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

5-1-1929 Volume 47, Number 05 (May 1929) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 47, Number 05 (May 1929)." , (1929). https://digitalcommons.gardner-webb.edu/etude/767

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THE WORLD OF -JiCUS'IC behind illze curiam

Interesting and Important Items Gleaned in a Constant Watch on Happenings and Activities Pertaining to Things Musical Everywhere

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propose. It is no small commendation that Chopin, the , comes m for workmanship so elaborate should be beyond some careful analysis in Hadow s Studies in Modern Music’’ (second series), m par¬ the reach of any imitator. ticular as regards his attention to detail. “As a rule, it is the dashing, daring, im¬ “No composer in the whole history of petuous pioneer in art who distances all music has labored with a more earnest followers, and finds himself, he hardly anxiety at accuracy of outline and artistic knows how, on a height that they can never symmetry of detail. We have here > no hope to attain; in this case the climber has clattering of dishes at a royal banquet, no planted every footstep with a careful cir¬ OLIVER DITSON COMPANY casual indolence of accompaniment, no gap cumspection ; he has employed all his pru¬ filled with unmeaning brilliance or idle dence, all his foresight, all his certain com¬ These pieces are for the recreation and pleasure of young commonplace; every effect is studied with mand of resource, and yet, at the end of the players, being in a light and happy style, to be played for the fun deliberate purpose and wrought to the ascent, he stands alone. highest degree of finish that it can bear. of'it. The teacher knows that to “play with pleasure” is the secret “The reason for this is twofold: first, Of course, his thoughts were conceived of playing well, and that children learn more rapidly those things that Chopin’s intuition of style was a natu¬ spontaneously; no man could have written which they enjoy learning. This is a collection of joyous melodies the poorest of Chopin’s works by rule and ral gift which few other have made by a noted educator, who has chosen wisely and with measure; but before they were deemed possessed in an equal degree: second, th?t sympathy for the child mind. ready for presentation they were tried by he brought to its cultivation not only an every test and confronted with every alter¬ untiring diligence, but also a delicacy of native which a scrupulous ingenuity could taste which is hardly ever at fault.” OLIVER DITSON COMPANY, 179 Tremont Street, Boston

Chas. H. Ditson & Co., 10 East 34th St., Sob'Stujf TRY YOUR MUSIC STORE FIRST | “ ‘Now let us start over once more silence. Frightened eyes are fixed on the li again!’ says the conductor, with admira¬ wretched girl with dread fascination. ble courage and geniality, washing his “But replete as ever with charming hands with imaginary soap. He mounts surprises, the prima donna does not com¬ his throne. Madame clutches her support mit murder; on the contrary, she pro¬ handles. The music begins.” duces her most bewildering smile for the WORLD - FAMOUS COLLECTIONS The passage is from Mary Fitch Wat¬ emergency. ‘My dear Miss Simpson, go kins’ “Behind the Scenes at the Opera,” home at once and to bed,’ she says to the but this particular chapter deals with quivering secretary, full of concern. ‘What Book of a Thousand Songs making phonograph records. is a small thing like one of my records, if To continue: “The manager smiles, the A collection of all the standard songs (words you are catching cold.’ ” and music) which everybody knows and loves. conductor beams as he waves his baton, the And, so the story runs, Madame instruct¬ Contains more than one thousand favorite home, assistants finger the cigarettes in their operatic, sacred, patriotic, sentimental, college, ed the paralyzed conductor to “just cut plantation and many other kinds of songs. The breast pockets. This promises well; things the sneeze out; it is a good record.” most complete collection in the world. 63b pages. .are going nicely. What a gorgeous voice Apparently something of the sort is Beautiful green cloth edition, $3.00. Paper edition, $2.00. that woman lias! The lilt of the song done, for weeks later “a harassed fat swells and dies, the singer’s last beautiful woman, with many bundles and two small Masterpieces of note is being spun out like a strand of children in hand, stops at the phonograph silver gauze and . . . then the secretary department of a large store. ‘Give me Piano Music sneezes! that new lullaby record of Madame Filli- “There is a moment of black and scar¬ collection of more gree’s—the one with the lovely sob at _ two hundred well- let, a tenseness of white faces and dead the end!’ ” ipositions, including classic, modern, light opei :ic and sacred numbers. Ideal for the average player, >ntains all the music which could be played in years. 536 pages. Beautiful red- cloth binding, $3.00. Paper binding, $2.00. Fourteen cPrima ‘Donnas of the Pianoforte

The Child’s Own In “My Musical Life" “The morning before the concert, how¬ gives an amusing account of a testimonial ever, I received a hurried telephone call Music Book concert given in aid of Moszkowski a few CHILD’S own from . He said: 'Please The most complete child’s music years ago, organized by Ernest Schelling MUSIC BOOK lished, containing nursery rhymes, songs, games come down to Steimvay’s immediately and and a series of piano pieces and duets for juve¬ who, with Harold Bauer, enlisted the co- niles. A book which can be used by children operation of twelve other celebrated pian¬ help us out. The fourteen are all of all ages. 536 pages. Beautiful here for rehearsal. We have arranged for binding, $3.00. Paper binding. ists in America at that time. The list in¬ where good i ...... j sold. If your cluded Elly Ney, , Ossip several compositions to be played by all of dealer t supply you ■ will send postpaid on heerfully refunded it Gabnlowitsch, , Leopold us, but, alas, each has his own individual ’ SOLD IN CANADA.) Godowsky, , Ernest Hutch¬ interpretation, and nothing seems to make us play together. We need a conductor!’ MAIL COUPON FOR ILLUSTRATED FOLDE^WmiJfONTENTS eson, Alexander Lambert, Josef Lhevinne, , Germaine Schnitzler and “When I arrived at the rehearsal hall Unmil Publishing Co., Inc ( ) Hook "f, “ ’SES;. Sigismund Stojowski. the confusion was indeed indescribable, “Mr. Flagler offered the services of our and it took some time to bring order out Enclosed find $. for which please send the books checked. (the New York Symphony),” of chaos. Here were fourteen of the ( ) PLEASE SEND FREE ILLUSTR. FED FOLDER says Damrosch, “but, as the stage was world’s greatest pianists, veritable prima completely filled with fourteen grand donnas of the piano, but several bad never Name .. , there was no room for an orchestra, learned to adapt themselves to play to_ Address and I had to content myself with the pos¬ gether for a common musical purpose, and sibility of being taken on as a piano mover when I rapped on my stand for silence in British Copyright Becured City .... Copyright 1929 by Theodore Prefer Co. * From here go back to the beginning and play to then play as I longed to take part in the affair in order to begin the Spanish Dances of Fine, Trio. J any capacity. Other Music Sections in this issue on pages 361,369,401 Please mention THE ETUDE when addressing our advertisers (Continued on page 391) MAY 1929 Page 335

A stately and sonorous modern dance movement. Grade 3£ INTERMEKO PlAGAVOTTE carl WILHELM KERN. Op. 610 Tempo di Gavotte

British Copyright secured Copyright 1928 by Theodore Presser

British Copyright secured MAY 1929 Page SSI TEE ETUDE Qan You T3e!I? “

1. What is a Chromatic Scale:' 1. Of what word are sf and sfs the abbreviations; and what does it mean ? 3. Who wrote wonderful music in a log cabin in the woods of the New Hampshire hills? 4. Spell the Dominant-seventh Chord in the key of F-sharp minor. , 5. Spell the Dominant-seventh Chord in the major key with six sharps in the signature. 6. What was the first Italian opera sung in Italian in America, and when ? 7. How is a minor chord changed to major r S. Identify the following theme:

9. When is an orchestra first mentioned in American Musical History ? 10. Name the pitches of the descending scale of B-flat minor in its Melodic form.

turn to page 400 and check up tour answers.

uMtiorn and anawera aa they appear in each i host to a group of music loving Their c number is SONG OP THE PLOWMAN $ legion who travel Adainty pant,,,,) movnm.nt. Grad, 3 FRITZ HARTMANN) 0p. 207 Inspiration ‘Road * Moderato m. m. J = 72 H. Edmond Elverson TOURIST There is a boundless fund of inspira¬ Because, as her great master has left the record, Jenny Lind was the most eager, s tion, for those with earnest aspiration, in the struggles of others who have reached sincere, conscientious and diligent student THIRD CABIN the summits of reputation where the sun¬ he had ever known. No suggestion or shine of popularity and the love of the requirement, be it ever so prodigious or and methods. TOURIST Third so small, that she did not return with it Doctors, lawyers, professors, en¬ public brighten their lives and make them, Cabin on our ships gives them at least to some extent, forget those well done! What a model for the one gineers, actors—one after the tiresome years of effort through which with a goal in view! other they book TOURIST every comfort, good food, excel¬ And, so, the pages on which are drawn they attained their goal. lent service—and is so inexpen¬ the pathways travelled by those who have Third Cabin when Europe- What singer has not been thrilled by sive, as low as $184.50 (up) the story of Jenny Lind? In the midst achieved renown are filled with tales of bound. Away from duties and of an early success at the Royal Opera triumphs over obstacles, tales that are social obligations they seek in¬ round trip. more thrilling than any that the pen of of Stockholm, her voice abruptly failed formality— ease — comfort — In our fleets we offer you a choice because of faulty methods of tone produc¬ fiction has ever told.' They are more pleasant association with inter¬ tion. Having heard of the great success thrilling because they tell the stories of of such famous liners as the of Manuel Garcia as a teacher in Paris those who have been known in the flesh of esting people. There they find Majestic, world’s largest ship, our own existence. They are more thrilling she went to him for help. And what could it in ocean travel. Olympic, Homeric, Belgenland, have been more disheartening for a singer because they point the way to possible than his first pronouncement that she achievements by our very own selves. In their fields the Euro¬ Lapland, etc.—and two should sing not a note for six weeks, and That our readers may have these fine remarkable steamers, influences to come into their lives and pean trip is a necessity. at the same time should speak only in the Minnekahda and Min¬ lowest possible voice, while the overtaxed work, we are publishing our “New Etude They pride themselves vocal cords were given an opportunity Gallery of Musical Celebrities.” Each is¬ on “keeping abreast” nesota, that carry to recover elasticity and vitality. sue of The Etude will now provide an op¬ TOURIST Third portunity to look into the faces of a group of the age by keep¬ At the end of that tedious month and Cabin passengers a half she returned to the master. A few of these master-musicians in their varied ing in touch with notes; and another six weeks of restl fields of endeavor; and along wi^h their European minds exclusively. Then came a long trying period of slow portraits will be given the most signifi¬ voice building, out of which bloomed per¬ cant events of their lives. Do not fail haps the most glorious career in all the not only to make present use of these but annals of song. also to preserve them for the years to Why? come. V- c. Accommodations are reserved exclusively for American vaca¬ tionists—the sort of people you will enjoy traveling with Practice 'Difficult Passages * By Edna Kalisch WHITE /TAR LINE To gain technic in place of practicing stance, presents measures of nearly every RED/TAR LINE ATLANTIC TAAN/PCKT LINE numerous pages of monotonous exercises, conceivable technical difficulty. In the INTCRNATIONAI. MSRCANTIU MARINE COMPANY select difficult passages from the master¬ practice and mastery of these parts one Tourist Third Cabin Dept., No. 1 Broadway, New York, 4 3 -- pieces, those containing thirds, , will have gained besides technic an insight our offices elsewhere or authorised steamship agents. arpeggios, wide-spread chords, runs and into the composition minus the strain upon Copyright 1924 by Theodore Presser Co. cadenzas being most suitable. the auditory nerve, which unmelodiaus - The Rhapsodies of Liszt hold an abun¬ repetitions cause. And Mozart said that International Copyright secured dance of such material. No. 12, for in¬ music never should offend the ear. ™ BTBBi MAY 1929 Page 339 Page 338 MAY 1929 THE ETUDE Caching the Values of Motes

By LeRoy V. Brant PICTORIAL If , MSCALLS 1 ^'Compjniotr’^ ' The aesthetic value of rhythin may 1* ^SACRED MUSIC* taught if the teacher pla>s Soloists and Choirmasters will find Excellent America and The Star Spangkd' Banner using throughout notes of equal ttme Talue, Suggestions In These Selected Numbers. There ft y* then repeats them playing m Pr°PeE ‘ , It will be seen that in using these exer¬ are Many Satisfying Numbers Here for Those It is seldom necessary to go much beyo.Td cises the student is relieved of all problems Who Get Solace, Inspiration or Enjoyment ■* J this to demonstrate to the student the of playing certain groups of notes. For Hi ‘QLdt dramatic value of notes of varying tm since he is simply using adjacent keys in Through Sacred Music in the Home. duration. , ... constant repetition, he has only to con¬ Sacred Songs for High Voices With very small children and with many centrate his whole thought on familiarizing Composer not so small the teacher has difficulty m Cat. No. Title ?,anse himself with common rhythmic figure 19934 His Almighty Hand Bernard Hamblen conveying the idea of fractional values. A These figures are intended to be suggestive 19577 Is It For Me? R. M. Stubs F to g little five-year-old girl hm's W? ea.sy to only. The thoughtful teacher will amplify 18399 Cling to The Cross Daniel Protheroe erasp by saying that the whole note is the the idea indefinitely. 3276 1 Heard the Voice o F. G. Rathbun four-note, the half-note the two-note, and A little later on in the career of the Jesus Say These Special Prices 5326 Jesus, Lover of My the quarter-note the one-note. student he should practice scales in rhyth¬ If we are to lie outstandingly successful Soul H. C. Macdougall mic figures and in octaves, tenths, sixths A. Buzzi-Peccia in the teaching of rhythm we must attack 19822 Eternal Light! Save You 10 to 25%! and thirds. A few more figures may be 7268 Only Waiting T.-. D.-. Williams the problem as such, not as a problem added: Motional ‘Music Wee\ 12656 God Be Merciful to Me F. L. Percippe UST as you can save on other things by ordering in purely incidental to the performance of 18475 Oh Master, Let Me J some piece. As many lessons as may lx- Walk With Thee Paul Ambrose quantity, you can save on magazines by subscribing WING TO THE number of inter¬ consider that rapid advancement? I work needed should be used to convey to the O 17514 Bend Low. Dear Lord Will H. Ruebush to more than one. These special offers including esting letters that have come to this hard and conscientiously and try to get all student an idea of the importance of time. I can out of my lessons. With three chil¬ 16843 I Know In W hom 1 THE ETUDE are real bargains! Subscriptions may department, letters which we feel we The following procedure may lx; employed dren and my house to take care of I am Have Believed J. P. Scott be new or renewal, may go to different addresses and must pass on, we have space this month 16547 Children of the with excellent results. Have the student busy enough, as you must know. may begin when you wish. for but a brief message. But we cannot Heavenly King R. M. Stubs place his hands in five finger position, and Both my little daughters take lessons, overlook the opportunity of calling the 22860 Dear Lord and Master play up and down the five keys from C attention of The Etude mothers to Nation¬ one practicing from seven until seven-fifty, Mine W. Berwald Order Your Summer Reading Now! to G, without breaking at all, using vari¬ Others will suggest themselves as useful. al Music Week which comes with the love¬ and the other, from seven-fifty until eight 23277 Be Near Me, Father W. M. Felton ously the following rhythms: It is scarcely a good plan r the student THE ETUDE MutiC Magazine $2.00 i Both ly month of May. This is a movement that forty-five. Then they are off to school. 23605 When I Survey the WOMAN’S HOME COMP. 1.001 £2 75 Ex.l to practice the arpeggio and double note About three months ago my mother j Wondrous Cross Lawrence Hope E flat to g \ $2.40 has already proved itself of value, at this, passages in these figures until he is quite decided to study violin, and she is getting j far advanced in his studies, since his whole its sixth birthday. Sacred Songs for Voices of Medium Range CH RISTIAIi HERALD^’ 2.00 ( $2~85 along splendidly. Our music teacher cer¬ r.- Range effort should be directed toward securing The National Bureau for the Advance¬ ment of Music, an organization that as¬ tainly deserves much credit for the patience, 19932°'■ Master, I Would Fol¬ THE ETUDE Mimic Maaazine $2.00 v Both a perfect legato. But in scale passages skill and kindness with which she has j low Thee Paul Ambrose PEOPLE'S HOME JOURNAL .50 I <£2 25 sumes the leading part in sponsoring this these exercises are of value beyond given us instruction. 7270 Close to Thee C. S. Briggs annual celebration, is very anxious this E rial to E flat .-igfl—■ I am allowing myseif ten years to learn. 19885 Lead Thou Me On R. M. Stubs year to awaken the interest of the Amer¬ 9684 The Earth is the Lord’s T. D. Williams *,ae;mnt $1:60 ican parents along certain definite lines If in that time I can be proficient on the _L«1 $2.35 piano I expect to take up the pipe organ. 18963 Pardon and Peace R. S. Morrison which will aid in raising the standard of 18863 Open My Eyes, O Lord R. M. Stubs Maybe I am foolish but I get a great The Matter of firsts music in the homes and schools. This de¬ j 18477 If Any Little Word of ii°°[ $3.00 partment is directly concerned with music deal of pleasure out of my music study. Mine Paul Ambrose By Ralph Kent Buckland Sincerely yours, E flat t in the homes, and we therefore advise our 18582 Saviour Divine William Baines (Mrs.) A. McA. 23604 When 1 Survey the Music Magazine $; The average student of music, piano ing about the underlying milk? In playing readers to make a determined effort to $2.35 Wondrous Cross Lawrence Hope d flat Regular price.~$3 [ students in particular, does not read rests simple compositions this is all true enough emphasize music in some special manner This correspondent, we would say, is. at all. He plays the part of the Score be¬ save for the fact that the habit of thorough¬ during the week of May 5th to 11th. anything hut foolish. She is laying up | Sacred Songs for Low Voices Range Price I AI1 1 M CALL’S E iImtc Magazine J2.00'l A|| fore him that sounds and lets the “rest” ness is not being properly built up. There By writing Mr. Ixeuneth S. Clark, Assist¬ treasures for herself in the future when j Cat. No. Title Composer > $3.35 I PEOPLES HOME JOURNAL ’.SO > $2.80 forever rest in so far as he is concerned. is no foundation to build on when more ant Secretary, National Music Week the children have fled the nest and she is 3740 I Heard the Voice of Jesus Say F. G. Rathbun b flat to F $0.35 To be sure, certain beneficent pauses are difficult music is placed before one. Committee, 45 West 45th Street, New left with hours of unemployed time on her York City, you will receive on request any 19147 Saviour Breathe An agreeably accepted. They are the saving Let us look at it as a sort of double- hands, but with the habit formed of being Evening Prayer Paul Ambrose to E flat (Opt. F) .35 r $2.35 grace between two notes or chords involv¬ entry book-keeping system. I-'.very bit of one of the following pamphlets which you ever busy. Having cultivated her talents, 19933 Master, I Would Fol¬ ing a considerable skip. Were notes or time in the measure, as indicated by the think will interest and assist you: “Ameri¬ she will stand in no danger of being a low Thee Paul Ambrose l I mHc!aElTl^sDEMusic. *7"" ’tloo') a„ chords inconveniently there instead, they signature, is completely used up for each can Music in Review”; "American Music lonely old woman, without a definite and 5304 Jesus, Lover of My c to > $3.25 I YOUTH'S COMPANION. 2.00 S $4.00 would of necessity be left out altogether. hand in turn, either by notes or by rests. that Americans Should Know”; “What’s interesting occupation with which to pass Soul H. C. Macdougall c to E flat It is not a matter of reading the rests, If it is of three or four voice music, each What in American Music”; “Stories of her remaining years. Also she has the 19929 Eternal Light A. Buzzi-Peccia b flat to E flat then, but a matter of being physically un¬ American Songs”; "Home Night in 9685 The Earth is the Lord’s T. S. W illiam- dMo lD NATURE MAGAZINE1.'' voice is likewise entirely accounted for right attitude of mind. She gives the 19956 Christians Triumphant Richard kountz c to D (Opt. E Hat) Ji00 $4.00 able to do without them. cither bv notes or hv rests. Tin- system National Music Week”; and “Quiz Your¬ teacher the credit which is too often over¬ A distinct detriment to sight reading is 22537 They That Trust in the interlocks' with precision so that failure self on Music.” A single copy of any or looked. That she is in earnest and loves Lord A. W. Dortch b to E flat YOU tEhT. s 'com P A nYo“n 2,''.t $i:2o j this failure properly to evaluate rests. to read the rests deprives one of just so all of these pamphlets may be had free the work is proved by the early rising • $3.25 22754 Be Thou My Guide Ruth C. Dovenspike Regular price $3.50 Students, in a large number of eases, have much ability quickly to grasp the score. of charge. hour. I am not going to express any and Gerall G. Dovenspike b to E not been taught properly to consider rests JUNIOR HOMe'mVgAz'iNE | Why treat with such marked neglect sympathy for her neighbors—if she has 22670 Some Morning, O Some -$30.25s They reason with some logic that they what was devised not as a and an It Has Been Done! any living nearby—because I can see an Morning Mrs. R. R. Forman c to D p-*° THE ETUDE Music Magazine get approximately the desired tonal effect additional burden hut as a real aid in all-musical America if we had an army 23603 When I Survey the „ AMERICAN MAGAZINE *f.50 1 anyway. Wherein lies the virtue of so DEAR MRS. ROSS: Last month in Wondrous Cross Lawrence Hope b flat to D $4°25 FASEHfoNABLE"dRESS."Z"" TOO | elucidating the time value of the notes of enthusiasts such as she. She proves much effort if one can skim off the pala¬ your department 1 read an article by actually to be sounded ? The master com¬ herself a wise mother, too, because the ^^.eSho^g Portions of Sacred Songs and Duets S^ee^Request table cream of the situation without bother¬ C. M. B., asking if at the age of twenty- posers have used rests most eloquently. children’s practicing is also done in the CHURCH AND HOME $3*85 one he could learn to play the piano. COLLECTION OF SACRED SONGS For A Regular price Maybe it would encourage not only C. M. early morning hours when they are rested High Voice Price, $J.oo THE ETUDE Music M",,„rthe The 18 sacred songs m this album are MODERN PRISCILLA B. but any other adult student to know and mentally alert. Welcome, Mrs. McA. PICTORIAL REVIEW AAWS HOME COMp.'"' *100 ) » *" splendid in their combination of melody s$4A.0° iRICAN MAGAZINE . 2.60 V $4.7' about my efforts. to the ranks of the intelligent family oi and religious expressiveness. Regular price 15 50/ Save 75 As a little child I Would not take advan¬ Etude mothers! CHURCH AND HOME_ By J. J. Flanacan COLLECTION OF SACRED SONGS YOUTH S COMPANION"" ^'Lusut ■ ..- ^'o°n *" tage of my privileges and would not prac¬ 3YnEsR HOMES ANO car: There s a Difference tice. Accordingly I never learned to play FOUR SACRED SONGS Better Be Bric\ Live and Learn you fond of music?” the piano. Years later when my own little By David Dick Slater Price. S People who live in glass houses she RS. H. A. C-, Volin, S. Dakota; We Four original songs of a devotn very, but I prefer it to popular girls started to take piano lessons, I was M CHURCH SOLOIST character. They display the best of m ot play slide trombones. must all "live and learn.” With the quite ashamed of my ignorance in regard steady and rapid advancement of musical ADDjfi^i SATURDAY m;f5?NC POST \To of the to that instrument. Coming from a family good sacred^s^ _ (*> for 3 Yeara COUNTRY GENTLEMEN ) Above Clubs art in the past few years, it is truly sur¬ A Four-inch Distinction Forcible Entry of musicians, professional singers, I had SUNDAY PIANO MUSIC prising to find a community in which there Jhe difference between a violinist and "She burst into song." naturally heard much good music, but CHURCH SOLOIST^ PRICES DO NOT INCLUDE CANADIAN OR FOREIGN POSTAGE is no one who gives piano lessons. Why Kculty admirably fiddler is about four inches of hair. “She'd have to-there's no key to hei nearly all of it was vocal. not go about the neighborhood, organize ^Nineteen sacred solos especially singing.” 1 formed a plan of taking lessons and for their suitability to low voices a class and bring in a good teacher? It thought it over for about a month. Then REVERIE ALBUM TRANQUIL HOURS would mean a great deal to the community Send Orders With '•Payment Direct to ‘The perfect accompanist mua t I went to my children’s teacher and asked : F°r p™o.£°io_ in a cultural way, and it would be a good poetry have a feeling for the poetic sin9rCat mas,crs 1 her opinion. After a little encouragement in the n be able to discover the climaxes of ' , a"“’ °f words and their valu, cause for you to “mother.” However, I started taking lessons in both piano and you can do a great deal for your hoy while The Etude Music Magazine Poem Not only that, but 7c [hiP°eHc phrase “"d of who! theory. I am very much interested in my Penod of a poem, as the treatment0 k,l0^d9e of the liistoria he is so young, even with your limited Theodore Preiser Co., Publishers music, get up every morning at four-thirty knowledge of the subject. You will be of a seventeenth century poet will If ? °f’ 1,1 « *0'. a simple lyn and practice two hours before the children ^ 1712-14 CHESTNUT STREET , PA. poem of Verlaine. Besides a7L7 ?>0"' tihU °f -> sophisticate wise in the beginning to stress the rhyth¬ or the rest of the family are up. I have ! THEODORE PRESSER CO. % teehme have become subtle atid fuU %”‘rXprcssionism of art and it mic phase, which you can do with the aid ■ been taking lessons fourteen months and 1712-1714 Chestnut Street Philadelphia, Pa. musical treatment must follow 1 N°ht* and ^des, so i, of toys, games, marching, and dancing. am studying Haydn’s Sonatas, and the U kxdt' . U m exM,y ihe same way."-Thf.ophi Overture to “Poet and Peasant.” Do you (Continued on page 391) MAY 1929 Page 8U THE ETUDE THE ETUDE Page 81,0 MAY 1929 Making Flain the Sevmth ^h0rd SUMMY’S CORNER By Hazel Hawkins-Davidson

The diminished seventh chord, one of our most beautiful and useful chord . « formed by adding a minor thirdovera diminished triad, thus makmg three mm thirds, or a diminished seventh from the root to the seventh of the chord the notes representing black keys are filled As far as keyboard, ear and hand in with black. Note that two out of three concerned, there are only three diminished chords contain two black keys each and seventh chords, these being built on any three successive the chromatic that no chord is without a black key. KEYSTO THE KINGS K]f^ Agrees of The following rules for fingering the scale, as e, f, « or c, c#, d. It is more diminished seventh chord arpeggios are THE ORIGINAL simple to think of the diminished seventh chord as three minor thirds, bu.lt one easily remembered. In tlie right hand, when there are two black keys, the fourth POINT SYSTEM PIANO BOOK upon the other. Chords built on the first finger takes the upper black key, fingers FOR BEGINNERS 1, 2, and 3 falling naturally on other keys. JOHN floffifiJS A New Educational Work of Tremendous Importance

jl : f f f I r f \ U ! II the notes ^^not to be played staccato, yet Indexing as an Aid to Memorizing By Emil A. Bertl isrrnrrnr"! iSSSSfiSffiSa. and SCIENTIFIC, build- B®5“wtw CL AYTONF.^SLJMMYCO.^Publiahera

J “et must-be'rel ^ o^nnected^rolS0'the^second "°te 16 S'lghtl!'

A Collection of Unusual Interest to Pianists ’.. H0DERN PIANO PIECES THE WHOLE | WORLD PLAYS If it is your pleasure to revel in beautiful piano How to Impress the First Lesson Upon the Qhild

masterpieces by 1 Granados, Grieg, 1 ard Strauss, and many others. Each composition is carefully fingered and phrased. The book con¬ tains 256 page

Flaying and Singing the First Piece

D. APPLETON & COMPANY, 35 W. 32nd Street, EDITORIALS ^

15he ‘Private T5eacher

pianoforte playing will do a great deal of good. It v—_—']\f no country in the world has there been such will help thousands, who otherwise can not afford I an amazing development in musical conserva- music study, to get a start. Later they will take up ^M-^tories as that which has come about in America the study individually with some teacher in or out during the last twenty-five years. We have every The Infallible Test of Time of a conservatory. reason to be immensely proud of our music schools. There may be some so unfitted to the class or group They supplement but by no means supplant the work idea that they will become disheartened and dis¬ No Course of Studies, Series, Method or School of the private teacher. Like the family doctor, and continue. We know of one case of an art student like the surgical specialist, there will always be a rich has a Record of Acceptance Comparable with that who failed utterly in art classes but who triumphed " STANDARD and broad field for private educators in music. FGRADED COURSE Shown by the Very Great Number of Copies Bought wonderfully under a pri¬ OF STUDIES The contact between the Annually by Leading Teachers Everywhere of the vate teacher. The right music teacher and the mu¬ course was not discovered sic pupil is one of the until the parents had spent closest in the pedagogical two or three thousand field. Music has been suc¬ STANDARD GRADED dollars. cessfully taught in classes Class instruction, by the COURSE OF STUDIES up to a certain point, just law of competition, will as art has been taught in improve teaching in gen¬ Published in Ten Grades, groups. However, minute eral, from the standpoint Each Grade Sold Separately FOR THE PIANOFORTE observations of both meth¬ of quality. The private The Qreatest Studies Selected and Arranged by World Famous Editors ods convince us that, while teacher depends upon the it is a fine plan to have quality of his work for his HE INFALLIBLE TEST OF TIME has made this delightful and practical piano studv young people who are in¬ THE PORTRAITS SUR- T success. He has something ROUNDINGTHISPAGE . course the leader of all. terested in studying music, SHOW BUT A FEW OF Representing the most brilliant brains of the foremost educators in the art of music, the very serious at stake. If THE HUNDREDS to meet in groups and con¬ WHOSE STUDIES, COM. “Standard Graded Course of Studies” has been continually enlarged, re-edited and kept his pupils do not succeed, POSITION S AND up-to-date by eminent experts. This has been done regardless of expense in order to keep ferences such as teachers KNOWLEDGE HAVE the work in step with the most modern conditions of the art. his reputation and his for¬ BEEN UTILIZED TO have been giving for years MAKE AND TO KEEP This ceaseless improvement has been going on from year to year without ostentation. For tune will diminish. This is THE “STANDARD instance, the great Spanish virtuoso-teacher, Alberto Jonas, revised a volume a year or so at pupils’ recitals; still the GRADED COURSE" an enormous incentive and SUPREME IN ITS ago, and this is the first public mention of the fact that such a notable editing had been given private teacher, sittingalone FIELD. tha#that volumvnlmno at the same time a great with the pupil, watching This indicates our determined policy of keeping the “Standard Graded Course” up t. the responsibility. We know, latest and highest standards of musical education. every note and every finger, because we have been can and does, in practically Th^TA]SIDjf^D GRADED COURSE, Originally Compiled and Edited by W. S. B. Mathews through it. and Theodore Presser, is Published in Ten Grades, Each Grade a Separate Volume, covering all instances, render an in¬ There will always be an Piano Study from the Very Beginnings to the Highest Degrees of Virtuosity. dividual service which is ever-increasing demand for PRICE, ONE DOLLAR EACH GRADE invaluable. This is largely the better class private Teachers may adopt the “Standard Graded Course” for pupils at any stage of study sii because of the art back¬ e any grade is sold separately teacher of beginners and ground of music and be¬ adults, if that teacher will cause, in music, practically And This Season’s Triumph in Musical Education but keep on ever advanc¬ every individual presents a Is a Remarkable Very First Piano Book for Use With Little Tots Preceding the ing. With the huge in¬ markedly different problem Standard Graded Course of Studies or Any Other Course of Instruction crease of hospitals there from every other individ¬ has been a corresponding ual. Any young teacher MUSIC PLAY FOR EVERY DAY growth of medical special¬ who has given only a hun¬ complete5 The Gateway to Piano Playing partsALSO PUBLISHEDfor "cl ass use ists and their fees have in¬ dred lessons finds this out. \ MONUMENT TO CHOPIN IN THE PARK MONCEAU OF PARIS Every Day Brings Letters from Enthusiastic Teachers. Here are Twoo7 creased enormously. With the Hundreds of Wonderful Commendations That Have Been Sent Us. It is one of the reasons why an increase in the number of conservatories we pre¬ musical pedagogy is so hard to impart. It is one of the dict a demand for high class teaching specialists far the wonderful reasons why the older teacher, who has “kept up to. greater than ever before, and we are sure that their the times,'’ is often able to do more with intricate fees will be so magnified that their musical pedagogical cases than the youngster. After one has given four grandfathers, who received one dollar a lesson, would or five thousand lessons, one is just beginning to learn be speechless. Even the great violin teacher, Leopold the higher technique of teaching. Auer, who is said to have received" as high as one ■ivatmc Trna, - THEODORE PRESSER CO. Again, we are continuously presented with the melodious and’rhyth- Music Publishers and Dealers • Specialists in Direct Mail Service dollar a minute at some of his master classes, probably fact that some teachers can command the attention would be surprised could he but know the fees which 1712'1714 chestnut street Philadelphia, pa. and the interest of a class, while others must, by the great music teaching specialists may receive in the very nature of things, confine themselves to private future. Our debt of gratitude to the private teach¬ instruction. Liszt was an example of the first class: er is unlimited. Thousands of the patient, self-sacri¬ while Chopin found anything like class instruction . ; ficing workers in all parts of the country are the real abhorrent. Chopin was the ideal private teacher. There is no question but that class instruction in foundation of our future.

MAY, 1929 <5he ETUDE MUSIC MAGAZINE Vo1 XLV11-No 5 Pace 343 iL 31 AY 1929 Fuye 3^5 THE ETUDE

, „r tue major advantages of music, PIANO MAKING IN AMERICA they may deprive usof» fActuanyJ studying it is another. Hearing music is one tht 8- f ]ack of opportunity must IN OUR beloved country, manufacture of all manner of There are thousands who becauseot la ^ ^ things has reached such prodigious volume and such high standards and such enormous distribution that we stand before the world as one of the great constructive forces of modern times. We have taken our wealth from the earth, from the fields, from of.hi experience » the forests, and have combined it with the products of all the world, in cyclopean measure, for the benefit of all mankind. We may be pardoned for our pride in our products and in the men and women who have been building up our industries for one hundred and fifty years. yalue in modern social life is irreplaceable. Music study en- There is no manufactured product, however, in which the hanTes ^he enjoyment of everything that comes from the radio* American can take more pride than in our own pianos. Pos- and the records. It establishes new social and cultural strata sibly some of the worst pianos in the world have been made in for the adept. It now is far more pleasantly learned than America, by factories operated for mere commercial motives. THE GARGOYLES OF NOTRE DAME VIEW PARIS AT TWILIGHT On the other hand, it is generally admitted that the finer Ameri¬ ever before^ ^ ^ music clubs of America have no greater can pianos are not excelled by any instruments made anywhere. opportunity than that of making clear to mothers everywhere We like to think of our American pianos as being the work that the failure to give a child a good musical training is, in of superior craftsmen with ideals above the mere matter of this age of music, almost as serious an error as failure to teach T>he Music of ‘Pans the Inimitable making money. A fine piano is an art product, not the result him to read and to write. The time has already arrived when of automatic machinery like a “production” automobile. musically illiterate people are classed with those who leave Seventh in a Series of Musical Tr avelogues-Int,mate V,sits to European Musical Shrines Two years before the signing of the Declaration of Inde¬ their spoons erect in their cups and spell cheese with a z pendence, John Behrent, in Philadelphia, made what is believed that is, those who have not made the most of their chances. to have been the first piano made in America. Since that time The study of music, particularly for little beginners, today,

THE GRAND OPERA OF PARIS, FROM WITHOUT AND WITHIN MAY 1929 Page 31/7 THE ETUDE

THE GRAND STAIRCASE OF THE PARIS OPERA THE FOYER OF THE PARIS OPERA

attracts so many Americans, large numbers comparison with our modern opera houses succession. Meyerbeer and Rossini, Ger¬ brought her before the final curtain twenty of whom never take the time, to become calling for hundreds of participants, may man Jew and Italian, became French citi¬ times this was gratifying news to the acquainted with the wonders of the city be judged from the fact that the entire zens and charmed the opera goers. Herold, Editor of Thf. Etude. of light. In music they know of the strength of the company consisted of an Auber and others lead us up to present Grand Opera largely'because they cannot (This article will be continued in the orchestra of thirteen, a chorus of fifteen, escape it. With rare prescience Napoleon next issue of The Etude.) and nine principals. III saw to it that this magnificent build¬ ing was located within gunshot of where In 1672 the Academie Royale came under the direction of that startling musi¬ POR DECADES Paris was the operatic the offices of various tourist bureaus, center of the world. The great war in¬ Octaves and Blocks American Express, Thomas Cook and Son cal adventurer, Jean Baptiste Lully (1632- terrupted its operations in this field, and would be located in the future. This won¬ 1687), who was the martinet of the insti¬ By Gladys M. Stein tution jmtil 1687, when during a fit of it may take some time to get back on the derful edifice required thirteen years in The number of octaves in which scales building (1861-1874). Although it is anger he hit his toe a sounding whack magnificent scale of former years. There¬ are to be . played are the cause of much huge in external appearance, covering with the cane he used as baton and died fore, it is unfair to criticize the Grand confusion to young pupils. The word “oc¬ nearly three acres, it seats only 2,156 audi¬ a little later from blood poisoning. He Opera in Paris at present. The maintenance tave" means little to them; but let the served to give this national institution, tors. The building cost approximately of the opera has been conducted with huge teacher explain that an in music Favorite ‘Musical Instruments of a which has done so much for art, a fine seven and a half millions, and in this day munificence in the past. France has been is similar to a block in the city streets foundation. During the years of his su¬ through an inferno. It may take years it doubtless would cost many times that and see how quickly they become inter¬ premacy he produced some twenty works before the government will feel justified amount. Numerous different kinds of ested. Then give them exercises like the for the stage (together with the tiresome in making huge subventions again. The ‘Past Generation rare marbles are used in its structure. following, beginning on the lowest C of poet, Quinault). During the reign of this signal, thing, however, is the fact that the The enormous stage, with scene loft nearly the keyboard: two hundred feet high, makes possible the musical despot several noblemen were Academie comes as near representing per¬ production of any imaginable theatrical permitted to appear in the performances, manence as anything in the art world. It 43y Francesco Berger spectacle. setting altogether new precedents. may go up and down, but, like a sacred flame, it never goes out. Early Victorian “Accomplishments I recall the case of my three uncles, all With memories of such spectacles as HEN WE READ the novels of “Cabinets” of Instruments Reyer’s “Salammbo” and that impressive The Opera Comique during recent W of whom, though engaged in commerce, Dickens, his contemporaries, and HESE INSTRUMENTS were called AMONG accomplishments taught in the French masterpiece, Gounod’s “Romeo and Rameau's Innovations years has been far more interesting T had been taught music, one playing the his immediate predecessors, we find “cabinets,” and were indeed large early Victorian days, besides playing Juliet,’’ as we saw them years ago on the to American vistors than the Grand flute, another the clarinet, and a third A FTER LULLY’S DEATH the opera it frequently mentioned that Mr. This or enough to deserve that appellation. The the harp, was dancing with castanets. I the bassoon. Musicians need- not be re¬ same stage, we went to the opera (1927) * dates 1715 when it was can recall how my sister, who was my lagged until the advent in 1721 of Mr. That played the flute, or tried to. other kind of “uprights” were called “pic¬ minded that the flute of to-day was filled with joyous expectations. Jean Philippe Rameau, then thirty-eight established under agreement with the senior, on returning home for the holidays And the present generation may wonder colos.” They were much smaller in build, originally called “flauto traverso,” to dis¬ Unfortunately, Rimsky-KorsakofT’s “Coq years of age. During his period the opera Academie Royale de Musique. Thirty from the fashionable boarding-school she Play the first octave with the left hand, why that instrument, and not the piano¬ tinguish it from the “flute a bee,” which d'Or” (although splendidly acted) and saw a great advance. Rameau was a far years later it became so successful that it resembling the ordinary “upright” of to¬ attended in Kensington, delighted her the next with the right hand, and continue forte or violin, was so much in favor. was played perpendicularly. Massenet’s “Thais” did not seem nearly broader man and a much more gifted encountered the jealousy of the Grand day, except in tone, which was vastly in¬ parents and small me by her expert danc¬ so with alternating hands until the top of There is no other explanation than that it so fresh or exuberant as they do at the musician than Lully. He has been called Opera and was accordingly closed. The ferior to what we are accustomed to now. ing of the “Cachoucha,” using castanets to the keyboard is reached. The key-notes Metropolitan, nor were the orchestra or the creator of the modern system of har¬ new building dates from 1898 and has was the fashion of the day. Up to the All pianofortes in those days were “bi¬ accentuate her steps. I remember also Harp and Flute the chorus as effective. There seemed to of the scales may be played as whole notes mony, and. his works indicate a splendid first twenty years of Queen Victoria s cord,” so that when the “soft pedal” was that the tune which somebody played for HE HARP that sounded “Through be an unpardonable lack of that very qui moton Emn5h Which ™ch in order to give time to change from one T departure in the way of novelty. In ad¬ modern French art in the lyric drama has reign, male amateurs chose the flute, and used, one literally played with una “corda.” her (it cannot have been myself) was Tara’s Halls” migrated to “Queen’s” vive in the orchestra pit that we expect of hand to the other. This exercise helps dition to being a great composer he was moved into better things. The perform¬ female amateurs the harp as their instru¬ These “piccolos” had the same sort of from one of Auber’s Operas, which was Hall, and the flute with which Orpheus the French and always witness in the in¬ to develop speed and accuracy on the high an exceptional organist and wrote his Nou¬ ances we saw at the Opera Comique wern ment, quite a minority devoting themselves silk fronts as the others, and it was quite extremely popular at the time. charmed trees and wild beats and about terpretations of their fine symphony or¬ and low keys of the piano as well as in the gradually and slowly that makers departed veau Systhne de Musique Theoretique. given with delightful attention to detail either to violin or pianoforte. These two It is probable that the tendency of the which Sullivan sang to melodiously, has, as chestra. We felt ourselves discourteous more familiar middle section. from that construction by substituting the After Rameau the next figure of signifi¬ instruments, now so universally popular, harp to go flat in a heated temperature, a solo instrument, taken a still longer to think of criticising, even in our own handsomely decorated fronts that now cance in the Academie was unquestionably had not even been dignified by their pres¬ and the consequent necessity of frequent journey. Was there not a cynic who minds, when surrounded by such a his¬ adorn our “uprights.” Christoph Willibald Gluck, whose “Iphi- ent names, but were familiarly spoken of tuning up may have contributed to its asked “What is more tiresome than a torically hospitable people. But after hear¬ As mentioned above, most young ladies genie en Aulide” was first given on April cRelaxation as “fiddle” and “piano.” going out of fashion as a solo instrument. flute solo?” and answered his own ques¬ ing opera in many parts of the world we 19, 1774. He was soon followed by his who were ladies learned the harp in those “Grand” pianofortes were almost un¬ But the puzzle is, what has become of tion with, “A duet for two flutes.” had learned to look for finer things. tactless rival, Piccinni, and a battle royal By Lawton Partington days. The position of the player, the at¬ known in private houses, and the upright all the harps that were once so much in But in the orchestra the flute main¬ between the admirers of these composers To acquire relaxation the student should titude of arms, neck, and body generally, ones in use were of two kinds. One, the evidence? Where are they? Excepting in tains its ground. All the great masters Humble Beginnings ensued. hold the hand in position at the keyboard and the flowing lines of their ample skirts an orchestra, or on the sands at the sea¬ have left us tit-bits of orchestration, scat¬ ■without any straining or stiffness. older and by far the more frequently met were thought to be “so graceful.” The f IA HE GRAND OPERA is, properly side, or outside a city public-house dur¬ tered in their symphonies and overtures, Then, working slowly, he should trans¬ with, being strung perpendicularly (instead vogue for the harp created a supply of x speaking, the flower of the Academie ing the dinner-hour, one seldom sees one. in which the flute is a most important Royal Patron fer all the energy of the hand into the of transversely as in more recent times), virtuosi, and some very distinguished per¬ de Musique, one of the most amazing insti¬ A factor, by reason of its peculiar timbre, tutions in the history of the art. It is nrst finger, raising it and bringing it down rose to the height of seven, eight, or even formers, mostly fine musicians, arose. T OUIS XVI in his last days took an Marriage Affects Composition so unlike that of any other wind instru¬ With the sensationally successful 'phiT^ smartly on the key. At the very moment nine feet from the ground—the taller it Foremost among these were Bochsa, now in its fourth century. During this amazing interest in the Academie, even ment. Think of the opening measures in time it has had many “ups and downs.” The Pine girl, Tapales Isang in Wr Ph",P' °f impact (the beginning of the sound) all stood the more imposing it looked and the Parish-Alvars, and the brothers Chatter- SPOHR, whose reputation was at one supervising some of its functions. Cheru¬ Mendelssohn’s Overture to “A Midsum¬ first royal letters patent were granted to In Brussels the manager If n r°'e’ pressure should be released, except just costlier it was. It was covered in front with ton, and somewhat later John Thomas, time equal to if not greater than that bim, Spontini, Gossec and other opera mer Night’s Dream,” or of the flute the Marquis de Sourdeac, the Abbe Per¬ Monnaie told us of this woL*^ Theatre enough to prevent the key from rising. a screen of silk, either red, blue, or green, Ap Thomas, Boleyne Reeves, and Ober- of Beethoven, married a celebrated harpist, composers were later leaders in its des¬ bravura in the pastoral section of Rossini’s rin, and Robert Cambert by Louis XIV and advised us not to leave F1'1 singer 'hen the energy should be transferred but mostly red, and the silk was drawn thiir. They all composed music for their and it is noticeable that in his Trios for tinies. The French Revolution impeded Overture to “Guillaume Tell,” or of the in 1669, to give operas and dramas in hearing her. Sk w ,, ^''vi,l,n”> o the second finger, and the same per- in pleats from the four corners, converg¬ instruments; some were capable of con¬ Pianoforte, Violin, and Violoncello, the the activities of the Academie for some pianoforte part is often of harp-music remarkable flute fanfare with which Verdi French verse, after the style then popular time. We then encounter the names of as a Japanese artist. Wh£ S'Ve^where tormance gone through with, the first ing to the center, where a brass rose, or certos; and the last one named even ven¬ ment later in the green i °Ur,amaze- type. Can this have been a forecast of illustrates the flashes of lightning in the in . To gain a proper perspective of Boieldieu, Kreutzer, Paer and Duvernoy, .nger bein? released at the moment of nob, or miniature metal hand held them. tured upon overtures. For many seasons the female ascendency which since his day final scene of his “Rigoletto.” No tone- this we should remember that the shadows of their great predecessors. Nat¬ turned the conversion from impact of the second finger. I can distinctly remember one in my John Thomas gave an annual concert at has expanded so markedly? colour could have been selected more Academie was started sixteen years before urally the works of eminent German com¬ American” and said that she Fu ?C l to Continuing this throughout a five finger father’s house of this description, made which “a band of harps” performed, and A century and even longer ago it was happily to illustrate “the peace that pass- the birth of Bach and Handel. The posers came to the front, and we find an virtually brought up in U \ had been exercise several times each day will be by Eavestaff, then a much esteemed maker, a very pretty sight it was to see some Etude Music Magaztw*. M,an,‘ a’ 0n 'he considered essential that every educated eth all understanding” than that selected Academie was opened in 1671 with the era of Mozart and Weber. “Der Frei- ound a great i^ip tQ pianjsts at any stage on which I was “taught my notes,” perched twenty or more elegantly dressed girls man should be able to sing his own line by Mendelssohn in the final notes of “O opera “Pomone” by Cambert. How lim¬ schiitz” was given at the Odeon Theatre of their development. on a high-backed chair with a very small seated in seried ranks in the old St. James’ in a glee or play on some instrument. Rest in the Lord,” a pianissimo shake in ited the scope of this institution was, in three hundred and eighty-seven times in cane seat, and with a specially constructed Hall in Piccadilly, all tinkling, and glis- the lower register of the flute. And has foot-rest to prevent my short legs from sandoing, and ctouffeeing in The March The flute was the favorite one, but other wind-instruments had their amateurs also. not Berlioz, that master of tone-painting ^Piio!0 the mind as air to the dangling. of the Men of Harlech. Page 31,9 TIIE MAY 1929 Page 3JfS MAT 1929 rm: etude Broken Chords (though of very little else), written a The last time I heard a duet of harp Serenade for two flutes and one harp in and flute was on a Thames steamer m an By Charles Knetzger his ‘‘Enfance de Christ?” excursion to Kew Gardens. The harpist Saving Lost Jtfotion in Piano Study played in E, and the flautist blew in E, , „< romoosi- In music of Bach’s time flic ar., Hamlet's Flute hut that did not distress me in the least. PAPAGENO in “II flauto magico” sings A course of ultra-modem orchestral music P>y Leslie Fairchild of his flute; but it is not our flute he had trained me to like that sort of thing. handles; it is a shepherd’s pipe. And I marked my appreciation of this exhibi¬ Precision in Practice master Hamlet, when he reproves Rosen- tion of “advanced” music by bestowing a IN THESE TIMES of numsrous allur¬ “Do not be in a hurry to succeed. What would you have to live HE DIAMOND cutter knows well six-penny-piece on the performers, after T crantz and Guildenstern with “Though •Ex.1 s ing “short-cuts” and the tendency to for afterwards? Better ma\e the horizon your goal; it will always be that the beautiful display of pris¬ you can fret me, you cannot play upon which I felt I had contributed my mite try to reach the top with as little effort ahead of you.”—George Bernard Shaw. matic colors can be released from the me,” speaks of a pipe, not of 'a flute. towards the ostracism of the old masters. as possible, there is grave danger of failure rough crystallized carbon only by using the ahead for the . On the other hand greatest precision in cutting and polishing scales? Can you play all the melodic there are students who put in hours of One of the most important phases of each of the many facets. So with a musi¬ On ^Ability to Sight'P^ead practice yet never receive the full benefit an adequate piano technic, often slighted cal composition. The numerous phases of of. their efforts. . They are like old fire 5. Can you play all scales in all speeds? technic must be studied with the greatest By Dr. Anna Patterson by the would-be pianist in his mad rush horses—all up and down and no “go toward Parnassus, is the neglect of scales. 6. Can you play all scales with every exactitude if the pupil expects to acquire a N THE PROFESSION of Music, there A few brief hints y be useful to the jy0 pupils invariably play the ahead.” Many quite advanced players are really conceivable1 degree of shading from a deli¬ really artistic finesse. I These chords are played beginning, with are many side-issues, if we may student. Before you start—and a brief upper chords as if the two lower v Probably nowhere is there so much lost familiar with only the major scales and cate ppp to a riotous ffft Precision can be acquired only by prac¬ the lowest tone of the left hand chord motion as in. piano playing. A pupil goes term them, which, more or less lieccs-ces- minute or so willwin beDe ample forior ims—getthis—get grace notes to beoe releasedreicascu at uw*..once? . , . . , possibly the minor. There is no 7. Can you play all scales with various ticing scales,' arpeggios, octave's, trills, sary in the training of the complete musi- a correct mental impression of the key and The arpeggio, indicated by a waved line upwar an ownwarrnward as showns own through the most ridiculous movements, branch of piano technic that gives greater accents ? chords and difficult passages in composi¬ cian, nevertheless come more easily to some time of the selection, noting rapidly what before the notes, means that the chord is with a corresponding loss of energy, to Ex.6 command of the keyboard than a thor¬ 8. Can you play all scales in 3rds, 6th s tions at an extremely slow tempo, com¬ than to others. Among these none is so changes of these take place throughout.' to be broken, that is, played from the bot- accomplish what should be done with a ough mastery of all the scales—major, har¬ bined with a vivid conception of what one and lOths? marked as the ability to sight-read, and Then gTasp the gcucraI nature of the «the- tom upward, one note after the other n minimum of effort. If an actual moving monic and melodic minors. is trying to accomplish. By a slow tempo 9. Can you play all scales in various especially t first sight." One l the quick s A chord written s picture could be made of his performance A renowned performer goes through the is meant a “snail's pace,” but this refers frequently thinks of the worthy chorister rhythmic sid(, Next> cultivate the faculty should be played as 2b, with ties observed, of a simple exercise be would readily see entire group of scales (playing the B flat rhythms, including irregular rhythms, such to tempo only. The motions themselves of Chester who, rebuked by the rather of taki in two, three or more measures that he travels miles out of the way to harmonic minor first, which is the most as two notes in the left hand against three should he executed with lightning rapidity. irate Handel (then on his way to Ireland at a timf ‘Vith the eve» This minimizes Ex’2. accomplish his purpose. difficult). He says that he knows nothing in the right, or three against four? Clean-cut finger and wrist movements to produce in Dublin his world-famous the chances of surpri'es and .-slips.- of a„ One pianist, for instance, will execute that can excel it for putting the hands in 10. Can you play them in various cres¬ are essential. In practicing pure finger Messiah ) because he could not quickly kjn(is an outlandish vibrato motion on a key that playing condition in a limited time. cendos and diminuendos? technic it is advisable to use such exer¬ lthfr *h,e co™posTer’s manufript' aptly A final word of advice might be. -Kecp The following is an example of an ar- has been struck, imagining that he is pro¬ 11. Can you play all scales with various cises as are given in Hanon “The V ir- 1 ’ es’ lr’ can rea a Slglt cool and ready for any emergency which peggio for the violin, when 7a is played ducing an effect similar to that of the vio¬ touches, legato, staccato and so forth? tuoso Pianist.” The hand should assume it at first sight!" may take place.” Of course, we assume as at 7b. linist, though a little common sense will Testing the Knowledge of Scales a vaulted position with the wrist held How many worthy exponents of the art 12. Can you play all scales with hands that the player has theoretical matters well tell him that such attempts never alter the somewhat low. All fingers should be are much in the same plight, their fear I T TAKES a lifetime actually to master crossed? Can you play all scales in at his fingers’ ends. It will be seen, how¬ tone after the key has bee^ struck. curved nicely with the thumb forming a of an undeserved censure making them When written as 3a it should be played scale playing. The following is a good double thirds? Can you play all scales ever, from what we already have said, Another will raise his fingers unnecessarily three-quarter circle with the first finger. unwilling to confess. Yet this is a musi¬ test of the student’s ability-. Let him be in octaves'? that the ability to sight-read is not afways high, with the result of loss of speed. All playing should be done on the tips of cal attainment to which there honest with himself. It will pay him in The student is in no position to say requent assocjated with expert musical knowledge. Still another goes through all sorts of the fingers with no breaking in of the limitations. Some, by nature, and .... strange arm movements. If these per¬ this connection to look over the work that he has mastered the scales unless he is thoroughly capable of playing them flu¬ first joint. In practicing pure finger work might even say, temperament, are excellent igio do not always formers had really mastered their studies known as Mastering the Scales and Ar¬ ently in all these ways. But let him not be one should guard against the slightest arm sight-readers. Others, though they may The Silent Reader follow exactly in the order in which they in school, they would have grasped the peggios. reach a certain efficiency, owing similarly discouraged. It is foolish to expect success weight. are written but may lie varied to suit the fact that a straight line is the shortest to natural propensity, always like a pre¬ A XOTHER TYPE of sight-reading 1. Do you know anything regarding the all at once and wise to set the musical Below are a few factors that may assist T*- is that demanded from those who taste of the performer. In the following distance between two points in piano play¬ liminary “look-over” of unfamiliar music- history of scales? horizon just a little beyond the! reach. the pianist in gaining greater precision and example lioth hands execute the arpeggio ing as well as in geometry. script. Again, let us emphasize, it is a follow, ...scores -away from an instrument, 2. Do you know how the various scales Many divisions in pianoforte playing, or mastery of his instrument. A review of otably fro: simultaneously in order that certain inter¬ the article on “How to Avoid Fumbling «“ »' "*“*> «;»*•. Th«re ar, those .are constructed? any other line of musical endeavor, could hom write down their inspirations away Notice that in the first example there is » nals may be heard together. Thus 8a Conservation of Motion who, mainly through having the propensity 3. Can you give the proper name to be considered in the same way. Prin¬ at the Keyboard” which appeared in the from a keyboard. This requires very continuous arpeggio, beginning with the may 1>c I'layd December, 1923; Etude, will be of service of looking ahead and taking in more thaii T N SOME OF the big manufacturing each degree of the scales? ciples of Expression in Pianoforte Play¬ one detail at a time, are good readers; special talent, that is, the power to hear lowest tone in the left hand (for the ar¬ A plants there are men who are paid ing,” by Adolph Christiani, is an entire at this point. with the eye, or rather “with the mind." Ex.8 4. Can you play all the major scales? whilst there are others, not less musically peggio mark joins both staves), while in large salaries for reducing unnecessary volume written on this subject. Father Bach is said to have ridiculed. Can you play all the harmonic minor endowed, who, from one temperamental Ex. 2 the two hands begin simultaneously, motions in the.work of their employees. Correct Mental Attitude: cause or another, do not, and probably “Harpsichord Knights,”4 those. ,of . his , since there is a separate mark for each Through this means the workers are able Half of the mistakes made in pianoforte never will, read well. ts . had recourse to the clavier when to conserve their energy and at the same composing. The more rigid type of pro- playing can be traced to a hazy mental time increase their output. conception of the technical problem to be Meeting the Emergency ftSfS°r agrees with B“h- Bu* there are Pianists can well afford to think along „S g ' instances, as was notably so with Chopin, solved. The fingers really are capable of S these lines. For a simple, practical ex¬ OMETIMES emergency may develop when inspiration has first to be sought by doing only what the brain commands them ample, let us see what the results would be the latent faculty. It is reported of improvisation at the piano. One of the to do. In learning to play a passage cor¬ in striking a note five successive times with Abt, the song-writer, that he found great leading English modern composers Dr Occasionally the arpeggio is inverted, rectly the student should dose! his eyes the finger lifted a quarter of an inch from difficulty in sight-reading until, on one Vaughan Williams, very wisely considers that is, played from top to bottom. and review in imagination the correct the key, and then striking the same note occasion, being faced actually on the con- that, apart from the actual sound beiiw Chords containing intervals too wide for notes, fingering, dynamics and motions re¬ five more times, lifting the finger one inch cert platform with the necessity to play heard, it is impossible accurately to gauge the span of the hand must necessarily be quired. By so doing practice hours will an accompaniment at sight, surprised him- musical effects With the eyes only broken. In this case the pedal is used to from the key. become more fruitful and the memory self at his success under urgency. With Here again it remains a case for in sustain the tones which must be released more reliable. not a few musicians, the inability to sight- dividual capacitv. If real beauty and urn read is owing rather to nerves or lack worth are obtained by a composer it of self-control than to any want of tech- matters verv little whether it is by paper Fingering: meal knowledge. Training can do a great or through the keyboard that such de¬ Nothing to Practice Suitable fingering gives a sense of se¬ deal m preparing a student; and the sirable results arc reached. Each creative AWVVVWV\,/--~“— curity and assists also in memorizing. The constant practice of playing accompani- artist is himself the best judge of the By T. L. Rickaby regular fingering of the scales, arpeggios ments, to either vocal or instrumental means whereby he can best win the Public and chords helps the student greatly in s the best possible kind of drill- Ear—and this, choosing correct fingerings for similar personified, implies the asked by the Mother whv Triet-eT/ W*" T° an ambitious and industrious pupil In the second instance the finger is made actual hearing of sounds that please. passages in compositions. Naturally some arninih +W assigned for further nractir/,,,1,. -.Cen . s,utilcs seriously there will cornea to travel through space just four times as to them to be already m ” !’ SCOms ,,mc wl,en some of the purely mechanical judgment will have to be exercised. It is far as 4 is necessary. sometimes advisable to substitute the weak Sftfe and ‘M.y Shadow parent is not to blameff Jhc <,riU ma> ■ I flensed with, but that time This is not to say that all piano play¬ fingers for the more emphatic beats of she has nothing by which tr/ \uA ° doeS ”0t comc vcrv soon. Exercises, scales- ing should be done with low finger action. By Louise Stuart Holman the passage and the' strong fingers for the child’s progress excent the • ge. le arPcffiP°s and studies constitute this drill, It is just an illustration to show how en¬ All teachers will agree that only a Then Theteacherteacher§ mavfinmay find Ttnl a little6 tactful“ fJ*«"• »"<«a,"d 'iff PpUpils have 1,cen tlirtc,ed wisely m ergy may be dissipated. However, Mr. less. tion useful in such c=-e- P,mi Y**’ ’ "s regard* thc-v always have somethin,, Edwin Hughes tells us that Leschetizky, as they practice. On the lesson assign- does the finger (the shadow) go easilyi andj selves willW’ assert that they P ‘s, .them' 1,1 practice, whether or not a new com- to whom he was assistant at one time, Clean-cut Work: t of each pupil this picture might be correctly. If this picture is keptmt h'fbefore practice s'mPl.v because? *° p”siti™ has been given, realized the fallacy of very high finger See that the beginning and ending of the pupil’s mind, the hours’aPthe pia°no ,,ot been assigned them. Both'rarents ”0w a,x,wt ,h"'e pieces that havejJ- action and did not teach it in his later phrases are clean cut, that all embellish¬ ne piano ,mpi!s must bg and ready been studied? They are to he kept years. ments are as sparkling as jewels, and ficiency is a matter of verv S Pr°,' Up and PoIis,led here and there, for it that all unusual effects are prepared in ad- and that it does not depend on gro"11 nnt oftcl> that pieces are played as pet' The Sciences of Piano Technic It depends cm the remibr S - « « «** ? IN THESE days of reason and re¬ drill that is not to be neglected no ^ 3r "orfl1 learning it is worth keeping up. search, modern pianoforte technic is Exprcssion Marks: slackened for many years. °r even music pupil will always find .something to based on scientific principles. The pianist do if he looks over the ground carefully’ Do not anticipate the expression marks, who wishes to achieve success must know that is, do not start to play ff, pp, mf, rit. these principles and how to apply them. and cresc. two or three measures before the the weH-knowm song being used in order will bring joy and the music road^i It would be a very good idea for him to actual markings. It is time enough to discontinue his practice long enough to make them effective when one comes upon understand thoroughly the correct prin¬ Sc“^nC‘Jdr“ h LESLIE FAIRCHILD them. !/s to the wind; flight to the ciples which underlie piano playing. Sayety and life to everything. ’—Plato. MAY 1929 Page 351 ** *VO*i Page 350 MAMAY)' 19291029

Accuracy in the Bass: maintain throughout the entire scale. To Accuracy in playing bass notes, failure get the cor/ect angle for arpeggio playing in which is especially noticeable in waltzes, place the thumb of the right hand on C is one of the technical points that the stu¬ and the fourth finger on B. A few 'Master ‘Discs dent should master. Left hand work stretching exercises done before practicing alone’ will accomplish this. When the first arpeggios will be found most helpful. A Department of Reproduced Music beat of each measure happens to be a By Peter Hugh Reed single note it is advisable to attack it with Metronome: A department runce^rffbe SSlered reiwdkii’V a stiff fifth finger, also to practice using Regardless of the utter disdain many 2S.iatould be addressed "Ta, Etude. Dept, of Reproduced KW ’ the full octave, then simply “shadowing teachers and students may have for it, the the octave.” metronome properly used can be of great assistance in gaining rhythmical accuracy. Eyes Front: It is to be found quite at home in the OVER A YEAR ago the Victor Com¬ sued by Odeon, No. 3241. It is played], When there are single notes to take, studios of many of our great pianists. pany issued an album containing Carol Szreter, one of the younger pianji especially the initial note of a melody, the The true artist, is never quite' satisfied Chopin’s Preludes as played by Al¬ in . His performance is com student should see to it that he has the with his achievement, but is forever pro¬ fred Cortot. This was the first step petent without being overly brilliant- but right note to start with. Sentimental jecting his vision to greater distances. The toward a complete Chopin upon discs for since the recording is clear and the’pas pupils whose eyes are fixed on heaven are student who thinks his work near perfec¬ the musical library. More recently this sage work comes out so well, we believe apt to get their fingers on the wrong note. tion or expects success to come to him at enterprising concern brought forth the that this disc should prove helpful to tu once is suffering under a great delusion. twenty-four Etudes, Opus 10 and Opus student. Precision in Scale and Arpeggio Work: There is no easy means to attainment. The 25, as played by Wilhelm Bachaus. This only short cut lies in his following the Precision in scale work will require fleet eminent pianist has long been universally Rampaging Rhythms advice of those who have been successful fingers and a flexible thumb. To acquire praised for his concert-hall performances and in using his own best judgment in QF.ORGE GERSHWIN’S Concerto a flexible thumb it is excellent practice to of these studies; therefore, it is good to choosing the course to follow. VJ for piano and orchestra, has been re¬ play all the major scales with two fingers: find that he has recorded not a scattered leased by Columbia in their “Modem first and second; then with three fingers: half-dozen but instead the entire two Music Album Sets,” on three discs. This first, second and third; then with four groups. After hearing his interpretations work, the first of its kind ever written for fingers: first, second, third and fourth. we believe he will be praised for a long the modern jazz concert orchestra, is bril¬ To avoid moving the hand sidewise each 1. In what ways is energy conserved in time for his recorded art. An English liant and effective. Roy Bargy plays the time the thumb goes under or the third piano playing? reviewer has said of this art and we, too, ,•piano part in the recording, and Paul and fourth finger is passed over the thumb 2. What benefits result from the prac¬ believe, “Bachaus not only shows the means Whiteman and his band provide the im¬ it is advisable to hold the hands on a tice of scales? and purpose of these Studies but also ex¬ pressive background. The first movement slight angle or what is known as “scale 3. What in particular makes for preci¬ plains them, for his is not demonstration begins with a "Charleston” motive which position.” sion in practice? but performance.” One has but to turn to ASSAMESE KHAS1S IN DANCE COSTUME—KHASI DANCE SHILLONG If you will place' the thumb of the right forms the subject for some ingenious de- 4. What is the advantage of regular the familiar Black Key Study, Opus 10, velopme^ 'The second part presents a Undulatory Dances hand on C and the third finger on B you fingering of exercises? No. 5, which requires “velvet-tipped fin¬ more poetic and nocturnal atmosphere. will have the exact slant the hand should 5. What is the “scale position?" gers and supple wrist,” or to the Aeolian “Life moved on the face of the waters." PERHAPS the first gestures of the Part three remains “an orgy of rhythms.” early dances were patterned on the Harp, Opus 25, No. 1, where the arpeg¬ HE PERPETUAL motion or en¬ L3he Symbolism of the Dance That celebrated Dutch conductor, WiHem T undulations of Nature’s forms. In those gios need the true singing touch, or to ergy of life is rhythmic. The beat Mcngellierg, is now represented on discs by early dances there was a dignity, an orderly the Lullaby in F Minor, Opus 25, No. 2, of waves breaking on the shore, the two companies. The manner in which Mr conception and a sincerity that marked his A Simple Way of teaching the Value of the ‘Dot where beautiful legato is so essential, to song of the wind, the leaping flames of Mengelberg arranges this unique division in the Far Fast human emotions as imitative of the grave find that Bachaus plays these classic of artistic talents is an ingenious one. In fires, thunder, lightning, rain and all ele¬ By Lotta A. Belden Studies as they should be played. In the and sublime gestures of his world. These Holland Where lie conducts his own native mental forces work rhythmically. The portentous octave Study, Opus 25, No. 10, y Lily Strickland emotions were intensified in his dances, “Here is a note with a dot after it. *Can band, the Amsterdam Concertgebouw Or¬ very breath of our bodies comes and goes and again in the sweeping tumult of the which, slow and measured at first, became you tell what that means? It means that • J . J . chestra, he has a contract with Columbia, in a measured rhythm. final Study in C Minor where the left hand L3he Eminent American (Composer excited and augmented to a crescendo of the note must be held longer than usual.” whilst in this country Victor has a contract The first dances, as reactions to Nature’s has chordic passages against arabesques motion, may be described as inarticulate wild and pagan tumult. From calm to So far the explanation to the pupil is quite with him in connection with the New York J 0 J J©J in the right, Bachaus easily proves him¬ rhythm. With the later discovery and de¬ and eternal, that, entering man’s awaken¬ storm the dances symbolized the changing simple; the difficulty arises in pointing out Philharmonic Orchestra. Recently Colum¬ life would become extinct. Celestial bodies self the master pianist. The recording velopment of song, in a sequence of words, ing consciousness, roused and stimulated moods of Nature that were expressed with to him how much longer the note is to be She proceeds in the same manner with bia issued a three-part version of Weber’s revolve in obedience to the mysterious laws of the piano is the only fault that one can comes articulate rhythm. Both are the re¬ him to some similar form of self- the energy of inward vitality and fire. So held. Usually the child has not yet learned the half and quarter notes, as well as the “Obcron Overture” conducted by Mr. Men¬ of rhythm; our own world moves through find with this set, for unfortunately it is sults of a natural evolution of some inward man was moved to newer and larger forms fractions, so the phrase, “one-half its eighth notes, if the pupil has already en¬ gelberg in Holland, which is superbly re¬ space bound by the same laws. Life is expression. length,” is meaningless. not a remarkable reproduction. There are urge that impels man to express his A sense of life or cosmic exaltation of expression. countered one of these in his music. Then, corded with depth of quality and rich rhythm. Someone has said that the entire system The teacher therefore next writes a better qualities apparent in Opus 25 than emotions in an outward form. All Nature inspired him with an irresistible impulse each time a dotted note appears, she divides sonorities which are truly realistic. This In the beginning of man’s development of Pythagorus could be taught by move¬ whole note in the child’s note-book or on in Opus 10, however. The set is Victor moves in ordered sequences of changing to move rhythmically. It is not surprising, it as before and has the pupil answer ques¬ Overture, the preface to an operatic fairy¬ it was instinct and not reason that first ments. You cannot contemplate Nature a page of music. Then she asks the child, Album M43, six discs. seasons, creating a rhythm which in turn then, that man first expressed his worship tions about it, such as, “How many halves tale, is an old favorite in the concert-hall. prompted him to dance. He saw move¬ in any of her moods without being aware “What two kinds of notes make a whole Another recent piano release of impor¬ influences human beings to a conscious of Nature in dances that were a composite make a whole note?” “What two notes It opens with the magic horn motive of ment in the trees and grass, in the flames of motion. Her very stillness i? pregnant note?’, When the correct answer is given make a half note?” “What two notes make tance is Schumann’s “Symphonic Etudes.” imitation of the stupendous Dance of the of prayer, Oberon and then duplicates many of . the leaping up- with it, and that which we call silence is she writes the two halves under the whole a quarter note?” “What kind of note is Itds available in Columbia Album, No. Universe. poetic melodies of the score. One hears merely muted motion. There is no real and puts a ring around one of them, say¬ the dot equal to, if it appears after a whole 102, with Schumann’s piano Sonata in G In India, Shiva, a deified symbol, is called emotion¬ the Elfish and Knightly themes, the tender the fire, in the silence, no cessation of motion in Nature ing, "The whole note equals two half notes, note?” “What kind of note is the dot Minor, both played by Percy Grainger “the Lord of the Dance,” controlling en¬ alism, It was and beautiful song of Sir Huon, first given flowers sway¬ at any time. We who have become accus¬ and the dot is just as long as one of these equal to, if it appears after a half note?” The “Symphonic Etudes,” a series of ergy and rhythmic powers that obey inex¬ an effort to ing in the tomed to the more audible and dominant half notes.” Then the teacher draws an¬ The pupil must reply to these questions Studies and Variations founded upon an out by the clarinet and then by the strings, plicable laws. He symbolizes cosmic express a kin¬ wind, in the other half note under the dot: clearly and completely. impressive theme “written by the father and lastly the Jubilation Theme of Resia rhythm, that invisible force that dominates ship with that sounds of day say that a night is silent when in reality, if our ears were trained of Schumann’s friend, Baroness von from tile grand aria, “Ocean, thou Mighty life in every form.' Under the title of Nature that brating and r ricken, ’ is considered one of the greatest Monster.” On the fourth side of tnese Natarajah he typifies the phases of man’s represented to to catch the lowest and the highest vibra¬ moving. In all and most imposing works of its kind and records Mengelberg conducts the Scherzo motion from birth to death as an eternal him God in tions, we would realize that all silence is life there was T3o Learn Letters and 7s•lumbers of Scales has long been popular with all great pian- from Mendelssohn’s "Midsummer Night’s dance. According to the old Hindu be¬ manifold full of sound. The antennae of the radio Dream.” Here again is magnificent re¬ liefs a rhythmless world could not exist. a sense of mo¬ have pierced the voids in' the ether and By Larelda Bre.ister cording but a less felicitous reading, the Without wind and rain, heat and light, all tion, rhythmic concept being much too heavily handled for Fill in the gaps: a true delineation of elfish agility (Colum¬ I. Scale Numbers Letters If, bia records, Nos. 67481-67482d). A 6554 feed cabbage ;;;f «* £JS5 Heroic Recordings ter- Although less known than his other \/f ENGELBKRG’S first electrical re¬ sonatas, there is nevertheless much to ad MK ading with the New York Philhar¬ monic Orchestra is ’ tone- poem, “A Hero’s Life.” This is an im¬ e added when these portant release not alone as a celebrated dramatic-symphony from the pen of Per‘ haps the greatest living composer but also as a Mengelberg tour dc force dedicated t° stress sentimen/nitfor T Poetic side of Schumann ^ him. The recording is unusual in its faith¬ ful projective qualities. W’e understand that it was made in Carnegie Hall, the "Although it may be true that the average American is not as well Sr,;" reC°rd^ £ official home of this orchestra, which ac¬ educated musically as the average European (/ do not hold that idea Hne is the principal element^ aHmT* counts for the realism and the rich reso¬ myself) he knows when he hears fine music, and yon cannot foot him for a moment. It ts not necessary that one should be technically educated to S^Son^iF nances of the recording. music in order to appreciate and enjoy it. Music is of a vibratory character “A Hero’s Life” is a long work playe<‘ without a break. It is supposedly the study and moves us all alike, regardless of whether we are musicians or only ABORIGINAL DRUM CORPS of the life of an ideal hero, although many BUFFALO HORN IN COMMON USE AMONG “music-lovers."—Willi am Wade Hinshaw. OROAN ABORIGINAL DANCE modern writers claim that it is virtually a. ANIMISTIC TRIBES (Continued on page 396) - ~ MAY 1929 Page 353 THU KTCBi THE ETUDE Page 352 MAY 1929 ture or, sometimes, even cadence. primitive music is atonal. made many new sounds audible to us. In and melodic and their dances dramatic and Fine Points in Interpreting (Popular time we may learn to hear the songs of pantomimic. almost invisible insects, for insect life, Man’s early evolution, front the staud- Cyclic Progress however minute, has a separate voice of point of the dance, progressed along with in OST OF the material for dances of (piano 'Masterpieces its own. liis religious development. The association M A- has been said, sun-worship influenced to-day might be placed in categories The dawn-man was known to have, even of the sun and the serpent in religious wor- the primitive music of. the ankmsts and of primitive, classic, romantic, realistic » at that early stage of evolution, some in- ship arose out of Neolithic culture. Sun pressionistic or neo-primitive. It w’ou"j stinct for self-expression. In an inartic- and snake dances were common among the ed and became popular as an say that this inclination may prove displeas¬ antedated even the wooden drums. and the Temple-dancers of “Deva-Dasis” people are given to wild orgies and baccha¬ out of the maze of passage work. It is “Well Tempered Clavichord,” Handel, adjunct to opera or a- a special form. At ing to the composer or detrimental to his According to Hindu mythology, the of to-day do the same thing, even in their nalian rites that are prompted solely by a "song without wolds,” and an imaginative Mozart, Beethoven with the greatest num¬ the lime of Louis XI V ballet-dancing was work. On the contrary, the composer may drums came first and the flutes second in secular dances. They relate the amorous the excitation of the emotions and are sen¬ poet could easily compose the words to it. ber of his sonatas, Schubert, Chopin with be oftentimes agreeably surprised at the the evolution of musical instruments. The episodes of the life of Krishna and sing of sual, not spiritual. These dances arc called very popular, although not developed as it very plaintively and languidly. The fol¬ I hear eminent pianists play it with his most important compositions. Liszt— has been in Russia. At the Russian Court, novel effects, at the new possibilities, flute is said to have been invented by Kama, the God of love, or Lakshmi, the “religious,” for the same nameless impulse, lowing figure: astounding facility and rapidity and im¬ all were amply represented. (If I add opened in lais works. I know how much Krishna, the pastoral god, who is supposed Goddess' of love and beauty. Their themes spiritual force, that one’s intelligence recog¬ the Imperialistic ballet-form became a fine that I had the good fortune of knowing impressed I was sometimes at the arbitrary peccable technic. I see the wheel but I to have fashioned the first reed-instrument are invariably drawn from their mythology nizes consciously is augmented by physical art. Sergei Diaghilev, 1-okine, Pavlowa, miss the girl who seemingly can not keep the great master personally and that he changes that distinguished artists found from a section of bamboo. Certainly no and have to do with religion, usage. With the increasing rhythm of the Mordkin and Nijinski all have contributed honored me playing for ntc privately at convenient to make in the interpretation pace with that terrific speed. dance is ever given in India to-day with- It is said that there were religious and tempo such dances become more flaunting, invaluable services towards the evolution of A composition which appeals almost his home in St. Petersburg, I know that of my own works. I may be allowed to out one or ..both of these ancient instru- ceremonial dances ten thousand years be- more intricate and unrepressed; the todies the ballet to its present highly developed exclusively to the virtuoso is Schubert's many of my distinguished colleagues will form. mention a special case. Among my Concert ments. fore Christ, when man worshipped the sun of the dancers move in harmony with the March Militaire in the Tausig transcrip¬ have cause to envy me!) Musical instruments attributed to the and all of Nature’s forces, which he later music from its beginning through its Etudes, Op. 88, is a False (in thirds). The T^ewOld Form was given with a sprinkling of rubato. tion. Here the gradual approaching of the later Paleolithic period have been dis- personified into a multitude of Gods and crescendo and to its cadences. Alfred Reisenauer, the eminent pianist, T X THE MOST modern forms of who passed away not long ago, played The following eighth figures: marching columns from a hardly percep¬ Veiled Playing covered by archaeologists and are usually spirits benign or evil. From the fear of Religious or sacred dances in India, such tible pianissimo grows little by little music ' jazz” stands out as -omething it once for me, not as a valse, as AS A WONDERFUL AID to the in- rude wooden or earthen drums and flutes, evil spirits came the Devil-dances of the as the Vasant-Rag of the Hindus, symbol¬ to the most pompous sonority. I heard astoundingly new. But it is not new, prescribed by the metronome notation, but T\ terpreter I would like to acclaim “Primordial man, before he could talk, medicine-man, and these significant dance- ize the springtime and mating-season. Ex. 3 Godowsky play it, but to my mind his probably saw very vividly, mimicked clev- forms have obtained a stronghold, even in rather a reversion to the savage and the as a menuet, of course much more slowly. “veiled playing.” As in the picture so They arc in some sections saturnalia and color palette lacked somewhat the two erly, gestured, laughed and danced with- the later religions of Hinduism and Bud- primitive, based on the reiteration of a I remarked to him: in the music, dimness, hardly perceptible express the wildest unrepressed emotions extremes, the hardly discernible, veiled out much speculation about whence he ,c dhistn. Mohammedanism itself is impreg¬ drum-heat that might have inspired an “But, my dear sir, you are mistaken in lines, veiled forms, add to the charm, of human beings. Both pagan and reli¬ sounds in the beginning of the march and or why he lived.” ITis expressions nated by the influences of animism, and, in early man to caper in unrestrained joy. to the mystery. There is a picture of gious they divide by a thin line the sacred the time.” the crashing orchestral effects in the for¬ natural and instinctive, without spite of the Prophet’s mandate to the con¬ The present-day "jazz-drummer” has his “I am not,” he replied. "I do it inten¬ as they appear the first time, were Bernecker which represents a vaporous, from the secular dance and are capable of tissimo. Technically, however, his ren¬ effort. trary, various Moslem festivals are filled prototype in Burma. There one frequent¬ tionally.” • . , retarded during the two first notes, like opalescent haze rising toward evening infinite augmentation and excitement dition was perfect. Lord Avebury, in his “Prehistoric with music and dancing. The sword- through the responsive and demonstrative ly sees a one-man orchestra, comjwsed of Tt was, of course, his own version, and a sobbing phrase, but were played the from a forest pond. At first sight one Times,” says, in speaking of the aborigines, dances of the Afghans and the dervish- nature of man who is, at heart, eternally xylophones, , whistles, cymbals, tom¬ t had to admit that I liked it. second time pianissimo, as a rippling, run¬ notices only a kind of mist, but, with The Hercules of the Piano that “the elder people are fond of dances, dances, especially at the festival of the primitive and atavistic. toms and rattles. He is just as rhythm- It is well-known that ning passage, splendid in its evenness, further attention, one can distinguish in which may be divided into war-dances, Moharrum, are all expressions of rhythm, Rhythmic sounds that inspire the dancer mad as the most obsessed jazz-player one insisted on a special style of singing, a smoothness and elegance, retarding the last obtained one the haze some ethereal forms of fairies hunting-dances and love dances, the two fanatical in one case and spontaneous in to self-expression or the interpretation of sees to-day in New York. more declamatory', more emphatic, often measure: of his greatest triumphs in a similar who disport themselves in a sensuous latter being most common.” another, -that prove that even the Faithful some idea are the basis of all music. If a Burmese were asked what place chopped off treatment of the voice. This composition, the March from Beethoven's dance. It is just that vague, indistinct cannot resist the urge to dance. Though expressed variously, even as differ¬ jazz had in the symbolism of the dance, lie considered the only one fit to interpret Ex.4 • Ruins of Athens.” The crescendo in the vision which lends enchantment to the Dances of Love and War ent languages express ideas variously, the be could answer, and truthfully, that his creations. But some of his most approaching of the troops and diminuendo picture. It is the mystery which tempts famous interpreters (Lilli Lehmann, for in¬ MONG THE Fijians the dance For the Glorification of the Gods emotions behind the dances remain the "jazz,” aside from its meaningless name, is in the receding movement were here sug¬ one to look again and again. Were these stance) rebelled against this tyranny and important part of daily ceremo- VJUSIC HAS been called the language a form of atavism from which man never gested with surprising truth. As a matter fascinating creatures depicted in the regu¬ substituted a more melodious method ot nials, whether secular or religious. They of the emotions, and, as such, was completely escapes. He goes back through of fact no other pianist could compare lar way, they would hardly attract our The Symbolic Art singing. By means of her admirable bcl have various instruments, chief of -which allied to religion, which, in primitive inherited ancestral memories for a medium and giving it a melodious, expressive tinge. v. ith that giant of the keyboard, either in attention. 'T'HE E\ OLUTION of the dance as canto, she added new laurels to her art are the conch-shell, the flute, the" drums nations, was essentially an emotional re- of expression. He draws material from his the light, ethereal touch or in the for¬ Coming back to music, if one could, a symbolic art presents the endless The following: and cymbals. action (as it still is, even among the so- animistic stage of evolution and creates a and, what is more, brought about a better midable power he could display with his through a. graceful, velvety touch, bring cycle of life, a series of progressive phases In the natives use flutes, called civilized people of the earth), form of music based on released inhibi¬ understanding of the works of the master. Herculean hands. about a very delicate, veiled tone, the same expanding and growing gradually in a Ex. 5 Pin lento drums, shell- and a rude lyre with It is believed by many students that the tions, primal expression and demonstra¬ One sees that sometimes the interpreter One of the most able interpreters of magic spell could be effected. Musically cosmic circle that goes back to the begin¬ four strings. They are fond of dancing early religious dances of the Greeks came tiveness, savage, dramatic, graphic and knows better than the composer! Bach is, in my opinion, Pachmann. His endowed people would by far prefer those ning tor “new” material. Each phase is and singing in peace, love or war. from India, where every Deity has its pro- colorful. The veriest aboriginal in a re¬ Some of the great masters lend them¬ even, pearly passages, bringing out with poetical shadings to the pugilistic efforts of represented by a “period” in music, clas¬ In Tahiti the people use drums of pol- totype. Demetrius, Dionysius, Orpheus and mote jungle in India “jazzes” in his own selves more than others to a variety of in¬ a sure sense of lightness and firmness some athletes of the keyboard. In fact sical, romantic, impressionistic post im ished wood and shark-skin, shell-horns and many others were worshipped in symbolic way. To the endless drum-beat in four- terpretations. but all, more or less, become the different themes in Bach’s polyphonic everybody who is possessed with a pair of pressionistic, modern, neo-primitive, primi¬ was poured forth as the song of an en¬ bamboo flutes, some of which are blown dances, just as to-day, in India, Krishna, four time lie dances to a melody that is pliable clay in the hands of the reproducing works and the sobriety in the shadings well developed biceps is able to pound a tive and so oil. All these forms of music in raptured lover. with the nose rather than the lips. They, Kama, Kali, Shiva and other deities are syncopated, jerky and abrupt. He may played the valse with make this distinguished artist, one of piano (and the ears of the listeners!) “in¬ relation to the dance have been expressed You surely have seen in vaudeville how too, dance on all occasions and have songs worshipped at their seasonal'festivals with even contort his body into strange forms more rhythmical regularity. Phrasing, ac¬ the most competent of Bach’s expo¬ to insensibility” ! But how many of our at various times in the history of symhol- easily the performing sculptor, through suited to their incidental life. music and dancing. istic dancing. difference is merely in the name and the centuation, shading, everything correct, nents. Pachmann feels also very much at pianists can grasp and convey to the lis¬ The Esquimaux have a rude drum and Sarasvati, the Indian goddess of music harmonization of the theme in accordance skillful manipulation of the soft clay, can home with Chopin's works, his dainty, tener the whole charm and the indescribable The modernist, in rebellion against the flawless, as this eminent artist always does. sing in as they dance in a barbaric and learning, corresponds to the Greek change a face by elongating or shortening graceful touch and his exquisite taste in witchery of “Veiled Playing’? constrictions ot conventions in their dance- with our Western system of music. Leo Ornstein played the first part very and sometimes questionable manner. They Pallas Athene and ; Anna Purna is the nose, the chin, the forehead or the phrasing qualifying him as an exceptional forms. reach back into the dim past for Jazz” is not new but only a new adap¬ slowly and the following eighth figures, are the least musical of primitives and yet the same as the Greek Ceres; Krishna is an- tation of the old. Such dance-forms may cheeks. In a moment he can transform a interpreter of this master. Bachs Fugues inspiration. He takes his material and beautiful face into a hideous caricature. perhaps, too slowly the first time and the SELF-HELP QUESTIONS ON tliey have a crude form of rhythmic ex- other Orpheus, and Kama is the Hindu have no place in the curricula of the clas¬ and Chopin’s Vaises played by Pachmann The same can happen with a musical com¬ second time, too rapidly. MR. PIRANI'S ARTICLE pression. Cupid or Eros. All of these deities sym- “ever new Ca"S * "eW cIance- but sic, but they cannot be ignored because Altogether, three eminent pianists made are little gems. position, which, in the hands of an awk¬ 1. What exactly is the difference between The aborigines of India and Africa dance bolized some attributes of human natures, they, too, are symbolistic. A splendid interpreter of Beethovens By the same token modern composers ward interpreter, can easily become a cari¬ of the same composition totally different reproducing and recreating? their life-stories in a semi-savage but in augmented forms, and were worshipped All dances are symbolistic in one way works was Hans Von Biilow. His monu¬ cature. An exaggerated ritardando, a too creations. 2. By whom and in U’hat way were graphic and colorful fashion. Most of with ritualisms that included dancing, or another, especially those dances that Mendelssohn’s Spinning Song, that ever mental edition of Beethoven Sonatas their dances are inextricably woven into From the first beginnings of self-expres- Xht7" precipitous accelerando, a too violent ac¬ Wagner’s ideas of style in singing modi¬ He call’s to °* «" scales, seek to express some definite idea. Even charming number, a favorite with nearly everyone knows. But I heard him play their animistic worship of nature and evil sion through the dance have arisen many cent, an abuse of rubato. too much pound¬ fied? to if „ °* >5“ "modern,” though the dancers do not realize it them¬ every pianist, is not so easy to play as it the larger part of Beethoven’s Sonatas in spirits. From the frigid to the torrid forms of music and dances that to-day ing in the forte, inaudibility in the pia- 3. How may we prevent interpretation selves, they are expressing forces within appears. Most pianists treat it as a show person at the Singakadcmic, and zones of this known world all men have have attained to a fine art. From the ex- nissimenand so on, can cause an interpreta¬ from becoming mere distortion? themselves that have existed since the be¬ piece which offers a welcome opportunity would describe him not as an emotional developed some form of dancing, depend- pression of an instinctive desire dancing tion to degenerate into a distortion. 4. What element in Mendelssohn’s "Spin¬ ginning of time. It is the eternal, resist¬ to display their glittering technic. They player. His rendition was classical, flaw¬ ing upon their intelligence, imagination has evolved to a conscious and intelligent r'Lr “M'r; ■ "“S.S0,3 However, it is just this exercise of the ning Song” should be especially stressed? less urge of rhythm, the cosmic energy think that the greater the speed the more less. highly artistic, hut there was very and ingenuity. In almost every instance art, a natural evolution built on ceaseless creative abilities in the rendering of a com¬ 5. Define "veiled playing.” 'hat dominates life in whatever form, little fire in it. I heard the Moonlight the music of these ancient people is monodic progression and endeavor. old Hindu scale-form on which m!i ,• position which accounts for the existence interesting their rendition. But hereby they appear be leJ.te a response to an instinctive impulse seek¬ ing expression in motion. 1'HE ETUDE MAY 1929 Page 355 Page 854 MAY 1929 the etude

‘Broadening the Horizon department of

possibilities of the octave with twenty-five which consists of a single phrase, the quarter tones 1 It is a possibility not at all the pupil a few measures of the piece IN DISCUSSING this subject I have most important climax of all occurs had in mind the remarkable favor with remote. which you assign him for practice. He T5he Instrumental -Aspect of the note next before the last. writes these down from hearing the tunc. which has been met the recent instru¬ If she thus comes to realize that her mental movement in our public schools. Thus from the Wild Horseman you may Fingering of Arpeggios Instrumental Understanding music is a series of tonal waves, each one choose for this purpose the initial strain: Bands and orchestras have become an in¬ in composition. The plain chant, being We have thus been able to teach thousands directed against such breadth of view but takes than to play so "nia. lowing arpeggios, it is evidently easier to idea to a purely melodic musical system. have tried giving runs, wins i The results of early contrapuntists must single melody without harmonic back¬ of people in America who would otherwise Deeper Art Values rather against a lack of concentration m pieces of faster tempo, but with (Weight touch is better than weight use the third in the right hand, although ground of any kind, consisted entirely of amaze any who have an appreciation of have known nothing about music. AUT OF THE chaos will come a new individual lessons. results. ^ Have also tried^ 'stories method. I confess that I dislike the latter it spans the interval of a third, while the diatonic intervals, nearly always scale-wise. An ideal lesson, to my mind, contains tile difficulties of the situation. But such a substitute for the actual ^ ' era in our musical life. Music will illustrate the different pieces, word, since it is so often misused.) fourth finger is perfectly practicable for When harmonic feeling developed, the in¬ some central feature which is emphasized instance. Profile** m l.iugiiiuii' By a slow process, during which time in¬ reading of notes can hardly be of any real lie an actuality in our culture instead of “As the twig is bent, so is the tree in¬ the left hand: tervals of the triad soon exerted sufficient in various ways. Let the technical work, strumental music began to assume increas¬ use to an instrumental player. He must kerchief game clined.” Whatever a beginner has or lias influence to'cause arpeggios to appear in a vague emotional recreation, an art rather for instance, consist of either scales, finger ing importance, there came about the es¬ learn the actual notes as depicted on the “It.” not done previously, it seems sensible to melodic writing. Gradually this became than a mere entertainment. exercises or arpeggios, but do not dis¬ tablishment of what was known as equal musical staff, and, if he has learned to It is said that America is even today the teach him at once the manner of playing temperament, a method of tuning a key¬ the chief feature of contrast. The evolu¬ sipate energy by trying to cover all three which has been proved to be the simplest tion of modulation from simple changes “sol-fa” in school, that system must be musical center of the world. To some fields at once. If the principal piece or What your, pupil evidently needs is not board instrument by dividing the octave discarded with his instrument. extent this is true. But, though we have and most efficient. ' into twelve equal semi-tones. With this of tonality to the freedom of Bach and to study involves the same kind of work that to play more rapidly but with more rhyth¬ Pianists have discovered that the old the chromaticism of Wagner is a clear made remarkable strides in our musical is embodied in the technical exercises, so mic vitality. Show her that piano music equalizing of the chromatic intervals of life, there is still more commercializing of way of making the fingers do all the work I do not quite understand your second the scale the old modal system became ob¬ progression of the march of the instru¬ much the better. is made up of note-groups in each of the art than some of us might wish. may be much improved by having them question but have based these last examples solete, and the major and minor scales of mental supremacy in musical art. For instance, a third grade pupil may which one note should stand out more share the responsibility with the muscles The key to the situation lies in the nn the keys about which you ask. our present system were made the basis Thus we are reminded that for many 'T'HERE HAS recently appeared in tl: concentrate at a given lesson on staccato strongly than the others. Ordinarily such of the hand and' arm, especially by letting public schools. With the evolution jug- of musical art. From that time on the years music has exploited a very definite -*• country a movement to make practic arpeggios, arranged in such figures as the prominent notes are indicated by the meas¬ the mere weight of the arm do a great gested in this very inadequate survey there supremacy of the keyboard (or instru¬ idiom, the instrumental style. To be sure the teaching of piano to school childre following: ure bars, which in the beginning were em¬ part of the work. Hence tone is no longer is bound to come for our children the mental music) was assured. we have a distinction between music for Various systems have been devised wi ployed to show where the chief accents dependent upon high raised fingers which Defective (Coordination sort of musical opportunity which musical a keyboard instrument and that for the more or less, success. It would appe fall. Frequently, too, the notes which pre¬ are made to hit the keys viciously, hut orchestra or smaller instrumental com¬ that the time is not far distant when mu< idealists have long hoped to see. The cede a measure bar should gradually in¬ rather on a judicious control of the whole Contributing Physical Factors binations. Of these the latter is even more natural response to music is far greater crease in tonal volume, the climax occur¬ shall he taught satisfactorily through t playing mechanism. definitely unvocal. HE NATURAL method of express¬ medium of this universal instrument. Su than is generally suspected. As this im¬ Practical application is then given _ ring on the first beat after the bar. For Here’s a plan for treating the beginner T Musical notation developed first along ing tonal combination on the keyboard a condition is inevitable in view of t pulse is nurtured in our young folks so this work by the study of Schumanns example, at the beginning of the Rondo or near-beginner. Teach him first to re¬ the lines of a more or less definite reminder is by use of chords. Harmony, the ac¬ development of musical art as outlined will our people become initiated in musical Wild Horseman. Op. 68, No. 8 which is from Beethoven’s Sonata, Op. 49. No. 1, lax all the playing muscles completely. of known melodies. Then came a more companying of one principal melody by the start of this paper. It is becomii art. Possibly the day is not far distant made up of just such figures. If desired the climaxes are approached and quitted, Then, with his fingers on the keys and accurate presentation of any melody alone she can plav the trill and five-finger chords (verticalor arpeggio-like), naturally increasingly difficult for persons with or when it will be impossible to find a person some arpeggio etude may be added and indicated with loose wrists, teach him the forearm or in combination. Finally it was ela¬ exercises without playing other became very shortly the dominating mode the sol-fa theory to read music by cc who might make the now absurdly com¬ rotation, in which the hand rolls from tones, though her playing is ir¬ borated to conform to all demands of in¬ treated in a similar manner. regular. in musical composition. The very con¬ temporaneous composers. mon and musically barbarous remark, “I Lest the lesson become one-sided, how¬ side to side so that the weight is focused strumental music. Do you think it advisable for her struction of the keyboard itself is of in¬ The instrumental idiom is transcend) don’t know anything about music but I ever, the above assignments may be b

J^otes and ‘Dollars By Jessie M. Dowlin biographies PORTRAITS By Gladys M. Stein a composer in bestowing a title uPon THE NEW ETUDE GALLERY OF MUSICAL CELEBRITIES his production often presents what is prac. In teaching whole, half and quarter How to Use This Gallery1. Cut on dotted line at left of this 1 in class T^club worh^.^UseThe pictures to make 2. Cut out pictures, closely following their outlines. 3 Use the pictures inetu ^ Ae on ,eft edge of the reverse of the notes to very young pupils it is helpful to tically a pencil sketch of the desired pic lure. A little study of titles will convince musical portrait and biography scrap books, by pasting them of^ oiece of music by the composer represented, compare the whole notes to silver dollars, picture. S. Paste the pictures, by means of the hinge, on the fly sheet ol a piece or ____ the half notes to fifty-cent pieces and the one of this fact and stimulate a pianist to quarter notes to twenty-five-cent pieces. increased artistic endeavor. The silver dollar contains two half dol¬ A typical example of color possibility is lars or four quarters, and the whole note found in Chorus and Dance of the Elves lias the same division of half and quarter by Theodore Dubois, included in tile * “Popular Recital Repertoire.” The theme MAUD POWELL notes. To impress the idea well upon PAUL HINDEMITH Schumann was born in Zwickau, Sax- their minds use money to illustrate the opens with the gathering of the sprites Miss Powell (Mrs. H. Godfrey Turner) onv in 1810 and died near Bonn in 1856. explanation. Things children can see and from the remote corners of Elfland. There Hindemith was born in Hanau, Ger¬ was born in Peru, Illinois, in 1868, and A "boy “all music” from his earliest child¬ feel they will remember, but words are is the characteristic darting of the elves many, in 1895. He is thus even now only died in Uniontown, Pennsylvania, in 1920. hood, he began his career of composer at often forgotten. from tree trunk to thicket, some peering in his thirty-fourth year, and yet a com¬ She was the first American woman to be¬ the age of seven. After preliminary from coverts, others swaying gayly on the manding figure among European musicians come an internationally successful violinist fern fronds. One hears at intervals the —perhaps the most brilliant of the younger studies at the Zwickau “Gymnasium” he —truly a distinction. After four years of studied law at University in 1828. sweet summoning of trumpets and the nim¬ German School, as is Arthur Honegger of the same as a » (whole note) musical studies in Chicago with William going thence to Heidelberg the next year. ble steps of the little people who hop and the French School. His teachers were Lewis, she was sent, still a young girl, to skip blithely forward to answer the call Music was rapidly and inevitably gaining Arnold Mendelssohn and Bernhard Sekles, Leipzig to receive instruction from Henry the victory over law in the heart of the to the moonlit glade. with whom he studied at the Hoch Con¬ Schradieck, famous German violinist and © the same as a (half note) young man, and, upon his arrival in Leipzig J Next comes a. rhythmically different servatory at Frankfort-on-Main. teacher. Thence she went to Paris, where movement which confines the melody to again in 1830, he commenced the serious Besides being one of the outstanding she obtained one of the six vacancies in the left hand and is decidedly suggestive study of his art under Friedrich Wieck contemporary composers Hindemith is one the class of Charles Dancla. A short time and Heinrich Dorn. Through the use of the same as a | (quarter note) of a morris dance. One glimpses the of the best viola players on the continent afterwards she met the great Joachim and a mechanical device intended for strength¬ elves moving gracefully through the figures became his favorite pupil. and hears the accompanying intermittent and often plays in the Amar Quartet in its ening the fingers he lost the use of the frequent recitals throughout central Eu¬ Later she toured in England and Ger¬ fourth finger on his right hand, which soon Then give simple problems in addition treble of the night wind, with perhaps an many, returning to the United ^ States in Mian Smith 13ells His Story rope. For several years he was leading brought an untimely end to his career as and subtraction like the following: intimation of the tinkling comment of a 1885 to appear with the New York Phil- orchestra conductor at the Frankfort Opera pianist. Thenceforth he bent all energies The thousands of musical people who have heard the National waterfall and the murmurous reply of harmonic Society under the baton of House, a position which he filled with the to literary and musical composition. High School Orchestra of three hundred and fifteen players, at grassblade and leaflet. Theodore Thomas. Her subsequent Amer¬ utmost distinction. In 1834 he founded, with Wieck and The sprite dance goes on happily until ican recitals built up for her a well merited Chicago, were greatly impressed by the “boy at the timpani. ’ He Hindemith’s style is extremely modern, others, the famous Neue Zcitschrift fur two heralds, with mingling chorded trum¬ fame. In 1892 she toured Germany and was Allan Smith, of Detroit, Michigan. The Etude got him to emphasizing contrapuntal effects and—to a Musik—this being edited solely by Schu¬ pet notes, beseech attention. Again comes Austria with the Arion Society of New write up his story thus far, but Allan is sure to go much further. degree—atonality; but in his writings there mann during the years 1835-1844. As the characteristically merry darting rush York; in 1893 she played at the World’s Several famous conductors have praised his decided gifts. is never that lack of attractive and plau¬ editor he championed the works of many of the little people. Fair in Chicago. The next year she organ¬ “My start in drumming was accidental. It began in grade school. sible ideas which one finds in the produc¬ young composers, notably of Chopin and The summons is evidently a ized the Maud Powell String Quartet. tions of most of the modernist composers. Brahms. In 1840 he was made a Doctor One day a teacher passed around the class some slips of paper on signal that, this being the full of the moon, During 1905-06 Miss Powell was in which were printed a list of all the instruments. She said, ‘Those the marriage of the queen of the elves is The intelligent music student should be of Philosophy by Jena University. Schu¬ South Africa with her own concert mann’s four symphonies, his piano quartet, of you who wish to study an instrument, put a dash after the one to take place, for the ceremony apparently familiar with the names, at least, of the following works of this composer: the company. his songs—ranking with those of Schubert you would like to play.’ I looked over the list and could not decide. begins at once with a marching chorus of Concertos by such renowned composers three onc-act operas, “Sancta Susanna,” and Brahms—and his splendid composi¬ elfin voices which stress a melody in a as Dvorak, Tschaikowsky and Arensky So I shut my eyes and made a dash. To my surprise 1 had dashed “The Nush-Nushi,” and “Murderer, Hope tions, pioneers in the modern piano manner, manner delightfully similar to the solemnly were given their first American perform¬ out ‘percussion.’ I was glad to see it so, for a good drummer has of the Women;” and the song cycle for will forever secure for him an all-impor¬ joyful lilt of the statelier marches ances by Maud Powell. Her appearances always fascinated me. My teacher was Mr. Selwyn Alvey, teacher solo voice and piano, “The Young Maiden.” tant niche in the history of music. His of the world of human kind. This merges with Sousa’s Band were hailed with intense in the Cass Technical High School. The Sonata for Violin and Piano is also opera “Genoveva,” the music to Byron s Even six-year-old children can under¬ into a final concert of tuneful congratula¬ enthusiasm. Finally, Maud Powell was “From the start to the present I have played in everything but noteworthy, and the String Quartet in C “Manfred,” and the cantata “Paradise and stand and enjoy this work, and it links tion, in the midst of which some more ap¬ the first violinist to make records for the * a dance band. Major, Op. 16, which first brought his the Peri,” are imposing vocal works. their music with their school studies. prehensive elf suddenly discovers that the Victor Talking Machine Company. “One of the most comical things I ever witnessed was a colored moon is swinging low in the west. name into prominence. *___1 boy playing a bass drum for a school band. A march started. All There is much quick discussion, prank¬ of a sudden his attention was placed on some friends in the front ish laughter, a hint of agile dancing beside the elf fire at the rim of the marsh and . -f Have ‘Patience! row, so he ‘put on the dog.’ He started swinging the bass drum GIOVANNI BATTISTA RUBINI stick high and wide. The stick slipped and to his surprise he saw at last a darting retreat to sprite sanctuary * before the reality of dawn shall overtake IGNAZ MOSCHELES Rubinr, one of the supreme tenors of By Blanche D. Pickering it sailing across the stage. Then, instead of picking up a timpano Hutcheson was born in Melbourne, and destroy the charming elfin forms that 1 oscHEi-F.s—whom Edward Dannreuther all musical history, was born in Romano, stick or drum stick till the club could be returned, he dashed after , 1871. When he was only five When accepting new pupils it is cus¬ flit through the realms of imagination. called "the foremost pianist after Hummel Italy, in 1795 and died near there in 1854. it and returned in time to end the piece with a bang. years old he toured extensively in his own tomary for a short preliminary examina¬ and before Chopin”—was born at Prague His father taught him the rudiments of country, winning laurels fit for so ambiti¬ tion to be given them in order that it may “Another incident which I thought funny took place at the in 1794 and died in Leipzig in 1870. His music, after which he was put under the ous a young prodigy. His first teachers he determined in what. grade to place National Orchestra Camp. Ossip Gabrilowitsch was our guest con¬ principal teacher of music in his home city guidance of a priest named Don Santo who T5he Prolific Schubert in music were Max Vogrich and George ductor that week, and we were rehearsing a number on our program. was Dionys Weber. Later, when he moved was then organist at Adro. Don Santo, William Torrance; then, at the age of In the past, in several instances, when The piece had started but was stopped because Gabrilowitsch heard to , he studied under Salieri and however, soon dismissed his young pupil By Deems Taylor fourteen, the boy was sent to Leipzig, the writer has asked such pupils to play Albrechtsberger—famous musicians, indeed, on the ground that the latter had not one of the flutes play flat. Only two flutes were playing so he started where he studied piano with Reinecke and exercises or pieces recently studied, they in the Austrian capital at the beginning of sufficient talent for music. gently to ‘bawl out’ the second chair man. The second man was a The fact that his career ended in his Zwintscher, as also composition with Jadas¬ have sat at the piano, rigid, afraid to play. the nineteenth century. In the musical After numerous engagements in small bushy-haired small Scotchman. He looked bewildered and then he thirty-second year has inevitably caused sohn. The thoroughness of this Leipzig Of course, playing for a new teacher circles of the city Moscheles was at once theaters throughout Italy, Rubini finally spoke up, ‘I am sorry, sir, but I didn’t play my part.’ Gabrilowitsch Schubert to be placed in the tragic company training inevitably left its mark on the would cause some nervousness, but re¬ accorded a hearty welcome; and in a short was hired in Naples, by a certain Barbaja, saw his error and had a hearty laugh. Still we all loved to play under of the masters who died before their work future master-pianist. From Leipzig. cently another source of the fear was dis¬ while the firm of Artaria bestowed on him to appear in two operas by a contemporary his baton, because he seemed to handle us like his own men was done. But it is difficult to make Schu¬ Hutcheson went to Weimar (1890) to covered. the signal honor of asking him to make the composer who is today quite forgotten. bert a really tragic figure. No composer work with Bernhard Stavenhagen, a Liszt It seemed that former teachers had been "The height of my ambition is to play in a symphony orchestra. who, in fifteen years turned out two sym¬ piano arrangement of Beethoven’s opera During this time Rubini studied voice with in the habit of striking them over the My ambition was partly fulfilled this summer when a hundred and “Fidelio,” under the,, direct supervision of pupil. . . Nozzari. Soon, in Palermo and in Rome phonies, an opera, a mass of piano pieces After appearing in Germany as a pianist knuckles with a pencil whenever they had thirty boys and girls came together from all over the country to nlav itself, he met with striking success. His and chamber music, and more than 600 the great master himself. and conductor, Hutcheson went to Balti¬ made a wrong note or used an incorrect ut the National Orchestra Camp where we performed under some of Then followed years of touring as a debut in Paris occurred in 1825. when songs, is exactly a thwarted genius. He more, Maryland, in 1900, as head of the finger. Being strict with pupils is, of virtuoso pianist. Popular everywhere, it audiences wildly acclaimed him the tenor the most eminent conductors and composers in the country It v was undoubtedly underrated by his con¬ pianoforte department at the Peabody Con¬ course, very well, but rather than striking was in England that he was especially of tenors. Following this he returned to a wonderful summer, and I hope I shall have the ODDortnnltJ temporary listeners, but he was none the servatory, a position he held for twelve them for every little mistake, teachers lauded. Here he later took up residence. Italy and Barbaja. In 1831 he first sang attending the camp next summer.’’ less popular among them, and seems to years. Following his resignation, he toured should talk to them and tell them the ne¬ After the resignation of Sir Henry Bishop, in England, and for the next twelve years have had a reasonably happy time. for two years in Europe, then returned to cessity for being accurate. Otherwise pu¬ Moscheles became conductor of the he concertized widely there and in France. pils will forget that music is a beautiful —McCall’s Magazine. America and made his home in Society. A tour through Germany and Holland, art and will remember only the unpleasant City. Hutcheson’s playing has been ranked It was in 1824 that he instructed Felix with Liszt, was undertaken in 1843; then A teacher should not be continually with that of the world’s greatest per¬ Mendelssohn in music. Later, when Rubini went on alone to Russia. After a If pupils have fear they will not be thundering instruction into the ears of Ins formers on the instrument, and on the Mendelssohn founded the Leipzig Con¬ second visit to the latter country a little able to put expression into their music— Helps to Accurate (Counting pupil, as if lie were pouring it through a occasion of his first performance in New servatory, Moscheles was induced to join later, he took up his abode in Romano, for their only thought will be the dread funnel, but after having put the lad, like a York City, such generally conflicting the faculty and was ever one of the most there to spend his remaining years. He of making a mistake. In a word, have 'By W. L. Clark young horse on a trot before him. to ob¬ critics as Finek, Krehbiel, Aldrich and potent reasons for immense renown. Viad built up ail immense fortune through patience! serve his paces and see what he is able to Henderson agreed to perfection that here 1. Count aloud from the very first as¬ Moscheles was one of the most skillful his voice, and a fortune which he never Perform, should, according to the extent was a pianist to be reckoned with. signments. improvisers of his day. Among his com¬ dissipated by extravagance. counts aloud to a new exercise. of his capacity, induce him to taste, to dis¬ Hutcheson’s own compositions include a 2. Review each exercise, counting aloud positions the Concerto in G minor for His florid singing and his use of the 5. Remember that, in order to k, tinguish, and find out things for himself, , a violin concerto, and many “Lord, what music hast thou provided for until counting becomes habitual. piano, the piano duo, Homage to Handel. vibrato (not to be confused with the curate time one must be able to rea. sometimes opening the way, at other times separate piano numbers. He is at present Thy saints in Heaven, when Thou affordest 3. Study the value of the notes in each the Twenty-four Etudes and the Charac¬ tremolo) were said to be especially fine, rapidly. leaving it for him to open, and, by abating Dean of Graduate Students at the Juillard bad men such music on earth!" exercise before attempting to play the ma¬ teristic Studies are of the greatest im¬ and the range of his voice was phenomenal, 6. In each new exercise count or increasing his own pace, accommodate School in New York. —Izaak Walton. terial. portance. , x, A while practicing each hand separate hls Precepts to the capacity of his pupil ” * * ' —Montaigne. * _ji MAY 1929 Page 361 the etude CLASSICi modern and contemporary master works Page

A Significant Event in the World of Music +r,an«,.rihed it expressly THE NEW ETUDE GALLERY (»E Ml SIGAL CELEERUnE G.Francesco Malipiero,the eminent present day master composer of Italy, recently uncovered this extraordinary w C ALUPPI for The Etude Music Magazine. SONATA BAUW _E1785) m SHORT BIOGRAPHICAL SKETCHES TO ACCOMPANY THESE POR the etude - SUPPLEMENT BALDASSARE GALUPPI, nioknamed the BURANELLO, was born ^^jj'oy^Europe^nd travoltol evmi*asAm as Russja'.^n^PJdbYe t“Sb^oT«™ Venice. He ban i.ft »• . certain amount o, chamber munic, and sever..

O0TrhtsronMa which we are publishing herewith must have been written in his youth, for the influence of the music of the 17th Century itself felt, but there is a distinct Scarlattinian savour about it. Allegro, ma con espressione jfeaa—■

V__ "■--~ _F-I 1 J~

legato sempre

|*J* [ pfpf j^J J J 1* J * J «l *

Robert Schumann Maud Powell Paul Hindemith

Copyright 1929 by Theodore Presser Co. Other Music Sections in this issue on pages S66, wi. MAY 1929 Page 363 Page 362 MAY 1929 TEE ETUPp MAY 1929 Page 365' Page 364 MAY 1929 TEE ETUDE BIONDINETTA string. WALTER NIEMANN, Op. 101, N0 2 A fine example of the work of this composer. Known as the “German Debussy. Grade 4. i ib Tempo di Yalse,grazioso a capriccioe sempre unpoco rubato M. M. - 66 1 cresc. piu -a - pin - piup^_ t rrT3

\^w~ ~

rail. molto_pin_ yin ^ y t ^7 j= * *

Copyright 1924 by Otto Forberg MAY 1929 -Page 367 THU STUDS THS STUDS Page 366 MAY 1929 MYSTIC PROCESSION

A fine bit of modern writing; logically developed. Grade 6. LOUIS VICTOR SAAR, Op. 122, No. 3

- J"' ,ffflIf ..fl.iX - 1 3.—:-r—

-A-U___[,• • , i. -y ^ _ " il?f- vf- • ^ js s poco marc. " ' poco marc.

British Copyright secured MAY 1929 Page 369 THE ETUDE THE etude Page 368 MAY 1929 INTERMEZZO OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES Colorful and broadly melodious.Grade 4. F. BECK - SLINN, Op.36 LITTLE* CHINK MILDRED merryman musical recitation

Copyright MCMXXVI by A. Hammond & Co. MAY 1929 Page 371 THE ETUDE tub etude Page 370 MAY 1929 THE ROAD OF USED-TO-BE THE ISLE OF BEAUTIFUL DREAMS MARGUERITE MILLER GEOFFREY OHARA FREDERICK H. MARTENS DOROTHY STEWART Moderato

Copyright 1929 by Theodore Presser Co. British Copyright secured British Copyright secured Copyright 1928 by Theodore Presser Co. THE ETUDE Page 372 MAY 1929 Page 375 r MAY 1929 the etude TEE ETUDE Page 374 MAY 1929 MARCH OF THE NOBLE MARCH OF THE NOBLE FREDERICK KEATS Maestoso moderato M. M. J=108 PRIMO

Copyright 1929 by Theodore Presser Co. British Copyright secured MAY 1929. Page S77 THE ETUDE ' '£]}]<] ETUDE [Educatiokal Study Notes ok Music ik Tphis Etude By Edgar Alden Barrell

Music Is Part of Life EVERY young child, girl or boy, is ready now to enjoy the privilege of music. They will enjoy it to the full if their training begins at once, while growing minds are pliant and receptive, and enthusiasm is keen and alert.

Never a day passes that is not richer and happier for those whose early training has made clear the message of tempo and melody. The share that music takes in the story of each day is well illustrated by the record of the KIMBALL and of households that number hundreds of thousands whose children have “grown up with the Kimball piano.”

The clear “singing” „ , . the perfectly balanced action of its keys have been an inspi¬ ration to young students in homes throughout the country, from one generation to another. And never have the exte¬ rior designs shown more grace and beauty than in our present offerings—classic-modern and period grands, and uprights in several artistic styles.

W. W. KIMBALL COMPANY

Copyright 1927 by Theodore Presser Co. A n A ^ A British Copyright secured

- MAY 1929 Page SI9 Page -ITS ,11A V 1929 rn „TPt)n tee etude

By H. Everett Easley 15he ORGANISTS ETUDE Thu organist has laid the world greatly cians. The records of the middle of the Improve under debt to his contributions to the ad- century show that there were then Edited for May by a number of organ builders in Germany '-a**cement of the musical art. Of the and that they sent organs to England and Your Organ be listened to as such. It frctrapml present active participants in the art, none he king of instruments Eminent Specialists France for church use. Notre Dame of T lias a longer or more honorable lineage. has not only a huge literature of affords the organist the best opportune Paris has a lineage of eight hundred years None has done more to maintain and ad¬ In Church its own, but much of the music IT IS THE AMBITION OF THE ETUDE TO MAKE THIS ORGAN DEPARTMENT he has from an artistic standpoint and f of organists, many of them dominant showing the value of music as the “Han^ vance the standards of musical culture. written for other instruments, for com¬ “AN ORGANIST’S ETUDE, COMPLETE IN ITSELF” figures. From the twelfth and thirteenth binations of instruments and for voices maid of Religion” and the “Divine Art" If this statement should incur a “Why?” centuries, the organists have preserved and or Home is re-written for it in the form of arrange¬ But one’s choice for this kind of volun there is, perhaps, no better answer than handed down the best that was created in ments. It follows that the modern organist tary is somewhat restricted, owing to lim'” that the organists of the world have ever music, till the time of the great efflores¬ The Orgoblo Junior, a tation in regard to time. Pieces, there' . can fulfil what is expected of him as an stood' always in the forefront of the pro¬ cence of the late seventeenth and early small electrically operated exponent of all classes of music only by fore, which are suitable in all respects f0 fession, as men of the highest culture and eighteenth centuries which gave us that organ blower will improve the possession of a very extensive library, T3he Organists Library: this special purpose should be placed L general scholarship. group of masters who systematized the especially if he be a recitalist in either a category of their own under the title of The early history of music is hound up principles of the art and started it on the the quality of tone and the church, concert hall or picture palace. “Middle Voluntaries.” largely in the annals of the church musi¬ way to its present glory. service of any organ, old In view of the fact that a large propor¬ How to (Catalogue and Store It or new. tion of the music is in ‘separate sheets "Picture Palace" Pieces or thin books containing only a few pages each and that many of these pieces belong ‘By Clement Antrobus Harris DERHAPS the writer had better con American Organs Lead to a series or set of pieces, the covers and less that he has not himself held office title of which are uniform, each item be¬ as organist in a moving picture theater, but Mr Charles M. Courbotn, Belgian or- ments as can be found in tiiis country. Of The Orgoblo ing distinguished from its fellows only by has had to draw on his “inner conscious- „ j [ .ln([ one of the greatest of the course, all this will take time. The people a number, it becomes obvious that, if some . ness” as regards the headings under which virtuosi on the “king of instruments,” not have to be re-cducated-and to get over is the result of 30 years experience and thoroughly en¬ system is not observed, finding exactly the SIOnaI*y’ revise t!,c verdict pronounced Table of Contents Pao® music suitable for the purpose can best only has practically ec. America as the first, or, perhaps, second trying dorsed by manufacturers of organs and all organists piece one wants is not always easy, and, es- at |j J *' fiiTwUn be arranged- Gut the more experienced his home (greatly to our advantage) but , mns pecially if one is in a hurry, sometimes- over. Of course there may also be music Fit or J reader will be able to determine the way who have used it. Thousands are giving satisfactory also lias the following to say in The “Wjth an this progress in the organ, the impossible. On the other hand, if care which is well worth learning but for which Preludes . in which the list here suggested can best service in churches, theatres, schools and homes. and intelligence have been devoted to the practice time has not yet been found. A ring Confirmation.. be extended or altered. Musical Digest: ... art will be more commercialized. That special shelf for this is very convenient, interlude “Organ progress started in the United morc and more will bc learning it, arranging of the music, the smallest piece In planning the pages in the body of Let us send you a pamphlet describing the Orgoblo This shelf as a whole or each piece separ- ^ ■ States and gradually spread to Europe. more money wjn be paid to organists, may be found in a few moments. . the book, space should be left at the top Junior for small student and home organs, or if you it be entered in the catalogue. Even now Europe has not caught on thcrc w;u 1)e a greater demand for organ In order to be able to select in a minimum Offertoires (during Service) .. . of each page—or at least at the top of to it as you (America) have. To the recjtals, until finally the organ will reach are connected with church activities we will send full of time exactly the right piece for any oc¬ . the first page of each section—for the gen- Music for | Weddings European, the organ is still an instrument tbe goai towards which it is now making casion, from, it may be, many years’ ac¬ Providing Ample Space eral heading as given in the, “Table of descriptive material on the larger sizes. that is i>' be used during church services. such mighty strides. While it has been cumulation of music, the first requisite is npHE SPACE to be provided for each . Contents.” Underneath this, at the ex- They have not yet learned to use it in progressing amazingly of late, it is not a complete, legibly written and well-clas- A item should be ample—say, three lines. ; treme left-hand side of the left-hand page, -Ted catalogue. For the ready finding of This, will make the entries much easier to . will be the title of the piece. As several concerts as much as you do. Then, too, yet where it ought to be—but it will come THE SPENCER TURBINE CO. such* a piece, when selected, the first re- read than if they be overcrowded. Com- Rocital M'isie . words may be needed f..r this, that is, thev'rc not equipped witli as fine instru- —it will come!” quisite is an ample series of clearly labelled plete details of each piece should be given, . Hailstone Clinrus, “Isarel in Egypt,” and and easily accessible shelves, drawers or Therefore it will be best to regard a full cramped writing is scrupulously to be pigeon-holes. Such an arrangement will opening of the book, left and right-hand Sentimental . A A avoided, three inches, left to right, is not also greatly promote the preservation of pages, as a unit. By dividing the number A VVCovie ^Player’s Stoc\ . too much to allow for this item. the music in good condition—a matter of of lines on a full page (both sides) by Motion Pletun (Continued from page 380) Next should come the key of the selec- no small moment! three and the total number of entries (in- ^Us'(: . lion, as in many cases of similar titles, Obviously, before the shelves can be eluding spare spaces) by the result of this March. Sonatas must be handled even !!!!!! Andantes, for example, ibis is the chief you a slight Inctiu designed, an estimate must be made of division, the number of pages required in List of Bound Volumes ...... more carefully. The Handel Organ Con¬ good, such as Fi . means of identification. A column of one World Symphony,” tlie amount and shape of the music to be the book can be ascertained. A few extra Awaiting Examination or Un¬ certos offer many- brilliant movements GUILMANT inch in width is ample for the purpose, \ Ilerb stored in them, as well as the number of pages should be allowed for the title and ' riy be . which are melodious enough to be well t0 though less will do. The mode should be different types for which separate shelves table of contents, and for the Index, if it The headings are to be understood In within reach of the average audience, and, _jstln organs stand pre- ORGAN SCHOOL understood to be major unless mi for Religious Atmosphere ;ut among the^ most discrimmating should be’. provided,:J-J It will therefore be is decided to have one. • utilitarian sense. For instance aU music if you want to give them something ex¬ minor be added. The composer’s name lotlnc Suite Prayer and Chorale.. ■ ■ Boellmnn DR. WILLIAM C. CARL best first to make the catalogue. ceedingly brilliant, why not the time hon¬ Director The number of lines on a page does which is suitable for playing before service follows and may be assigned two inches. it Cecilia Offcrtoire No. 2.Batiste not matter much, provided the total number whatever its title may be, will be included ored but still tremendously effective Toc¬ ,cs Preludes Finale (Redemption, re¬ A space wherein to designate the grade ligious exaltation). Students Aided in Securing Positions is sufficient (of course a multiple of three, under “Preludes." On the other hand a cata from Widor’s “Fifth Symphony?” of difficulty is not strictly necessary, but Most of the selections suggested here The Catalogue plus the space required for headings, is voluntary termed “Interlude” will not be Costume pictures are having quite a some cases it is found to be useful. an be obtained in either an organ or piano /TITLE THE size of the shelves will igue just at present and music of foreign WH,TLE ™E Sizc °f the shelves wiI1 TSt *bUt the*SiZe °f the SS® jndUded Under this head'n£ if it be too One generally remembers the facilitv bunk anV nast'davs^"in order. ~ The fol- arrangement if they are no. original com- VV de,lcnddepend "upon*nnn- T"the "'number,mW of books from left t0 rlght IS very mwfant. This long to be used as the communicants move otherwise with which one can play a piece New Prospectus Ready will be determined by the amount of detail from their s ■ ’separate pieces to he placed on them, ats in the church to the altar, already learned, but, in rel iving a volun- be given to each piece and by the size Similarly, a “vs V “ - ** “ <» ** iss■jr-'S-srsi ~ AUSTIN ORGAN CO. 17 E. Eleventh Street New e of the lx>ok for the Catalogue offertoire, if found too long tary long forgotten or disused, it is ad- paniments of orchestrations. These few itten ’ j* * additional hints which are intended to sup¬ I 165 Woodland St. Hartford, Conn. J number of movements, used separately. The music should be assorted according in theAhurcVin quST nT‘TT • T know,whfher k 'f Classic Seventeenth and Eighteenth plement those, already given'will, I hope, Thus a sonata may contain three move¬ -its purpose under general headings, and among the items ava Siefor rec tak °f t Century be of service to some readers who may be ments used„ respectively__ as a prelude, offer-_ tlieseese should follow the order in which In many churches Tvlntarv W “ , S playing in small cities or small theaters SPARE TIME WORK TINDALE Piano Tuningpayseasily $2 to $4 an hour. Requites tory and postlude, while the whole work tlle Pleces are nsed. A summary of these integral part of the service That is t" his own ,a"d. each orgam'1 wl11 (A ' in big cities. about 90 minutes to tune average piano. Pay may be played at a recital, making four headings should lie given immediately after say, its purpose is not y to fill a J S or , m x° "‘f Z Music Filing Cabinet ranges around $5 per tuning. Player work also entries necessary. the title page. The following "Contents” or to drown the footfal of neonl i ? P ' d,ffiCUl*’ An ,,nch suffice f° * theme lu films of Needed by every Musician. brings big pay. No capital needed. We train you "Let us study the orchestra, the most Music Student. Library. thoroughly at home at small cost. Two diplomas A volume often contains several pieces has been proved a good working scheme, about, but to presen a musicalmmrf’ , c v School i ’ granted. Get out free book—“Piano Tuning as musical sermon to (To be continued in June Etude) “Nell Gwynn and Henry VIII Dances'’ which one does not' play at all. It is not (Old English) .Edward Germa highly developed medium of musical ex¬ a Business. MftCK |NST|TUTE best to include these unless it is probable Trumpet Voluntary .Purec pression. Let us conceive and transcribe ;d fror ^raftof^tatiorr^^T^^^^^PHtsburgh^Pa. that they will be used later on. In this orchestrally, phrase orchestrally, registrate case a pencil mark- should be made against A Movie Player’s Stoc\ American Historical Atmosphere orchestralfy, always bearing in mind that end for list of them to distinguish them from music al¬ Liberty Fantasia .Maxst no -organ ever built can reproduce the most popular styles ready mastered. War Rhapsody . .V, k exact sound of an orchestra, and that I TINDALE CABINET CO. By Alanson Weller .label Overture . 40-46 Lawrence St. •Southern Rhapsody .'JCnT, am referring solely to style.’’—Jons ( wj i'o'^^“|im£h'r^0il^snhd m^?SIs^iKTcSArf When the number of entries needed for American Indian Fantasie.&Kutl the library in its present condition lias IN SOLO, ' playing* the organist•••-,.. has a familiar or unmelodiousunmelodious. InTn mostm * small Priest, S. T. O. great opportunity for raising the stand- theaters the solo tnW4 ?ma11 *!ons* Nl,ne of these are too heavy been computed, the question of future ' “'cat opportunity for raising the stand- theaters the solo takes the place ofTb aril of culture in® his district. It is. orchestral overture__ JLi“ Zthe 1,11 s use, and most of them are to be found Foreign Backgrounds development must be considered. A young however, an opportunity which must be theaters. Only a fevT^morn^nt ^ larger in s^btly different arrangements on the ‘ Scheherazade Suite .Rimsk.v-Korsakov organist will do well to'allow for a large Slavonic March Tschaikovsky COURSE IN increase—say the doubling or trebling of carefully handled, as it is readily spoiled sible and there is sometime1 S- W p0.s“ I)rograms °f the leading virtuosi. Edwin Slavonic Rhapsody .Frtedemann TtlEURtCKgAN HAYING CHURCH.CONCERT, MUNICIPAL. by tactless treatment. As the majority of amount of confusion th dy certa,n Lemare frequently includes an overture ’ ' 3 library. A veteran need not allow so AND RESIDENCE ORGAN PLAYING much Put „n ... , • • ‘hose who read this are players in small one show is bffine" n j h AT* °f on his recitals. Those which are found Two three-manual and one two-manual file has renchldth rfvVt°imag‘ne cities-for it is there that organs alone another. For that reason b k by„ that of t0° long can readily I hi cut as desired, Wurlitjer and Kimball theatre unit or¬ Modern electric action church and con¬ tin t he has reached the end of h.s tether without orchestra are most in use-they to numbers with l l - l r Wel1 to stick With the overtures as solos a.t occasional Kfature gans—one a new $25,000 Wurlitzer— cert organs for lessons and practice. kT RneT hdd an0t lfr pICC,e. to .h,j must remember that small town audiences nite melody and a rathe^s*forward, de|T grand march or operatic excerpt may be III the previous article nature moods were for lessons and practice. Special courses Special courses for pianists changing to jusl touched upon without mentioning for pianists changing to organ. Advanced j organ. Advanced pupils have many :iboutTout some of the music Swhich6 .-'is 11already!, ™”d caml0t be head!OIlg «* The standard overtopovertures area MSed .and’ your audiences have come Storms—Les Preludes (middle section pupils have the advantage of lessons be¬ psrt effective on th ~ *U1 most Allegro Tempestuoso) Felscnmu ge.sg.ger fore the screen. Graduates are in I unusual advantages. Graduates are on hand but has never been used and decide in constant demand. Part to give it a hearing. -iything which is appropriate of them fit the^^nnremmaj°rity °r S‘”nc s,lch compositions, Sea ' Scenes -Fingai’s CaVe Overiure^^ constant demand at big salaries. and effective is permissible. Indeed, the Among the best collections nf mCely‘ , When marches are used, avoid the post- Part scholarships available. scholarships available. The wise organist will have in his own effec is less noticeable when the music which I know are those in theP ove,rtdres ludial or voluntary style and stick to Fourteen Fathoms Deep.SI- L. Lake Write for Catalog E Write for Catalog E2 library one shelf devoted exclusively to Sea Gardens .Cooke music not likely to be nsed. Every now blends with the Picture.) tion, for piano solo In 0ne th S Ef S‘raight brilIia»‘ ''umbers like Gounod’s eople unaccustomed to classical. music Mendelssohn, Weber Cl • j ftlle Qwcn °f Shcba- Elgar’s Pomp and Cu- Natural Wonders—Volcanos in erup¬ and then lie will go through it and occa- Vermondknmjss school or organ playing wdl soon condemn anything that is tm- and several otlier repreLi a ivr and Gffilman.’s Tore!,HA" tion, giant waterfalls and so forth. X LIO N-7TH. ST. ALLENTOWNA1 ■ tau’T™*'A' P\.r'’A epresentative comp,la- (Comirtued on page 181) MAY 1929 Page 383 the etude Page 382 MAY 1929 the etude Bands and Orchestras Tbhe Organ in Literature Organ and Choir Questions Answered (Continued from page 355) By B. A. Eldon By Henry S. Fry f National Association of Organists Chaptrr of thp. a. G. O. ’

Knuckles, the Vital Hinge By Leonora Sill Ashton The knuckles arc the bridge, the passageway, to accuracy, touch and qual¬ ity of tone in piano playing. No part of bars and hindrances, while flexibility com- the anatomy may be trained more easily by the movements of everyday life, such as closing the fingers over an object and Another excellent exercise is to clench clasping it tightly and making an outward the hands quickly and tightly into a closed movement of the fingers, as if reaching fist, and unclench them just as quickly. for something. This not only increases Thus in an instant two attributes neces¬ digital agility but stretches and strengthens sary to playing the piano, tenseness and the webs between the fingers. Above all relaxation, are combined in such a man¬ Make THE ETUDE Your it vivifies the knuckles. ner as to unconsciously blend. Then, Marketing Place One small part of the brain should be when one actually comes to the piano, the linked to the anatomy of the hands. When knuckle hinge will be well oiled and in Etude Advertisers open the one picks up a book from the table it good working order. Doors to Real Opportunities should be allowed to lie in the hand for Resting the tips of the fingers on the an instant. The wrist being loose and keys or on the surface of the table, with all muscles relaxed, one may feel its the full weight of the relaxed arm con¬ weight braced upon the hinge of the centrated on these members, causes one to A Collection of Standard Music knuckles. realize the responsibility which rests upon In bearing down upon anything one the knuckles, the hinge by means of which should feel the mighty resistance that the door of musical performance is opened SAXOPHONE PIECES THE WHOLE comes upon that weight and in all ex- to the player. WORLD PLAYS A collection of classic and modern standard Teachers’ Round Table compositions especially adapted to the technical and tonal capabilities of the saxophone, and with¬ (Continued from page 357) out question the only book of its kind published. There are more than fifty compositions arranged at the side. Be sure that each motion is to interchange the fourth and fifth finger made quietly and under perfect control. on a single key or to use the fingering for saxophone solo with piano accompaniment, Exercises on a table-top, as you sug¬ 3/1, as in the following illustration: each part separate. Published separately in three gest, ought to help matters, since they are keys for Eb Alto, C Melody and Bb Tenor saxo¬ free from the excitement of tone produc¬ phone. tion. Let her thus drum out the rhythms COMPLETE CONTENTS of each new composition, counting aloud. frjttiHTTPi Alp-Maid’s Dream, The. .Labitsky Minuet in G'.Beethoven Having thus fixed the rhythms in mind Angel’s Serenade . .Braga Moment Musical .Schubert she should be prepared to apply them to (2) This depends on whether the scales Ave Maria . .Bach-Gounod Orientale .Cui the keyboard. are played slowly or quickly. In playing Berceuse (Jocelyn) .... .Godard Playera .Granados I should give her plenty of technical slowly with the hand touch, the wrist tends Berceuse . .Schytte Pres de la Mer.Arensky to jump up slightly with each stroke; but in Canzonetta . .. .Hollaender Quietude .Gregh drill and supplement this by music that is Cavatina . .Raff Romance Sans Paroles .Faure without confusing complications. In the playing rapidly the hand is thrown from the wrist. Cinquantaine, La . Gabriel-Marie Romance .Rachmaninoff sixth grade she should be prepared for Cradle Song . .Hauser Romance Op. 44 .Rubinstein Czerny, Op. 299 and the Cramer studies. (3) Yes. Cygne, Le (The Swan) Saint-Saens Salut d’Amour .Elgar (4) Yes, in the sense that the hand is For pieces, try Haydn’s Gipsy Rondo, Dolce Far Niente.Papini Serenade (Milenka) .Blockx thrown into the key from the wrist with Elegie Op. 10 .Massenet Serenade (Les Millions d’Arlequin) each chord and the weight is released as Toccmah &A major,'and fom^o’f'Chopin’s Evening Prayer .Reinecke Drigo the tone sounds, so that the fingers im¬ First Heart Throbs .Eilenberg Serenade . .Pierne mediately rise to the top of the keys. As Flower Song .Lange Serenade . .Schubert with octaves, the hand does not leave the Humoreske Op. 101, No. 7.Dvorak Serenade d’Amour . . .. .Von Blon Octaves and Chords keys to any extent in a slow succession of Largo .Handel Serenata . . .Mosskowski chords; but when the chords are played Lily of the Valley .Sapellnikoff Simple Aveu. .Thome Souvenir . more rapidly, it is thrown more or less Loin du Bal . .Drdla Longing for Home ..Jungmann Spinning Song . . .Hollaender from the wrist. Spring Dance . .Grieg Love Dreams .Von Blon Spring Song . . .Mendelssohn Madrigal .Simonetti Tango . .Albcnis Faust School of Tuning Russe .Glinka To Spring . .Grieg Melodie Op. 18, No. 1.. .Mosskowski STANDARD OF AMERICA Traumerei . .Schumann ALUMNI OF 1000 Melody in F.Rubinstein Waltz from Op. 39 .Brahms Piano Tunioi, Pipe and Rood Organ and Plajor PRICE, $2.00—For Sale at all ft i/c Stores la the . (Hot Sold in Canada) Piano. Yoar Book Fiat 27-29 Gainaboro Street BOSTON, MASS. D. APPLETON & COMPANY, 35 W. 32nd Street, New York City

advertisers always ition THE ETUDE, it Identifies yon in touch with the higher ideals of and lile. THE ETUDE MAY W29 Page 889 Page 884 ‘MAY 1929 THE ETUDE What Is in Your Violin Qase? A Splendid Opera Book for Violin By Robert C. Francis BESIDES the violin and bow what Soft Sil\ Wrapper does the average violinist carry in OPERATIC VIOLIN PIECES Edited by O PREVENT all danger of scratches his violin case? Does he plan to "Operatic Violin Pieces” contains selections or have certain articles always there and as well as excessive moisture the vio¬ Robert Braine musical excerpts from forty-five of the world s ready for regular use or in emergency? lin itself should be kept wrapped in a soft, HE YOUNG violinist, when he Fiddle or Violin T Or does he leave the matter to chance and silky cloth, or, better still, in a loose bag greatest operas by classic and modern composers. starts ensemble playing, often finds IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VIOLIN DEPARTMENT have to borrow or go without? of such material. After being used it Care has been taken to cover all fields of grand himself confronted with a score By James Fenton It will be worth while for every violin¬ should be dusted off with another cloth opera, so that the volume really becomes an epi¬ that has little or no fingering marked; then “a violinist’s magazine, complete in itself. ist to take an inventory of his violin case kept for that purpose. If the strings have tome of the finest music which has been written the question of position arises. The best How many musicians, if asked the ques¬ become caked with rosin they should be just as it now is and then compare his list in this form. The price includes separate parts for training in choice of fingering is the study tion, “What is a fiddle?’’ would say, “Ob dusted off lightly. of a well-edited copy of the Kreutzer with the following: extra strings, tweezers, the violin player and the piano accompanist. just another name for a cheap violin!’’ rosin, cloth or bag to cover violin, clean¬ A good mute of ebony or bone is so in¬ Etudes with the fingerings marked and This may be true, but how many would expensive that there is no' reason why explanatory foot-notes. In this article we ing cloth, mute, chin rest key. COMPLETE CONTENTS think of calling their instrument a fiddle Surely this is not a long or difficult list everyone should not own the best. It shall study a few common examples with will not wear out, and, if it is kept in its .Massenet Which ‘Position Shall I Use 1 and themselves fiddlers? Not many, as of supplies. It does not include all need¬ Africaine . .Wallace which we are likely to meet in orchestral proper place in the violin case, it will not Aida . Maritana . these two words seem to suggest a cheap ful violin accessories, only such of them Martha . .Flotow Bartered Bride .I Vagner The much neglected second position is instrument and a player of doubtful ability as the violinist should always have on .Balfe Meistersinger . Py James A. Harrison The last and smallest article on the list Bohemian Girl. .Thomas absolutely indispensable in many instances. But, if we come to analyze the words fid. hand whenever and wherever he plays, Boris Godounoff . .j/oussorgsky and which, therefore, should be kept in is the chin rest key. Granted, it is seldom .Biset Millions d'Arlequin Let us try to play the following without passages the fewer shifts wi die and violin, we find that they are very Carmen . though he will meet passages that demand the violin case. Yet how many amateur needed. But when it is needed, it is gen¬ .Tscliaikowsky .Delibes the use of this.position: better will be our execution. closely related. Casse-Noisette . .Gliick a lengthy stay in the even numbered posi¬ violinists carry all of these simple articles erally needed with a vengeance. Chin Caucasian Sketches .I-Iwanow Orpheus . The English word viol and the Italian Pagliacci . .Leoncavallo No.l tions, he can play a considerable amount Ex. 8 in their violin cases? rests sometimes get loose or come off, Cavalleria Rusticana .Mascagni viola are derived from the Old German Poet and Peasant . .Suppe of the music he will meet in the odd To the long list of fools who do pro¬ sometimes have to be taken off. If the Cid, Le . .Massenet High fidula and the late Latin vitula. from .Delibes Prince Igor . .Borodin numbered ones, with occasional jumps or verbially foolish things should he added violinist is away from home the chances Coppelia . .Meyerbeer stretches into the fourth, sixth or higher which also the English fiddle comes. Its Coq d’Or . Rimsky-Korsakow Prophete . the case of the foolish fiddler who trusts are that he cannot find anything at the Raymonda . .Glasanouw positions. i shifts stem suggests the idea of merrymaking. Damnation of Fausl .Berlios In the above we have only to luck that his strings will not break and moment that will fit the little holes in the .Halevy Rigoletto . .Verdi True, we, can play it as follows i.n the first This does not mean that he can neglect Eclair . .Delibes ascending and two descending. The German geige (like its English rela¬ so doesn’t bother to carry extra ones with chin rest well enough to enable it to be ..Luigini Roi s’Amuse . position by stretching the fourth finger the even numbered positions. Indeed, be¬ Egyptian Ballet Rimsky-Korsakow It is of great advantage to arrange the tive jig) probably has reference to the up- him. All fouft kinds of strings should be screwed on tightly. Lest it be lost the .Donisetti Sadko . beyond the position for the first note: ing more difficult, they should receive even Elixir of Love .... Samson and Delilah .SainUSacns fingering so that the changes of position and-down motion of the bow. carried. And, to be perfectly safe, a few violinist should attach it to a wooden or .Tscliaikowsky more practice so that the violinist may be Eugene Onegin ... Sheherazade . Rimsky-Korsakow No.2, . do not take place in too close succession, The term violino is the diminutive of used but unbroken strings should be kept .Gotinod prepared when lie meets a passage which cardboard tag and keep it in the little box Faust . Sleeping Beauty .. . .T schaikowsky especially in quick tempo. In rapid playing on hand. .Laconic cannot be played in an odd numbered viola. The corresponding augmentative is in his violin case. Feria (Suite) . Snow-Maiden . Rimsky-Korsakow one change of position immediately fol¬ violonc (a big viol) and from this conics Whenever strings have to be changed If a shoulder pad is made use of, that, Forza del Destino . .Verdi Tales of Hoffmann .Offenbach lowed by others is liable to end.in disaster. quickly, tweezers are a great aid, since Gioconda . .Ponchielli A good general rule (within limits) is to violoncello (a small, big viol). The posi¬ too, of course, must be kept in the case. Tannhiiuser .. Wagner Do not wait until the E string is reached they are much better suited to the size of Hansel and Gretel . .Humperdinck ....Verdi stay in one position as long as possible in tion of holding is indicated by the terms Another useful article is a tuning fork Traviata . This requires a long stretch and much before leaving the first position. If it is the peg-box than are the fingers. - There Kunihild . .Kistler Trovatore . .... Verdi a quick tempo (see Ex. 4). viola da braccio (arm-vi..h whence also which is much more accurate and durable really hard practice. A good general rule at all possible try to arrange the change is nothing that a violinist might buy that Lohengrin . .Wagner Trumpeter of Sakkingen .. Nessler In the following: than a pitch pipe. for all positions is: use the easiest finger¬ of position while an open string is being comes the German name bratiche for the would have a belter effect on his disposi¬ Loreley .Catalini William Tell . .. Rossini Now let us go back to the violinist’s ing providing this gives a neat effect. By played. The following example will illus- tenor-violin. There was besides viola da tion than this small instrument. Luc i di La: ir .Donisetti Zampa . . .Halevy actual inventory- Perhaps it included items playing the following in the two ways these points: gamba (leg-viol), the predecessor of the Almost everyone carries rosin, but not PRICE, $2.00—For Sale at all Music Shops not mentioned on the above list. What marked violoncello, and viola do spolio (shoulder- everyone carries it properly. Unless it is vox Free Catalogue op “Whole World” Violin Books viol) which was larger than the viola da kept wrapped in chamois or enclosed in a were they? Sheet music? Car tickets? Money? Nail file? Odds and ends of we reach the sixth position. The high braccio. Until even the seventeenth cen¬ small box, it will become soiled, and, by D. APPLETON & COMPANY, 35 W. 32nd Street, New York City many sorts? Yes, they are all useful—in A is easy to reach from this position, and tury, viols were commonly held upright crumbling and breaking in pieces, will not only waste itself but clutter up the whole their place. But their place is not in the the latter half of the passage is made much At A the third position on the D string in front of the body. The term viola is THE NEW easier in consequence. case and perhaps scratch the violin. case of a violin. is arrived at; at B the sixth' position on now used specifically for the tenor-violin. “Lewis” Catalog With practice it is possible to stretch the A. This makes the rest of the ascent One who plays this instrument is a violist into the fifth position without leaving the . perfect easy. Coming down there is a drop to while one who plays the violin or the we see how much smoother the effect is third: the third position on the A string; at C-and violoncello is a violinist or a violoncellist 'Beaching a Five'Year'Old the Violin when the second position is used, with, of Violins, Violas course, correct intonation. Ex.ff at D a return is made to the first position, But the longer words arc commonly abbre¬ m every respect By C. A. Scheinert , Basses It is a good plan for the violinist who has while the open string is being played. viated to 'cello and ’cellist, just as a player wich all strii neglected the study of the second position In arranging to change position while on the viola da gamba was often called a Rudy’s older brother, age twelve, had no knowledge of arithmetic, give values to play as much as possible in it, even the open string is being played, we may gambist. been taking violin lessons about six months to them? e w numbers and grades added to_ when the first is more advisable. We all jump around from one string to another implete line. Special proposition before his mother asked the teacher how When he learned the names of the notes play more or less fluently in the first posi¬ and back again, as follows: chool Supervisors and Violin and Cel old a l>oy should be before starting to on one string, he forgot the names of eachers. Send for your copy today, fre tion, and there is absolutely no reason why Ex.lO Tbhe Portamento study the violin. He told her that, except those on the other strings. This was “I HAVE tried the strings you were the other positions should not he as natur¬ overcome by the teacher taking one string so kind as to send me, and I take ally easy. We need only spend as much in unusual cases, seven or eight years was WM. K. LEWIS & SON, Desk 36 By Charles Fingerman early enough. at a time, writing the notes and having pleasure to inform you that I have time in their practice as we did in the first. them repeated as he wrote them. If the Moreover, the second position is absolutely “Well,” she said, “I would like to start found them perfect in every respect." The portamento, if properly executed, child made a mistake, the teacher would essential for the execution of certain At A we jump back on to the A string Rudy, but 1 suppose he is too young. He Armour's new violin strings, is without doubt one of the most beauti¬ leave that note, go to another and then passages in double stops (especially oc¬ into the fourth position where we stay is just five.” So there the matter lay for ful details in violin playing. return to the previous one. Within a week “The Concert Master," pronounced taves) and artificial . In the foregoing it would be foolish as until we reach B and drop back to the But—and here’s the rub (as Shakespeare he knew all his notes, the fingers each by experts the finest violin strings The third position is the favorite of the well as difficult to jump into the seventh first. At C we jump to the fifth position However, it was not three months later would say)—some of the greatest violin¬ called for on each string, and could read young violinist. It is easy to reach, and position in the first measure when we can from which we can reach the high G when she asked his teacher if he would not in the world, have a beautiful tone, and play them correctly. Position, strings, correct intonation is not difficult to acquire. reach the high A from the fifth. In the with an easy stretch. We drop back to ists, in making the artistic slide, fall into try him. "He watches every move that and register perfectly in fifths. HUGU5T GEMUNDER 81 S0N5 fingering, notes, bowing straight—mastery 1 Violins, Old and New A common mistake in the higher posi¬ second measure the easiest way is to drop the first position while the open E string the ditch of dubious intonation. To gain Burton makes while practicing. The violin Your dealer has “The Concert For All Kinds of Players tions is to keep dropping to the first and back to the third position instead of the is being played. The ascent in both meas¬ a good portamento the player should be just fascinates him.” of these took four lessons. first, as we have to climb back into the Next came the question of time. “This Master.” Try a set on your violin. Our Catalogues are Free and will safely returning. The study of the positions, to ures of the preceding example calls for fairly familiar with musical anatomy, Dubiously the instructor agreed, al¬ third. The last note is played pizzicato is an eighth note, this a quarter.” How It will be a rich musical experience. a great number of violinists, is confined two long shifts for the left hand, especially that is, he should practice the portamento though he doubted if the little fellow with the left hand (much more easily could the teacher make any such statement Armour and Company, Chicago, Ill. to the E string. This results in a con¬ in the second measure, but the young in segments. Each note should be played would stand still long enough to be told executed than pizzicato with the right.) understanding^ to him when he was not tinuous sliding up and down, which, in a violinist must early grow accustomed to separately so that the pitch is just right anything. In rapidly ascending and descending distant skips. yet in school? But by explaining that an quick tempo, gives a most disastrous effect. and die tone suave, clear and sweet. At his first lessons the teacher sat on a eighth note is played twice as fast as a To illustrate this, let us play the follow¬ Then he should strive for an effortless footstool to have his head even with his VIOLINS ing: slide from one tone into the other. At quarter note and a quarter note twice as How to Keep the Pow Straight pupil’s. The child was using a three- fast as a half note, he was taught to play C oncert M.iaster No.4,a first the result, to speak the truth, will quarter size violin, and his left arm was not be totally satisfactory. But the porta¬ in time. stretched out so straight along the back By Margaret Barnes mento is a test of patience as well as of After two months of study with a lesson °f it, in order to get the hand at the nut, pitch, and, once acquired, is a most at¬ a week, Rudy played for his father Silent How pof.s one keep the bow going that it was useless to say anything about 11 °f. tilllcs away from the mirror. tractive item of the paraphernalia of tech- Night, Holy Night, in time, correctly, and a straight path across the strings? Uurd, by listening to the tone If it the left wrist. From the first he held in good time. Now, after little more than First, by watching the bow stroke. One is husky and weak, the bow is placed his bow properly. three months’ lessons, Rudy plays little in the two ways marked and note how WHAT SHALL I GIVE MY PUPIL? stands before the mirror and makes long wrongly on the strings. If it is limpid He quickly memorized the names of the Sunday School pieces well and intelligently. much easier it is when the left hand re¬ nt of Standard Teaching Music at 20 CENTS a COPY sweeps with the bow, watching every min¬ and strong, the bow is placed rightly on the four strings (his blocks had taught him His mother and father sometimes say he ... Analyzed and Up-to-dati mains in position. “The basis of all technique is the alh""- Reliable Edition Ever Put ute to see that, during the passage from strings. One experiments until the tone the letters of the alphabet). But how can outplay his older brother. It has been or Complete Catalog It is when we come to the playing of point’to nut, it is constantly at right angles matt of a satisfactory mental grasp of t's is beautiful. Then one keeps it so was he to learn to read notes, and, with work, but almost all of it enjoyable. passages demanding the rapid change from to the strings. essentials.The technique of an «r one high position to another that we ex¬ The watching process may be discarded is not the art itself. Technique is not mtisu. Second, by feeling one’s self into correct m time. The feeling process mav become perience the greatest difficulty. Next to position. Having acquired a correct posi¬ or even flic beginning of music; it sub-conscious. But the listening process the third position the violinist finds the tion through mirror practice, one gets the merely the means of expression, though 1 "Interpretation is an instinct, and a good interpretation is an intellectual must be ever uppermost in the' violinist's fifth and the seventh the easiest and, al- ‘'feel'’ of a straight bow stroke and tries is often confounded with the expression one. It is one’s feelings when rendering a composition and should be wholly itself.”—Frank Thistleton. his own.”—Mtchel Petruzza. When you write to our advertisers always mention THE KTIDE. Page 386 MAY 1929 the etudu the etude MAY 1929 Page 387 A Studio Clinic Violin Questions Answered By Nell B. Mellichamp By Robert Braine On visiting the Try it out for yourself and see talented COMBS Ho question will be answered in THE ETUDE unless accompanied by the full name of prominence in Ai but shockingly careless pupils fall in with and address of the inquirer. Only initials, or pseudonym given, will be published the writer recalls, a the idea. See the spirit of real cooperation SUMMER prominence, not the i awake in even the least interested pupil CONSERVATORY the beauty and and the sense of pride and almost rever¬ music room nor tne t ence with which your pupils handle their Gilbert Raynolds Combs, Founder and Director ' i! "k.—Without hearing you play, so that •’ ,s"« bleached and s<.meunbleaiie' under the magic touch MASTER SCHOOL I can judge of your talent and your stage hair. The most important thing is music afterwards. of advancement, I caunot say what you might the rehairing done properly. Don’t- +.ave fingers, though these FORTY-FOURTH YEAR PHILADELPHIA . Name a certain Saturday as Clinic Day be able to accomplish, in a professional way, rehair your own bow unless you are « y to their impression. The 1 In orchestral work. The fact that you pert. The late Edouard Rem“nyi in your studio. Distribute typewritten think, the thing that Institutional Member of National Association of Schools of Music started at the age of live is greatly to jour solo violinist, used to send his bows’ „„mo»8 notices among the students saying that o June 24th to August 3rd, 1929 (43rd Season) favor. Very few women are employed m ter where he was touring, to Paris’ mat' and look in self-abas the symphony orchestras J •LVI" | ™ to be repaired. lie claimed that twfaS,ce’ ; zh:z the day named anyone who wishes to pre- A School for the Beginner, Ambitious Amateur, outside of those compo~ __ — only one workman in the world Was studio was the orderly ; women, like the women’s syi aphony orches- rehair bows properly and he lived in n0uM great teacher’s library of >ic material may bring it to the and the Professional tras in Chicago, Boston and -New York.- .A 111 Faria. studio and have it nicely mended and even great many women violinists find work in One side of the room was given over the small ensembles playing i hotels and j \y_you , to a filing system of shelves. The names partially bound by using heavy cardboard No Entrance Requirements except for Certificate, ide field v-iolin bowing, a in folio form for loose sheets. Appoint a for women teachers in public school1 music, Daily Bowing” of the composers were printed in large JOSEF LHEVINNE Diploma or Degree Courses teaching singing, directing pupils’ —orchestras; The" Etcm^Io ‘your^dmfhT^' nu“^r £ letters on each sec tion for convenience in committee (and let their names be men¬ and so forth. Your violin playing World Renowned Piano Virtuoso. Repertoire Teacher’s Classes. playing would be Many of n’10 bowings in Study8 finding anything from simple teaching tioned on the notices) whose duty it is to a great asset in the latter■ work. Kreutzer’s -Violin Studies" mayle used* S Auditor Classes. one of your bowing exercises in icVs ".J pieces to heavy volumes of Beethoven arrange hours for the younger children, Eliminating tlie Rattles. in 4/4 time) in your double bass^tudies110168 Sonatas. All in simple style. No polished the intermediate grade and the older stu¬ U. H. K.—If either the little screw or the \ou can apply these Kreutzer bowings to SUMMER SCHOOL nut which clamps your E tuner to the tail¬ wood for the shelves. No expensive files dents, so as to have suitable materials and piece of the violin becomes loose, it causes any bowing study in sixteenth notes in se a rattling noise. For a few cents you can time. Most of the double bass methods h»™ nor indexes. Then the neatness of that proper supervision for each group. Book oscar SAENGER buy a pair of pincers which you can keep in X"gof thtem0,,eh ‘hPre "re not music! We looked at old editions and at stores and music publishers can supply July 1st to August 10th your case and use for tightening the nut and the modern sheet music editions, and not many kinds of useful bindings, tapes and Internationally Famous Master of the Voice. Opera Classes. for other purposes. Teacher’s Classes. Repertory Classes. e to Make Shifts. a torn sheet did we see, though the mate¬ mending tissues, among which can be found Regular Faculty of 95 Eminent Instructors 11. B.—It requires considerable exnerien™ rial on hand showed plainly that it had those to fill the need. As a rule these a and ’erent Ma received its full share of hard usage. inexpensive and easy to use. - ,A larg? numJ>er u°dc.r, “ toucher he murks where the chine? HENIOT LEVY Distinguished Specialists in Osbourne McConathy e folk play under other should occur. If it Is net already marked in Edges were neatly bound with linen finish Most children will derive much pleasure names. Actors v u-, plebian, common- the music. In order to acquire a eons Public School Music Director Public School Music ’ '■ knowledge of the principles of shifting, tape, small worn places in the scores from taking their dilapidated books and SILVIO SCIONTI ought to study exercisus and studies ww* covered with transparent mending tissue, pieces home in good shape. Besides the Department thia is shown, ulso plav good edition^ nf solos, in which the shift lag is marked r! and the paper-bound volumes reinforced work will train the fingers in deftness. thb way you will acqulro instlSStoS the with heavy binding which kept the not- The teacher may charge the pupil for Courses are approved and accredited by Pennsylvania and silver wire as a iping for the violin G points where shifts should be made. It is string and wire ci d strings for other in¬ too-strong sheets from coming loose. In material used or she may consider the e other State Boards of Education, and include all subjects required struments. One n KARLETON HACKETT is as good as another. - — ■ V,:z,is. -«BBS fact each piece of music was a joy to be¬ pense well worth the reward in renewed of Supervisors m grades, junior and senior high schools, normal ,_e subject ai whole book would have to be Distinguished vocal instructor and critic. Repertory an< written. You_«i might get Hermann's “Violin hold, and the idea of a Studio Clinic was interest in the pupil and greater peace of Teacher’s Classes. j Italian School,” Vol. II." This will give you many Education^ C° GgeS and lead to de§'rees of Bachelor of Music e 18th cen- good _ Ideas on theho sultjcc But the best born right there. mind for herself. [taker, I can- would b . _ . lessons from a nd any details of his life, Your violin good teacher. ■ EDUOARD SACERDOTE be a good one for all th; Eminent Teacher of Voice. Orchestra and Band maker occasionally turns ‘Music for the ‘Pre'Kindergartner -The study of Hie violin wUl help, Defective Fingerboard. If anything, y< study of the piano, always By Eutoka Hellier Nickelsen S R. S.—Without seeing the violin it is providing, of ■se, that you have enough JACQUES GORDON Brass and Wood wind Instrumentation time to praet K"**- ...Man, Children from three to five in this gen¬ her children over to school teachers for fvK«r“nonWn^s Slaved people try to study two or more Instruments Applied Music If! when they have so little time to devote to eration seem to be, in need of something the remainder of their childhood days. music study that they cannot do justice to Beautiful yet simple songs are learned, y?urth§r4eStrfooVw°UL IS^nut^re more than one. It Is much better to study to think about. Stories, A-B-C’s and sim¬ one instrument thoroughly than two or more ple number work are readily learned, and rhythmic gymnastics introducing little HERBERT BUTLER In .addition to the various classes, private instruction is ''■upr Rioiduvc theme Eu string should- ' ■ 1 *'*11• • “— 1 ’Kigat Rubus” violins. dance steps and a few very simple tone offered in all branches. high enough above the fingerboard so JJSu,?Uy St- to instruct them further means to advance Eminent Teacher of the Violin. a~ pieceJ wxof cardboard can beoe sliDned for the expur them into the, classes with older pupils, a pictures which can be performed at the " ' „JPpea usually"tally finishedfinish.-rl with rsi.i keyboard. The child is happy in engag¬ endend'Tnev/ (next 1!?-to itUtring and fingerboard procedure not always advisable. Faculty of Over One Hundred Artist Teachers ing in creative work; he is receiving a cul¬ DORMITORIES fingerboard itself which is tell you the value Simple music lessons will solve the prob¬ hmi„«eing pertectiy level or“ tyTaving" ihtlS of your vl°iin without "s' tural background, and he is not being ad¬ Special Summer Courses: lem. “Music Play for Every Day” is the Write for special Summer School Circular defeetive°notes0neeiirt Tf vanced beyond children his own age. Public School Music—o. E. Robinson, Director ideal book for home use, especially if Havana, Cuba.— Could there be a more delightful beginning Dramatic Art, Expression mother is to be teacher—and well she may for the pre-kindergartner than Study and ADMINISTRATION BUILDING Children’s Musical Training—Louise Robyn, Director Metronomic Indications. be during these few years before giving playtime with a dash of discipline? 1331 S. Broad Street, Philadelphia, Pa. J. C. H.—In the absence o. _ School for Theatre Organ Playing—Frank VanDusen, Director speed at which the metronome Class Piano Methods (Oxford)—Gai7 M. Haake and Assistants ir “ome experienced n Lectures by Eminent Educators, Recitals by Distinguished Artists 90 mins. Organ and Choir Questions Answered ,s considerable latitut will find that “i"' .-—..1 mins. I School of Music TEMPLE UNIVERSITY glissandos .. ..15 mins. J Etudes... 90 mi Philadelphia Polytechnic Institute 1 School of Music — b, ^Scales a~ _t., FREE SCHOLARSHIPS of The Y. M. C. A srsfSs sts If

AMERICAN CONSERVATORY OF MUSIC 571 KIMBALL HALL CHICAGO, ILLINOIS JOHN J. HATTSTAEDT, President THE ETUDE Page 388 M.\ )' H)J: the ETUDE ■MAI' 1939 Page 389 ter School June 24 To Aug ust 3 (Six Weeks) RUDOLPH GANZ HERBERT WITHERSPOON LEON SAMETINI W. OTTO MIESSNER FATHER FINN WORLD RENOWNED PIANIST DISTINGUISHED TEACHER AND EDUCATOR FAMOUS VIOLINIST AND TEACHER RICHARD HAGEMAN LEONARD LIEBLING EDWARD COLLINS MOISSAYE BOGUSLAWSKI NOTED COACH AND ACCOMPANIST FAMOUS CRITIC AND MUSICIAN EMINENT HUNGARIAN PIANIST RENOWNED AMERICAN PIANIST FAMOUS RUSSIAN PIANIST (Mar. 1 to Sept. 1) JOHN J. BLACKMORE MAURICE ARONSON HENRY FRANCIS PARKS ALFRED WALLENSTEIN VICTOR KUZDO EMINENT PIANIST AND TEACHER WELL KNOWN PIANO TEACHER THEATER ORGANIST AMERICA’S FAMOUS CELLIST Members of the Faculty Not Teaching This Summer Are ?d ou These Pages 1Arranged Alphabetically) VIO LIN OPERA CLASSES (Repertoire and Action) PIANO Harlle Victor II. Jindra Christian 1 ngbv Harry H. Ryan Richard Hageman Vera Raplun-Aronson Rudolph Can/ Louise McCoy Huntington Victor kuzdo John McK. Leon Sametini LITURGICAL MUSIC COURSE MUSIC CRITICS’ COURSE Maurice Aronson Ruby Ginsburg Laura Neel Max Mst-tiel Ellis Levy Rudolph Reiners L.I.. Dean Sands CHORAL TECHNIQUE COURSE MUSICAL LITERATURE COURSE Wiila Bee Atkinson Helen Greencbai Mrs. Hal llolt Peel Father Finn Leonard Liebling Viola Colc-Audet Charles D. Hahn Lillian Powers CHURCH AND CON CERT ORGAN ACCOMPANYING CLASSES (Vocal, Violin, Opera, etc.) Elsie Barge Myrtle Hahn Eugen Putnam Charles II. Demurest C. Gordon Wedertz Richard Hageman John J. Blackmore Eudora B. Harbers Alexander Raab MOVING PICT URE ORCAN TEACHERS’ NORMAL COURSES Frances Hovey Bergh Jewell Harned Bess Rcsseguie Charles II. Demorcst llenrv Francis Parks Helen Grcenebaum PIANO Moissaye Boguslawski Frederick Harwood Estella A. Striplin Moissaye Boguslawski Rudolph Ganz Julia Lois Carruthers Lillian Boguslawski Mabel Wrede Hunter Troy Sanders VIOLONCELLO Edward Collins Alexander Raab W. Otto Miessner Frances Bohannon Herbert Johnson Adelaide Sanford Alfred Wallenstein Goldie Gross VIOLIN VOCAL Vera Bowen Florence Booco Johnson Gaylord Sanford I.eon Sametini Herbert Witherspoon Paul Breitweiser Myra Seifert Johnson Walter David Smith HARMONY, COMPOSITION, COUNTERPO INT, ORCHESTRATION. CANON AND FUGUE Max Fischel Mary Rives Brown Carrie D. Keil Alma Steedman Gustav Dunkclherger Laura D. Harris Wesley La Violettc Franklin Madsen Clarence Loomis Jane Waterman CLASS VIOLIN INSTRUCTION Gordon Campbell Dorothy Kendrick Mrs. L. I. Taylor BAND AND ORCHESTRAL INSTRUMENTS Julia Lois Caruthers Max Kramrn Gertrude Towbin REPERTOIRE-INTER PRETATION CLASSES COURSE FOR SUPERVISORS OF ORCHESTRA AND BAND MUSIC Anna Ring Clauson Grace Levinson Mary Voorhees VOCAL VIOLIN ORCHESTRA AND BAND ENSEMBLE Edward Collins Clarence Loomis Jane Waterman Herbert Witherspoon Richard Hageman Leon Sametini IRudolpli Ganz Maurice Aronson Raymond Dvorak J. C. MeCanles Harry II. Ryan Kenneth Cummings Celene Loveland C. Gordon Wedertz PUBLIC SCHOOL MUSIC CLARINET. SAXOPHONE Gustav Dunkelberger Louise MacDowell Merle McCarty West CLASS PIANO INSTRUCTION Manuel V. Santos Marjorie Dwyer Mollie Margolies Stephen B. Williams SCHOOL MATERIALS COURSE DOUBLE BASS—Otto Hyna Evalie Martin Fisher Della Tully Matthews Giula Williams BATON TECHNIC AND CHORAL CON¬ MUSICAL APPRECIATION Faye Forsythe Bess Clair Murray Gertrude Williamson DUCTING SOLFEGGIO VOICE W. Otto Miessner Franklin Madsen HISTORY AND APPRECIATION OF MUSIC EUROPEAN HISTORY Aurelia Arimondi Richard Hageman Graham Reed Arch Bailey Herbert Witherspoon ENGLISH LITERATURE—Eston V. Tubbs Mabel Sharp Herdien Mrs. C. M. Robertson CONCERT CHAUTAUQUA, LYCEUM— Gordon Campbell Charles H. Keep FRENCH—Frank Vaulry Troy Sanders DENT Mabel Lewis Howatt GERMAN—Captain Steubel Ella Cave Elsie Kincheloe Clark E. Snell L. N. Dailey Julia LeVine ITALIAN—Amedeo Nobili TOE. BALLET, INTERPRETATIVE, CLAS¬ Ellis E. Snyder ~ Stu CHAMBER MUSIC AND ENSEMBLE SICAL AND FOLK DANCING Myrtle Dunn Albert Lukken Estella A. Striplin Rudolph Ganz (Two Piano Music) Libushka Bartusek Beatrice Dyke FlorenceJeppersonMadsen Lucille Stevenson Ernest Edwards Minaperle Maxwell Alfred Wallenstein (String Chambci SCHOOL OF THE THEATRE George Sutton _Music) DRAMATIC ART AND EXPRESSION Willis Fleetwood Allene S. Miller Grace Terliune ITORIE5 FLUTE—Justus Gelfius Walter Pyre David W. Gavin Mrs. Willis Fleetwood Pauline Castleman Morris Herbert Witherspoon Dorm HARP—Henriette Gelfius Mabel I.. Howatt Helen Striblen Pyr< Effie Cline Fours Jessie Waters Northrop Helen Wolverton Artistic and comfortable dormitory accommodations for men and women in Bose Lu tiger Gannon CHICAGO MUSICAL COLLEGE SYMPHONY ORCHESTRA—Rudolph Ganz, Director Lillian H. Polley Carl J. Waterman college building. Piano furnished with each room. Prices reasonable, Maude Gutzmer ►rchestra instruments not named above are taught by members of the Chicago Symphony Orchestra k Make reser rations early.

. „ -lr. Boguskiwski,ITJLkL Mr. Witherspoon, Mr, Collins Mrowsh Haermnn iu ips Teachers’ CertificatesjmDegrees and Mr. Demorest have each consented to award Free Fellowships to the stuSl« mh Pl^hel* Mr’ Sametini, Mr. Kuzdo, Mr. Parks Teachers’ Certificates and the Degrees of Bachelor of Music, Master of Music, Bachelor of Music Education, Bachelor of Oratory and found to possess the greatest gifUor playing or singing. Free Fellowship application bknk on an open competitive examination, are Master of Oratory are conferred at the end of each summer session upon professionals, who have the required knowledge, fulfill re¬ quired number of Summer’s study to meet residence requirements, and pass satisfactory examinations. Full details in Summer Catalog.

MER OR WINTER CATALOG ON REQUEST

HERBERT WITHERSPOON, Pre Established 1867 LEON SAMETINI, Vice-President ical CollegeRUDOLPH GANZ. Vice-President CARL D. KINSEY, Manager the etude MAY 1929 Page 391 Page 390 MAY 1929 THE ETUDE Tsihe ‘BlacJ\ cBoo\ COLLEGE OF MUSIC OF CINCINNATI By Anna E. George THE Cincinnati (fonseroatorig of|tlusic One of the Earliest Endowed Schools of Music in America One of the most serious problems con¬ cuses usually offered for poorly prepared GUNN SCHOOL fronting the music teacher is the ever¬ lessons. Through a sense of self-respect annual summer term present question of irregular practice. The SIXTY-THIRD SUMMER SESSION they settle down to serious work and OF MUSIC June 17 to July 31, 1929 average student fails because no regular through the development of will-power ALL DEPARTMENTS OPEN PUBLIC SCHOOL MUSIC (ACCREDITED; GLENN DILLARD GUNN, President PIANO, VOICE, daily period is set aside for study at the gain a stability which is vital to success Master CLus in Piano with Louis M()h|er VIOLIN. Cincinnati Offers a Full Summer Season piano. It is surprising how few music CHICAGO Lowell Mason Tilson of Grand Opera and Orchestra Concerts. in any field. Marcian Thalberg ORGAN students strive to form practice habits ~ cher in Methods ol Study and enjoy the musical atmosphere. Parents are furnished with first-hand ng School Music private Lessons which will, in the end, make for mental All Departments information as to their child’s practice. In ALL-CINCINNATI HIGH SCHOOL SYMPHONY ORCHESTRA FOR PARTICULARS ADDRESS stability and musicianship. Announces Ideal dormitories on ten acre wooded campus All courses lead to degrees A certain teacher keeps on the writing- the light of these records they may e COLLEGE OF MUSIC, Adolf Hahn, Director, Cincinnati, Ohio courage and insist upon more faithful BERTHA^ BAUR, President and Director Send for Summer Bulletin to Dept. E., Highland Ave . desk in her studio a black, loose-leaf note¬ COSMOPOLITAN et C. Tuthill, Gener« Burnet Ave. and Oak St., Cincinnati, Ohio practice and at the same time set about to book and a sheet of carbon paper about SCHo?OL MUSIC4 D™T,C MASTER four by six inches in size. As her students remove many of the small hindrances report for their lessons they write in this which so easily beset the young student Summer,RScho - „ „ Write for Catalog TIME IS MONEY! —Your Spare Time Can Be Used To Profit! Michigan State Normal College Conservatory of Music, Dept. 9, Ypsilanti, Mich. THE ETUDE, 1712 Chestnut Street, Philadelphia, Pa. FRANTZ One Cent PR0SCH0WSKY BAYS,EW Celebrated Teacher of Singers. Renowned Vocal Authority. Au¬ thor of Famous Books on the Mine. Art of Song. Schumann-Heink Private Lessons TECHNIC AND SECOND WORLD INTERPRETATION CLASSES MASTER CLASS Glenn Dillard Gunn T5he Musician’s tar “A Master Pedagogue of Chicago” June 10 to July 13, 1929 —James Gibbon Huneker Represented by artist students “Practical Analysis of Every Singers Problems” in the concerts of the Chicago Symphony and other famous orchestras and by many teachers KANSAS CITY-HORNER CONSERVATORY on the faculties of noted schools. Kansas City, Missouri Private Lessons

JOSEFIN HARTMAN VOLLMER, Assistant and.Coach “How To Study” Class, Normal Classes the result^ of^cold, he heard ^some notes THREE FREE SCHOLARSHIPS ! ! ! Frank Waller similar, though somewhat less painful, Famous Coach of Famous Private Instruction under Madame Schumann-Heink. who conducted a symphony orchestra in London for many years) complained effects. The phenomenon lasted for sev¬ MILLIKIN CONSERVATORY OF MUSIC Singers, who offers the profes¬ eral weeks; in time, however, my hearing DECATUR, ILLINOIS sional an attractive list of new bitterly to me that for a considerable time songs and is prepared to arrange Also special courses in the following subjects: certain wind-instruments sounded a third was restored to its normal condition.” Bachelor of Music Degree, Diploma, and Certifi¬ and coach programs and roles. cate in Piano, Voice, Violin, Organ, Public School Mr. Waller is a conductor of Music Methods and Music Kindergarten Methods. experience in such organizations Musicianship D^ction^ Stag~ Deportment, Chorus Bulletin sent free upon request as the Chicago Civic Opera. He fiction AND Orchestra Conducting Musical Education in the Home W. ST. CLARE MINTURN, Director. has appeared as guest conductor with most of the important For Particulars Write orchestras of Europe. (Continued from page 339) North west en For Summer Bulletin Address ENROLL NOW HORNER WITTE CONCERT BUREAU You should also give a great deal of time to recognize them in such a way as to N.U/ and attention to ear-training. Use horns, distinguish between high and low tones. I JENNE BERHENKE bells and glasses and tap metal objects am sending you a list of beginning mate- SCHOOL”! Registrar about the rooms, finding the pitch on the rial and advise you to start him at once MUSIC s Fine Arts Bldg., Chicago NORTHWESTERN I keyboard. Emphasize the various registers You can thus be laying a foundation for UNIVERSITY of the keyboard that he may learn readily his future study when a teacher is available. Year 1928-1929 When you write to onr advertisers always mention THE ETUDE. It identifies you one in toneh with the higher ideals of art and life. THE ETlJDfi Page o02 MAY WHO THE ETUDE MAY 1929 Page S9S

% Facts About a Lowly Instrument COMMENCEMENT and RECITAL MUSIC By L. E. Vrncus DENVER y of you are play- 1890, achieved extremely fine effects by New Music for Spring Activities COLLEGE OF MUSIC JOHN C. WILCOX, r J J. STRINGHAN Vocal Solos Violin Solos Piano Solos High Easy Easy SUMMER SESSION, JULY 1 — AUG. 3 Coryell, M. Brown, The Little Violinist a Broom, P.The Night- Riders. Holliday, J. C. . Circus (Collection) Dreisbach, A. G.... Bouncing Ball. Matthews, J. S. .The Lady Who Is Spring- Dallam, Helen Wildcat Jig. Groton, F. C... Gay, Sweet and Jolly. Jewell, L. . Jewell, L.Dance of the Little Red Strauss-Liebling .. The Blue Danube. White, Grace .Valse Caprice leaves. Wohlfarth-Grille, STEPHENS POWELL MATHEWS Stops). McGrath, J. J.Leap Frog. ..Daffodils. Von Doenhoff, A. ..The Spinning Wheel. ... Midsummer. The Time of Violets. pgg Medium Medium Chas. T. H. JONES Crawford, L.Canzonetta. Deyo, F.On the Wing. •Black, Kate G. ..,.. April. Grever-Hartmann . .Juraine. Hulten, G. P.Melodie-Valse. Davis, Caryle ...... The First Bluebird. Jewell, L.Rigaudon. Loth, L. L.V la Burlesque. DeLeath, V.' ...... The Lilac Flower. Morris Dance. Rapoport, R.Coquetterie. Griffis, E....To an Iris. LAWRENCE HENDRIKS Laoureux, N.Serenade in A. Skating Along. Guion, D. W. ...,.. Cowboy’s Meditation. Saltarella. Scarmolin, A. L_The Woodpecker. Hickman, M. ..Dusk in June. gSfijg! USS/STS SHI! Nolck, A.Student Concerto in A- Terry, F.The Race. Sabin, W. A.,. . Pan. minor. Op. 26 The Fountain. Trott, J.The Puppet-Show. Low JWILCOX KENDEL Difficult Bostelmann, Ida . Difficult Currey, D. C...... Dance Grotesque. Com D’Antalffy, D.Mosquitos. Guion, David W... Arkansas Traveler. SSfS Gardner, S.From the Canebrake. DeLeath, V. ..The Sea-Chair. ent? Apparently none, unless ful when a stage comedian produces : MMSkm Isaacs, L. M.Sctierzetto. From the Rockies. Op 23. Levitzki, M.Enchanted Nymph. Edwards, Clara . .. By the Bend of the River. sale of it at various times in Jew’s-harp and proceeds to utilize it a GINSBERG TRUSTMAN STAPS Heins, D.The Freshet (Spiccato). Schlieder, F..Scampering Mice. Huerter,_ C._ . ..For Old Bombay. Kroll, William . . Bizzaresque. Stoneman, L.The De’il Cam’ Fiddlin’ Speaks, Oley • ■-Over the Hills and Home dog has his day and the Jew’s-harp has Oriental o. 3nlr" *eo' “1 on the had its, having long since abandoned its T' b E Thhrs thc- Tp'vn- . From Out the Long Ago. Jew’s harp were Koch, Scheibler and place among the lists of serious musical Eulenstein, all of whom used several instruments. Yet it still retains, his- Piano Ensemble String Ensemble Jews. har?s.of. 14 FREE FELLOWSHIPS WILL BE AWARDED Piano Duets RHYTHMIC ENSEMBLE Duddy, J.The Peanut Man. BAND BOOKS FOR Bornschein, F. C.The First Ensemble (4 Violins and Piano). In Normandy. CHILDREN Little Dutch Boy. Riegger, W.Easy Opera Classics for Be¬ aSS?RAr DENVER COLLEGE OF MUSIC Piano, Six-Hands ginners (2 Violins and 1000 GRANT STREET, DENVER, COLO. The Schubert Book Question and Answer Department Bilbro, M.Spring Violets. Forward March. The Folk - Tune Book Locatelli-Franko .Concerto Grosso (Strings (Continued from page 341) Zilcher, P.Serenade. and Piano). On the March. Two Pianos, Four-Hands Hill, Alfred .Miniature Trio Ni>. 1 (Vio¬ LAWRENCE CONSERVATORY of MUSIC ANGEIA DILLER and lin, Cello and Piano). A Department of Lawrence College Adams, Mrs. Crosby .. Album.of Piano Duos. Miniature'Trio No. 2 (Vio¬ Piano, Voice, Violin, Cello, Organ, Composition, Public School Music and Hill, A. E. .Jazz Study. KATE STEARNS PAGE lin, Cello and Piano). D° -he marU-'-mean the-tak Moussorgsky-Pattison. Coronation Scene from Instrumental School Music Supervision. Courses Lead to Mus.B. Degree. "Boris Godounoff." A unique series for children of Krogmann, C. W.Zephyrs from Mclodyland, For free catalog address Three Pianos kindergarten or first grade age. Op. 15 (Violin, Cello and CARL J. WATERMAN, Dean, Box E, Lawrence Conservatory, Appleton, Wisconsin Bach-Bauer . Concerto in C-major for . The Folk-Tune Book includes a Piano—Easy). Three Pianos with accom¬ part with words and music for Loth, L. L.Five Poetic Sketches for paniment of Stringed Or¬ unison chorus. Trio Study (Violin, Cello chestra. ILLINOIS WESLEYAN UNIVERSITY and Piano). SCHOOL OF MUSIC Choruses Orchestra Four year courses leading to Bachelor of Music Degree. Instruction given Band , Operettas by well trained and experienced teachers. For information address Mixed Voices Schirmer’s Elementary Master Series for Young ARTHUR E. WESTBROOK, Dean, Bloomington, Illinois *Kerley, Jane. 7305— Dichmont, W. Ma Little Orchestra Series Bands Suite No. 1. Holiday Sketches The Magic Nutcracker; Parallel in content and difficulty to .._... 9029—Grieg, E. Springtide. W. Riegger (New and improved edition) 'iSSSSU Suite No. 2. Short Stories the Master Series for Young Or¬ 7326— Grieg, E. Give to all Gods, chestras. Two suites are now *Bilbro, M. The Geewhilikins. from “Olaf Trygvasson." F. C. Bornschein \JrLS.vS ssr? c:.rv' Intended, primarily, for the begin¬ available—The Schubert and The (Boys and Girls from 10 to 12 SUMMER MASTER 7306— Speaks, O. Life’s Jovs. Schumann Suite. years of age) (2J ); . £ «J); | nj'). Compound duple 7327— Whiting, A. The Shan Van ner’s orchestra. Complete instru¬ SESSION Voght. mentation with full conductor’s Arrangements include three edi- Rich, Gladys. Walk the Plank. 4(2J* 8 a)p 16 »J> Simple SCHMITZ score; String parts in first posi¬ (A short dramatic sketch with mu¬ Men’s Voices tion entirely. to *be plavpd.tI0^’ormerly?,however^Siti was1^!!- triple times: > oj); * (jj); | Edition "A’’ (Small Band).. $3.00 sic, for school, college and camp) June 24th to August 3rd, 1929 7270—Bogart, A. T. Two Little Master Series for Young ’DeLeone, Francesco B. Fleas (Humorous). Edition “B” (Full Band).... 4.50 Orchestras Cave Man Stuff. Denver, Colorado 7197—Brewer, J. H. Londonderry Twelve separate suites by twelve Edition “C” (Symphony & « Air. (For High School Performance) classical composers, scored for Band) . 6.00 C or 4 (4J )l | (4j )■ Compound Junior or High School orchestras. * Proctor, C. K. The Magic Ruby In conjunction with (For High School Performance) Complete instrumentation with full Conductor’s Score with each edition. 'mZrnrmm conductor's score. ?«> ?«> 8«x* Women’s Voices Scoring complies with all the fea *Princess Chrysanthemum. THE RINQUEST SCHOOL OF MUSIC The most comprehensive series yet tures established hy the Music Su¬ (For High School Performance) 7264—B otsf ord-Schoenf eld. U nder published for school orchestras. address Bogue-Laberge, 130 West 42nd St., New York the Swaying Pine Tree. pervisor’s National Conference ) play an ‘(.Orchestra farts available.) SPMilpip„ the palm 7304—Edwards, C. By the Bend of the nail of Mason & Hamlin Pianos the River (2-part chorus of An Unique Graduation Present equal pres- Sopranos and Altos ALICE IN ORCHESTRALIA Cantata antones). ^ Schubert-Federlein. Rosamunde. (A Romantic cantata .for chorus Permanently Adopted by Foremost Teachers of mixed voices and soli) STANDARD HISTORY OF MUSIC By JAMES FRANCIS COOKE PRICE, $1.50 G. SCHIRMER, Inc. A FIRST HISTORY OF MUSIC FOR STUDENTS AT ALL AGES 3 East 43d Street, New York A thoroughly practical textbook told in story form. So clear a child can understand every word— “The best test of the quality of a civilisation is the quality of its leisure. so absorbing that adults are charmed with it. All difficult words "self-pronounced.” 150 excellent Not •what the citizens of a commonwealth do when they are obliged to do Strong,y bound something by necessity, but what they do when they can do anything by choice, is the criterion of a people’s life.’’— Irwin Edman. PHILADELPHIA, PENNA. THE BTFRE. It Page 391, MAY 1929 THE STCDg THE ETUDE MAY 1929 Page 395

Educational Study Notes

(Continued from page 377) Westminster Choir School John Finley Williamson, Mus.D., Dean

Beginning September, 1929, this famous Choir School (formerly Dayton, Ohio) will become one of the group which forms The Ithaca C

MINISTERS of MUSIC m if.tion beside sixty credits of col-

ster Choir now on tour of three months in England and 18 build-

Address, 701 DeWitt Park, Ithaca, New York

The FLETCHER MUSIC METHOD Musical Books Reviewed A beautiful art taught in a lovely way ited to the ideal of happy musical education for children, to use objective apparatus and play in class piano instrut Tested by thirty years of teaching. Page 396 MAY 1929 : mm THE ETUDE MAY 1929 Page 397 Master Discs PENN HALL CONSERVATORY o/MUSIC (Continued from page 350) Summer Session, June 17 to July 30 e of the composer himself. Columbia. It is played by the Royai p,.. harmonic Orchestra under the direction™ ' Courses offered in The substantiation of this they claim is «n- ™ Section of -•-I.. wn, in the fifth part of Felix Wemgartner. I his eminent condur PIANO, ORGAN, VOICE, HARP and THEORETICAL BRANCHES questionably set forth in the fifth part this work, where the Heros Works of tor is an efficient musician who knot Credits toward Degree may be secured by Summer Work Peace are heard. In this section Strauss re¬ where to bestow solidity, virility or th quotes from his own works, and indus¬ touch of lightness to a score of epic grjlf INSTRUCTORS Normal course In Dunning System of¬ ness. His is a loving hand-so it wouM fered. System of Improved Music trious commentators have discovered twen¬ Piano — ADELA LAUE-KENNEDY seem to us—guiding the Brahmsian mT Chicago and Berlin, Germany Study for Beginners. ty-three of these quotations.” Organ - MARGARET MACY Descriptive circular sent upon re¬ This tone-poem is divided into six con¬ odies through a most felicitous perform’ New England Conservatory quest. Moderate rates. -tJUNIORr ance. Stokowski’s famous reading 0f thi Voice —RUBY HERITAGE Summer Hotel accommodations dur¬ necting parts. The First, called The Hero, — . -0 ulIS ing June, July and August. introduces his theme, "a“a cmvaincchivalric aimand work is undeniably a wonder performanceperformance, Harp — ELISE SORELLJE ^Foumla,,on Canoeing, Horseback Riding, Swim¬ -j:—„„ !.„+ hprance of its nlanornrv _ ^ ming, Golf, Tennis. wide-arched phrase of extraordinary but, because of its plangency, his concent breadth and energy.” The Second, called will bear repetition, in the long run, leS3 ETUDE N HALL, CHAMBERSBURG, PA. F. S. MAGILL, Headim The Hero’s Enemies, bespeaks dissenters favorably than Weingartner’i more com who are unquestionably “an ... and servative reading. It would be well, per! malicious crew, rich in all uncharitable-M"- haps, for those who love this work to own" The Third, called The Hero’s Help- both sets. Then the performance which CONDUCTED BY ELIZABETH A GEST mate, reveals the lady at first as coquettish flts the perfect mood could be better apnre' Atlanta Conservatory of Music LOUISVILLE and capricious, but later more ^serious. cjated (Columbia Album No. 103, five Then, says Lawrence Gilman, the cele¬ discs). CONSERVATORY brated critic, “the orchestra breaks into loantajes Equal to Those Found Anywhere. The Etude wishes to recommend the to the falsetto voice which is above the one of the most magnificent love-songs in OF MUSIC following: Vienna Blood and Voices of ??? Ask Another ??? compass of the natural voice. Flag throw¬ all music.” Part Four is The Hero's VYC-usic in Other Lands ing is a sport of the Swiss people. The Peachtree and Broad Street*, Atlanta, Georgia Summer and Fall Courses Battlefield, wh^ he^nquers ^iy t’ofind J*** ^nn S‘rauss played by 1. What is meant by pesante? idea is to throw the flag high in the air the world indifferent to his victory. Part ^oussevitzky and the Boston Symphony Given with Cooperation of 2. What was the nationality of Handel? y Helen Oliphant Bates in as many positions as possible. It is 1 Five has been mentioned above. Part Six (} lc,or (,'SC' N°- 1 1 Oold and Silver 43 the University of Louisville Have You Obliinj Your Copy? 3. Who wrote the opera “Madame But¬ considered quite a disgrace to let the flag is The Hero’s Retirement from the World '[a,ia and Acceleration Walts (on Odeon PIANO DELIGHT terfly” ? “Oh Mother! cried Nancy, as she re¬ come from the man singing the notes C, E, fall instead of catching it as it comes Member National Association Sohoola of Music and the End of his Strivings. Here, Gil- d’sc> No. 3244) ; Ecstasy Walts and Contains 47 Full-Page Excerpts of Piano 4. What is a rest? turned from her lesson in great excitement, G. It is a rare instance of an echo being down. MUSIC - DRAMATICS - ART Pieces in Grades from 1 to 5, selected man tells us, we are “reminded of the Souvenir de Marie (on Odeon disc. No. 5. When did Bach die? “I have won the medal for the best work grander than the original sound. “Oh it is wonderful,” said Nancy to her from the very best recent publications consoling presence of the beloved one. .'24.-0. All four "f these are by the same 6. What is an augmented fourth from this year!” The next stop after Pisa was Venice, mother, “to see the customs, and hear the Catalog 626 S. Brook St., Louisville, Ky. A Post Card Brings a Free Copy Then peace descends upon the Hero.” The great "Waltz King” and arc played by gS? “I’m proud of you, Nancy,” replied Mrs. the city of canals and gondolas. music of other nations 1” close is both majestic and benign. (Victor Dajos Bela and his famous Viennese Salon 7. What are the instruments in the wood Clemens, “and because you have worked “Are we going to the concert in a gon¬ Album, No. 44, five discs). nOrchestra.—u—*— 'Then1'1— there»*— is the- issue of- Bee¬— wind section of a symphony orchestra? hard all year, I’m going to take you on a dola?” asked Nancy excitedly. thoven’s Leonore Overture, No. 3, excel¬ 8. What is a rondo ? big trip to see and hear some of the music “Yes, we shall go in a gondola,” replied Brahms’ First Symphony her mother, “and we shall stay in the gon¬ ‘Zfjhe Tjhump *13wins and SUMMER NORMAL CLASSES lently performed by Hertz and the San 9. For what is Gluck noted? ir. other parts of the world.” A NOTHER FINE reading of Brahms’ Francisco Orchestra (on Victor discs, Nos. 10. From what is this taken ? So, days of preparation, packing and dola all during the performance.” For Teachers of Pianoforte July 10 to 24,1929 •A. First Symphony has been issued by 6906-6907). sailing rushed by, and before long Nancy “My, that will be funny, to have your the Expression Fairies seat at a concert in a gondola 1” said Nancy. mountainSoSinTi; atmosphere17' offersi private a comprehensive studl° in Asheville’scourse in inspiringmodern and her mother were drawing into the Cincinnati“et roncobods, ™with**™ .practical demonstrations.v , ‘ ^tiuunseuEndorsed byoy beautiful harbour at Naples. They went By Eugenie F, Gluckert first to see the museum where the relics (Answers on next page) of Pompeii are kept. Nancy was quite “Dorothy,” pleaded Mrs. Black, “please Kate Morton Laxton Studio, Asheville, N. C. bewildered at the many things to study. do stop that awful thumping. I always “Here, little lady,” said the guide, “are get such a headache when you practice. For More Systematic Practice ™ts ills proposition wftl ensilv cause the ■ hii.iJ ♦“ •- '.- ■— „„r. But how t5he Little Fingers some tickets that were used way back in You are only hurting yourself, besides By explain- the days of Pompeii, years and years ago. making everything you play sound alike ESTABLISHED 1857 [levised to promote ing' ,uc to nuiiioriiics ;ii itthe" nelghbor- By Stella Whitson-Holmes First I divided ing public schools, access may br- If H is found that suf- His playing was so poor, nfi ,i responses do not follow the mailing drew out and went away, leaving room for with bars of music. Music notes were MRS JEAN WARREN CARRICO 160 E. 68th Sl Portland Or. mySec’ C«"ue, Sherman, Tex. !5g “y recital, have been ” >me"' of the best » St posslbie results. And one so dainty and so small IDA GARDNER, 17 E. 6th St.. Tnl«. Oil. .1 i * .1._on- Paria France Summe attended this season. the hat was passed again. ferent. The front door to the cottage was be IoS«n ter? iHtcnded for the parents may Was neither weak nor strong. From Naples Nancy and her mother Claasea, June 3rd’ Amarillo] July 22nd, Colorado It shmimT1 ,nav embrace specific messages, From Venice Nancy and her mother a G clef, while the rear door was a Bass will nr br pointed out that the children But was a lazy little chap. hurried up to Pisa, the city which is cele¬ in State Institute of Music, L.,„„ went to Lucerne where a great national clef. The curtains were sheets of music. HARRIETT BACON MacDONA •ing, Michigan. Personal Letters Will Win Pupils for J” Ptnat. both from an educational and a Who yet must plod along. brated for its leaning tower. But Pisa D, 13434 Detroit Aye., Cleveland,I, O.; 6010 Belmo I A»e„ Dalit singing festival was being held. People The twins’ mother resembled a large, _ lery St., Little Rock,Ark. the Music Teacher 1 wrae niiidca/li'f' h-v Being able to master has other wonderful things besides the MRS. KATE DELL MARDEN, 61 N 16th St Pnrtl.nd from all over Switzerland were gathered at loud piano pedal, and they called her To The Etude: Postaf'card for "he purpose These little troubles, as you see. leaning tower, and one of them is the being n? ut’ th,i information thus furnish'd Lucerne to compete for prizes in singing, Boom. She immediately set about getting So different and so many. Baptistry, a beautiful building ornamented .If Scrmrae,ei prater to <&*, PllpUs would, The nLT for Iatpr solicitations. flag throwing and alpine horn blowing. the supper, but she made so much noise VIRGINIA RYAN, 1070 Madison Are* New v'rk Qtv ’ ’ Mch Y"r' word by mouth of their fome^sraA1' «"°'1 Are quite the same for you and me, by a great deal of hand carving in both this suggests ,1 pol V of 8t dp i it The alpine horn is a long horn which the when she set down the various pots and As for our John and Jenny- wood and stone. When Nancy and Mrs. GF.RTiUIDE ^JiO^dPSON^fifl^W^Coal aIT Au!LV

Take Subs criptions for THE ETUDE Junior Etude Contest Obtain These Valuable Articles TnE Junior Etude will award three before the tenth of May. Names of prize pretty prizes each month for the best and — Absolutely Without Cost — neatest original stories or essays and an¬ winners and their contributions will be published in the issue for August. You may easily and quickly obtain these fine awards by simply Little Biographies for Club Meetings Ts>he Ldhump 'Bwins swers to puzzles. securing adequate new subscriptions for THE ETUDE. Many of Subject for story or essay this month— Put your name and age on upper left your friends will gladly subscribe on request. Just send the orders Ho. 19 (Continued from page 397) “Taking Care cf the Voice.” Must contain hand corner of paper, and address on upper with $2.00 each to us. Return mail will bring the award you prefer. not over one hundred and fifty words. Any right hand corner of paper. If your con¬ It's Easy! Begin Today! Saint'Saens Dorothy was very hungry, but the others room where hundreds of fairies with beau- boy or girl under fifteen years of age may tribution takes more than one piece of pa¬ ate so greedily and noisily that she didn’t tiful gowns of various hues danced lightly compete whether a subscriber or not. per do this on each piece. Saint-Saens seems to bring musical built get a chance at all. Finally Mother Boom about. She knew at once that they were All contributions must bear name, age Do not use typewriters. history right down to our own times, as suggested that her boys play for their the Expression Fairies. and address of sender written plainly, and Competitors who do not comply with he died as late as 1921- and even As i must be received at the Junior Etude ALL of the above conditions will not be Office, 1712 Chestnut St., Philadelphia. Pa., considered. hard that Dorothy’s head nearly Softly and l«^eernf S° n,0der'; l0r wa.s ,’orn 111 t!rae considered opera one of the highest -JL that we can dance; 1835. Of course, he’ was French, for his forms of composition. So, although he P Then Bang said lie could do much Dorothy nodded. Yes, I’n r going iPlaying Hymns Playing Hymns name, Camille Saint-Saens, could not be- was inn the front rankrank- of„f pianists Jo better. He did indeed, as far as thump- long to any other country. . .» ' (Prize Winner) (Prize Winner) gamsts and gave concerts all o\ r Europe The fairies were delighted. "We do love He began to study- ; when seven and was becoming well known Dorothy, though too polite to so to dance, but every time a boy or girl Although hymns are generally techni¬ years old which is not an early age for a poser of smaller works, he n wanted to ask him to stop or else play praise of God, and should be played or genius (Mozart was playing in public turned his attention something different. He really rvas play- thumps so dreadfully we can’t, you sec cally easy, the playing of them is really an and it is really a punishment for us." sung as such, not in a careless manner art in itself. Many organists in the when only six!), but he showed great ' without much success. Then, after inff different pieces, but they sounded “Here, keep this always,' without fervor. Hymns from different churches think that they must be played talent and made rapid progress, writing a few unsuccessful operas, he produced alike to her. She began wishing he would tj lar] ’, P j, fairv* "“It U th* u**' his first symphony when he was sixteen. lands have been collected and put in hooks slowly. This is true, in a measure, but his sacred opera, "Samson and Delilah," her play. She wanted to show him r a6 ‘T called hymnals for use in church. Most which is built around the Biblical charac- how. She wouldn’t thump anv more. No. , °f ^rs.stence and Obedience.” hymns are not meant to be dragged. There Just then Dorothy heard a loud bang. hymns are very old, having been handed are many beautiful ones which, if played and the falling of the Temple. This not after that. down to us in the same way as folk-songs. too slowly, lose much of their spirit. An¬ opera has become exceedingly popular, and No sooner had Dorothy begun wishing her book had^now fallen'i -■ -nd the door. She Hymns may he played by almost any in¬ other point in the playing of hymns is n contains many beautiful melodies. and made her resolution than the scene made^ wlyT th ” plam, strument, hut the organ and piano are the expression. They should not he played too best suited for this type of music. When piS —° TderaaloS-T amr £ &«- V ^ »"°hat the fairies loudly except in a few cases. Careful playing hymns, great care should be taken, known as a conductor and as a writer of P ^ She mt° the C°Ur‘ can dance’ hom <>■>." da- whispered, following of the words helps one to under¬ if accompanying singers, to keep together, musical criticism. He toured America in stand the meaning of the hymn, and there¬ or distracting sounds will result. When I his seventieth ; , creating a very fine fore the musical expression is more clear play hymns on the piano I try to play slow¬ impression wherever Answers to As\ Another to the listener. A hymn played well shows Some of his compositions that yot ly and majestically. Special arrangements that the player appreciates sacred music. have been made of hymns for hands and Shirley Baraw (Age 13), play at your club meetings are: 1. Pesante means “heavy—t be played 7. Piccolo, flute, oboe, English horn, My Heart at Thy Sweet Voice, aria in a heavy manner.” orchestras. Vermont. clarinet and bassoon (and sometimes bass Martin J. Cook (Age 12), "Samson and Delilah,” arranged for ] 2. Handel was German, but spent many clarinet and contrarbassoon 1. years in England. Michigan. 8. A form of composition in which the The Swan. 3. Puccini. Playing Hymns arranged for four hands by principal theme occurs at frequent inter¬ Felton. King’s Move Puzzle 4. A beat, or part of a beat, produced vals (between other themes 1. (Prize Winner) March Militaire, from silently without tone. “Algerian Suite,” 9. For writing operas and making re¬ By E. Mendes Some hymns are solemn and some are for four hands. ,5. Bach died in 1750. forms in the opera-writing of his time. By beginning at any certain number and more happy, but all should be played with —--jz-vva ^ Prelude to “The Deluge,” for violin. 6. C double sharp. f 10. Schubert’s “Unfinished Symphony.” following the King’s move in chess (which reverence and feeling. When playing them, 1835 SAINT SAENS- 1921 is one square at a time in any direction) remember they praise God and are not - Questions on Little Biographies the names of six musical instruments will just ordinary songs. We should not reserve He tered the ...... Umbrellas to Mend- J5inware to Mend be found. The path from one word to the playing of hymns for Sundays only 1. When was Saint-Saens born? the next is continuous, and no letter may but should play them often and become where lie studied piano, organ and com 2. How long did fie live? " position, and afterwards played a great By Olga C. Moore be used twice. This is a good puzzle, so familiar with them. We always think of 3. What is his popular sacred opera? (leal in pul,lie, touring, over Europe He get your pencils and papers. our prayers as a sacred rite, and so they 4. In what musical activities did he en- became, organist of the beautiful and R E O G N V are. But we should try to play our hymns -age ? O T N R A I so beautifully that they would become just famous Church of the Madeleine in Paris 5. In what famous church v All Americans, when they go to Paris, go i he the M O 1 L O B as sacred to us as our prayers. Playing B N F U E A hymns is also a help to us in a musical way Of all the mm that 1 have heard P I O L T S because they are of the better type of He’s portly, holds himself erect, Ci-y ivares upon the street. A N N O O S music. The playing of hymns also helps And has the grandest voice! This mender of umbrellas other people, because those who can not His tones arc most melodious. And tin-ware has them “beat” Prize Winners for February play but can sing when accompanied learn So rich and deep, and then He is a very dark-faced man, to know and love the hymns through I like to hear him roll the “r,” Puzzle Has black eyes and mustache. Caroline Ford (Age 15), Massachusetts, others’ playing. Dear Junior Etude: JVhen he says, “Tinware to mead I" Catherine Green (Age 13), Dear Junior Etube: Caroline McGee (Age 13), South Carolina, I take lessons on the piano and violin, South Dakota. Twice a month 1 travel one hundred and Mary Lippy (Age 10), Maryland. and my sister takes piano. She is trying ■ *^“8 thirty-two miles by railroad for my music for the piano in the school orchestra that lesson lesson. That makes two hundred and six- Answer to February Puzzle Honorable Mention for February is being organized. Some day I hope to tv-four miles every two weeks. But I am I-T-aly Essays play well enough to do this, too: certain that I can stand that, if I really V-E-rdi Nadcan Conley, Mary From your friend, White. Eva V. Arnold, want a successful musical career. In a Ba-C-h Hermsen, Flore Margaret Vanderwill, recent examination in the theory of music Tann-H-auser Virginia Laver: (Age 11), Kansas. I passed with honors. Every dav I teach Ma-N-ru also and sometimes at night. So mv time Viol-I-n Dear Junior Etude: is pretty well filled. Ma-C-Dowell I take harp and-piano lessons and have From your friend, never been allowed to play jazz. We have Dear Junior Etude: Doris Jacomb (Age 16), a club called “The Talent Club.” It is I am very much interested in music of composed of sixteen girls from eight to Canada. all kinds. I am in the fifth grade of music Deris. Madeline eleven years of age. We give a program son, Helen Cummings, narbara DeLong, -ua .\ - and have played at a great many concerts. ine Dorweller, Lena Witsok, Lucile Cockrell, once a month, and every member must Dear Junior Etude: I would like to play in a theater and hope Belle Keloff, Ella Peters. Vivian Taylor, lake part. Three play the violin; one Gladys Gelhaus, Juanita T. Gibbons, Eugenia I have taken piano lessons for four some day to study pipe organ. I have ac¬ M. Cockrell, Alice Kent, Eloise Wandling. sings; one plays ’cello; one plays harp; ...years and have received a medal from my companied a great many singers and instru¬ one dfncesi lwo ,fve readings, and the teacher. We take our examination: mentalists, but as I am a bookkeeper and Honorable Mention for Send All Subscriptions With Payment to play piano. We get our composers' London College of Music. I hope to get stenographer I shall not be a music teacher. February Puzzle biographies and other help from the a pupil to teach this I am going to I just love to read about the great com¬ Junior Etude. high school. Mary Lipny, Nelson Weston, Virginia Erd- The Etude Music Magazine posers. I have over three hundred pieces man Frances Robinson, Catherine McCand- From your friend, less Vivian Taylor, Elizabeth Mastin. Chloe $2.00 a Year — Theodore Presser Co., Publishers — $2.00 a Year of music, all of which I can play. Virginia Jane Hall (Age 10), >m your friend, Roberson, Gertrude Ileskins, Marie Becker, Alice Macrae, From your friend, Virginia Dodge, Elizabeth Mitchell Bell, Rob¬ 1712-14 CHESTNUT STREET PHILADELPHIA, PA, Indiana. JUNIORS OF EDGEFIELD Sr rxr ^ ert Winters, Helen Hopkins, Mary Virginia (Age 13), Canada. Myrtle Edwards (Age 16). ;/NC0STUMe for playlet SCENES FROM THE Masterman. Doris Goldman, Katherine Lee. LIFE of SCHUBERT.” Canada. Hope Patterson, Victor Taylor. THE ETUDE rBB STUDS MAY 1929 Page 401 Page m MAY 1929 DELIGHTFUL PIECES FOR JUNIOR ETUDE READERS ' ^ImmTsruDr hotes on musk ' * •i* iK the junior Etude (SIljmrmaHtpr’H (Satite A study in grace notes. Grade 2| SONG BIRDS’ RETURN WALLACE A. JOHNSON, FOR THE MONTH OF JULY, 1929 , Edgar Alden Barrell Tempo diValse m.m. j.= 60 Op. 115, No.l « iD fr°n* •*» SS

Fun for All. by A. Louis Sea. Date MORNING SERVICE EVENING SERVICE The Song of the Sea Shell, by Ella Ketterer r* I £3*3-,- -a j^vTS KanoV .H°PkinS

1 . as l (b^The Splendor of Thy Glory, $ ££ N m Saviour, Lead Jesn, LoverT|pY...Rockwell S .*(T.* solo).M°hr

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F O Pia,?o“ Album Leaf ! E OpFERTORY Saviour, Breft™E^nhrg Blessing ^ N T lA- sol°t a

82E* I T Y

The Lord ia°M RY... Ambrose ™ X Shan be “Y.Hyatt r s POSTLUDE T

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1 ^l^h-piano-or'brS^ (a, Hold Not Thy Tongue, O God S (b) There is a Land of Pure Delight^ 8i2a.^?^.vtdSS E OFFERTORY We Thank Thee, father.Barrel, k t POSTLUDE

* -T “ iv-"“ *1 Copyright 1924 by Theodore Presser Co. marcato Basso __ _ __ „ ___ British Copyright secured The very easiest piece. Grade 1 SWING HIGH, SWING LOW WALTER ROLFE Teachers! Tempo diValS£_

svifismm v-awa.p, E-sharp, G-sharp, B. MOST EXTENSIVELY USED TEACHING MATERIALS C-sharp, E-sharp, G-sharp, B. o. Rossini’s “II Barbiere di Every Teacher will find this information Valuable and Helpful Listening to the Other Hand Siviglia (Barber of Seville)" by the Garcia troupe, in New Just ask us for our “booklets and lists giving information upon the most By R. I. C. York, on November 29, 1825. 7. By raising its third a half- extensively used teaching materials” and if there are any particular Sweet and dainty, she was learnino- ti teaching problems now confronting you do not hesitate to ask for our • 8- Frlm At-Davmi*g. by Cad- suggestions solving those problems. Always remember that the Theodore Presser Co. stands ready to give the teacher every possible service.

We also carry the World’s largest stoc\ of music publications 1= <“» o«ttight L tone until the°ifn'1'1, hoIdi»g its THEODORE PRESSER CO. its comnaninu tn • ,WaS read>’ for was produced and"16 the desired effect International Copyright secured Copyright 1925 by Theodore Presser Co. daintv’ mT«1Cfr m‘ght ,h.ave hindered this Other Music Sections in this issue on pages 333, 3bl, doy y s irom reaching music land. Page 402 MAY 1929 THE STUD# A study in rhythm and the THU ETUDE MAY 1929 staccato touch. Grade 2. SKIPPING ON THE LAWN ROBERT NOLAN KERr THE SONG OF THE SEA SHELL To be played or sung. Grade i. ELLA KETTERER auog muueraio 1 » a . —[ 1 3 5 4 3 3

Out on the o - cean, ^ j, 1. 6h! I’m a lit - tie sea - shell, Singing a time for you,dear child I’ll tell you of my trav - els, Up on the sil-ver "/.3.1’ve seen the pret-ty mer - maids, Rid-ing the waves so far from land, And now, I’m simply rest - ing rf mf ml* f ]*■ p f: 0f- p'f' 0f- pi*-

d 3 1 _ o 1 5i 1_2 D.C.

Trea-sure, trove— wild.. 2.1 sing of ships, That sail the.seas, Far they rove,_ Of pirates, bold, With stolen gold sand. IH) f *- p-

ft 3 Copyright 1927 by Theodore Presser Co. REGIMENTAL PARADE A real “military mareh'.’Grade * CHARLES E. OVERHOLT

SPANISH DANCE British Copyright secured Allegretto After M. MOSZKOWSKI

i 3~ a THE etude MAY 1929 Page k05 THE ETUDt; Page 404 Tdhe Helpful Word and FUN FOR ALL By Lucille Nancy Wagenfeldt NEW YORK SCHOOL o/ MUSIC ARTS For Rhythmic Orchestra A. LOUIS SCARMOLIN 310 West 92nd Street, New York City (At Riverside Drive) Many a pupil does not advance quickly entirely new added to it for him to work in his study of music because he has be¬ out for himself) and study it at home in RALFE LEECH STERNER, Director Vi J J J J Sand Blocks i 1 i J * * k J k J 4* 0j 0j 0-1J n k LU-U- It j J J come discouraged. This discouragement the way you have shown. Impress upon J l l J i J i J k J J J 1 i t J J* UL t J i:J~ makes him disinterested in his work and he him the importance of having his lesson 4 0 0 0- is unable to kindle arty enthusiasm. One of regularly, and having a regular period Special Summer Courses for Teachers the things that so often causes this is Tambourine I o. J k i t1 jj £ £ jl k J i J k J J J j* * J ji Ll, i-.J J J ■LU every day for practice. Starting May 15th Students Can Enter Any Day, Six missed lessons or lessons taken irregularly. The story is told of George Frederick J J J i This not only makes the student become and Ten Weeks Courses. Regular Faculty of Celebrated $ ° J } \ J -0-4J * —* —4—J k i * 0J 0J 0-J I1* * j£ «L i J J.J- J-ll Handel who, when a very small child, 4 4 indifferent but also has a great tendency to American and European Artists in Attendance All showed a great tendency toward music. Cymbals J i i J i J 1 J J j( ij t j J J cause the teacher to become discouraged. Summer. Dormitory in School Building, Beautiful i fl Jt (J -0-0--0— k j j U- His father, wishing his son to become a Why should missed lessons have this effect? Rooms, Private Baths, New Pianos. J J* J _ lawyer, did not care to have this interest $ fi J i i J i 1 } l.jlj--0-ft—0 - -0—0—0i J J #J■ - * J l j]L i J J J Because, when a lesson is missed, the child has nothing that is new for him to grow and did everything in his power to Send for Catalogue, Summer Leaflet and Biographies of Teachers Allegro m.m. J= 126 thwart it. So great was his opposition that ^ 2__ look forward to and conquer. There may Telephone Schuyler 4140 2 rrl^lTi M be room for much improvement on the Handel was not allowed to attend school, f ri r old Tesson, but it is the new one which for there children were taught the scale. creates his interest. He is given a new No member of the family was permitted j .l 1 ti-i- piece. His teacher plays it for him. It is to make any music in the home, and the con brio pretty. He naturally becomes anxious to child was forbidden to visit any house INSTITUTE OF MUSICAL ART get to work on it at once so that he will where music could be heard. of the j!EE Whrf Y fs f be able to play it for the enjoyment of There was one of the family group, frjf frrf OF MUSIC vze:** 1 * BE ±4~ * r * 1 1*. his friends and relatives. undoubtedly his mother, whose heart was * r T f Suppose several lessons have been missed touched. She determined that little 120 Claremont Ave. New York City and there are no new pieces or etudes, not George’s life was not to be entirely with¬ , Dean even a new scale. The old ones have been out music. A dumb spinet was smuggled & j J* J * n ij M * j * i played until they have become tiresome. into the garret. It is called a “dumb spinet” UJ J1LLL.JJ J J J jjj i -40*t J J9-0 J -0-0JJ— 0-0-JJ 0JJJ 0 0 0J *4J 4 0J A school for serious students. All branches. Moderate tuition fees. He is now merely “practicing his hour.” because the strings were muffled in such SPECIAL ANNOUNCEMENT 4—Lj J j U--JJ j j j J -jjj i t JJ JJ JJJ J j i jM * i * ! The incentive and desire are both gone. a way that Handel could hear the music, J sJ J -0-0-4—0— Jt# All talented advanced violin students will come under the personal I have found the following method suc¬ but it could not penetrate beyond the walls i jjj i i J J JJ Jj : j observation and instruction of b—u j j ■JJJJ jj.j J a JJJ J jti; j (J i i cessful in encouraging and recreating in¬ of the room. It was here that he did his terest. Look for something that you are practicing. PROF. LEOPOLD AUER u-i J J J ..JJ JJ JJ JJJ J n j i ; j ■ j i j f 1 UIJJ jjj t U JJ JJ jti jti sure will appeal to the pupil. Then, when After this had been going on for some jj jj i j j jjj J jFI: J . tti ■ j tri J time, and Handel was seven years of age, 4—* j j j Jj jji jjj t 000j JJ JJ ji j he comes for his lessons, instead of giving r he went with his father on a journey to JJ JJ j i ji i J i J J the usual instruction, take that period for u UJ J JJ J J JJJJ jjj i U J r1 0 0 0 0 -0-0-0jjj —•—j -4-4—0* - -0-4-*-*- j H * -4—0i —4-0-i J supervised practice. Having lost interest the Duke of Saxe-Weissenfels. His father in practice on account of missed lessons, did not wish him to accompany him, but so VIRGIL SCHOOL OF MUSIC the pupil has undoubtedly fallen into some great was his determination to go that he Founded by the late A. K. VIRGIL i A i ~ bad habits. Forget the old work and start ran after the coach in which his father (Originator of the Virgil Method, Inventor of the Virgil Practice Clavier) him on something new. Let him practice was traveling. His father, seeing his per¬ O • 1 /^* __For Teachers, Players and Earnest it under your guidance and supervision. sistency, finally yielded. When he arrived Special Courses Students of All Grades ~ LL Show him the correct way to study as his at the palace of the duke, he played on For all particulars address: THE A. K. VIRGIL CLAVIER CO., or j > V. idea of practice may be somewhat hazy. the chapel-organ. This attracted the duke’s MRS. A. K. VIRGIL, Director Incorrect practice will also prevent ad¬ attention, who was astonished at his ability Phone Trafalgar 9349 r^r vancement and make him become discour¬ and advised his father to engage an in¬ aged. structor for him. 4 l At the end of the lesson period the pupil Every musician has heard of Handel, will be able to see that much has been ac¬ and it is because of the encouragement he complished. Encourage him in what he received from his mother as a wee child, GRANBERRY JU. j Li tj ll J J J |lXj i J J^ k 1 1* till k k \ from the duke and others, that he de¬ -4-0 4 4- A 4 4 4 ■ - -4-4-4 4 4 4 k4- has learned during this one period. Have him take this lesson which he has been veloped into one of the world’s greatest PIANO SCHOOL ft- [jjj M U Li ij i J J J ju j^ \ J J \ k J Jk > jjj k k i J Ji -4-0 4 4 -4 4 44 41 44- J practicing with you (maybe with something musicians. 149 East 61st St., New York, N. Y. » itial Halls. Un tj Li—i-L -Ui- J J Ll i JJi ijji i J J l k J dk k JJJ k j k J Faculty. For PIANISTS, ACCOMPANISTS and 4-4-4 4 -f-rf-W- The demand for qualified supervisors ft—fUL -44J. ji UJ i-j iU iJJi i j j k i J J* tilt > i | | k k l What JyCa\es (Counting Aloud Difficult and teachers of Public School Music ex¬ TEACHERS ■4 4 4 » ■fJ J J 4 4 14- ceeds the supply. Placement and Contin- ft—ilu, .ji tj Li- ij MUSICAL DEVELOPMENT THROUGH i J J J ut -ULL uA By Mary Waters iLLL | J J | iLLL UU- Two, Three and Four Year Courses. SIGHT-TOUCH and HEARING. Booklet p—tiii. j-i k J J ^ i J- |# > | | > kill X j > 1 > forth, to develop control Four-year Course leads to Mus. B. Degree. ij Li-iL UJ J J ut tJ Ji -4-4 4 4 Certain experience has taught the sewing and Vocal and Instrumental Courses. ° •U J J * JU writer to be very patient with pupils who and deftness The results were prompt and gratifying. other states. Summer Sessions begin June seem to be willing but not able to 3rd and July 1st. Catalog. Drama-Dance aloud. Since then, when pupils are very back- The first light on this subject came from ward about counting aloud, this disability Albert Edmund Brown, Dean watching a little girl whose fingers flut- h nearly always been observed to belong »»lV" .E^S-SS Pine tered rather uncontrollably while pla;' those tvhio do not talk very much, to ITHACA INSTITUTION OF scales. Too, the child did not talk taj whom...... vocal----—-- enunciation is a real muscular, , plainly but with a slight impediment of task. If others in the room as a rule o PUBLIC SCHOOL speech. It was almost impossible to keep all the talking, and the pupil seems to have MUSIC nothing to say, it is needless to look for her counting aloud, although she had 301 DeWitt Park, Ithaca, N. Y. very good sense of time while playing. very good counting from that child. He is So the teacher’s thought took tins silent•« * 1because - -*-uL » much of an course: “This pupil lacks a proper cor- for him to speak, MILITARY INTERNATIONAL To help him he should be asked to count relationicidiam ofoi mindminci andana nerves.nerves, Inm other - CONWAY BAND SCHOOL MRS. BABCOCK words, she has poor muscular control. She aloud a little while every day mthout play- Prepares lor Le 1, School and Professional Bai rnvaw auu , ■i.u.s Instruction: /YFFERS Teaching Positions, Col- is amiable, willing and tries to be obedient, mg. He should not be scolded nor excited. renown ^Conducting and Band leges, Conservatories, Schools. The trouble is not in her disposition, ______.iphony-Oroheetn AlsoChurch and Concert Engagements Library. Degrees. Dormitories is very musical. leader, Patrick Conway. Catalog. CARNEGIE HALL, NEW YORK “There must be a poor connection along to teach the BEGINNER to the nervous electric system like a poor con¬ nection on the telephone.” The Courtright In reaching this conclusion the teacher Etude advertisements, promptly System of Musical specialize in this answered, delight our Readers with Kindergarten advised the girl’s mother to encourage her Results. to “speak pieces,” recite the multiplication Mri.Lillian Courtright Card.116 Edna A,e.,Brid8epi table and spell aloud, also to help her en¬ gage her hands in cutting out pictures, fj MRS. A. M. VIRGIL Ask for our circular of EDUCATIONAL MUSIC BOOKS for Schools, Originator of the VIRGIL METHOD Academies and Colleges including Text Books, Reference Works and CollecUons VIRGIL PIANO CONSERVATORY THEODORE PRESSER CO., 1712-1714 Chestnut Street, Philadelphia. Pa. Copyright 1929 by Theodore Pressor Co. Send for Catalog 139 West 72nd St., New York City British Copyright secured , THE ETUDE. It Identifies inch with the higher Ideals of s the etude Page 1,00 MAY 1029 THE ETUDE MAY 1929 rage 1,01 Fiddlin’ For Fun, or Playtime Easy Compositions for the Blue Ridge Idyls World of Music for the Young Violinist Development of Technic For the Pianoforte A Method for the Youngest Beginner (Continued from page }29) and Tonality By Lily Strickland eQ& By Rob Roy Peery It is always a pleasure to us to receive COMPETITIONS Publishers For the Pianoforte In arranging the material in this little a new manuscript from Lily Strickland. THE SWIFT AND COMPANY PRIZE.of method the purpose has been to present By N. Louise Wright Her splendid musicianship and seemingly A Bulletin of Interest for All Music Lovers This excellent little study book will be 'armenter’s poein, '“Outward* Bound," is again a work that will genuinely interest the inexhaustible fund of melodic inspiration pen for competition. Particulars from D. A. youngest beginner at the very first lesson. ready very soon. In this book special at¬ are always in evidence. Particularly lippinger, 617 Kimball Building, Chicago, Little stories in rhymes with illustrations tention is given to developing keys having happy is this composer when she is writ¬ introduce the first studies—in fact these more flats and sharps. In so many books ing in the idiom of her native Southland. stories form the rhythmical basis of the of easy grade, one finds only three keys. Blue Ridge Idyls will not only give the As in all of Miss Wright's works, the subscriber a set of fascinating piano com¬ first two parts. The finger position of the ..of Music, ... „ __ notes on the G String (second and third melodic side is more particularly stressed. positions but the book itself will be bound secular cantata suitable for use by that organiza¬ 1 ^ fingers close together) is used as a finger The special introductory price in ad¬ most artistically and will serve appropri¬ tion, is again open for competition till Novem¬ pattern on all strings. The book is adapt¬ vance of publication is 25 cents per copy, ately as a gift to a pianist. In advance ber 1, 1929. Particulars mav be had from WHAT DO YOU SELL? postpaid. Richard Copley, 10 East 43rd Street, New York Commencement Prizes and Happy Days in Music Play able either for private or class instruction, of publication this work is being offered City. at 60 cents a copy, postpaid. Awards “Please let us have something to fol¬ the clear, concise manner in which the U-1> (7% UK whole world pivots around buying and selling. Everybody must low ‘Music Play for Every Day’ that elementary points are taken up making it Studies in Musicianship (J buy and everybody must sell. Some sell only their time or the use $40,000 IN PRIZES are offered to American Annually, at this season, many of our will not let down the enthusiasm of our especially practical for the latter use. At For the Pianoforte—Book Four Algerian Dances friends among teachers, not only those in of money bequeathed to them. Those who get the real joy and true pupils. We have never known such en¬ an early stage, little melodies are intro¬ work in anv form within the playing scope of success in life sell something in addition to these things. A successful Select Studies from Stephen Heller Suite for Pianoforte the full symphony orchestra: $10,000 and $5,000 schools, colleges and conservatories, but thusiasm and such results from any other duced, giving the beginner added incen¬ will be given for the best and second best com many with private classes us well, utilize music teacher is the one who has never stopped absorbing knowledge so Edited by Isidor Philipp By R. S. Stoughton book.” tive to practice. Just as in literature there are standard positions within the playing scope of the Ameri¬ our service to obtain the necessary awards that his buyers get something more than lesson time. The real teacher The special introductory price in ad¬ Mr. Stoughton, who Is so well known can dance, jazz or popular concert orchestra. is the one who has burning continually that wonderful spark of desire to It is in response to requests like this sets, so in piano technique material there and prizes for graduates and pupils who vance of publication is JO cents a copy, to the readers of The Etude through the The symphonic contest closes on May 27, 1929. give out to others something that will make their lives greater and grander. that have flooded in upon us from ir¬ are writings accepted the world over as The popular contest closed October 29, 1929. have earned promotion and awards of postpaid. many excellent songs of his which have Nothing can be of more value to the buyer of a musical education than to repressibly enthusiastic teachers who have essential to the foundation work and the Full particulars to be had from the Victor Talk tried out “Music Play for Every Day” appeared in past issues, gives us in this ing Machine Company, Camden, New Jersey. Our folder “Commencement Music” deal with such a teacher. sure progress of the piano student on This prize, altogether unprecedented in size in that we have prepared its sequel or sec¬ up to tiie stages of virtuosity. Among Ballet Suite some solo novelties that will the history of music, was announced at a dinner gives a comprehensive list of the articles Then there is the music publisher or music dealer who could not exist Changes of Position lie sure to interest pianists. They are in ond book for the second grade pupil. tiie widely accepted writings of this char¬ given to the profession in New York City and available, such as medals, brooches, music by just having “Music for Sale.” The continued success of the Theodore real Oriental style and will prove admir¬ It is to be called “Happy Days in acter have been the pleasing works of motto pins and diplomas, certificates and Presser Co. is due to the ideals set forth years ago by its founder of giving- able for use In interpretative dancing, or Music Play.” We feel that this book is By O. Sevcik Op. 8 Stephen Heller. It is therefore of great reward cards. Send for your copy of this real service and genuine help to the music profession. as thematic material for the motion pic¬ nothing short of an epoch making achieve¬ import to the piano teacher that a se¬ A PRIZE OF $1,000 is offered by the folder today! The daily efforts of our organization are so to supply the needs of the This valuable set of studies completes ture performance. They may also be used ment in the history of musical pedagogy. lection of the best and most useful of National Federation of Music jClubs for a^com- The months of May and June find the music profession with information, suggestions and music as to make it pos¬ the group of Sevcik works which is sched¬ as recreation material for piano students There has never been anything like it be¬ Heller’s studies has been made by a expert penmen and engravers who are en¬ sible for our thousands of patrons to know that there is a service of great uled to In' added to the Presser Collection. of about the 4th or 5th grade. In advance value available from us. We invite vou to make use of it. fore. master pedagog and progressively ar¬ performance. Particulars may he had from Mrs. gaged, respectively, in engrossing diplo¬ The studies already published have met of publication we are offering this artistic "Happy Days in Music Play” takes up ranged throughout the four volumes of T. C. Donovan, 1633 Shady Avenue, Pittsburgh, mas and certificates and engraving medals with great favor among violinists, both suite at 60 cents a copy, postpaid, less and musical jewelry awards with the all the good points of “Music Play for . teachers and students, the former being which this compilation of studies is being Every Day” and advances them 'in a than half of what the price will he when names of the recipients and other data, particularly impressed with the superb the hook is published. very busy and we cannot urge too strong¬ manner which will be a real joy to our editing of Mr. Otto Meyer, authorized The first three volumes are already on V PRIZE OF ONE THOUSAND DOLLARS teacher friends. One thing that the book tiie market, priced at $1.25 each. The offered by the Society of the F’riends of ly that those of our patrons who intend , Advance of Publication Offers—May, 1929 Sevcik representative in this country. isic for a cantata for chorus, not less than to have such work done, place their or¬ will do, is that all pupils who use it will These studies may be taken up after a fourth volume is still in the hands of Six Study Pieces for the Left I nor more than four, soloists and orchestra. ders a sufficient time in advance of the Paragraphs on These Forthcoming Publications will be found under These Notes. have a new and exalted conception of student has learned well to play in the tiie printers and therefore opportunity music as a whole, a necessity In life and Hand Alone 1929, and full particulars may be had from date when needed so that last minute de¬ These Works are in the course of Preparation and Ordered Copies will be first position and is about ready to begin is being given prior to its appearance to :hard Copley, 10 East 43rd Street, New York lays and vexatious disappointments may delivered when ready. not as a kind of toy. We predict that work on the higher positions. The ad¬ secure a copy at 60 cents postpaid, By Francesco Berger be avoided. At least 10 days or two this book will do more to build business vance of publication price is 30 cents a through the sending in of an order in ad¬ There have been certain teachers from weeks should be allowed for such special Blue Ri and Bass Parts- for the teacher than anything that lias copy, postpaid. vance of its publication. time to time who have insisted that in Book of Trios fc .'ill H. Bryant—each.3 ever yet appeared. TIIE EURIDICE CHORUS AWARD of o: work. The charges for this service are Book OF Light Opera Produ ion—Gwynne Burrows.! studies especially, all passage work played as' reasonable as possible and cheerfully Necessary Jingles It is impossible for us to describe it in by the right hand should he practiced also R the Piano—Blanche Classic and Modern Band and will be quoted upon request. Fox Steenman . detail. You will simply have to see it Book of Trios with the left hand. We know of one on—Jos. E. Maddy to understand why we are so "superlative” ' teacher who insisted that certain of the For Piano, Vtolut and Cello Orchestra Collection N“. WlLFRED 25c irican Cousins—Lalla in our descriptions. The advance of pub¬ Cramer studies be played also in octaves; By Joseph E. Maddy and Wilfred Wilson lication price on this hook will be (ill cents This is a hook of gems for trio players this is carrying it rather far, but neverthe¬ Summer Music Study a copy, postpaid. who have not yet reached the stage where At this time of the year when Conven¬ ‘.'.30c. KEri less it is essential that the left hand be DARTMOUTH COLLEGE. I It i very gratifying to those taking _ g.-_ERD, The—Musical Play—M, they are ready to take up the larger classic tions of Music Supervisors are being held developed to the highest degree possible. music progress in this country to trios. It will contain effective arrange¬ and when the various school bands and The earnest student who practices the note that in recent years great hosts of New Music for Summer ments of some of the finest numbers in orchestras are preparing exhibition pro¬ Study Pieces for the Left Hand Atone by south.” The contest clc students have flocked to leading schools our catalog and also a few suitable melodic grams, special attention is being directed ticulars may be had from I—Philipp—: Teaching Francesco Berger will not only find in¬ louth College, Hanover, > and colleges for special summer courses ano—Book 4 works by some of the standard writers. to this department of musical activity. creased facility in his left hand, but he of study in all branches of music. Among o Master th The vacation season presents many op¬ This will l>e a book the contents of which Wherever there is school music, the names will also gain decidedly in his musician- those attending, these classes are not portunities to start young beginners in will not be found in any other similar of Messrs. Maddy and Wilson are well ship. These study pieces are of interme-^ only earnest students, but progressive music as well as for older students to take work. The arrangements have all been known. This new work that they are pre¬ diate grade. teachers seeking to fit themselves for np delayed work or practice; consequent¬ made with the greatest care and the string paring will prove to be one of their best The special introductory price in ad¬ l of Music Clubs, i greater success in their chosen profession. T T „ ly, large numbers of teachers are almost parts have been kept within reasonable efforts. It is especially well adapted for vance of publication is 25 cents per copy, Unfortunately, everyone is not so situated f HE JOY OF LrAINING MUSICAL nusicai Appreciation and other interest- as busy in summer as in winter, it is a bounds. The cello part, in particular, exhibition and contest purposes, since all postpaid. as to make it possible to afford the time KNOWLEDGE IN THE St iviubb subjects. “The Descriptive Catalog of notable fact that in recent years the sum¬ does not go out of the bass clef. There is of the arrangements are intended to be with their State Contest Chairmen as h or the money to attend special summer ^N°WLEDGE IN THE SUMMER Mus.cal Literature Works,” which may mer demand for music has enormously in¬ plenty to do for all three players. extremely brilliant without being. too Three Dances From Henry Ala.—Mrs. H. Striplin, Selma. Ark. -Mrs. J. classes in a distant location. These in- MONTHS be bad for the asking, lists and describes a VIII O. Tully, 1204 Bi "* T’“' “ ■ creased. What was formerly the quintes¬ The special introductory price in ad¬ difficult. Mrs. A.G. Hulett, 318 W. Roo sence of seasonal dullness has taken on an vance of publication is 75 cents per copy, The special introductory price in ad¬ For the Piano Very few _ _ _ _ By Ei>wa»d German Cat.—Mrs. W. V. Goodfellow, 1836 Whitley Ave., the matter of failing to carry activity that is truly remarkable. postpaid. vance of publication for the instrumental Hollywood. Colo.—Mrs. w! E. -Martin’ Fort In this connection'our Summer Packages parts, either for band or orchestra, 25 This forthcoming addition to the Morgan, L. B. 707. Conn.—Mrs. W. McPhelemv, Presser Collection will be an excellent 31 Fairview Ave., Danbury. District of Columbia - -ra?J5Lss srSMtiiaan: ss-an-ts- «.»«- of New Music, either piano or vocal, are cents each, postpaid; the piano accompani¬ —Mrs. E. W. Lovette, 1731 Connecticut Ave., N. of great help, both to the teacher and the Necessary Jingles ment to the orchestral version, 40 cents, edition of the extremely popular com¬ W., Washington. Fla.—Mrs. E. R. Barlow, student. The piano numbers include pieces For the Pianoforte positions by Edward German comprising Winter Haven. Go.—Mr. L. Chase, Chase Con¬ postpaid. servatory, Columbus. Idaho—Mr. G. Sanford, in the early and moderately advanced this suite originally written for the pro¬ By Blanche Fox Steenman duction .of the play “Henry VIII,” in Adalaide School of Music, Pocatello. III.—Mr. C. grades—the vocal numbers consist of sec¬ In this little work which is aptly Illumi¬ Viola, ’Cello and Bass Parts F. F.dson, 240 E. Delaware PI., Chicago. Ind. such as History or Harmony classesT* HU- “7 ,or.u?e of avftt$le time Our cover for this ML glves us u ular and sacred solos for various voices. 1892. Concert orchestras and solo pian¬ —Mrs. L. G. George, 639 East Drive, Woodruff, nated by the means of appropriate verses ists and violinists have made these num¬ Indianapolis. Iowa—Mrs. J. J. Dorgan, 907 tory classes for little tots can be worked know^Xe Wdl hZ'Xns^wilThZmnr |U“pS greater passing cabarets and music halls from little or no preparation. In this respect, istic dances, except to stress the fact —Miss A. Hutchinson, 14 Wales St., Dorchester. prevent ordering larger or more specific this new book will prove a valuable ad¬ faction with this method there has come ceedingly popular textbook. Beginners’ greater wifi^vonr e'Z* musl£a1’ 7 Moulin Rouge and the Gates of Hell we supplies of On Sale music. We are al¬ that here is a chance to secure a superb Mich.—Mrs. M. D. Silver, 48 Marston Ave., junct to any elementary method for the a demand, especially from those or¬ edition of them while they are offered in Detroit. Minn.—Miss E. F. Hall, 2720 West 44th Harmony classes or advanced Harmony If von aTe V .m^ ^Ti Z * of. ™uslc; ascend to the peak to find one of the must ways ready to meet the wants of individ- ganizing school orchestras for the vari¬ .St.. . Miss.—Mrs. L. H. Martin, classes are best cared for by the widely L7l ,-n your interest impressive churches in the world- Z '’ery young student. advance of publication at the bargain 618 Bay St., Hattiesburg. Mo.—Mrs. F. C. Shaw used “Harmony Hook for Beginners” and • UMC WI?^e ll?1tleiV?lfied and ProgresiJ Basilica du Sacre Coeur Once then- •“VT 7S in the usual wav but the ob¬ The special introductory price in ad¬ ous beginners, for first instruction ma¬ price of 40 cents for the group in one 3711 Merrier St., Kansas City. Mont— Mr. R. ject of tins notice is to direct particular terial to permit students of the viola, the book intended to follo7 it "Theory '"u^Tan^n/lZh. ^ more,raP;d can look from the topofths minUture vance of publication is 30 cents per copy. Rauh, Stallings Building, Billings. Neb.—Miss attention to the summer assortments de- Postpaid. ’cello and String bass to study side by F. . I.. Robbins, 1215 O St., Lincoln. .V. /.—Mrs. Music’”both sr^“Zt seribed above. A post card request men¬ side with violin students taking class in¬ Requiem Mass W. B. Stewart, 23 W. Cedar Ave., Merchantville. $ jjz tioning Summer New Pia„o or Vocal .V. H.—Mrs. M. S. Bergholtz, 241 Pearl St., Another vital, important thing for the artist, is in a more secure position when tragedy and Rght^r^Here ZZZi struction with the use of Lehrer’s “En¬ For Two-part Chorus Manchester. A'. Mex.—Mrs. G. Thompson, Uni¬ Mus,e will place any teacher’s name on The Tempest earlier to rnnsirW 4-Kit- f;»wwx 4.1_ ot_ a wide knowledge of the queer mixture of 7,a™‘ semble Method.” By Geremia M. Fabrizi versity of New Mexico, Albuquerque. N. Y.— teacher to consider* at this time is the kn°Wledge °f of gar«b “«’nd the mailing list. Suite for Organ It is a great source of gratification to Mrs. D. Krev, 44 Palmetto St., Brooklyn. N C excellent opportunity to securee beginners There ^ stud, ' * —C. J. Velie, Elon College. AT. D.—Mr. T. E. s of art. Mr. F. By H. J. Stewart us that we are now able to offer ex¬ There is a general demand for a work — _jwc ov oraramzimr a p* , of this kind, a liturgical Requiem Mass Howard, Grand Forks. Ohio—Mr. K. Esclinian, Recital organists, picture players, stu¬ cellently prepared parts for these in¬ Denison University, Granville. Okla.— Mrs. W. that is adaptable to choirs, both of large H. Crowder, 1715 South Troost Ave., Tulsa. Ore. youngsters while they are free “from Concert Orchestra Folio dents and teachers will all find something struments, and thus, in one course of study provide such a remarkable first and small membership, of moderate abil¬ —Mrs. C. Moore, 908 Studio Bldg., Portland. regular school studies and their mothers TJje special introductory offer on this of interest in this fine new Snife for the ity as well as those whose experience is Fa.—Mrs. S. L. Borton, 1300 De Kalb St., are receptive to suggestions for anything work will he continued during the current organ. The six numbers are of moderate course of study for the beginning of an Norristown.' R. I.—Mrs. C. Misch, 400 W'esi- month, but we expect to deliver copies to orchestra. Teachers will find all this ma¬ limited. Mr, Fabrizi has written an ex¬ minster St., Providence. A. C— Mrs. C. Summer, that will occupy safely the great amount |ength, melodious and highly characteristic cellent two-part Requiem Mass which is 814 Henderson St„ Columbia. .S'. D.—W. R. of playtime available in summer months. those who have ordered them during the They are modern in their use of terial an excellent aid to create a nucleus Colton, Vermillion. Tenn.—Mrs. B. E. Loveman, last few days i„ the month of April We for a community orchestra and school easy to sing, melodious yet dignified. This Riverview, N., Chattanooga. Texas—Mrs L The teacher can make these beginning all the resources of the organ and in their work will have the endorsement of the piano classes exceedingly enjoyable and A strenuous soul hates cheap successes. armonic treatment generally. Further¬ supervisors looking after instrumental Milam, 593 Pennsylvania St., Beaumont. Utah— this walk thSt 811 WiU be pleaSed With affairs will find this material indispen¬ Society of St. Gregory of America. , Mr. F.. P. Kimball, Hotel Utah, Salt Lake Citv. virtually “playtimes” by using the re¬ more, they are well within the'range of the The special introductory price in ad¬ Fa.—Mrs. D. Barnum, 1543 Bolling Ave., Nor¬ markable book for very first piano in¬ van**6 7ecial. Introductory price in ad- “Tj-age p!a.ver. sable. Anv one or all of these three folk. Wash.—Prof. Lawrence, University of Ralph Waldo Emerson new parts* to the “Ensemble Method” vance of publication is 35 cents per copy, Washington, Seattle. IF. fa— Mrs. L. M. Bailey, struction, “Music Play for Every Day.” > „ T . Publication for the instrumental Fhe special introductory price in ad- postpaid. Box 127, Montgomery. Wis.—Mrs. T. A. Ilervev parts is 15 cents each, postpaid, and of anee of publication is 60 cents per copy, may he secured in advance of publication 441 Broadway, Milwaukee. IFva.—Mrs. J. Mc¬ tne PVno part. 30 cents, postpaid. POStttf) if! at the special price of 35 cents each. (Continued on page 408) Kay, 301 East 28th St., Cheyenne. THE ETUDE Page W MAY 1929 New Etude Gallery of Musical Our Little American Cousins Six Characteristic Pieces with Words Celebrities For the Pianoforte We have prepared a special, attractive, By Lali.a Ryckoff loose-leaf scrap book or album (size 5 This is a most attractive new book of 6y,"—72 pages) for those who desire to recreation pieces. They are in character¬ cut out and preserve in permanent form, istic vein depicting various familiar scenes the splendid picture biographies now run¬ and characters. They are especially good ning in The Etude. These pictures neatly on the rhythmic side. Such books as these mounted in the album will prove to De A Wide Variety of Helpful Hints for the Active Music Worker Whose Initiative in Musical Matters is a Community Asset

Excellent Music for Memorial lumbers for Day Services Mother’s Day Use ^SD°

VOCAL SOLOS ssT VOCAL SOLOS 180 O Captain! My C^™L .15 Si 3 :!S 5 gCflg^ PART SONGS—MIXED VOICES if | tKSBai: 1

INSTRUMENTAL" NUMBERS_PIANO ( UJARTETTE OR CHORUS—MIXED VOICES S38 :!o J.7ZZ, oc°“'°a‘.. t°li°6 WecfingTlL^hV MendcTssohn! E E E 'j? J E E | i aasffiEiiEi i

Text Books for the Music Books for Enjoyable and Profit¬ Teacher’s Success with able Summer Reading on Summer Classes Musical Subjects ORIES OF GREAT COMPOSERS

— — ByR-A‘“d Pr,e. *,5 foe8 presentation* ol Z**£S2Z THE G CLEF TW O PART CHORUS BOOK

9

Silver Dipped Clasp Pin.30issl I readers we will have readv to place upon the market the third book of this epochal LYRE AND WREATH ’ ’ ’Tatlh^ Prices of this i

Musical Play reception with which the first ,ooks ‘£itHF’ACs> Si capiat WMM plete » *Phf- "'ork in his library. Price $1 Z tt, "h i f in ’' To A Cantata for ren’s «l£ ;;„7!0(iroSi "A.m & sseii::z/;SEfgjSSSSi

Kindis-

A^VLWlce — The worlds: great music is on Victor Red Seal Reeoi

6TR0UCHKAI]

Shouts . . . cries . . . drunken laughter . . . the whine of The Petrouchka Suite has been recorded by the Boston the showman’s flute . . . deep bells and a shrill hurdy- Symphony Orchestra under the direction of Serge Kousse- gurdy . . . the tipsy roar of the peasant crowd upon a vitzky. The Victor Records are a special concert arrange¬ holiday. . . . And here within the puppet box a rouge- ment, as decided upon last summer in Europe by the daubed Ballerina, the cruel Moor, and Petrouchka, an composer and the conductor. The recording has captured ugly Pierrot, enacting a tragedy of jealousy which ends the vivacity, the picturesque coloring, the full musical in the shedding of Petrouchka’s vital sawdust. . . . vigor of the original performance.

This laconic modern masterpiece, bearing beneath its The world's great music, interpreted by the foremost burlesque a brutal and disquieting realism, established artists and orchestras, is always yours on Victor Red Strawinsky as perhaps the most brilliant of our con¬ Seal Records. Have your Victor dealer play you the temporary composers. Through strange, half-oriental Petrouchka Suite. You will find it a piquant sauce for melodies he has expressed the Slavic soul. He has made the sated musical palate. . . . Victor Talking Machine the orchestra speak a new language. Company, Camden, N. J., U. S. A. VICTOR I(ed Seal RECORDS rCSfo