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

2-1-1923 Volume 41, Number 02 (February 1923) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 41, Number 02 (February 1923)." , (1923). https://digitalcommons.gardner-webb.edu/etude/698

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FEBRUARY, 1923 A Wealth of Rewards For Your Spare Time Just a little enthusiastic time spent in get¬ Thousands Have Done Everybody Needs Some ting new subscriptions for ETUDE MUSIC This for Years of MAGAZINE will bring them to you without Why Not YOU ? These Premiums one penny outlay. For Three New Subscriptions O’CEDAR MOP. WATER^^: PROOF APRON,i?ub8Criplion neat and attractive. I YourOwn Subscription FREE Our Most Popular Premium LAVALLIERE—solid gold, large amethyst and THREE PIECE SHIRTWAIST SET—consists 4 pearls with baroque pearl pendant. of bar pin and two small pins—gold filled, Send three subscriptions at $2.00 each ($6.00 in all) and very popular. SALAD FORK—Sterling. The World of Music PICTURE FRAME—oval or oblong—plain non- BREAD KNIFE. tarnishable—velvet back. For Two New Subscriptions RELISH DISH—nickel plated—glass lining. ENVELOPE PURSE—back strap; black leather. HAIR BRUSH—prophylactic—ebony finish. NELSON BIBLE—bound in silk cloth. REAL PIN SEAL PURSE—black. CLOTHES BRUSH—prophvlactic—ebony finish. INDIVIDUAL SALT AND PEPPER SHAKER LINGERIE CLASPS—gold filled, pretty, attrac¬ COMBINATION SCISSORS SET. —set of two—nickel—very attractive. tive and serviceable. CREAM LADLE—Sterling. GOLD KNIFE AND CHAIN—12 Kt. gold shell BOOKS FOR BOYS. CAKE KNIFE—Sterling silver handle. with steel blades. BOY-SCOUT SERIES. CHEESE KNIFE—Sterling. Under Sealed Orders. t BON-BON DISH—silverplated—gold lined. On Belgian Battlefields. HANDY NEEDLE OUTFIT—assorted sizes in For Four New Subscriptions On the Canadian Border. f Choice of one leather case. LEMONADE SET—7 pieces. Under Fire in Mexico. BOOKS FOR GROWN-UPS. BOOKS FOR GIRLS. The Auction Block—Rex Beach. ROLLER SKATES—Boys or Girls—extension. AUTOMOBILE SERIES. Penrod—Booth Tarkington. CAMERA—Premo Jr., 2%"x3y/'. At Palm Beach. The Circular Staircase—Mary Roberts Rinehart. At Chicago. i Choice of one Escape of Mr. Trimm—Irvin S. Cobb. Along the Hudson. Adventure—Jack London. In the Berkshires. Border Legion—Zane Grey. Berry Spoon. \ AMERICAN GENTLEMAN’S 7-IN-l BILL 20th Century Cook Book—Mrs. Harding. Gravy Ladle. / FOLD—keratol leather. PENKNIFE—12 Kt. gold shell, steel blade. MANICURE SET—fabricoid case, contains Cold Meat Fork. ) Silver Plate Sugar Shell. \ TOOTH BRUSH RACK—French Ivory. everything necessary, white ivory finish. HANDY SHOPPING BAG—folds into a com¬ HANDBAG—black,, brown, gray or blue fitted Butter Knife. / pact purse or opens up into roomy carrier. with mirror. TOMATO SERVER.—Sterling silver handle. NEAT RE-FILLABLE CARRIER POWDER- WIZARD CLOSET—GARMENT RACK—four folding hangers. LADIES’ OR GENTLEMEN’S FOUNTAIN PUFF. NUPOINT GOLD FILLED PENCIL—ladies’ PEN. CUFF BUTTONS—gold filled—will wear indefi- or gentlemen’s. PATENT LEATHER VANITY OR CANTEEN DAINTY MIDGET FOUNTAIN PEN—ladies’. BOX with puffbox, mirror, etc. -Splendid Music Albums and Teaching Works-

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L THE THE ETUDE FEBRUARY 1923 Page 75 Page 74 FEBRUARY 1928 __ • Albums for the Library of Every Pianist COLLECTIONS OF PLEASING COMPOSITIONS FOR RECITAL, STUDY OR DIVERSION MUSICIANS Albums of Easy Pieces for the Young Player Who are Always in Demand

New Rhymes and Tunes Standard First Pieces Young Players’ Album FOR LITTLE PIANISTS Price, 75 cents Price, 75 cent* One of the largest and best collections of easiest A compilation of easy pieces of a popular character. By H. L. CRAMM Price, 75 cents teaching pieces ever compiled. Every number is melo¬ They are especially well adapted for the home, for A widely used collection for little pianists of melo¬ dious and each piece has some distinctive characteris¬ recreation or recital playing by pianists not so far ad¬ dies that in their playing develop a rhythmic feeling, tics of its own. There are 72 pieces in all styles, vanced. This collection has 70 pieces in it and the at the same time keeping the child interested while dance forms, reveries, songs without words, nocturnes, possessor has a wealth of material always at hand in trying to learn the notes on the staff. May be used etc. a convenient form at an economical outlay. as an accessory to any elementary system. Children’s Rhymes from A to Z Birthday Jewels Standard Elementary Album By M. GREENWALD By GEO. L. SPAULDING Price, 75 cent* Price, $1.00 Pleasing melodies with a small compass. None go Price, 75 cents Probably the most extensive and comprehensive col¬ very far beyond the first grade. All the pieces contain An attractive volume of little piano pieces with lection of elementary pianoforte pieces ever issued. words and may be used as either vocal or instrumental verses which may be sung ad lib. There is a little The pieces, 82 in number, from the compositions of numbers for the young musician, but each number piece for each month of the year with verse for the classic, modern and contemporary writers, have been has a little variation on the original melody that is appropriate birthstone. The numbers are easy to play chosen with the greatest care, not only for their entirely instrumental. and are very melodious. melodic appeal, but for their educational value as well.

Albums for the Four-Hand Albums Novel and Interest¬ Average Player ing Collections Very First Duet Book Price, 75 cent* “Can you double in brass?” learn to play the Comet? Piano Player’s Repertoire A collection of easy four-hand pieces, suitable for Sunday Piano Music Every musician knows the significance of that terse question. Through the various mail courses conducted by the University students in the first and second grades. They are Price, 75 cents Price, $1.00 The musician who can play only one instrument is always Extension Conservatory, thousands of musicians have rounded not teacher and pupil duets, but may be played by two Dignified, stately and worshipful music. Just such Fine material for light recital work or self-amuse¬ pupils of very nearly equal attainments. considerably handicapped, just as he who is master of more out their musical educations by becoming proficient on some ment. The pieces are all bright and melodious, many a collection as every pianist should use for Sunday of them lying in the third grade, none going beyond recreation at the keyboard or for church playing. than one need never be without profitable employment. other than their one instrument, and have thereby been able the fourth. Music Lovers’ Duet Book Whether you are a beginner or an accomplished player of greatly to increase their earning power. Compositions for the Pianoforte by some instrument, you could not do better than to gain a com¬ You can do the same thing. To prove to you how easy it is Popular Recital Repertoire Price, 75 cents Woman Composers prehensive knowledge of Harmony, Counterpoint, Composition to learn Harmony or master any of the instruments named in Price, 75 cents Medium grade duets, excellent for diversion and Price, $1.00 sight-reading practice. A generous compilation intro¬ or Orchestration. If you play the Piano or Violin, why not also the coupon below, we will send you Such pieces as Dvorak’s Humoresque and Schutt’s ducing all styles. Contains some of the best representative composi¬ A La Bien Airnee are included in this Album. The tions of successful woman composers. Ideal material numbers are chiefly in grades four and five. for novel and interesting programs for women's clubs, Operatic Four-Hand Album etc. Standard Opera Album Six Lessons FREE Price, 75 cents Album of Descriptive Pieces Price, 75 cents Just mail the coupon. It places you under no obligation of low cost. Even if you were to attend the studio of a really An excellent four-hand book, containing immortal Price, $1.25 The melodies from the great operas, transcribed for melodies from the standard grand operas. The num¬ Characteristic piano pieces', depicting musically vari¬ any kind. But these 6 free lessons will absolutely convince high class teacher for individual instruction, you could not the pianoforte, are always popular, either for home bers are arranged in effective and playable form. ous moods, scenes and impressions. These numbers you of the simplicity, thoroughness and practicability of our begin to get the equal of our courses at anywhere near the or recital. This is an excellent collection of such are so different from the conventional form of com¬ melodies, none of the arrangements going beyond the position as to be extremely appealing. teaching methods. price we will quote you. fourth grade. Four-Hand Exhibition Pieces Think of the great advantages of being able to get the very Through this method, almost before you realize it, you can American Composers’ Album highest grade music lessons from the best teachers in the learn to double up on some other instrument—virtually double Standard Parlor Album Price, $1.25 Price, $1.25 profession, right in the privacy of your home, at a surprisingly your earning power. Price, 75 cents A collection of representative pieces by standard Excellent numbers, by representative American com¬ Melodious and entertaining are the forty-one pieces composers that offers excellent material for recital or posers. A credit to American music. No really diffi- in this album. They are of intermediate grade and of concert work, and is, at the same time, useful for cult numbers have been included and only those of a light and cheerful character. profitable practice and recreation playing. Sherwood Piano Normal Course These Normal Lessons for piano teachers contain the fundamental principles of successful teach¬ ing—the vital principles —the big things in touch, technique, melody, phrasing, rhythm, tone Volumes for the More Advanced Piano Player production, interpretation and expression — a complete set of physical exercises for developing, strengthening and training the muscles of the fingers, hands, wrists, arms and body, fully explained, illustrated and made clear by photographs, diagrams and drawings. Standard Advanced Album Advanced Study Pieces Rachmaninoff Album Mark an X Before Course That Interests You Price, 75 cents Price, $1.25 Price, 75 cents A new volume that should prove very popular with Students’ Piano Course AND MAIL COUPON TODAY A collection containing twenty-eight classic and mod¬ students of the fourth, fifth and sixth grades. It con¬ The compositions of this great contemporary Rus- By Wm. H. Sherwood ern compositions. Good players delight to turn to tains pieces which are of real technical value in addi¬ sian master have a compensating character; they re¬ Remember, we will send you 6 free lessons from any one of the Courses pieces of this type. They are not of the virtuoso tion to their musical merit. ward the player for all the practice he puts upon them. Contains complete, explicit instruction on every phase of piano playing. named below. Just put an X in front of the Course that most interests you stage. No stone has been left unturned to make this Course absolutely perfect. The and let us tell you what we have done for others —what we can do for you. Standard Brilliant Album Standard Compositions Celebrated Compositions by Famous lessons are illustrated with lifelike photographs of Sherwood at the piano. Price, 75 cents SEVENTH GRADE Composers r Compiled By W. S. B. MATHEWS Price, 75c Harmony Teaches You How Twenty-five pieces of a showy nature, yet not diffi¬ Price, $1.00 UNIVERSITY EXTENSION CONSERVATORY, Dept. A212 cult. This type of composition is greatly in demand An excellent collection of good compositions for the I To Analyze Music, thuB enabling you to A To Detect Wrong Not s and faulty pro- I advanced pianist. Especially adapted for use with di^r'u™et°fsuch.crp?sit!?,ns as every good pianist * • determine the key of any composition, and “• gressions, whether in Langley Avenue and 41st Street, Chicago, Illinois and this collection is worthy of possession. good ^an4: There is an abundance of its various harmonic progressions. during the performanc i of a composition. Mathews Standard Graded Course. good material in this collection. I Please send me catalog, six free lessons and full information regarding P To Transpose at Sight more easily ac- [J. To Memoi course I have marked with an X below. “• companiments which you may be called Paul Wachs’ Album Beethoven Selected Sonatas I Standard Concert Etudes upon to play. □ Piano, Course for Students □Violin □Voice Price, $1.00 Price, $2.50 3 To Harmonize Melodies correctly and 6 To Substitute Other NoteB when for any □Piano, Normal Training Mandolin Price, $1.50 I □ □ Public School Music All lovers of good drawing-room music will be de¬ Only the more frequently played sonatas of Bee¬ * arrange music for bands and orches¬ • reason the ones written are inconvenient Course for Teachers □ Guitar tras. to play. Harmony lighted with this excellent collection. It contains nine¬ thoven, such as the Moonlight, Pathetique, Appassion¬ A collection suitable for advanced studv mirnose< I □ Cornet, Amateur □ Banjo, 5-String □ teen popular numbers of Wachs, chiefly of intermediate ato, etc., have been included in the fourteen sonatas the S =so Each lesson is an orderly step in advance—clear, thorough and correct; □ Comet, Professional □ Organ □ Choral Conducting that appear in this work. mat news standard Graded Course The renllv aernm not the mere mechanical application of “dry-as-dust” rules, but an inter¬ phshed Pianist should have this volume * I esting, intelligent, thoroughly practical method that grips your attention Nun...... Age and stimulates your ambition to succeed from the very beginning. A written I examination on each lesson, in connection with ample original work, de¬ Street No._ ~...... SHEET MUSIC AND MUSIC BOOKS velops your knowledge and firmly fixes the important principles in your mind. 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D. Appleton and Company Present an entirely new collection of concert piano compositions entitled Posed by Corime Griffith, Vitagraph motion picture star. Miss Griffith is one THE ETUDE oj many attractive Single Copies 25 Cents VOL. XLI, No. 2 women"in pictures" FEBRUARY, 1923 Prices who use and endorse Paper, $3.00 Ingram’s Milkweed One Way to Get Rid of Worry Cream for promot¬ Music Education in the Light of the Doctrine of Cloth, S5.00 ing beauty oj com¬ Recapitulation Thousands of musicians waste priceless time, opportunity Postpaid plexion. and energy by worry. By reason of their confinement and the The drum, and not the piano, the violin, the trumpet or the very exacting nature of their work, they worry all too much. organ, would be a better instrument for the beginner, if we ac¬ Worry is the intellectual cancer of the times. Indeed, there are cept the doctrine of recapitulation. Recapitulation frankly those who have gone so far as to claim that worry is one of the [ Not Sold in traces embryologically, the strange analogy between the devel¬ predisposing causes for cancer. opment of human life and the history of animal existence. It Send us a dime for We admit that there are times when conditions arise which Ingram’s Beauty reaches back through the eons to fossil manifestations of living seem insurmountable. They come to us all when we least expect Purse containing things. Its evidences are startling at every step. As life has them. It is silly to say to the man with a deep bereavement, Jo gain and retain the charm samples of Ingram's 1 adjusted itself to new phases of existence, many amazing devel¬ “Keep everlastingly hopeful.” He needs something more than Milkweed Cream, ofaperfed complexion Ingram’s Rouge, opments occur. For instance, in the case of the whale, it is hope. Religion is a solace for many. Sympathy, beautiful as Ingram's Velteola Containing forty-four (44) of the greatest masterpieces the sluggish tissues of the skin. Souteraine Face apparent to many that this huge mammal once possessed hair and it is, often proves the food for more and more Avorry. What Used faithfully, it will bring to Powder, an eider¬ legs before it took to the semblance of a fish. In this we have we need is a practical remedy; and we present here Avhat seems used by the world’s famous virtuosos in concerts you, just as it has to thousands of More than t down powder pad, a peculiar case of atavism, in which the animal has reverted to the most sensible means of getting rid of worry. It is not new. throughout the United States and Europe. cream, more than a cleanser, In¬ attractive women, the matchless and samples of our gram’s Milkweed Cream, you will charm of a fresh, wholesome com¬ other leading Toilet- a previous type and lost the characteristics of certain manifesta¬ You will find it in the philosophy of the world from Plato to plexion. At your druggist’s—50c CONTENTS find, will soon soothe away all Aids. tions of a higher zoological level. Most progress has been in Freud. You will find it in the ethics of all times, from the Bible, traces of redness and roughness and $1.00. Arensky, A.Basso Ostinato, Op. 5, No. 5. ■—soon banish annoying little Musician s—Ingram's Milkweed the other direction. We are said to house in our own bodies to the latest interpretations of the Book of Books. We have Bach, J. S.Toccata and Fugue (Tausig Arr.). Cream rubbed into the finger tips will merely attempted to put in concise phrases our conception of blemishes. soften hardness and t. ' over one hundred rudimentary organs passed into disuse in our Balakircw, M.L’Alouette (Paraphrase). Ingram’s Milkweed Cream, has an keep for your fingers th upward march. the great practical truth which we trust may help you, if in Beethoven, L. van .. .Ecossaisen (Busoni Arr.). exclusive therapeutic ^property Thus, from birth on, the recapitulationists compare the your musical life you are inclined to worry. “ " Thirty-Two Variations. which serves to “tone-up," revitalize Frederick F. Ingram Co. I. Worry for the most part is a matter of either the “ “ Turkish March (Rubinstein Arr.). JT * Established 1885 different stages of the child’s development with the history of the human race. Many educators feel that this has an all-impor¬ memory or of the imagination. This is one of the reasons why Brahms, Joh.Rhapsody, Op. 79, No, 2. Ingrams 4st-“' " Waltzes, Op. 39. tant bearing upon the means we employ in all branches of edu¬ musicians are often inclined to worry. They have strong mem¬ Brassin, L.Magic Fire Scene (Wagner). Milkweed cation. If the child, in this progress from the cradle to man¬ ories and vivid- imaginations. Chaminade, C.Automne, Op. 35, No. 2. hood, passes upward through phases comparable to the rise II. Therefore, worry is due to unpleasant, disagreeable Chopin, Fr.Ballade, Op. 47. Cream of man from the primitive and savage state to a high degree memory impressions (past) ; unpleasant, disagreeable anticipa¬ " Berceuse, Op. 57. of culture, it would seem that in music the first step should be tions (future). “ Polonaise, Op. 53. to teach the child rhythm. The first music of the savage is III. Worry, therefore, is not so much a matter of the Granados, E...Spanish Dance. present, as of the attitude of your mind toward the past and Handel, G. F.The Harmonious Blacksmith. largely rhythmical, and the first musical impulses of the child the future. Occupy the present. Get a job. Do something Haydn, Jos..Variations in F Minor. From Grandmother’s Garden are not far removed from the tom-tom. Thousands of teachers Henselt,A.Si Oiseau j’etais, Op. 2, No. 6. have already recognized this in the training of young children. which interests your mind tremendously. You cannot alter the Leschetisky, Th.Andante Finale de “Lucia,” Op. 13. They have classes in rhythm in which the teacher plays attractive past. The future depends largely upon what you are doing FIVE NEW COMPOSITIONS Liszt, Fr.Polonaise (E Major). pieces in different rhythms, while the little one thumps out the at present. Fill your present mind with constructive, worth¬ FOR THE " Rhapsodie Hongroise, No. 2, FROM rhythm on a table, a triangle, a drum or a book. After rhythm while work and there will be no room for worry. " Rigoletto Paraphrase. PIANOFORTE would come oral music, representing the stage of human his¬ Search- the whole literature of worry and you will find " Soirees de Vienne “Schubert.” tory when mankind conveyed its tunes from mouth to ear, down no more practical remedy. The real cure is in the job. “Outwit¬ MacDowell, Ed.Hexantanz, Op. 17, No. 2. the ages. Finally, would come singing by sight, and later the ting Our Nerves,” by Jackson and Peabody, deservedly the Mendelssohn, F.Rondo Capriccioso, Op. 14. Variations Serieuses, Op. 54. art of playing some man-made instrument. most successful book upon the subject, indicates how a large MRS. H. H. A. BEACH part of our bodily ills are due to worry. Boil down the remedies Moszkowski, M.Caprice Espagnole, Op. 37. (OPUS 97) Notable, indeed, is the fact, that the trend of modem edu¬ “ Valse, Op. 34, No. 1. cation, consciously, or unconsciously, recognizes this in music these specialists prescribe and you get in the quintessence. For¬ Mozart, W. A.Fantasia in C Minor. The complete set is being teaching. The whole elaborate system of Jaques-Dalcroze is get it and get a job. “ Theme and Variations (Sonata No. X). based upon rhythm first; and thousands of teachers are making Rachmaninoff, S. .. .Prelude, Op. 23, No. 5. played by the composer in her their children beat time and tap time as a first step. Rote sing¬ " Polichinelle. Radio-Mad recitals with great success. ing is adopted in schools everywhere. The idea of absorbing Rubinstein, A.Kamennoi-Ostrow, Op. 10, No. 22. When the player-piano and the talking machine first came good music by means of the phonograph is becoming universal. " Staccato Etude, Op. 23, No. 2. Catalog No. Price Catalog No. into existence we were pestered with questions about their Saint-Saens, C.Caprice “Alceste” (Gluck). 18436 MORNING GLORIES .50 18,U MIGNONETTE Let it be said, with all honor, that the public school music possible effect upon the work of the music teacher. Our reply Mignone Sapellnikoff, W.Elfin Dance, Op. 3. Morning Glories is a harp-like improvisation. 18439 supervisor (possibly because no other road was open to him), invariably was, “The more music in the world, the more em¬ Schubert, Fr.Impromptu, Op. 142, No. 3. recognized this need long before the private teachers of instru¬ ployment for music teachers.” " Marche Militaire (Tausig Arr.). ments ever dreamed of it. Luther Whiting Mason demanded it. The prophecy was an easy one. There are a far greater Schulz-Evler .Concert Arabesque “Blue Danube.” 18437 HEARTSEASE Tapper, Dann, McConathy, Earhart, Pearson and others have Schumann, R.Papillons, Op. 2. Heartsease is a tender lyric in modern style. number of successful teachers in the world to-day thaD when carried the torch to the children of to-day. Mrs. Frances E. Schiitt, Ed.Paraphrase “Der Fledermaus.” the sound-reproducing machines first came. Now a few doubt¬ Scriabine, A.Prelude, Op. 9, No. 1. All These Pieces are Worthy of a Place on Any Concert Program Clark, when Superintendent of Music of Milwaukee, saw, with ing Thomases are concerned about the radio craze. We confi¬ A Portron of One of These Artistic Piano Offerings Is Given Below. Sinding, Chr.Marche Grotesque, Op. 32, No. 1. remarkable prevision, the value of the talking machine in school dently predict that the radio is now manufacturing musical All are in Grades S and 6. Tschaikowsky, P. .. .Theme and Variations, Op. 19, No. 6. music. At first she was obliged to fight against severe odds to ambition at a far greater rate than ever before. The marvel ♦No. ,8437 HEARTSEASE Wagner, R.Magic Fire Scene (Brassin Arr.). Published by spread the idea, and even with the immense resources of the of radio, the annihilation of space and the gradual cheapening Weber, C. M. von .. .Invitation to the Dance, Op. 65. e-*a«v vuc.so—« Mr,.H,H A. BEACH, 0,.S>. No. Victor Talking Machine Company (for which she has been of the apparently endless amount of paraphernalia that springs To Canadian Readers of the “Etude’’ —Owing to copyright restrictions,none of directing the educational work for years), she has had an uphill into existence, once one starts to radioize (if that isn’t the verb the books in the “Whole World” Music Series are sold in Canada except a special battle. Now, however, talking machines are in the public schools edition of “Piano Pieces the Whole World Plays” sent postpaid for SI.SO we don’t know what it is), has made the country radio mad. Of Special Interest—The new 56-page catalogue of the “Whole World” Music everywhere. The result of all this is that teachers of instru¬ Radio has torn down the walls of the concert hall and Series will be mailed free of charge to any reader of the “Etude” ments of coming years will get infinitely better musical raw admitted the multitude. The pianist can play to a hundred material than in the past; and the interest in playing instru¬ thousand now, instead of to five thousand. Every time he plays D. APPLETON AND COMPANY ments must advance enormously. there are hundreds listening who would like to play as well, 35-39 WEST 32nd STREET NEW YORK CITY 77 Please mention THE ETUDE when addressing our advertisers. THE ETUDE FEBRUARY 1923

„t « however, it to co™ ***J*^£'*£. Getting a Start as a Virtuoso who will try to play as well, who will employ teachers to teach works of the older masterly composers as them. of later date, who took it upon themselves to observe fewer An Interview Secured Expressly for The Etude Music Magazine with In fact, the radio is only one of the spokes in the wheel of restrictions, as romantic compositions. Thus t be wor s o MISCHA LEVITZKI our present great musical prosperity. masters since Schumann, Chopin, Weber and Schubert [Editor's Note : To find yourself, at the age of twenty- Neither one was especially musical. His first instruction and, 1916, the residents of Berlin enjoyed one of the greatest looked upon as romantic. They have somewhat less of the four, a well-established virtuoso, playing before large audi¬ was received in Warsaw from Michaelowski, an excellent musical seasons ever known in the Prussian capital. Indeed, ences on two continents, loith great success, is given to very routine teacher. At the age, of eight he was brought to Amer¬ it was difficult to realize that there was a war. The youthful A Sure Cure for Everything rigidity of form which some of the older masters thought neces few of those who study the piano. With Mischa Levitski, ica, where he became the pupil of Sigismund Stojowski, pianist captured the Berlin public, but at the same time however, the training began so early and was pursued with whom Etude readers know by his frequent contributions longed to return to America. After short tours which This is not an advertisement for a Quack Remedy. You sary, and they seem to allow for freer play of the emotions. such regularity under masters of note that he was able to to this journal. Stojowski was then teaching at the Insti¬ reached to Norway, he came to America, making his Amer¬ Yet you may write a classic to-day if you can. If you can make his debut when he was but fifteen. Since then he has tute of Musical Art. He then went abroad, studying with ican debut at Aeolian Hall, New York, in 1916. Since then can find plenty of sure cures in the columns of country news¬ made tours each year of thousands of miles, commanding Brno Dohnanyi, the famous Hungarian virtuoso composer. he has played with all of the leading American orchestras combine in one work great inspiration, lofty idealism, original¬ large audiences in Australia as well as the United States. His debut was made in Antwerp, followed shortly by a highly and has given many recitals here and in Australia. The papers. There are also musical methods—particularly voice He was born at Kremenchug (Russian Ukrainia) May 25th, successful debut in Berlin, At that time Germany was confi¬ following tvill be read with great interest by thousands of dent of victory (1914); and during the ensuing years, 1915 aspiring pianists.•] methods—that are no different whatever in their claims from ity and rich technical experience, you are capable of making a 1898. His parents were American naturalised citizens. classic. “Boris Godounoff” is a classic of its type; and yet it patent medicines. We advise our readers very strongly to keep The First Steps “All youths have an idea that power in playing is the a full rich tone, or very fast and very soft. Fleet, sure, their eyes open to vocal quacks, who claim positively that was so deficient, technically, that Rimsky-Korsakoff-had to re- “Getting a start as a virtuoso? Let us start at the great essential. It is, but it is not: power in the ordinary clean scales are a real attainment. To be able to run them off in almost effortless fashion, is a necessary part results will be produced within a certain time. The greatest edit the work as a whole. Furthermore, this Russian classic, real beginning. One can begin only in one way and that sense of the word. A powerful performance is by no ' is to develop the love for the best in music at as early means a noisy one. In fact, the pianist who resorts to of the equipment of every well trained pianist. voice teachers in the world would not dream of making such representing a type rather than a form, is far removed from an age as possible. Success proceeds from right thinking, sledge-hammer blows, treating the piano like an anvil, the so-called classical operas of Gluck. statements. We know of certain firms, with propaganda not insatiable desire and sincere, earnest, diligent work well may give anything but a powerful performance from the The Greatest Artists Self-Taught Classics come in every age. Mendelssohn was capable ot in one whit different from the medicine fakirs, who offer to do directed. There was a time in my childhood when I could artistic and spiritual aspect. “In the wider sense of the word the greatest artists by mail what world-famous masters would hesitate to do with writing in very severe style, and his words are often referred to hardly be driven from the keyboard. Indeed, my parents “I have known of some pianists who have purposely are self-taught. In my own case I was fortunate in hav¬ sought pianos with stiff actions, for practice, so that their ing years of training under renowned teachers. This is the voice in person. It remains for the musical profession to as classical, because he followed the models of his predecessors. were greatly worried about my health because of this. Yet his “Songs Without Words,” which deviate from the old One of the reasons why many students fail in their youth octaves and bravura passages when played upon an ordi¬ a great asset, but thousands of pupils have a similar choke off these fakirs by informing the public about them. nary piano would roar out like thunder. They class piano- asset advantage. What counts is what the individual forms to a degree, thought radical in his day, are now unques¬ is that they have to be driven to the keyboard. Instead of developing the natural love for music so that the great -playing with pugilism. Yet with all their pounding they artist is able to put into his playing as a result of his tionably classics of their type. The “New World Symphony is desire is there, many people seem to think that the proper fail to give the impression of power which comes from own cerebration, the conscious and unconscious action of Classic and Hemi-Demi-Semi-Classic a classic; “The Dream of Gerontius” is a classic, as is. the procedure is to put on a kind of musical whip and com¬ the consciousness of playing with one’s artistic and his brain, developed through study. What the teacher spiritual reservoirs filled to the brim, although the body does for the artist is just so much. What the artist adds As regularly as the hands of the clock move around, there Keltic Sonata and the “Rosenkavalier.” All these, written pel the pupil to study. “Of course there came a period when I would rather is relaxed. creatively to what he has absorbed from his individual is sure to come to the Editor’s desk at given intervals this within our memory, are certainly to be reckoned among the play baseball than practice, but after a short while the “Of course complete relaxation is an impossibility if teacher is what makes him an individual. There are classics. Thus does this will-o-the-wisp word evade us. What, inquiry:— love came back and I was willing and glad to put in the one is to play the piano. The thing that the student must thousands of conservatory graduates every year who “can “What is meant by the word ‘classic?’ How is classic again we ask, is a classic? A classic is a work of art coming long hours without which it is impossible to compete with seek is the happy .medium, that is, the point where the play like streaks.” Most of them are very much alike; different from ‘romantic?’ ” from the mind of man which will attain immortality. Now we the intensive musical progress of the time. Do not greatest results can be produced with the greatest usually depending upon what they have been taught economy of effort. rather than what they have thought out for themselves. One solution of our problem would be to keep a permanent shall look up the definition in the dictionary. imagine that there was any magical recipe. In my child¬ hood in Russia, the beginner’s book was the famous “To get a start as a virtuoso in these days, when con¬ definition in The Etude; another is to go for it occasionally method by Beyer. There are possibly dozens of other An Individual Problem cert platforms are literally flooded with artists, real and as we are doing now. beginner’s books equally good and probably many better “This, like everything else in art, is an individual prob¬ potential, one must reveal to the public some new and We do not wonder that our inquisitive friends are baffled. How They Got There and more in keeping with the advancement of the art and lem, something which one must teach one’s self. The fresh aspect of art which can only come through your Few words in the language have been as badly battered as with the needs of the times. However, the point I wish teacher can help, of course, but after all it is what one own brain, plus the best experience the world commands. The way to learn is to learn. There is no other secret. builds in one’s own mind that is of the greatest signifi¬ To get the real kind of a start as a virtuoso you must do “classic.” Indeed, we now find advertisements with the word to bring out is that it is not the book, not the cut-and- If you really want to learn you will hurdle over obstacles which dried method that counts, but the application of the means cance. Every case is different. The boy with leather something genuinely artistic which will stand out from “semi-classic”; and it has a definite significance for many peo¬ others think unpassable. If you have not the intense desire, to the individual pupil. hands fresh from the baseball diamond cannot be treated the crowd. Your natural talents combined with your in¬ ple. It is not impossible that we might some day find hemi- the greatest teachers in the world will be of no avail to you. as would be a somewhat dainty young girl. I remember trospective study of yourself, and*the artistic works you The Confusion of Changing Teachers a girl in Germany who had the softest and most delicate elect to interpret, are therefore of vast importance. demi-semi-classics put forth for sale. Here are some ways in which people, hungry for progress, Just this morning, on the way to the office, we saw a “Fortunately I was spared the confusion of many- hands and yet she played with great power, largely be¬ have gotten ahead: changes of teachers. Going from one teacher to another cause she had learned the secret of forgetting to bang. Ill-timed Debuts “twelve-sheet” fence sign which by now is probably plastered A man in the business side of music found need for more in the hope of finding some magical method is a frightful “This economic principle in piano playing applies to “Getting a start as a virtuoso means getting the right over the landscape from coast to coast after the manner of the colloquial knowledge of the Italian language than he could waste of time. Choose your first teachers with care and everything done at the keyboard. One must not expect start. Thousands of careers are launched only to be billboard eruptions with which our country seems to be chroni¬ secure from the ordinary book. He bought a number of libretti discretion. There is always some teacher whose work to apply it to pieces alone. It is just as much needed wrecked shortly after the keel has touched the water. cally diseased. This sign read at the top with pupils is outstanding in character and results. The in the simplest exercises or in scales. To my mind they The launching means nothing if the artist does not of the modem “realismo” Italian operas and, together with his advanced pianist only rarely accepts beginners. There¬ should be practiced either of two ways, very slowly with survive. “CHAPLIN CLASSICS” smattering and the parallel translations in the libretti, he soon fore one must judge by results with the pupils “A debut is a very expensive thing. A failure Underneath was the picture of “Charlie” himself, with his found himself speaking the kind of Italian he needed in his themselves. Once I recollect that my work was debut is still more expensive. The managerial splay feet, his dinkey derby and his undulating shoulders, which work. interrupted by having a teacher who was more cost, the advertising, necessary in these days, the anxious to see his fanciful ideas of a special excitement of the event, all concentrate much in have brought such screams of laughter from thousands who A country school teacher realized that she would soon be method carried out than he was of having me to the life of a young person. Why is it then that compelled to move from the little red school house to one of enjoy his amusing clowning. Certainly he bore little analogy play beautifully. Among other things he had a there are so many ill-timed debuts? Better none to the Temple at Kamak, the Oedipus, the Divine Comedy, the modem group or community schools, made possible by the fad of teaching me to play with straight fingers. at all than one given by an unripe talent. Thou¬ King Lear, The Night Watch, Westminster Abbey, or the automobile transportation of pupils. She knew that a larger Fortunately my mentors at the time had good sands at this time are doubtless bewailing the fact Eroica. Yet his managers, who listed a number of screen come¬ knowledge of music would be a help to her. She invested ten sense enough to realize that no pianist of high that they cannot rush right to New York city and standing before the public played with straight make a sensational debut. In most cases they are dies, were not without propriety in their use of the word dollars in the best books on the subject and saved up for a course fingers, and accordingly I was fortunately soon- poorly prepared. Remember, after a debut-fail¬ at a Summer Music Supervisors’ Normal. In three years she “classic,” because the word to many merely connotes a “model.” placed under the direction of one who realized ure it is next to impossible to gain recognition, To such minds, anything that is typical of its kind becomes a became a full-fledged music supervisor. that the curved hand position was the only normal without an enormous effort. The opportunity for classic. Thus one might have a classic circus, a classic auto¬ A young man in Missouri felt the need for a music library. and natural way to play the instrument. How¬ preliminary experience is right at the door of ever, this interruption cost me a waste of a lot mobile or a classic soap. He resolved to spend not less than one hour a day in. personal most of these students. Don’t hesitate to play, of valuable time and energy. Last week we saw an advertisement “Classic Jazz”—which, visits and in correspondence for securing subscriptions for and play, and play, for all kinds of audiences in “When it was discovered that I was destined to small towns. Study your audience for reactions. of course, merely means that some melody from a masterpiece musical magazines and to invest the products in musical books. be a virtuoso, I was greatly delighted and began Don t make fun of them or pity yourself because has gone through the hands of one of the Torquamadas of Tin In fifteen months he had a library that was the pride of the to make definite plans for a career. One of the they seem provincial. They are all human and Pan Alley until its original beauty has been demolished beyond neighborhood. .first things that came to me was the fact that the you may learn much from them by your playing. modern virutoso. must undergo a great strain recognition. Chopin, Schumann, Rubinstein, Wagner and A. great English editor, desiring “to keep up his music,” If you fail to move them, don’t blame the lack of throughout the better part of his life. The strain musical culture, but look to your own playing. others have all been pillaged for “Classic Jazz.” One thing in determined to spend fifteen minutes every day in practice. His of constant study, constant' appearance before Liszt could move them, Rubinstein could move its favor is that, with certain very ingenious and skillful ar¬ playing would now put to shame some professionals. strange audiences with the consciousness that the them, Paderewski could move them. rangements, the tunes get into the musical currency of the day. A young girl in a western college took an inventory of responsibility for success depends upon himself One New York publisher went so far as to say to the editor her technical shortcomings. She found that octaves were her alone and is not, as in the case of an orchestral The Severe Test player or the member of an opera company, di¬ some time ago: “What is a ‘popular number?’ Only some tune weakest point. She devoted ten minutes a day for six months “New York audiences today are a- terrific test, vided with several others. The pianist appears as severe as any in the world. The concert-goers taken from Grieg, Mendelssohn or Schubert and jazzed up.” to octaves and surprised her friends with the results. for the most part alone upon the stage. He must Then he went on to confess without shame of the number of have heard the greatest pianists for generations, A well-known musician was asked to write an article for a hold his audience delighted, enthralled, if pos¬ and they will accept nothing but the best. Not sible, for nearly two hours. To do this it was times he had compounded in a musical felony—explaining that musical journal. He replied that he would like to, but had no until you have played and played for audiences very clear that, combined with the strain of hard it was the only way in which the classics could get to the people. time. When it was suggested that he might spare ten minutes outside of New York, until you are confident of travel, the first great essential was to attain a But what is a classic? A classic in music is any composi¬ a day m assembling his ideas, he followed the plan, and in a your powers, should you dream of attempting a degree of relaxation far above that experienced New York debut. tion widely identified by the best musicians as a piece worthy few months had an excellent article that was widely quoted. by most people in ordinary walks of life. of immortal recognition. Thus the Bach Cantatas are classics. “It should be remembered that quality and not A little concentrated attention at a time, every day of the quantity is what really counts, always and for¬ The Handel Organ Concertos are classics. The Beethoven year has been the secret of the success of thousands of notable The Most Important Secret ever in art. Many students make the mistake of Symphonies, the Mozart Sonatas are all classics. In the art people. “To get the right start as a virtuoso one must trying to acquire too extensive a repertoire too therefore comprehend the true meaning of relax¬ early in their career. The literature of the piano Kabej-Rembrandt Studio ation, not merely relaxation of the hands and has assumed tremendous dimensions. Far better 78 arms, but of the mind and body as well. MISCHA LEVITZKI to master a worthy portion of it than to dabble in FEBRUARY 1923 Page 81■ TEE ETUDE TEE ETUDE

Page 80 FEBRUARY 1923 Upside Down Cultivated Eccentricities of Musicians; Their Futility Turning Old-fashioned Musical Traditions all. There is no short cut in art. Learn all well or not at By the Famous English Composer, Pianist, Author all. Do not try to play twenty concertos superficially, if By V. R. Grace you have lived only years enough to master ten well. The others will come with time and study. of them. The same is true of singers. It is easy to CYRIL SCOTT “'When playing in public it always Is far better to play Of all the many professions there is none m which enumerate a number who are immensely popular, on ac¬ to his art quite apart from his esoteric tendencies as exhibited in some of pieces well within your powers than to let your ambition- there exist so many cases of exaggerated egoism, or count of their direct, natural appeal to their audiences. [Mr. Cyril Scott enjoys the peculiar distinction of being a modernist studied and unnatural mannerisms and cultivated ec¬ his works. In “The Philosophy of Modernism”—one of several published scamper ridiculously after works that are so far beyond It is a pleasure to attend performances where such whose works have been received with delight by the cognoscenti, but who you that the most unskilled audience cannot fail to centricities, as in music. In academic life these things books upon music and occultism—he discusses in character the present-day voices appear. There is such an evidence of their love lias also written compositions of an idealistic character which have had a notice it. , . are often found among the young undergraduates, but, of music, for itself, without the unpleasant assertion ot tendency to do away zvith old conventions. Our readers will find this pre¬ unfortunately, in music, they are not confined to be¬ very large sale. This indicates very clearly that Mr. Scott, who has been “The average pupils’ recital is often made up of show the personal element. „ . sentation of new conceptions of musical values to be very profitable reading.] pieces which are veritable struggles for the students. Far ginners, but exist in the developed musician, who, Such musicianship borders on genuine greatness and a frequent honored contributor to The Etude, has a broad human appeal through years of study, preparation, and contact with better to have them play the Kinderscencn of Schumann puts to shame those who attempt the assertion of then- time-signatures in the bars themselves—a very significant hand in one sense, and that is in the sense of pre-exist¬ his fellow beings, should rise above such absurdities. What are the great present-day changes in music? in a truly musicianly manner, indicating that they compre¬ personalities at the expense of the music. With these, point in musical evolution, though offering difficulties of ing laws. Whether the new “rules” which the composer hend and feel what they are playing, than the prevalent Such characteristics are certainly not American in Take, to begin with, the question of a melody, hoW at it is not Brahms, or Bach, but Brahms as John Smith performance which one must concede are not without engenders for himself are at first apparent to the listener, battles with Liszt Rhapsodies and the inevitable later essence; for, from the view-point of national character¬ one time it extended over a few bars and then came to is another matter. It is more than likely that they are would have him, or Bach as Mary Jones believes him to drawbacks. Beethoven Sonatas which call for piano playing of the istics, Americans are plain, direct people, of a demo¬ a close, being, as it were, a kind of sentence, which, far from being so. As in other domains of mental activity have been! It seems almost safe to observe that all of Then, finally, to come to the matter oi.form, already most mature character. cratic turn of mind—a marked contrast to the attitude after running' for the moment, arrived at a full stop, people talk of the supernatural, or the impossible, or the our great, successful singers, those we hear and read partially dealt with in the previous chapter, and here I existing in European countries. It is not meant to or semicolons. Take this and compare with it the modern contrariness to the laws of Nature, merely because there Era of Sensational Advertising Past about from year to year, are those who have absorbed mean what we may call the architectural side of composi¬ imply that they are lacking in education, or refinement, tendency: for that modern tendency is to argue , that may be laws which they are ignorant of, so in music do the spirit of musical democracy. An assumed air ot tion, why should we endeavor to put new matter into “Everybody seems to know in this day that the era of but, living in a free land, the normal attitude is away a melody might go on indefinitely almost; there is no people talk of formlessness and anarchy as soon as the professionalism is certainly not an asset in a musical old forms, as some people advocate, instead of creating sensational advertising is past. Advertising is necessary from precedent, tradition, and class-feeling, so long a reason why it should come to a full stop, for it is not structural design is not founded on a hackneyed one, or performance where the most sympathetic feeling of co¬ new ones? If a so-called rule is so unstable a thing, of course, but only the artist whose work advertises itself heritage of the older nations. a sentence, but more a line, which, like the rambling is not blatantly transparent. The form of an ocean and operation is essential to a smooth and successful pre- and if music is freer from those limitations which com¬ in the sense that he is demanded again and again after he incurvations of a frieze, requires no rule to stop it, the form of a tree are two vastly different things, and has once had the opportunity for appearance, is the one Unbearably Conceited Conductors sentation. Particularly in large ensemble there must pass' them than other arts, then to wish to put new exist a finer sort of feeling and relationship between but alone the will and taste of its engenderer. Then yet both have undoubtedly got form; just as the ram¬ to whom wise, managers can afford to devote their time. Yet those who come in contact with conductors, matter, so called, into an old form, gives birth not only conductor, orchestra and singers. take again the question of key, of tonality. At one bling incurvations of a frieze and the “Venus of Milo” The advertising investment in the way of announcing con¬ singers, and instrumentalists, soon discover just how to an anachronism, so to put it, but is also likely to There has been considerable criticism of a general time every composer, as all know, wrote in a certain are likewise diverse in the largest degree, although both certs through the papers and through posters, the cost of obnoxious and absurd the assumed and cultivated eccen¬ asphyxiate or considerably cramp the outflowing inspira¬ nature of late as to the monotony of orchestral programs key, only wandering from that key within a certain possess formal characteristics. Structure, then, is not arranging tours, and other expenses are very large. tricities of these people are, how much annoyance they tion of the creator. That it may be possible to put new —the routine performances of the masterpieces and the limited area, and always returning to that key at the good or bad according to the pattern on which it is “Unless the artist plays in such a way that this invest¬ cause, and how very little they have to do with genuine matter—and by this I mean, of course, melodies and absolute lack, or almost that, of new works of large or end of his composition. Yet nowadays we ask ourselves: built, but alone according to its own intrinsic goodness ment becomes a permanent one, he is a bad business musicianship. When it becomes known that a conductor, harmonies—into an old form, one does not doubt; but small dimension. This situation is due at least to some Why limit our inspiration by this hampering fetter of or badness; the merit of the thing itself. And thus we . venture. or performer, is a genial normal being, he at once be¬ when it comes to be regarded as a virtue, then the degree to the unfortunate path of the growing American key? why have any key at all? or why not invent new require a different starting-point for criticism than as “Sooner or later the public will find out the truth about comes an object of genuine admiration and he is marked extreme danger appears, for this supposed prerequisite composer. He may study for many years under effi¬ scales, or regard the whole of tonality as chromatic? to whether a musical structure is like Sonata-form, an artist, and false claims made in advance are positively for the appreciation of the public which supports him. for greatness' on the part of the academically-minded, cient masters, and write works of smaller type, hut the Thus some of us have abolished key-signature alto¬ Rondo-form; we require to ask, Does it flow, has it injurious at all limes. I know of the case of one singer There is a limited group of such musicians in this this admiration for mechanical adjusters and fitters of one thing which will establish him musically is the ap¬ gether, and have bid farewell to an old convention. any real standpoint of its own. or is it a mere series who was heralded as ‘the greatest of his kind.’ He was country, and it is safe to assert that they are the real every musical,, or rather unmusical, description is on the pearance on a standard symphony program, a hearing Indeed, in the music of the past we can already see a mighty fine singer with a splendid European reputa¬ leaders of musical progress in this great, growing nation. high road to reduce music to the plane of mathematics, of irritating and meaningless full stops?—since nothing at a choral festival, or in the opera house. But these this tendency, and how the later composers have wan¬ tion, but his manager’s advertising immediately chal¬ Instead of excluding themselves from all contact with and to cause it to fall from the pinnacle of its artistic can be more aggravating than a continual coming to an things are very far from the average composer, so far, dered farther and farther afield from the key in which lenged comparisons with other singers well established in the musical life around them, they are willing and ready, heights into the abyss of mere mechanicalism. To have end and a continual restarting. The decree of incessant in fact as to be almost impossible. No composer can they started out. favor in America. The result was he has ever since been as far as lies within their power, to assist composers, certain very fixed and unlimited ideas about form, and flux (remember an ancient philosopher) is one which develop orchestrally without hearing, from time to time, trying to overcome the sensational and altogether unnec¬ or performers, who promise to become worthy musical should these ideas be not accurately subscribed to, to pervades the universe, and the grandiose rhythm of the the results of his pen. Practice in this field is as im¬ Wandering from the Key essary boasts of his manager. In getting a start as a personages. Thus, instead of acting as a backfire to misname the musical composition, whatever it may be, as ocean, or the babbling seductiveness of a rivulet, lies portant as in the realm of piano, organ, or violin music. And yet, there are many who urge. If you start virtuoso, learn that no matter how clever your advertis¬ musical development, they are encouraging just that in its eternal continuity. Even prose, a thing to serve It is impossible to get wheat without tares, and it is out in a key you must come back to it; you may wander formless, this is an injustice, alone arising from pedantry ing, the main thing is yourself. If you please, your adver¬ quality which American music needs at this moment—a a definite purpose, is considerably augmented in value necessary that some shall fail that others may succeed away in the intervening time as much as you wish, but and limitation. I put the question: Why should not the tising becomes an asset. If you fail to please, your kindly attitude towards her native musicians. number of forms be as illimitable as the number of con¬ when the epithet “flowing” can be attached to it ; and advertising becomes a liability.” Many foreign conductors especially—and others as But unless those in authority change their attitude on you must return to where you started; if you strive hence to talk of full stops or cadences in music, as if this most important matter, we shall be at a standstill tents calculated to go inside those forms ? And the answer well—become unbearable in their conceit and unsym¬ to be in any sense logical, masterly, artistic, and satisfy¬ they were a quality and not merely a questionable con¬ musically. Orchestral programs will go on, year hy ing to your hearers: for the ear, having once got accus¬ can alone remain for time to show. Certain it is that at Practice Rules pathetic in their attitude, as soon as they achieve an im¬ present, form and pattern are considerably confounded, in vention, is to place that art on a par with one whose portant post. Hence we read of maestros who have no year, containing the same set pieces, interspersed only tomed to a certain key at the beginning cannot rest con¬ sole function is not to please the ear but to deal with with dissonant, unimportant works given principally be¬ tented unless it hears that key once more at the end. that, should the form of some work not be based on an old By Iva McCullough Staffer relations with their men outside of the rehearsal room, pattern, the entire work is regarded as formless; and it is definite symbols, often, alas 1 at the expense of gratify¬ who will never give the aspiring composer a hearing, cause they are foreign and are supposed, therefore-, to That this is not true, however, can be shown by the ing that organ. We often extol prose when it becomes possesses “atmosphere”! Recall Charles T. Griffes, Un- fact that many ears, not too imbued with pre-existing against this exceedingly circumscribed point of view 1. Let no circumstance interfere with your lesson nor will they even examine his scores. The inevitable akin to music, and then we go and commit the error, American, whose exquisite imagination produced some conventions, have proved themselves perfectly contented that much warfare indeed might be waged. Pattern or practice hour. Concentrate, every moment of your outcome of this is that many dusty scores, the result of and form are different things, and the greatest geniuses however unconsciously, of extolling music when, with years of study and labor, are lying on shelves, never to of .the most charming music; yet his career was only under such conditions, and that such a standpoint is its semicolons and full stops, it becomes akin to prose, practice time. too soon halted on account of his copying orchestral neither logical nor specially artistic can easily be demon¬ in music discard pattern and invent a new form, because 2. Always practice systematically and slowly. see light. Thus many good works are lost, and perhaps an absurdity which requires but little pointing out; for parts into the small hours of the morning, after teach¬ strated. One might as well say that a business man their originality, their inventiveness, their absolute new¬ 3. Remember the artistic position of the hand—fin¬ an occasional masterpiece is passed by. let it be well noted that in literature a full stop or any ing all day and this, because he could not afford a starting out from the dingy regularity of a town (for ness, transcends the limitations of the ancient patterns. gers curved, raised from knuckle, nail joints not falling It is, of course, necessary for a conductor to protect species of punctuation is a mute thing, a symbol unpro¬ copyist. But his works are not appearing on programs a holiday), and arriving in the freedom of the meadows These they have unlearnt, and in their place have erected in, quiet hand. himself from the endeavors of all sorts of persons who a new formal structure, to which as strict an adherence nounced in the reading; but in music a close or a half¬ aspire to be heard; but that should never excuse him of the principal orchestras as they should. And he is and mountains should, as a matter of. artisticness and 4. Practice in strict time. Count aldud. Observe is often maintained as to those which have been dis¬ close means the irksome repetition of an exceedingly for refusing to make himself available in some way to but one of many worthy authors. logic, return to that town; but, in fact, the most artistic, rests; they are of the same value as notes. carded. The overthrow of the laws formulated by limited number of chords which, by their very frequent 5. Remember the mind must govern all muscular the opportunity of presenting new material. If is cer¬ interesting, and romantic thing to do would be for him occurrence, not only show a lack of invention, but also Frankness, Geniality, Naturalness never to return to it, but die in ecstasy amid those preceding musicians merely means the birth of new motions. tainly not at all necessary to assume an impossible at¬ obstruct the smooth flow of the work in question. These conditions are known to all, but, as time passes ones, because lawlessness and genius only go hand-in- 6. Always listen intently to your own playing. Train titude on this and other musical matters. It is certain beautiful meadows, or wander away into some new and that the director who is kindly disposed and exhibits on, it will be indeed fortunate if the demands of the entrancing fairyland. That he has to The Modern Tendency your ear. public, and those directly associated with musical organ¬ 7. Do not play over the whole piece to correct one normal human kindness will long be remembered, while return is not specially an affair of logic, The modern tendency, then, is to in¬ izations, will be tempered with an interest in the promis¬ measure. Stop! Think! Listen ! the- unfortunate, who makes himself obnoxious and but of one of the misfortunes of every¬ vent new forms or structural designs, ing composer of America, so that, in turn, orchestral 8. Determine upon one fingering. Do not permit absutd, will be forgotten with satisfaction! day life and sordid money-making; a more subtle, more mystical, more flow¬ directors will be obliged to give them proper consider¬ yourself to employ another, but master this one. To be a master, and to direct the musical destinies of thing which is the antithesis of Art and ing than heretofore; and if I have made 9. Maintain a correct and comfortable position while those under his baton, does not require the assertion of ation. And let those who aspire to become successful Music. no mention of modern harmony and studied mannerisms. The public are keen to observe in their chosen musical endeavor realize that musician- at the keyboard. polyphony, it is because we should the man as he is, and it is a general belief that such The Question of Rhythm 10. Read good literature. ship and refinement count for all. Without these noth¬ involve ourselves in technicalities too assumed characteristics are but a coat of protection, ing is possible. Then to go on to the question of complicated and perhaps too tedious to worn by musical personalities who need it. Such an Also, in this great democratic land, void of class dis¬ rhythm. Is it in any sense a pointless be of great value to us at the mo¬ Teaching Key-signatures attitude is not American and has no place in the music tinction and other relics of the middle-ages, the normal, query to ask why we should be limited ment. of a democracy. It is but a hollow echo of the czarism national progress of all which is an expression of the life to that regularity, that unvarying three For the rest, I would add that, if S. M. C. of days gone by. To every successful man hero-wor¬ of the nation is towards frankness, geniality and nat¬ beats or four beats or six beats in a the moderns seem to be drifting away shippers will inevitably come; but it should be remem¬ uralness. The musician who would be the finer inter¬ ■ bar, when a much greater variety, so from the great patterns of the previous In Sharp keys the last sharp is always seven of the bered that they worship his powers and not his lesser essential to the holding of the listeners’ preter of the spirit of America must needs recognize Masters, instead of following in their scale; hence the key must be eight of the scale, or abnormalities. attention, could be gained by a con¬ these facts. Let the music, or the musician, be worthy footsteps, as so many think that they a half step to the right of the last sharp. In teaching It is not difficult to recall those conductors who have stantly varying rhythm, or no definite flat keys, let the pupil write the flats in order, and the established their musicianship without the scenic back¬ and that is all-sufficient, without the additional “stage- ought to do, and, if, instead of adding rhythm at all? Surely it is no argu¬ my censure to such an apparently un¬ flat next to the last one in the signature is the key-tone. ground of eccentricity. They are a lasting delight to setting” of unusual mannerisms, studied eccentricities, ment to say that, because for five hun¬ For example, Bb-Eb-Ab-Db-Gb, are the five flats in the the musical public, and only the best things are thought or other countless absurdities. grateful proceeding, I have upheld dred years a thing has existed in this or them and vindicated them, then it is be¬ signature. Cross out Gb, and D flat is your key-tone. in that form, therefore it cannot be cause there is another way, a more subtle This applies to all the flat scales, excepting F which can changed; for the answer would be, hav¬ be easily remembered as having one flat. ing existed so long in. that form, it is way, yet an infinitely more heroic Another method of teaching sharp signatures is to Rachmaninoff, the Russian musical giant, will give in the coming time it should be changed, since either way, of following those Masters, and show the pupil, that beginning with C, signature natural, we are weary of it or have exhausted that is, not by closely and accurately and progressing in whole steps, there is an addition of ETUDE the unusual tests which every piano student in Russian Con¬ its possibilities. That it finally be¬ following in their musical footprints, two sharps for each successive key. Thus, C, no sharps; servatories must pass. Could you pass these Keyboard tests with suc¬ came a.necessity, this abolishment of but in their psychological ones; by imi¬ D two sharps; E four sharps. Ft six sharps. This rhythmic regularity, is self-evident tating not their forms, but their cour¬ gives the keys with an even number of sharps. Be¬ cess ? His lengthy interview is one of the most interesting ever secured from the fact that Scriabine, Percy age, their creative enterprise, their ginning with G, and progressing in the same way, we ’u, THP FTIinF Grainger, and Debussy in some of their get G, one sharp; A, three sharps; B, five sharps; C# will to give to the world something that later works have varied the rhythm in seven ’ sharps. These keys have the odd numbers of has never been given before. every bar, as well as using the unequal CYRIL SCOTT sharps. TEE ETUDE FEBRUARY 1923 Page 83 Page 82 FEBRUARY 1928 TEE ETUDE Parents of Famous Composers A Musical Biographical Catechism How Caruso Practiced Daily Tiny Life Stories of Great Masters By Lynne Roche

ROBERT SCHUMANN Ancestry is ever an interesting study. Through it By SALVATORE FUCITO (1810—18S6) we find some curious capers of nature. By tracing the lineage of those who have excelled, we find that some [The following extract from “Caruso and the Art of Singing,” by Salvatore Fucito and Barnet J. Beyer, is made with the permission of the pub¬ By Mary M. Schmitz have been the final, sumptuous bloom of a plant that [Editor’s Note :—\V< ith a monthly series of biographies designed to be used by themselves, or lishers, the Frederick A. Stokes Co. This material is copyright, 1922, by the Frederick A. Stokes Co., and may not be republished. Maestro Fucito -nil such texts as The Child’s Own Book of Omit Musicians series and The has developed through successive generations; and, again, others have burst forth as a rare exotic. was Caruso’s coach from 1913 to 1921 and drilled him daily through much of this time.] Follow this through the succeeding table. 1. Q. Where and when was Robert Schumann born? ferent names, “Florestan” and “Eusebius.” When I began to work with Caruso, the opulence and Caruso frequently commenced the morning’s vocal Caruso would sing all the above exercises during his Composer Mother A. In Zwickau, Saxony, Germany, January 8, 1810. With some other young man he started the Housewife splendor of his golden voice, together with the poign¬ work by practicing vocalizes for about ten minutes, and second movement, that of expiration, carefully emitting 2. Q. Was his family musical? New Journal for Music, of which he was edi¬ Brahms Shopkeeper ancy of his masterly art, had already conquered the vast this he usually did whether or not he had a performance the air inhaled during the first movement—without any Cook straining, but with the least possible rapidity—in the A. His father was not a musician but was a great tor for ten years. Housewife musical public in the capitals of Europe, as well as the that day. During those ten minutes his whole being was lover of music. He was a bookseller. 11.. Q. For what instrument did Schumann write many Musician Musician great opera audiences in America. And yet, despite this intent on his work; his concentration was so great that volume required for the correct rendering of this exer¬ beautiful pieces? Donizetti prodigious achievement, the world-renowned artist worked nothing seemed to escape his acute earr cise. At the end of the exercise, his thorax, diaphragm 3. Q. Did Robert show much talent for music? Dvofak Butcher Housewife A. Yes, when he was a young boy he played on sev¬ A. The piano. Elgar Organist Housewife more industriously than ever, coveting a greater and Since absolute control of the breath is the basis of and abdomen returned to their original positions. eral of the instruments of the orchestra. He 12. Q. How many symphonies did Schumann write? Artist Pianist pure bet canto, Caruso would begin with his two exer¬ For the control of the breath, Caruso practiced the Surgeon Housewife greater command of his instrument. In fact, there was got together his school-mates and formed a A. Four symphonies for full orchestra. He also Wheelwright Cook never a moment during his brilliant career when Caruso cises for this purpose. Caruso, without any stiffness, following exercise—running the whole chromatic scale small orchestra for which he arranged the wrote many pieces for piano and strings. Baker Housewife complacently sat back and said, “I am satisfied.” Ani¬ would place his body in an erect position with one foot up to C, and sometimes up to C-sharp—in one single, music. 13. Q. Did Schumann write any songs? Skilled amateur mated by the spirit of the sincere artist, intent on his a step in advance of the other, as if to take a step. sustained breath. 4. Q. Was Schumann a college student? A. Yes, he wrote about one hundred songs. He is pianist ceaseless effort toward a finer and finer perfection, (It is important to note here that his entire body was Mendelssohn Highly educated A. Yes, he was a student at the University of Leip¬ considered a very great song writer. Caruso had set up standards in vocal art—for himself, completely relaxed—no portion of it rigid.) Then he zig and studied law there. After that he went 14. Q. Did Schumann write any operas? Musician Officer’s daughter would slightly contract (draw in) the muscles of the Musician (three at least—so rigorous that, however great his progressive 3^ to Heidelburg University, but he neglected his A. Yes, one opera, Genoveva. generations) Housewife attainments, his ideal was always in advance of even his abdomen and inhale calmly and without haste. As a law studies and devoted himself to music. 15. Q. Name some of the music Schumann wrote for Horn Player a Donn performance. result of this deep and slow inspiration of air, his dia¬ the piano. Strauss, Richard Musician 5. Q. What influenced Schumann to give up the law Schubert Schoolmaster Caruso was never a victim of the mean temper which phragm and ribs would expand and his thorax (chest) for music? A. Papillons, Carnaval, Novelletten, Phantasiestiicke, Schumann Bookseller degrades opponents in order to enjoy the cheap triumphs rise. At this point of the demonstration Caruso always A. He went to Italy on a vacation trip and there he Faschingschwank, and the great Etudes Sym- Tschaikowsky Mining Engineer Verdi Innkeeper of a petty rivalry. It is well known that he was gen¬ called the student’s attention especially to the diaphragm, heard the famous violinist Paganini, “The Wiz¬ phoniques. von Weber Musician erous in advice and assistance to his fellow-artists. explaining that when it assumed this position it consti- 1 These exercises, as well as the others which will fol¬ Wagner Police Clerk ard of the Violin.” This is said to have influ¬ 16. Q. What great Russian pianist first played Schu¬ When he was singing with an artist of little vocal power, tuted the principal agent for sustaining the column of air low, are useful for the purpose of increasing the agility enced him very greatly. mann’s music? he would modulate his sonorous voice that he might not which could be held in the lungs under the pressure and flexibility of the vocal organs. These vocalizes he 6. Q. Was his mother in favor of his fitting himself A. Anton Rubinstein, who was the first one to really overwhelm the less-fortunate singer. On one occasion, required for the production of loud and soft tones. sang after the model of the following exercises for understand and play Schumann’s music with for the musical profession? Finger Liberty Through Scale Playing during a performance of “La Boheme” at the Metropoli¬ “The second movement is exhalation.” equalization of the voice. the proper insight and feeling. A. At first she was very much opposed to it. Much tan, Caruso stretched this habitual generosity to an un¬ Here Caruso would perform certain vocal exercises, 17. Q. Who was Schumann’s wife? persuasion was required to gain her consent. By Helen C. McTeman precedented degree. The Colline of that night was in of which I - reproduce below the one most frequently 7. Q. With whom did Schumann study after he re¬ A. Clara Wieck, the daughter of his teacher, Fred¬ poor voice and wished to be replaced'by another basso. used by him. turned to Leipzig to begin his musical educa¬ erick Wieck. How do you practice the scale? I have found the The management urged and finally persuaded him to tion in earnest? 18. Q. Did her father oppose the marriage ? following method of great value for gaining independ¬ see it through in spite of his growing hoarseness. By A. With Frederick Wieck and Heinrich Dorn. A. It was only after much delay he consented to the ence of the fingers.: the time he had reached Vecchia simarra senti the un¬ 8. Q. What happened that made Schumann give up his match. It was a very happy marriage until in¬ happy basso simply could not sing a note. Caruso imme¬ study of the piano and devote himself to com¬ sanity clouded the life of the master. 1. Play all scales, Major and Minor, through for two diately thrust a cloak over himself and began to sing the position ? 19. Q, Was Clara Schumann a musician? octaves, accenting every second note, then play all A. He was so anxious to gain greater individuality A. She was one of the foremost women concert pian¬ scales through for three octaves, accenting every third famous Song of the Cloak with a good bass quality, to and strength of his fourth finger that he made ists of her day and her playing of his music note. Finally play all scales through for four octaves, the great astonishment of the other singers, the con¬ A (ah) should be quite open, with the mouth extended some experiments which resulted in disabling did much to popularize it. accenting every fourth note. ductor, and those of the audience who recog¬ in a horizontal oval; and the exercise should his finger for a while and he never regained 20. Q. With what great conservatory was Schumann 2. When the preceding has been thoroughly mastered, nized the great tenor through his disguise. be sung with great naturalness and abandon. the complete use of it. connected? practice the following in all the scales: Left hand, Caruso himself, however, had no fixed Gradually, as Caruso reached the upper range, hours when he retired or arose. It fre¬ 9. Q. What was the name of his first opus? A. With the Leipzig Conservatory, founded by his played legato, right hand played staccato. Then the the open vowel A would insensibly merge into quently occurred that he got up early the the vowel O, which continued steadily to be¬ A. Variations on the name Abegg. friend, Felix Mendelssohn. left hand played staccato and the right hand played morning following a night on which he had 10. Q. Was Schumann a literary man, too? 21. Q. Where and when did Schumann die? legato. come darker in color, or rather to change into A. In Endenich, near Bonn (Beethoven’s birthplace), sung; on the other hand, there were times the vowel U (oo), precisely as is here graph¬ A. Yes, when he was twenty-five years old he began 3. If you have studied scales in thirds, the following to write articles for the press under two dif¬ July 29, 1856. when he got up very late, although he had ically set down. Caruso carried this up to will be found helpful: Play regular scales, left hand not sung a note the previous night. He pos¬ C or C-sharp. The student, however, should legato, right hand in thirds, then the reverse. sessed a temperament which was, for some not go beyond B-flat or B. A Word of Praise—The Fairy Wand 4. The following in octaves is of great value to the reason or other, averse to rigid regularity. For developing agility of the voice, Caruso By Mae-Aileen Erb left hand, requiring extra concentration upon it. Left At all events, whether the hours which also practiced these exercises: hand scale legato, right hand scale in octaves, then the Caruso reserved for work and sleep were or While reading some letters from teachers in various would study elsewhere. But a teacher should not be reverse; or, if the student desires, he could use the were not as regular as they should have parts of the country, one of them impressed me as con¬ compelled to search for signs of approbation in bare same idea, using detached sixths or thirds. been, he saw to it that his body received all taining a regrettable truth which many musicians have facts. She should receive praise where praise is due. This work w.ll be found interesting from the be¬ the necessary rest and exercise. experienced. To withhold commendation is a common characteristic ginning and it helps to strengthen the weaker fingers. Caruso’s Regime “During fifteen years of piano teaching,” writes Miss of the human race, yet it would almost seem that some Master each scale before you proceed to the next, or On rising, Caruso first drank the inevitable X., “I have taught hundreds of pupils with but little parents hesitate to express satisfaction in their child’s the time you spend in practice will be useless. cup of coffee, so • dear to all Italians. Then appreciation from the majority.” In reading between progress through fear that the teacher might grow less he proceeded to spray his throat—as he the lines, it does not seem that this lack of esteem is in ■ painstaking»in her effort. Is it possible that they consider laughingly said, pulirc to strumento, to any way merited; for from the letter one infers that silence a whip held over the teacher to goad her on to cleanse the instrument—with a steam ato¬ she is a teacher with high ideals and a sincere love for her utmost capacity? Personally, I should rather give “In” and “On” mizer. After thoroughly spraying his throat, her profession and one that is considered successful, if them the benefit of the doubt and attribute their taciturn¬ he continued with his toilette. While he was a large number of pupils is an indication of success. ity to plain thoughtlessness. By Sidney Bushell thus getting ready for his day’s work, I would He sang each < Those teachers are truly blessed whose “lines are cast If people only could realize how miraculously a word be at the piano, - playing for him the score of single respiration; and he saw to it that all in pleasant places,” whose work is among children of of praise can transform a teaching day! It is like a It is very useful, in teaching lines and spaces, to use the opera he was to sing that night. As he the air from the lungs was duly transformed cultured parents, “understanding” parents who cooperate fairy wand which can change work into the keenest the terms “in” and “on” when a space or a line respcc- heard the score again, Carjuso would hum or with the teacher in her attempt to develop the latent pleasure. It is like the big, round sun bursting through tively is indicated. whistle the passages with which he was par¬ So much for breath control practice. But ability of the child. Many, however, labor year after the clouds of a gray day. But mark this well, it is more ticularly impressed. When he had finally breath control, tone production and vocal year among the type of pupil whose aim is low and Use a blackboard for class work; and when a pupil is than all that, it is'a real dynamo for creating redoubled completed his toilette, to which he devoted equalization are closely related; the achieve¬ whose taste is summed up in the words “popular” and asked to write a note “in'’ F, it is immediatclv under¬ energy and enthusiasm,—a means far more powerful and considerable attention, he felt fresh and vig¬ ment of success in one phase of vocal art is “jazz.” Teaching under such conditions would almost stood, when working with the treble clef, that the first potent than silence, so cold and non-committal. orous for the pest of the day. dependent upon the successful manipulation of seem like a thankless task and would tempt one to doubt space F’ is intended. If the word “on” F is used it is, Not one teacher in a thousand would not prefer to It may not be uninteresting to set down here the others. So Caruso used these exercises, those encouraging lines, “Give to the world the best of course, understood that the top line of the staff’is in- teach grateful pupils. It is almost needless, then, to add why Caruso wished me to play the entire as well as the following, that you have, and the best will come back to you.” that the infallible way for a student to receive "full score. He was not merely the great tenor, Miss X should find comfort in the fact that she does measure, pressed down, and running over,” is to let his This is better than saying, “F in the first space,” be- with a marvelous vocal organism; in his own not want for pupils. Although they are slow in ex¬ teacher know that her teaching is not in vain and that cause it E necessary for the pupil to use thought when fashion, he was also h great musician. As a pressing appreciation for her endeavor in their behalf, she has the loyal support and hearty appreciation of t ie terms on or “in” are used without giving the pre¬ consequence, he refused to sacrifice the en¬ r i^'&ric.r^JSyri j * i they evidently consider her a capable instructor or they both himself and his parents. cise location within the staff. semble of a musical work by disproportion¬ It is useful, too. since the location of similar notes in ately featuring what he himself was to sing. In the June, 1922, number of the Etude was an ar¬ habit. This may be remedied by haying her to play the two staffs differ, in fixing these in the mind of the Caruso possessed a fine sense of measure and ticle which recommended the use of improvised ducts one part while the teacher does the other. Do not wait pupi. In the bass clef, “on” F, of course, would indi¬ proportion, which accounts for his greatness for sight playing. I have found the same method to for the pupil but insist that she keep up to time, even cate the third line; “in” F, the space below the lowest, G as an ensemble singer. If he desired to shine be effective in assisting stumbling pupils. Stumbling is though she may have to omit a few notes at first in individually, it was only by dint of his sterling often caused by the pupil’s inability to read and execute order to do so. Practice this way as long as seems qualities as an artist. He never failed to study the music with both hands all at once. Practice with advisable then exchange parts and proceed as before. the complete score of any opera in which he Great men stand on a pedestal out of our reach— separate hands is sometimes helpful, but a pupil who Practxe of this kind must be done frequently if the was to sing; he had to determine for himself at we come up close and find they are only human. for tonal quality and coloring. The exercises, stumbles will often do so unconsciously from force of desired result is to be obtained.—By Celia F. Smith. first hand what had been the composer’s inten¬ Nos. 6 and 7, for the sake of volume and in¬ Elbert Hubbard tion, and then thoroughly assimilate the work. tensity, he also practiced in full voice. FEBRUARY 1928 Page 85 THE ETUDE THE ETUDE the First Lesson Exciting Page 84 FEBRUARY 1923 Memorize at Lea£ Twenty Pieces Making Caruso sang the sustained G of Exercise 6 with much power; it had a penetrating ring, and he held it for a By C. Fred Kenyon By MARY A. ALLMEND1NGER considerable time. For this sustained work, too, he some¬ " find that you are utterly unable to appreciate any of the work of the great masters of composition, it would times practiced Exercise 8, (Proceed to exercise the fingers at the table, then at Here is a row of our friends which you are to divide be well to recognize the fact that at heart you are not a Possibly the best teacher of the beginner is the one the piano, according to your method. See to relaxation into counts of four. Draw vertical lines between the true musician, and that any enjoyment you or your who can carry through the first lessons with so much en¬ proper notes: master eighteen or twenty popu ar pieces of fhe d^ ff) friends may get from your pianoforte playing will be but thusiasm that the pupil is excited with the plea¬ continually.) T Let us imagine the ten fingers are ten soldiers. 1 Ex. II thev very soon drop into that oblivion which they dourit nToyment of a very shallow kind. But it very o en sure of the thing every moment. If the pupil under¬ JJJJJ JJJ J J JJ less deserve, and the student then finds it necessary^ will appoint you their captain and will expect you to J J o which is excellent both for the attainment of accurate happens that a pianist will have a temperament that stands the main principles and at the same time has his memorize a fresh repertory every few month A p an be a very good and strict officer and have each soldier pitch and the development of equalization ill the vowels. seems to be set all in one groove. He can appreciate the imagination stimulated by constant reference to other (It would be well to write examples upon paper using ist's repertory should consist of pieces the value of which do excellent drilling. There was always method and plan in whatever Caruso beauties of one master, but is unable to comprehend the things in which the child mind is naturally keenly inter¬ either a repetition of C D or E, or C D E F G—E did; he never worked listlessly, prompted by the desire is undoubted; they should be able to stand ttei test of work of another. And this circumstance, though regret¬ ested, the dullness of the first lessons is taken away and —D—C, first in whole notes, 4—4 time. Then write the years, and last as long as the life of the pianist. I do Notes to get through with his routine. He had set before him¬ table enough in itself, is not an insurmountable barrier the teacher accomplishes the result in far shorter time. same series in four measures using half notes, then in not advise the total neglect of modern composers, for it to pianistic success. If, for instance, Chopin appeals to Following are some of the devices which the writer has As we have seen, each letter has its particular place self an ideal, and lie directed all his powers toward two measures with quarter notes.) achieving it. He infused into his exercises the vital is my belief that much excellent work is done every year you far more than any other composer, it would be employed in the first lessons to “put over” the important on the keyboard. But. these letters have a home upon by living men; but I do say: “Let your repertory be advisable for you to make his works your chief study; paper as well. However, when they are placed upon spirit that animated and made significant the final prod¬ things in vital fashion. Accent uct of his labor. Even when he vocalized, he aimed at based mainly on the classical composers; let them be but to make them your only study would merely make paper they are represented by characters called notes. To the note which receives the count of “one” we give much more than what is normally sought by singers, your daily bread, your chief means of sustenance Light you more narrow than you were before. Do not ignore Acquaintance of the Keyboard Here is a whole note—©—like a whole apple. This note an accent when we play it. Accent means to play a namely, flexibility and power. He used the vocalizes composers of the third or fourth rank may then be the other composers altogether, but study those whose This long row of keys reminds me of a road. For, means we must hold the key, which the note stands for, with such skill and intelligence that they prepared his brought into requisition to fill in the empty nooks and works are essentially opposed to Chopin’s, and the scope as a long road is divided into equal parts called miles, while we count, one—two—three—four. Now let us little stronger on any one note. corners-to garnish the solid feast that has been voice for the role he was scheduled to sing that night. of your temperament or individuality will be widened so do we see that the keyboard is equally divided. These give the note “a stick to walk with”—J—iand make it Was he to appear in “Rigoletto” or in "La Favorita, prepared.” , , and your appreciation of Beethoven and Bach will grow keyboard miles are called octaves. Just as each mile is Bar The first thing to decide is the extent to which one s a half note. Now we count two while we hold the note, in “L’Elisir d'Amore” or in "La Boheme,” operas which more’ intelligent and keen. made up of so many feet, yards and rods, so each octave A line called a bar is placed vertically across the staff repertory is to go; and this, of course, depends on the and we cut our apple in halves. Two half apples make . demand of the tenor dexterity and grace, Caruso would But to take the case of a pianist who has wide tastes is made up of the same number and kinds of keys. to show where the accented note is to be found. Ac¬ amount of time that is at the student’s disposal, and the a whole apple; two half notes make one whole note. strive to secure, through modifying the manner of his and sympathies, what composers should he select? Here, (Look over keyboard well.) use to which he is going to put his pianoforte playing. cented notes usually follow the bars. practicing, the lyric lightness and flexibility suitable to again, the particular pieces may be left for him to choose, Now comes the quarter note—J—which, you see, has (Do not touch upon syncopation now.) To strike an average, I will assume that each reader of those roles. But if he was scheduled to appear in “Sam¬ the only advice I venture to give being that they should Names of Keys Those were bars which you placed between those notes son et Dalila,” in “Pagliacci,” or in “La Juive,” works these pages desires to memorize at least twenty pieces; be as representative as possible, and that they should really grown out of the whole and half notes and As we look at this long row of keys our first a moment ago. Now show me in that exercise the notes in which the tenor roles are primarily dramatic, Caruso that is a very fair repertory for an average pianist, but include at least one sonata of Beethoven. The more which has a dark face. This note we hold for but thought might be: “How many names there must be for which should be accented. endeavored to make his mariner of vocalizing fortify his there are many who will wish to go beyond this. In that representative one’s memory is, the better able will one one beat. We will cut our apple in four pieces: such a lot of keys.” But the first seven letters of the voice with the necessary power and dramatic ring which case, it would perhaps be advisable if they extended be to entertain different kinds of people—a well-educated alphabetA, B, C, D, E, F, G—are used to name them Measures their repertory on the lines laid down here; but in this, audience being able to appreciate Bach and Beethoven, these roles require. all; just as the seven days of the week are used for all as in all other branches of this subject of memorizing whilst a not really musical assembly would enjoy the Wrii'ole Note - = O The music which occurs between two bars makes a the’ 365 days of the year. The alphabet on the instru¬ music, the individual pupil's judgment should always be lighter pieces of more modern composers. But don’t measure. You see the bars are the boundaries of the Show Interest in Your Pupils ment begins with the first key on the extreme left of Half Notes J J = © used. Do not despise your own judgment; and, above stoop to memorize mere trash just because you will gain measures. all do not accept my advice in these pages unless it a little ephemeral popularity by being able to play it. the keyboard. ... By Mae Aileen Erb We easily can remember D, for that is the sandwich QUar£,eS J J J J = © commends itself to you as good and profitable. I take The pieces that iorm one’s repertory may in most cases Additional Suggestions for Later Lessons note.” The two black keys between which we find D, One great factor in the success of a teacher is his it for granted that you have a fair technique, a fair be divided into two distinct classes: —Rhythm we will imagine are the slices of bread, while the D ability to be genuinely interested iri his class, not as a amount of ambition, and that you are not lacking in (1) Those that we intend to play for our friends and Staff and Clefs key between them is the filling of the sandwich. C The return of accents at regular ’ intervals we call whole, but in each individual pupil. Time should always common-sense. the public, and The second home of these notes is called the staff, It seems to-me unnecessary to make out a list of repre¬ and E surround the sandwich note. (Name all keys.) rhythm. be taken at the opening and close of each lesson, for a (2) Those that we intend to interpret for ourselves this being made up of five lines and four spaces. Each We can compare rhythm to the flow of the blood in sentative pieces that should be memorized by everyone; The letters have their special places on the keyboard few personal remarks based on the habits, hobbies, and line and space stands for a white key on the piano. our veins—on and on it flows constantly, with the pulse for even a Beethoven sonata may appeal to one person alone. . . and are always found there just as well-trained horses outside interests of that particular child. Let him feel Most pianists I have met have certain pieces at their The notes upon the staff are really pictures of certain beating at regular intervals. Rhythm is the flow of the much -more than it does to another of equally good taste always go to their own particular stalls in the stable. that you are as much interested in him as if he were your finger ends which they never attempt to play in public : sounds or tones. Here is a piece of music called The and discernment, and it would b worse than useless for music and the accents are the pulse. only pupil instead of merely one of forty or fifty. they are, perhaps, pieces that, for the sake of some Joyous Farmer. (Here teacher shows the pupil The a pianist to master a piece which did not particularly Or we may compare rhythm to the grandfather’s Your interest may be manifested in various ways. association of ideas, are held too sacred for public hear¬ Tone Joyous Farmer.) See the rows of notes covering the appeal to him. Consult your own tastes; but if you do clock on the stairs which is steadily running and turning Should you, in the course of your reading, discover an ing. But there are some pieces which by their very The sound which results when we play a key, we page. These notes are pictures of tones,, and very not find that your selection of music does not include any the hands while its progress is marked by “tick-tock, tick- article, a book, or a picture, the subject matter of which nature are unsuited for public performance. They are call a tone. (Play different qualities of tones, staccato, bright, happy ones too as you will decide when the piece work either of Beethoven, Schubert, Chopin, Schumann tock.” will appeal to a certain pupil, lend or give it to him. so deep, so solemn, so thoughtful, that one can interpret legato, etc.) The piano should be made to sing and is played. Polly tells me she likes to think of rhythm as the flow In times of illness, a card or a note is a courtesy easily- or Mozart, you must make yourself recognize the fact will always respond to our mood and feelings whether In Miss G Clef’s home we will find written all the that your taste stands in need of improvement, and that them best in the solitude of one’s chamber. It is at times of the water in the brook and the stones over which it extended. It is a wise plan to keep on hand a pack of such as this, when one is communing alone with cue >.f they be sad or happy. high notes in the piano, it is naturally so, because her it would be most distinctly advisable to improve it runs occasionally, marking its progress, just as the ac¬ postcards, stamped for mailing, as it is not always con¬ . (Play a bit for the pupil.) voice is high and clear. Mr. F Clef has a deep, bass before you attempt to memorize anything. But yet, on the greater masters of music, that one realizes the bcm tit cents in her music mark the melody. venient for the busy teacher to go in quest of these when voice and it is a,t his home all the lower notes of the the other hand, do not pretend to like classical music to be derived.from memorizing; for when the print, d (At some later lesson the illustration may be expanded they are needed. For lack of them, many opportunities ' piano live. (Draw a large design of both clefs.) just because you ought to like it. Do not rave over a page is absent, one seems to be all the closer to the Position and First Exercise more fully in this way: When we are very happy or to show your solicitude are lost. To show us where she lives Miss G Clef has placed Bach fugue just because it is a Bach fugue. Be honest spirit of the composer one is interpreting, and the music When we want to play a piece on this keyboard track it excited the blood in our veins quickens its flow, so in When a pupil is struggling with a composition which this curious sign across her house, otherwise we might with yourself and your fellow-pianists. And if, finally, has an added charm and significance.—How to Mcmoi is just like taking a ride on a long road, for our fingers melodies, we apply the accelerando and crescendo to ex¬ threatens to master him, or when practicing is beginning think it Mr. F Clef’s home for the two houses look are to take us on many pretty trips over the keys. press intensity of . feeling, then follows the retardando, to lag, a bright, inspirational note will often have a most just alike. The sign does not look like the letter G does Suppose some one were to give you an automobile. and the rhythm becomes slower.) desirable effect. Musicians and Brain Collapse it ? But years and years ago it was a real G until grad¬ Let the parents, too, feel this personal touch. These You do not understand how to run the machine, but ually people changed it and now it looks as it is here. occasions should not be only when the pupil needs stricter By Allan J. Eastman you wish to take a trip to—(name some distant place.) Phrases See that cunning little curl which the sign has? It curls parental supervision to insure more thorough practice. What is the first thing you must do? You must learn The few cases of musicians who have suffered mental about the line or room where G lives. Now we can¬ Ex. Ill Especially is a note or a telephone call appreciated when to use your machine. Just so with our hands, fingers, and nervous breakdowns seem to excite some who do orir getgei excitedexcueu readilyreauuy aarc me uangcr signal- not possibly forget where to find G. (Find other let- the child has been making excellent progress and the wrists and arms, we must learn how to use them pro¬ not realize that all intense intellectual workers are liable precede a nervous or mental breakdown. If you m message is to express your satisfaction and pleasure in perly, so that they may be able to travel over this key¬ to nervous and brain disorders, if proper care is not that everything looks wrong to you; if you find that yc Let us now run over to Mr. F Clef’s home and see his lessons. want to complain about your fellows for just tho. board road. No matter how busy or how successful the teacher, the taken. . At the table we will learn position. First, arm, wrist where F lives. Brain bankruptcy is a common complaint. Creative human weaknesses which you know you possess: i f y< (Teachers should give serious thought to the matter A phrase is a sentence in music: observe the four short time required for these small details of considera¬ and hand must be relaxed. What does that mean? workers pour out their soul wealth in such lavish manner find that any little remark irritates you and makes yc of introducing both clefs at the first lesson, instead of measures above, notice the curved line or slur above tion will be time well invested; in fact the most success¬ Let the arm swing at the side limply, like a rag doll’s that there comes a time when the treasury is empty. It “flare up,” just remember that nature is flying the ri the G clef only for many lessons, as has so long been the measures and ending with the D in measure 4. ful men and women in all professions are those who have arm, and notice the nice, comfortable feeling—that is Play the notes. If there were words set to that mel¬ is a horrifying realization. Usually those who are com¬ flag of danger and overwork before your eyes. Pro the custom. At any rate, it is advisable to show both, never regarded the little things as beneath their estate. relaxed. Place the arm on the table, hand flat. Slowly ody, where would you think the proper place for the plaining of the immense amount of work they do and ably far more nervous breakdowns and brain collaps at the outset, even though the F clef be dropped for what they produce are not the ones to suffer mental are due to this than to pathological conditions arisit., and easily draw up the fingers until each of the four is singer to take a breath. Try it. I think we can decide “Poison” for Omitted Sharps and Flats standing squarely on its little cushioned tip, the thumb the present. breakdowns. It is the man and the woman who is so ab¬ from other sources. Also, for home work the pupil should be required, in there 'would be only one place and that is following the slightly curved and resting on its side. See how nicely sorbed in the work that all rational ideas of conserving Music students, music teachers and professional play connection with the exercises assigned, to spell words D at the end of the slur. By Celia F. Smith raised are the knuckle joints, we will call this the “bridge” psychic energy are lost. He has no time to think of ers who fear nervous and mental failure should avoii on the staff. Write simple words above the blank staff Let us think of piano music in the same way. There himself and rarely does so until he finds the wreck of all patent medicine cures. They are almost invariabl; of the hand, and this bridge must be nearly straight is a slight pause in the melody at the end of a phrase— Many Etude . readers have doubtless played the and have the pupil supply notes in proper places. Then his mind and body about him. Then it is often too late likely to be expensive and discouraging quack remedie: across. It is very important that the bridge be the a breathing place. As the fingers do not breathe they game called “poison,” when they were children. A reverse the order—write notes and have pupil write the See your doctor if necessary, but in most cases th highest part of the hand and that the fingers are nearly mark the phrase end in a different way. The wrist is number of stones are laid on the ground, the object to extricate himself. words they spell.) Musicians will be interested to learn that there is a real cure is right in your own hands. curved and resting on their tips; for only in this way lifted gracefully, causing the fingers to leave the key in being to go from one given place to another by means theory advanced by Dr. Joseph Carter that the mind is Exercise, sleep, good food and most of all, recreatior can the fingers grow strong and play beautiful tones, a lingering, drawn-off kind of touch. of the stones. If a person steps off the stones onto Lesson 2 made up of an infinite number of minute substances and the thumb have plenty of room to move under the If there were a staccato mark above the note at the the ground he is “poisoned” and must start from the or “cerebral rest through agreeable change,” are th In the last lesson we made some new acquaintances, variously defined. With every thought originating in best doctors. The average business man used to loo hand easily, as it must do when scales and arpeggios end of the phrase the finger would be drawn off the key beginning again. . . and now you may tell me the names of our new friends the brain the energy involved destroys one or more of upon recreation as unfortunate waste. Now’ he look are played later on. in a more abrupt way. Some pupils are careless about omitting sharps or of the keyboard. these particles. Fresh particles prepare to take their upon it as necessary sharpening of tools. When h The fingers we call by numbers:—1, 2, 3, 4, 5. The flats which are given in the signature, and no amount thumb, the thickest finger of all, has the smaller number At home you spelled words with the notes op the place if the conditions are normal and the body, is in plays golf he knows that he will have a sharper brai Scales of correction is effective. Then this little game may —1, while the smallest finger has the largest number—5. staff, we will spell out those same words on the key¬ be applied to advantage, letting each sharp or flat take good shape. on the next day to meet competitive problems. Mus board. Just listen carefully, some of these words make A scale is a tone ladder. They call it a tone ladder be¬ Sleep and diversion are the great restoratives. Musi¬ Very slowly, easily, lightly we lift each finger in turn. the place of a stepping stone. Telling a pupil he must cians should treat their problems in the same way. tiny little tunes. cause the tones ascend and descend in regular order, cians are often entirely too parsimonious in these mat¬ The only place the finger bends is at the knuckle joint. go back to the beginning each time he omits a sharp However, if you find yourself fatigued at the end c We remember clearly that our friend the whole note each key used being a rung in this ladder of tones. ters. They work themselves to the limit and then Lift the finger until there are little wrinkles at this or flat is likely to arouse a spirit of antagonism; but the day; if you find that your memory or your attentio — ©—means: hold me while you count four. Friend When the fingers play up the scale, thus, we may think wonder why they have to go to doctors for disagreeable is wavering even if cnly a little; if you experience coi joint. Now drop the finger. put it the form of a game and he enters upon it in We must sit’at the proper height at the piano, our el¬ Half Note says: “Count tzvo.” Little Quarter Note of them as climbing the ladder, and when they play pills which often only palliate the trouble at best. It is stricting or “weighty” pains in the forehead; for goo< back again they are climbing down. an entirely different spirit. bows should be on a level with the keys. says: “Just one count for me.” This game may also be applied to various other cor¬ not the sleep that you lose to-night or to-morrow night ness sake pay attention to the red flag of brain ar but the long cumulative losses that do the trick. rections. nerve bankruptcy. the etude Page 87 Page 86 FEBRUARY 1928 FEBRUARY 1923 of the two hands he will count for, and which he will THE ETUDE Scales must have names so we name them after the Some Vagaries of Counting -leave to his self,” for it is obvious he cannot possibly keynote, or note on which the scale' begins. count for both at the same time. Fortunately such In the scale of C, C-D-E-F-G-A-B-C—between What the Young Composer Must Know By Francesco Berger cases occur but rarely, and generally continue for a which white keys are the black keys? The black keys on few measures only. The best plan is to practice each By the Noted Irish Musician, Author, Teacher the piano are just as important as are the white ones, even hand separately, until one or the other can lie trusted though they are smaller. (One might illustrate by The misfortune of counting, of counting audibly, of counting persistently, cannot be over-estimated. In to do its work mechanically and unfailingly. Indeed, DR. ANNIE PATTERSON showing the interior of the piano.) And the black keys the study of each hand alone, excepting in very easy help to give us tones and half tones. The distance in pitch deciphering a new piece, (vis. playing it through for the first time) it is of the greatest assistance; and after¬ cases, cannot be too strongly recommended. The at¬ Composer of Six Original Gaelic Songs, Ivernia Series, etc. from one key to the neighboring key—whether it be tempt to combine two separate impossibilities into one white to black or black to white—is half a tone. wards, when familiarity with the music might seem no possible whole, is utterly impracticable. Until the dif¬ this apprenticeship, should one try to write either a tune So we find in the C scale there are two half steps: longer to necessitate counting during the entire piece, it ficulty of each hand has been overcome, no attempt As one who has had many years of varied experience [Editor’s Note.—Dr. Annie Patterson, said to CDE»FGAB*C will still be found of extreme service to recut to count¬ or its accompaniment. should be made to yoke them together. The player in examining students’ musical manuscripts, penned for have been the first of her sex upon whom the Here is its picture— ing in places. Many who have a correct ear for music, who have good engaged in a first reading, cannot, of course, anticipate examination purposes or otherwise, the present writer degree of Doctor of Music was bestowed by a First Learn the Language You Intend to Speak Ex. IV taste in performance, and sufficient finger-development at what particular point this double difficulty will occur; has particularly been struck with the confidence dis¬ leading university, was born in Luggan, County Our advice to the young composer may therefore be 1 8 84 5 6 78 for general purposes, have an inherent difficulty in play¬ but having met with it, let him note the place, and re¬ played by the amateur composer that he, or she, can, Armagh, Ireland, and is of French Huguenot summarized as follows: If, on sitting down to the sort to separate study before concerning himself with without preliminary study, write a masterpiece that will ing in time. If a piece be written in 6/8 time, and the descent, her mother being a relative of Lord piano, you find you can improvise with ease; if, on the ensemble of the two hands. take the world by storm, The possession of a good ear, reading a poem a melody suitable to it comes, as it were, left hand have to play Macauley. She was educated at Alexandra Col¬ The man who invented the metronome was a very added to a retentive memory, lends color to this opinion. by magic, into your brain; if, in seeing a beautiful lege and the Royal Irish Academy of Music. No. 1 clever man, and his invention is very useful for some A musical youth of either sex hears, it may be, a landscape or reading a heroic tale, the color of the She has been an examiner in music of many of C D EP G A BO purposes. For indexing the pace of a composition, and quantity of all types of music with fair frequency. first and the glamour of the second expands in a glo¬ as a means of transmitting that index to others, it is Fragments can be hummed or picked out on the piano the leading institutions' of Ireland. She was con¬ rious harmonic structure before your eyes—ask yourself See the steps which are closer together than the rest. of indisputable value. It also has its advantages in cor¬ with ease after a performance, reminiscent of what the ductor of the Dublin Choral Union and organist if what we commend you to do is worth while. First, All major scales are made after this pattern. recting an irregular timist. But, like main contrivances musical sense has retained. It is possible even that you must learn with great thoroughness what we may they will frequently, quite unconsciously, either miss the of several leading Irish churches. She originated intended to save human effort, and to substitute ma¬ harmonies of a kind can be attached to such remembered the Feis Ceoil (the Irish Musical Festival). Since term the Orthography of the musical language: that is sixth beat completely, or alter the music to something like tunes. All this is easy and possible to a naturally The Dead Past chinery for brains, it has its limitations. If tin- student 1909 she has been organist of St. Anne Shandon, to say, you need to be able, with consummate accuracy, makes a mistake, and stops to correct him - It (as it is endowed musical person who has the requisites we have and, when feasible, neat penmanship, to be able to Cork. She has written excellent books and No. 2 hoped he will do) he can stop counting for 11 purpose, named; for in speech, as in many other things, we copy translate into notation any complicated passage which By Carol Sherman pamphlets upon music and has composed songs and resume when the error has been rectified; but what we hear and perceive. you may have in your mind, either as the result of in Irish idioms.] Last week the writer met a man on Broadway whom there can be no temporary suspension of the metronome. The Power of Imitation improvisation or the more musicianly way of “hearing in advance.” Then, being expert at the mere mechanical he had known for twenty years. Early in life this person Its unsympathetic tick during the mending process, is Imitation, in fact, is the way in which, as children, department of writing correctly, you require to have made a concert appearance at old Chickering Hall. On nothing less than a nuisance, resembling tlu- persistent we pick up language, manners and habits; and the the laws of Harmony, Counterpoint and Form so the following morning the papers “roasted” his playing snore of a friend on the sofa while you, .e the table, quicker we are at observation, either by ear, eye, or feel¬ trades under false colors? He avails himself of another No. 3 man’s brains to exploit himself. The habit of acting pigeon-holed in your mental repository that you can at in the very hottest journalistic ovens. Instead of re¬ are endeavoring to make head or tail of an iiln.i modern ing, the more expert we become at doing what has been as “ghost” in such matters is often a case of necessity once design, block out, and, finally, fill in the subtle alizing that his fiasco was due to 'his nervousness at a score. Again, it is worse than useless in rail it undo or done by generation upon generation of those who have with struggling genius. Such an expedient, if it adds essence that goes to make beautiful tone-combinations, debut he nursed his injury and cursed the press. For accellerando. And, unless provided with a 1-11 attach¬ been this way before us. All this holds good in regard something to a thin purse, is nevertheless rather degrad¬ whether the piece undertaken be great or small. twenty years that man has been going around his friends ment, its tick does not distinguish the first at in the to the mechanical side of life. It may also be applied especially if the right hand happens to be resting, or assuring them that it is absolutely impossible to succeed bar from the others. I cannot therefore advocate-it* to artistic achievement with a limit. But when it comes ing to even an ordinary talent. holding sustained keys. We have heard of wholesale “revision” in literature, in concert in America because the critics (“who know constant use. Occasionally, yes—always, no—is my to an art such as the composer’s which, like the Old Thoughts in New Forms For this very objectionable complaint there is no in the case where an ambitious would-be author uses a nothing, anyhow”) will not permit anyone but “a few advice. A little of it goes a long way, as t h- milkman inventor’s, has to make something out of nothing—or Any one chordal combination may offer you dozens of foreigners who pay them high bribes,” to succeed. There better medicine than counting aloud during a course of said, when filling up his half empty cans at tin pump. rather, must design practically independent of a pattern poor scribe to polish up drivel that would never see the sequences. It is for you to choose that absolutely Mozart. Bach will not do it for you. He has his own iight if it were not heavily financed. But, on a nearer never was a greater libel on the New York critics who In the days of my youth, an “office’' wa- frequently or model, we are up against a new condition of affairs. best—best, at all events, for your own individual pur¬ special uses, provides remedies for other defects. He level with Music, comes the exquisite art of Painting. are, for the most part, men above even looking for a called a “counting-house;" but to-day it would lx- mon¬ The world has seen few great composers for the simple pose. To a certain extent you will have to be, at first, will teach independence of finger and independence of It is scarcely possible that an able artist—save under bribe. There is not a daily newspaper in New York strous to speak of a “police counting-house," a "rail¬ reason that, in making music, we are all too apt to something of a copyist. For you will need zealously hands, he will develop the left, he will strengthen the very severe stress—would sell his palette and canvas, but would discharge a critic at once for taking any kind way booking counting-house.” The merchant princes follow some great leader or else a precedent, and at best, and repeatedly, to study this or that master of the craft weaker fingers, he will teach polyphonic playing general¬ the “experience of a lifetime,” to boost up an unknown of a bribe. Some of the papers even regard accepting who counted their wealth in those counting house days end by presenting something that has been done in a (Bach or Beethoven, for example), to see how these ly, he will improve you in a thousand ways, but for pretender. Yet this is exactly what happens when the tickets usually alloted to the press as a bribe. must have known “the value of notes" as we m i-iciansdo dealt with various “forms” of which they have left playing in time he is less efficacious than Mozart, because similar way before. aspiring if inexpert tune-maker has his effusion Our friend, however, has been carefully nursing his to-day. No doubt, like their weary descendant . they had unrivalled examples. This will, of course, not entail of the scarcity of pauses in his music, and because he Illiterate Attempts “polished up” by an efficient hand. The remedy is, of failure and blaming it on something else for twenty years. their crotchets, and their tremnlando clerks pi i ably had your slavish repetition of phrases or sentences, as has does not suddenly change his rhythm in the course of a Now this is remarkably the case with that type of course, that whosoever pretends to compose should be Meanwhile dozens of young men and women of all some quavers when summoned into their m. ' rs’ pre¬ been the wont of certain pretentious people to do; we countries have come and triumphed. Forget yesterday composition. Mozart’s “slow movements” are incom¬ unfledged composer who thinks he has got hold of a able to do the whole job himself. There is no short cut sence, for late “time” in the morning, or I, i rubato have known University students actually to borrow (unless it was a very pleasant yesterday). In the music parably useful for this. fine tune and pines to rush into print with it. The to music-making. The gift must be there, to begin with. in the evening, or for having forgotten "ki \ . , r per¬ phrases from great masterpieces, patch them together, life every day is a new chance. Suppose, that last lesson Here and there in Beethoven, and occasionally in tune on analysis, in 999 cases out of a 1000, turns out Then, one must learn, and learn thoroughly, how to use mitting the intrusion of "false relations." and then try to palm them off in an “Exercise” on a or that last concert was “rotten.” They are past. Make other masters we get bits of equal utility, but never so to be commonplace and conventional in all its phrases. one’s tools (in this case, notes, chordal combinations and too complacent examiner. This is plagiarism, if we may to-day’s different. often as in Wolfgang Amadeus. At the commencement Counting aloud is not always a tragic - If an attempt has been made to harmonize it, or (should the art generally of “form” in composition). Only after not use a still stronger word. There are well-worn of one of his slow movements there is no suspicion of it has its comic side. There was once a pi which it take the form of the much abused “song”) to add an cadences, sequences, chordal progressions, and so forth, the traps that await the unwary a little further on. a lovely maiden, seated at the piano, bade h-.-t ; Imiring accompaniment, the latter consists of gaunt or well- Five Fertile Years of Music it is true. But even though we observe the literary con¬ They come upon you not “as a boon and a blessing to swain to “count,” and he, being ignorant of ; isic, but worn chords or figures, usually breaking all the ventions, both in speech and writing, there are ways of man,” but as detectives with a search warrant to find willing to comply with her wishes, proceed. .! a do SO acknowledged rules of symmetry and taste in harmonic By Edward E. Hipsher out your weak spots. And when you have shaken hands Irom one up to a hundred, until she stopped hi ips with writing. The ultra-modern school, which laughs at putting old thoughts into new forms, if we have and begin to feel at home with them, they kisses I should not have objected to play i that part properly studied our metier. In no short period of musical history has appeared theories and text-books, offers an excuse for such suddenly desert you, and you are hustled back into the myself. Would you? so eminent a group of masters as in the short five years negligence of law and order. But then, it is to be original rhythmetic division, with additional embellish¬ The Publisher’s Risks from 1809 to 1813. The glorious Reign- of the Classi¬ recollected, those of the so-called modernists who have ments that bring additional trouble. If you are not as Then, having done all—to stand. The publisher’s cists, which began with the birth of Bach and Handel done the best work, took the trouble first to learn and unswervingly steady as your own metronome, such an doors are not easily open to the composer, even when in 1685 and included Beethoven, Mozart and Haydn, thoroughly digest the scholastic’s laws of part-writing unforeseen, alteration faces you as a pons asinorum, Your Successor ? the latter has served a long period of training, and, was in its eventide. Haydn died in the first year of the ere these were broken, and then only with a purpose. and counting aloud is your only protection. The stitch having something to say, can say it after his own quintennial mentioned, while Beethoven, at this time in Music is, after all, a language—the Universal Language, in time saves nine, the prevention, which is better than By Robert M. Crooks fashion. Some composers, in this respect, are the full bloom of his genius, entered the silent world say most of us—and a certain amount of preliminary cure, the looking before leaping, and many other homely more fortunate than others. It may be that a but eighteen years later. grammar, in way of spelling and orthography (notation precepts, are all summed up in the one direction: count; TiJ°U,?re S°ing to have a successor. What would yoi commission falls their way; more probably a great Was ever the earth blessed with the presence of so and phrase-making in the musical sphere) is always and do not cense counting during pauses, for these are WhPn im S°me. ^ay t0 say t0 y°ur pupil about you! singer or player takes a fancy to something written. much genius at the same time? Not unless it was in a needful adjunct to the successful writer. When we not indefinite, but have their definite duration. el J°a reCe,VC. a pupil who has studied under som, In these cases, the journey from manuscript to that great Renaissance of the sixteenth century when receive an ill-spelt letter of the type “hop-this-fins-yes- When a movement is very slow, such as are marked scoff Qn 0 y0U, P,'ck ll,m t0 P'eces> criticise every point printed page need not be a slow one. On the other the city of Florence furnished a home for Raphael and well-as-it-laves-me,” we smile, but we do not preserve Largo, Larghetto, Lento.. Grave, Adagio motto, and the sheet as an art production. Editors are still keener hand, the publisher’s initial expenses and subsequent Michel Angelo, Leonardo da Vinci and a coterie of especially should there be many notes in a bar, the SS",he -«"*«•>**« -1 ether artists nearly as famous. in scenting the amateur hand at journalism, and the risks are so great that, unless he, being to all intents counting should be doubled. I mean: instead of counting and purposes a business man, sees in So- and so s out¬ Observe the births in the following years. 1809— vour rter.maj°rity °f cases you t0 your dismay waste-paper basket or return-mail delivery quickly gets 4 crotchets extremely slowly, count 8 quavers at double your charge is remaining in the same old rut You mat put a commercial proposition, there is no way to Mendelssohn, known best by his great oratorio Elijah. the ill-spelt, rudely constructed “copy” out of his sight. pace. At the end of a bar, the amount of time occupied publicity for the young or comparatively unknown com¬ 1810— Schumann, the first of the great Romanticists you knew^irt^t'580' ”0t S° bad aftCr a11 a,U Is not the music publisher of a like mind? will be the same, but dividing it into eight smaller por¬ poser save to issue at his own expense. This is the of music, and Chopin, the poet of the piano. Beginning at the Wrong Side tions instead of four larger ones will have insured to rock upon which so many come to grief. Even if one 1811— Liszt, the wizard of the piano, and Ambrose each eighth part its proper length, neither over-abun¬ The fact is, the amateur composer begins at the wrong Thomas, the French opera composer. can command the capital for such an enterprise, the dant nor curtailed. side of his art. Nothing under the sun can be done, or difficulty of exploiting the work, once printed, is often 1812— Flotow, composer of the perennial Martha. You can count these eight divisions of “common time” at least done well, without preliminary study and greater than the initial trouble of bringing it to the 1813— Verdi, the greatest of the composers of Italian but the nunil f?1Iy, HS Wmstaking as yourself, in two ways. Either: 1, 2, 3, 4, 5, 6, 7, 8 or- one practice. Instead of wishing to rush into print with the published stage. Advertisement costs money; music- opera, and Wagner, the greatest of the composers of just in the sam S carcIess,y passed by certain points AND, two AND, three AND, four AND.’ It’ does first theme (probably memorized) that comes into his stores prefer to deal with the publishers direct rather German opera. Born five years later and working con¬ not much matter which method you employ. The first- £,£ t X ZT f* p“"b' »»"■ head, the embryo song-writer is advised to see that he than with the private individual. Also the composer temporaneously with Verdi and Wagner was Gounod, correct the faults S f°r your Predecessor; gently named is perhaps the safer of the two, because more like cannot only write out his melody correctly, but also has naturally a disinclination to cry his own wares— probably the greatest of the French composers of opera, add an accompaniment that a musician will think worth ly to force the player’s attention to the 2, 4, 6 and 8- •* “- ,h' it appears like “sending round the hat” to ask one’s Living at the time under consideration were also whereas in the other there i; a tendency to ’swallow while playing. This all means time and trouble. Nota¬ friends to pay what, in small quantities, is the trifling the following “Musical Immortals”:—Bellini (1802- tion should be mastered in all its details. Acquaintance the AND occasionally, and hurry on to the next cost of one’s latest production. So printed page as 1834), Berlioz (1803-1869), Schubert (1797-1828), Ros¬ with vocal needs and some knowledge of voice-pro¬ numeral. well as manuscript goes on the shelf, and one wonders sini (1792-1868), Von Weber (1786-1826). Others, When the two hands play in differing divisions, of solos or ground Cfe?ltury' mus‘c consisted o duction generally is requisite. Harmony, or the science if the game is worth the candle. Only posterity can say. less conspicuous in the Hall of Fame were: Balfe, Ha- of chordal combination and sequence, should be easily such as 2 against 3, 3 against 4. 4 against 6, counting or in octaves This f instruments Playing in unii But the young composer will see that a wide gulf lies levy. Heller, Kucken, Concone, Costa, Felicien David, becomes difficult. There is no rule to meet this dif¬ enormous number of Inst ^°ssibly> the reason for at the fingers’ ends. One may say that all this can be between tune-making and “getting there” as a success¬ Ferdinand David, Hiller and Thalberg. ficulty. It must be left to the player to decide which at one time The m ‘nstrun>'nts playing togetl done by the professional arranger. When this is the DR. ANNIE PATTERSON ful Maker-o f-Music. with great evolumeeMetaonr *° impreSS the hM case, what is the so-called composer but a man who FEBRUARY 1923 Page 89 the etude the etude Page 88 FEBRUARY 1923 Build a Reserve Auto-Suggestion for Public Performers Behind the Scenes with Artists By Louis G. Heinze By H. ERNEST HUNT By Harriette Brower

VIII No matter how well you can play a composition in y0ur Thu «*** t**™* *« “n‘ “ **** practice time, you will never know it as you should un The Artist and Foundational Technic to ourselves and so get the record to reach the^ brain less you work to build a reserve. Having stopped these leaks of power we set to work through the ear. In the privacy of our study also we This reserve is absolutely necessary to guard against Auto-suggestion is a definite method of utilizing the The general idea prevails that those who have become is the harmonizing of two apparently contradictory m - to mould the thinking along constructive lines What can practice standing up as if to perform, and feeling power of directed thought, and it may be used m various artists of the piano never had to slave at the keyboard ods—namely, relaxed weight and finger action. Uny nervousness, a lapse of memory and the many petty pit. do we want? Instead of our fears we ardently desire actually calling up, and experiencing the bravery and Ts by the concert artist. Probably the immediate di¬ in order to acquire foundational technic, as ordinary in proper combination of both these principles can cor¬ falls that beset every player. confidence, courage and comfort; and these ^ “|j courage that we wish for in public. This again we can rection in which it will be most generally useful is m players are obliged to do, because they are so highly rect conditions in piano playing be achieved.” It is one thing to be able to play on your own piano rehearse and practice over and over until it establishes the vexed question of “nerves." There are two distinct gifted in that direction. This is a great mistake, since In a talk with Godowsky, so often called a wizard with one in the room, and quite another proposition itself as a habit. All these methods amount to the mak¬ kinds of “nerves,” for which we have in English unfor- it can be proved that successful artists are obliged to of the keyboard, the writer learned that he, too, had to to play the same piece on another piano or with one or performance, I look forward to it, l ing of so many moulds into which the thoughts will tunately only the one word. There is that high-tension come right down to bed rock foundation and work up work at solid foundational technic, and still believes in more persons in the room. You must therefore continue calculated to add much to the artist s comfort-why not gradually pattern themselves, and all are mutually help- from the beginning. sensitiveness of the artist with which one would not for slow practice with raised fingers. your practice on the piece more carefully, and with every in tall it as a dominant? It may not be true yet, but ftdin reinforcing one another. Nobody who strenuously Ernesto Berfonen, the Mexican pianist, has this to say worlds attempt to interfere; but there is also the nervous¬ “Yes, I believe in that special requirement of the early repetition try to add to your repose, expression, clarity wf can make it true. We can think it with ease fifty desires to achieve these results can fail if he >s willing on the subject: “After studying in my home country ness of fear and doubt, which is wholly detrimental and stages, decided finger action and finger lifting. We must and development of a more beautiful tone. rimes a day! and with a little effort five hundred times; to go on working for a sufficient time. But it should be and Paris, I went to Leipsic and there found I had to harmful. This can be avoided m advance, frequently have that; we can never throw it away. Wide, free A still greater reserve is required to play in the les¬ at this rate it will quickly begin to neutralize the harmful clearly recognized that the technic of control should be come right down to business. I worked very hard under movements are necessary to develop the fingers, to stretch son and much more still to play in public. cured, and always alleviated. Sought/ and to establish itself as a new and better dorrn- cultivated concurrently with the musical technic. Neces a thorough and strict teacher. Here I laid the founda¬ the skin between them and to render the hand and its Dealing, then, solely with this latter type we find that The important point is how to get this reserve and nata Carried on for a period of months, or even years, sarily they go together, and the artist should step on to tion for my piano technic and have always been grateful playing members supple and flexible. So we must insist the root of the matter is that the sufferer is at the mercy have it grow till it produces the best results There are S? evident that it must eventually have an overwhelm¬ the platform with the one as assured and perfect as the that it was so thoroughly done. I was obliged to do of his own forces, and that, in spite of himself, his knees on raising the fingers and moving them freely. And I many ways; and the pupil will discover new ones and ing effect. When it has completely and soundly estab- much finger technic, which is surely the foundation of do not mean this alone for the early stages of piano play¬ will persist in knocking, that his muscles generally will short cuts as progress is made. lished its supremacy it will be simply impossible for the 0tTris quite impossible to say how long a cure will take good playing. These finger movements were at first ing; it is for that time and for all time. I consider play all sorts of unkind tricks, and that various brands Be sure the composition is correctly pl.iyd, so far as fear to run riot either in mind or body. It would be in anv given case; so much depends upon the individual made away from the instrument, on a table, or even on these large, free movements and the decided action of of indefinable unpleasantnesses begin to make bls ^ inconceivable. “On the platform I am cairn and confi¬ the lid of the piano. For, as "my master said: ‘One gets correct notes, fingering, accents and expr. -ion are con¬ himself^ A keen worker will, of course, secure quicker the fingers as a necessary form of gymnastics. Just as a misery and his performance a purgatory. We need dent” is another suggestion, or Nothing can disturb my the idea of finger movement and touch as distinct from cerned, without using the pedal. It is, oi amrse, taken results than one more slack; and a person who has a one exercises the body, with many forms of gymnastics not discuss this aspect of the matter further-it is too self-control.” The actual idea does not matter very sound, and one’s neighbors’ ears are spared.’ for granted that the piece has I teen commenced (and large store of negative thoughts will naturaHy _havc: to so the pianist requires well-articulated finger movements. Such so long as it is helpful, and each one can con- “It seems to me that finger technic is being woefully “Of course, on this technical foundation must be built kept for some time) at a much slower r „( speed than ^How does this state of affairs come about? Muscles work longer than another who is not under the sam neglected in these days. In some cases it is even looked is required. This will be the first of bt .: g a reserve struct his special suggestions to meet h's ‘nd^ld“a! handicap. But even a week’s solid effort should make all the finer qualities of tone, touch, fingering, phrasing do not move themselves; they are moved by nerve im¬ needs. Write them down to keep them to a definite out upon as something old-fashioned and almost obsolete. for speed. When the piece can be pi 1 with ease, such an effect that there will be every encouragement and pedaling. But the foundation must always be there, pulses which originate in the mind of the individual line. Date them for reference, and memorize them. People seem to think that relaxation is going to take the it is never discarded. We cannot do without it, for it more and more attention must be given : ill marks of and bodily conditions also are largely influenced by our to continue. Moreover, the results are cumulative, and every successful performance itself acts as a potent sug- place of everything else. I place finger technic first; holds up all the superstructure. expression. The reserve will now grow i lly. attitude of mind. It is a vital fact that our thoughts The Method Works the player must have that, it is a necessity. And he The pedal may now be added. Listen ; ■ utly, for the gestioii In time, therefore, it becomes less and less “There have been a few super-gifted pianists, like make permanent records of themselves, and all our past We must, of course, make every effort to live up to should acquire it at the beginning, otherwise it is very ear is one of the best helps to using the |» correctly. necessary to work at actual suggestions, for they become Liszt and Rubinstein, who had so much genius that the thinking, whether forgotten or not, is bearing witness these ideas, for of themselves as a formula they will do difficult, almost impossible to attain.” If you expect to play lie fore a large audi ice and have merged into actual traits in the mind and the character lack of exact knowledge did not prevent them from win¬ in the mind against us. Now w.th regard to arrists it nothing. There must be clear, definite, and determined Richard Epstein once spoke to the writer on this sub¬ been doing your practice on a grand pin it will be a is permanently modified in that direction. ning the world. Rubinstein was a child of impulse as is too often a deplorable fact that most of the pas will behind all these thoughts. I by no means subscribe ject: “The lack of finger discipline, which I consider very' good plan to practice your pit cc a i well as a genius; he never did things twice the same ■cr of times thinking has run in negative channels. All the doubts to the Coue doctrine of the secondary importance of the so important, and which every artist must develop at the way; he relied on the inspiration of the moment, and the with the lid of the piano closed (putting t ' music rack and wonderments day by day, all the hesitations *nd Drilling the Mind start, is very surprising in most students. To my mind Will. Concentration upon these thoughts, however, does same might be said of Liszt. These brilliant exceptions on the lid.) Now the piano will sound icr subdued fears in advance, as well as all the nightly nervous Suggestion, however, is not the only point to be con¬ the proper raising of the finger is almost more impor¬ not imply any contortion or the tying of mcnta k"ot^ prove the rule, that it is necessary to lay a thorough and less brilliant, so you must work still t me to pro- thoughts and dreads of public performance-all these sidered. To ensure a complete result the whole mind tant than the stroke itself. Equally vital is the motion¬ all that is necessary is the purposeful dwelling in foundation of finger development, if one would attain duce the same tonal effects as when the i ■ was open. have6gone into that wonderful realm the undermind, must be trained and brought under control. Pe0Ple 'vb° less condition of the finger in its raised position. In my thought, over and over again, upon these helpful ideas to pianistic heights. It is a cause for satisfaction that For as your playing sounds in your rex'in .. they have been stored up, and now in the resulting state give way to their nerves are apt to give way in oth.r work and in my playing I have found that the great to the exclusion of the harmful. By a simple and unde¬ the art of piano playing has developed into a more exact likely sound with the instrument with the I i raised in a of nerves thev show what an uncommonly active part niable process of accumulation they increase m weight directions, and there must be a general, as weil as a problem in acquiring a commanding technic on the piano science since their day.” crowded hall. they have to play. Had we as consistently thought cour¬ and importance in the mind, and, logically, there must local, stringing-up. Relying upon alcohol to brace up Try these few suggestions faithfully ami you will be ageous, virile, and strong thoughts (which as a practice come a time when the constant reinforcement of the the nerves or to give a “Dutch Courage is surely and The Greater Value of Technical Studies delighted with the reserve you have built. we all too seldom do) we should inevitably have Po - helpful type and the corresponding cutting off of the certainly fatal in the long run. Dispense with all ad¬ sessed an attitude in which confidence would reign^su¬ harmful, makes the former thoughts the dominant. As ventitious aids and learn to be self-controlled. preme, and doubts and fears would be unknown^Nobody The question of after-strain of performance is one By Arthur L. Manchester logically also then the results ofT the . nteW f Loose and Flexible Wrists who suffers from “nerves” can honestly say that he ha must show themselves in action. In point of fact the of considerable importance, and here again suggestion always denied fear-thoughts access to his mind, andhas I distinctly remember the many hours I spent in the with it, and e s will suffer in such method works, and we can point to cases by *e doa“ can work wonders. “No tension remains after my per¬ practice of dry technical exercises oftentimes feeling that By Joseph George Jacobson consistently dwelt on the helpful ideas; indeed, were or hundred where artists and others have tried it and formance, I am calm and comfortable,” can be installed It should be the aim of the teacher to amount to as so he could not now be gathering thistles instead of. the time was wasted, and, at all times, becoming more proved it for themselves. ,, as a dominant in advance, and so we may get to sleep and more conscious that the whole thing was almost un¬ much as a man, as he does as a musician. Then, and A pupil said to her teacher the other day grapes. An attitude of fear is proof positive of a pre¬ But the suggestions may be visual as well as verbal. and recuperate our strength, instead of lying awake endurable. It was a severe test of patience and a re- then only, can he be a great and vital force in the com¬ I cannot play the first Octave-Passagi F sharj dominant run of past thinking along lines of fear We can sit in a comfortable armchair and call up a undergoing the tedious and tiring process of unwinding. vealer of one’s determination to spend so much time on munity, a force not merely in the present but in the Etude by MacDowell without stumbling.” Cowardly thinking makes a coward, and unregulated vivid mental picture of ourselves appearing in public The time immediately preceding performance is re¬ what seemed to be a very slow process of development. future, when his young pupils shall have become the lead¬ The teacher replied. thinking is bound to produce unsatisfactory results. and performing as we would wish to perform. This, cently rather trying. The dominants are already estab¬ ing and representative men and women of their day. His Yet later years have shown me that this was an invalu¬ It is probably because you do not hold your wrisi Stored-up Thought according to its vividness and the amount of repetition lished, and “last minute” work is of very Me value influence is enormous, his power for good equally so loose enough.” —turn the thoughts into some channel having nothing able period of training and that this systematic and per¬ But we must note that there is stored-up thought as will help in making us as we would desire. We can sistent iteration of unmusical studies provided me with his responsibility very great. If he chooses to limit him¬ What an incorrect answer. to do with the performance, or even read a book till well as present-day thinking, and it is useles- for a per also, repeat the suggestions verbally and emphatically self to mere musical exchange, he will lose much of his the time of the performance arrives. Suggest firmly. an asset of incalculable value. This greater value was You cannot play a brilliant octave-passage with an ab former who has perhaps spent years in accumulating a the disciplinary training derived from such work. vital meaning to society, and in time he will cease to be solufely loose wrist. X “As soon as I get on the platform my mind is clear, my vast store of fear-thoughts suddenly to turn round and I'tyro is, in every breast, the possibility of faith This even a factor in the direction to which he has limited memory perfect, and my nerves as sound as a roc possibility raises us, if rightly directed. Shove the angels cially forte octaves) without a tightening . f the cord- say “I’m not nervous, I’m not nervous! His^ past and if wrongly directed, sinks ns beloW the level of the himself. The power of personality is regrettable because f the wrist. A flexible wrist is necessary and is the mos: then dismiss the whole matter till the moment of per brutes. Credulity is simply besotted faith, while belief is the abstract is finer and higher than any realization, but thinking-on balance-is far the stronger, and it there¬ The first is acceptance without waiting for desmable acquisition of a pianist, but this is entirely a dif fore results in action. It overrides his conscious efforts testirm since this point exists, let us make the most of it for good Coueism Applied to f°Th!seeideas and claims may seem to he somewhat far¬ InnL"4 hmg /r?m a ,oosc 'vrist- When vour wrist il after control, he is nervous in spite of himself and for : investigation and' well" applied 'faculties’ that we possibly can. fetched to those who have no acquaintance with the sub- Cmlnl.ty m.*. fathers” and'mothers watch" their‘ehildron loose your whole lower arm is i„ a state of activity- a perfectly understandable reason. Nevertheless each Music iect They have, however, fully established themselves hunger while listening to the profanity of a Dowie, a thing The Inspiration of a Beloved Instructor brave thought also records itself in the mind, and does meo"e,!!l 6If},,'’t the anlm.al creation. Credulity induces fsTl'/1! Ura.',Ki down of the arm- "Hst and hand. This by their results. If we want to control our nerves, we m?n ana women to employ impostors as teachers of them No one is more subject to its exercise than a child wen applied when producing sustained melody-tones something to help the balance in the desired direcrion The plastic mind is molded easily under the influence of can, by paying the price in work. But when once the ,„„0„ .__n asking credentials. of ewT movemcnts' <*<=. But when a brilliant passage for the future. Quite obviously, then, we shall in time -•*■••■** .ubuho us. nitftt wuriv. Ana, wmie on attraction. A pupil can be actually inspired by the en The world is alive with the definite knowledge is brought home by actual t"®1 tbat say of these people that they reap as they sow: one musTte°dr faV!S iS '° bc P'Lvod the flexible wrisi be able, by the careful regulating of our thoughts, gradu¬ spring11 ty ng and sympathizln8 with their victim! thusiasm of a beloved instructor, and led on to wonderful ally to turn our bias away from fears and nerves into thought of Auto-suggestion. we can control the processes of the body to an extraordi¬ achievement. Adele Aus der Ohe, perhaps the greates of ‘rigidity dThrCV° a CXtent’ {rom any fee,{n* nary degree, it is evident that we need not stop at the mercy of what we may a new “dominant idea” of confidence and courage. interpreter of Franz Liszt America has heard, when told the shoulders com “T,r ^ '""fl control of nerves. We can advance to the control and ".— '■ »t is simu_ hinCTp „ 1,1 use ar|d the wrist acts only as a The first thing to. be done is to put on end to all Cults and religions by the f. accomplishment by a listener of how clearly she revealed him, answered development of our intellectual faculties and we can readv in g'ne R,ubmstein. who had a second pia"c thoughts that are harmful. We must resolutely keep score are founded upon it. m her fascinating English “Always I have him with me them out of mind, not by saying “shan t and opposing regulate our feelings to advantage, as well as strengthen them. Ignoran.. Always he seems standing beside me, when I ntsv Playing his "ent wron« with the first one; our Will We can also apply the same idea to the muscu¬ Th! Same ta dC?,g0CtaVes with a loose wrist, them, but by the very simple process of thinking some¬ The latest manifestation in only .nclmleknowledge H stands for This vitalizing current seems powerful enough to flow lar side of technic, so that here we have a step forward e know, and thing useful in their stead. We cannot have our full out into an audience and enable it to realize a composer low key to a hitb h<>U d ** used when iumPin8 from a attention on two things at once, and if we busy oursejves the followers of M. Coue is which *nay very likely hold the greatest possibilities for A Dangerous Power do not chanvT °nf’ °r vice versa- Watch that you Perhaps only such a force makes the player the internre with thinking helpful thoughts, the harmful thoughts the technical side of the artist’s work. Sj.a_aonj?n^?,n that theory can > taught, by tl taring medium of a master mind. A great sT/T from the wrist t, Tb °f -be band by turning the ba"d question is settled. By taking such a thought as I based largely upon the rep¬ who cannot practice it. It so you canT e'tber s,dc- Stretch out the fingers that the invariable comment of those who listened to her think only helpful thoughts and divert all others, and teaching,ZTh.E® and“a notb,i n?to 'fbe813111 named® tbe m“ blind,"’very the same daydead' with a„L d alive etition of verbal formulae was “What a beautiful song!” And she felt tSs to be the CampanelhTh! T'’ !he bIack kl-vs- When playing dwelling upon it and making it part of ourselves we Teaching Touch by Feeling jEf. that. can be exemplified for the student step by step the greatest proof possible of her genuine musical ability the second or thf/lT' f°r examP,t’. touch lightly with “There is a certain Sir John Mnndeville air” men sav construct an artificial conscience which will ring us up as the author of this article but, l have Dot spen about teaching of any other sort Too often to-day, it is the composer who is treated midway between ,/!. 8" * Mack ,lotp «*"* *°«when as soon as our thought runs on the wrong lines; then we By Celia F. Smith And how can we duly estimate this power of nersnnnlitv A the black kev H ™ tW° ends of *he skips. Do not pre>s exercised towards pupils? It is a great power, it is a dan- merely as the medium for exploitation of the " change it for something better. “I turn away each harm¬ suggests and provides. There We should urge upon .. , — interpreter you &;se 11 on,ya*a pivot. I. will help A very expedient manner of teaching different kinds nisedS1S npower.Prj’ Againra”Se and'V sagain an, lnsM,ous we see an(1young scarcely minds recog.com¬ ....-- - Pupils, the necessity for rever' ful thought as a mental poison,” is another sound sug¬ mitted to the care and the contact of men and women in ent admiration of the genius of those who atiain thT" downT.-un motion ofoi theffie handhaT 6 Iyour mind' Tbc UP 3"! gestion. It must be an absolute rule never to entertain are many whom this article of touch is by playing on the back of the pupil s hand the intimate relation of teacher and pupil when such men the place of the T ? mUSt 50 raPid as to 0V£ in thought what we would not wish to see in our lives, or forearm, using the same touch you would use at 'Vn"rly 3nfit for s“b contact. The char- next kev time but time. actor of those in the profession is as important a factor as ' on the other hand, we must be equally ready to dwell will unquestionably help. the piano. Differences of touch are difficult to explain their attainment. I would not advise”ernpirn rr '5 01 - a poor ir.. in thought upon those things we desire to see coming to clearly, but in this way nearly all pupils grasp them cian because he Is a good man, but I would solutely ci demn employing a good musician, -- sz 5 zir. And doRf'ulTm^ thZ h,C °f Using adiacc,u fingers, and in not interrupted by long noonday inter¬ Carmen, Faust, Aida or La Boheme. In Though his False des Fleurs is not among his strongest cises «ror 11 'nattered not how slowly the exer- missions. Only twenty workers can be the Orient the Russian company played things, there is a haunting Waltz in his Opera “Eugene The Fourth Finger annearr-ft f the moving of adjacent fingers accommodated at a time, and during the mostly Italian and French works. Onegin,” so cleverly interwoven by Pabst in his Fantasia not give m° ? for suc1’ an effort that the pupil could last year some 300 applications for ad¬ In the Philippine Islands, Feodorff on airs from that work. There are snatches in waltz¬ By Celia F. Smith mission have been received. Workers claims that he found the most discrim¬ time in his much-played pianoforte Concerto in B fiat tT*s?0 position a,,d stin less In playing the major scales, pupils are often in a are admitted only after a very careful inating audiences that he had found and his Variations in F hold a slow Waltz that is quite and insteaHaSeSf'S good t0 take the fingers alternately. anywhere: “far finer than America.” delightful. when to use the fourth finger. Call to their ‘n ' investigation of their worthiness from that the first, second and third fingers - attention fingerrfi 3°f2Un ^ USUaI of ?* the standpoint of talent and character. Indeed, he claims that a good part of the No' pianist needs reminding of Rubinstein’s electric —i- ——A bljt the {ourth finger the left han/- V’ 2’ 3- 4- 5- ^r the left hand (as Their applications must be endorsed by audience came possessed of scores of False caprice, nor of that exacting Etude en forme de clear*, *Jd,’S. thc.weaker one, it will show defects men and women of admitted standing in the piano part of the opera and also False, by Saint-Saens. Their popularity bears testimony ), substitute 5-3, ' armed with tuning forks. By means of to their excellence. wlich 3-1, 1-3. 2-4r,T the art world. Provisions are made for i group (such as 5, musicians, artists and literary workers. the forks they were able to prove to Of the book of Waltzes by Brahms, the most attractive themselves when the singer was off portion is the composer's name on the title-page, for, in oise obviates “the‘CH'ffl T Upthe next set This The atmosphere and social background this way mistakes are oftenften avoided.-j,,,,.-,!.,.! ana « seems much easierd of adjoining fingers and of the colony is ideal. Mr. Arthur pitch, whereupon he was likely to be young pupils Cr °* atta,nment by the majority of Nevin, who for nine years has worked A MUSIC CLASS IN MANILA hissed from the stage. Returning to in the colony and produced much of the t tjie^ Filipinos are the most musical p Le of the Orient. These ai Japan again after an absence of two best work there, told the Recorder the years in other Oriental countries, Feo- FEBRUARY 1923 Page 93 THE ETUDE THE ETUDE Page 92 FEBRUARY 1928 Learn to Talk Music The Teachers* Round Table sensational welcome which had greeted them ' CLARENCE G. HAMILTON, M.A. dorff found that the musical standards in Tokio had By William V. Kozlenko become even more acute during his absence. He and London. Unlike the magnificent St. ui ^ prophesies that Japan will become one. of the most noted for the smooth, exquisite, i‘"spiringJi ^ spirit Professorrrotessor oiof riauuiuiLtPianoforte *«/***©Playing —at Wellesley- * College . ^ . interpretations, the Ukrainians show . Music has been called by Professor Wilson “The , . . tn Tench ” “What to Teach," etc., and not technical musical countries in the world. msdepartmentlsdcsIgnedloMpthetcachcroponduesMns^ Answered The Russian company has a personnel of about one and balance of tone color in the syncopated.mmorjnu universal language which, when all other languages were confounded, the confusion of Babel left unconfounded.” hundred. The scenic investiture of the troupe is nothing of Little Russia. No wonder their comp*tnots proVemsperUW.g “^efniaddress mas, accompany alt Mplrlcs.- The student who fails to learn to talk music as he to brag about. The acting and the singing, however, themselves “on the map” and grew a little chesty. sounded together, or may write down portions of a and the “atmosphere” are unique. One of the singers, The Recorder despaired getting in contec ^.th Ko¬ plays must never hope to interest human ears. If yOU are with a stiff wrist, which should never be used with I have recently been reading Conseils d’un Professcur, melody from listening to it. Ina Bourskaya, has already been captured by the Met¬ shetz, the conductor, when he learned tha merely playing to consume time, all well and good, but rapid octaves, at least. You can test this as f°llo'vs : by A. Marmontel (1816-1898), who, as head instructor I may say, parenthetically, that the syllables—do, re, ropolitan and now appears with the Russian company “Ukrainian” only. There was a time when the ability if you want to interest real living people you must talk Begin by loosening the wrist, as described in the pre¬ in piano playing at the Paris Conservatoire for many me etc_are used especially in singing, but that the only as a guest. To the Recorder’s liking, however, the to speak German, French, Italian and English took to them with your fingers. The people themselves know ceding answer. Let the hand then rest easily on the letters—A, B, C, etc.-are more employed by instru¬ greatest singer of the group was a glorious bass-bari¬ years, taught a notable list of distinguished French musi¬ music-lover anywhere in the great world of music, what this feeling is, else they would never have coined keys, with the fingers extended in octave position. Then mentalists and hence by pianists. tone, Nicholas Karlash, who made reputation every cians including Bizet, d’Indy, Wiemawsky, Dubois, jump the wrist-end of the forearm up, so that the is to come to us? Perhaps we shall soon be called upon the phrase “he makes the piano talk” or “he makes the Thome and others. In the beginning of this treatise he time he opened his mouth. He is a splendid actor, with hand bounds upward and strikes the octave in its re¬ to speak Chinese, Hindustani, Japanese, or Tagaiog, violin talk.” .. sets forth what he regards as the necessary qualifications protean ability. keep up in musical matters. However, Koshetz; Has bound. Continue these movements, stopping long enough All the above training should give you a grasp of The entire company, in fact, resembled in its versatil¬ How can this be done? Principally by making each for a piano teacher. The latter should not only be a niece who speaks unusually good English, for the one between the strokes to make sure that the wrist is per¬ fundamentals, and should prepare you to listen to music ity the famous Meiningen Stock Company, which toured phrase a line of musical meaning, emph.sizing the prin¬ discriminating reader, he says, but also enough of a per¬ and one-half years that she and her husband, Baron von fectly loose. The same movements may then be al- as a musician, and not simply as a mathematician. America some years ago, in which the Julius Caesar of former to illustrate clearly on the instrument -the points cipal notes and seeing that at the end of the phrase it is plied to scales or chords in octaves, or to any other Set apart a period each day—an hour or more—for one night might carry a spear in Macbeth. Karlash, Schubart, have been in America. (No, the Baron ,s "0t which he wishes to impress on the pupil. Still further, German, but Russian, as he comes from the Balkan punctuated right. Punctuation helps in understanding, desirable octave exercises, quickening the tempo as practice in sight-reading at the piano. For nothing but for instance, would take the leading tragic role of he should understand the principles of harmony and In music it is a kind of breathing which enables the freedom is attained. Be sure to stop, however, as soon dogged perseverance and strict daily routine can assure “Boris Godounoff” and other operas and later appear as provinces.) , T_ . . musical structure sufficiently well to reveal the charac¬ Nina Koshetz was born in Ukrainia of a Ukrainian listening mind to grasp the meaning. Try playing as muscular fatigue is felt. ... , . you real improvement; and the only way to attain facil- the leading comedian in “Notch Lubvi." In all parts teristic features in the works of both classic and modern father and a Russian mother. She became the leading “Parlando," “like talking" and see to n that what you Such fatigue is sometimes avoided by playing groups ity is to read, read, read, until it becomes second nature his acting was incomparable. soprano of the Moscow Opera, and made tours with have to say with your fingers is not a n gon of dialect of octaves with the wrist alternately high and low. In America the company has confined itself almost His concluding paragraph is especially significant, and to interpret the notes instantly and accurately on the such noted composers as Rachmaninoff, Siloti and Tanien. but a means of conveying some definin musical thought This practice is well explained in Kullaks School of exclusively to Russian masterpieces, such as Pique Dame should be pondered by all of us: . ■ . ., piano. _ . £ u In the opinion of the Recorder, she is the best of the you have assimilated so tliat your bean i s will be con- Begin with some simple book of hymns or folk- and Eugene Onegin of Tschaikowsky, The Demon of “These special attributes, however, are insufficient it Octave Playing, Op 48, Vol. 1. Rubinstein, Boris Godounoff of Moussorgsky, The Russian singers of her sex which he has heard in vinced or charmed. Just the very thought of trying to one does not possess, together with theoretical knowledge, songs, harmonized for four voices. Spend a few min¬ Mermaid of Dargomijksky, The Night of Love of Val¬ America. At the Chicago opera she has met with great talk with your fingers helps. the spirit of analysis, of reflection; an intimate acquaint¬ Striking the Nails utes each day in locating individual notes, taking a note entinova, The Snow Maiden and The Czar’s Bride of success. Before becoming a singer she was, like Galli- ance with different methods and schools; and if one fingers in right-hand scale wort in the soprano, then one in the bass, then in the alto and Curci, a pianist. Her piano teacher was Safonoff. Her Although my le keys squarely, the third finger n tenor, at random, and play each in its proper place on Rimsky-Korsakoff. As these performances of Russian cannot add to all these desirable qualities a large fund of seem to strike t the scale of C, will strike on tin masterpieces are rare, musicians take great delight in singing of the songs of the great Russian composers is Clocks and Music Study patience and a sympathetic attitude that is united with descending, say; ,on as the speed increases. Thi the piano keyboard, speaking its letter-name at the same them. While they lack the lavish scenic background of in itself a treat. firmness. One must know how to explain; one must have . --I- .1 reduces the sound the Metropolitan, they arc unmistakably Russian and Where is Ukrainia? It is located in the southwestern By M. L. Spannuth a talent for communicating ideas. One must be extremely What Is the trouble? So much for single notes. Now play the melody of part of what was once Russia. Its principal city is have a charm all their own. . tactful in studying and grasping not only the varying The trouble evidently arises from too great a curva¬ the hymn, observing in which direction each note lies Feodorff, himself, is a practical man, but is fully Kiev. It is almost directly north from Constantinople. When the writer first encountered a worth-while capacities, but also the character of the pupil and his most ture of the finger. This should never be carried to relatively to the one which precedes it, and how far acquainted with Russian ideals. He tells a story of The folk-songs of Ukrainia are reputed by many to be teacher he was a little surprised to see him take out his intimate mental processes, in order that one may know the point where the finger-nails strike the keys, since distant it is. Speak the letter-name of each note, as Rimsky-Korsakoff coming to the opera house and dis¬ the most beautiful in all Russia. The costumes of the watch, put it alongside the keyboard r commence the when to whet his interest by a kind or encouraging word. the consequent xylophone-like tattoo is a distinct detri¬ before. ■peasants in which the Ukrainian National Chorus ap¬ covering that there were only three bassoons in the lesson on time as well as end it on line After a little To administer wisely blame or praise; to inspire a love ment to a performance. When you can do this with ease, play the tune as a orchestra engaged to play his Sadka. Usually two bas¬ pears are rainbow-like in their flashes of color. One of the reaction took place and 1 realized ■ value of time of study; to win the pupil’s confidence: such is the task To secure the proper curvature of the fingers, turn the whole, with especial 'attention paid to the time-value the audiences was surprised to see the director step for¬ soons in an opera orchestra are considered ample. Rim¬ to the teacher and to me. It came a- revelation that which a competent teacher sets before himself.” palm of your hand upwards, and then imagine that you of each note, meanwhile counting aloud. ward and kiss the committeeman on both cheeks, after sky-Korsakoff, however, had prescribed four. The great if he found it desirable to measure .mt his precious are holding a croquet ball firmly in the hollow of the Now pursue the same course with the alto part, and his introductory address. Americans would be still fur¬ Russian composer refused to conduct unless another minutes as he sold them to me it w.i< equally valuable Modern Piano Study hand. (If a croquet set is handy, a real ball may be then with the alto and soprano together. Add similarly ther surprised if they went to Little Russia and saw bassoon was procured. Feodorff, however, has had to for me to be sure that 1 did not cheat no self from one used.) Now turn your hand over, keeping its ball the tenor, and finally the bass, playing different combi¬ whole congregations of Doochobors (Doukhobors) at Has there been any radical change in work under such adverse circumstances that he has minute of my own practice time of pianoforte study^ni^ the last twenty-flv shape, and place the fingers on the keys, in playing posi¬ nations of the parts, sometimes bass and tenor together, learned how to produce effects with- an economy of prayer meetings go through the ceremony of brotherly 1 methods or book! sometimes the three upper parts, etc. Therefore I purchased an attractiv. cluck and put it widely adopted principle tion. The fingers should then be sufficiently extended out¬ means. His company, according to his own statements, on top of my pianoforte. I found that i i 1 came to the ward to avoid striking the nails, and at the same time to With another hymn a different order may be employed- is capable of giving fifty different operas on fifty suc¬ piano at an appointed time, with the .1 idea of doing Unqualifiedly, yes. During this time the whole subject effect a firm and direct attack. This position should be Begin with the bass, for instance, and add successively cessive days. That is, the company, principals and of piano playing has been placed on a higher plane. As Let the Pupils Teach something definite, and determined to d that thing ina retained for all ordinary technical work, and should be the tenor, alto and soprano. chorus, know fifty operas, Russian, German, French and given time, it was likely to get done i - more certainly a result, the present grade of piano teaching shows assumed whenever a bright, clear tone is desired. Next day, review the hymns which you read on the Italian. What other opera company in the world could decided advancement, which has occurred along the fol¬ For a more mellow, singing quality of tone, the fingers preceding day, by playing all four parts together in S. M. C. than if I merely drifted into the pari ; feeling that I equal that repertory? had "all the time in the world" and i.iking all the time lowing lines: . should be more extended. In this position the attack is strict time, if possible; and proceed to one or two others, Russian names have always been a trial to Americans. 1. With the general cultivation of scientific methods, Grade teachers often allow their brighter pupils to in the world for the specific task. J less direct, so that the hammers strike the strings with which are read as described above. As you gain con¬ The Recorder has seen so many assorted ways of spell¬ piano technic also has been placed on a more rational take turns in conducting a recitation under their super¬ Since then I have become a teachc and have given less of a knife-like blow, and the sharper, more brilliant fidence in locating the notes, you may give them their ing the names of Russian composers that he never knows basis. Instead of blindly accepting traditions handed vision. When this is don: judiciously, and with proper thousands of lessons. In all cases mm 1 have always overtones are consequently eliminated. A wide variety of time-values immediately; although I should still read one just which one to pick out of the linguistic box. The down by celebrated schools or players of past genera- order and discipline, the pupils may be greatly benefited, urged parents and pupils to have a G - in the music tonal gradation is therefore made possible by the mere voice-part at a time. . name of Chaliapine, the great Russian bass-baritone, is tions, piano teachers have begun to ask the why and and the teacher will often be surprised at the tact and room, on the piano if possible. It accomplishes three extension or contraction of the fingers. Work with hymns may soon be extended to simple spelled in many different manners. It is pronounced wherefore of these traditions. The result has been the ingenuity of the young charges. accompaniments or pieces, in which there is more variety Shall-yapp-in, with the accent on the yapp. Rosa New- very important purposes: general acceptance of the principle of relaxation of arm The music teacher may try the same method with two Facility in Reading Music of rhythm. I suggest for this purpose some collection march, who had much to do with the revision of the 1. Punctuality. and hand as a preliminary to correct muscular effort, and little beginners at the piano. After a careful explana¬ such as Matthew’s Standard Graded Pieces, in three Russian spellings of the Grove dictionary, insists that 2. An appreciation of the value of time. _ the utilization of the hand, forearm and whole arm as ses should I write or play, m order to tion of the lesson, and a thorough drill at the keyboard, 3. The determination to accomplish a specific task in ,re readily ? Should I read the notes progressive volumes; or the Student’s Book, Volume II, Tschaikowsky should be spelled Tchaikovsky, while Con¬ factors in playing, instead of placing the entire burden r bv letters: for instance, if in the of Presser’s School of the Pianoforte. Make it a fixed stantin von Sternberg in the Beltzell’s Dictionary of she may sit back and allow one of the pupils to direct a definite time-result: CONCENTRATION. e is' ou the first line, should I read it the other while playing. Remarks such as these will be on the fingers, as was formerly the case. f it is in the key of G, as la or E, rule, however, always to play a study or piece straight Musicians spells it Tschaikovski. The Recorder some If you want a cure for wool-gathering, dreaming, 2. In addition to this scrutiny of technic has come the heard: “Now play that over again; only four notes, through, and in strict time, disregarding minor mistakes; years ago was called upon the phone by an anxious dawdling or “improvising” at the keyboard, teach the general acceptance of the principle that musicianship, and then stop.” “You made a mistake; that note counts for nothing is more precious than to ramble about, play¬ newspaper man who reported that a wire had come in pupils the value of time—the one great life capital not mere digital dexterity, should be the prime aim of If, as I assume, your question applies principally to two.” “Wrong finger.” “Bad position.” The teacher ing a few bars from this and a phrase or two from that. oyer the Associated Press lines stating that a famous which we all possess alike—and then how to put out this piano teaching. To further this aim, teachers are not piano music, there are several points involved, to each in the meantime remains perfectly quiet, not interfering Keep to the mark, in other words, just as though you Russian composer was dead. The news had been tele¬ capital so that it will bring the greatest interest. only putting greater emphasis on interpretation of such of which you should give due attention. at all, except when it is necessary to settle disputes, or were playing with an orchestra, where a beat missed phoned from headquarters. The newspaper man had an Every business man knows that a time limit for the things as phrases, rhythms and melodies, but are also 1. The recognition of musical intervals by ear. to moderate the ardor of an indiscreet young pedagogue. by one member would demoralize the whole production. idea that some one was trying to play a joke upon him execution of a contract for the manufacture of a g'?® cultivating the pupil’s musical perception by ear-training, • 2. The association of notes printed oil the staff with A teacher who herself had little trouble in learning Another effective aid is to play duets replarly with and wanted to know if there really was a composer product results in a species of concentration which ma’es analysis, study of composers and kindred subjects. definite keys on the piano. music, or who has forgotten her early struggles, may some friend, or to play accompaniments with a singer named Ripzer-ICorsetzoff. When he learned that the the product superior and the worker more active. Bor I may add that, in my opinion, teachers are becoming 3. The association of distances between notes on the gain valuable hints in watching her little pupils teach. or violinist. Such ensemble performances will help to right name was Rimsky-Korsakoff he subsided. tion off your practice period clock-wise and see that tn more broad-minded and efficient through the influence of staff with corresponding distances between keys on the Besides being very effective in making pupils thorough, give you that alertness and sense of time-values which pupil lives up to the schedule. Ten chances to one tn conventions and clubs and through the rising standards of piano. and giving them courage and self-confidence, this method must be attained in order to become a good sight-reader. pupil will progress twice as rapidly. pedagogic literature in the form of books and magazines. 4. The recognition of the duration value of each note gives the teacher an excellent opportunity of learning Try the above plan, and let me know how it works. In the great Russian Musical Invasion of the United The excellent editions of teaching pieces and studies which you play. to know the pupils. Adequate knowledge comes only Perhaps some of the Round Table members have better States (or is it the musical evacuation of Russia) noth¬ now published in our own country, and the teaching aids As to the first process, I believe that no one is duly ing apart from the inimitable Chaliapine has attracted with long and intimate association, as well as careful plans up their sleeves, and will contribute them for the now offered by publishers, are also factors of moment equipped for singing or playing on an instrument who so much unusual notice and spontaneous enthusiasm as attention to all that psychology and child study may Piano Pointers common benefit. Please do 1 in developing higher standards. cannot properly hear and estimate tones and the relations the Ukrainian National Chorus. offer. One human being learns to know another by between them. Toward this end, I advise you to join By Mrs. W. B. Bailey If you had been standing outside of the hall in New analogy. We often make mistakes by reading our own a vocal class in sight-reading, or, if this be not available, Painful Practice York one night last October when the Ukrainian Na¬ thoughts and feelings into the actions of others. to join a church choir or a choral society. This will The Absent-minded Beethoven tional Chorus finished its concert, you would have Teachers are apt to fprget the mountainous aspect Play with your heart as well as with your finger*- in the Eyes must be quick to see, fingers to obey that sign, give you familiarity with the tonal material of music, learned a new use for music. There they were, hundreds which long forgotten difficulties once assumed. They and will teach you to recognize the pitch, duration, By Roberto Benini of Ukrainians, all ready to greet their musical com¬ expect too much of their pupils, and because of failure and ears to pass final judgment. Count, Count, quality and intensity of tones, and their relations to one patriots as they left the stage. Nearly every face said, to know them thoroughly, assumptions are made which Muscular pains during practice are always warnings Being on terms of intimacy with the master, Fred¬ It will amount that something is wrong: either that the practice is con¬ another. “My, isn’t it fine to be a Ukrainian?” Probably for prove exceedingly harmful and wasteful in teaching Together with this course of training, get someone erick Stark called for an early morning chat. After To more than gold tinued too long or that undue muscular stiffness is years they had been trying to tell their friends where Inexperienced teachers are prone to presuppose knowl¬ at regular periods to play tones and intervals on the some search he finally found Beethoven in his bedroom. When you are told present. At best, octave practice is naturally fatiguing, Ukrainia is and what it was all about. Then came the edge and ability entirely beyond that which their pupils piano for you to recognize by ear. Let him sound the He was engaged in the first stages of dressing; but his To play in public. , especially to small hands, and should be limited to Ukrainian National Chorus under the direction of a very really possess. The result is that they teach “over their principal note of a scale, C for instance, and then notes face was quite hidden in a coat of dried lather which Piano training must train the ear that the power . homoeopathic doses, alternating with less strenuous work. astonishing conductor, Prof. Alexander Koshetz. The heads.” Experienced teachers are less prone to make higher or lower which you are to name, or, better still, had been applied on the previous evening. He had Chorus appeared in the national costumes, sang native concentration may be engendered, technical work place I believe in giving very little octave exercise to pupils this mistake; but their standards for young children are write down from hearing them. As you gain in. per¬ started to shave; his attention had been diverted; and folk-songs, mostly arranged in masterly manner by frequently rigid and inelastic. When child deals with on the correct basis, and the pupil made capable whose fingers do not grasp the octave readily. ception, you may eventually name two or three notes he had forgotten to complete this detail of his toilet. Koshetz, and sang them with vocal shading and rhyth¬ child, however, there is a sympathetic understanding self-development. Make sure, however, that your pupils are not playing mic balance impossible to imagine unless you have between them and no danger of the one going far bevond It is often said that melodies are “God-given heard them. After the first numbers they elicited the the comprehension of the other. a great deal of practice will help in playing and co Posmg them. tue etude Pcuje U FEBRUARY 1923 MUSIC WITH “DENSITY PLVs FEBRUARY 1923 P«gr 95 WHY DOES IT DO IT? SURFACE” ‘M the etude “Why is it that military music makes Some interest has been caused in Lon- WANDERING SPRITE you want to march; that jazz music makes FRITZ HARTMANN,Op. 165 don musical circles by the theories of a AIR RE BALLET you want to dance, and plaintive music The Musical Scrap Book makes you sad?” asks the New York Eve¬ new French composer, Georges Migot, ning Telegram. This journal offers an an¬ Anything and Everything, as Long as it is Instructive whose suite, The Lacquer Screen with swer to its own questions blaming every¬ and Interesting five Pictures, was recently given at a thing upon the pituitary gland, the opera¬ Conducted by A. S. GARBETT promenade concert. The music—apparently tions of which it explains at great length. not of great importance—occasioned the “This gland,” we learn, “is sensitive to following interesting comments from that music. Different kinds of music affect it excellent critic, Mr. Ernest Newman: different ways.” “Migot, it seems, is filled with the ambi¬ Perhaps; but we venture to offer a sim¬ WAS BACH UNKIND? tion of writing music in three dimensions; pler explanation. Military music makes Johann Sebastian Bach, the “Father of a theme in pencil, handed it Marchand, it is to have ‘density plus surface’; this you want to march because it’s in march Modern Music”, not to speak of his being challenging him to y‘*““--organ competition time; jazz makes you want to dance (it the father of a large family, was usually the given subject. Marchand accepted the result is be obtained, cf course, by writ- makes some of us want to howl!) because the kindest of men; but at times he could challenge but when the day came it was ing in several planes. It sounds dashing, it is dance-music; and plaintive music- be harsh in his dealings with musicians found that he had precipitately fled from but means little. Hie old. , composers makes you sad because it is usually in a less capable and more pretentious than £>resc]en ” wrote at times in planes. 11 you like to minor key—the most important exception himself. As an instance, we. might give r£ Vender, poor man! Few of us call it that, but they called it simply coun- being Handel’s Funeral March, which hap- the case of Louis Marchand. Marchand would care to compete with Bach in im- terpomt, and as that is a .c first-hand pens to be in a major key. was an organist of some ability, but of But Bach was not al- musical term and planes , mu—this be- Isn’t it about time somebody let up on extravagant ways of living, who, through Provising a fugue, term derived from tin visible arts the poor old pituitary gland? It’s getting the influence of the King of Poland, was together kind in showing up the unhappy ng blamed for everything. appointed Court Organist at Dresden. This Frenchman in this way, for Marchand sub- ant* a"Pil - id hand to enraged Volumier, the court capellmeister, sequently achieved considerable distinction music—it is st to stn. % • ’unterpoint. who called Bach to his aid. "At a royal in Paris. Nor was Marchand lacking in It is quite true that music n. at times, TETRAZZINI LEARNED EASILY concert'” says Grove, “Bach being incog- wit. The story is told that owing to his give the sensation of plane <1 perspec- «\t A , . nito among the audience, Marchand play- improvident ways, his salary was cut in tives, just as it can gin tl >< nsation of a ura singers who begin their ca- ed a French air with brilliant variations half, the other half being given to his wife, heat, or coolness, or light! "r heavi- wi an impressive endowment of 11a- 0f his own, and with much applause, after He retaliated by getting up in the middle ness, or the silvery or t bituminous. a u iv are no immmm John Me- which Volumier invited Bach to take his of a mass which he was playing. When the Migot is not by any meat I he first to the harpsichord. Bach repeated all king remonstrated (the king of France, practice in this medium: in v middle of now we learn from Tetrazzini’s biography - of Marchand’s showy variations, and im- for this Versailles) Marchand re- Debussy’s 'Fetes' for inst. . there is a that she was a third. I have no harrowing prevised twelve of great beauty torted, “Sire, if my wife gets half my sal- t0 tell of my music-studies,” . . foreground and a distant kground as and difficulty. He then, having written ary she may play half the service.” “There was never a time in my life when clear as possible, a sort oi rial cortege the work of preparation seemed so hard passing over the main see i- definitely BRAHMS ON THE METRONOME that I felt like abandoning the effort. ' I i old-fashi , angels did not spend long hours practicing scales All well-edited modern music gives the here as with other music the metronome is would be shown flying ab- the earth and voice production. My maestri called metronome rate; but if our greatest com- 0f no value. As far at least my experi- The development of the me their easiest pupil. posers are to be trusted, it is not to be tak- i irehestra v««v„ goes, everybody has, sooner or later, has made this quite case : tin “ ‘You do not need a maestro at all,’ said one to me when I was at the Conserv¬ er to hive the interpretationof theirworks w'thfrawn ^ metronome marks Those onances can Ik- so disposed ■ ii the effect atoire of music in my native Florence. “standardized” too closely. In one of his ?“ch can be found 111 my works-good on the car is the equivalent both lineal ‘Your voice was born just right. interesting essays, Carl van Vechten re- friends have talked me into putting them and aerial perspective in a lure; espe- “Certain it is that my actual training minds us that George Henschel once wrote there, for I myself have never believed cially easy is it to convey ih unpression was probably the shortest of any prima to ask Brahms if the metronome marks at that my blood and a mechanical instru- of something thinning out tin- distance donna the world has produced. My sister the head of several movements of the Rc- ment go well together. The so-called ‘elas- by means of the attenuated mes of the Eva had to go through four years’ hard Quiem should be adhered to, to which he tic’ tempo is, moreover, not a new invtn- muted trumpets. And if to tb new color- study and incessant practice at the Con- “ot a characteristic answer: “Well, just tion. ‘Con discrezione’should be added to perspective you add the old , mc building servatoire before bejng appointed to the as with all music,” said Brahms, “I think that as to many other things.” of counterpoint, you gel at - a kind of chief position at the Royal Opera House Madrid.” THF WOTfSTJtP' rrerr mUSic tha,‘ ,0 ,hc car, is the To those that have, more shall be gi „ ’ 0 liSZT analog of the picture of pi n - and per- true in this case Most of us ffen to these days the white-hatred fig- very well that I was looking, while Liszt spectives.” en, seems true inm thistms case. Most of us ure of Liszt stands out Godlike among was nlavintr at a ^,i„7,r, -. ,, , ' or haye forgotten that Tetraz- the great piano virtuosi of history; but man ,vun . English- little sister Eva; but who shall the following extract from “Memoirs and i perceived that teaJ^' sudden'y FARRAR'S HANIhs :ay that her success at Madrid, won by Impressions,"Impressions,” by Ford Madox Heuftr.Heufcr, a ,.iP T , 7 . tears were-rolling down long study, \ it the greater? brilliant English author, gives a strangely his cheeks. And soon all the room was in Ybe recem retirement 1 .craldine vivid picture of the way Liszt was adored tears. It struck me as odd that people ''arr:ir from ;h<- Ml in his lifetime : should cry because Liszt wa« ulavimr *l- ,^w York occasioned an inn ting arti- A JAZZ HANGING “A few days later my father took me Moonlight Sonata - clc concerning her. written In Mr. Henry Miguel Manriquez, condemned to death to call at the house (in London) where at San Quentin prison, California, asked Liszt was staying—it was at the Lyttel- ^ x-rtssrte l^ATfsst:“ for a jazz band to play during the cere¬ ' , I suppose. There i mony. His wish was not granted, but the of pe0I>Ie "1 the drawing-room ■andiE they .;; astonished warden allowed a string orches- were a11 askmg Llszt to P1®^- Liszt stead- ladv-in-waltino- » by marna&e T ,I( bas often keen written that Lilli tra, composed of five prisoners, to play lIy refused- A few days before he eimar I meA^ ^ C°Urt °* Saxe‘ 8rea‘est of Wagnerian sopranos, outside the condemned man’s cell the night ° uslight accident tha‘ bad hurt one she struck me as a" tySv Enubfh 1 warmwl M?? •F“rrar f,,r hcr licr,in ap: before the execution for as long as he of hls hands‘ Suddenly he turned his eyes unemotional personage But L had ^ mtil X' J1"*-'* ■"] trr“r‘ wished, and whatever music he asked for. upon me and then- bending down, he said ways about her a disaereeahlf u ' I v ,U'r ,n,,,al Succi‘sse- tint His preference ran to “jazz,” and the rath- lnmyear: ‘Little boy, I will play for persisted to ththeP dav of Wu !l!!.°. d0UUlathat r. "’°usUS , y0Ungyoung AmencanAmerican aappliedPPbed_ 10 gruesome performance lasted all night. yo.u’ so, at you will be able to tell your they =. to lav her er death. When Mme. Lehmann for lessons, and got them, nd her neck °5h. hey discovere numtr ’ a jnstcad f’f ,hl> ”"rmal system of justice, was condemned by a bass voice requires about eighteen times ’cellos soprano 6 Prcferred” to "w , and Earned to use my face. competent authority two thousand years more work than a baritone or tenor. It trahos andCes ‘° c°p- f" n"Cra were sub- ago. When we do, music will probably was found, also, that men are always more suit a physician oveJthi d°" i "eed to con- manne r t d’sc,I’,ine ' Thanks to Iwh- p.ayplay a part in oeveiopingdeveloping tnethe immature fatigued than women and children by an office ov«r this-ask at the box- Ij! . c,oacbing and her innate gifts of minds of such grown-up children as Mig- equal effort of voice, and men with bass Chaliapine areVv, ,"mann'Heink and Si"ging and realistic acting. Miss uel Manriquez. voices suffer the most fatigue. rule exceptions that prove the rl Scored a tremendous success in British Copyright secured 7Ta,;y7and subsequently in New York Copyright 1923 by Theo.Presser Co. Ehsabeth in Wagner’s Tannhauser” THE etude Page 96 FEBRUARY 1923 FAIRY SPRING A1 AtTMAyrHFNRRUNNEN ERIK MEYER-HELMUND AM MARCH his most recent opus. It is a charming drawii ng-room The many admirers of Meyer-Helmund’s songs and ptano pieces will he glad to se, > piece, in modern style, with interesting atmospheric effects. Grade 5. Tranquillo M.M.J =

International Copyright secured FEBRUARY 1923 Paxe 99 THE MTV.to THE ETUDE Pagi 98 FEBRUARY ALLEGRETTO QUASI M^UETT0 AFTER A THEME BY BEETHOV Ar 1 ^ RICH. KRENTZLIN, Op. 79

M from a neW set of teaching pieces, , ^ ^ ^ ^ ^ ""

„ H * * r ** From here go back to Trio and play to Fine of Trio; then go back to the British Copyright secured Copyright 1933 by Theo.Presser Co. beginning and play to Fine. FEBRUARY 1923 Page iOl THE ETUDE THE ETUDE Page. 100 FEBRUARY 1923 YELLOW BUTTERFLIES YELLOW BUTTERFLIES WALTZ . .. LOEB-EVANS A waltz in chromatic styie which has proven popular as a solo. Bring out the cou

Tempo di Valse m. m. J = 144 SECONDO J 1l

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% From here go back to the beginning, and play to Fine, then play Trio. Copyright 1923 by Theo.Presser Co. From here go back to the beginning, and play to Fine,then play Trio. British Copyright secured « FEBRUARY 1923 Page 103 the ETUDE THE ETUDE P„ge 102 FEBRUARY 1923 qOTM'G OF INDIA A SONG OF INDIA CHANSON INDOUE N. RIMSKY - KORSAKOW CHANSON INDOUE N. RIMSKY-KORSAKOW „ 7 f inttv for a suggestion of the orchestral effects and coloring. The four - hand arrangement of this popular number affords opportunity 101 Andantino M. M. J = 84 SECONDO FEBRUARY 1923 Page t05 the etude the ETUDE p^i04 FEBRUARY 1923 BELLE ESPAGNOLE BOLERO DE CONCERT__ CARL SCHMEIDLER Jhe'hMdsVPlav with well-marked rhythm. Grade 5. Avery showy recital piece, not too difficult, and lying well under

Confuoco M.M. J=108

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a S wf.'uL PHLJ ii 3=3 FEBRUARY 1928 Page 107 the etude THE ETUre Page 106 FEBRUARY 1923 THE CLOWN Good Teaching Material FREDERICK KEATS Publications that Aid the A clever littleckaracteristic piece, affording good practice in.variety of tout Jauntily M.M.J,=12§ 5 4 Intro. Teacher to Successfully CLAYTON F. SUMMY CO. Instruct Piano Beginners CATALOG We aim to publuh only what we know to b? author- natively presented, of distinct,™ .n^, ^

NEW PUBLICATIONS

HOW TO TEACH PIANO to the Child I

STANDARD GRADED COURSE OF STUDIES THE LITTLE HANON

Price, $1.00 marcato il basso By W. S. B. B Unequal Education*, Work for Piano | mayHOWARDWELLS fays of Tt, “Jfte best work of the kind I have seen in a long time." TALES FROM STORY BOOKS By H. O. OSGOOD Five Short and Easy Piano Pieces for Young Folks to Play (and Enjoy)

...—b in Treble Clef ^ TT7TT? v ■* w #•5 5 5 * S Brcjdh lSlq"“"' E.™ 3 5*EL£ST,P re mus,cl'n' illiisaks '1 5 * a i a MOTHER GOOSE TOLD at the PIANO.50 5 ' 4 5 3 .■asass.- • rn- r*p - J*p , nr ^f-| :ssass£'" . • • * rf^-3- Xrr p ji • = ■3- j i 0- .J ~TV‘ ^ -- i ii. ,£= L ^ -h-=| THEODORE PRESSER CO. PHILA.,PA.

8 ^—. -s-n ' Ezrzrr— rU- k V-frf? L -S-- l-e s»: -S- — * ii Beginner’s Book for Adults ^sessessssaassaasy GRADED STUDIES FOR THE PIANO ) 1 K #- : —1-1-E- rpr-4—■ 4- —d-1-- E2L 11. Suggestive Studies for Music Lovers -— L^l By CAROLINE NORCROSS Price, $1.75 3== as This admirable book is based upon the principle that ELEMENTS OF HARMONY By Emi

PRACTICAL SCALE BUILDER, for Major and

in

LOOSE-LEAF JOURNAL LEDGER. It is a pme-Sawr^^ Copies of this unusual book will gladly be sent on in

THEODORE PRESSER CO :: PHILADELPHIA, PA. Send for Summy "Edition” and Thematic Catalogs. m IL Copyright 1923 by Theo.Presser Co. British Copyright secured Please mention THE ETUDE when addressing our advertisers. THE ETUDE Page 108 FEBRUARY 1928

One of these children trill be enjoying social advantages tphich the other can never hope to attain

Why Great Artists Are THE NEW HALL OF FAME Choosing Brunswick How it provides a modem cultural influence, which —exclusively because of its trifling cost no mother can

\\ TITHOUT exception the internationally afford to deny her children W acclaimed artists of the New Hal I of * st Fame have chosen Brunswick for which to from the old “single-face" celebrity records. record exclusively—a tendency so marked in A FUNDAMENTAL appreciation of musical circles that Brunswick now is looked good music;—that unmistakable mark They play on any phonograph. to for the premiere recordings of the great of culture the world over! artists of today. Each record has two selections. And by such famous artists as Chamlee, Danise, Dux, That is because, by means of exclusive methods Are you providing it for your children? Or of recording and reproducing, Brunswick do you feel that an ordinary school educa¬ Easton, Godowsky, Huberman, Karle, Ney, brings phonographic music into the realms of tion, alone, will tide them over? Onegin, Tiffany, Willeke and many others. higher musical expression. Brunswick records are known as the world’s truest reproductions. Modern educators say not; say that home Each record is a musical masterpiece. Each Every word clearly understandable. Every note musical training is all-important, inviting one an education in itself. Yet, double-faced unmistakable. Not a single shade or subtlety that subtle advantage of personality which and inexpensive. You acquire, under this lost in reproduction. A difference from ordi¬ nary records so great as to be amazing. enables some persons to advance so much plan, one or two of these records each week. further, in the keen struggle of life, than And thus quickly and economically acquire The Brunswick Phonograph, presenting a method of reproduction obtainable in no other those less fortunately endowed. a representative library. make of instrument,achieves perfect rendition Yet, of all educational influences, musical of the so-called “difficult tones,” attaining even Obtain Full Particulars Soprano High C without slightest mechanical appreciation is probably the most simple to suggestion, “rattle” or vibration. provide, and the least expensive by means In your city there is a Brunswick dealer. Hear The Brunswick and you will hear the of a common-sense plan now widely advo¬ In many cities a number of them. Full par¬ supreme in phonographic music—a revelation. cated by highest authorities. ticulars and demonstration will be gladly The “Stratford” The New Hall of Fame given. You are urged to get the facts. World’s authorities have recently acclaimed Note that all the artists mentioned record a New Hall of Fame—great concert and exclusively for Brunswick. And that Bruns¬ operatic stars of today, succeeding those of wick records play on any phonograph ... the world’s truest reproductions. yesterday. All have recorded many of the famous clas¬ Hence, no matter which make of instrument sics of music. And their work represents you may have, you can bring the whole so comprehensive a musical training that New Hall of Fame into your home—your foremost educators, internationally, are advo¬ opportunity now to give your children the cating its importance in every home where priceless cultural advantage of a basic musi¬ there are children. cal training; the training that will reflect itself so happily in their later social life, when Now, in collaboration with these authorities, they can take their places, without embar¬ Brunswick offers these master recordings on rassment, among people of broad culture. double-faced records — a radical departure

THE BRUNSWICK'BALKE'COLLENDER CO. Manufacturers—Established 1845 CHICAGO NEW YORK CINCINNATI TORONTO W I C BRUNS records AND THE Page 110 FEBRUARY 1923 FEBRUARY 1923 Bag* 1H THE etude MARCH OP THE CADETS ALBAN FORSTER

■ very useful marching number .(four steps to the measure.) Especially good for indoor work,calisthenics etc Tempo di Marcia m m J=ios 5 5 4 8^-4 si.--

p 0f** p-- - ^ - i ^4 ■ % ■ % v- l^V 1 p International Copyright secured Copyright 1923 by Theo.Presser Co. Page 112 FEBRUARY 1923 -r-i M’ ETUDE f0E ETUDE BLINDMAN’S BUFF BLINDEKUH RICHARD EILENBERG,Op.3()2 The composer Richard Eilenberg.born 1848, has had„an extremely active career with many successful works to his credit. This clever little characteristic piece is from a recent ojT^/sOrade 3. 5 4 5 4 3 & Allegro con grazia m.m.J =108 -4 " " 9* ' " 4 3 ~ &

A BLUSHING ROSE melody . PAUL LAWS0N

BritishXopyright secured Copyright 1921 by Theo.Presser Co. *~ii4 FEBRUABYit23 MESSAGE OF LOVE THR ST (jDll SONG WITHOUT M^ORDS In graceful flowing rhythm, with an impassioned middle section. Grade 3%. HERBERT RALPH WARD Andantino M. M. J- - 54 5 --

Sw. Voix Celestes & Salic. 8ft. Super Cpli Gt.Solo Flute BARCAROLLE ROLAND DIGGLE Ch. Soft 8ft. Ped. 16ft.to Sw. A graceful alow movement,easy to play, bat capable of eery effective registration. A good .oft vollutary or recital number. Andante con moto M.M.J- = 54_

Manual

Pedal Sw. Oboe 8ft. 3w.pg-| ! k

meno mosso f’ Fine Cb.- • • • V v • T pHrail. < j a tempo riTTT

v?* j Ped.to Ch.

Copyright 1923 by Theo. Presser Co. British Copyright secured - I #* ‘ g* 1 " “ •* 1 Oboe ooff.ff. BourdonBourdon DANCE OF THE INSECTS Useful as a study in rhythm and in double-note playing. Requires characteristic interpretation Grade 3 MONTAGUE EWING Moderato grazioso m.m. J = io8

16ft. & Flute 4ft.

^ ~DTC. ~~ ^ rail, y 3 --==—

Copyright 1922 by Theo. Presser Co. Br itish Copyright secured International Copyright secured the etude Page 116 FEBRUARY 1923 SERENADE amoureuse

Copyright 1923 by Theo.Presser Co. International Copyright secured FEBRUARY 1923 Page 119 fgg ETUDE LEAD ON, O KING ETERNAL

BeT.E.W. SHURLEFF EDUARDO MARZO

The Easter theme of Victory is admirably expressed in this truly big song. Moderato assai sostenuto

British Copyright secured Copyright 1923 by Theo. Presser Co. tUMrW FEBRUARY 1923 Page 121 FEBRUARY 1923 Page 123 the etude THEETUDE Page 122 FEBRUARY 1923 TrATT Don’ts for Stage-frighi JUST BECAUSE OF YOU By Owen A. Troy HARMON BREWER VJ K.J ± MARY HELEN BROWN This bane of every public performer is inexpressible effect upon a person. The A melodic love-song with a direct,easily understood text and a fine climax. mite distressingly interesting in its effects. audience causes his mind to be taken away from what he is doing. When centered Moderato Some people, when speaking or. singing, are affected with hoarseness, turn red or pale upon himself, he becomes self-conscious. in the face, display a visage of perspiring The inward analysis, the preeminent desire anguish. Many suddenly discover that they to “make a hit,” make success almost im- have two hands which have not been pro¬ p.ossible, because the mind is taken from vided with a special place for being kept the subject in hand to the subject on foot. when before the public. So they massage The thing to do is to forget yourself. one another so as to quiet their alarm at Self-ref lection never brought success. No being exposed to the public gaze. Pianists’ singer ever entranced her listeners until hands become stiff, violinists’ fingers refuse she forgot herself and became lost in her to manipulate, eornctists’ lips refuse to be song. Forget yourself, and timidity and flexible, all because of this evil of stage- fear will evaporate as frost before the heat of the sun. fright. Strong men, when before an audience, Here are some stage-fright Specifics often quiver and shake like a lone au¬ which experienced artists learn to prescribe tumnal leaf. Soldiers who have faced the for themselves: bayonet charge, act almost cowardly when Don’t forget to breathe rhythmically. appearing before the public. A college boy Don’t start until you feel comfortable. recited an address. His professor asked, Don’t give a "rap" what the audience, “Is that the way Caesar would have spoken thinks; think of your art. it?" “Yes,” he replied, “if Caesar had been Don’t let coughs and sneezes bother you. scared half to death and as nervous as a Don’t look scared to death; smile, it cat.” And so this affection goes the rounds, always helps. affecting all classes of people. Don’t fail to relax, stiffness is the over¬ An audience has some kind of mystic, ture to stage-fright.

The P. O. Conservatory

By Izane Peck

“How did you learn to do so many things Valse d’A dele by Zichy (who, though when you did not have an opportunity to possessing but one arm, played wonderfully go to a conservatory?” well so that often those not seeing him An Ideal Home Grand “I went to the Post Office Conservatory, could not believe the performer had but replied Eunice Claxtoa, the girl who lived five fingers). Transcription of the Se'xtette from Lucia on the edge of the mountains. “You mean a correspondence school?” for left hand alone. At first Eunice’s left hand work seemed IVERS & POND “No, not that, but a kind of school of which I was the principal. The cost was impossibly difficult; but after a time she only the cost of the music and the postage. found that she could produce satisfying The alert student can learn a great deal effects with the one hand. Besides, she was from having a graded list of music such as forced to listen more carefully than had Five Foot Colonial was provided by the publisher in The Guide been her habit; and before the summer to New Teachers of the Pianoforte. The months were gone her hand had improved guide cost me nothing. I marked off what wonderfully in agility and strength. Then, I wanted. My greatest need was material too, she had memorized a small repertoire You can hardly have in your home a of left hand selections for recital and other for the left hand.” room too small to accommodate com¬ Within a week the postman left Eunice a package of music. Surely this thick US“Oh, Mr. Saunders 1” she enthused when fortably this delightful little grand. bundle was not all for the left hand. But she returned to his studio for her first fall lesson, “that which threatened to spoil my While occupying the minimum of floor vacation has made my left hand a real, live It included:— space, it has all the essential features Exercises and Etudes for the Left Hand, somebody, and no longer a mere weakling. “Miss Eunice, you have given me an idea of the large grands, and will fill your by Berens, Books I and II. Schnle der Linken Hand, by Kohler. that I shall utilize with other students this home with most entrancing music. This contained Folk Songs; also Songs winter. Only,” he smiled, “I hope none of them will have to break an arm before Over 500 leading Educational Institu¬ from the Operas. Book of Left Hand Pieces by Sartorio. being willing to benefit by left hand prac- tions and 70,000 homes now use the Waits by Arthur Foote. Ivers & Pond.

Making Success a Habit in Music How to Buy

Where no dealer sells IVERS & POND pianos By W. Francis Gates we quote lowest prices and ship from the factory Some people are apparently successful When nothing is in sight to reach, we are tho’ your home be in the most remote village as a matter of habit. Others are habitual listless; but give us something we can gain in the United States. Attractive, easy pay¬ to-day, to-morrow or this week, and our failures. ment plans. Liberal allowance for old pianos Success in music as well as other things energies are awakened. in exchange. Every intending buyer should can be cultivated to a large extent. It has Life is made up of a series of little three main elements : First, adequate prep¬ goals. And so it is with children in the have our new catalogue. Write for it. aration; second, attempting tasks in which early stages. They, even more than adults, the accumulated ability is fully equal to its live in to-day. Give them a thing to do that completion; third, indomitable persistence. they can gain in three days or a week, and A teacher of music has it in his. power nine times out of ten at the end of the to make a pupil’s progress a series of little week they will have conquered it. Ivers&Pond Piano Co. triumphs; or, on the other hand, a series Recognize the success; congratulate them of daily and weekly failures. Success be¬ on it. Then ask them to make another— Boston, Mass. and they will do it. That is establishing the 141 Boylston Street gets success, and failure breeds more fail- success habit. illustrating this by piano lessons, gives The successful attitude can be culti¬ the pupil something that he can conquer in vated, but it takes a successful teacher to do it. A teacher is known by his pupils. a short time. Do not place the goal so Successful pupils make a successful teacher, far away that he cannot hope to reach just as surely as does the successful •t in a moderate time. Most musicians live from day to day. teacher make successful pupils. Please mention THE ETUDE when addressing Copyright 1923 by Theo.Presser Co. British Copyrightsecured FEBRUARY 1923 Page 125 TEE ETUDE rilE ETUDE saves him from being a part of that deadly Page 1U FEBRUARY 1923 scientific method the teacher who gives his lead him to this conclusion. The Italians scourge of perpendicular music, the output time to developing the pupil’s tone concept EASTER SONGS learned it two centuries before the laryngo¬ TO the human mind many things are out and showing him how to produce it without of which in the past fifty years has been of focus. This accounts for our lack of scope was invented. effort is the only one who may legitimately In the rightly produced voice, which overwhelming. ... certainty in forming judgments, and Our I believe in an equivalent of technical claim to have it. means a voice in which there is no resist¬ general muddling of things which are in¬ The Singer’s Etude What is a vocal student? As it presents study for singers. When the voice is herently simple. It is also responsible ance or interference intrinsic or extrinsic, itself to the teacher it is an undeveloped formed technical work should begin and be for innumerable picturesque opinions, and there is a constant automatic readjustment Edited for February by the Well-known Vocal Expert musical mentality. It may be highly de¬ followed diligently until the singer has for Pyorrhea. theories that theorize the subject out of as the singer passes from one end of his veloped along other lines but it comes to complete mastery of the florid style. The Tt-:. j:-of the gums, which existence. Conflicting theories are always of Chicago compass to the other. .... _ t of five people over him for the purpose of learning how to process of acquiring a high degree of flex¬ associated with “low visibility.” The mo¬ If the upper voice is thick and throaty it t only destroys the teeth, but express itself through music. This differs ibility always adds a brilliancy to the tone ..ecks the health. ment there is clear vision all argument is foolish to continue singing with full In Pyorrhea thegurnsbecome spongy, D. A. CLIPPINGER from all other forms of expression, and that can be obtained in no other way. automatically ceases. Will such a time voice and expect thereby to get rid of that then recede; the teeth'decay,^loosen when mastered it enables one to stir human ever come to the singing world? condition. The solution lies in practicing Decrease in Technical Study Tf the infecting I'ftHKt " A Vocalist’s Magazine Complete in Itself feeling to depths that can be reached in no with a tone that can be produced without Knowledge comes with experience. We Since the advent of the Wagnerian dra¬ other way, and gives him “Great power effort and never going beyond that. This do not inhale or absorb it from the sur¬ matic recitative and its effect on all subse- over the people.” The teacher undertakes usually means using half voice until the rounding atmosphere. Furthermore, it is quent composers, there has been a marked EriSf to develop in this student a musical men¬ new habit of singing without resistance is You can keep Pyorrhet altogether a personal matter, something decrease in advanced technical study tality ; in other words, to produce an artist. Visit your dentist often fui ... each one must demonstrate for himself. Singing Thoughts Known and Unknown formed. among singers. Modern opera demands and gum inspection, and use he We err if wd1 think that each generation This he does by giving him right ideas of Pianologues ban's For the < .for everything involved. He must give the Practice with the Full Voice less of it than did the operas of a century Forhan's Fc ie Gums pre^ begins where the preceding one left off. By D. A. Clippinger The clever piandope merits *,“ptXr'use ago. Notwithstanding, in all ages colora¬ HE Pyorrhea-orjp student the right idea of tone quality, vowel There are some, perhaps many, who be- On the contrary, they all start at about tura singers have reigned supreme, and m a ms the same nlace • but a few in each genera- , , , , , . ,iP The world, if not flooded, is well sprayed formation, resonance, tone color, freedom, lieve that practice should be done with full usedconsistently. Ordinarydeni they still have the greatest drawing power. tHces cannot o• - ,'K* tion go beyond their predecessors and so and that Musonants have a e y t d ^ methods, most of which con- brcath controi. When be begins to inter- voice, but I have in numerous instances keeps the gumsId firm-°id and FhealthyhX s . you.' This will never change for the coloratura mm become leaders. Most of us trail along str°y leSata Some " f n Pf k sist of some stupid mechanical way of con- pret he must have the right idea of legato, succeeded in building a beautiful upper — the teeth white and clclean.ean. | $m&TH IT' J* is the pure singing style. One can easily behind at varying distances and never tone completely; _ for example, p, t, , trolling the vocal machine. I confess that Sostenuto; of contrast in power, tempo, and voice where it had been rendered useless Start using it today. If yoor ? WKS* tire of dramatic recitative, but of a bril¬ gums have receded, use hop i gHUj catch up. Why is this so? Not having which have no pitch. Others, suen as d, j ^ thoroughly "fed up” on this alleged quality; of proportion, harmony, unity; of Cabin ! ! . . • cjjLullatby) by heavy practice. Therein lies the proof. han's according to directions. { .jflBHl liant coloratura voice, never. Therefore, , - ,j| the gift of omniscience, my answer would d, g, which are subvocal, are almost cer- scient;fic twaddle. Most of it is pure bun- mood, atmosphere, how to express the end- Everything has its technic.. I still be¬ study technic long and earnestly. The doubtless appear speculative, so it is with- tain to interrupt the flow of tone. The combe and }s put forth for commercial )ess var{ety of emotions; the breadth and lieve in a serious study of counterpoint for ^Irra'rti§li singer who attempts a career without it held; but the fact that it is so explains reason why consonants interfere with reasons The more the scientific side of a dignity of the Oratorio; the emotional in- n’ ’SphessYo’se'fosi (Humorous) am cavu composers. It gives one facility in han- E f°rm-pricc, postpaid. will be handicapped and will always fall a why some of us are teachers and others legato is that they are usually produced method js emphasized the more mechanical tensity of the operatic aria; the lightness ■kTUDE^CoLLECTioN ” dbng the materials of music, teaches him to , Specialist little short of being a great artist. students. The unprecedented growth of w;th more or less tension. The mastery d consequently the less scientific. From and fleetness of the florid style. From .nmplete 1^_0gre^£^ISON & CO, think horizontally, that is, melodically, and music in the past century is due to a few 0f the difficulty lies in learning to enun- tjme to t;rae students who have had from start t0 finish he is dealing with ideas and Dramatic Publishers great leaders and a large number of in- ciate consonants with as much freedom as one to three years of this so-called scien- tbejr expression. When the mechanism 123 S.WABASH AVE„ DEPT. 98, CHICAGO dustrious followers. This company of fol- vowejs Consonants are points of inter- tific teaching come under my observation. js controlled by the right idea it will always lowers constitutes the student body, and Terence consequently they must be dis- I have never found voices in worse condi- function. properly. Trying the Voice each—-* one must begin at the beginning. We b;t short. An attempt to prolong tion. But here the question is invariably sometimes overlook this and take too will always stiffen the throat, asked: “What do you do with a rigid By D. A. Clippinger More Scientific Methods much for granted. Nothing is easier than ttHere_ are the things fnto remember:rprnpmbpr; Enun-Enun¬ throat and tongue, and with one who can¬ getting ahead of the student. Every year one or more scientific meth- not get his high tones?” This kindergarten ciate consonants with the same Having the voice tried is a habit that Who is the loser? The teacher loses his ods of voice training a evolved. They question doubtless will be asked to the end fastens itself upon some people like liquor time and perhaps his temper, but he has Overlooking Foundation Work ■PI _ knowledge of 0f tjme and there is but one answer to it. Consonants must not interfere with the usually consist of_ or opium. They are continually going purposely or inadvertently inoculated the vocal anatomy, a few ideas with which all a rigid throat is one that is controlled by resent gen- . . , ,_ about from one teacher to another with the visitor with some germs of his method, and . - , , continuity ot voice teachers are familiar, and some me- a wrong idea, that of ton-inn. When it is eration of vocal students must learn the question, “Will you try my voice? Be¬ piteous to relate, here is where the eternal Consonants must i chanical stunts. * This is hailed as a dis- controlled by the right idea, that of free- e things that all preceding generations fore you have had time to answer, the law of compensation obtains with all of its -J part of , the , r LUVCiycovcry U1of somethingSUlllCLUmg thatutcu hasno-o been period- cClOITl,iom, relaxation,IL it immediately loses its learned. Nothing must be overlooked, second question, “Do you charge for trying immutable features and classic appurte¬ nothing taken for granted. I believe I am Further: We know that the power ot . lost for the past three centuries but rigidity. nances. Think of having one’s mental __ depends primarily upon the amplitude voices?” is asked. If the answer to the right in saying that the mistake most *— ..* ttlP aB11,1,t“de before rediscovered. We are invited vineyard overrun and outraged with the Head Voice second question is in the affirmative they often made in voice teaching:actung is that of of the vibrating tissue. Or, to shnplify, tQto discardalscarQ ailall we havenave previously learned germs of a dozen or fifteen different vocal sometimes entirely overlook- the power of the smgmg one p and accept this as the v( of God to this The one whose high tones are difficult immediately disappear. slighting No teacher ever waxed rich trying methods. It fills the victim with an unrest ing the” foundation work. There is no primarily upon the pressure of the breath. A number of times in recent years has a totally wrong idea of that part of his voices. All that he ever gets for it is a that burns holes in his moral fiber and other way to account for students attempt- We also understand that the vocal cords wg havenaye reaQread, booksDOOKS whoseWnuse auuiuisauthors uiuu-mod- compass, andaim thereum. are~ more wrong- ideas D. A. CLIPPINGER diaphanous and altogether hazy prospect. keeps him eternally going, but the teacher Author of ing in the first year what should come in must offer enough resistance to the breatn est, admitted that they contained the first about the upper voice in circulation than takes unto himself the consolation that he the second or third. to convert k mto sound waves of sufficient and on,y simon.pure 5cientific method thus of a], other parts of it combined. That These good people are willing to take the THE HEAD VOICE AND OTHER PROBLEMS, $1.25 teacher’s time and listen to his advice, but helped to fix him so no one can get him. The first step in the mastery of any power to create resonance. e resis p vouchsafed to an abandoned world: part of the compass lying above the speak- Herein is- his compensation. subject is to think accurately about it. ance is insufficient the tonewjbebreathy ^ aU previous offerings w£re conceived £ voice> and which is , - — - - they do not consider it of any value be¬ SYSTEMATIC VOICE TRAINING, $1.25 cause they are always unwilling to pay for But in this process there is considerable Nothing can resist the power of right If 14 1S great tne tone w in vocal heresies and savored not of truth; head voice, is rarely a i unalloyed joy to 617-18 KIMBALL HALL CHICAGO, ILL. it. They seem to enjoy having their voices waste of raw material, so to speak. The thinking. The question which should con- and metallic. but ;n readjng these books we have been the singer. It is the one rent problem in tried as some men enjoy having their heads aggregate of all those whose lives are de¬ cern the student is whether he is thinking Is It Scientific? unable to discover anything that has not voice training, and yet i solution is not rubbed by the barber. They speak of going voted to the vigorous pursuit of having SHORT- STORY WK along a line which, if followed, will lead Now whaj. has menti0ned above been familiar tp voice teachers in all ages, necessarily difficult. down town to have their voice tried as their voices tried forms an element of no § 3 regis- „ _ satisfactory conclusion, constitutes one step in the process of good It is difficult to write anything entirely The one who says th they speak of going shopping. They never mean proportions, which, if directed into business of the teacher to direct his think¬ production; namely, forming right new on the voice, and many a one has se- ters in the voice, and then proceeds tco carry 150 page catalog free. Please addr study. They have no idea of studying. the channel of legitimate vocal traffic might THE HOME CORRESPONDENCE SC ing to that end. If the teacher is is is physic- ...e - conditions of the instrument. The other verely injured his prospects by making the lower thick voice up as lar as is 1 One who will take all of the time the yield the profession goodly dower, as it will keep away from the subject of vocal ^ gven mQre }mportant step is forming such claims. ally possible, is courting disaster and i- teacher will give, with no thought of com¬ were. True, the constant trying of voices physiology, at least for the first year or ^ rjgbt concept 0f tone. Many teachers in their early experience doomed to a sorry end. The assertion that pensating him, is not at all likely to spend two. One may learn all that the vocal perfect concept of tone and perfect pass through the scientific stage and there are no registers in the voice is equiv- brings the teacher in contact, with much money for singing lessons. These vocal vocal material, new and old, and thus en¬ mechanism is expected to do in singing condjt;on 0f the instrument which is to emerge wiser and better. With others it alent to saying that the entire voice is pro- nomads skillfully avoid the psychological STEGBR SONG without involving himself in the maze of produce must be tbe basjs 0f any sys. becomes chronic and they adhere to it to duced in one register, that is, with one larges his experience, his fund of anecdote, moment, hence no teacher is able to close and his nerve cells. These all have a social juiatomy. tem 0f tone production worthy of the the end. mechanism. My experience with the voice with one of them. In point of “elsewhere- value, you understand, and make the BOOK name. A system which does not work It will be admitted that the aim of all leads me to an entirely different conclusion. ness” they put the classic flea to a more or Things.That are Common but Fundamental conscjousiy atKl definitely for these two methods, scientific and unscientific, is beau- If by registers is meant the breaks so often teacher a power in his community. less open shame. The following are ideas with which all basic elements is spurious, I care not what tiful tone. Therefore, the most beautiful heard in voices, then I cheerfully subscribe 111 Favorite Selections teachers are familiar, and have been for euphonious label it may carry. tone may be said to be the most scientific- to the tenet that there are no such things in rCommunity Singing ages, but which are new and important to There are certain facts of expression ally produced. Now it is a fact that in the the trained voice. But this is a very super' ADVANCE OF PUBLICATION OFFER j ADVANCE OF PUBLICATION OFFER V ,for{ Home Happiness students. For example, the vocal cords which we cannot get behind. For exam- best voice production the singer is least ficial view of the matter. Breaks m *■ “ ^School Exercises exist lor one particular purpose—to pro- pie, when the idea is right and the medium conscious of the operation of the vocal in- voice show imperfect control of the mstru Edited by duce pitch. They do not produce vowels, through which it is expressed is rightly strument; for no vocal mechanism can pro- ment and may be easily corrected; but ORATORIO SONGS DR. J. LEWIS BROWNE neither do they make the tone clear or controlled the resulting expression will be duce a beautiful tone unless all of the parts argue that two or even three octaves o Sacred Song Albums FOUR VOLUMES The songs you remember, somber. The vowel and quality (the fin- right. If one sings what, to the trained involved are responding automatically to voice can be produced with one length an We will issue shortly four volumes of ora¬ and those you’d like to remember—old and ished voice) are effected in the vocal ear, is a beautiful tone, he may rest as- the mental concept of pure tone. What is thickness of vibrating tissue discloses a For High and Low Voices torio songs, one for each of the four voices, new favorites close to every heart—you’ll find cavities, the pharynx, mouth, and cavities sured it is rightly produced; for if it good tone production but an idea of beauty lack of fundamental knowledge that is alto- soprano, alto, tenor and bass. They will them all in this happy collection of tunes. We will issue two volumes of sacred of the head. The vocal cords originate were not correctly produced it would not perfectly expressing itself ? A -knowledge gethcr inexcusable. The human voice c contain the best only and will be edited by Complete with words and music. Easily solos, one for high and the other for low a leading authority for each voice. The readable! Well printed on paper of selected sound waves and these are converted into sound right to the trained ear. Is such a of the structure of the instrument has no no more do that than can the piano; an voice. They will be suitable for the aver¬ volumes will not be large nor expensive, but grade. For home, school or club use this voice, that is, vowel and quality, in the tone scientifically produced? It is; and a more to do with good singing than with instrument makers knew it to be impossw will include a number of arias that have age choir soloist. None of the selections book is ideal. cavities through which they pass before tone that is not beautiful is not scien- good violin playing. In both instances it before the first piano was designed, never yet appeared in similar volumes. The Send for a Copy TODAY reaching the outer air. tifically produced; and by no legitimate is the artistic sense of the performer ex- The one-mechanism idea never solveo have ever appeared in any similar volume late David Bisphamwas to have been the PRICES: 100 copies, 7c each [L o. b. Chicago], Further, when the vocal cords are pro- process of logic could one reach a differ- pressing itself through the instrument, the problem of the head voice; but it n so there is no risk in ordering one of these editor, but we will now have a special editor $1.00 per dozen, prepaid. Single copies [and les9 than dozen lotsj ducing pitch, if there is an open channel ent conclusion. Singing is an art no less than piano playing ruined more voices than can be numbers- books in advance. Our advance price for for each volume. Every singer should pos¬ 10 cents each, prepaid. to the outer air the result is a vowel. But a beautiful tone produced without and painting pictures; and this scientific It never produced an even scale and neve sess one of these volumes. They may be either the high or low voice volume is 35c ordered singly, each 50c postpaid if ordered STEGER 8C SONS When an obstruction of any kind is effort and without conscious direction of bugaboo which is always, meant to be im- will. .. postpaid. in advance of publication. cpiatio £Manufacturing Co, thrown into the channel the result is a various muscles and cartilages makes no pressive, should be consigned to a well- The upper or head voice is produced wit" Advance of Publicalion cash price, 35c. each Advance of Publication, cash price, 50c. each 311 Steger Bldg. Chicago, gL: consonant. These obstructions are the appeal to a majority of the originators of merited oblivion. a i;gbter mechanism, a shorter and thinner If it’s a STEGER " various combinations of the lips, tongue, scientific methods. It is too simple. It Those who adhere to these mechanical vibrating tissue as the laryngoscope an valuable piano in teeth and soft palate. lacks ponderosity and impressiveness. It methods are making their work tremen- camera have proven times without num- the world. Continuing, we all know that a pure is also barren of scientific nomenclature, rkuslyrr . difficult and "-greatlyJ lowering theirim_il bertier. ButDill ifII theUlf laryngoscopeIcll v ugwv had n«« .—a basic element of good singing It is not sufficiently mysterious. efficiency. If there hebe such a thingn,j„„ as a been :_...._k„^invented one’s common-sensemnn-sense shouw Please mention THE ETUDE when addressing our advertisers. tee ETUDE FEBRUARY 1928 Page 127 THE ETUDE Page 126 FEBRUARY 1928 New Records of Interest to Musicians SUMMY’ S CORNER New Publications of Unusual Value EasterMusi c HOW TO TEACH PIANO to the Child Beginner, $1.50 A Selected Ust of Anthems, By LOUISE ROBYN Crnitatas,Soloo,;Dijet5 and Pipe A keen analysis of how to guide aright a Or^an Numbers for Easter Service. child’s musical intelligence, presented with the authority of one who has achieved dis- BRILLIANT EASTER ANTHEMS | MEN’S VOICES

Ea, ^ New Books of Interest to Musicians

TALES FROM STORY BOOKS, Complete (is 103) 90 cts. Two records of pret to entire : By H. O. OSGOOD Ides/’ Parts I and II, enzas, trills or other vocal pit-falls in this Five Short and Easy Pieces for an of Liszt, played by selection, and though it may not seem so, Young Folks to Play(and Enjoy) 'hilharmonic Orchestra because^of toeir lack, such a song j, the

rL™'OTr

CLAYTON F. SUMMY CO., Publishers 429 SOUTH WABASH AVE., CHICAGO

enter in perfect balance, playing with pre- quartette helps to bring out the beauty of LIZA LEHMANN S cision. This theme builds with strengthen- her vocal production. Here is an artist xxrJZJLZssiZz t of ornamentation upon the combined forte listening to Miss Gates’ records analvti- ‘In Some Sublimer Star’ power of the rest of the orchestra. The cally. interwovenmelodies during this portion of One other Columbia record this month are carefully pointed and is worthy of ai This is the violin High c Voice

THEODORE PRESSER CO., Philadelphia, Pa. Music Publishers and Dealers “hcd 1710-12-14 Chestnut Street

Faust School of Tuning

JIik her shoulders.^" a"d & ^ head °n J" ,speaking of viohn record""’and the LU "™5ua''y fine reproduction violin re-creation Frecferic^Vtoc .Murray MOTHER, MY DEAR ^ 7-7 ™: t>y ‘ - '

Any of the above Publications will gladly be sent for THEODORE PRESSER CO. HAROLD 1 - AMY KEY .40 PoSTPA 1712 Chestnut Street :: Philadelphia, Pa. J7 W&J)T ^WST,5 NEffVoit THE ETUDE FEBRUARY 1923 Page 129 the etude Page 128 FEBRUARY 1923 former; for, if he lose beats in playing the piano or in any other way fails in his the beginning of a note imagined to b offered by some of the extremists. These Assuming that an organ student has ad¬ rhythm, he can get back to the straight placed in the rest. Take the following: if used at all may well be left until the vanced far enough to have a church and narrow path through the dynamic ac¬ Lorenz's Easter Music of his own, a good organ to play and prac¬ Easter Choir Cantatas cent. by Ira B. Wilson. Fifth Year tice on, a teaching connection, and that his The organist, since he can not accent, The Organist’s Etude Moderately difficult. 60 It could hardly fail of being counted a outlook on life and its opportunities is an except by indirect methods, is unable to con¬ fault of both teacher and pupil if Widor, ambitious one, what advice may one give An Organist’s Magazine Complete in Itself vey the impression of the correct rhythm Cesar Franck, Karg Elert and o'thers of him as to the various problems that concern unless he plays the notes in their exact fill. * d devout cantata. C the French and German school were him, their nature, and the ways in which time-relations. That the organ is not capa¬ studied to the exclusion of the American they may be solved? These tv sent on approval. To get Edited for February by ble of accent will be violently disputed by “different cantatas on approval, advance organists who have written in the large Salaries for organists are low. There many organists; which is largely because 15 cents lor postage and packing. State grade of forms, and added worthy and in many DR. HAMILTON C. MACDOUGALL difficulty desired. was a time during the war, especially from they fail to distinguish between the feeling The notes a-b, b-c, c-d form pairs of re¬ cases noble works to the organ repertoire. 1916 to November, 1918, when there was a Easter Anthems of the “swing” of the music (which is en¬ popular out of over 300 we peated tones. The first tone ought to be dis¬ The catalogs of the leading American scarcity of church players and salaries in tirely internal) and a dynamic accent itself, publish sent on approval upon request. connected from the second; the note at d is publishers give titles of many works that some few cases were raised slightly. This which is absolute. By an “accented” tone Faster Solos and Duets terminated by the playing of the note at e. every American ought to know and play. was a time when concerted action on the Our ten most popular out of 100 we publish I mean a tone which is absolutely louder sent on approval if you advance 10 cents Now, if the quarter note at e is taken up Many organists are desperately anxious to part of organists might have resulted in than the tones on either side of it, and not for postage and packing. If you state voice precisely as the note f is played, two play the late published works of Vierne or ’ She Found A Pleasant Way To better financial conditions. It must be re¬ The Young Organist and His Problems desired, we will so limit selection. things occur, viz., the quarter note is pro¬ Dupre, who would not think of playing a Reduce Her Fat membered, however, that the professionals merely a tone that, through the art of the Sendi0pp^:pd'rs8good only if ETUDE is longed (by the nature of organ tone) valuable work by an American. This fifth were in the war and the substitutes were as player, is made to appear louder. She did not have to go to longer than it ought to be,—and further year, then, might well be devoted to learn¬ trouble of diet or exercise, a class mere stop-gaps and without a f< Peculiarities of Execution than that, it is mentally connected to the ing some of the notable works by promi¬ found a better way, which aids the j ing of e Lorenz Publishing Co. Before the student acquires the art of note at f. But that is quite wrong, for the nent men of our own country. It is not digestive organs to turn food into quarter note at e is the end of a phrase and suggested that anything wider than a judi¬ muscle, bone and sinew instead of fat. period dunng which general advances in of this soc P y g, j obliging. These may well be supplemented by visits making the listener think he hears accents and rhythms which have no real, absolute is not to be connected to a following tone. cious selection of the works of any school She used Marmola Prescription Tab- salaries for organists were at all prac- ^ to the interior of the ‘instrument, where The quarter at e ought to be taken up or any one Composer (J. S. Bach excepted) lets, which are made from the famous j existence, he must pass through a period of Marmola prescription. They aid the | smartly sometime after the playing of the be undertaken in the five years; eclecticism ‘T was told the other day that the salary a footing in itTconstmctkm may^^ointedTut \he discipline in playing notes as they are. digestive system to obtain the full | and fees of the organist of a well-known for permiss.on to give some organ recita ^ {eatures of the console, the tone- Take for example the subject of the Fugue note at /. must be the watchword. nutriment of food. They will allow you I in C major, No. 1 of the "Eight Little AUSTIN ORGANS to eat many kinds of food without the j New York church amount to between nine These will be free ought^ to c°“e qualities 0f the stops, the acoustical theo- yHE number of Austin Organs The Phrasing Touch what Bach Work Should an Organist Know? and ten thousand dollars a year. I know time when the ladies ofthe jregabo* 9 underlying the mutation stops-these Preludes and Fugues.” It runs this way: necessity of dieting or exercising. manufactured in the past The continuance of the organ tone, that Thg time.honored custom of beginning positively that an Episcopal organist in “ ®e to an » h™ will form the basis of subsequent study of Thousands have found that Mar- New York a few years ago received a tractive programmes. If he manages to tion Thg ieces {ound at the end Ex.l twenty years is over eleven is, its prolongation into a rest following it, Bach Qn the organ with tbe “Eight Little mola Prescription Tablets give com- nearly ten thousand dollars from his play the things people ike to ' ear. and g the well-known primer by hundred. Of these nearly 400 becomes of great importance as regards pre]udes and Fugues” is not without rea- plete relief from obesity. And when are three manual and nearly phrasing when the more florid Bach pas- SQn It -s true that tbey are not tbe sim. the accumulation of fat is checked, church, but after hiring singers buying does, «* StaiS^ ar^of mU less value" than th^ reduction to normal, healthy weight | 100 four manual. An unusual¬ sages are played. Preludes like those in composjtions 0f the Great Master the Widor edition of Bach, Book II, page that might be cbosen; nor are they of equal soon follows. ly generous proportion of 34 (Fantasie in G major), page 42 (Praelu- mus}cal merit. Indeed their musical merit All g< orld o In this simple phrase are several pitfalls n Tablets famous instruments. dium in G major) may be worked through Js nQt great But tbey are characteristic of chronic condition of dead-tired-ness and n . read f them Xhese are found for the young player who is only a pianist. in the second year. The passages in rapid their Author> and the practice-material is Bearing in mind that the organ tone re¬ AUSTIN ORGAN CO. notes need to_ be played detached, and not ample_ If a young organist can play the lentlessly holds out with equably of power r«.rrs*bsbdee,?,ts^£ | •.» 165 Woodland St. Hartford, Conn. legato, for if played legato they will wj^h correctness, with a certain MARMOLA COMPANY organistl whf recede a thousand dollars itself, but if not it will be all right for a Haertel editions, ^recommend the follow- until the key is released, we can see that salarv are few and far between. Many few years to go about from house to house, mg sequence, viz. Nos. 7,3, 6, 2, 4, 8, , j 252 Garfield Bids.. Detroit. M unless carefully articulated, the first and sound “smooched.’ . , amount of style and dignity, he is a good This leads to a consideration of at least djstance on the road to strong, vigorous paid .hi A, hU.Cs, grow, Urge, he c„„ to. second tones will seem to be one continuous three kinds of organ legato. (1) The oyer- organ playing. sound. If any one doubts this, let him go SfiSfUS: JS L sii ...rahhoogh GUILMANT lapped or “passionate” legato, as Dr. Tur¬ The “small” G minor fugue may be found on examinato i « Rv this time he will have a perhaps too difficult to be mastered, it will out into the church and note that the two pin used to name it; (2) the notes touching tones certainly seem like one longer sound taken up next. It has a taking subject, in- iTLmfredSand fifty doUars per annum studio dowmtown, renting it for part of bring the student sharp up against the real but no more than barely touching, the or¬ unless there is made a space between the teresting to the student, and is by no means nT even less the time if he has teaching in the neighbor- difficulty of organ playmg-wh.ch is play- Organ School dinary legato; and (3) the detached le¬ an easy nut to crack. It is well to have or even less. ing towns Many teachers secure addi- ing a tenor part instead of the lowest bass first and second tones. In other words, the gato, a contradiction in terms, but suffi¬ first tone is made over into a sixteenth, fol¬ Dr. William C. Carl, Dir. an eye on the Trio Sonatas, taking move¬ Income urestige in their own town by secur- with the left hand. ciently understood when alluding to the ments here and there as circumstances dic¬ It is evident that after paying annually £arb;g con„ection in a larger town lowed by a sixteenth rest. As regards A Distinctive School for serious students. v)rilliant passage-playing which would be tate. The style of these celebrated works from seven hundred to nine hundred do1- by Here the automobile }s of great Begin Hymn Work Soon tones 3 and 4 the case is quite different; Mooinr ( Ei’pa Snhnlnrahins. Students If vUoxrzizI xxritVi Hip Qprnnd tvne. The Master C is. Free Scholarships. Students biurred if played with the second type. The is so pure that they are powerful influ¬ lars for board and lodging, there is little Since the student is to prepare himself the fourth tone necessarily cuts off the aided in securing positions. first-type finds its use in the slower, more ences in forming a correct taste. left from the average salary to pay for ^here ^ ^ reason why> with piano or for church playing, it is well to begin third tone and hence the two are not Write for Catalog expressive, poignant, or romantic melodies; “About this time,” as the almanacs say, it clothes, music, books and recreation, in vQjce as a teachjng subject in addition to hymn-tune practice almost as soon as his merged into one. The principle suitable the second type, in the ordinary playing may be well to attack the Toccata and Fu- other words an organist, merely to exist on organ, a man* with a good address first exercises with left hands and pedals for such cases is this: In the case of re¬ 17 East 11th Street, New York of musicmusn- inm moderate tempo. . que 1 _D minor, not the Doric. Of all the this planet, needs to earn at least seven to should not’ ;n five years be making a thou- alone are well under way. The commonly peated tones detach'the first distinctlyJfom Music of the Toccata type involves the of the ’great Leipz;g Cantor this nine hundred dollars annually, Despite sand donars ;n addition to his church work, recommended plans of (1) hands alone, the second. Mind, this is done not to use of the detached legato or even of the makes the most show Truth t0 ten it has popular notions on the subject, e of tairWor- to AnA „ unmarricd man ought to timbe pHpable tnto save (2) Soprano and Alto with right hand, change the passage as written, but to se¬ staccato. The point is that the music must beyond sbow to reCommend it; but at WHITING-ADAMS say that in any city of the si cure the exact rendering of which the notes hardly six money anc* PrePare for the Ildpyv L1U1C. TenorJ. vnt-Tt withWUU leftItu -hand,xiaiiu, andaii\a Bassuooa with>v mi sound blurred to the man in the top oi fhe samg time there are moments in it that cester or Providence there ari if** when he finds the woman with whose help pedals, (3) Soprano as solo with the right are a feeble and imperfect index. the gallery. Organists are likely to think hundred _1;,.„ „_i-i- *-—A’- ■ * ‘ - - - are effective and interesting. It i BRUSHES .1 wh° ea™ ,as m“c.h as n!ne hundred wouid like to make a home. hand, Alto and Tenor with the left hand, that what appears to them at the console as Vulcan Rubber Cemented Shaving dollars from their position; or, as our Eng- and Bass ^ PedalSj may be adopted. Notes Before Rests cellent technique-developer. legato is legato. The Saint Ann’s Fugue is one of the Brushes make shaving a pleasure. A second and important principle is con¬ lish friends say,_ r»thn!tc and A Five-year Course for Organ Pupils Hymn-tune playing may be and ought to be best-beloved—and rightly so—of all the They wear for many years. JW* I f who have a large The young organist will find a good deal carried on for years, not only that the va- cerned with notes before rests. The hold¬ Invincible Hair Brushes. Strong, stiff Special •‘bliGOBlOnSSIOK” _ , , . . . , _„ a Bach works. The first movement - - bristles. Beautiful wood, richly finish¬ Eh ,rch and ebborate musiCh for example of material ready for his use in teaching rious ways of playing hymn-tunes may be ing-out to the bitter end (sostenuto) of the The Bach study ough o b £ djerful one for the combined diapasons of organ tone has the result that the tone is ed. Very popular with lovers of good the Rhoman Catholic Cathedral in Provi- his instrument-in fact it is a case of the learned, not only because the practice so THE SPENCER TURBINE COMPANY The better type B - - - the instrument; the second, lighter and carried over into the rest. If there is any could be farther from the truth than that brushes. dence or Grace Church in New York City, embarrassment of riches. It is highly prob- gained is of great, value, not only because HARTFORD °rS”" Fo"<'r '’^"’’‘'CONNECTICUT sprightly, the third climactic, power¬ >r Illustrated Litera These men devote all their time to the able that he will try to recall the first steps hymn-tunes form m themselves a body of doubt about this, play an organ side by side Bach’s works are of uniform excellence), ful and brilliant. All this makes the work church they serve and must be paid enough he himself took in organ-playing and give musical literature of great interest and with a piano and note how “fuzzy” the --St. Ann’s in E flat,' the Toccatamit' F major,•, a a iavoriiefavorite withwiin orgaiuais,organists, whowiiu knowwwn m live on comfortably. The solution of to all his pupils the same technical exer- even value, but also because the improvisa- organ tone is, how it lacks termination. PIPE ORGANS the three great Preludes and Fugues in For sheer musicai beauty and content the Compare it with the clean, incisive tone of minor. B minor and G minor, and last ot ^ vastI ior tothe this problem for organists outside• •4 those•’ ~< :«es, studies and pieces he himself worked tions of the church organist will be founded Our organs have ever been^noied for their^po^- a clarinet. The practical application of all the Passacagl.a,rall these may be Toccata and Fugue in D minor. Nor must communions is private teaching. This might be the thing to do if all on these interesting pieces of music, and he people were alike; but he will soon become needs to be steeped in their characteristic this comes in the proper taking-up of the desfgn^0 BCusinessnCfounded]\ntyi8H. Many of studied sometime during the vears third to ^ ^ Prdude tQ St Ann>s Fugue> fourth note in the example. If it is taken Teaching dissatisfied with giving everybody the same excellencies, The Emmons Howard Organ Co. fifth. The trio sonatas ough which is formally an extremely interest- n starting out medicine and will want to enlarge his list In the second year of study the Eight up at the exact moment that the rest is due sprinkled in as te tedhmeaJ „dvancem n " anticipating in a way the Let us imagine a young ma . of remedies. He will then find that there Little Preludes and Fugues may be fin- it lasts over into the rest, and hence is too of the student admits. Always must mere developed cyclical forms of in his first “berth” as organist. He has a are no graded courses for the organ as for ished, and the practice of the easier of the long. It must, therefore, be taken up just be a striving for accuracy, for rhythmic * who- followed- - ■ Bach.- • church with a non-liturgical service, ? A SOUTHERN FANTASY swing,• and lowlater forW rp capacity and power are both small. In the Case of sim- Fourth Year technical development. The G minor Fan¬ that is just the point! There is no note BE A PIANO TECHNICIAN tasie and Fugue, sometimes called Pre- the churc Pe°p . . . , , mechanical arrangement that in the nature pie rhythmical relations, the organist can there, but there is a rest 1 The principle row tun time imu ... . Me and Fugue, is popularly supposed to anticipa e an ry ’ 0f the case “graded courses” for the organ render a march or a grand choeur with ex- HL is expressed thus;—Notes before rests are scone for interpretation and registration be be the most difficult and finest of the_ four will find t g R pupil are less in demand, and would be less cellent swing; but the rhythmic range of shortened. It is by no means easy to pW ways agree with him m the choice or per- ^ ,f -n exjstence the organ is as much less than that of the taken uo The best pieces of the English, works I have just named. In my opinion, 12 Superb Gladioli Bulbs accurately the fugue subject given above, \ Splendid mixture of Primulinus Hy- formance of the music, but he must accede xbe brst requisites for an organ student piano, as that of the piano is less than that French and Italian school, together with however, the Fugue has little to recom- any one who can do it has gone far on the • ac rporards tnpnH. it bevond its tuneful SUbj ' brids, a harmony of color, 12 r\c graciously to the wishes of the people who are a musicai ear> g00d health, persever- of the violin. While there are a variety of ch you this profitable profession thpC advanced pieces (advanced as regards mend it beyond its tuneful subject and road to precision. Again, the sixteenth i firm tn the excessively modern music interesting fluency. The case is far cdif- ire-to-bloom bulbs.ZDC pay his salary, and bide his time. He must ance) and willingness to be guided by the devices by which accent may be stimulated ^^ow?e5ge^>f ^iSicTequired.^ Onr^G^R- notes in the example, if not played with of Debussy the French Six, Stravinsky, ferent with its Prelude (or Fantasie,j a __Offer—Send SOc for both offers and make himself personally popular with the experience of his teacher; finally a positive on the organ, the actual dynamic accent great care, will be uneven. A steady and others) of the moderns of all na- marvelous work, whether one thinks of it we will add superb named Dahlia root FREE young people of the congregation, for it is piano technique. He need not be an ad- on the king of instruments is missing, save Big Premium Offer in our Free Catalog rhythm depends largely on the evenness o ^eadap^fableanrfcan beewne^ndepen- finalities may be practiced. It is well, as a piece of temperamental music, as a from them that he must get his pupils. He vanced player; but he ought to be able to when the sudden closing of the swell-box the shortest notes in the passage or P,ece' FreenBookft a?-,S‘° - 1 however to stick pretty carefully to the portrayal of varied moods, as a forerunner must accept every opportunity to play in play the easier Songs Without Words or may give it. By reason of this rhythmic ™ There is a more subtle reason why n°te generally accepted, and not to indulge too of musk that appeared a century JOHN LEWIS CHILDS, I public; which means that he must practice other pieces of those grades with absolute defect a greater burden is put upon the per- yant Sola before rests should be terminated befor !. AUGUSTA, MICHIGAN generously in the luxuries of. discordance later, or what not. THE ETUDE the etude FEBRUARY 1923 Page 131 Page 130 FEBRUARY 1923 Professional MARK HAMBOURG Directory How To Play The Piano Practical and Inspirational PPIH^@5 BEECHWOOD'-S'FSifg

„r,S^sr=,r!oSS! c„: ssaig- ---»»*■« , ; tss\z uiuYUbi combs sSr S-S331S DUMHIMG &ra|g jpm Books forthe Organist's *&, „ to *. -« ? EDDT BSggSWB8B ,a PIANISTS, VIOLINISTS, ’CELLISTS “Madama Butterfly” B,.. Llhrary . " l3S£J£i FABR1ZI fSS®5 Cut Weary Scale Practice The type of musician'represented by the GILBERT SSSlSlS ...... iC century, °could never' h33existedhhad7t (The "sharpless was DeLuca.) Unlike 'ot having a large choir and fine serv- L Tusfc “nd unable to play any i-—- NewYork0“7- not been for the exquisite imagination of the play, the opera was at first a dismal gjgrjgsjAy The COWLING INSTITUTE that modes* genius, John Luther L^ng, f “ ' " - SH?£!£H'?™s hawthorne ENGAGEMENT NINrWALTt • •• :. bo. - .11- Olhit day, .., on one iiotrtmen. only, bo, jpjjjjj —»S, Mr.MlSrid Belasc^anT'M^Long, and second act, since the original product! 8 in on all, writing what is s criESS-ka, >d as a play at the Herald Square was in two acts, with the second very loi SEJpi.ySSSSS£SJS MOULTON ^£^«5Sr EMEKICK « C.BADT, lli.S,,. F. M-. CK, -, in New York in 1900. The story A three-act version was tried and the opt HS&HsFsS “H'€3d»”tb-new lorn *sss» =‘iH= HH !iEi@ ssjasss ~:::rr:::« igg&:s§ %”i“Iy:t THORPE skSir, t lawns trenton‘=“S."HS» VE0N STSSS iiSr! flSH virgil '"aimsa. on the construction of the organ, that is, opposition offered by the academic think- - American changed so much ’in the past °ten years' ^Grieg, compelled to spend most of his __WESTERN- ^Ttlt^TZYZ AMERICANSSS""-“S: Music and ars-rs^ss burrows’ Musicians THE CHRISTIAN HERALD ,,ZmtS^ CHICAGO CINCINNATI f ' • DETROIT SS-.Q-

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BRYANT BggggfljP “Contagious Enthusiasm,”—that is one of the outstand¬ -f3#.'kn CONVERSE COLLEGERS ing notes in the scale of ETUDE success. Can you imagine how Arranging and Correction of Mss. much we appreciate the kindness of our fine friends who i THE ETUDE A SPECIALTY A. W. BORST, J1S00 Hamilton St, FWaJJ* rest until they have induced others to join THE ETUDE circle? TEE ETUDE FEBRUARY 1923 Page 1SS the etude Page 132 FEBRUARY 1923 Fitness for Violin Playing constrictive movements of the jaw-bone, One should breathe as freely and naturally the dangers of which have been already as a singer. The People’s Orchestra By M. Gareh To hold the violin too far forward over pointed out. the chest is liable to interrupt the circula¬ By Frederic W. Burry (Translated from the French) Holding a violin demands no change tion of the blood, causing palpitations of No special physical attributes are neces¬ from an upright position of the body. One the heart. A simple, natural method of Rubinstein said: “I prefer the piano to The Violinist’s Etude sary for the violinist. It is necessary, should,' on the contrary, bear the weight holding the violin is of^ enormous assist¬ any other instrument because it is a needless to say, that he shall be free of A True-Tone of the body on both feet, but rather more ance, and greatly simplifies the technic oi musical entity; all other instruments, Edited by ROBERT BRAINE infirmities. Arms, legs and body should lightly on the right foot. The body itself the instrument; it is, in fact, one of the including the human voice, are fragmen¬ Saxophone be normal, well made and without defects. is then in a natural position, the respira¬ principal factors in securing a round lull tary to a certain extent.” So we speak asiest of all wind instru- Does this mean, then, that anybody can nts to play and one of the of the piano as being the “people s A Violinist’s Magazine Complete in Itself ^ st^beautuul. ^You^can tory organs being in no way affected. play the violin? Yes, but on one condition: orchestra.” In a compact form, and thus he must have an “ear for music.” made most suitable and serviceable for With the violin, the tones are not al¬ domestic use, it offers you the main fea¬ b. Unrivalled for home Irregular Trills ready made for the instrumentalist. Less iment, church, lodge or tures of the pipe organ, with its capaci¬ High Bowing Arm and Low [n big demand foro;> ties of harmony as well as melody; and fortunate than the pianist, the violinist is By T. D. Williams because the tone is created by means of By Jean De Horvath forced, so to speak, to make his own key¬ Free TrialTieSr^'/tr^ section between the point and first joint, percussion, it embraces such effects as board. Nevertheless, his fingers, guided A method by which “faulty trills” One of the results of the recent radio arm. Do not think I accepted those of the harp, the guitar, the drum, by a delicate and long practiced ear, adapt (those in which the upper note sounds partly under and partly against the side of broadcasting has been to prove conclusively position without discussion and, cons.d as well as the major elements of an themselves to producing the smallest vari¬ louder) may be corrected. the neck, nearly opposite the second finger; that a fairly light violin tone, produced able comparison; for I was old enougn to orchestra. ations of pitch in the musical scale. The Saxophone Book Free sunrema^y*Bwngea”' This flaw is caused by the “Trill Finger” point of thumb not to project above the top flexibly, crystal clear and evenly vibrated thmk out my ^ place of the fingers is only very approxi¬ Btraments are almost^entirely displaced by Saxophones m ail Grover Cleveland said: “In many an failing to rise promptly, thereby making of fingerboard. Then place the second carries much better, than a tone which This m , bowing, mately indicated by the rules regarding the upper note longer and consequently to finger upon C on the A string (first posi¬ humble home throughout our land the seems louder but is in reality simply works of Sevc^ andthe hig a g “positions.” seem louder than it really is. It is a tion) and gradually withdraw all other piano has gathered about it the most sacred heavy, thick and produced by excessive takes talent as it comes to him, “ With the fingers theoretically in place, common fault on all instruments where the and tender associations. For it the This it aooears to me, is an and indifferent and turns out uniformly PletBUESCHER BAND^NSTRUMENT^CO.^ portions of the hand from contact with daughters of the household longed by day the actual tone produced may nevertheless upper note of a trill is made by a dozm- the neck or fingerboard; the only parts excellent argument in favor of the high good violinists. If he gets fine talent to be off pitch owing to the fact that the 325BB"esche(rB1|'ocir ‘“”’d 0EUKHART.“mPIANA and prayed in dreams at night. For it bowing arm, advocated by Sevcik and Auer work with, before long that pupil is the ' zvard stroke of the finger. touching the neck and fingerboard being string itself may be slightly flat or sharp. The following study will eliminate this fond parents saved and economized at and their exponents, as opposed to the old most talked-about violinist in town. In Sax Invented the Saxophone the fleshy part of the thumb and point of It is then necessary for the fingers, guided fault. It must be practiced with each every point and planned in loving secrecy. German school of clinging elbow and every contest his pupils carry off first Buescher Perfected It the second finger. Bend the wrist slightly For it a certain Christmas day, on which by a sensitive ear, to adapt themselves to finger separately until a perfectly even awkward shifting of the wrist.' An upper prizes. What greaterproof is_needcd the changed conditions, unconsciously outward and commence by causing the the arrival of the piano gave a glad arm held quite away from the body, not in he is imparting correct fundamental pnn- trill can be made. finger to slide up and down the string about surprise, was marked as a red-letter day maintaining the correct tonality. Finger habits are best acquired by slow, Musicians! any sense stiffly but in such fashion as to ciples? Is not the proof of good teaching Possessing normal physical development, 155 Columbus Ave. deliberate movements; so this exercise is one inch, an equal amount of which must in the annals of thfe household.” allow maximum freedom of the lower arm the turning of mediocre talent into REG. U. S. be above as well as below the pitch line. and innate musical gifts, the beginner has BOSTON, MASS. in “double-dotted eighths” followed by . The earliest piano was the work of and wrist, produces a tone of beauty not thorough, musicianly players? Hold the finger joints rigid, at first, so Double on the Conn nothing to fear in the study < >i the violin. “thirty-second” notes. B. Christofori, of Florence, Italy, brought to be obtained by the older-fashioned This is a point the small town teacher that the movement comes exclusively to its own peculiar perfection in 1711. But along with the study of the technic of Make and Repair, Saxophone method. would do well to investigate. It is not the instrument must go the study of from the wrist joint, taking care that the It was a diminutive replica of our more Buy and Sell Watch any prominent violinist before the difficult, to acquire; and the result musical notation, time, and the elements arm remains perfectly quiet and in no way modern “square,” only where our “ivories” All Kinds of public—Kreisler, Ysaye, Thibaud s little a: x months will justify the of “musical theory.” If the beginner is a VEGA contributes to the movement. THE Conn saxophone is a musical instru¬ are naturally white, his were black keys, Heifetz—all use the high bowing arm. change After watching the ease with In this exercise, which is only prepara¬ ment of highest quality, built to the with whites in place of our “ebonies.” child, the study of the instrument will have PAT. OFF. MUSICAL Investigate the methods of those teachers tbe best violinists carry their stroke to proceed parallel with the study of the tory, press the string lightly. It should be same high standard which has made all The instrument was called a fortepiano— at the present time producing pupils whose from tQ f with that beautiful INSTRUMENTS practiced until a free up-and-down move¬ colors and name reversed. A few years elements of music itself. It is absurd to Conn instruments supreme. work attracts attention; again the high of arm unbroken by a drooping elbow consider the possibility of making good □ Banjos □ Saxophones ment, exclusively from the wrist, has teen later Silberman brought out a regular developed by each finger, including the first Musicians master the Conn quickly and find progress with the first without the second. three-cornered grand, though much more Thisr“oint has interested me for some ™d humped-up wrist, it is indeed painful □ Mandolins □ Clarinets and fourth. All fingers not engaged should this popular instrument a source of profit, The two studies are indissolubly linked. This seemingly exaggerated method Will fragile than ours of to-day. It is known time for I was started in the old way. to see the contortions of a devotee of the remain gracefully curved at a suitable One can be a good musician without being work wonders in a short time, if practiced pleasure and opportunity. You want the that Bach used a Silberman piano. The After arriving, as I thought, at a point of old German school with the constant □ Trumpets □ Flutes playing distance above the strings. best—be sure it is a Conn. a violinist. One cannot be anything but a precisely as written. Commence by beating pianos John Jacob Astor brought to considerable efficiency, I decided to change changing of levels and tense hugging in After this has been thoroughly mastered, mediocre violinist without being a good □ Trombones □ Drums four to a measure, graudally increasing the Since the days of Patrick Gilmore’s band to America in 1784 were possibly the first to teachers, going to one who used the high of upper arm and wrist. the student may commence the study of musician. Check A »?/ of the Items Desired and Return tempo until two in a measure, allegro, has be used on this continent. Delicate five- the real vibrato by pressing the finger the present day of Sousa’s band, the most cel- The proper holding of a violin is a idtli Name and Address been reached. It may then be advisable to octave toys, their demise was early; they more firmly down upon the string to ebrated artists have used andendorsed matter that requires long study. Too lengthen the trill to two or more measures, were not vigorous enough to withstand Legato Bowing on the ’Cello The VEGA COMPANY prevent it from slipping sidewise, con¬ Conn instruments because, they say: the average American winter. often, alas, it is treated with indifference. as well as change the keys, so that Whole tinuing the wrist movement the same as —Conns are more perfect in tone and in- Broadwood’s, of London, have generally By .Caroline V. Wood Nevertheless, it is of extreme physiological as well as Half-Step trills may be made importance. It may happen in fact that before. —posses°nmore reliable valve, slide or key been credited with the earliest upright, by each finger. , Draw the bow steady and be sure the a kind of permanent contraction is estab¬ We might also add that the Vibrato though it has been stated that John Haw¬ A COMMON fault among ’cellists (both To overcome this difficulty it is well to movement of the left hand does not kins, of Philadelphia, was the man who amateurs and professionals) is jerky bow¬ begin by doing some long even-toned lished in the pupil through wrong study. suffers equally as much from a similar irreqularity in the upward and downward cause the bow to tremble. invented what is to-day the most popular ing, or accenting every note, especially bowing (no crescendo nor diminuendo), However little he may be naturally pre¬ VIOLINS and CELLOS While this’ is the most difficult vibrato disposed toward lymphati in his health Sold on Time Payments rolling movement of the finger. It is this musical instrument, the upright piano. where the interval is very great. It is a on only one note. Then, change the pitch to learn in the first place, it is the most GENUINE ITALIAN STRINGS failure to recede promptly, after the finger ISHAM JONES says: This was somewhere around the year 1790. fault of which the players themselves are in the middle of the bow, playing two nevertheless cannot fail to be - riously com¬ advantageous in the end and the only one promised. The effect of the contraction Send for Violin and Cello Catalogue has rolled upwards, that makes a vibrato “The Conn saxo¬ Since that time the piano has made stride usually entirely unconscious (which makes notes to one bow, and gradually increasing that can be used to advantage with all the phone is undoubtedly A. J. OETTINGER sound (so to speak) full of bumps. after stride. One improvement was fast it rather difficult for them to correct it, the number of notes to the Ixiw so that of the neck in holding the violin inevitably fingers, over the entire fingerboard. the finest I have ever Musicians’ Supply Company Now, for the benefit of players who followed by another during the wonderful even when told) but which becomes very you can go from one note to another and Iproduces a compression of the secretive 60 LaGrange Street Boston, Mass. Practice it slowly at first, avoiding that played. My orchestra . organs of the saliva through the irritation desire to master the Wrist Vibrato (which nineteenth century. Thus our beloved piano annoying to their listeners. The follow¬ from one string to another without the old- involuntary trembling supposed by ama¬ time hitch in your bowing, until you can of the ganglions; and persistence of con¬ is the only one worthy of consideration), ments exclusively.” is quite a modern instrument. To com¬ ing examples will serve to illustrate: teurs to be the real vibrato. play the scales through several octaves in traction may cause a swelling of these place the fleshy part of the thumb-that pare the wonderful mechanism, the product PAUL BIESE says: this way. ganglions. Sometimes a congestion in the VIOLINS of only the last few years, with the play¬ “The Conn saxo¬ We do not mean by this that your play¬ head is produced by pressure on the left phone is perfection thing of a decade or two agi ' If" Making Scales Interesting ing is to become cold and without any jugular vein, resulting not infrequently m itself. I know from at man’s marvelous genius shading, nor that it shall be without temporary headaches and buzzing in the experience and my with crude material. By John F’. Labofish players say the same One reason for this error in bowing is accents where they are needed; but this is ears. And what use do we make of this all for allif Conn instru- because the player’s fingers on the left hand special practice with an object. It will The attention of the teacher should be but human machine? From what angle _overtures, marches, waltzes, nothing lack strength; but, if he will give especial probably take more than a day or a week • very carefully given to these points in the Scales are pretty generally admitted to do we view it? A friend who sells pianos more is needed than proficiency in the Free Trials Easy Payments. attention to practicing with the left hand to overcome the trouble, but do not be beginner, and from the very start no time THE ETUDE VIOLIN STRINGS be the most valuable and important means was telling me of an experience with a should be lost in checking any tendency scales and arpeggi and a few fundamental Send for ftee catalog and always in a good position over the strings, discouraged. Listen well to your playing The ETUDE Strings are nearly^perfcct as^the^high- to the acquisition of sound violin technic. complete information about any instrument. Conn is prospective lady customer. She listened in and work constantly for more improve- toward this contraction. The important A hundred masters of the violin might bowings. - . . the only manufacturer that builds the complete instru¬ the fingers will become stronger than when The business player can well confine his patience, as the salesman poured forth his point is the balancing of the violin upon readily be quoted to bear out this statement, mentation of the band. he gets into the habit of curling in all the study hour to a few good finger exercises oratory, pointing out the merits of his Another suggestion is to have your bow the left shoulder. Experience indicates though some young aspirants probably fingers except the one with which he is SoSS/ ’J i’tun .He .l.l,„l) *4?»I “®‘ (like those of Goby Eberhardt, Carl Highest Honors at World Expositions pianos. At last, looking at her watch, she rehaired as often as it needs it and to use that one should avoid all those foolish chin would disagree with them. Not a single holding down a string. THEODORE PRESSER CO., Phila., Pa. Flesch, Florian Zajic,) the 24 long scales said: “Well, it’s five o’clock—I must go Another cause is that he does not hold enough rosin; but the first two mentioned rests having a shank of metal intended to successful violinist would think of allow¬ and arpeggi, (broken into octaves and now. I’ll speak to my husband about it. the bow against the strings firmly enough, are the principal causes of jerky bowing. raise the violin to the level of the lower ing a day to pass without practicing at played as suggested below, as well as in He’s a good judge of lumber.” Perhaps and consequently feels it necessary to get If ’cellists could only realize how these jaw. Their stability is doubtful, though C. G. CONN, LTD. least a few of the scales and arpeggi, and complete form,) and a long chromatic a fresh grip each time the pitch is changed, detract from their playing they would a few violinists have accustomed them¬ by far the greater majority of them prac¬ 1 3 Conn Bldg. Elkhart, Ind there are too many homes where the closed Gemunder scale; practicing the scales with the most and of course this changes the tension of eliminate them and strive for the beautiful selves to their use. In order to fill out the piano in the corner is practically only so 1846 the VIOLIN NAMEOFFAME 1922 tice all 24 scales and arpeggi every day. the strings. legato of the best players. gap existing between the lower jaw and the A violinist who practices his scales well important bowings. much lumber. ALL KINDS OF VIOLINS Now, there exists dozens of books ot shoulder, the following plan will be f°un“ has very little trouble to play in tune m And though few would want or need For all Kinds of Players scales, all good, the thorough practice of suitable: Two small square pads, stuffed MODERN USED & ANTIQUE any position. He can execute any run to emulate some of the virtuosi of days any of which will develop a competent with wool or hair, and covered with velve “ HOW TO SELECT VIOLINS KOlt PERSOSAL CSE” without stumbling. He can skip to any gone by who, practicing exercises many player. The benefits to be gained from the Mr. Albert Spalding, the notably successful American Violin for choice, to prevent the instrument from position. His hand falls on grouns of hours every day, knocked out a piano in practice of scales, however, will depend Virtuoso, has been interviewed by Mr. Otto Meyer (assistant slipping. The pads will be three or four notes so that he had only to let his fingers about two years—the instrument of that much on the manner in which it is done. inches in size, and tied together at two o fall ' No more efficient way of acquiring period being’none too robust in the first to Sevcik and a pupil of Ysaye) on Practical Violin Playing. Just as one person may speak poorly and the corners. They adjust themselves lE VIOLIN WOULD” - violin technic has ever been devised. Many another may speak well with ordinary place—one must not forget that wear is This interview is one of several violin interviews scheduled naturally to the shape of the shoulder; the an able player can thank an old-fashioned words; or one may gain nothing and better than rust, and that reasonable use for future issues. violin is well placed, and the begmne book of scales and arpeggi, with perhaps AUGUST GEMUNDER S2 SONS another may amass a fortune with the is what all materials, including pianos, are only one set of fingerings, for all of his need have no fear as to the stability of tn same amount of capital; or one man may for. instrument. He thus is subject to n success. In fact, to play “business music Flease mention THE ETUDE when addressing our advertisers. the ETUDE FEBRUARY 1923 Page 135 THE ETUDE £ZT Question and Answer Department

Conducted by Arthur de Guichard

l t wit IZl Ui 3dV).8,»ay> s-nn * LEOPOLD AUER 3(IV) 40V) 3UV) 4(IV) 30V) 4(IV) SOT *W> i and Spanish Text *IV> 8UV) 2irv) 2«V> *IV> 2 IV) 2'IV) „ , ,«m 4 n The books would show such exercises in a my fW> the first^ position, ^and liIV iov iuv 4;rv-> JSf timf to^ay them. With a dozen i r LEOPOLD AUER—FRITZ KREISLER—MISCHA ELMAN— JASCHA HEIFETZ — JACQUES THIBAUD — EFREM ZIMBALIST, ETC.

Part I—Elei (First Position OnlyJ Part II—Continuation of Elements (First Position Only) Part III—Study of the Higher Positions (Third and

t IV—Study of the [Higher Positions (Fourth and Fifth Positions) of the Higher Positions (Sixth and

dement—'The Higher Art of Bowing (The Golden Book of the Violin) Special Notices Announcements

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TINDALE CABINET CO., 159 W. 57TH ST., NEW YORK 3 THE ETUDE FEBRUARY 1923 Page 137 the ETUDE Page 136 FEBRUARY 1923 Works Popular with Elementary Etudes, Op. 161 Suggestion for One of Those Golden Memories the Piano Teacher Musical Progress Musical Pictures From By F. T. Liftl By Mrs. H. B. Hudson Cold, Stormy Winter Evenings By Henry T. Finck Childhood. Opus 52 Standing out among the successful edu¬ Capital Letters instead of Notes is the Franz T. Liftl is one of the leading —Have a Record Concert We have just been reading again some By A. Kopylow cational works in the Presser Catalog characteristic of this new book by Mrs. European teachers working in easier and The following list of records, are a number of works that are of great f the proofs of Mr. Finck’s latest and This collection is about ready to be Hudson, who has introduced this system intermediate grades. His works pre¬ the order named, would “”’ve as an c assistance to the teacher • very stimulating book. It makes us think issued. We want to draw particular at¬ on a large scale. The Capital Letter sys¬ viously published by us have met with eellent Record Concert Program. The thougbt and care to the proper instruc- f i house full of windows, each one look- tention for the last time to the merit and tem is the very easiest possible form of much favor. This, his most recent Opus, program is divided into two parts ana ^ of a pupa The successful teachers •ng out upon some interesting scene. originality of this work. We have not notation, and it is a very dull child in¬ is a set of studies suitable for second consists of twelve records. You will nnu ^ those who practice giving each pupil Your musical point of yiew is most im¬ seen a book for a long time that contains deed that cannot “catch on” in a tew grade work and leading by easy stages that the selections have been well mixeu, individual care> standing ready to turn portant to you. You progress or you so much originality; is so musical and so into the third grade. They are well made for instance—an orchestra number, so for a short time from the regular minutes. Stick in the mud,” according to your thoroughly characteristic. To our mind Familiar hymns and old tunes are em¬ musicallv and well balanced technically, prano solo, violin solo, bass solo, etc. course of study whenever it is necessary outlook on life. Keep Mr. Finck’s book it is far better than Schumann’s Album ployed in this manner by the author and plenty of work being given for either PART 1. to care for a pupil's weakness in such de- on hand, read it now and then, just as for the Young; it is more modern and there are parallel versions in the regular hand. Mr. Liftl is an earnest teacher 1. TannhUuser Overture (,w.WfX-pliestra) partments as velocity, time, arpeggios, vnu would take a vacation to keep your there is greater variety in the music. musical notation so that the book may and knows just what is needed to pro¬ (Played 7« , octaves, trills, phrasing, pedaling, left- mind refreshed and vivified. We know The work has been beautifully edited by be used to bridge from the new to the mote technic and musicianship, side by 74759 74760, each.• $l-75 hand technic, etc. of one man who stands' at the top of his Mr. H. Clough-Leighter, one of the best old. The introductory price is 25 cents. side. . . , 2 Proch’s Air and Variations (Proch) The following list of works represent hranch of the musical profession, who editors of the day. Those who have Mrs. Hudson’s other The special introductory price in ad¬ (Sung by G^l-eurc1) 175 those that are most popular with teach- has an immense income, who continually Kopylow is one of the modern Russian books will not wish to miss this one. vance of publication is 35 cents per copy, dian CtLamcntU(Dv?>ft.k) ers for special phases of technic and this makes a habit of opening such books in writers. He was born in Petrograd in postpaid. (Violin Solo by Kreisler) list js presented because it really amounts his large musical library, just to get new 1854, and studied in the Imperial Chapel Sixteen Recital Etudes These cantatas have all enjoyed wide Victor Record No. 7438 <. to an exchange of teachers' ideas since viewpoints. We all need them if we where he remained as vocal instructor for NEW WORKS. By Ludwig Schytte, Op. 58 popularity and are of a practical, tuneful jracovunnv coitnstique teacher will use one work and another want to progress. The advance of pub¬ many years. He has composed a number Easy Spaulding Album character^ most of them easily learned (Piano solo by Paderewski) Schytte ranks' among the best of the Advance of Publication Offers— Victor Record No. 74535..... !■<•> teacher some other work, but it is from lication price for this book is 80 cents. of things for the piano and violin, as well For the Pianoforte and all effective and in keeping with the Boris Oodounow (Farewell ol the music publisher's printing records as for string orchestra, and has also to modern composers. His studies are equal spirit of the occasion. Any of our Easter to those of Heller, Jensen and others ot This new collection is now in press but February, 1923 (Bass°SoSlo by Chaliapin) that the best general view of teachers' Music Study in Germany his credit some very delightful songs and the special introductory offer will be publications will be sent, on request, for choruses. The present work is in his the same class. They are also of about ideas may be gathered. These works are By Amy Fay continued during the current month. Brahms’ Album.76 examination. As Easter arrives rather usually happy and characteristic vein. the same grade. Schytte’s Op. 58 is but a few of many such study offerings No more delightful musical letters This is an excellent opportunity to ac¬ Collection of Anthems and Oratorio ^ early this year it is a good plan to begin (Elman, String Quartet) Our special advance price is but 35 comprehensive in its educational qualities, Victor Record No. 74487.. and teachers desiring to know of others were ever published than those which quire a lively and interesting set of teach¬ Easy°SpSaulding Album...!!!I '.SO at once to prepare for it, musically. are invited to send for the Piano Study cents per copy, postpaid. affording opportunities for work in tech¬ PART 2. Miss Fay wrote of her lively student ing pieces chiefly of the second grade. In Elementary Etudes, Op. 161—F. T. Liftl Guide. Any of the following works may nic, style, touch, phrasing and interpreta¬ Etudes de Style—Nollet. 7. Dead City (So the Lute) hours, in the wonderful old days in Ger¬ tion. All of the studies are original in his particular line of composition, Mr. !o Collection of Anthems be had for examination. Spaulding was without a peer and this Exhibition Pieces .••••■• d No. 66057.- many’ when she came under the inspira¬ Popular Drawing-room melody and rhythm and the harmonic First Piano Lessons at Home—Hamilton 50 and Oratorio Choruses First Studies in Octave Plaiting. By volume contains all the best of his easier Five First Position Pieces for Violin and 8. La Juive tion" of Liszt, Tausig and Deppe. More Pieces for the Pianoforte tendencies are all toward modern treat¬ Piano—A. Hartmann .• 30 Modern choir directors are always look¬ (Sung by Caruso) Theo. Presser. Price, SO rents. Can be than this, these letters were crammed so numbers. Aside from the fact that they . Victor Record No. 8862.). taken up by .pupils in the second or third This book is now in press and copies ment. . . - Forty-four Studies for the Organ—J. ing for better material for their singers chock-full of real pedagogical informa¬ The special introductory price in ad¬ are certain to interest students musically, Schneider, Op. 48 (See Organist s 9. Largo from Xerxes (Handel) will soon he ready. In order that it may 30 and in order to supply this demand we (Sung by Louise Horner) grades. tion that they are read and re-read, and vance of publication is 30 cents per copy, all the pieces have real educational value Etude, Page 129).. 26 are going to publish a bound volume of VvT4’Recordict No. S8584. Octave Velocity. By das. II. Rogers. not be confounded with other books of Golden Memories—Mrs H. B. Hudson. . will he continued to be read for genera¬ postpaid. also. . . . In the Forest—Grunn. the very best classic choruses from the io, Oypsti A No. 1 ( S. Brahms’ Album By Cynthia Dodge Music Study in Germany—Fay. 40 the skilled student body. The collection Theodore Presser Co? will fill 1>ailV Tril1 Studies, liy ./< < II. llng- desirable. . , representative (esthetic dances for one or New Instruction Book—John N. Williams For the Pianoforte The special introductory price in ad¬ more dancers are described in the most Good fun for boys and girls and a Newman Album of Classical Dances. 75 will give the director of an organization the ihcoaore rress number ers. Price, $1:25. To lu lp pupils of m- charming entertainment for the audience Oratorio Songs—4 Vols. (See Singer’s a great variety of the best choral music; Prol»'P ^ ® .. . .. write for a termediate grade gain a .< lear well- The Brahms’ Album is now ready for vance of publication is 30 cents per copy, minute manner and illustrated by copious Etude, Page 126) each. the press and this will probably be the diagrams. The music for each dance is will result from every performance of Peter Pan, Motel^Beach.- • ll music that holds the interest of singers Idly send a copy rounded trill. postpaid. this charming little operetta. The cost of Pictures from Nature—Mae Aileen Erb 30 and gains the approbation of an audience. ©omplete g g y 77i« Trill -New Grades / By 1. last month of the special introductory given in full, in notation of the usual offer. This is a very large work of more size and the measures of the music are production is very slight, the stage pic¬ Popular Drawing-Room Pieces...... “ The special cash price in advance of pub- to 7”“'^ exceeding $3.00 will be Philipp. Price $1.00. Kxccli, nt studies In the Forest tures are most pleasing and the music and Sacred Song Albums—High or Low Voice 35 licationlic.at.on is only 35 cents. sent Parcel Post and insured-prepaid. f°^devebping tte^tr.ll. ^ ^ than 150 pages and it has been necessary numbered in accordance with the direc¬ (See Singer’s Etude) each. to exercise great care both in the engrav- Nine Nature Studies tions for the dancers. It is practically dialog are bright, snappy and up-tb-daie. Secular Mixed Chorus Collection. By Homer Grunn Any number of children may be used and Seventeen Short Study Pieces—Green- Peter Pan—Cycle of • ing and proof reading'. The compositions the first volume of its kind ever at¬ A New Instruction Book <£vbc t’>kc" in of Bratlins are often intricate in their tempted. Mr. Newman is internationally there is opportunity given for dances in Songs for Three-Part It is a long time since we have seen a group or solo. This score will contain all Short Melody Etudes—Bilbro. By John L. Williams 36 Short Melodic Studies. By Felix’ passage work. Our new edition, however, set of second and third grade pieces, famous as a dancing instructor and he Sixteen Recital Etudes—Schytte. 45 Chorus of Women’s Voices .will he as correct as it is possible to make has given his best efforts to the prepara¬ dialog, music and stage directions with Song Hour, The, Book 1. We announce for the first time a work Smith. Price. $1.00. With special con- written by a really gifted musician of pen drawings of the principals in costume. Song Hour, The, Book 2. By Mrs. H. H. A. Beach on elementary instruction for the piano sideration of the Pedal, grades 2 and 3. it. All of the best and most frequently high standing, which have as many at¬ tion of this work. played numbers by Brahms are included The special introductory price m ad¬ The music of this operetta is real chil¬ This is an offering that every women’s (-hat takes up the bass and treble clefs Playing Two Notes Against Three. By tractive features as this set. They may dren’s music and will be loved and appre¬ The Living Christ chorus will find reasons for programing. from p)le very beginning. No similar C. IV. London. Price. TO nuts. ijn this work, everything from the short be employed in many ways—as piano vance of publication is 75 cents per copy, Intermex-.O to the monumental Sonata in ciated by them. Choral Cantata for Easter The delightful text of Jessie Andrews worb js included in our catalog at the Rhythm and Technic. By M. Urermvald. solos, as recitations with musical accom¬ postpaid. Our advance of publication cash price F Minor. The book will soon be ready. paniment, as delightful little songs for By R. M. Stults portrays Peter Pan in all his moods, the present time and quite a demand has Price, $1.25. Covers triplet., double is 40 cents. 1 .1 ..._ • I-i -*xr_ _ _11 _ . The special introductory price in ad¬ children, as exercises in rhythm, as a short The Song Hour All the joy and women’s chorus6 singing it will find added tbat working too long In the treble clef 2 and 3.) vance of publication is 75 cents per copy, costume play witn a woodland scene. Book I and Book II New Works Just Issued fhphEaster6 service will be found in this pleasure in presenting it because it is a alone Inakes the taking up of the bass Exercises for Develop lecuracy. postpaid. They are marked by both musicianship We must request just a little more the Easter service wu £ new work by a woman who stands high among clef very difficuit. In writing, if it were By Gustav L. Beck< r. / and freshness. Active teachers will want Exhibition Pieces patience from those who are eagerly wait¬ Solemn Mass in G in Honor of the Holy easily rende whose melodic gift the foremost contemporary composers. neceSsary to use the pen with both hands For an intermediate or a ed pupil. to see these immediately upon appear- ing for this very necessary collection of Spirit. By Eduardo Marzo. This work h °s mv^n him” wide reputation Script This Opus 101 of Mrs. Beach might be at the sLe time, we would certainly all Melodies in Difficult Keys Malhildt For Piano Solo elementary school songs, designed for all The advance of publication price is 25 is now published and is worthy of the has given hi known hymns are called a motet or short cantata, and while gtart with two hands at the very begin- Bilbro. Price. 00 cents. A very li •lpful In litis new volume will he found a assembly work in all schools, but particu¬ examination of every persor interested in pmnloved for the words surrounding the it is not easy to sing, any director of a ning. Everyone knows how awkward it set of third grade studies. series of pieces of brilliant character ap¬ larly needed just now for rural schools. theme of The Resurrection. It women’s chorus will find m the beauty of is to write with the left hand after having Left Proficiency. Bn A. Sat- proaching the virtuoso stage. We do not music for the Catholic Church. It is of Famous experts in the employ of the an easy grade, made particularly with the :f^ ,st gtl^ Wno of musk to he heard it more than sufficient to warrant under- learned to write with the right one; the torio[ 0p. 1237. Price. »/>. Study ; giean by this that the pieces will be of Short Melody Etudes State of Pennsylvania suggested the ma¬ idea of use by volunteer choirs. Very lJrT Church is glorious with Easter taking it. . . left hand is untrained. In piano teach- pieces for the left hand. Crudes 3-5. light or flashy character. All will be With Technical Points terial, which in turn was approved by mis a^d azaleas “you" copies at Any women’s club having a chorus is ing there is the same underlying, good T;me StudUs, Ih, s. St, ini,rimer. serious musical efforts, but, as remarked melodious and by an inspired writer of By Mathilde Bilbro experts of national distinction. So con¬ nie at the advance of publication rate here given an ideal number for a high reason for taking up both clefs at the Price. 80 cents. Study pieces in the sec- above, they will be of such a character as fident are we that it will be just what this sort of music. Violin and ’cello ob¬ of 30 cents The work should appear very spot on the concert program. America same time> especially with older pupils. 0nd and third grades, to display to good advantage the pro- This delightful set of studies, in the you want when you get it that we made bligatos can be provided. The retail shortly may be Pr°ud a."I0man/r: We want particularly to call attention WriH gtudief. By Edw. Baxter Perry .fieienev of one’s technic. The pieces will second grade, is a beautiful combination the advance of publication introductory price of the vocal score is 80 cents, the shorty. poser of Mrs. Beachs ability and her bo tbe material in this new work. This Price, $1.00. ”For developing’ ’ - firmness° not all lie of the highest difficulty but of melody and technic. It has undergone price fifteen cents for the hook containing violin and ’cello parts 30 cents each. talents and musicianship e writer has issued another work by Grades 3-4. they will range in grade from seven to several revisions until it is an excellent, the words and melodies alone (for the Play and Sport, Op. 1235. By A. Sar¬ Easter Music played in this number for a three-part a different publisher that is along this Melodies for Eye. Ear and Hand ten, inclusive. It will prove most ad¬ pleasing and valuable set of studies. We pupil’s use) and thirty cents for the vol¬ torio. Price, $1.00. A set of new and Year after year there is an increase m cborus of women’s voices.. t same line and which has proven very pop- Training. By Mathilda Bilbro. Price vantageous to have such a collection ot take pleasure in rccornmending .ttc ume containing the accompaniments. bright study pieces for the piano of low the demand for music for special occa- Directors or anyone interested m a ujaT> jpe bas tj,e g;ft 0f knowing just 75 cenf\ \ 've>v popular set of second pieces all assembled under one cover. active teachers and feel confident that Thus for 45 cents sent now the teacher and medium grade. Many of Sartorio’s sions, such as Christmas, Easter and women’s chorus should take advantage of how to grade> and how to please the’ be- crade studies * P 1 The special introductory price in ad¬ they will run no risk whatever in order¬ can get copies of each edition at once Thanksgiving, and this growing interest the present opportunity to secure a copy ginning pupil We look forward with ^ Introductory Lessons in the Art of studies are enormously popular for the vance of publication is 50 cents per copy, ing a copy in advance as the progressive upon publication for immediate investi¬ reason that he is particularly happy in has encouraged uS to issue a large num at the advance of publication cash post- great pleasure to the issuance of this Pohirihoiiie Piano Pianino By Theo. postpaid. teacher is always looking for just such her. of* Anthems,a_n__ Chorusesel.. and Pautatas.Cantatas, paid priCe of 3020 a.ntscents byliv orderingnrdprino- now. r. , 2. ,. .. Polyphonic‘ "pnujitc .1 inno ...1 lay 1/1.7. "tt gation. producing technical material full of tune book, feeling sure of its instant success. Presser. Price, 75 cents. ' A fine intro- and rhythm. These studies are some of suitable for the various festival periods. Those teachers who have been using his duction to the study o' the classics Five First Position Pieces StlTheS'special advance price is but 25 Seventeen Short Study This year our offering of selected ma- Pictures from Nature the best examples of his work. Every previous work will be glad to know that Pupils well in the second grade should for Violin and Piano cents, postpaid. Pieces for the Piano teriai for Easter services is beyond doubt characteristic First Grade s about to issue a teacher of piano music should look this !,» --- i" m • gjl along the be started on these interesting studies. By Arthur Hartmann By M. Greenwald the best we have ever placed at the dis- pjeces fQr the Pianoforte In the elementary stages of violin icular Mixed This is a new set of studies by Mr. The Crimson Eyebrows. By John Wil¬ posal of choir leaders, organists and solo Aileen Erb Our special advance price c the book First Piano Lessons at Home singers. For the church choir there is a By Mae Aileen Ikrp is but 40 cents, postpaid. jstudy it is usually necessary for the horus Collection Greenwald suitable for students who have son Dodge. Price for vocal score $1.00, passed the elementary stage; those who liberal variety of Anthems with or with- One cannot have too much material for By Anna H. Hamilton student to remain for some time in the There are nineteen choruses in this coi¬ Stage Manager’s Guide $1.00. A comic We have been rather disappointed have completed the first instruction book out solo, Cantatas, and services from use in work with very young beginners Etudes De Style first position. While it is possible to tion and each one is worthy of eon- opera of Old China, oriental in character not being able to issue this work during play much good music on the violin m or the first volume of a graded course. ieration by any musical director Each throughout. Very humorous and particu¬ ^‘bVifoK.rfoSI,ddtS“ By E. Nolle. the last month but fully expect that 1 the first position, nevertheless, there are These studies progress gradually from imber is a gem from the pen of a,pres the early second grade on. They are well larly suited for use by Schools and Col¬ many good numbers on ■ est 0f the student. Miss Erb’s new book This work has been thoroughly revised will be in the hands of advance sub not any too many good pieces written in t-day writer and there is enough tate to name any in particular, . Js one of tlle Rest of its kind. It is all in by the well-known editor, Mr. Louis Oes- scribers before the next issue of Tnf ■this manner, and there is always the temp¬ contrasted, containing valuable technical leges; also, Amateur Companies will find making up assortments to be sent o ^ flrst grade. a]1 of the pieces are tune- terle, and is now in the hands of the en- Etude reaches them. Remember that riety, humorous as well as serious, to material and at the same time they .are themselves much interested in this work. tation for the composer to go out of the pply the demand for any occasion. The examination we make it a rule to mcluae ful an(J eacll piece has a bright and il- gravers. It is partly technical and partly this is the child's very first work in music position. Mr. Hartmann, in this new set, calculated to appeal to the young student The music, the setting, the costumes have nyenience of having such an excellent through the fact that all are tuneful and only the more successful ones. However, lustrative text. This book is suitable to interpretive and is about the same The pupil plays with one hand only m lias succeeded in making good music, cal¬ lection of choruses bound in one volume all been carefully considered and made a helpful list will he found in our adver- suppieraent or to follow any short instruc- grade of difficulty as Heller’s Studies in the treble clef throughout most of the culated to interest both the teacher and somewhat in characteristic vein. Each as easy to produce as possible. The r use both at rehearsals and perform- one might be classed as a separate rec¬ tising pages and among them we wish to tion books and the pieces will prove de- Phrasing, Op. 16, which it may follow, work. In connection with the instruction ’the pupil without multiplying difficulties. ,res will appeal to choral societies, and words are by May Hewes Dodge The direct special attention to the Cantatas lightful to use as recreations. or it may also follow the Czerny Velocity book there is a very elementary writing Those who use these pieces will be sure aders will do well to secure a copy of reation piece. . . whole work is most admirably finished by Dawn of the Kingdom, Victory Divine, The special introductory price in ad- Studies. ‘ book that enhances the value of this work. to like them. The special introductory price m ad¬ these most experienced producers of is book while it is being offered a the vance of publication is 25 cents per copy, The Greatest Love. Immortality, From vsnee of publication is 30 cents per copy, Our special advance price is but 35 The advance price for both of these The special, introductory price in ad¬ lecial introductory rate of 35 cents works of this character. Death Unto Life, The Wondrous Cross, postpaid. cents, postpaid. books is but 50 cents, postpaid. vance of publication is 30 cents per copy, postpaid. postpaid. THE etude FEBRUARY 1923 Page 139 THE Page 138 FEBRUARY 1923 Intermediate Study Pieces Popular Combinations of for the Piano High Class Magazines dunningsystem for Beginners This collection is now very nearly ready with the Etude The Demand for DunningTeachers Cannot Be Supplied. Why? but the special offer will be continued If you have neglected your magazine Schools and Colleges during the current month. In order to NORMAL CLASSES AS FOLLOWS: CHICAGO and MIDDLE WEST order, it is not too late to take advantage MRS. CARRE LOU.SE DUNN.NG, 0 W * ^ SL, New York Ctty. Nornml CU..„, U. A* give an idea just what this book will be of the exceptionally low prices on com¬ Calif-, Jan. 22nd, 1923; New York City, Aug. 1*1, like, we give a partial list of the contents binations which follow. We cannot guar¬ as follows: The North Wind, Kern; The antee these prices to last so that quick Mrs. Zella E. Andrews, Leonard Bldg., Spokane, Wash. Allie E. Barcus, 1006 College Are., Ft. Worth, Texas. Brook, Karganoff; Prelude (Simplified), action is necessary. In every combination Rachmaninoff; Lullaby, Jensen; Tri¬ there is a price advantage and a money¬ Anna Craig Bates, 732 Pierce Bldg., St. Louis, Mo. JUNE 25 to AUGUST 4 umphal March, Jensen; Plaisanterie, saving opportunity. Send for the 1923 Mr*^Jean VVarren'Carr ids^ 60 E. 63th St., Portland, Oregon, March. Summer Master School (SIX WEEKS) 58th YEAR ■ Bergd; Bohi'me Polka, Rubinstein, etc. catalog listing all the better magazines All of these pieces are such that will give Dor. A. Chase, Pouch Caller, 345 ^ = Wichita, Kan,., March; with The Etude at a saving of from 20 Adda C. Eddy, 136 W. Sandusky Are., Beliefontaine, Ubio, imam., pleasure both to the player and the list¬ to 40 per cent. ener, but in addition, they have real value Columbus, Ohio, June. Etude Music Magazine Mrs. Beatrice S. Eikel, Kidd-Key Cons., Sherman, Texas. PROF. LEOPOLD AUER for technical study purposes. *§•00} Remit lor all Jeanette Curre, Fuller, 50 Erion Crescent, Rochester, New York. RICHARD HAGEMAN The special introductory price in ad¬ Modern Priscilla . Master Violin Instructor of the World Noted Coach and Accompanist Pictorial Review. 1.50 > $4.60 Miss Ida Gardner. 15 West 5th Street, Tulsa, Okla. vance of publication is 30 cents per copy, Conductor Chicago Civic Opera $5.50 J SAVE 90c Car. Mathew. Garrett, Mission Hill School oi Music, 121 Wes. Washington. San Drego, Cal. postpaid. Regular price.. Travis Sedberry Griml.nd, Memphis, Tenn. For booklets address Cldton, Texas. PROF. XAVER SCHARWENKA Etude Music Magazine *2-00 iRemi, let both Master Piano Instructor of the World McCall’s . Watch the Expiration Date I?!!.} $2.35 Maud^EHe o’Littlefield^K^tnM^City Conservator, of Music, 1515£nw°«d BW ' K>n,“ Ci,J' M°' PERCY RECTOR STEPHENS on your Etude Wrapper Regular price . $3.00 J SAVE 65c HERBERT WITHERSPOON Notable Teacher of Teachers Etude Music Magazine $2.00 j Remil for both Cwl^ngwu'e[gU6068 F,nrits Bldg., Chicago, Classes held monthl, through the year, Hundreds of our friends tear off the Famous Singer and Teacher wrapper without noting the expiration $2.85 Regular price . $3.50 J SAVE 65c Harriet'ltacon^MacDonald, 825 Orchestra Hall, Chicago, Ill-Spring and Summer Classes, Dallas, Texas; Clove CLARENCE EDDY date opposite the name. If your wrapper Ohio; Chicago, Ill.; Detroit, Mich. shows the following, Etude Music Magazine $ 00 ~f Remit for both OSCAR SAENGER Dean of American Organists Boys’ Magazine . Mrs. Wesley Porter Mason, 5011 Worth St., Dallas, Texas. Celebrated Vocal Instructor and Operatic Coach January $2.50 Laura Jones Rawlinson, 61 North 16th St., Portland, Oregon. ’23 Regular price. 00 J SAVE 50c Virginia Ryan, 828 Carnegie Hall, New York City, March. LEON SAMETINI it means that your “paid for” subscrip¬ Etude Music Magazine $ 00} Remittor both Isobel M. Tone, 469 Grand View St., Los Angeles, Cal., April 16th and June 18th, 1923. FLORENCE HINKLE tion expires with the January, 1923, issue. Mother’s Magazine .... $2.15 Mrs. S. L. Van Nort, 2815 Helena St., Houston, Texas. America’s Foremost Soprano Renowned Violinist and Teacher Be sure to send your renewal at once and Regular price. 25J SAVE 10c Mrs. H. R. Watkins, 124 East 11th St., Oklahoma City, Okla. avoid disappointment, as we are sure you REPERTOIRE—INTERPRETATION CLASSES TEACHERS’ NORMAL COURSES Etude Music magazine $ 00} Remit for both Mrs. Anna W. 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Should Etude Music Magazine siring college edu¬ of MUSIC STUDY MAX FISCHEL any copies go astray just drop us a post $ 0° A Remit lor all McCall’s . cation can earn a part or possibly all college Will put new life into your teaching. Develops Charact card and we will be glad to duplicate American Magazine . . . io] $4.75 as well as Music Sense. Inspires teacher and pupil. Write I PUBLIC SCHOOL MUSIC them. expenses by playing in Brenau College Orches¬ HAROLD B. MARYOTT Regular price. 50 j SAVE 75c Katharine Burr owes, D. 201 Calhoun St., Charleston, S.i Remember the price—$2.00 for one tra. Clarinet, flute, trombone especially lOSLAV GONS DANCING CHOIR and CHORAL CONDUCTING Etude Music Magazine 00} Remit lor both year, $3.50 for two years—save 50 cents. Christian Herald . desired lor term beginning January 25th. MME. LORA SHADURSKAYA HAROLD B. MARYOTT $3.25 Prolessor Auer, Prole sor Scharwenka, Ml. Saeoger. Mr. Witherspoon, Mr. Hageman, Mme. 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In encouraging new $3.40 620 South^Mi^hig^an Avdiuc readers for The Etude Music Magazine, Regular price. $4 0 J SAVE 69c^ CHICAGO MUSICAL COLLEGE your motive is not a selfish one. You Etude Music Magazine $ '0} Remit for both have the personal satisfaction of spread¬ Delineator . $3.50 FELIX BOROWSKI, President DR. F. ZIEGFELD, President Emeritus CARL D. KINSEY, Manager ing Etude influence for the good of music Regular price. 00 J SAVE 50c Permanently Adopted by Foremost Teachers in your community and everyone knows Etude Music Magazine $ 00) Remit for both that good music makes good citizens. Physical Culture . Send for our 1923 Premium Catalog, j> $4.00 listing other worthwhile rewards. Regular price. $i'.00 ) SAVE 1.00 STANDARD HISTORY OF MUSIC By JAMES FRANCIS COOKE PRICE, $1.50 IYCEU/A Detroit Conservatory of Music 48th Yei._ SkRTS Francis L. York, M. A. Pres. Elizabeth Johnson, Vice-P Finest Conservatory in the West How the “Lemon” Music Publisher Makes From A FIRST HISTORY OF MUSIC FOR STUDENTS AT ALL AGES QONS ER.VATOILY Jffers courses in Piano, Voice, Violin, Cello, Organ, Theory, Public School Mi A thoroughly practical textbook told in atory form. So clear a child can understand every word ind Drawing, Oral Interpretation, ™ w °r'A “ 100 to 300% Profit so absorbing that adults are charmed with it. AU difficult words ‘’self-pronounced’’ 1' ' excellent rational principles. Numerous Lc illustrations, map of musical Europe, 400 test questions, 250 pages. Strongly bound in maroon cloth. By Fred Miersch Students may ei THEODORE PRESSER COMPANY :: PHILADELPHIA, PENNA. Far detailed info JAMES H. BELL, Secretary, Box 7, 5035 Woodward The scoundrel “lemon” music publishers I want to warn readers of The Etude w'ho issue a pamphlet under the name of against these advertisers. If you cannot Dormitories ami s SolWoMSfulbuUd- “Song-writer’s Manual and Guide” or procure acceptance of your composition ing In the heart of new art center two blocks from TWENTY-FIVE MELODIES FOR EYE, EAR AND HAND Lake Michigan, Nor “* * something equally misleading, mailing it to without paying for its publication, the next MacPHAIL SCHOOL all inquiries received from magazine adver¬ best thing is to have it printed yourself. TRAINING. By Mathilde Bilbro. Pri ce, 75 cents Complete one and two year courses leading to certificate and diploma tisements which invite composers and lyric For one year before switching over to the These little pieces maybe regarded as second grade studies. They are intended to aid PIANO, VIOLIN, VOICE, ORGAN, PUBLIC SCHOOL MUSIC writers to “Send me your songs, song- in establishing the positon of the hand upon the keyboaid, attaining freedom, training Students may entet at any time. Low Tuition Rates. Room and Board $6.50 per week. “legits” I wrote “lemon” melodies to Catalog Free 100 Teachers poems, melodies, instrumental numbers, the eye, especially in leger lines, jn staff positions and cultivating a musical ear. These “lemon” lyrics sent to my employer—a studies are all tuneful and interesting to practice. Altogether this set of study pieces The COSMOPOLITAN Nicollet at 8 Street Minneapolis, Minnesota Valparaiso University operatic and classical compositions. I will “lemon” publisher—and I know whereof I promises to become popular with teachers as well as students well in the second grade. write or arrange the music and publish. School of Music speak when I say that the pseudo-publish¬ THEODORE PRESSER CO. PHILADELPHIA, PA. SCHOOL of MUSIC (Accredited) Fortunes made writing all classes of songs,” ers, who broadcast the country with tales Minneapolis School of Music, Lake Forest School of Music are making thousands of dollars daily. of fabulous riches made with musical com¬ and DRAMATIC ART VALPARAISO, INDIANA No doubt, more than one reader of The positions, are but music printers, charging DR. CARVER WILLIAMS, President ORATORY AND DRAMATIC ART WILLIAM H. PONTIUS CHARLES M. HOLT Etude has had the bitter experience of pay¬ from $50 to $100 for printing that can be An eminent faculty of 60 artists offers to Director, Dept, of Music Director, Dramatic Art Piano, Voke?Vmhn^°clganfUTheOTyrandUpubUc ing a “lemon” music publisher $50 to $100 60-62 Eleventh St.. So. MINNEAPOLIS, MINN. _ Secvlty of collegiate standing procured direct for $25. The song shark prospective students courses of study and training. Desirable Dormitory for 500 copies of his composition. These makes his profit on.the printing, filing what Harmony Book for Beginners based upon the highest standards of edu¬ were printed with a crude, stock title-page; few copies are left over after shipment of By Preston Ware Orem Price, $1.25 cation, also courses in collegiate studies ^ Write Registrar for catalogue. THE EXPENSES ARE THE LOWEST and no royalties were forthcoming al¬ the amount specified in his agreement with for students unable to attend university. Lake Forest School of Music, Dept. 14, Lake Forest, 111 An Ideal Harmony Class Book BoardwkhYnrnielled Rcomfj!54?00tojmOOper though the succulent correspondence he re¬ the composer or lyric writer. If your com¬ For information, address Dept. E Teachers ceived spoke enthusiastically about the position possesses merit, paying a ‘pub¬ AN unequaled “success.” The main es- The Best E. L. STEPHEN, Manager Valparaiso University,—Depti 24, Valparaiso, Ind. £-\ sentials of harmony are made under- composition, bringing sweet and pleasant lisher” to accept it will destroy every Achieve and Most 16th Floor Kimball Bui ding, Chicago. Ill- LAWRENCE CONSERVATORY STUDENTS MAY ENTER AT ANY TIME Speedy standable in a clear, concise manner dreams of a ready-made fortune. chance it has. and everything is presented simply, yet in Practical LAWRENCE CONSERVATORY For the past ten years I have worked in Many a composition beautiful in theme, Results an engaging and interesting manner. Teach¬ Work for APPLETON. WIS. Tin Pan Alley, the syncopated highway A MASTER TEACHER rich and lasting in melody has been sacri¬ With This ers will find this work lays a strong founda- Self-Study NOW IS THE TIME TO PLAN basking beneath the bright lights of Broad¬ ficed by dishonest music publishers. Legit¬ Harmony tion for future musicianship and music lov¬ ers not conversant with the subject will be in SUMMER STUDY way; but, as a writer of popular songs, 1 imate music publishers are always in the Book CARL J.WATERMAN, Dean have yet to hear of one number success¬ greatly enlightened through the self-study Harmony Many Study Advantages Are market to purchase high class compositions that can be done with this book. fully handled by a “lemon" music publisher, Announced on These Pages as the fakir who advertises for songs and of merit; and there are enough of such to THEODORE PRESSER CO. PHILADELPHIA, PA. Other Chicago School and College Announcements on Page 141 of This Issue classical compositions has been christened do justice to thp undiscovered geniuses in by the habitues of a legifimate music house. musical America. Please mention THE ETUDE when addressing our advertisers. THE ETUDE FEBRUARY 1923 Page HI Page HO FEBRUARY 1928 tee etude Musical Aphorisms

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SEND FOR APPLICATION BLANK FOR DETAILED INFORMATION ADDRESS American Conservatory of Music John J. Hattstaedt, Pres. Gold and Music 571 KIMBALL HALL, CHICAGO That gold is the best metal for the pro-

56th Year Founded by CLARA BAUR STUDY AT MY HOME Conducted according to methods of most NEW YORK SCHOOL progressive European' conservatories COMBS CONSERVATORY PHILADELPHIA Dramatic Art-MUSIC—Languages THIRTY-EIGHTH YEAR A Residential and Day School of unparalleled Facilities for the attainment of a complete musical ♦ Faculty of International Reputation m\x Exceptional advantages for post¬ A SCHOOL oF INDIVIDUAL INSTRUCTION (Theoretical and Applied B Taught Privately and in Ciaaaei graduate and repertoire work. Department Because of its distinguished facility, or ;tion, high of Opera. Ideal location and residence management, the Combs GERTRUDE RENNYSON Miss Bertha Bauk, Direc Conservatory affords opportunities not obtainable elsewhere for a com department with superior equipment. Faculty: Gilbert Raynolds Combs, Piano; Hugh A. Clarke, Mus. Doc., Theory;1 ,m Greiger, Mus. Bac., Violin; Burnet C. Tuthill, Business M NaUnn A Fboclr.nlI Vn'.ro- Rnccnll Kino Miller. Oman and 9 branches. Normal Traini: g Course for Teachers. Public School Music lr Pupils’ Recitals a week, Full Orchestral and Military Band Department! DANA’S MUSICAL INSTITUTE te Pupils’ Symphony Orel :stras. Reciprocal relations with University of j {Dormitories for Women) JTHACA CONSERVATORY p WARREN, OHIO A School of Ins] iration. Enthusiasm, Loyalty and Succ< 1 DeWitt Park, Ithaca, N. Y. of VJ THE SCHOOL OF DAILY INSTRUCTION IN ALL Illustrated Year Book Free Music BRANCHES OF MUSIC Desk E, WARREN, OHIO Address LYNN B. DANA, President Heidelberg Conservatory of Music Training Courses A STANDARD CONSERVATORY MRS. BABCOCK Confers B. Mus. Grants Teachers’ Certificates ZECK.WER-HAHN for Teachers Philadelphia Piano, Voice, Violin, Organ, Theory “fSErSeluding Dormitories, Auditorium, ZlzEFi™ Faculty of Specialists Thorough Teachers Rates Reasonable System of Teaching. Write for Booklet Musical Academy Alio Church and Concert Engagement* Gymnasium, Studio and Administration “To me more dear, congenial to my in all Departments President CHARLES E. MILLER heart, 1617 Spruce Street P.M.I. Box 25 Tiffin, Ohio CARNEGIE HALL, NEW YORK Buildings. Year Book Sent on Request. al Institute, Inc. MASTER COURSES The Courtright One native charm, than all the gloss of Branches in . Pittsburgh, Pa. with world-famous artists in all departments System of Musical to specialize In this unlimited art.” West Philadelphia Tioga Fall term opened September 19th Kindergarten Goldsmith Germantown Doylestown Mrs. Lillian Courtright Card, 116 Edna Are.. Bridgeport, Conn. Directors: Camille Zeckwer Fred’k Hahn PROFESSIONAL DIRECTORY MAKE YOUR SUMMER SCHOOL A SUCCESS Charlton Murphy Atlanta Conservatory of Music ESTABLISHED 1857 Page 130 of This Issue Give Publicity to the Study Advantages You Can Offer Pennsylvania’s Leading School MR. and MRS. CROSBY ADAMS An Excellent Form of Publicity for the THE FOREMOST SCHOOL OF FINE ARTS Announcements to be Placed in the March Issue Should IN THE SOUTH Annual Summer Class for Teachers of Piano PFAROIW CONSERVATORY of Music Profession. Why not have your card Advantages Equal to Those Found Anywhere 20th SEASON 1 LaUUU I BALTIMORE, MD. appearing regularly? Reach This Office Before February First. Students may enter at any time. Send for June 20th to July 5th, 1923 Catalog. GEO. F. LINDNER, Director MONTREAT, NORTH CAROLINA HAROLD RANDOLPH, Director ETUDE MUSIC MAGAZINE Philadelphia, Pa. Peachtree and Broad Streets, Atlanta, Georgia One of the oldest and most noted Music Schools in America. OTHER CHICAGO SCHOOL ANNOUNCEMENTS ON PACE 139 Please mention THE ETUDE when addressing our advertisers. Please mention THE ETUDE when addressing our advertisers. THE ETUDE the etude FEBRUARY 1923 Page 1^3 Page Ut2 FEBRUARY 1923 NEW PUBLICATIONS Two Pianos—Four Hands A SHEET MUSIC and OCTAVO PIPE ORGAN ARMSTRONG, W.W.D. D. Virginian RECENT ISSUES FURNISHING INTERESTING MATERIAL FOR 8398 Festival Fantasyisy (Thanksgiying).4(Tba BARRELL, EDGAR A. Teachers, Students and Performers cummings) j. g! Romance SCHULER, GEORGES. Choir and Chorus Directors 8459 The Night Song,...3 SHEPPARD, ERNEST H. Musical Comedy :83 Finale Alla Marcia.3 Any of these n s cheerfully sent for examination In Two Acts PIANO SOLOS THE 8484 Song of the Drum. CHAMBERED NAUTILUS Lyrics by ROBERTS, J. E. Sonata For The Organ EDITH S. TILLOTSON 18458 June Magi 8424 Phyllis (Gavotte). By H. J. STEWART ROLFE, WALTER Grade 4 8425 Our Invinciole Nation. SCHUBERT, FRANZ Book and Music by 28 Fragment, “Unfinished Symphi CONDUCTED BY ELIZABETH A.GEST SCHUBERT-OREM H. LOREN CLEMENTS 27 Serenade. SCHUTT,£DOUARD TRANSCRIPTIONS An Excellent Musical Comedy that “Oh, dear me,” said Betty, after the final Betty and the Battery From Grandmother’s Garden symphony concert of the season, “what in that you mention it, would you mind re¬ can be Produced at almost any time by the world was that noise?” and she looked drums like that first one in parades. But Notice me in some big climax at the next moving that Castanet? I hate to have By Mrs. H. H. A. BEACH Grades 3-5 18436 Morning Glories. around, but did nqt see a thing. She sat what is that brass plate on top of it for ?” concert. I did not have anything to do things on top of me,” he complained. 18437 Heartsease. By H. J. STEWART any School, College or Amateur Group. down and closed her eyes and tried to re¬ “That? Oh, that’s a pair of cymbals. to-day.” “I saw a Xylophone once, in a vaude¬ STOUGHTON, R. S. “And notice me, too,” said a little round arch.V. E. Nessler. call some of the beautiful music she had You must have noticed them. They make ville,” said the little girl. 8464 Song of.Spring. 8491 Fragrant' PRICE - $1.00 a big crash when they are struck against thing with bells on it. “Oh, horrors, did you really? Well, TSCHA1KOWSKY, P. I. nd Musette F. Thome-•• heard that afternoon. I Dance of the Candy Fairy ... irch.f\ Mendelssohn.. Presently the big Bass-Viol came up to each other. I don’t call that music, though,” “Oh, I know you already. You are a then you will be more interested to hear 8483 Adoration.4 » Dance of the Reed Pipes .. i Romance. F. Mendelssohn said the Bass-Viol. Tambourine. We had one in a Spanish me in a real orchestra. I’ll show you how ‘HAMINADE, C. VODORINSKI, ANTON her and said : “Good afternoon.” Water Sprites, The, (Caprice, Op. 42). 5 8345 Reverie Dramatique. “Good afternoon," answered Betty pleas¬ “Huh, you don’t think I can make any¬ dance at school once.” I ought to sound.” WRIGHT, N. LOUISE BOARD OF EDUCATION thing but noise, do you? Well, we will “Well, Betly,” interrupted the Bass-Viol, ! Waltz in Octaves. antly; for she felt quite well acquainted CRAMMOND, C ZECKWER, CAMILLE W. OAKLAND, CAL. with the big instruments now and was not settle that little matter some time when the “I guess you know us all now, and you l Happy and Gay, Op. 141 young lady is not present,” asserted the will surely be busy at the next concert try¬ DELIBES, LEO 8479 Woodland Idyl.4 GLENN H. WOODS, A. A. 0.0., Director of Httsic as bashful as when she first met them. ) Mazurka (from “Coppelia”). “You did not make that loud noise just cymbals. ing to find us.” DOR1NG, C. H. My dear Mr. Clements: PIANO-FOUR HANDS now, did you?” she asked. “Do tell me what those things are that “Yes, I’m just crazy to come to the next 8474 Under the Christinas Tree . Pardon my delay in telling you of concert; but I don’t think I can find you all DUPRfi, DENIS BOROWSKI, t. the success of your little musical com¬ “No, indeed, I could not make a noise look like maple-syrup kettles. I have never » Bon Voyage, (Barcarolle). . 8451 Danse Rusflque.3 ong of the Volga Boat- seen anything that looked like them before,” on one day—all the Strings and Woodwinds FRANKLIN, FREDERIC A. edy “A VIRGINIAN ROMANCE” which like that,” answered the Bass-Viol. “It 1 Meadow Qi ° ’ "* wan Song. ."!!!!!!! i Jac Mias Lanyon, one of our teachers, gave must have been one of the battery over confessed Betty. and Brasses and everything.” early in the Spring. She gave it first for “No? Well, they are the Tympani—they “No, perhaps not; but you must come to MINIATURES . KRONKE, Eli— there in the corner.” By MONTAGUE EWING Grade 3 8362 Butterfly Dance “What is the battery?” asked Betty. are called kettle-drums for short.” all the concerts,” said the Bass-Viol, "you quest repeated it for two other schools. In Hungarian Style. “Wc are,” answered some voices from “Pleased to meet you,” said one of the certainly must." I Lullaby. Music, dialogue and plot are well And Betty opened her eyes and saw her eeof the Insects. ... MARZO.E. MUSICAL RECITATIONS the corner. Tympani, sort of introducing himself. “Pm “Come on, Betty,” said the Bass-Viol. some drum, I am. I’m not at all like ordi¬ mother standing right in front of her. THOMAS, AMBROISE ADAIR, MILDRED sible of performance. We were al, thor- Vjvte. CL 7ivn(yo/t*n»A^ “Why, Betty,” said her mother, “I do be¬ ) Polonai 18379 Cured. oughly delighted with the finished prod¬ “I’ll take you over there to see them. They nary drums. I am tuned to musical pitch, PEYCKE, FRIEDA uct and compliment you for thinking .are good friends of mine. That first one but the others just have to always make the (Mnj. lieve you were talking in your sleep about FLICK, C. ROLAND VOCAL 18366 Night After Christmas, The. game ‘kerplunk.’ ” the orchestra.” 18515^ „. out a type of musical comedy that has is the Bass-Drum.” “And I am a Triangle, I may as w?ll ALLITSEN, FRANCES proven so usable for school purposes. “Indeed,” said Betty. “And are there “Oh, no, I wasn’t, mother; but please, t Song of Thanksgiving, A (d-F sharp). ANTHEMS tell you.” drum tuners just like piano tuners?” she may I go to all the symphony concerts next I Song of Thanksgiving, A (c-E). Very truly yours, “A Triangle,” said Betty; “well, you are AMBROSE, PAUL Mixed Voices Glenn H. Woods year?” r If Any Little Word Of Mine (E.-F.). . asked. easy to remember, anyway, for you cer¬ MOTHER GOOSE LAND BAINES, WILLIAM “No; the man who plays me tunes me, “Yes, indeed,” answered her mother, i If Any Little Word Of Mine (c.-D.). 2C248 It Came Upon the Midnight Clear. Mr Woods Is the Author of tainly could not be anything round or Six Characteristic Piece. > 0 Master Let Me Walk With Thee (E.-g.) ..... w The “you certainly must.” By GEORGE F. HAMER G > 0 Master Let Me Walk With Thee (c.-E.) "SCHOOL ORCHESTRAS and BANDS” and very often he changes my pitch right in _.J7 Rub-a-Dub-Dub. ANDREWS, ADDISON F. the middle of the piece while all the others (Note—Betty’s visit to the Strings 8388 Tom, Tom, The Piper’s Son I Your Song (G.-F sharp). 20240 BARRELL, ALDEN are playing. It takes great skill and a was in the Junior Etude in October, .ush-a-Bye Baby I keen ear to do that,” said the kettle-drum Little Cock Sparrow. 8471 How Far Away is April? (E sharp-I 1 _ Published by 1922; Betty and the Brass instruments in lie Owl. 8481 My Soul is Like a Garden Close (d.-E GOUNOD-BLISS proudly. he Cuckoo’s a Fine Bird 8472 Turn of the Road, The (c-F.). 20232 Naza ‘ March, 1918; Betty and the Woodwind ELDRIDGE, JUDSON Halter, “I should think it would," she answered, instruments in April, 1918.) 8523 Call of the Sea, The (a.-F.). 20246 Chri?Christmas Carol. Theodore Presser Co. looking about the room. “What are those 18463 Snowflakes 8522 My Heart’s in the Highlands (E.-g.) )UNTZ, RICHARD HEINS, CARL 8521 Song of Heather, A (c-g.). 20255 Three Slovak Christmas Carols. 1710-1712-1714 Chestnut Street long silver pipes?” I love to go to concerts 18518 A Merry Dance, Op. 12 Ni 8524 Song to Thee (c-g.). STULTS, R. M. “They are gongs, you know; sound GALLOWAY, TOD B. 20239 O King of Saints. And hear orchestral things, i Where the Highway Steps Along (c- 20235 Send Out The Glad Tidings. Philadelphia . . Pa. something like church bells,” explained the And try to note the difference GOUNOD, CHARLES ’Twixt WOODWINDS, FROM ELFLAND i Ave Maria (Bach) (c-a.). Women’s Voices Bass-Viol. And without waiting to be in¬ Four Characteristic Pieces GRUBER, FRANZ RATHBUN, F. G. vited, Betty took up the mallet and struck BRASS, By H.D. HEWITT Grade 2 % 8359 Holy Night (Medium Voice) (c-F.), 20234 I Heard The Voice Of Jesus Say (Two Part) . and STRINGS. 18441 Riding on the Pony. GRUNN, HOMER them. “Oh, what a lovely sound,” she ex¬ “ X ♦♦♦♦♦♦♦ thfle ’best ’ advantage,' a piece which had oppor- petrel, Clara Meyer, Alice Smith, Mary Rose s of this grade. By Oscar J. Lehrer Price, $1.25 inities for his strong points and for his Hurley, Jack Dreyer, Walter O’Callaghan, JUNIOR COLLECTION OF ANTHEMS eak ones. , Elinor Carmen_ Kirkel, Irene Crump,__ Theresa Summer piano practice with this work will be especially The aim of this book is to provide material for ied the thought about pupils’ Cardella, Margaret Siem, Norma Beitel- helpful to those whose professional work is only in the win¬ Price, 50 cents teaching the violin in classes. The exercises are all ils, the practical preparation for recitals, soacher, Diana Ellis, Neva Christen, Gertrude in three parts of nearly equal difficulty and the the best piano manner" Finkelstein, Marie Berthe, Eleanor C. Finney, ter season with a danger of losing technique in the summer. | KINDERGARTEN MATERIAL! Ruth Lofgren, Silve Marie Manouge, Aileen A book of easy anthems for junior choirs, useful class, divided into three sections, should alternate in nr wiomns Marie Burke, John for every Sunday of the year and all special occa¬ playing each part, thus doing away with the objec¬ _o well. in Naylor, Irene BILBRO’S KINDERGARTEN BOOK sions. There are unison and two-part numbers, tionable designation, first, second and third violins. Margaret Dani- short sentences and more ambitious anthems, all The three-part harmony is complete and no piano Pa^eo#°y schek, Inez Helen Christianson, Elizabeth For the Pianoforte The younger children9eelDg learthe' Winifred Emery, Maxine Weinberg, Mary within the ability of the average volunteer choir of accompaniment is necessary. ° thedi Frances Scott, Anne G. Doyle, Helen Reuland, Finger Gymnastics The Very First Musical Study young singers. Mildred Pallison, Adrienne Vegiard. By Mathilde Bilbro Price, 75 cents ♦ ♦ ♦ *:• * -7 ♦ ♦ ♦ * ♦ ♦ * ♦ * ❖ * The people who heard the WELL-KNOWN HYMNS “It was the best music I hav This is not a theoretical work for the teacher, | LITERATURE J It thrilled me more than I can Letter Box but a real kindergarten book for the very first piano For Men’s Voices Gladys Millee (Age IE By I. Philipp Tenne instruction of little children. The child is given By Frederick Wick Price, 50 cents I am not a subscriber to The Etude but something interesting to do from the very start and get them out of the library, and as I have Opus 60 Price 31-50 everything is made just as attractive as possible. This book supplies a long-felt want wherever MUSIC AND MORALS men’s voices are used in religious services, espe¬ By Rev. H. R. Haweis, M. A. cially in church and the lodge room. The arrange¬ Price, $2.00 BoachU''ZoS^Ernesthm'Buck^Luciile Busie, about getting up a Junior Music dub (March A Decided Departure in the Completion of Finger ments have been made by an experienced conductor Williams' bosons "Vmf sSer° Ses'on the violin. PIANO STUDIES FOR i of men’s choruses and are suited for use by Very few books in the history of the art have Work in Extension by a Writer who is Perhaps volunteer choirs and amateur organizations. had more influence in stimulating an interest in Frances^'oole^^Carmen" Trammelh^Ev^Leet; SoJsTndTthfnk we can succeed^6 getting music than this work. It contains over four hun¬ JfE, raneesraTc -! UOiey,,yJ_ „„taruieu i nuuuien, w*a ^1,a i;„o un a club. I hope some other Junior readers SPECIAL PURPOSES f Eugenia Coleman, Cecilia Moorman, Alice UI> a dred pages of fascinating reading matter including Wiemer, Irma Renfrew, Mary Elizabeth Do- will do likewise, the Leading Modern Technical Writer From your friend, An Opportunity to Ascertain the Real Worth essays upon musical subjects, biographies, of the hertv, Ruth Wendemuth, Juanita M. Clanin, Dobis Davis, Calif. Regina Kirschner, Elizabeth Winifred Emery, PREPARATORY SCHOOL TO THE of the Publications of the Theo. Presser Co. great masters and an instrumental section in which Ida Margolis, Sarah Levy, Lucille Parson, Often the Junior Etude receives There are combinations of fingering brought forth in a chapter on carillons is especially noteworthy. The Mary Frances Scott, Maxine Weinberg, Laura ring how to join the Junior Etude SONATINA To afford a better opportunity of judging the Cassels, Juanita Jane Darnell, Colestia Jones, some such question. There is no genuine value of the books listed on this page r edition is a most excellent one. .„, Louise Arrington, Inez Helen Junior ude Club of any kind and no one these exercises that have only been touched upon in pre¬ By Franz T. Liftl Price, 75 cents we will gladly send any of them for examina¬ nson, Belva Nell Rummager, Phoebe need_ be_ subscriber to The Etude to enter tion. To assist our patrons in the selection Alice Barker, Margarite Newhard, the" contests. The Junior Music Clubs that vious works. Equal prominence is given the five fingers Teachers who have had difficulty in holding of music, we have catalogs covering each of the . Van Tassel. are being formed so successfully are not their pupils’ interest when the sonatina was intro¬ Etude Clubs in any sense whatever, although of each hand and a careful examination of this work will some of them have been pleased to name duced, should give this work a trial. No better their clubs for Thb Etude, and all are at soon convince the musical pedagogue that this is one introduction to the lighter classics could be found. liberty to A The Etude of March, 1922, It may be taken up after the first year of piano A SYSTEM OF HARMONY Music Chibs’have been formed on the sug¬ of those works that forms an epoch in the technical study. gestions that were presented in the Junior For Teacher and Pupil Etude of that month. If any other Junior world. The moderately advanced player should use PREPARATORY SCHOOL TO BACH Theodore Presser Co. Readers have formed clubs or have joined By John A. Broekhoven Price, $1.00 clubs, the Junior Etude will be glad to hear By Franz T. Liftl Price, 75 cents MUSIC PUBLISHERS AND DEALERS m these finger gymnastics over a number of years, in fact, TALKING MACHINES AND RECORDS This is a comprehensive work in which the subject S U S ptc.i 0 ft Tfie performance of modern piano music requires is treated in a scholarly manner along the lines of they are just the type for daily study at the piano. MAIL ORDER MUSIC SUPPLY HOUSE Dear Junior Etude : i thorough study of polvohony. As a rule teachers the larger European works. It has been used with I have always been much interested in The have waited too long before introducing this. work. 1710-1712-1714 CHESTNUT STREET much success in conservatory classes both here and Why is the above note likely to be Junior Etude and am now going to write to Liftl’s Preparatory School to Bach fills an impor¬ PHILADELPHIA, PA. abroad. In this new edition there is additional you for the first tim". As my sister is an THEODORE PRESSER CO. put in prison? instructor in piano and voice and has taken tant niche in this line of work and may be used as material that greatly enhances the value of the work. Because it is under arrest (a rest). lessons for many years. I have always studied 1710-1712-1714 CHESTNUT STREET early as the second grade. with her. We have taken The Etude ever PHILADELPHIA, PA. And why is it not likely to be put since I can remember and I have always en¬ in prison? joyed playing the piano pieces and reading the many interesting articles in It. Because it is above suspicion. Your friend, (Maitland Harvey) Joyce Carlsson (Age 14),