, N. Y. 700. —Preludes, Op. 28 and 45 . . . -85 understanding of the ultimate beauty of the next I seemed on fire; more than once A happy, profitable combi¬ 701. —Rondos, Op. 1, 5 and 16 . . 1.00 musical rhythm. I thought I should have a fit,” wrote ALLEN’S nation. A Summer of special MUSIC, ART, ARCHITECTURE 500. —Scherzos and Fantaisie . . . 1.25 If pupils see the motion of your hands Haydn regarding the first performance of study at outstanding School for 900 STUDENTS 42 INSTRUCTORS 300. —Waltzes. Complete.85 as corresponding to the desired rhythm, his great oratorio, “The Creation,” a work FOOT-EASE 503. —Impromptus. Op. 29, 36, 51,66 .50 MusicSupervisors, plus attractive Four-year Courses in if they have pointed out to them the wheels that took him eighteen months to write, Makes recreational activities, social Piano, Voice, Organ, Violin, Com¬ Consult your dealer. uAsk for catalogs of life going around, if they are taken up “The first performance of ‘The Crea¬ affairs, etc. Credit toward grad¬ position, Public School Music to the house-top to watch the pigeons tion,’” Cuthbert Hadden reminds us in his Walking a uation given for Summer School leading to the Bachelor's degree IP. JF. ^oob JHtiSic Co, learn to fly, they will fit their first musical biography of the composer, “was of a Unexcelled advantages for the study of music. work. Dormitories. Gym. Special'Studeots may enter at any time. Dormi- 88 St. Stephen Street, Boston 17, Mass. sounds, all unconsciously, into that mighty purely private nature. It took place at the Delight Theatre. Chorus. Orchestra. plan which governs the stars and the ebb Schwartzenburg Palace, Vienna, on the In heart of famous Finger Lakes 2/se (Ydifion Wood and flow of the ocean. 29th of April, 1798, the performers being ■r Session Begins Ji a body of dilettanti, with Haydn presiding Region. Write for new NEA over the orchestra. Van Swieten had been Booklet. 6 weeks’ course, from Gradual Hand Stretching Mus!? Loving Friends about THE exerting himself to raise a guarantee fund June 28 to August 7. ETUDE and ask them to give you the privilege Exercises for the composer, and the entire proceeds ITHACA INSTITUTION of Ash for Catalog of Rewards for* subscriptions uou send of the performance, amounting to approxi¬ THE ETUDE, 1712 Chestnut St., Philadelphia, Pa. By M. C. Wilson mately $1750, were paid over to him. Public School Music “A year later, on the 19th of March, all the while!” 301 DeWitt Park ALBERT EDMUND BROWN, Dean ESTABLISHED 1857 Hand stretching exercises are danger¬ 1799, to give the exact date, the oratorio WOMEN who suffer from painful, ous unless there is a period of rest in be¬ was first heard publicly at the National tender or aching feet, corns or Theatre in Vienna, when it produced the bunions, are missing many of the tween the stretchings. Many a little hand joys of life. If your feet hurt, you The Courtright °IlI B.M.in Public forms, only to destroy them again; he calls Music speaks a language which the THIRD YEAR BEGINS FRIDAY, OCTOBER 1, 1926 Cat. No. 17482 High or Medium Voice sense, most appropriate as regards the later School Music. - IV I Love Tliee . Lawrence .60 forth sufferings to overcome them. Striv¬ thought cannot utter; it makes strings re¬ Applications for admission now being accepted Dormitories for Women - 17235 High Voice works of Skriabin. In other words, (The Only Conservatory In the State milk Dormitories for Women) t Love... Burleigh .60 ing and attaining relieve one another in Skriabin’s art cannot be comprehended by sound in our human hearts, which enable Full Courses—Practical, Theoretic, Academic—in All Branches eternally changing, rhythmical sequence. means of external influences reacting on us to divine a Beyond to all thoughts. In Heads of Departments Include MARCELLA SEMBRICH, Voice; Here as there—the same aimless play, the internal ones, but only through internal in¬ Skriabin’s art we divine a life full of soul, Daily Supervised Practice and Daily Classes in Technic. creation of contrasts, only to equalize them illumined with the warm sunshine of love, JOSEF HOFMANN, Piano; CARL FLESCH, Violin; Six Spacious Buildings, Faculty of 95 fluences reacting externally. In music we LEOPOLD STOKOWSKI, Orchestra. Accommodations for 2500 Students again—a divine play! are artistically furthest away from a where all that man creates and that sur¬ rounds him, finds a way to his heart through DEPARTMENT OF STRINGED INSTRUMENTS A School of Inspiration, Enthusiasm, Loyalty and Success The method of self-analysis revealed to rationalistic conception, while in painting Illustrates Year Book Free Skriabin yet a last analogy; the original, and sculpture we still are rationalists, and his ear and his eye. (Skriabin in his last Violin Voices completed symphonic work “Prometheus,” Cat. No. 15627 _ Sot fundamental creative longing, the thirst for are not yet able to express “soul” in pic¬ Carl Flesch uses an instrument to project colors, for Richard Hartzer, Assistant Trne (Lohe; life, that arises in spirit, brings forth in tures or statuary directly. Through Bach, the beginning the contrast between the male which he writes the same notation as he Frank Gittelson Sascha JacobinofF Emanuel Zetlin music has succeeded in this respect. ZECKWER-HAHN and female, that is, between the active and The artist of the East plunges himself does for other orchestral instruments, con¬ Viola Violoncello Summer Term passive, which we can set equal to power into deep meditation in regarding his ob¬ sidering this projecting keyboard as part Philadelphia Musical Academy Six weeks from June 21 Cat” No.' 1025" 3 Tart Song .10 Louis Bailly Felix Salmond and matter. The reciprocal action of these of the orchestra.) Ensemble Daily theory and nor- ject, until he has become completely one contrasts conditions the Cosmic Eros. The To such a beautiful and full life so little Louis Bailly Felix Salmond with it, and then he creates out of his inner cludes Professor Leopold Aoer, Guest Teacher; Lee Orn- world process is therefore fundamentally self, unconcerned with all exterior form. is necessary and yet so much—so little that Students’ .Orchestra stein, Composer Pianist, and other distinguished musi¬ II. 2 Part Song nothing else but an erotic act. The spirit It is told of Chinese artists that their chief Leopold Stokowski, Conductor cians. 56th season. Registration Sept. 2nd-4tn. Ciastes has material value and yet so much that begin Sept. 8th. Catalog. Charlton Lewis Murphy, 2 Part Song or the power, the active principle—Pro¬ occupation did not consist in actual ma¬ Thaddeus Rich, Associate Conductor Managing Director, 1617 Spruce Street, Philadelphia. possesses sincerity 1 There lie the tasks metheus—lavishes his creative tenderness terial work, but in meditation on nature. before us, gigantic-but-not hopeless1 Tasks All students receive individual instruction in their instrumental studies. upon matter; he strives for a complete Kno Hsi teaches in his work about land¬ Classes in Ensemble are personally taught by Mr. Bailly and Mr. Salmond. for which Skriabin gave us the first stim¬ union with it, to take on new form in new scape painting: “The artist must, before all, In the Orchestra all students work under the immediate supervision of No ulation and impulse, in which, however, The Choir Master Cat No bring himself into spiritual communion with Leopold Stokowski. Four Hands .40 even Skhiabin himself points far, far be¬ Cat. No 11145 Violin and Piano .30 Skriabin conceived his last unfinished the hills and brooklets which he wishes to ENTRANCE EXAMINATIONS SEPTEMBER 27, 28, 29, 1926 Each Month Under This Heading We Shall Give a List of Anthems, yond his own work. How full and beauti¬ Cat. No •1427 Pipe Organ .40 work, “Mystery,” to lead up to this cosmic paint.” Inner concentration meant more to Solos and Voluntaries Appropriate for Morning and Evening Call >Ie l.lne Own.Hiilevj ful would our life be if we were capable For catalogue and detailed information address Cat. No 15000 Pipe Organ .25 moment “Mystery” as a work of art these artists than exterior skill. Laws and William E. Walter, Executive Director Services Throughout the Year. Melody f Love.Engelniuni should represent principally a synthesis of of feeling, with Skriabin, that all its nar¬ 4D10 Piano Solo .50 reason are not factors which the creative three arts: Poetry, music, and plastic art rowness sings out into blissful distances, THE CURTIS INSTITUTE OF MUSIC Opposite "a" are anthems of moderate difficulty, opposite "b" those of a simple type. Cat. No 5132 Piano- ■genius must take into consideration; he Four Hands .60 (mimicry and dance). The ideas of 627 Rittenhouse Square, Philadelphia, Pennsylvania that the deepest ‘ woe and most abysmal t. No Skriabin about synthetic art were altogether stands “beyond good and evil.” able and the discounts the best obtainable. heaviness of life sings itself upwards to a Mare.Mendelssohn different from those up to then proclaimed Stein way Pianos Used Soul Experiences strong, serene joyfulness, in which the 2196 Piano Solo .35 and realized. The three arts were not to SUNDAY MORNING, JULY 4th SUNDAY MORNING, JULY 18th 5124 Piano shrillest dissonances of life resound in a complement each other, or, they were not SUCH an artist of the East Skriabin is ORGAN indeed, and therefore the difficulty in calm, blissful harmony of creation! In the Afterglow.Strang to be brought into a relation of dependence on each olher. Skriabin conceived them ANTHEM ANTHEM Wedding and Funeral Mnslc (a) I Heard the Voice of Jesus (a) The Earth is the Lord's. .Lerman A Collection of Pipe Organ Pieces as three independent factors holding to¬ Say .Rathbun (b) In Heavenly Love Abiding.Jones l*riee, $2.00 gether in contrapuntal relationship, the (b) I Will Praise the Lord... .Baines putti. g together of which should result in OFFERTORY an insoluble, artistic whole. In the OFFERTORY I’m a Pilgrim (Duet, S. and Blessed is the Man (Duet, T. THEODORE PRESSER CO. A.) .Jones “Mystery,” Skriabin wanted to do away ETUDE and B.) .Hosmer 1710-1712-1714 Chestnut Street with the idea of stage and auditorium; ORGAN PHILADELPHIA, PA. there was to be no more theater, Allegro con brio .Roberts presenting, but, instead, a realistic ex¬ perience of that which comes to expression SUNDAY EVENING, JULY 18th ns— —as through art. Therefore the boundaries be¬ RADIO HOURS SUNDAY EVENING, JULY 4th ORGAN tween listeners and performers were to fall ORGAN away. There were to be only performers, Prayer and Cradle Song.Lacey Venetian Serenade .Bcrwald Suggestions for the and no longer an inactive public. ANTHEM ANTHEM (a) Blessed Art Thou, O Lord, (a) There is a Green Hill, Why Difficult to Understanding Williams Gounod-Wood MOTHER’S WLS (b) Abide with Me.Watkins (b) Sun of My Soul.Lansing IN analyzirg, now, the reasons why WIP OFFERTORY Skriabin above all modern composers is SEARS ROEBUCK DAY PROGRAM so difficult to understand, and why he, more GIMBEL BROTHERS Now the Day is Over (Solo, FOUNDATION S.) . Wooler than anyone else, has called forth such a vastly varied valuation of his art, we find PHILADELPHIA ORGAN March in G.Bcckcr Appropriate se’ections for CHICAGO Postlude in F.Roberts the answer best expressed in the significant special sevices, he’d on the words of Goethe: “We are used to see that man despises what he never comprehends, Second Thursday Each Third Tuesday Each SUNDAY MORNING, JULY 11th SUNDAY MORNING, JULY 25th second Sunday ihMay inob¬ Marvelous ORGAN ORGAN servance of Mother’s Day. and the good and the beautiful vilifies, find¬ Month Hymn of the Nuns.Wcly Month Adoration .Cutminings ing them often hard to measure.” Indeed 8:15 P. M. ANTHEM ANTHEM the great difficulty lies in the effort of our New Invention 7:15 P. M. (a) Jesu, Lord Most Merciful.Marks (a) O Lord, Our Governor... Gadsby Western culture to “measure,” and to- Eastern Standard Time by Susanna Cocroft Central Time (b) Praise the Lord, O Jeru- (b) Come Unto Me.Clark measure with a standard which has little salem .Baines You can look 20 years younger at once OFFERTORY 18580 Little Mother O’ Mine, in common with the object to be “meas¬ by wearing under your hair this Conducted by OFFERTORY Rest (Solo, B.) .Bischoff „ H. R. Ward Conducted by Some Monvng, Oh, Some Morn¬ 1S695 Mother Calling.A. Hall ured.” Western measure will never simple invisible face lifter. ORGAN Etude Editorial Staff ing (Solo, A.).Forman 6884 Mother O’ Mine. .B. Rcmick fathom fully Skriabin’s genius 1 It is in¬ D. A. Clippinger Minuetto in G..Galbraith 17956 Mother.y. F. Widener AS effective as a $2000 surgical operation ORGAN deed significant that Skriabin was born in TX without the expense, danger and dis¬ With Assisting Artists 19404 ?/ver Forget Your Dear With Assisting Artists Festival March .Kern Mother and Her Prayer, Moscow, the one point in the world where, advantages of the knife. New York and SUNDAY EVENING, JULY 25th since ages ago, East and West have met. Paris society women delighted with imme- 18696 Old Fashioned **r““ “““ "—“v -- diate and lasting results. Here are the SUNDAY EVENING, JULY 11th ORGAN In Skriabin we have for the first time in guaranteed effects: In the Starlight.Kohlmann 19420 The Song of the Child, ORGAN Manna-Zucca art a combination of the Eastern soul ex¬ Woodland Idyl . .Zeckwer ANTHEM periences expressed in a Western medium, 1. The sagging muscles are taught to support themselves. Educational talks in the interest of musical education, ANTHEM (a) Shepherd with Thy Tend’rest QUARTET—MIXED VOICES 2. The lines fiom nose to mouth, and about the mouth and eyes, are lifted lienee its difficulty of comprehension for out of their, creases. musical industries and musical progress, together (a) Hide Not Thy Face.’ Tcycr Love .Federlcin 20456 Memories.G. M. Roher .12 (b) Words of Grace ..Marks (b) No Shadows Yonder.Gaul so many! ?. The eyes look young and rested. Skriabin’s later works are perfect ex¬ 4. The face immediately takes on a brighter and more youthful expression. with delightful musical programs OFFERTORY OFFERTORY O Master, Let Me Walk with amples of a Western expression of Eastern Come. Gracious Spirit (Duet, Interesting, illustrated folder FREE. Mailed in plain envelope. Write tc Thee (Solo, T.).Ambrose S. and T.) .Marks THEODORE PRESSER CO. concentrated thought. We have to admit ORGAN 1710-1712-1714 Chestnut Street that our Western art does not reach the GRACE-MILDRED CULTURE CO., Dept. 25 ORGAN 1991 BROADWAY, NEW YORK CITY Finale a la Minuet.Harris Jubilant March .Solly PHILADELPHIA. PA. THE ETUDE the etude MAY 1926 Page J,01 Page m MAY 1926 Five Little Tunes for Five \ Dozen Melodies for From the Dalles to Minnetonka Will take its place with its predecessors as World of Music New Music for the Little Fingers— Saxophones Five Impressions for the best sellers in teaching works. As we have (Continued from page 321) Summer Months By Clay Smith Pianoforte explained in previous notes, this album A “Carolyn Bebbe New York Cham¬ Pieces for the Left Hand Alone t)., T-i_. T . helps the piano student to master octave At regular intervals during the busiest Thousands throughout the country know ber Manic Society Prize,” for a composi¬ By Mildred Adair tion for piano, first and second violins, viola, teaching season, packages of new music are of the melodic genius of Clay Smith w u , Lleurance playing in a pleasant manner. In place For a long time there has been a de¬ We have been as good as threatening to of being confronted with page after page violoncello, double bass, clarinet, flute, oboe, sent “On Sale” (returnable if not used) to through his successful songs and ballads, bassoon and French born, is offered through piano, vocal, violin and organ teachers. mand for very easy pieces for the left hand and thousands more who have heard him but this month the National Federation of Music Clubs. Par¬ Many of these teachers discontinue regu¬ alone. Although we have some in our cat¬ actually make it a this album interesting pieces which pre- ticulars from Mrs. Edgar Stillman Kelley, Ox¬ on the Lyceum and Chautauqua platform promise that Advu..of Publication sub-ouu. sent this phase ofw piano technic inX11 various„1>vlls lar work in the spring or early summer, but alog already, we are pleased to announce know that he is well acquainted with the ford, Ohio. a surprisingly large number find it worth that we have in preparation a new set of scribers will receive their copies of From portions of the composition. No teacher saxophone family. Clay Smith has been in¬ the Dalles to Minnetonka before another should overlook developing the pupil’s Clarence Eddy, America’s “Grand Old while to keep on until fall, thus retaining such pieces which we consider to be just Man of the Organ,” who for fifty years has spired to take the melodies from twelve of issue of The Etude appears, and that we ability to handle octaves. The first ma- a hold upon some of their usual pupils and right for the purpose. Although they are his song gems and arrange them as saxo¬ stood among the leaders of his profession, at as easy as it is possible to make them, they . 1 £n'e those who have not ordered a copy terial in this book makes it possible to pre- his recent recital in Kimball Hall, Chicago, adding new ones who wish musical instruc¬ phone solos. He has gone a little further have melodic interest and they are well just this one more month in which to do so. sent it to pupils in the early third grade. found the stage filled with tributes not only tion throughout a part of the vacation than just making a saxophone solo collec¬ from individual friends but also from many period. Such teachers need plentiful sup¬ constructed musically'. We would grade It is so easy to get many commonplace Remember, this is the last month that it tion, and has produced a work that pro¬ things for the piano that the very differ- will be offered in Advance of Publication, organizations. plies of fresh, interesting and attractive them about lVz- The playing of these vides solos for the various saxophones or pieces will tend not only to develop the eace °f the numbers in this little folio and orders should be sent in now while it A New Cabinet Department of studies, pieces, songs, etc., to stimulate duets for any two members of the saxo¬ study and practice at a time when the left hand, but also to inculcate a knowl¬ should make it a tempting offering to any is possible to record an order for it at the Education, to assist and supervise educa¬ phone family. Then there is a piano ac¬ pianist of ability. These numbers are Advance of Publication cash price of 30 tion, musical and otherwise, In the States and usual discipline is somewhat relaxed and edge of “key-board geography,” and an companiment volume for use with either municipalities, Is the object of a campaign to ivr-cnrr-iTo wc sign and those at 60 cents have appro- the student is apt to heed the call of out¬ elementary use of the damper pedal. Each either based upon Indian themes or they cents, postpaid, be launched and conducted by The American the solos or duets. One volume gives solo possess that characteristic style which , » -n. , . Council of Education. NEW WORKS pfiate wording for a graduate in music. door life rather than the duties of the piece has an appropriate title, as follows: and second C melody saxophone parts, Tower Chimes, March of the Tin Soldiers, Thurlow Lieurance is able to put in his Brehm S rWSt Steps for Advance of Publication Offers Some schools prefer special wording practice hour. Just a few pieces with the another volume solo and second E-flat The Mnslc Teachers’ National Asso¬ Enchanted Harden, Indian Dance, On the musical composition, giving the feeling of Young Piano Students Special offer and the name of the school engrossed in right kind of appeal will go far to lessen saxophone parts, and still another gives ciation met for its Annual Convention, at May, 1926 race Qi(j English letters on the diploma. the teacher’s task and to spur the student Lagoon. the great outdoors. There are five num- Brehm’s First Steps was formerly on the Dayton, Ohio, on December 28-30, 1925. Ex¬ solo and second B-flat baritone saxophone Album of French Composers—Piano.35 Through an arrangement with a local ar- to more earnest endeavor. The special introductory price in ad¬ Ders m this folio, one being a new concert market under the publication of Brehm cellent papers by men of national reputation parts. Any one or all of the three saxo¬ transcription of the famous Indian Love Bros. The entire Brehm Bros, catalog were presented and delighted those in atten¬ Album of Octave Playing. ..30 tist, we can have this work done in a Our plan of supplying the teacher with vance of publication is 25 cents per copy, dance. Miss Ursula Greville, editor of The Bach Album for Piano—Heinze...... 30 Inost satisfactory manner and at a rea- phone volumes may he ordered in Advance hong. By the Waters of Minnetonka; an- was taken over by the Theodore Presser selected assortments of new music, that postpaid. of Publication at the low price of 30 Sackiut of London, England, was an honored Seginmngjffith the Pedals of t e.3Q sonable price, using our parchment may be returned if not found useful, is ac¬ other a transcription for the piano of a Co., and this is to be the first edition of guest of the Association. Officers elected for cepted, year after year, as the simplest • cents each, postpaid. The Advance of very recent Indian song composed by Mr. Brehm’s First Steps to be put out since. the coming year were Harold L. Butler, of Brehm’s First Steps for ’ Young ’ Piano diploma form at 50 cents, but we would Publication cash price for the piano ac¬ Beginners ... .25 suggest to any patrons who desire this way for a teacher to provide for the cur¬ The Penitent Pirates— Lieurance. The remaining three numbers This is an exceptionally fine beginners’ Syracuse, New York, president; while those companiment is 45 cents, postpaid. School re-elected were William Benbow, vice-presi¬ rent needs of the class-room or studio. *\re original piano pieces, and altogether book and the tuneful and interesting ma¬ D°Smith—'S^ephone0rpart?0.P.0.n.eS77..a^ .30 special work that they place their orders Operetta supervisors, particularly, should look into dent ; D. M. Swarthout, secretary; Waldo S. The Same. Piano Accompaniment . .45 in ample time to avoid delay and conse- The new teacher, one who is just beginning By Paul Bliss te6 album in contents and physical make- terial in it is what makes it worthy of Pratt, treasurer (address him at 86 GUlctt First Garland of Flowers—Violin and ^ querit disappointment. At least two to organize a class, will find this plan of these volumes, since they furnish material up is of a high artistic order. 0ur reprinting it, despite the many begin- Street, Hartford, Connecticut, for informa¬ We take pleasure in announcing that we for giving variety to the programs pre¬ Five“LifcUe^Tunes for Five iiittie Fingers ' ° weeks should be allowed between the time particular assistance. Our teaching ma¬ Remember the promise we have made ners’ books now on the market. Those tion) ; and Karl W. Gehrkens, editor. have in preparation a new operetta for sented by school orchestras. in the foregoing paragraph and bear in teachers who like to teach the first study —Left Hand Pieces—Adair. .25 the order reaches us and the day of the terial for the youngest beginners is de¬ young people by the popular writer Mr. k A Sam of Ten Thousand Marks has From the Dalles to Minnetonka—Piano— commencement, and, in cases where the signed to make the first study work not mind that, while it is yet on Advance of of the piano entirely in the treble clef Paul Bliss. Mr. Bliss has a number of Romeo and Juliet NewieUCofl“tion' of' Favorite' Songs ‘ and ' distance is great, even more time allow- only promptly helpful, but also just as Publication offer this month, a. copy may will like Brehm’s First Steps, since the provide a prize for musical composers. The enjoyable as possible. very successful works to his credit, and we Operetta for Men be secured at 40 cents, postpaid. treble clef in both hands is used in the first award to be made in 1927 in association Choruses for All Occasions.10 ance would he advisable. believe this new one to be fully up to his New First and. Third Position Album— As a graduation award for the honor “Summer Mew Music” is now being first few pages. Those who know Brehm’s with the celebration of the one hundredth standard. This operetta is in the usual By John W. Brigham anniversary of the death of Beethoven. made ready, and all we need is a definite Technic for Beginners First Steps for Young Piano Students Pe^nt p”mSanThe^6perett^Bliss'.:: AO PuPU? we have a very neat musical de- two acts, and is just about the right length There is no age limit as to the men who Borneo and Juliet—Operetta for Men— sign in the form of a medal or brooch request from a teacher anywhere to start might form the group presenting this bur¬ Preparatory to Hanon will welcome this new edition, which will A Wanamaker Bell, in t John W. Brigham..40 which may be obtained either in gold or the first assortment on its way. Remember for an evening’s performance without be¬ be revised and somewhat enlarged. Teach¬ o the fi f the \ lamaker St ing too long drawn out. It requires for lesque-operetta, since we believe that in Or Pischna __ Philadelphia, has Stor^'The—Pian^'lclo—KoMmann.'■‘.26 The price of the 10k gold medal —no obligation to buy and no settlement the sheer joy of presenting it even the By Anna Priscilla Risher ers who are hearing of the work for the don foundry. It Is 1 The Same—Pipe Organ.25 is $6, the silver medal, $3, while the same until the season ends—when unused music its production an equal number of girls first time in this announcement also should members of an Old Men’s Home would This is a work for young students c be the second large! .. ._ .Eng- Technic for Beginners—Eisher ...... 35 design in a brooch may be had in 10k gold is to be sent back for credit. The teacher’s and young men. The plot is very clever, . . . n - ; - takeLaiic auvaiangcadvantage uiof thiscuia Advance ofUl ruuPubli- 11- land, larger than the famous “Big Ben’ Twelve Melodious Studies m Scale and . *5 . * t o, ™ affording abundant opportunity for pic¬ think they had found the Fountain of taining two-finger exercises, five-finger cation offer which makes it possible to the Victoria Tower of the Houses of Parlia¬ Chord Passages—Piano—Kern.30 at**> or la 6“v,er at name, address, mention of the branch Youth for which Ponce de Leon sought. Twenty-four Caprices—Violin—Eode.45 The medals have space on the bar for taught (piano, voice, violin or organ), and turesque staging. The work is not at all exercises, preparatory scale work and secure a copy at 25 cents, postpaid. ment, and the largest In the United States. difficult of production, however. It is Audiences will be amused aplenty with other first technic material in the line of ■ It will cost £12,000; and Its tones are to be Two and Twenty Little Studies for the engraving the date or the recipient’s ini- just the words “Summer New Music” is broadcast. Pianoforte Cramm.30 an(j on tp,e reverse side of both bright and very tuneful throughout, with this laughingly unusual and clever bur¬ finger exercises for daily use. All good Standard Second-Grade all we require. A postal card will suffice lesque on Shakespcar’s famous lovers, for this. the choruses chiefly in unison. The dia¬ folk knowing anything about the value of Recreations for the A Carnegie Orchestral Loan Library medals and brooches the recipient’s name, Romeo and Juliet. The music is a com¬ date, etc., can be engraved at a nominal logue is very clever and comparatively material in piano study, well know how Pionnfnrtp has been founded at the Instance of the Car¬ easy to learn. bination of original writing and fine adap¬ much it means to the pupil further along negie United Kingdom Trustees for the Text Books for charge. We kindly ask our patrons to tation, aiming chiefly at tunefulness and assistance of orchestras In schools, villages, New First and Third Position The special introductory price in ad¬ to have good technical material for daily ,We },ave a 1serles of albums that it has country towns, clubs, factories and similar Summer Music Classes make the same time allowance for en- avoiding any unusual difficulties. The op¬ use. It is just as wise to provide some- Pleased us to designate as a Series of Rea- Many vears ago we presented in the graving medals as requested for engross- Album for Violin and Piano vance of publication is 40 cents per copy, enterprises needing such help in Great postpaid. eretta would not fill an entire evening, thing of this character almost from the so’m’ffy Priced AUmrns. They are reason- Britain. A large library of orchestral music columns of The Etude a suggested plan in£ diplomas. We will gladly quote prices Although the first position lies at the but it would make an exceptional contri¬ very start, and such material, as a rule, is aaIy Pr,ced ,at 7S, cents each and a wealth of the higher class is to be maintained : and of study for Musical History with the f°r special lettering or engraving, but Very foundation of all violin playing, and bution for part of an evening’s entertain¬ not provided in the average instruction material is to be found in every volume, for a moderate annual subscription the works Standard History of Music, by J. F. be sure to send the exact wording wanted although the students should be kept in Twenty-four Caprices ment, and would make a mighty fine nov¬ book. These studies that Miss Risher has Standard Second-Grade Recreations is to Cooke. It was Merely to point out that when wntmg for these particulars so that this position for a considerable time, For Violin Solo elty used in conjunction with the concert prepared answer this purpose better than be a new volume m this series, and its con- the forty chapters of this book could be additional correspondence and consequent nevertheless, as soon as the ground-work Nina Morgana, an American soprano By P. Rode work of a high school, or glee club, or any anything we have seen. The Advance of tents will delight the player who has ad- and a former protegfie of Caruso, who is divided into sections of five chapters, so delay may be made unnecessary, has been done, the other positions should other men’s singing organization. Those Publication price is 35 cents a copy, post- vanYd °!'ly to t>ie second grade. The finishing her seventh season with the Met¬ that the course would last the eight Weeks be introduced gradually. The foremost of In pursuance of our policy of adding to who desire may subscribe for a copy of pai(j. numbers have melodic appeal, yet at the ropolitan Opera Company, has been engaged the Presser Collection all of the standard for leading coloratura and lyric roles at the of the summer. This, together with the The Storm, for Piano Solo these in importance is the third position. this work in Advance of Publication at the ^ ’ same time those qualities that help in lists of talking machine records given Our Album of Favorite First Position violin works in new and carefully revised Beginning with the Pedals developing playing ability. Teachers can or Pipe Organ special price of 40 cents, postpaid, and gratis to all teachers, enabled the class Pieces has been a very great success, and editions, we have now in preparation the when it is ready a complete copy will go flf the Piano use an album of this kind> giving lessons leader to conduct a profitable and inter¬ we propose now to issue a similar Album celebrated Twenty-four Caprices in the vji meriano Upon some numbers selected from it, and “Mozart,” the Guitry-Ilahn operetta which By Clarence Kohlmann forward to them. It has not been so long has been having such a success in Europe, Is esting mid-summer course, even though The many thousands of visitors to Ocean of Favorite First and Third Position Form of Studies for Violin Solo in All the ago since we put Cleopatra, an operetta- By Helen L. Cramm by the use of this volume keeping suffi- announced for American production next year. the leader had no previous experience in Grove annually have been delighted with Pieces. This new book will naturally be Twenty-four Keys, by P. Rode. This burlesque for men by Mr. Brigham, upon , Every teacher of young students in- cient material before the young pianist to In it Mozart is portrayed as a young man of teaching the. subject of musical history. slightly more advanced than the first-men¬ splendid work belongs in the same class stantly will be attracted by the title of hold Interest in moments spent at the key- twenty on a visit to Paris, under the chap- the rendition of The Storm by Clarence be market, and this already has proved eronage of Baron Grimm, philosopher and There are a number of subjects which may Kohlmann on the Auditorium organ. We tioned, but, as far as possible, it will pre¬ with the studies of Kreutzer, Fiorillo, and a tremendous “hit,” excellent reports of this work because of the scarcity of good hoard outside of lesson periods. Then, skeptic. Sascha Guitry and his wife, Yvonne he taught in similar way by any musician re about to publish this popular number serve the same characteristics and be suit¬ others. It is one of the indispensable uccessful performances coming to us from material along these lines. The pedals again, the teacher who does not feel that it Printempts, are announced for leading rOles. versed in the subject. Harmony is one of able to follow it. The pieces will all be books for advanced violin students. Our s performed by Mr. Kohlmann and we all parts of the country. mean so much in piano playing that pupils is best to give a volume to certain types “Mississippi, Father of Waters,” a them and for this purpose we recommend will issue it as a piano solo and as an or¬ by modern writers, and every one of them new edition has been prepared with great should be guided in the intelligent use of of pupils, can be helped by b iving such symphonic poem by Ernest R. Kroeger. had the Bey inner’s Harmony Book of Preston gan solo; in each case with a short descrip¬ will prove pleasurable to play. care by Mr. Otto Meyer, who is one of the Twelve Melodious Studies in them as early as possible. Miss Cramm’s a volume a,s this in the studio for ready its initial performance, with the composer Ware Orem, a delightfully simple work The special introductory price i~ * J leading Sevcik exponents in this country. work is ideal for taking the second grade reference in selecting second-grade pieces, conducting,■onducting, hvby the St. Louis Si-rnnho-Symphonv tive analysis; There have been many 8cale and Chord Passages chestra, ™ Friday afternoon. February 19th. for young and old. For more advanced vance of Publication is 50 centss perpe> coj The special introductory price in Ad¬ student into this interesting division of since every one of these numbers can be “storm pieces,” both for piano and organ, For the Pianoforte — —— for the composer, at students Theory and Composition of Music, and some of them have achieved consider¬ postpaid. vance of Publication is 45 cents per copy, piano study, and it does so with the same secured separately in sheet form, if desired the end of the performance. by the same writer, will be found most able popularity, but this one is about the postpaid. C. W. Kern, Op. 560 charm that pervades all of Miss Cramm’s in that way, for the pupil's use. excellent. Technic may also be given •Till ins Epstein, noted pianist best of all. In addition to the portions tinn6? Fhelm Kern needs no introduc- immensely successful works for little stu- The advance of publication cash price is teacher, for thirty-four years the head of the special attention in this manner. Philipp’s which are original with Mr. Kohlmann, a A New Collection of Favorite to the piano teachers of this country, dents. As the publishers of many sue- 35 cents a copy, postpaid. Vienna Conservatory, died in that citv March Complete Technic, and Mastering the number of familiar themes are introduced Songs and Choruses Two and Twenty Little »JU? ®any piano compositions are known ° 1926. Born at Agram. August 14, 1832, Scales, by J. F. Cooke, make excellent ma¬ Album of French Composers career had i an honored one; and he together with some quotations from the For All Occasions Studies on Essential Points in Wo t Practical worth in teaching work, had numbered among terial for this purpose. Any of these - -ipils such brilliant great masters. First-Grade Piano Teaching to nroQ Sbeat pleasure in being privileged secure just such a work as this for several P or the r lanoforte Marcella Set Gustav Mahler, works may be had for examination, and ’Twas ever thus! Whether around an j Gallico and Ernst Kunwald. The special introductory price in ad¬ melodeon, an old square piano, a worn-i By Helen L. Cramm, Op. 38 of ?®Sent.to the Caching profession a set years. It was a great pleasure to see such We have given the lovers of piano music teachers who contemplate conducting sum¬ vance of publication is as follows: For a work come to us, and doubly pleasant volumes in the past covering various classi- mer music classes are invited to write to upright or a fine grand piano, wheneve After a good meal most all of us enjoy snito tl Plan° studies by Mr. Kern. De- the piano solo, 25 cents per copy, postpaid; group congregates, the desire to sing k;i Yhe maay sets of studies on the mar- that it came from so gifted a writer of fications and individual composers, and the publishers for any particular informa¬ for the organ, 25 cents per copy, postpaid. a little dessert of a light character. This educational works for juvenilesillVfinilfiS as Miss thesetliPCP previousHrcvinm; volumesrnliimpc haveIiottp mofmet with eunlasuch tion desired. ways exists. Likewise, the school stud, characteristic is especially strong in young scale have the mcrit of these looks forward with pleasure to burst unusuan -\0rd Passagc studies. They are Cramm. success that our editors have made every folks, and after the teacher has taken them The Advance of Publication cash price effort in preparing this Album of French Bach Album forth in song in the opening exercises through a method or an instruction book same lnteresting, musically, and at the the school day. It is not uncommon that ,Possess characteristic qualities is 30 cents a copy, postpaid. Piano Compositions to make it of unusual i Palermo, Naples, Rome and Florence. Commencement By Sara Heinze it is very pleasant to them to have some¬ merit. In compiling a work of this char- lodges to have singing, or for commun thing unusually nice before undertaking There ?0Pea'ito tbe student’s imagination. Awards It has been very gratifying to us to Album of Octave Playing acter many compositions are considered, A Unique Masteal Collection is the six gatherings to indulge in vocal Tecreati what seems like another big work. These «f the,P ^.technical value in every one It is not always convenient to obtain find that our efforts to make each addition Our Publishing Department has kept us and elimination after elimination is made hundred settings of Longfellow’s poems which There are books on the market giving r Two and Twenty Little Studies might be they r„nSoUdleS’ and in point of difficulty have been assembled in the Longfellow Room suitable diploma and certificate forms for to the Presser Collection the finest edition terial for all of these singing occasions, 1 “on the fence” with regard to the exact until the real cream of available material at Bowdoin College in Brunswick, Maine. music graduates at the local art stores. To used for just such a purpose. They could progress Ip I?Jlbout Srade 2 or 2% a"d of that particular work have been noted because there always exists that desire grade Ightly into tlle early third issue date of this work for some time, remains. Most of the numbers in this vol- “A Psalm of Life” has inspired fifteen dif¬ supply this need, the Theodore Presser Co. be used in conjunction with the latter part ferent composers ; while “The Sea Hath Its by the teaching profession. The next something new, and we can furnish soi study" ni are Presented in the form of but we are glad to announce that this will ume will be about grades 4 and 5, just of has designed several forms that are par¬ of such a work as the Presser Beginner's Pearls” (a Longfellow translation of Heine’s piano volume to go in the Presser Collec¬ thing new, along with many old favori with ]iHuCeS\each wittl a title, together be the last month that it will be held upon about the right difficulty to interest the ; poem) is represented by sixteen settings ticularly appropriate, and we are pre¬ tion is this new edition of Sara Heinze’s Book, or they could be used immediately Advance of Publication, since all the edi- average pianist and to warrant their use by from' England'anTm.---„-i — ■»-Australia, among we have been inspired to prepare this r following it. They are somewhat of a gen¬ little ci„,i notes explaining just what the pared to supply them to our patrons at fine selection of twenty-one easier com¬ collection. As usual in collections of 1 torial work upon it has been completed, teachers who have pupils whose interest others. English composers recognized the very reasonable prices. Certificates for eral nature, covering in an entertaining tempiLh.dywetS, °Ut to the pupil ac- musical qualities of Longfellow’s verge long positions by Bach. They are principally character, the numbers will be arran; C. \y jVW e know this set of studies by The previous albums in this series of Al- can best be upheld by seeing to it that they before his own ^countrymen awoke fo the grade promotions may be obtained for 6 selected from the Suites and Partitas, and manner essential points in the development bums of Study Pieces for Special Pur- have a worth-while library of piano num- beauties of its rhythm and melody. in four-part harmony, which can be u of little folks’ playing ability. Attractive Piano "too6!11 wd’ arouse the interest of cents and 12 cents, blank diplomas, will be found ideal as preparatory material ized, or the numbers can be sung in unis poses have made places for themselves in bers to use, either in study or diversion, study material of this kind’ is refreshing sured that and we feel equal]y as' Gabriele il’Annnnzlo’s Opera, “The printed on a good quality of paper, 18 to the more advanced Bach works, such as The desire is to give much for a reasons a set of J those teachers making sure of teaching curricula throughout the country, The Album of French Composers for the Martyrdom of Saint Sebastian,” had its cents, and parchment diplomas for 50 The Well-Tempered. Clavichord, etc. to the young pupil and certainly encourag¬ price, as is indicated by the nominal pi least dkan™s.e.studies will not be in the and the merit of this new album, as well Pianoforte is offered in Advance of Pub- Italian premiere at La Scala on the evening cents or 60 cents. The diplomas, 21 inches The advance of publication price is 30 ing continued progress. Advance of as the indication of interest in it by so lication at 35 cents a copy, postpaid, of March 4th. However, the presence of the made for Advance of Publication ord Publication orders for this work may be ’‘cation pPjP°"?ted’ thir Advance of Pub- patriot-poet seemed to create more enthusiasm by 16 inches in size, have an artistic de- cents a copy, postpaid. of 10 cents a copy. many teachers, gives us assurance that it (Continued on page !«->) filed at 30 cents a copy, postpaid. ■ 1 ce IS cents a copy, postpaid. Advertisement Advertisement THE ETUDE THEETU-DE MAY 1926 Page 408 Page 402 MAY 1926 First Garland of Flowers— How Musicians Can Help Vacationists, Favorite Melodies in the Attention To Spread Musical Influence If you desire that your Etude Music First Position for Violin In Their Community Magazine be mailed to yoursmnmerad- By Julius Weiss, Op. 38 Etude Music Magazine is a powerful This work has long been a favorite with factor in spreading influence for the good three'wee^hi'advanced thedate of pub- violin teachers, since it presents good of music everywhere. Many music lovers, material that is most pleasing to the pupil students and teachers in your circle of who as yet does not have much of a tech¬ acquaintances are not subscribers. Why numbers reach you. In giving any change nical equipment for violin playing. These not do them the favor of introducing to of address, always let us have both your little study pieces all are in the first posi¬ them the Etude? The yeafly subscription old and new addresses. This is important. tion and the young violinist is helped by price, $2.00, is a mighty small investment the simplicity of the piano accompani¬ for the substantial return it pays in its Fraud Agents ments. The many violin works that we twelve splendid, inspiring, exhilarating have recently added to the Presser Collec¬ issues. We will allow a substantial cash Are Active tion are indicative of just how carefully commission on each subscription secured Look out for swindlers. Pay no to strangers, no matter how plausible the this edition of First Garland, will be edited, (not your own), or, if you prefer, standard and violin instructors may confidently turn merchandise can be obtained in lieu of story may be. So-called college students, Mr. Charles Fretz to this Presser edition in seeking copies of cash commissions for a stipulated number ex-soldiers, and others impose on the pub¬ Several important sub-divisions of this popular work by Weiss for future of subscriptions taken by you. lic. An honest man or woman soliciting the Order Department of the subscriptions to Etude Music Magazine Theodore Presser t o. are under the needs. If you are interested, write to us, telling can produce unquestionable credentials. able direction of Mr. Charles The advance of publication cash price is us on which basis you would prefer to take Fretz, whom we take pleasure In 35 cents, postpaid, and by the number of subscriptions, and we will be glad to out¬ In paying money to a stranger, the risk is introducing herewith. yours. We cannot be responsible for the orders already recorded we expect to send line an interesting, dignified and profitable Among his several duties, Mr. out quite a few of these books to advance plan for obtaining subscriptions. work of unscrupulous men and women. Fretz has supervision over what is of publication subscribers when it appears known in the trade ns the "cheap Playing Circus Circus Days The Pickaninny Picnic from press. Peter?,8 "l-itoiff, iS’Hteif brown Arrah linen, bound with silk ished, “your fingers are not very good Legato and Staccato substitute teachers. Small monthly payments. vill be mailed to yon, postgauk upon Introducing Musical manuscripts corrected. Music com- tight-rope walkers, are they?” “Those are pretty big words ?” queried our patrons sed, send poem, price reasonable. Write Sc “Tight-rope walkers 1” exclaimed Eddie, for prospectus.-‘us. Alfred Wooler, Mus.Mu Doc., Miss Emerson, with a smile, “but I’ll tell to the highly regarding the elf with interest; “what do you how you can remember about them! trained and 171 Cleveland Avenue, Buffalo, N. X. The camels sioiv and stately tread experienced (A firm Legato Touch) Let us play, that these notes are little Members of And ponies light and mincing step “I mean your fingers don’t stay on one ‘pickaninnies,’ and that they went off for our Staff (Staccato, oh! so much!) string when they should. For instance, When they had done the scale over again, a picnic. They had just eaten their sand¬ who serve you put your fourth finger on both E and it sounded so nice, that they did it several wiches when a shower came up. There them daily. A when you played that B just then, times more. And Eddie found to his Huge elephants with pond'rous walk was a summer-house not far away, and did’nt you?” Eddie nodded at this. surprise that he really enjoyed practic¬ Big heavy chords display; they ran as hard as ever they could to get “Well,”’ went on the elf, “that was ing. He begged the elf to stay and do And greyhounds easy, graceful stride, under its roof. Some of them got under wrong.' See, this is what I mean,” con¬ his other exercises and his new piece Arpeggios I’ll play. all right; see them with the roof over their ,,v.c w .... ,,_* the Theodore tinued the elf, walking across the strings. with him, and when the hour was up, Eddie heads?” And Miss Emerson’s pencil traced Presser Co. maintains a depart¬ “Now see if your fingers can do that.” was honestly disappointed. the ‘roof’ sheltering the lucky little pick¬ ment that is spoken of as the ‘‘Se¬ Next comes the fight-rope walker brisk lection- or "On Sale” Department. Eddie noticed that he had walked the He coaxed the elf to go to the circus aninnies standing beneath. “And picka¬ And up and down the keys When teachers or professional chromatic scale, which was his new les- with him to watch the tight-rope walker. ninnies who are under a roof like that al¬ musicians accept our invitation to hrough miles and miles of scales 1 go. tells us their needs and let-us send When he got home, guess what he did. ways stand so close together that there suggested material for their ex¬ hute clown! You like to tease! Eddie tried to do it just as it had Yes, sir, he practiced some more. amination. the communication is isn’t a bit of space between them. Hear turned over to the clerks of the sounded when the elf walked it, and he Can you imagine how surprised his them?” and Miss Emerson played the "Selection” Department. Because °h, see the bareback rider jump played slower and ever so much more mother was? Of course, she didn’t know only individuals having a wide notes so smoothly that it sounded almost knowledge of music and music 1,ro'n one horse to another! correctly than he did before. anything about the elf from musicland, as if they had hold of hands 1 publications are selected for this My clumsy thumb is hard to train ' “But you didn’t put your fingers where who made practicing as much fun as a department, they are fully capable “But there wasn’t room for all of the of giving helpful, intelligent and 1 o Pass on to the other. I put my feet,” complained the elf. picnickers to get under the roof, and the suitable suggestions to these in¬ rain came pattering down on their heads quiries. One sub-division^ of this depart¬ part. A social hour is always a pleasant fea¬ as they stood outside. Just listen 1” And ment cares for vocal music require¬ Club Corner ture of every meeting, when we have some Miss Emerson’s fingers lightly played the ments, and Mr. Albert Ockenlander Dear Junior Etude : , good musical games, refreshments and a gen¬ is in charge of filling orders for all All the pupils of our class have formed a eral good time. During the hot summer days, notes so that they did sound- for all the such selections. He is well at the close of our program, we have had the world like silvery little raindrops. “And equipped for the important duty club, under the instruction of our music social hour out on the beautiful lawn of our of seeing to it that worth while teacher. Our officers are president, secretary teacher. if you look you’ll see the drops coming material goes to those wanting •e dues of five cents nonth and with Our club has adopted gold and white as our down on their heads,” she said; and sure vocal music suggestions, having s money we are^going to have pins n color, and Marigold as our flower. had such assignments in his twen¬ _s held We meet every two weeks on Saturday after¬ enough, there they were! ty-three years with the Presser or¬ __s for the noon and look forward to these meetings with ganization, as to have made him A frapese expert now we spy a great deal of interest. thoroughly acquainted with every u.u„,...... t curved fingers, smooth From your friend, portion of its great stock of music WhileTV0 ,ll°h a>ld frCC’ scales and so forth. and and orchestra proclaim From your friend, ,, . Mary Chiles (Age 10), Tennessee. publications. Florence Shells, Oregon, President. Mr. Ockenlander is a profes¬ lr splendid artists three. sional musician of note, having studied with leading voice teachers a Junior Etude : . Question Box in Philadelphia, holding tenor solo v teacher has a large music class. She positions in well-known churches divided our class into two parts and or- Dear Junior Etude : Little Girl’s eyes danced; and, very and filling many singing engage¬ m7or1urfCe ^ hCard’ zed us into clubs, for the purpose of Study- Under what grade is the Sonata Pathettquc slowly, her fingers also made the notes ments. Cbnsequently he has a History, Sight Reading and Ear Training. of Beethoven listed ? common interest and sympathy ie clubs are called “Crescendo and The E. R. T. (Age 13). Iowa. sound like little pickaninnies under a roof, with Voice Teachers and profes¬ ag Musicians.” , „. . Ans. Beethoven's Sonata Pathetique is all standing very closely so as not to get sional singers throughout the ■ - - » to the Young Musician s Club. generally listed under grade VIII, although country, who are confronted with ■e enjoyed so muchjhe “Child s Own all teachers do not exactly agree about the wet. Then she made them sound like the problems In seeking material for grades of many of the classical compositions. raindrops falling on the poor little chaps use in entertainments, concerts, S°r^sJam a circus man As a matter of fact the great composers do not church or teaching. “stick” to any one grade In their compositions, left outside! And she was sure she could And nowdthaten0‘e ¥ Sh°W’ so it is hard to place them. Also it is much always remember how to play Legato and You'll *7 !■ lave shown you how, harder to grade music pupils than school Phy this game I know. Staccato after that. Advertisement THE Page ¥>k MAY 1926 Violin Junior Etude Contest Join the Happy Club The Junior Etude will award three Hidden Composers Materials pretty prizes each month for the best and of ETUDE Premium Workers! neatest original stories or essays and an¬ By Mrs. M. T. Johnson swers to puzzles. Subject for story or essay this month— In each of the following sentences is Violin Collections and Studies NO DUES — NO FINES — ALL PLEASURE — ALL PROFIT “Church Music.” Must contain not over hidden the name of a well-known musical one hundred and fifty words: Any boy or composer, the letters forming it being in BEL CANTO METHOD FOR THE VIOLIN girl under fifteen years of age may com¬ their correct order. New ETUDE Music Magazine Subscriptions will EVER TRY SHOWING YOUR COPY OF THE pete, whether a subscriber or not. 1. It is not well to disturb a chained lion, By Mabel Madison Watson Price, $1.25 bring to YOU any one or all of these valuable rewards ETUDE TO A MUSICAL FRIEND ? NO ? All contributions must bear name, age, even though you may be quite safe. THE MOST ELEMENTARY OF ALL VIOLIN METHODS and address of sender written plainly, and 2. However discouraging the conditions WITHOUT ONE PENNY CASH OUTLAY DO SO ! THAT’S ALL ! must be received at the Junior Etude \ VIOLIN method that combines foundation technic with the art of may have been, we heard no word of them. A melody playing. It is the product of years of experience witli young Office, 1712 Chestnut St., Philadelphia, Pa., 3. I have taken up the study of music, students, and has attained unprecedented popularity with violin teachers. Its Splendid Music — Its Educational Value — Its All Round Musical Interest and Appeal will before the twentieth of May. Names of hoping to become an able accompanist. prize winners and their contributions will 4. Are you having luck, Mr. Fisherman ? Prominent features are the careful arrangement of the melodious and Convince any Musical Friend that You Are Doing Him a Real Favor by Asking Him to Subscribe be published in the issue for August. 5. The tenth and eleventh chapters of attractive material in progressive order and the exhaustive treatment Put your name and age on upper left Romans contain much loving counsel. given each subject. hand corner of paper, and address on upper 6. Have you seen the old Liberty Bell in ATTRACTIVE MANICURE SET CAMERAS right hand corner of paper. If your con¬ its new suroundings? Fine leather case with satine lining No. 2 CARTRIDGE HAWK-EYE, tribution • takes more than one piece of 7. I do not owe Bertha anything now. ENSEMBLE METHOD FOR THE VIOLIN and seven ivory fittings, indispensable size of picture 2\ x 3 J in., roll film, sturdy paper do this on each piece. 8. I encountered nary a bee, though ven¬ in the week-end bag; three new sub¬ metal construction; only four new sub¬ By Oscar J. Lehrer Price, $1.25 Do not use typewriters. turing quite close to the hive. scriptions. scriptions. Competitors who do not comply with 9. Mother, this is Mary’s chum, Annie AN EXCELLENT METHOD FOR CLASS INSTRUCTION No. 2A CARTRIDGE HAWK EYE. ALL of the above conditions will not be EACHING tha-violin in classes is being done with much success. O’Daly. T WIZARD GARMENT HANGER just the thing for vacation, size of pic- considered. 10. Do you find the honey in the lark¬ The exercises in this work have been arranged in three-part harmony, 9 in. rack with four folding hangers, ture2 J x 4 J in., roll film, Eastman shutter; spur cells? each part of practically equal difficulty, and the class, being divided into “WHAT I CAN DO FOR MUSIC" open 6 in., closed 9 in. Slip it into the only five new subscriptions. (Prize Winner) Answer to February Puzzle three sections, may alternate in playing each part. The student not only hand bag and have “mussed-less” clothing Music is one of the grandest studies that develops the technic and art of violin playing, but also in ensemble on your vacation; only two new sub¬ ELECTRIC CURLING IRON I know of; and the subject, “What I Can Do scriptions. For Music,” is very interesting to me. As a playing. _ Mechanically perfect; only two new little girl of nine, I try to play the piano well and thereby to please the public. Have studied subscriptions. about fifty piano solos, some duets, trios, and POLYPHONIC STUDIES FOR THE VIOLIN FLASH LIGHT quartets (four players on one piano). There are four children in our family ; two girls, and By Oscar J. Lehrer Price, $1.25 Electric, a fine well-built lamp, will CELLULOID TOOTHBRUSH two boys, ages 6, 9, 11, 12, and we have played piano quartets at thirty-three affairs during A WORK TO FOLLOW THE SUCCESSFUL “ENSEMBLE METHOD" stand abuse, full nickel; only two new HOLDER It was particularly difficult t( subscriptions. prize winners for the February puz R. LEHRER’S Ensemble Method for the Violin was received so Keeps brush clean, handy for week correct answers were sent in than M end; one new subscription. a month"s time I am to give a recital the matter of being neat was ra enthusiastically that this volume to follow it was issued. It con¬ I have one of the best teachers, and my father than usual. Prize ~‘- ICE WATER BOTTLE AND GLASS looks after my work. I will play about eight Lucinda Hadsel (Age 14), Ohio. tinues upon the same plan as the Ensemble Method, all studies being Ernest Jacobi (Age 9), New Just the thing for hot summer nights. PLAYING CARDS WITH CASE good piano solos and Beethoven’s Concerto, California, written in three parts, training those in violin classes to play in ensemble No. 4 in G major. I have all my numbers Ralph Goldeen (Age 11' Finely engraved glass and tumbler, Always handy to have around to memorized and hope to give much pleasure to Particular honorable ention to Sophie while developing technic. These polyphonic studies introduce the third Nasey, Rosemary-- Rainvil-j, Andre Groleau, bottle fitted in high class metal stand or brighten up a dull hour, case finished in a music-loving audience. position, shifting and double stops. As the studies are in trio form, they Lois Soutbam, Ruth Klumb, Dorothy R. Hook. frame, finished in ivory, blue or old rose black leaf with Egyptian decoration. also are suitable as trios for advanced violinists to use in recreation or enamel, indicate your choice; only three Fine water proof cards; only two new Honorable Mention for February Puzzles concert playing. new subscriptions. subscriptions. WHAT I CAN DO FOR MUSIC Adonia Stargyk, Irma Sievers, Mary Crlbbs, (Prize Winner) Leona Russell, John Burt Clark, Loretta Koder, Betty Hankins, Madine Masie Hunt, FIFTY SELECTED STUDIES IN THE FIRST POSITION TRAVELLERS’ NECESSITY My sphere is narrow compared with the Doris Turner, Gertrude Nanta, Annie PRO-PHY-LAC-TIC CLOTHES artists who benefit music greatly by their sub¬ Schwaiger, Loraine Eisele, Dorothy Steley, Compiled and Edited by C. Levenson Price, $1.00 Two metal shoe trees and one collap¬ lime rendition of the works of the great mas¬ Eileen Cest, Suzanne Stupelis, Hope Hed-- BRUSH sible garment hanger, all enclosed in sub¬ ters. Nevertheless, those whom I may benefit bergm, Veronica Dolan, Mildred Oudinot, Mar ¬ npHE best first position studies selected from all the great writers for would probably not have the opportunity of garet Chamberlain, Helen Winter, Emma Jean Ebony finish. 6f x 2\ in., a really splen¬ stantial leather case; only two new sub¬ coming in contact with the great geniuses. Fisher, Lambert Dahlsten, Gretchen Kohler, the violin, arranged in progressive order, so that the book may be did brush; only two new subscriptions. scriptions. I can make my home happy by playing, be¬ Grace Allendorf, Margaret Voetter, Maud Helen cause my parents are fond of music and the Hallock, Romwald Porembski, Patricia Foster, taken up immediately after any instructor. Alard, Sitt, Kayser, Wohlfahrt more 1 play the better they like it. Alfred Mormeau, Rebekah Baynes, Delia and De Beriot are among the composers represented. One thing I can do for music is this: I Smith, Muriel Williams, Mary Freeman, Mar-: KEY PURSE O’CEDAR MOP will play for people when I am asked and I jory Allen, Dorothy Loomis, Ruth Jenkin, can play for old people and it makes them Martha Menendez, Evelyn Dobbs, Myrtle Six hooks, solid cowhide, finished in black. Every woman should have one and many happy when they have nothing else to give Olson, Alice Bell, Ruth Levin, Louise Taylor, them enjoyment. Vadis Gardner, Charline Dawling, Delia SELECTED STUDIES IN SECOND AND THIRD POSITIONS You will never know the convenience until a tidy bachelor, too; complete, only two If I play for somebody who doesn’t care Shiloff, Lewis Morton Clemmer, Eva Lydia you own one; only one new subscription. new subscriptions. very much for music, and I tell him I like it, Crawford, Marjorie Eckblad, Marguerite Compiled and Edited by C. Levenson Price, $1.00 they take a little more interest in it; and then Creighton, Evelyn Mozley. this unconsciously has a beneficial effect on HpHESE attractive studies are not at all difficult; they are such studies CIGARETTE CASE them and soon they begin to like it too. SHOE HORN AND BUTTON HOOK I like to practice and I do so every spare Dear Junior Etude : as the pupil may be aide to take up after having done a reasonable 7x2£ in. open, black pin grain leather, carries minute I have. Just to let you kno ■ I ai n ardent reader Mildred Wilhelm (Age 13), pages. amount of work in the first position. Folded in a neat leather case, every travel¬ 20 cigarettes and place formatches, too; only Illinois. Although I a subscriber I get your ler needs one; only one new subscription. two new subscriptions. magazine nearly -„ --—- - that I enjoy the pieces greatly, while I find WHAT I CAN DO FOR MUSIC the articles very interesting. In these I have SELECTED STUDIES IN THE 4th, 5th AND HALF POSITIONS PRO-PHY-LAC-TIC HAIR BRUSH PRO-PHY-LAC-TIC HAND BRUSH (Prize Winner) found a great many things that otherwise Penetrator, 9 x 2f in. with 14 rows medium I should not have known. Compiled and Edited by C. Levenson Price, $1.00 Before I can do great things I must start Size 4J x 2 in., just fits the hand, will last length black bristles; only two new sub¬ with small things. Therefore I must use my In our High School, of which I am a mem¬ ber of the Junior Class, we have an orchestra A BOOK of studies, such as these, occupies a most desirable place in almost indefinitely; one new subscription. scriptions. practice hour in the right manner. I practice that, besides playing to the school, goes out my scales, technical exercises and pieces regu¬ -^the violin curriculum. Studies exemplifying the fourth, half and larly every day. Then during my spare time and plays at certain social functions. An¬ I can read musical magazines and learn how other organization is our newly formed band. fifth positions are scarce, at best, and ordinarily must be hunted up in other musicians have reached their goal. The boys, dressed In uniforms of maroon and white (our colors), make quite a showing at various books that may he obtained only at considerable expense. This Then I can tell my friends about these things. football games and the like, thus making it The above is only a sample list of the many premiums offered for* new There are many people who do not like music. volume has the best in convenient form. Why? Because the music that they have a real asset to the school. A boy In my class, heard had no expression ; so I should learn to who also is in the band, is trying to start an ETUDE Music Magazine subscriptions. Send post card play with much expression. I should not wish orchestra of his own and has asked me to be my school or class to give an entertainment the pianist. I hope It is a success. for complete illustrated catalogue. without myself or someone else playing a little Hoping you will excuse this rather lengthy Ask for Our “Descriptive Catalog of Violin Collections, Methods music. If I keep on practicing as I am now, letter. I should be able to play the wonderful com¬ From your friend, and Studies “ positions of Beethoven, Chopin, and others, Josephine Lonebgan (15), New Jersey. e lives I Miriam Gold (Age 13), Wisconsin. Letter Box List PRICE Violin Strings, Chin Rests, Rosin, etc., at Reasonable Prices ETUDE MUSIC MAGAZINE i 2.00 -,___MB—, -.ancy Hut- § _ Clifford. M. B. Clowe. Jr., Gladys A YEAR THEO. PRESSER CO., Publishers Sargent, Elsie Booth, Gertrude Nanta, Helen _a Fenyo, Mayme Layddau, Mary E. Koons, Cecelia Mae, Emily L. Gardner, Catherine Martha J. Baumleve, Mildred Shroyer, Grace Lange, Nora W. Fahey, Katherine Fullerton, THE0. PRESSER CO., C£SS’k. Philadelphia, Pa. 1710-12-14 CHESTNUT STREET, PHILADELPHIA Amelia Peck, Marguerite Creighton, Jan,, Viola Hiifford, Lena Gilli, Odelia Baron, Dor¬ MAIL ORDER SUPPLY HOUSE FOR EVERYTHING IN MUSIC PUBLICATIONS Lahey, Florence Masey. Janet Kiley, Mary E. othy Hawkins, Nora Foote, Jay N. Bostrom. Postage, 72c Foreign and 25c Canadian Honshprger. Irma Sievers, Louise Krauss, Mar¬ Annie Mae Ferrell, Hilda Hockey, Margery tha Menendez, Rita Marie Martin. Nora M. Harris. Mary Walker Howard, Delora Ruth ” - Catherine”-- McCullough," --- Helen Popp. Albums for the Home Music Library ■MOM '.Morten he' Perhaps something that will give you many moments of musical pleasure will come to your attention through our helnful catalogs. Ask for any of the following that interest you: DESCRIPTIVE CATALOG OF PIANO COLLECTIONS (Describes and gives contents of 250 Piano Collections, Solo and Four Hands)—THEMATIC CATALOG OF PIANOFnPTF rniw POSITIONS, EASY AND MEDIUM GRADES (Shows portions of 225 Piano Solos)—THEM AT JC CAT A in r nr " PIANOFORTE COMPOSITIONS FOR ADVANCED PLAYERS (Shows Portions of 97 Piano Solos Grades 4 to 10). Free catalogs covering Songs, Violin Music or Organ Numbers also sent on request