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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
6-1-1911 Volume 29, Number 06 (June 1911) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 29, Number 06 (June 1911)." , (1911). https://digitalcommons.gardner-webb.edu/etude/570
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sending us only four yearly More than 600 Subjects CONTENTS Etude subscriptions at $1.50 each; or with your own re- Illustrated in Colors “THE ETUDE”—June, 1911. Debate . 3( The S2.00 Webster’s New Standard Dictionary illustrated Musical Europe .Arthur Elson 3< is exactly the same as the $2.50 book, except in the style of binding-which is in Half leather, with olive edges, and square Rhythm in Music.William, H. Sherwood 3( Given as a premium for sending us only three yearly Etude subscriptions at $1.50 each; or with your own renewal When is Music not Musical?-Mme. Pupin 31 (or a new subscription) both for $2.30. Piano Practice.Dr. Otto Neitsel 3’ The SI.50 Webster’s New Standard Dictionary Hiuitrated The Bohemian Girl. 31 imped in gold a : illustrations colored plates and charts omitted. Measure and Melody .-E. M. Bowman 3’ it $1.50 e: your own renewal s German Conservatories. 3' The Rondo .Thomas Tapper 3' A BOOK EVERY MUSIC TEACHER SHOULD POSSESS The Selfishness of Musicians..T. A. Williams 3' Study in a German Conservatory, Max Meyer-Olbersleben 8 areby in Music.C. Saint-Saens 3 OH, FOR A CAMERA e Metronome.C. J. Hamilton 3 Hearing with the Eye.S. Grew 3 PREMO JUNIORS Gallery of Musical Celebrities. 3 Steps in Technic...L.B.Gunn 3 The Etude Music.Preston Ware Orem 3 ; Teachers’ Round Table..V. J. Corey 4 The Beginner Specialist in Teaching. O. C. White 4 Voice Department.H. W. Greene 4 [o. 1 makes 2&X3& pictu >r sending four Etude s scriptions. Organ Department.Dr. 8. H. Penfleld 4 r--i.,s 3^x4^ pict >r sending seven Etude s Violin Department.Robert Braine 4 PREmSeTTF., FOLDING CAMERA, makes 2J/X3X' pictures (Dimen¬ Children’s Page . 4 sions, iK*3ftx4K). given for sending nine subscriptions. A marvel Publishers’ Notes . 4 World of Music . 4 PREMO JUNIOR Testimonials . 4 FREE SAMPLES TO HELP Questions and Answers.Louis O. Elson 4
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WE WILL SEND THESE JUST PUBLISHED HARMONIC ANALYSIS By FREDERICK J. LEHMANN Hlto Songs Professor of Theory in the Oberlin Conservatory of Music It is clear, concise, avoiding unnecessary technical expressions, yet covering a On Approval large range of examples from the best composers. This book is used as the basis of study in the Oberlin Conservatory. DOUGLAS GORDON .... . Hamilton .50 1S6 pages, cloth. Price, $1.50 net. Key, G. Range, a—D. A. G. COMINGS & SON, 37 W. College St., OBERLIN, OHIO *0’ER FAIR PALERMO’S RIPPLING BAY . . Strelezki .50 Key, D. Range, a—E. Key, E flat. Range, b—F. CUDDLE DOON . . Macy .50 Publishers of Music can increase the Sale J-J Jr ^ pr Key, E flat. Range, g—C. of their Publications by advertising in SEND FOR RAXES *AS IN A ROSE JAR .... . Cadman .50 Key, C. Range, a—C. *0’ER THE DREAMY BAY . Phelan .50 EVERYONE INTERESTED IN MUSIC Sho:“yhS Key, D flat. Range, d—F. GEO. L. SPAULDING’S JACQUEMINOTS. . Elliott .50 Key, E flat. Range, b—E. *LAND O’ THE LEAL, THE . . Jordan .50 NOTE-SPELLERTrade-mark registered 1911. Key, C m. Range, a—C. . Scott ^HADOW-TOWN^b^ • • • .50
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OP. 27. Three M,„„tur,S: . {£ •'» W. G. OWSX 13. Carillon - 50 This group of compositions shows plainly that their comnosrr n Words by THE WHITE SHIP American musician of distinctive talent whose hrilU«n»„f P a 'an Danle Gabriel Rosselfi Melodrama Price •. j” uri,il!!g thi.s m,usical recitation the composer's insDiration (...Iff ited by the stimulus afforded by a vigorous dramatic narrari™ ™ varied in incident and moving to a powerful climax I ike T 11 “Ring Robert of Sicily,1' Rossetti’s ballad of “The Whill cT "^ " the dignity and nobility of style and subject condition!^ h.kh'P h?S “Sirh -
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COMPLETE SCHOOL OF TECHNIC Key to Same. only benefited me as a Price, $1.50 Isidor Philipp you need this Course for the renewed inspiration it will give teacher, but have aided me Our Guarantee to Refund Money A HISTORY OF MUSIC SELECTED "CZERNY” STUDIES Modern and comprehensive. By a great in technic, and have given For Classes and for Private Reading you in your work, for the new light it will throw on many A Graded Course COUNTERPOINT me a better conception of . , Jn °^r t0 convince you beyond the shadow of a By W. J. BALTZELL old and1 perplexing problems that have never been quite Edited, Annotated, Explained, and Fingered By Dr. H. A. Clarke. $1.00 doubt, and because we ourselves are sure that we can satisfy Price, $1.75 Illustrated THE LESCHETIZKY METHOD OF PIANO clear to you, and for the new and practical ideas you will Includes the most approved ideas for teach- by EMIL LIEBLING TECHNIC By Homer A. 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This nominal as compared with their great value. You c*nZ Technic and Art of Singing REED ORGAN METHOP suit your own convenience. If you are intenJ^t ,! ? y f°r ,hem to MARCH ALBUM. Four hands First Steps in Piano Study Diploma will stand for something definitely accomplished FREDERIC W. ROOT CHAS. W. LANDON Price, $1.50 to-day m strictest confidence, stating fullyTheWnle. METHODICAL SIGHT SINGING. 3 Compiled by Theo. Presser and will mean a real step in advance for you. education, your needs and ambitions .extent ^ of your musical The most widely used beginners' instruction Books, each .$0 SO book. Price, $1.00. INTRODUCTORY LESSONS IN FIRST PARJ.0R PIECES. SCHOOL OF REED ORGAN PLAYING “Through it charge, by return mail out beautiful iliusi cataWe wl!; °f a11 VOICE CULTURE. . . no The name of Sherwood is famous the world over, and music teachers i__ a musical dictionary and other valuable musicdZtlr ^ ““"T POPULAR PARLOR ALBUM . Studies compiled by Chas. W. 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X/ ■'VYUX “II is a MODERN PIANO PIECES THIS collection of 27 grade. The be^t works of favorite numbers, all ail the modern composers by recognized mod¬ have been included, mak¬ ern composers, is undoubt¬ ing a wide variety of con¬ STEIN WAY l ET¥DE edly the best collection of tents that will appeal par¬ VOL. XXIX. NO. 6 piano-forte selections ever ticularly to the amateur JUNE, 19 U assembled in one book. entertainer, as there is sure Judged either from the to be something to please standpoint of the teacher, everyone. Every number that says every thing” the student or from that in the book is in its orig¬ of the lover of good inal key, but each one has music, it is an ideal folio, been carefully phrased and as it embraces all that is fingered by the eminent Shall Music Teachers be Required to Pass an Examination best in classic music of musician and teacher, the moderately difficult Paolo Gallico. Price, 75c.
COMPLETE CONTENTS The Steinway Piano is Before They are Permitted to Teach? A la bien aimer. Melodie. ■ Paderewski Alla Marcia. Morceau Caracteristique. . Woltenhaupt represented in 250 prin¬ A Short, Pointed Debate on a Vital Subject by Musicians of Wide Experience in the Teaching Field Arabesque en forme d'Etude.. Leschetizky Murmuring Zephyrs. .Jensen Barcarole (Contes d'Hoffmann) Prelude. ■ Rachmaninoff cipal cities of the world. Offenbach Romance without Words.... II. Valse. . Durand AFFIRMATIVE NEGATIVE Berceuse (from Jocelyn). ■ Serenade (Heller transcription). Schubert Butterfly, The. Slumber Song. ■ Schumann E. M. BOWMAN En AutoAne. Song of the Lark. Tschaikowsky DR. HUGH A. CLARKE . Forr-erly Professor of Music at Vassar College Professor of Music at the University of Pennsylvania Fauns, The. Song without Words. . Tschaikowsky Humoreske. Spanish Dance. Moszkowski In the development of civilization the best minds in every nation in every I must confess that I have serious doubts as to the advisability of ■ STEINWAY & SONS,_ age seek higher ideals. The ideal has now become a standard. In proportion Hungarian Dance. Traumerei. Strauss establishing a State censorship of teachers of music. While it is right ■ to the intelligence of a people do we find, in every channel of intercourse, and proper that the State should—by this means—secure the efficient Valse Mignonne. Schuti NewjYork Showrooms, Steinway Hall, Marche grotesque. ■ reliable and sensitive standards. We demand standardized weights and meas¬ Witches' Dance. administration of law and the practice of medicine, I fear that it would Mazurek. . McDou/eil 107 and 109 E. 14th St. ures. To prevent the use of double-bottomed baskets, scant milk measures, fail in attempting to apply the same means to the securing of efficient abbreviated yardsticks, short-weight scales, etc., the law inspects, confiscates musicians. Law and medicine are—more or less—exact sciences. They Publishers of the Most ' Popular Piano Piect pianQ Djts pianQ lnstrucioy Children's and imposes fines. Again, we demand standardized foods and drugs. Fake proceed by definite rules which are ever growing more exact, and one Piano Pieces, Selections from Operas, Songsufrom Operas, Home Songs. College Write for "The Most Popular ” catalog, < :ontaining complete contents of SSTU& foods and druggists’ booze don’t go! Not debate but law here. If an offender of the first duties of the State is to protect the lives and properties of is haled to court the judge and the lawyers sitting in the case will them¬ its citizens. But the arts are matters of taste, the standards of which Subway Express Station at the Door. selves have first passed an examination showing that they possess the are fluctuating—are matters of opinion, not of exact science. It would HINDS, NOBLE & ELDREDGE new^orkq™ standardized knowledge of law to administer justice. Doctors of divinity, be difficult, if not impossible, to find a dozen of the foremost among the pro¬ of medicine, of dentistry, of veterinary science; school teachers, nurses, fessional musicians who would be agreed as to the standards by which candi¬ civil service encumbents, etc., are standardized, i. e., certificated. Why dates should be judged, and the attempt to frame a hard and just code of not teachers of music? laws might be productive of a deadening effect on the art of music. EDUCATIONAL WORKS FOR SUMMER COURSES DR. J. HUMPHREY ANGER W. S. B. MATHEWS Professor of Harmony at the Toronto Conservatory Distinguished American Educator, Author and Editor That music has a refining influence is generally admitted; where¬ Music-teaching success turns upon three sources of power: (1) THEORETICAL WORKS fore, in the interests of national refinement, good teaching is essential. Knowledge of Music, as Art and Technic, (2) Ability to teach. (3) Capac¬ PIANOFORTE STUDIES At the present time anybody may teach music. An advertisement, a ity to inspire. I object to required examinations on the ground, first, FIRST YEAR HARMONY MODERN HARMONY brass plate, a gift of loquacity, and lo! “a professor.” Hence, the that neither here nor in Europe are there as yet any generally accepted ELEMENTARY GRADES charlatan, whose influence tends to degrade, not to refine. At whose standards of the minimum or the maximum a music teacher ought to hands expression, the soul of art, receives but scant consideration. know. Second, any proposed test would probably confine itself to the While the beautiful in music is a sealed book to both teacher and pupil technical side of the first point above, leaving it inconclusive as to mu¬ alike, the object in view of the latter being ostentation, that of the sical qualities and wholly silerit upon the second and third elements of 'SSSSa.‘j former, remuneration. Such is a picture of the past, and surely it is power. Third, any real test would tend to cut off about nine-tenths of now high time that Steps be taken to eradicate this, element in the the young teachers now at work; and with them about the same propor¬ musical profession. True, the legal and medical professions are pro¬ tion of the musical stimulation now available in small communities. We tected, but the law and medicine are necessities, whereas music is a cannot afford the loss. Fourth, any board, whether State, county or luxury. That legislation will ever intervene to protect the musical pro¬ municipal empowered to permit or forbid engaging in the business of fession is not to be expected. We must protect ourselves. And, as in music teaching, would tend to become a narrow and offensive monopoly, the case of law and medicine, protection for music can alone be obtained detrimental to progress. Such a limitation of the right of private con¬ J&SgggS*. through the medium of properly constituted examinations. tract is contrary to the essence of freedom and the American constiution. J. LAWRENCE ERB LOUIS C. ELSON FIRST YEAR MELODY WRITING Because of the i___ i the production of music Ir we could have an artistic commission for the aid and regulation and certain muscles and membranes a., TONAL COUNTERPOINT ; centers, it is an easily of all arts, such as the Acadcmie Fran(aise. it would be an excellent ad¬ verified fact that wrong conditions prod :ain pronounced physical vance for music in America. But such a thing is at present impossible and nervous ills in the performer, such a e throat, pianist’s paralysis, in this country Wherever a State or a city has attempted such musical forth. Hence music teaching sctly associated with the THE ELEMENTS OF HARMONY commissions there have always been some members who have entered public health and is therefore a fit subject for official attention. A large through political “pull.” To have such a musical commission pass upon INTERMEDIATE AND ADVANCED GRADES proportion of the people who teach music in this country are absolutely the question of licensing teachers would lead only to endless jealousies unfitted _ for their work. Their musical acquirements are practically nil, and heartburnings. Many a teacher would question the right of this and their teaching ability scarcely better. Their pupils are paying foi or that muskian to be upon the board, and some of the very best would instruction which is faulty or even injurious, much of which must often decline to offer themselves as applicants for cqrt be undone to make any real progress. Such teachers are claiming to To forbid them to teach would be a violation---to of personal right. To allow thethem to teach without tbeY themselves do not know—a species of dishonesty which a certificate nrr ii~r.rolicense "’ouldwould bring the system intoin speedy ssssss should be prohibited. How, except by examination and certification by _ edy disrepute. Mean- tificate or diploma of any good Conserva1 ERY’S “THE EL an impartial official body,. whose business it is to examine, not to teach, 'onservatory or recognized teacheri ,-- wouldV count~T. vfor a great deal,v“‘ more•••*«*« than a* State~ license, which would can the public know it is not being “buncoed?” It is not capable of be almost valueless in its necessarily numerous character. Over-legislation PIANO PLAYING judging for itself so it must be protected. Music is just as much a fit one of the worst of evils, and if there be a deeper depth it SJr profession for license as is medicine or law. would be to allow politicians ti^ appoint censors of music and music teaching ENTS OF HARi Price, 50 Cents m , . L TO THE JUDGES ro,lerfeS1n to have !his Deb,ate >udSed bv our readers themselves. We shall print the b st six letters pro and con the above sublect received readersn. °° make Xour le«ers longer than three hundred and fifty words. Try not to present the same arguments given above but us haw. ChesmutWStt£nbaseeSt.e ol!pm,bet!,eH?,J?.'iiUlsb0nStl0nVH^.MMarkark y0Uy°u^*: manuscriptmanusmpt either “No” or “Yes” at the top of the page and address"youraddress your letter ETUDEETUDE^DEBATlTm2 DFBATE, m2 vmestnut street, Philadelphia The successful answers will be printed as regular contributions in a future issue, probably August Do l/u correspondence with these replies. We hope to have enthusiastic arguments from both sides.—Editor of The Etude. Y 8 ‘ ot lnc,udeinclude other ™ons.. A R T H U R LF*p.zS CHMIDT NEW YORK Please mention THE ETUDE w 11 W. 36th Stre* 369 THE ETUDE THE ETUDE LISZT ON RHYTHM. 368 On many occasions during my study with Liszt, not ner at one end, with Strauss and * opera only with works played to him by myself and played and no one of imP°rt^n“ a the syrnphonic poem has in turn by him, but in works studied with him by remodeled into music-drama, V gram music, others, while I listened, a strict government of time been developed into a great sc P f better MUSICAL THOUGHT AND and accent, the one inseparable from the other, was and ourr harmonicnarmonic system has been enlargejjeennances , ^ men-^ ACTION IN EUROPE emphasized. It was not difficult to see that the dis¬ or worse, by the school of fugi w* tbat form itself vour bright Ideas your little dlscov- By ARTHUR ELSON tioned above. But Bruckner has symphonies, and let us help you pass tU(I The Spirit of Life in Music,—Rhythm cipline of such things was a power of expression and may be modernized. We have p ^ , vocalized poetry itself in Liszt’s music. Records go to show Mahler’s • - lucelike Huber’sjiuuvi o tribute-- to— Bocklina orno Mahlers program, and his L te.'s that features of strength and originality in the compo¬ By WILLIAM H. SHERWOOD sitions of some of the greatest composers as explained In the Revue of the International Society is an article productions. But Bruckner use of pure music do not; ue• “‘Effing-iwHs'irar.-'ftJe™ tine as helping onesst.«x fej: works lead us to hope that t e y0ung com-. ?0mes along. .^Tittle*department, which will appear Irom by themselves depend upon similar characteristics. on an almost unknown composer, Erik Satie, signed y shall not perish from theearthy Let at lovrs,laws - andana ttns.bttlel«.-> — ^i,tor fot mvthe purposei*111 »'„=», of giving yonvo„ No one will ever become a good sight reader or a modest J. E.. which suggests Ecorcheville. Some poser write, in■ ‘.."'freethe free style if he-so chooses;great oui «<• timeS’ taltruistico time, isiStunlty.opportunity ^When lu, lpedwriting v,m tomost The inEtude, your The last message of the foremost American virtuoso, especially prepared for THE ETUDE have heard faintly of the composer's name "'connec¬ develop right judgment in the interpretation of music least let him study the triumphs of gf Link of ‘dea. fe£?,r,aJe sheet of paper ana tion with certain mystical works, but the majority symphonist before he decides to abandon form. teaching, the Nutsheil.^^lnseUjhisjn except by sufficient, training in correct habits of time have not known of his existence He doeslive, how¬ keeping and accenting. In my own case, while I have RECENT operatic events. „„„ great ideas from ever, having been really born on May 17, 1866, at Hon- quite a natural sense of rhythm aided by insistent prac¬ this’ can be told in fifty words < flur. His mother was Scotch. Thirteen years later, Opera «~ on merril, .bread, with £*3*5 of Adam tv -- tice, I admit that nearly all of my difficulties of man¬ lire cavorting fronton, .it, to another. A,an «t.M ——Tee Editor. J at the Conservatoire, Lavignac, Tandon, and Mathias j idea for teachers for the close of the aging the right kind of interpretative expression are grew tangibly aware of him as a pupil. Becoming THE LIFE OF MUSICIAL EXPRESSION. of civilities, Tiefland has been glven.1 i fn German at Herenfferna prize Tor each pupil who can play all of rendered too vague and unsatisfactory if not given pianist, as well as composer, he played Ins Ogives in while Massenet’s Don Quixote was heard .n Germ ^ year. Utter y ^ past season The trouble [S°?rr« to last Tunes™ ^reZTrs 553 Another common tendency is to drag out a dimin¬ be gratified to know that he had them in mind, and Prepared form through the right rhythmical setting. This very 1886 and a set of Sarabandcs a year later. Nuremberg. D’Albert continues his operatic the pieces ., t review their . esneeiallv for them. Every word Is uendo as though diminuendo meant rallentando, and Then followed many compositions—a group of Gym- feature is the greatest one I have to contend with in with a three-act comedy, Die Versch*n*bargai„ than ’\t0 hat ‘his idea is a very helpful one. I the converse habit of playing a crescendo passage with nopedies, the Gnossiennes, incidental music for the ge 0Pund reading a new piece. A few out of the many writers o no" beTeve in one prize for one pupil, but think accelerated time. This is very likely to break up the Chaldaic Fils des Eloiles, the Sonneries dela Rose- aZ7erS,Stair Humperdinck has finished h* on compositions and methods for the piano student tot a l pupils should have a chance to w.n a pnze if rhythmic design. Many players who pride themselves Croix the Messe des Pauvrcs, the Danses Gothtques, the music of the drum. have given this subject sufficient thought and care in bL bM 11ie in an,Pie titne *SS tSareUfulandindustnous.^^^^^ upon their sense of time can well afford to look into The little ballet Uspud, full of strange harmonies, There are many young ladies who play the piano their works on “technic.” their own habits in this respect. caused dissension between Satie and the National Acad¬ No one could possibly have been more insistent upon o™ ■>;- “J I am a very busy teacher and often^in the past' with artistic taste and aesthetic feeling, and choose selec¬ emy. His originality found further utterance in the tions which are high-grade in every respect, who would the careful and intelligent observation of rhythm than Pieces Froides, the Morceaux en forme de Poire, and found it difficult really find a startling and valuable surprise in store my teacher, Dr. William Mason. His famous work, other works equally strange in style, if not in name. for themselves if they would add to the study of the Few are printed, for the author cares little for public Touch and Technic, is rich with suggestions for rhyth¬ piano that of the snare drum. With the snare drum favor • but Debussy and Ravel have recently taken operas were represented b, the ominous mm* 21 f j„ „,„„c roll a. 1 made m, da.!, mic accentuation, and in many ways these are presented one can distinguish between every possible degree of pains to bring him to the attention of the musical world. Puccini came second with 776 hearings, and after him y house t0 house. If a pup.l was ate or in such an original and forceful manner that they speed and force and rhythmical variety. In fact, it is In the opinion of J. E„ Satie becomes important in Verdi with 724. Lortzing (681), D’Albert (459), and . roun tjme to read T..k Kt.-me. or in fact possess the power and character of real inventions— music with everything but the tune. In cases where relation to the problem of modern musical style. His Nicolai (179) are comparatively, , unheardg p America, aose^ ^ ^ j, something to learn in eaeffi issue. something very rare in the music of any day. Dr. music shows the charm of the unforeseen. Its peculiar the drummer uses drums with different pitch even the Mason’s rhythmic scales as outlined in Book II of Strauss was endured 113 times. . . , element of tune is added to the above. Ridiculous as color results from harmonic touches subtly blended, yet France reports continued success for the Dejamre o I needed something to brighten up my teaching work, Touch and Technic are a veritable school of rhythm in the comparison of the drum and the piano may seem, ' without regard to conventional cadences or resolutions. Saint , Saens, while Felix Fourdrain’ s new works,. Ver- and to avoid monotony at my recitals I decided to give themselves. and unlikely as it undoubtedly is that any of the read¬ The composer is called “a modern Monteverde experi- f|- torix, be heard at Nice. De Lara’s Solea s a series of lecture recitals with my own pupils as the ers of this article will hie themselves to a music shop menting with indefinite colors. The end ot tne nine- ceeded at Rouen Italy offers La Gtovane Italia, w performing artists. In other words I selected pieces A VALUABLE TEST PIECE. and buy a drum, it is nevertheless true that they might teenth century brought with it the idea of non-resolu- ■ actSj by Mario Pierracini, and Suit’ Orma, by about which I had preserved notes, taken from descrip¬ When advanced pupils show carelessness and too tion in the field of pure music, ass well ias in the oper- Carjo Vittardini, Both Mascagni and Leoncavallo are really be benefited by doing so. ■ Haydn, it is said, was much self-confidence plus ignorance, I frequently select tions of the pieces printed in The hn de and m Mr. very fond of playing on the drum. In order that he auc or piugiii.ilprogram Lm/u..school. Satie revels i--m^ the style« J3f attemptauemyuiig;ng opeurvicuo,retta, the<•*«. former... setting Anima Allegro,, ~ , E. B. Perry’s books “Descriptive Analyses of Piano¬ a Fantasia in C Minor, Mozart, edited by Von Bulow fugitive dissonances, showing the sensibility of from a Spanish story of Guinteros, while the latter might get an insight to the secrets of orchestral writ¬ (this is not the “Fantasia with Sonata” in the same forte Composition” and “Stories of Standard Teaching ing. Vincent d’lndy, the famous French composer, which serves the modern innovators in place of the offers The Queen of the Roses. .Can it be that these key). Here is an advanced illustration of the most Pieces.” These home-made recitals proved very suc¬ secured a position as second drummer in the Colonne usual harmonic system. He is called “a wanderer gentlemen have forsworn opera at last? In Madrid, natural and ideal musical expression, requiring a great among keys, an experimenter in rhythm, attentive to cessful and I am glad to pass the idea on. Orchestra in Paris, and remained in this position for Conrado del Campo’s opera, The End of Don Alvaro, An Interested Reader. deal of discrimination in correct rhythmical reading. the thousand voices of the imperceptible curious about three years. This, mind you, was after he had won was well received; also the symphony-drama, Alma The piece is in 4-4 time (adagio). There are Vi note everything and nothing.” The strange part of all this I am located in a mining camp in the West. My the famous Prix de Rome at the Paris Conservatoire. Remota, by Jesus Aroca. In Prag a new name seems sections; % note sections; 8th note sections; 16th note is that these words fit a certain well-known individual father secured a piano for me and it was moved to If d’lndy could afford to study rhythm in this some¬ to challenge attention—that of Ottokar Ostrcil, whose sections; 16th note (triplets); 32d note sections (both called Debussy. Yet Satie preceded Debussy by several our home with the greatest imaginable difficulty. The what peculiar manner, you can easily see that there Knospe appeared at the National Theatre. kinds, as of 16ths) ; 64th note sections (also both years. After working in silence all his life, the com¬ only other person in our vicinity who has any practical is more reason than rhyme in my efforts to call the Among choral works Hans Huber’s Der Heilige kinds) ; 128th note sections; also 128th triplets in reg¬ poser of the Gnossiennes now finds himself hailed as knowledge of music is a half breed who plays the attention of the readers of The Etude to the great Hain, with solo parts and orchestra, showed compelling ular groups and subdivisions. There are also synco¬ the pioneer of the most advanced school of modern beauty and dramatic power in its treatment of a Hindoo mandolin in the most excruciating manner. In order significance. Incidentally, the practice of the drum pated notes or suspensions in plenty, and their music. legend. Hermann Suter’s Walpurgisnacht, with broad, to keep up my interest in music I hit upon the plan might do something, to loosen up some of those hor¬ of having composer months. September I devote to resolutions form a considerable class of feature for A NEGLECTED MASTER. modern style and strong themes, proved another Swiss ribly stiff wrists which some ladies exhibit the moment Haydn, October to Mozart, November to Chopin, and expression by themselves, and there are a good many In the Neue Zeitschrift fur Musik, Franz Graflinger success. In the same field Richard Mandl’s Elfentans they commence to play octaves. It is also a fact that so on. I study their biographies and as many of their groups of irregular numbers of notes besides, such as writes on another pioneer composer—Anton Bruckner. pleased Vienna, and Wilhelm Rudnick’s Woman of at the piano the player seems to be blind to rhythm Samaria was unusually successful at Leipsic. There is works as I can find in my well-stocked library. In this because he finds the melody and the harmony so fas¬ a group of 7/32d notes belonging to the interval of The article aims to show that Bruckner’s descent an 8th, etc. v Wagner to record, with Gerhardt as given way and amid this enforced isolation I have accom¬ cinating. He makes every effort to have his chords somewhat higher than peasant lineage; but artisans and also a A draftsman measuring a drawing in which such a innkeepers are of the people, after all. Bruckner’s glory .who charmed Dorpat with his Volkers Tod. plished more than I have during many previous busy right, every note accurately sounded and with the ap¬ diversity of fractions to the foot might occur would comes, not from his ancestors, but from his own deep Orchestral works include a fair crop of sympHonies. seasons in the East when I had an exceptionally fine propriate touch, but the infinite variety of effects which have to have a means of scaling his work down to sincerity in art; for earnestness is surely the keynote Those of Straesser and Weissmann were heard at teacher. Arizona Friend. come from the careful observance of the rhythm seem The Late W. H. Sherwood. very small subdivisions of an inch. How many ama¬ of a genius that dedicated its last symphony to God. Munich. That of Grammann pleased Dresden by its - Here is something I am sure that no teacher has to escape his attention. Bruckner's fame as a composer has grown slowly, clearness. Elgar’s second symphony will be tried upon ever done before, and yet it came to me like a flash A careless student does not analyze his music enough teur piano students ever do this kind of thinking about their music? It is only through getting mental and and even now there are some who fail to rate him the inoffensive Congress of the International Musical as an idea for a special musical feature at a recital I COMMON RHYTHMICAL FAULTS. to keep time right. He does not think, judge or govern mechanical mastery of such details that the ideal beauty as highly as he deserves. In his lifetime he had the Society. London will hear in addition a. symphony by gave in connection with one of my summer classes. Ej The young ladies with refined sensibilities seem to his mind in such respects. A sense of rhythm and of Walford Davies and new works by Bantock and Percy and poetry of many a selection can be brought out misfortune of being considered a rival of Brahms, and got a length of wire mosquito netting and stretched't be particularly far off the track when they make their good dynamics (a relative appreciation of loud and soft Pitt. Le Moissonneur, by Casadesus, won a Parisian completely. a representative of Wagnerian iconoclasm in the sym¬ on nails so that it reached from one side of a wide amusing attempts to play in correct rhythm. During shadings and accent in music) all go together. Cor¬ success by its pastoral charm. doorway to the other. On this 1 made a staff by | phonic field. He was treated with ridicule by the my observation of the playing of pupils for the past rect sense of rhythm is really temperament in music. friends of Brahms, and the critic Hanslick vented Among chamber works, Reger’s string sextet, Op. 118, means of white silk ribbon and pins. A clef cut from year, I have tried to make some classification of the RUBINSTEIN’S OPINION. It is the impulse, life and musical expression itself. especial bitterness upon him. When Bruckner was at was acclaimed at Leipsic. Die Musik hails Joseph paper was placed at one end. Bar lines made fro® most important things necessary. I have found that, There is no doubt of Rubinstein’s genius with rubato Probably no composer ever took more freedom with length presented at the imperial court, and asked if Marks as a great song composer. New publications paper strips were also handy. Then 1 collected a like the amateur in painting, the temptation to use playing, as I frequently heard it during the time of my strict time, with more artistic beauty and originality he had any favor to request, he begged. imploringly include violin works by Sinding (Romance, Op. 100), number_ of_ white uadaisies,olco andallu useduscu themmum as notes. * bright colors and brilliant effects diverts the pupil’s acquaintance with this master, but in the case of Rubin¬ that Hanslick should be made to stop his bitter attacks. Sitt, Klengel, Blanco and Halvorsen. In the Musical this way, by 'riiek'mg=1 the'stein s' 't'hroiivh the mesh to mind and artistic feeling, in the one case from the of style (tempo rubato playing) than Chopin, and stein, as with Liszt, I never failed to mark the authori¬ Incidentally, this and other anecdotes show Hanslick Standard, Sydney Grew writes at length on the value attach them, 1 spelled out different little melodies. The foundation facts of correct drawing, arid in the other there probably was never a greater, if equally splendid, tative control of exact time and the accented expression narrow-minded autocrat, not wholly deserving his of jhethe player-pianoplayer-piano; we used to thmk that its value was pupils tried to guess the melodies spelled in flowers, from the foundation control of correct rhythm. Some¬ interpreter of Chopin music than Liszt, of whom thereof alongside of his freedom of style. It is said usual reputation for critical insight. $500, with comments notable for intensity rather*tW thantbor, and tbe wboje rec;tai was brightened by this pretffl times it is a technical one-sidedness that causes this Chopin said, “I thought it was Chopin playing,” as he of Rubinstein that a man congratulated him after a Bruckner’s work was the logical outcome of his length. floral feature. A. E- deflection while the pupil may have naturally good listened to Liszt with his works. During my own recital in one of our cities where he played a Beethoven nature. Often involved and abstruse, it was always an manufacturing town in a Midh^j rhythm. A person with faulty habits of managing the studies with Liszt I heard him allude on two occasions program in the authoritative (and at the same time effort to express great thoughts. In the later sym¬ Those who take the modern magnificent stage ef- Welte^StatT iw c~..7.° ”T," „t,;uren wrists and hands generally plays certain notes too loud to “tempo rubato playing,” insisting that it should be with the subjective beauty so well known in his play¬ phonies, especially the seventh and eighth, this effort fects in opera very much for granted would be some- well naia r ‘\ y irsl PUI5I'S were the ch or too soft, too soon or too late. perfectly controlled and regulated according to a strict ing), saying to him, “Why do you play these intermin¬ becomes grandly successful, in spite of some prolixity. what more appreciative if they realized what enormous theiMessons^to ,A'a,S ! whc,Y thC3[ had Some of the examples of failure to observe the sense of regular time keeping, with accents from which able exercises? Why do you not play something for strides the art of scenic production has made. Here been thclr.hands looked as though tt y He used larger canvases than Brahms, and aimed to rhythm have become evident in special places. For in¬ the artist should make logical deviations; that is to the soul?” Rubinstein said, “Whose soul—your soul?” employ the varied colors of the grand orchestra, while is an extract from the diary of "Samuel Pepys, who than S?gv1COnce "uddings Some "'.l’re ^ J stance, I have discovered that notes previous to skips say, that he must be able to govern strict time in order The great Russian virtuoso was not insistent upon lived in London some two hundred and fifty years ago mm-E ^ my New England sensitiveness the latter restricted himself to the classical. are very frequently played prematurely and with insuffi¬ to play with beautiful interpretation of free time. the observance of rhythm, but was a veritable crank But Bruckner was more than a colorist; hence these vas a friend of Henry Purcell: “The stage i now T ■Vr?used- Yet, I knew that if I showed d.sg«‘ stage i cient force. Again, when playing a bass note in an Liszt likened the case to a tall tree, solid at the ground regarding time. He is quoted as saying; “I really can¬ few words. Unlike Liszt, he clung to the prescribed, thousand times| more glorious’ ' than- ever heretoforeg °W 1I mwhtmight Wlose, ~„., Mat leastHR lessen,lcssclli my necessary Iincome; . accompaniment, with a skip between the note and and trunk, while the topmost Tranches were sway'ng not understand what kind of a teacher it was who symphonic form, and tried to infuse into it the modern Now, wax candles, and many of them; then, not above Then I found a dipping in a -r in which a gre the following note, the first note is very liable to with the breeze. In looking at the’ foundation of tne freedom of theme and color. He did more than try; three pounds of tallow; now, all things civil, no rude¬ uoso said that he invariably soaked bis hands . could not teach a pupil to count while playing. I be played with too little force. This seems to throw tree there was a sense of fixed stability. Following the he succeeded. His works thus become of great value ness anywhere; then, as in a bear garden,; then, two or warm water before playing. This 1 read aloud to a‘ know where I would send such a teacher. A musician the rhythm out in a most annoying manner, and when as examples of logical composition in the modern three fiddlers; now, nine or ten of the best; then my pupils, and wh( • their lesS°| line of the trunk upwards the deviation was very must get a clear idea of the rhythm and tempo before the pupil has lost the rhythmic poise it is very diffi¬ school. The student, and even the critic, is too apt to nothing but rushes on the ground, and everything else their hands were bathed in warm water and soap «nt slight at first, but more and more apparent the higher setting himself to study a work. He must play all cult to regain it before several measures have been regard modern music as consisting of Liszt and Wag- mean; now, all otherwise.” e proper virtuoso cleanliness was attained ” one looked, until the motion showed a swaying sense notes clearly with the utmost regard for their rhythmic played. F. C. A- of freedom and graceful relaxation at the tree top. significance. We must wash the body finely before 371 THE ETUDE THE ETUDE , |_,P their melodic character and sound 370 fast that 0se to show his Herculean power, exercises if practiced assiduously may have produced WHEN IS MUSIC NOT MUSICAL? like chords, w tone out of the piano than there fatigue. dressing it up finely. Play in the beginning slowly, he tries to get n ^ tone and defeating his object, After a short rest, the next quarter of an hour may firmly, until the new piece has entered into your fingers. MADAME A. FUP1N. is in it, thus for 8 ^ exhjbit his marvellous ambi- be devoted to exercises extending over the compass of After that only may you dare to use the pedal, and Or in M® eiaboratc embroidery of the theme, a sixth. The following five minutes may be taken up give expression and phrasing to the melody.” What is more delight- dexterity, «i tne ^ delicious melody trying to with exercises within the compass of an octave. The One of our great critics working on the playing of full than to hear a fresh, he entirely tg rash of sound. Such music. last five minutes might be devoted to exercises in some of the concert pianists a few years ago observed clear voice singing : e peep out aga ^ display 0f feats of legerde- broken octaves. that in the performance of the Chopin concerto (in old songs, My M o t h e r which consts . . not music. It excites After the second period of rest, devote the first ten F minor) that every note Chopin wrote in the work Bids Me Bind My Hair, minutes to exercises for passing under the thumb. was logical, and every liberty taken with his free style main, u That it does no, speak to the soul, Kathleen Mavourneen, astonishment, ^ William Mason said: "It is Then five minutes of practice in skips—that is, exer¬ of performance, and must needs be logical in order to Home. Sweet Home, and cises in which the hand is obliged to skip over intervals he ideal and poetic. There are some kinds of freedom The late lan pianists listen to their own the others? These songs, greater than one octave. which our talented amateurs allow themselves which my .0pmS" May notes scales. chords, arpeggios- sung with feeling, charm The final quarter of an hour might be devoted to are not real freedom. But to go from serious to cultured and uncultured KhS areVot aiming to get a musical tone, nor to comical, 1 wonder if you readers have heard the fol¬ but they an idea q{ the composition, scales (five minutes), arpeggios (five minutes) and alike. Melody has ever scales in double thirds (five minutes). lowing story: express the ; js nevertheless most desir- been able to touch the Arranged in the form of a schedule, this would soul and has caused M per when one possessing it, and fired with a AN AMUSING OOTTSCHALK STORY. appear thus; often the most callous- w £ his art, sits down to play, he finds nothing It is said that when Gottschalk. the great genius who Mme. A. Pupin. love for his . conception and its perfect ex- First Quarter of an Hour hearted to weep. hi. thal and others. Tausig’s daily studies, accompanied perhaps was our pioneer concert pianist, in making a to come dreams out his music and is himself Five minutes Exercise with sustained tour in America visited a certain mining camp on the As an illustration of the power of by the preparatory school written for that book, are fingers. the divine in man, nearly always so careful y hidden the'best listener. Then, indeed, the music charms also excellent. No one of these schools can be con¬ frontier, and that his piano failed to arrive the day _c of All Germany." Ip the foregoing articles Five minutes Five-finger exercises with¬ of the concert. Knowing the ready manner in which from mortal view, I will give a story, told to mj Pr. Neltzel recounted some of Ills interesting educational sidered perfect; they all have their shortcomings, in out sustained fingers. the rough cowboys and miners in the country at that father by Adelaide Phillipps, the first great Ameri¬ »*" Thc co"d”cto experiences a; " - -; Rubinstein,”'_u! my mind the most successful technical book is the one Five minutes Chord exercises or octave is its manipulator. He ,s a musician, otherwise ne of the physical time used their guns, the pianist and manager were can contralto; and which I think has never appeared believes should in which one subject is taken up and treated ex¬ • exercises. more or less anxious. The hall had been sold out and in print. Years and years ago, when the Far West he would not be a conductor. How ridiculous it students every day, in order to keep he human machinery haustively, as in the case with the Kullak octave was an almost unknown region, and the dwellers m would be if the piccolo, because it had the highest in the best possible condition to mee the demands which Second Quarter of an Hour the men were sure to put in an appearance after continued practice makes upon it.] studies. the mining towns of the Rockies were nearly devoid tone in the band, should shriek out th,. note, per¬ Five minutes Exercises extending to the paying two dollars for a ticket, bringing their revo’vers Perhaps the greatest defect of such books as I of all traces of civilization, Adelaide Phillipps was emptorily calling attention to itself! I! w absurd In addition to the physical exercises I have outlined compass of a sixth. along with them. The manager spent an anxious day have described is in the grouping or grading. They for booked for a concert in one of these mining towns if the trombonist, who had extraordinary lung devel¬ in the foregoing section of this article, I believe Five minutes Exercises extending to the trying to find a substitute piano. Towards night-time the most part follow one well-established general out¬ he at last found an old German settler, living several As she stepped out on the stage she found herself opment, should sound out a Mast longer and louder most earnestly that a daily walk of one hour’s dura¬ compass of a sixth. line. Commencing with exercises for sustained fingers miles out in the country, who had in his possession an in a very large hall filled entirely with men—men than the music demanded: or the tymi-am t, because tion is absolutely necessary for one engaged in the Five minutes Exercises in broken oc¬ and passing through five-finger exercises, progressive old-fashioned square piano belonging to a daughter in their tumbled, dirty, every-day clothes and wear¬ he had brawny arms, should bring out bunder,ng sedentary work which piano practice demands. Better taves. scale exercises, octaves, thirds, eto., we find much that who had died several years previous. The ptano was ing heavy cowhide boots. Each man sat in a chair peals from the kettle drums, where he slumld have still would be two walks of one-half hour each. The is ill-adapted to the student's real needs and often Third Quarter of an Hour locked up and the key was lost After much persua¬ tilted back, with his feet up on the chair in front of given only a faint murmur! How.unreasonable it student should, of course, avoid dusty streets, because him. A defiant expression was visible on each face, much.we can- well afford to omit. From these embar¬ Ten minutes Exercises in passing the sion, a liberal price final'y secured the use of tne would be if the flutist, to show Ins fluent lingers, one of the chief advantages of the daily walks is the instrument, which was brought to the hall just in time as if to say. “You needn’t think we’re going ^to rassing technical riches the student is often at a loss thumb under. should insist on playing his sixteenth not.- passages opportunity to inhale fresh air. A slow walk with for the concert. They broke it open on the stage and behave any differently from what we do at home. in thirty-second notes! The conductor . mid not to know just what to select. Furthermore, the young Five minutes Practice in skips. frequent deep inhalations is more beneficial to the Gottschalk proceeded to examine the piano. It was Adelaide Phillipps began to sing Kathleen Mavour¬ teacher is likewise unable to select the most needful permit such sacrilege. Every one would ay it was FourthQuarterofan Hour found that one wire had not rusted out and that the neen as only she, with her inimitable voice, could lungs than a rapid walk in which no breathing exer¬ material at the right time. It often happens that the . unmusical. cises are undertaken. Any exercise tending to develop Five minutes Scales. hammers and the other broken wires were all ready for sing it. At the close of the song every foot was The conductor is the brant and soul of the or¬ teaching notes added to different technical studies are the lungs and the muscles surrounding them cannot Five minutes . Arpeggios. action. An ominous click of revolvers resounded in on the floor, and many of the men were trying fur¬ chestra. Each instrument has its own place and inappropriate and ludicrous, particularly because they the hall which spurred the great' artist to a desperate fail to be of value to the student who contemplates Five minutes Scales in double thirds. tively to wipe their glistening eyes. its perfect work to do, but yet is subordinate to the can only apply to special cases. For instance, the effort He soon discovered that he could make this a public career. If melody charms the multitude, what shall we say whole. The conductor lias his conception of the directions in connection with some of the studies of The somewhat regular routine cannot become mo¬ one tone sound loud or soft at will and that he could of harmony, which speaks inexpressible things to notonous, because the pupil is continually transposing composition, and under his manipulation the HELPS IN TECHNICAL WORK. the Czerny Virtuoso School, “Repeat twenty times,” play it at anv degree of velocity or variety of move¬ the cultured. Haydn was the first to hear the har¬ his work through new keys. This gives him a fresh ment. He commenced by trying to imitate a bugle orchestra brings it into expression. So singer or are absurd. Such directions are often without sense monies of nature and embody them in his music. We now arrive at that section of the work which interest with each day’s work. The schedule given call, striking the one key with such rhythm and accent pianist, who have trained voice of fingers p, respond and reason. .If followed they would result in an Imagine the surprise of the audiences which attended to mental demand, should hold the ideal in mind is of more specifically practical interest to the piano above should not be considered a hard and fast rule as might be expected. He found upon playing the the first performances of his oratorio. The Creation, enormous waste of time and produce players with and be lost to all but the joy of bringing the same student. There are two general directions which to be followed in all cases. A special schedule should broken wires in the piano that he could imitate sounds and heard depicted in tone effects of nature which abnormally developed technical powers and under¬ into audible expression. When singer or player can should goyern all of your practice work at the key¬ be arranged for each pupil. The above is simply given such as one might expect from soldiers or cavalry and no one else had ever before thought to translate into developed musical ability. forget himself in the rapture of interpretation, then board. Tliey are: as an example of how to go about it. For instance, imitated an army advancing or in retreat: and that he melody and harmony. How terrified they may per¬ Another fault of hooks of technical exercises is that 1. Always go to your practice with an eager mental one pupil may have great difficulty with scales and could also make a good imitation of thunder, the haps have been when they heard the mysterious will music indeed be musical. entirely too much attention is given to work in the attitude and with "eager” fingers. The pupil who goes require more practice in this branch of the work. artist improved various battle scenes with realistic soqnds expressive of chaos, or the tremendous roar key of C. effect. The guns were put away and he was greeted to the keyboard with a tired body and a tired mind is As a matter of fact, most of the work which the Another pupil may have great difficulty with the of the beasts, as they came into existence on the THE PIANIST AND THE TUNER. octaves and another great difficulty with the double with uproarious applause. His piano arrived the next sixth day of creation! But how enchanted to hear, hardly likely to succeed. pupil has to do will introduce the black keys quite as thirds. The practice of double thirds and broken dav. when he gave a second concert m that mining in tones, a representation of the rising of the sun 2. Learn to study yourself. The piano student may frequently as the white keys, and more attention chords with special accentuation upon special notefc is camp and the house was sold out. So much for from the first faintly glimmering rays up to the do well to learn the inscription upon the old temple at should be given to exercises employing them. This rhythm. Delphi, “Know thyself.” It is for this reason more does not controvert the fact that the most difficult of of very great value as a preparation for polyphonic appearance of the orb of day in all its refulgent Every pianist, and especially teachers of the piano, playing. beauty and splendor. than any other that you should go to the keyboard all scales is the scale of C major—that is, it is more should have some knowledge of the tuner’s art. (Dr. Neitzel’s article will be concluded in the July REAL MUSICAL INTEREST IN THE CZERNY fresh in mind and spirit. A tired mind and a tired difficult to play the scale of C with perfect touch and Then came Schubert, who gave us glimpses because this gives an understanding of ; ue rela¬ issue of The Etude.) STUDIES. body make successful practice impossible. a perfect legato than it is to play any other major or of his soul, for everything he saw or read called tions that can only he acquired in this way up at once musical images in his rrfind; and these The time spent by ambitious students in forcing a minor scale. The pianist should miss no opportunity to listen to ELLIOT H. PAUL. vivid pictures—instantaneous creations—have been tired body to respond to the urging of an insatiable the tuner at work, to question him rev " ding the REGULATING THE PRACTICE. DO YOU KNOW? left to us as a precious legacy in his songs, whose ambition is almost always wasted. Far better let the manner of tempering the scale and to n t, his ex¬ I have found it advisable to have students divide the Do you know that Rossini's William Tell, which It seems to be the popular idea that these valu- accompaniments are as wonderful and beautiful as student avoid practice when tired, or resort to'refresh¬ able studies are “unmusical’’ and are to be shunned the songs themselves. planations. Most tuners arc pleased when the hour devoted to technical exercises in four periods. was written in a remarkably short time, took six pianist shows this interest, and usually art glad to ing exercise in the open air, or to that great restorer— and dreaded. Anyone who plays them with no Reethoven showed us a soul which communed After each period the student should either rest or hours to perform in its original form? give all the information they can. Tuning is an rest. Practice when tired means that the mind and attention to anything except the notes will doubt¬ with the unseen world. You may not understand resort to bodily exercises for the purpose of keeping That inventors have been striving for over one less find Czerny’s etudes uninteresting and monot¬ art that deserves the serious consideration of the fingers will become more fatigued or. the next day. the mind in its keenest condition and the body in its hundred and fifty years to invent mechanical appli¬ his revelations, but his music speaks to a higher and that if this practice is continued the pupil, notwith¬ onous. That is not Czerny's fault. In addition to part of you. of which you may seldom be conscious. musicians. Very few musicians can explain intelli¬ highest physical state. ances to aid in developing the pianist’s technic? One standing his struggles, will continually keep falling undoubted technical value, most of his etudes are Who can listen without deep emotion to the alle¬ gently why the scale needs to be tempered, nor do The following division of the technical work will be .was patented as long ago as 1814. Few survive. behind instead of going ahead. Alas! this is a matter really enjoyable if one really tries to play them gretto of the 7th Symphony, the persistent ’cello they know when the intervals arc correctly tem- found desirable: That Johann Sebastian Bach played upon a harpsi¬ with the same care and expression that one would notes, like a heart strained almost to bursting? Who peted, and it is a matter of wonderment among about which one may preach much, but which few stu¬ Striking exercises, with the non-striking fingers sus¬ chord which had stops corresponding to the 8- and give if unprejudiced. If you hammer out the best can hear the allegretto Schersando of the 8th Sym¬ tuners that so much ignorance exists regarding this dents really learn until they have actually gone through tained. Each exercise may he repeated four times. 4-foot stops of the organ, and another correspond¬ selection you know from any composer in the way phony without feeling wafted to a world where sin very vital element of the pianist's art. and of the the experience and learned that, first of all, the mind These exercises may be found at the beginning of ing to the 16-foot bourdon? In other words, he in which Czerny’s works are usually maltreated you and sorrow are unknown? How simple the theme instrument upon which he spends so much time. and the body must be in the proper condition before many different technical books (Herz Scales, for could, by pulling a stop, add the octave above or will find that it sounds equally dull and uninter¬ of the andante con Variazioni, in the Kreutzer One who makes a careful study of this matter practice is even commenced. instance). Each exercise should be systematically the octave below at pleasure. Even this did not esting. Sonata, yet how it lingers for weeks in your memory wilt in. a short time gain much that will help hint I am emphatically in favor of cotummicing the daily transposed through all of the keys. After C should approach the sonority of the modern pianoforte. Of course, technical studies, in order to serve as a pure and lifting thought! Well might Richard m playing. He will he enabled to discuss the subject practice period with technical exercises. For students follow C minor, then D flat and C sharp minor, and That a number of American trained singers their purpose, must contain sufficient repetition to Wagner have written, “Some strains from Beetho¬ of tuning intelligently, and he might with a little who aspire to accomplish real things it seems to me then D and D minor, etc., until all of the keys have achieved success in opera over forty years ago? impress their problem upon the mind so that when ven’s music seem like the breathings of a soul puri¬ that the following periods are none too little: been played. These exercises should not be practiced The list includes no less than Minnie Hauk, Clara similar figures are encountered they may be exe¬ himself w,Tr ,al>lr to ,u"c unions a"f| omvC< fied from all sin.” 11 e me player may not expect to become a. For elementary students, one-half hour technical for more than five minutes at a time, as they arc likely Louise Kellogg and Adelina Patti, each of whom cuted with ease. Anyone whose desire to play is But wbat does Wagner’s music reveal to us? We practice daily. to result in fatigue. The hand should at all times he received her training u"on American soil. Yet not strong enough to induce him to practice Czerny tumWPeiT tUner’ 1,6 wo,,1d do well to possess a cannot tell. We seem transported to an unknown unconstrained. Make a note of your progress through studies or the works of other technical writers is tuning TL-mer .r' 10 have S°"1C instructions in b. For advanced students, one hour technical prac¬ students still persist in thinking that Europe is the world where color and tone are realized as one tice daily. the keys so that when you take up your work on the wasting time taking piano lessons. only place in which an operatic training can be Great waves of harmony play around us like leaping “X ”al“ m°" ■«•"« “ following day you may commence where you discon¬ No more earnest, hard-working musician than . ®ur technical literature of the piano is peculiarly secured. seas of color, twisting, turning, coruscating and tinued on the previous day. The next five minutes of Czerny ever lived, and many of his studies sound wffl'LX" ",l"> a HaR to this mttn rich. The teacher will of course find the material best Do you know that Mendelssohn’s Songs Without changing with great rapidity. We do not under the first quarter of your practice hour might be devoted exceedingly effective when well played. teach 2 /SC.0Ver t1,at t0 >'1av the piano does not suited for his needs as well for the needs of the specific Words originated in an idea in a letter sent to his stand it, but we feel that some time we shall to five-finger exercises without sustained fingers. Tn being When "ie instrument is in tune, pupil he has in mind. What may prove a most excel¬ sister, whom the composer loved most devotedly? A pianist may have developed his digital dexterity this case the transposition plan suggested with the be set hi d W“h ‘l131 which seems right to him. lent book for one pupil may prove entirely unsuitable He wrote: “I wish I were with you: but as that I know of no aim more noble than that of giving until he has acquired what is called nowadays a previous exercises must be faithfully carried out. For music to one’s native language and to one’s native falls considp °K,n a1rt"trar>’ standard, which usiia’b for another pupil. For beginners the Herz Seales and is impossible I have written a song for you ex¬ “colossal technic.” Suppose, to display his extraor the last five minutes of the first quarter of an hour the pressive of my wishes and thoughts.” Then fol¬ country.—Mendelssohn. dinary velocity, he plays some intricate passages so of the tuner^wL^0^ °f ^ "10re perfect •ctanr1arfi Exercises is widely recommended. For advanced pupil may safely resort to exercises of a different students, the daily studies of Plaidy, Mertke. Rosen¬ lowed what many conclude was the germ of the a,,d cvery kind, such as octave exercises, because the previous Songs Without Words. 373 THE ETUDE each; then one of three beats; and last, a pause (called a rest) of one beat. Here is quite a mixture of tones differing lengths, which, tapped out with the metronome ticking at say 72, will be found to be an agreeable movement.* Part of a tune could e set to this movement and a pleasing effect secure -T On tapping it out, as if playing a drum, certain taps will seem to require more force than others.* Ihis added force is called accent. The accent in this METER, MEASURE AND MELODY little melody seems to fall naturally every four ticks of the metronome. This regular accent marks the From “A Musician’s Letters to His Nephew,” a Series of Master Lessons in Piano Playing beginning of the groups of beats. Therefore, these are measures of four beats each. The meter, then By EDWARD MORRIS BOWMAN is four-part or “four-pulse meter.” The metrical beats or pulses follow each other evenly. All are the same length.! The length of the tones, how¬ [Editor’s Note.—This Is the fourth installment of this are to learn all you can from my playing, relating ever, varies in each measure.* series. In The Etude of previous months to conception, style, phrasing, etc., but do not imi¬ plained Mr. Bowman's unique ’ Here is the difference between meter and rhythm: this he“vepresei tate my touch, which, I am well aware, is not a good letters to an imaginary nepbe... — - Meter is the regular pulsation of the music; dual personality. lie thinks of the struggles he had when model to follow. In early years I was not patient he was a hoy, and writes to just such a boy with a view Rhythm is the varied' succession of tones. In of
RIP VAN WINKLE AND THE DWARFS- m^h/-diithe-early writers use so many embellish- F. P. ATHERTON. ' THE VOCAL NUMBERS Both songs this month are by contemporary Ameri¬ DrintP^1-1 6 !frm °f grace notes. turns, mordents This is a clever little characteristic march, somewhat can composers of much popularity. Mr. Stultsdd Mr in the style of Gounod’s “Funeral March of a Marion¬ been nrintT- "0te8 when they mi»ht as well have WhP ed I!* regldar notation, as is done now? ette," but much easier to play. It should be taken at a Galloway have worked along dissimilar lines but both 1 have originality and fertility of melodic invention and Bach V”6 art °f music so late in developing? slower pace than the usual march or two-step, and for each has achieved success. ’ and the best effect the accents and the expression should a cent,,,S br two cen‘uries after Michelangelo, Mr. R. M. Stubs’ “O, Lamb of God, Still Keep Me” ■' be slightly exaggerated. This piece will have much Moliere y * ^ Shakespeare and fifty years after value as an early third grade teaching and recital piece The picturesque incident in the legend of “Rip Van in this song are ‘ in England?^endelSS°bn'S works become so popular Winkle, which it illustrates, should be looked up in this connection. setting is a dignified one, this song may be used t „ l advantage as an offertory solo in church serX. 8 °d Mr. Tod Galloway’s “My Laddie” i* „ f '■ . HAPPY DREAMS—CARL BONNER. OBJECTIVE AND SUBJECTIVE MUSIC. encore song in the Scotch style, having real This is one of those useful pieces, having educational hinds Oh?6?16 3re 'nc'’ned to divide music into tw value as well as melodic interest, which may be used nter is of f 5 mUSic and Subiec‘ive music. The fo. between grades: this piece is rather easy for the third j *1«*> to is to say th, tempos' grade and somewhat advanced for second grade work. It will afford good practice in brisk finger work in the feel or understand th.'ngs wh,ch ever>’b°dy can se observance of short rests, in grace notes and in rhythm. Musicians of to-dav whn tA„ uses; Jhe latte d’ 38 in the case of Handel’s choi cess of Gustav Charpentier’s ogtrTLolt^ the 8UC' more intimate * 'S ™°re Personal, and seeks to pictui WHISPERED SECRETS-CHAS. LINDSAY. know that another Charpentier lived in Paris PV* Mendelssohn and'c"8' 38 in the case of Bach’s mu- This is a rather easy “song without words” It dred years ago who was regarded „ two hun¬ °f the different ,bumann are more recent exemplai music. Mendels6 , ,tween. Objective and Subjectiv °Pen,s. TIth ,an ^^resting left hand melody, which griest masters of his time. He was even0”6 ° , the should be played m the style of a ’cello solo. On a more learned and cultivated musician tl! CT0tRdered music, Finoal’f l°bn s Midsummer Night’s Drew the repeat this melody is transferred to the right left over twenty-six notable wmks ‘ n ?tLu H' He ‘one pictures tW * 0verture- etc- give us realisti ^ From here go to the beginning and play to A; then,play Trio. stage and the church. His name Sty for the hand, in the style of a violin solo. The second on the other v,. , any one may realize. Schuma® Copyright 1911 by Theo.Presser Co. British Copyright secured Charpentier and he was born in Paris ^634. Ant°ine his own persons e US6<1 h'S 3rt to give exPressioll ‘ at times verv diffi motions, and his music is therefor very difficult t0 interpret, owing to iti obscuritj 387 THE ETUDE an# THE ETUDE
Copyright 1911 by Theo. Presser Co. THE ETUDE 389
EANGELUS 3M0 THE ETUDE RIP VAN WINKLE AND THE DWARFS CHARACTERISTIC MARCH F.P. ATHERTON, Op.220 Moderato misterioso m.m.J.-IOO keep tempo slow and well accented
DISTANT CHIMES
Copyright 1911 by Theo. Presser Co.
British Copyright secured C°pyright 1911 by Theo. Pre; sr Co British Copyright secured THE ETUDE 393 392 THE ETUDE 395 B94 THE ETUDE THE ETUDE JOLLIFICATION WaLTZ PIERRE RENASD
HERE AND THERE SCHERZO-RONDO Allegretto e grazioso m.m.J =108 CARL HEINS
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5- 3-« 5*► 5* ^ jt LOVE’S ROMANCE Andante con moto m.m. J =72 THE ETUDE 399 THE ETUDE PERSIAN MARCH Concert paraphrase by ALPINE PASTORAL L v- FLAGLER FOR PIPE ORGAN Edited and fingered by Maurits Leefson JOHANN STRAUSS from ALPINE FANTASY AND STORM 'Echo) ALFRED GRUENFELD Allegro vivace m.m.J = 12o
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British Copyright secured THE ETUDE 407 406 THE ETUDE 0 LAMB OF GOD STILL KEEP ME f ^ ^^rri e*~ 0 -Z-^- j.r r ; it ppp; r told me Of all Thy pow r and grace; Thy beau-ty,Lord,and glo - ry, Thewondersof Thy *J 8 id Tl — ^ - TJ* | ■ b 0 liSrJJ. JLD M' USSiffB love,_ Shall be the end-less sto - rv Of all Thy saints a - bove. A - men! rt u >>>> L>>>> rrn i i n i /7V * J.q bj J ' "rf^—-J- * =d_f i — a -iili >*■ - +"p*fir--3 i | 5T 3- - > > - mm \ . mrnmi ^ ^ w 1 ■#- 1 w ff ■'l f*/. ^ J flj- Copyright 1911 by Theo.PresserCo. British Copyright secured % 409 408 THE ETUDE THE ETUDE such as have been taken from Plaidy or other com¬ MY LADDIE piled books of standard technical exercises, and m Andante TOD B. GALLOWAY C\ SPECIAL TRAINING FOR TEACHERS. No one of four teachers ever told me that the work should he specialized forthose wishing to teach In the conservatory I afterwards attended, connected with a State university, the only aim of the teachers seemed to be “to finish the course. treble and bass again. him to begin at the bottom and read up as it is to Now after teaching a while I find that I have a In regard to teaching treble and bass simulta¬ read from the top down.” My reply to the discus¬ very hazy idea of what teaching material should neously, I would say that I have long been waiting Ho nepd PBsnppiflllv in the first five grades. It for an opinion to be expressed on that subject. sion on “Treble and Bass” would be similar to that As you say, prevalent usage s- '_o be in' favor" of the postal department. And hence I would also of teaching. o—.. |j " f—» But having taken a -n psychology, I would reason as follows. say, use whichever way you like best. From the While teaching only the treble in the beginning standpoint of teaching both at the start, Mrs. Cross¬ satisfies the pedagogical principle of “one thing at land’s method of treatment is excellent, and will a time,” it does so at the expense of a confusion A teachers’ training class ought to be an important of ideas in the mind of the child. Playing for doubtless he of much help to many who are think¬ factor in the work of every institution. Private .. ...; exactly the same on both ing over this problem. 1. I want ' ye wee a-gain,Lad-die,_ I want ye a bairn at my knee. I want your gold locks a-gain, Lad-die— I E the staff gives the child the mistaken teachers should also give special instruction to those 2. Mith-er then was the world to you, Lad-die,_ Andthe nights thatyou slept on her arm. Andwhen your Mith^rwas nearye . There was idea t t reading for both hands is precisely the who wish to fit themselves for teaching. In order WHAT TO STUDY. When he learns later that this is not so, he to use Mason’s “Touch and Technic” in teaching, has to unlearn the work of the left hand and it is best to study the system as a whole by read¬ assimilate a new reading. This is much harder to accomplish than it would have been had the exercises 11a, 12a. and similar ones? ing the books in advance and getting the meaning child not been accustomed to reading the left hand the meaning of the mordente at the end of the of Dr. Mason’s excellent ideas. Better use the more work in the treble to begin with. measure? I do not know how to get In the four In my own work I pursue the following plan: counts in those measures. usual “Technical Studies” of Philipp. A book of I use Presser's “First Steps,” teaching the treble 2. What other studies should a person give with primary technic by the same author will soon be clef with the left hand duplicating the work one the different grades? issued from the press. There are many etudes that octave lower. In this way the child begins prac- . 3. Should a child take a piece over again if he tiee with the left hand, but is not allowed to has a few notes wrong? can be progressively arranged for a course of study. think he is reading the left hand staff. When 4. I have a pupil who never has his lesson and You can start out with the following standard sufficient of this work has been done, I teach the takes no interest. What can I do with him? bass clef, using the great staff, and find it no more 5. Some of the teachers in our town have no etudes, and later vary the course as you acquire difficult to teach than the treble. Of course I course of study which they follow, but simply use experience. First grade, “First Steps,” followed by have to skip a lot of exercises, but by using sheet music. What do you think about it?” Mathews’ (traded Course I manage to find enough M. M. first book of “Standard Graded Course,” omitting material. I have found all the instruction books some of the elementary exercises. Improve the weak at the point where the bass clef is introduced. The work is too sudden, too difficult, and far too 1. The sign you mention is ndt a mordente, but hand and the finger conditions of your pupils, how¬ few easy exercises are used to lead up to reading simply an abbreviation indicating that the group or ever, by using some of the easy pieces and exer¬ want the dearblue of your een. _ I want your gold locks a-gain, Lad-die, rl want the dear blue ofyour een7__ the bass and treble simultaneously. Mrs. W. C. nae-thing to fright or a - larm-Andwhen your Mith - er wasnear ye,_ There was nae-thing to fright or a - Iarm._ groups of notes already given should be carried on cises for review. With the second book of the Our correspondent’s last two sentences are doubt¬ by the player, repeating the form higher and higher Standard Course the “Czerny-Liebling” may be less true. Aside from this, however, there is one on the keyboard until a given pitch is reached, or begun, and selections from Heller, Op. 47, begun. point that all seem to miss. Neither the bass nor this may be left to the discretion of the student, These may be carried into the third book of Stand¬ the treble clef belongs necessarily to one hand or You get the four counts by simply adding similar ard Course and finished, when the second book of the other. The right hand frequently plays from groups of notes to the ones already given until the Czerny-Liebling may be begun. In grade four, notes* written in the bass clef, and vice versa. It is measure is finished, and so on. The meaning of the selections from Heller’s Op. 46 may also be used. simply a question of learning to read the notes that sign that confuses you is simply, “and so on.” With talented pupils, “First Study of Bach” may are in the staff, which includes both treble and bass. 2. With the second grade the Czerny-Liebling be taken up in third grade, followed from time to The pupil should not be taught that the treble be¬ may be begun. If preferred, Duvernoy, Op. 176. time by the “Little Preludes,” the “Lighter Com¬ longs to the right hand and the bass to the left.. It With third grade, “First Study of Bach,” Heller, positions” and the “Two and Three Part Inven- is not so exclusively. In four-hand music, primo Op. 47, selections. Czerny-Liebling, book 2. The will play mostly both hands in treble clef and secondo latter may be finished during grade IV, and Bach’s MENTAL INVERSION. both hands in bass. There is a frequent interchange “Little Preludes,” Heller’s Op. 46, and Horvath’s I have a pupil whom I started in Landon's “Melodic Octave Studies” may be begun. For fifth Foundation Materials. She Is able to play both in two-hand music. It is true.the pupil gets more hands together so long as the notes are the same practice with the right hand in treble and left in grade see answer to question of “C. S.” for each hand. But when the notes are different, 3. It is not a good plan to tell children they must she plays the right hand part with the left, and bass, hut it is largely an accidental matter. He vice versa. I have Insisted on very slow practice, should simply learn to read the staff and play which¬ take a piece over again. It is not a question, of hands separately, but as soon as she tries them “taking it over,” but simply to keep practicing until together she again “changes off.” Can you suggest ever hand in either is called for at the moment. a remedy? M. W. After he has learned to spell out the notes on the the composition is learned. They should learn that treble, he may then spell them out on the bass, or they come to the lesson so that the teacher can find The condition you mention would seem incredible he may reverse the operation, or he may begin to out how they are getting along, and point out what were it not that I had exactly the same experience spell them both out at once. In my experience.I may he wrong in their practice. They should con¬ with a young woman of eighteen when I was living have tried both ways, with the following result, if, tinue working at a piece until it is learned. To in Boston; of' all places to happen upon such an for the sake of illustration, I may be permitted to continue practice on a piece until it is brought to example of brain inversion, the intellectual Hub of reduce to actual time that which would vary with a point where it can be played is not “taking it the universe! I struggled with her for twenty les¬ various pupils. . . sons and then abandoned the attempt. She tried A began with the treble clef, one-half hour daily 4. If every effort has been made to arouse his two other teachers, both of whom also gave up in for the first week, and one-half hour daily on the interest, and if it is impossible to arouse in him a despair. Somebody suggested that we cut the lines bass clef during the second week, or twelve half sense of honor to use his best effort to get the of the staff apart and paste the bass above the hours in all. At the end of the second week she worth of the money others are expending for him, treble and see what that would accomplish, but this could read both nicely. B began with both clefs, and all to no purpose, he would better abandon his interesting experiment was never tried. The trouble spending a half hour daily for two weeks, fifteen lessons. If his parents wish him to learn music in is one that it almost seems impossible to treat seri¬ minutes daily on each, or twelve half hours in all. spite of lack of interest, they should see to it that ously. If the careful work you are doing now At the end of two weeks B could also read both he attends to his practice. There are many pupils accomplishes nothing, I know of nothing but a clefs nicely in same manner as A. It is for. this who will not practice unless those at home see that surgical operation on the brain that might cause reason that I have stated that it made no difference they attend to it. How many students in the public the two lobes to act in their proper relation. In which method was used. In practice one will work schools would learn their lessons if they were not other words, the trouble is apparently a physical out as well as the other. And, as in the illustration under the constant supervision of the teachers in one that will doubtless require weeks, and perhaps I have used, if a careful observation is made, just the school room? Piano pupils often need a similar months, of patient study to overcome. It is a about the same amount of time will be consumed in supervision. peculiar and unique condition, and perhaps even learning to read by either method, the actual 5. The fact that sheet music is being used exclu¬ patience can accomplish but little in effecting a amount, of course, depending on the capacity of the sively does not prove that there is no definite course pupil. of study. Some teachers prefer to select their own WHAT NEXT? I remember when I was a hoy that some news¬ music, in order to provide for the individual needs I have a pupil, a boy of sixteen, who has com¬ of pupils at a given point in study. If a teacher pleted the three books of Czerny-Liebling and papers conceived the idea that the work of postal thoroughly mastered them. He has also worked up clerks could be simplified if the order of addressing is capable and experienced enough to teach in this several of Heller's opus 16. and is now working manner, good results may follow. If, however, he on the Bach Preludes. Should I give him the two envelopes should be reversed. They argued that and three part Inventions next, or a course of the postal clerk only looked at the name of the simply makes a hit-and-miss selection without plan dementi’s Gradus and Parnassum? Which first? or purpose, there will be no adequate development He Is a good worker and very anxious to take State to which the letter was addressed, and then up Clementl. C. S. tossed it into its respective hag. Therefore, if the on the part of students. Many teachers write such name- of the State was at the top, as follows: technical exercises as they wish students to take up I should recommend a course in Bach’s two-part Pennsylvania, in a blank music book at each lesson, using etudes inventions next, using numbers 8, 13, 14, 6, 1. 10, 12, Philadelphia, and sheet music as selected. The only drawback 3, 4 and 2. Then he should take up “Twenty-one Copyright 1911 by Theo. Presser Co. John Smith, to this, granting that the teacher is capable, is that Selected Cramer Studies” from the Von Bulow edi¬ it uses up much valuable time in the mere act of tion. Then the three-part inventions of Bach, num¬ instead of the usual manner, the postal clerk would writing down the exercises that might be spent to bers 1, 2, 7, 10, 12 and IS. After this the Clementi British Copyright Secured see the State name first, and his work made easier. greater advantage in training the pupil’s hands, in¬ The reply from the postal department was this: Gradus may be studied with profit: Many of the terpretation, etc. The exercises used are invariably Tet the postal clerk alone; it is just as easy for latter studies may be omitted, however. THE ETUDE 411 410 THE ETUDE BROAD-MINDEDNESS. OPERA VERNACULAR. It makes little difference what methods the TECHNIC AND TERMS. them all and become familiar with them. For lighter It is the musician who reads the opin- One of the subjects attracting wide teacher employs so long as the above results are work you may select from Merkel, Song of Spring, 1. Should we play octaves, or single notes an accomplished thoroughly and effectively. The rate ion of others, analyzes them, and tests public attention just at present is the octave lower, when the figure 8 Is placed under and In the Green Meadow. Jensen, Canzonette in A DEPARTMENT bass notes? of progress must depend largely upon the mentality their values by his own experience, that opera. Some of its phases are eing 2. In fingering the scale of A flat, and In similar major. Moszkowski, Mazurka in G, Op. 10, and of the pupil and upon the amount of time devoted achieves broad-mindedness in his profes- warmly discussed by societies and clubs, cases, do we use the second or third finger In finish¬ Serenade in G. Grieg, Berceuse Op. 38. Raff, Fabliau. ing the scale at the bottom? FOR SINGERS Bendel, Spinning Wheel, Ricordanza and Promenade. to the subject. sion. Broad-mindedness may also be 9ne subjfct °f debate rela‘e,s 3. 1 was taught to say cancel for natural. After the fundamental work, by far the most diffi¬ and is best expressed by the ques- Which is correct ? Meanwhile do not forget to take up First Study of Edited for June by H. W. GREENE called a right sense of proportion. 4. What does this mean—Opns 3, No. 1 ? cult task of the teacher is that of teaching the fin¬ Those who do not make any effort to on: Is it better to hear an opera sung 5. What does ttenxa mean? Bach, and Bach’s Lighter Compositions. Imagine a Spill iliii 1 America with an English text which is gering. Fingering which appears natural to the 0. What is the metronome marking for Henselt’s “musician” that does not know his Bach! keep abreast of the times by reading cur¬ “If I were a Bird?”' teacher may not be at all natural to the child. For bad translation, or in the original? 7. Is there a book on the analysis of Beethoven's rent opinion on their specialty, feel the instance, experience has shown the writer that the ,Herbert Wilbur Greene, Editor of the At first thought, the surprising thing sonatas, and the Bach Inventions?” K. M. L. „ -Z neoartment for this month, aside from epitome of wisdom combined with com¬ disturbance of the air made by their THE “BEGINNER SPECIALIST” IN PIANO average child will use the thumb and the fifth finger JTlono elpe,-ienoe as a teacher has written mon sense, hitherto denoted as Clause that there can appear to be two sides 1. This would have to be determined by the con¬ Ins tony y 1 vocal sublets and is competitors passing them, and mistake TEACHING. in playing thirds. Four, and place it at the head of the to the question. There certainly are, and text. The figure 8 is used under bass notes often 177author of the excellent Standard Graded it forAU1 theU1C AUSilrush Uiof theirmen ownUWll flight.Allglll. . The specialist in teaching beginners will next CoutTe of Singing. Editor of The Etude.] group of clauses. We will first change Some one has well written: “The the arguments brought forward in sup- to indicate that octaves should be played, but per¬ undertake her most important task. It is that of BY GRACE C. WHITE. its negative form by answering it in the broad view is that which enables us to port °f equally cogent. The haps more often meaning simply an octave lower. giving the pupil a correct knowledge of musical no¬ THE YOUNG GIRL’S VOICE. Generally when meaning that octaves be played a affirmative, and it appears as follows: look beyond the moment, and see things gI?U.P wbf fay°rS ODera on^ m Eng- This is a day of beginner specialists. No matter tation. This may be accomplished along the follow¬ March 7, 1911. .4 „ . . . , . . lish is made up largely of the better class figure 8 will be placed under each bass note. "Individuals are to be considered as how learned a college president might be, he would ing lines. as they are. We must cultivate the habit f musicians.P he/uyge that since opera 2. In playing the descending scale of a flat the Mr. Herbert W. Greene, such, different ones to be approached and hardly be the one to be selected to teach a primary 1. A knowledge of the principal symbols used in of looking beyond the moment. The ig universally acLowledged to be the fourth finger takes b flat, except at the conclusion, Bear Sir: . ' . 'vj ■treated from different points of view. class. The beginner teacher requires a special musical notation. momen may mean he thing that seems hl hest form „f voca, expression it when the third finger takes b flat, thus allowing the I am securing the opinions of various The questions of health, maturity and training. She must get her information from many 2. The application of these symbols to the expres¬ of central interest to us only. Let us should make its , jn a native ver. second to fall on a flat. local authorities regarding the advisabil¬ conditions of voice organs must be taken sources and probably one of the most essential and sion of sound. tests its value by estimating its interest nacular Qthers think that opera is not 3. Natural is the term in common use, although, ity of cultivating young girls’ voices— important sources is the musical magazine. This 3. The exquisite practice which . will enable the into account. The musical intelligence like many other musical terms, it is not scientific. say from twelve to fifteen years of age, to others The professional singer or the highest form of vocal expression, should be consulted with the regularity with which pupil to read the symbols and express upon the key¬ and determination shown in applying the Cancel has not come into common use, although an inclusive. I would appreciate a word teacher of singing depends for his sue- only that its demands upon the artist are the teacher has attended her music lessons, since board the meaning of the symbols. principles of voice culture, together with excellent term. cess upon how far beyond the moment more sweeping. teachers from all over the world are continually giv¬ Just a little neglect in this means that the pupil from you on the subject—the result of the judgment used, cannot be over¬ 4. Opus means work. Oftentimes a composer in¬ he can look, how independent of the - In Philadelphia recently a concert was ing their ideas in a true altruistic spirit with the will suffer from that neglect for years to come. your own experience along this line, or looked.” cludes several compositions in the same opus num¬ moment he can act. given under the caption of “International view of helping their fellow-teachers. Everything must be definitely explained, and before that of your professional friends. Surely Why ask about girls of twelve and ber. These will then be specified by number. For “Seeing things as they are” is the per- Song Recital” by the members of the Some practical methods gleaned from my own it must have been touched upon at the fifteen years, when Clause Four tells us example, Sonata by Beethoven, Op. 2, No. 1, in F the teacher leaves the subject she must know posi¬ feet touch in the above quotation. Who Chicago-Philadelphia Opera Co. The experience may prove helpful to Etude readers. In M. T. N. A., but I fail to find definite, that such questions must be decided by minor, or Op. 2, No. 3, in A. tively that the pupil has a full, positive and practical is there among us who does not feel artists were all well-known opera-singers, order to facilitate matters we will assume that we knowledge of what has been taught. It is very easy satisfactory points of view, pro ana con. the maturity, the conditions of health 5. Senna means without. Senna pedal, without that his view of things covers that re- While it proved nothing, it pointed very are considering the case of a child eight years old. I have constant opportunities to deal with and the intelligence of the pupil. for the conscientious teacher to determine whether quirement? Indeed, his may be the right clearly to what has long been suspected pedal. The following is a general outline of the method 6. The Etude can not give special metronomic mark¬ the pupil really knows or whether he is only guess¬ girls’ voices of these ages, but heretofore thought, the final summing up, the sane and maintained by thoughtful observers— of procedure which would be found advantageous. NO RULE FOR ALL. ings of particular pieces. This subject depends so ing, At the very first lesson make your pupil under¬ have made it a practice to refuse appli¬ At the very outstart, the specialist in teaching conclusion; but his and many others tllat the hi8hest form of vocal expression much upon the individual opinion and taste of the per¬ stand that above all things he must not guess. Insist cants. Referring to Clause Two, there are beginners would make a close study of the child upon his asking you questions. most of whom differ from his, cannot is ,the reci‘a1’ and that °PMa-singers, as a former that we have found it inadvisable to give advice 1. Are girls of twelve and fifteen years many arguments against training the himself.- He would seek to learn something of the all be right rule, are *'*e babes ln the woods when, of this kind. of age too young to take up voice cul¬ voice at too early an age, but none of Tt ic :_. , , . shorn of the “glorifiers” that are the child’s environment, opportunities for culture and 7. Harding’s Beethoven Sonatas, Elterlein, Busoni them would fit the cases of Patti and tendencies toward such a study as music, depending ture? the nnlv r> ? h ' ' h* & r'B ■ ’ norTnal concomitants of an operatic role, edition of Bach’s Inventions. The most; incomplete knowledge of notation is the very many additional examples of or the only one who » right, as it is t, confront a of Pood songs; as it does upon a desire for self-betterment and self- 2. Did not Patti and other famous that which conveys to the pupil’s mind that the artists sing at an early age in public, even precociousness afforded by history. What hat he recognize the fact that no one Both the recita, and operatic fields *re SMALL HANDS. help. All this should precede any attempt to give symbols he has learned refer to the keys on the might be required in such cases would has a monopoly on perfection. Art is broad enough to warrant those who enter what is generally called musical instruction. The in opera? “I am uneasy about a little girl student of ten pianoforte keyboard. He must have the’idea that be a rule that should prevent any inter¬ not a finished product. The personal pro- either to specialize, and the question of physical conditions of the room in which the child 3. Is not a little careful, gentle daily years who plays scales and arpeggios nicely, but the notes represent sounds' or tunes continually ference with the work of youth with ex¬ noun I does not belong to its vocabu- artistic precedence need not have been who has u very weak and stiff wrist. Her hand Is is to practice should also be closely studied. The practice in short periods—including phy¬ so small she can hardly stretch seven keys. Can foremost in his mind. This is nothing more nor less ceptional gifts. Indeed, how much the lary. It is always “we.” Every earnest introduced here, but the concert brought teacher should ascertain the following points: Is the sical and breathing exercises—preferable you recommended something to help her stretch the than a plea for the right kind of ear training. With¬ world might have lost, if the early room properly lighted so that the child will not in¬ to singing constantly incorrectly, as the teacher’s effort is valueless without a cut another fact that bears upon the ver- out ear training you will find that you can produce majority do who have not studied, Sind studies of some of the great artists had correspondingly earnest pupil. Theories nacular question. For stiff wrist place the hand in playing position so jure its eyes? Is the air good? Is the heating been interfered with. Clearly, this shows sufficient? nothing but a kind of musical machine—in many will if they can sing at all, keeping right must be tried out in the crucible of com- As the name indicates, the “interna- that the tips of the fingers rest on the edge of a ways inferior to a good piano-playing machine. the futility of attempting to frame a code Next the child’s hand should be carefully examined, without subjecting young immature pared experiences. Other people’s fail- tional” feature was the presentation of table. With the fingers keeping their position on the You will never make a real pianist. A book, such as voices to great demands in a public way? that shall fit the demands of an art. ures have a value, if it is nothing more songs of different countries by artists as this will give *the teacher a clue to the amount Clause Three of the letter also carries table, raise the wrist as high as possible, afterwards the Ear Training’’ of A. Heacox, will often work 4. Is the individual not to be consid¬ than to emphasize one’s own success. wbo were native to those countries. A of exercise required to develop it and lend flexibility with it a rational answer to its own ques¬ depressing it in like manner, and continue this oscillat¬ wonders in the pupil’s work in after-life and may ered-different voices from different French artist sang French songs, a Ger- tion. Change the interrogative to the ing motion until the pupil has counted about fifty. mean the difference between a real musician and a points of view—bringing to bear the BREADTH AND GENEROSITY ma« artist German songs, etc. The Thus far we have discussed the elements of the declarative form, and again we have a Continued daily for several weeks this will also strummer. questions of health, maturity, condition develop the strength of the wrist muscles. If you work which every good elementary course of mu¬ fine working basis for all young voices: Breadth deals not alone with the per- "A™est. reception was accorded to ; Most teachers neglect ear training simply be¬ of voice, vocal organs, etc., musical in¬ artist who sang a group of songs i can induce the child to do it two or three times a sical instruction should include at the start. They in “A little careful, gentle daily practice ishable and imperishable in art, which are art,St wh° San0' “ "f ™ cause it takes up a certain amount of time and telligence and discrimination shown in language that is almost never heard in day, all the better. The object of the counting is themselves constitute subjects upon which any in short periods, including physical and energy. It does not permit the teacher to show applying principles of vocal culture, etc., ?ut rrJr riht rd Wr0ng_ concert-room in America. The texts did simply to keep the child making the motions enough teacher may be proud to specialize. In these days breathing exercises, is preferable to sing¬ superficial results as quickly. Buy why should the or judgment used? . ,. , ' . road nian,ls evfr not appear on the program, and yet the times to be of substantial benefit. The average child, firms of contractors have grown rich simply by giv¬ ing constantly or incorrectly.” ing their sole attention to foundations. In New pupils ultimate success be sacrificed for the privi- Any light on this subject will be grate¬ generous; his hand ,s outstretched to aid audience was most enthusiastic over the left to itself in the practice of any exercise, will go Such a rule is quite ample. Those who York, for instance, the work of making a foundation lege of leading the parents astray? A little talk fully received. e young, to encourage the doubtful, to woman who sang in the unknown tongue through the motions two or three times, fully satis¬ are talented will be safe, if they follow W1 t convince the most mundane supply the mtssing idea, when progress _Polish. fied that thorough practice has been done. This ac¬ increases in importance as the size and height of Thanking you, I am this system of practice. Those who are the building increases. The higher and larger the parent that it is best to have the work done well. 1S at stake- . . This brings us in a most practical way counts for much slow progress. To increase the span Sincerely not talented, but have ambition, will find building the firmer must be the foundation. The th_ i6 ”ext ®onfideration is the actual training of If breadth is so ideal, why are so few to the original question. If the Polish of the hand of a child of ten make a little prayer to (Signed) the level of their possibilities much more ' engineers and builders who put up the building ne hand. The hand shape must be fully explained musicians broad? Because they are blind songs had been translated into English, Father Time. Children of that age do not often have The foregoing letter was received soon quickly and advantageously, if they, at rarely lay the foundations. This work is usually to the child. This is best done at a table. But an and slow to cultivate breadth of mind. It and the Polish singer had attempted to large hands, and it is only necessary to wait until they after the editor of The Etude requested an early age, inaugurate their practice given to a separate company, which possesses spe¬ explanation is not enough. The teacher with the me to take the Vocal Department for must be cultivated; Virtues die if left sing the translations in a tongue foreign grow older, meanwhile confining their attention to after so rational* a model. to themselves. Those which come with- to her, what would have been the result? pieces without octaves, or selecting such as the one cial machinery and trained experts to undertake this PJ ™Zb°rn of years of disciplinary training must June. Since it fits into my scheme of watch the Pupil s every movement and correct, cor- The reflections that follow the perusal out effort must needs be practiced; those That is precisely what the advocates of or other notes of the octaves can be omitted for the work. It is just so in music teaching. The more encouraging our readers to do their own and answering of such a letter as the evolved by a growth of the knowledge opera-only-in-English demand. It is per- time. To attempt to stretch the muscles of the hands important the career of the student the stronger kevhnar!ireCt' u'16 arm’ body and P°s>ti°n at the thinking, it may well stand as a text for should be the foundations. above, comprehend both surprise and of their worth, get their practice with fectly safe to say that a good translation of small children is dangerous, and may result in The Kd ^re a matters of vast importance. the subjects to follow. gratification. Coming, as it does, from To recapitulate, the work which the beginnner The beginner specialist should leave nothing un- their growing pains. of an operatic libretto into English is permanent injury. In common with many letters seeking a rural community in a state not noted specialist finds to do at the start may be classified reading S6CUre the best possible results in sight advice or light on particular subjects, it The richest legacy the earnest teacher rare; an excellent translation becomes as follows: for its musical achievements, it points can bequeath to his professional poster- historical. REPERTOIRE. asks a question, and then in an intelli¬ to a high level of musical thought and . 1 u,c oaiure 01 tne pupil and th ity is the spirit to reach out, with the Dr. John Baumeister, in an address “Will you kindly recommend sotae good numbers atSSlK *ight readinS is so surely and easily gent manner, proceeds to answer it. culture throughout the entire country. for my .repertoire? I am a boy of seventeen, and physical conditions of the pupil’s environment. that 1S commenced with the first lesson, Note the interesting preamble. Just a purpose of seeing things in their right before the Clef Club of New York City expect to become a teacher and composer. I am . 2 The study of the pupil’s hand and the positioi While it would be ungenerous to ig- proportion. Such a spirit is searching at its March meeting, said that Wagner studying Czerny's Velocity Studies and Heller's to read ,idA n0 alarm, for the child; for the ability suggestion of compliment in classing its nore the varied local influences that con¬ Selected Studies. /Tor the present I am unable to at the keyboard. objective with “various vocal authori¬ for truth, tolerant of error, kindly dis- was untranslatable, meaning, of course, have a teacherJ$#J E. G. growth 0f Hirffi an n§ y fully keeps pace with the spire to keep the singer’s art before the 3- Ear training of the kind that brings the ele vanle r LdfCultles Prese"ted as the lessons ad- ses.” A sweep of the pen across the posed toward those who persist in being for purposes of singing. He added that ments of true sight reading correctly before th. mind, we cannot escape the conviction blind, and unfaltering in tactful effort Meltzer’s making of Die Walkiire over If you are iiuHig to become a teacher and com¬ with • Gt teac^n& of sight reading begin Professional field, and an altogether mod- that constant readers of The Etude fin4 pupil’s mind. to open their eyes. into English was the most masterful work poser, you shotJ^f^vaii yourself of an instructor at dusive iS/imP'e reading as the n^es C to G, in- est allusion to the writer’s own activities it to be a source of inspiration and an 4. Practice at the keyboard. and method of dealing with the question. Some one will ask: “What has this yet done in this direction, and he then the earliest possible moment. Meanwhile, if you are the note! n ?" °"e "°te t0 a measure, at first with uplift of enduring worth. The fact that In addition to this the pupil should hear as mucl If every phase of the question had not to do with the art and philosophy of proceeded to quote from it, to show how to become a serious musician, you should be working to E and G InTloVn in'a"’ 'Jl" skipPing tIOID ° such a journal carries to the quiet of the on the standard classical repertoire. During the third good music as possible. No condition is so detri een so perfectly covered by Clause Four, singing?” Little, perhaps, beyond a re- reluctantly it lent itself to the singer s mental to. the pupil at the outstart as that of beins home the ripest thoughts of the best iteration of the fact that singing is one art. grade you should study as many as possible of the thft^cTer eS,bdng made ^T*heeteacher previously, were might be some hope for a vocal minds, and that these messages are music starved and technic surfeited. A few week' authority to get in an added word of of the acknowledged forms of culture; That phase of the question will never following: Beethoven, Sonatas Op. 49; Rondo in C were a il? 4yS P.'aying with the P^1- as if n selected with the view of their value to Op. 51, Bagatelles Op. 33, and Six Variations on or months of scales and finger exercises withou bly UDon thP endm^t’ ,1J1Pressing the thought indeli- ^‘sdom edgewise. But since that is not that culture, not wealth, marks the pro- be settled until the efforts to establish a any suggestion of pieces containing real musica students, leaves no room for doubt as Original Theme in G. Mozart, Sonatas in C, F, D to go back 6 C * d S rnind that he cannot be allowed Possible, we can at least take up the sub- gjess of the world. The art is so suflfi- universal language are crowned with com- beauty are enough to stamp out the musical desir. to its influence upon the country at large. and A, Cotta Edition, and Rondo in D. Haydn, wofkimr m°re than one of a Pair of horses, ' . ,ln review, with the hope that the cient for individual needs that its ten- plete success. Our opinion on this ques- Sonatas in G, C, F, E flat and C sharp minor. Schu¬ of the most enthusiastic pupil. This may be over Principle that was laid down in Clause dency is to narrow the vision rather than tion is that its importance is exaggerated, come by means of the very simple piano duets o faithfulTy on her’ Can g° back wh!le the other goes mann, Album Op. 68. Schubert, Impromptu in A flat, cer!fj y tbe wr‘ter of the letter be ac- broaden it, and our plea is for both the The opera-going public is divided into Op. 142, No. 2, and Minuet in B minor. Mendelssohn, Joseph Low. These little pieces are so simple thai P ed as a standard for all teachers in The initial note of the arpeggio is army and the soldier—for the art as a two camps. One attends because thev they cannot possibly interfere with any technica the point of support, and from it comes Songs Without Words, Nos. 2, 6, 11, 12, 45 and others. future^ W’tb ab vocal problems in the whole, before individual claims can be wish to be seen (and heard); the other Of course it may not be possible for you to make a ideas the teacher may have and at the same tim. the impulse to emit the following accredited. It is this point of view that because they wish to see and hear. If the thorough study of all of these, but you should read the pupil hears the melody and believes that he i< notes. The singer should avoid chang¬ makes for tolerance and mutual effort, question of text were put to either camp actually playing a piece. -- wuipicu:. io be or not tn be tn lert^LPs see bow ’t works with the sub¬ in I°uSht forward by the letter; and ing in any way the vowel upon which which will solidify the profession rather they would actually not have interest to create, that is stiff the question^ order to do this, we will take that he has begun the exercise.—7. B. Fame. than antagonize it enough to vote on it. 413 THE ETUDE 412 THE ETUDE --Vocal Students cover in the course of a few days all the UR daily practice annoys others embellishments by the use of such studies Refreshing Sleep While scales are employed in their as make the most exacting demands upon The other phase of the opera question an automobile without a steering gear or COMMENT ON TECHNIC. New Books of Interest simple forms as embellishments, prop_ him and his voice. is American opera for Americans, or a ship without a rudder—positively noth¬ Horslord’s Acid Phosphate It is difficult to explain why so many erly speaking, a scale is not an embellish¬ Too great emphasis cannot be placed opera in English for Americans. That ing to go by. jjjj’sdd 1“Norton*ord?»<»tl>factioii. 8 Send ft J>2 to To Singers. singers are so poorly equipped technically. ment until it is removed from the process upon the importance of making the tech¬ Taken just before retiring, quiets the question is slowly being worked out. The The writer, after hearing an artist of «'^'““““'kATIIEKINE WALKER . By that we mean—know so little of the of even succession of notes; but its devel¬ nic of the art of singing as much a part nerves, nourishes the tired and con¬ new operas by Nevin and Herbert have this type perform a difficult number, and group or groups of things that combine to opment in the form of the puntata or th' being in a position where he must say of the singer’s equipment as the voice . „ fused brain and induces refreshing already been heard, and hundreds of give the vocal art a technic that is exclu¬ ripetute places it clearly in the embellish6 itself. Until this has been done, the Some Forerunners of Italian Opera. something, remarked: sleep. others, which have been secreted in sively its own or peculiar to itself. ment class. Modern writers are employ' mind cannot be entirely free to grapple BY w- J- Henderson. Pa&es . - “How perfectly accurate you are in bureau drawers, are peeping out, em¬ ing both of these forms with excellent with the technic of interpretation, which hshed by Henry Holt & Co. Price, $1.25, your work.” boldened by the success of the first few. THE MESSA DI VOCE. effect. “Yes,” was the reply, “I flatter myself Requisites immeasurably transcends the tonal tech- net- . , _ Prizes are being offered for operas in THE ARPEGGIO. that I have not made a wrong note in Take for example the messa di voce- nic of the art, not only in difficulty, but The musical libraries of books in Eng- VOCAL INSTRUCTION English, and the dream of enthusiasts one of the most important, useful and over ten years.” The Marchesis include the arpeggios in the subtlety of its effect. lish upon music are being rapidly en¬ IN PARIS shows the promise of coming true. Then for tbe riched, thanks to the persevering efforts One felt as he said it that Heaven was difficult of all technical embellishments. both major and minor, in the list of em’ Only last week a prominent New York of careful investigators. Mr. Henderson GEORGE E. SHEA (Georges Chais) the question of opera in the vernacular not far distant. bellishments, and there is scarcely will cease to exist, and French opera will singer, in remarks, about the growth of KEEPING IN TUNE. happily unites the gifts of the historian S, rue Gounod But even those who would rather die technical writer of any prominence who Music Teacher be sung in French, Italian opera in Ital¬ the art, alluded to the messa di voce as A piano needs tuning, that it may give and the writer of sprightly feuilletons. than skip a sixteenth rest are to be pre¬ has not yielded to the fascinating impuiSe One of the first American men to sing in Opera in France ian, German opera in German, English the messa voce, and on being questioned out the truth. If, when the finger strikes Thus in his most recent book one is car- ferred to the singers who slop over with to coax the voice to wider flights in vocal opera in English, and American opera in said that there was no difference—that an A key, the strings give forth some ried from dry statistics to entertaining emotion. compass by the employment of the Etest and best ideas upon.the_mostpract.es methods American. That should satisfy the most The New York critics are becoming they meant the same thing. of compelling your professional work to yield you a vibrations above or below an A, the comment. Starting with the comment “the FOR POSITIONS NEXT YEAR exacting. arpeggio. larger income. fond of using the term “intellectual tem¬ The messa di voce was used by the old effect is a perversion of the truth. modern entertainment^ called opera is the _REGISTER NOW- The most universal thing on earth after THE GRACES. class and account book. e. m. perament,” which well describes the most Italians as a first exercise. They claimed Sefton. 50c. Pocket size, con.ams record of all The word “key” is an aptly selected child of the Roman Catholic Church,” he WITH THE air and water is music. It takes on the desirable phase of this subject. that it covered all that need be practiced The group of embellishments that are business transacted by a music teacher. term, meaning the index to a pitch. If, traces all the underlying forces which re- individuality of the people or nation PUPIL’S LESSON BOOK. Price 10c each, An intellectual singer will not gush, or to gain control of the voice, and to sometimes classified as the graces com when the A is out of tune with the estab- sulted in the remarkable productions of Music Teachers’ Exchange from whence it springs. This individual¬ $1.00 per dozen descend to the level of mere sentimental¬ increase the capacity and control of the prises the appogiatura, the acciacatun lished pitch, it alone were affected, there tjje early Italian writers of operas, such DEPARTMENT OF THE ity is its hall-mark. It gives to the music THE STANDARD LESSON RECORD. (35 ism. His conception of art is not re¬ breath. the mordent, the gruppeto, the trill and' records with stubs.) 25c. A practical method might yet be some satisfactory use made as per;j Caccini, Bardi and others. The of every country a unique charm and for the teacher to keep a complete record of pupils, CHICAGO MUSICAL EXCHANGE stricted by its technic. His appeal, THE PORTAMENTO. the shake. of the instrument, but it is related to the chapter on “The Predominance of the' value. It emphasizes national traits, and studies and accounts. E. A. STAVRUM, Manager through the medium of the voice, is made In their appearance upon the printed entire scale. The pedal that opens to pro- Spectacular” is particularly interesting, glorifies the history of a nation—best in The next most important embellishment LESSON AND PRACTICE RECORD. 1014=15 Steinway Hall, Chicago with dignity and understanding. His page, they defy all of the art conventions (Package of 25 cards.) 25c. long any other tone or tones finds the since ;t indicates that while the drama in its vocal aspects, however, when pre¬ seems to have been regarded by Messrs. High Grade Positions for Music Teachers effect upon the heart is through the mind, by their independence. While the terms the standard practice record. untruthful strings just as alert to send England at that time (1589) was ap- sented in its native tongue. Behnke and Pearce, of London, as the (Pad Of 100 slips.) 15c. Furnishing a weekly and Supervisors of Music EXCLUSIVELY rational and elevating. He does not Portamento; for immediately following or names of each may have a definite form upon which to record directions for practice as in their inharmonious vibrations as those proaching the very pinnacle of its devel- meaning, the signs by which they are Recognited headquai believe that the object of music is to or connetced with their 120 measures of well as results. which are in tune or in truth. opmerit, the opera in Italy was gaining Every Description—Lyoec enrich sentiment, but to enlist it to the indicated are most unreliable. BILLS AND RECEIPTS. (Package of 100.) TEMPERAMENT. Messa di Voce study they place 120 meas¬ 25c. It is not more important that every the attention of the people through more glorification of art. Hence the basis of ures of the Portamento, which illustrates The appogiatura and acciacatura, which BLANK BILLS. (Large size 6x9, package note in the piano be made to preserve its spectacuiar an() less intellectual means, "Oh, hasn’t he the most delicious tem¬ his musical appeal is Thought, not Sound. are sometimes called the long and short of 50) 25c. tonal individuality than that every player The early jtahan operas are flow found perament I” how clearly men who have studied the Sound is transient; Thought is eternal. voice from a physiological standpoint grace, are made to do duty, one for the MUSIC TEACHERS’ DESK TABLET. in the orchestra abides by the pitch. One in museums and libraries only, while the This from a sweet young thing who (Package of 100.) 15c. For all memorandums, The singer with the intellectual tempera¬ understand the value of the Portamento other, at the whim of every printer. especially practice directions to the pupil. false note reflects discredit upon the sev- t p)ays of Shakespeare are still liv- -WHAT IS= had just heard McCormack sing I Hear ment takes the high ground that he can¬ The same applies to the gruppeto; the CLARKE’S HARMONY TABLET. Pad of who a You Calling Me. Billows of joy had as a controlling factor in voice devel¬ enty or eighty men who are associated -ng dramaturgic organisms. not inspire those who hear him with a opment. four characters that indicate whether the 100 leaves ruled music paper, 7x10, 25c. with the one who makes it. _ 'Gambleized Music?" surged through the vast auditorium, STUDENT’S HARMONY TABLET. Pad of permanent love for or appreciation of the The Portamento has never been classi¬ groups are of three or four notes, or The teacher of singing must keep him- _ IS A QUESTION MANY ARE ASKINC. aroused by the top note, held for almost 75 leaves ruled music paper, 7x7. 15c art by making his appeal to the senses fied. Madame Marchesi makes some whether. they begin below or above’the self in tune. One false note mars the What Every Singer Should Know. By Encyclopedias will probably define it as a twenty seconds pianissimo, and rounded BLANK MUSIC COPY BOOKS. alone; it is in the mind that art culture note which they leave—not many students, Prices 15c to 35c. perfection of his influence. Favoritism Millie Ryan. Published by the Franklin lemstltch binding connecting the leaves so that off at the end by a portamento that sug¬ interesting studies of it. Salvatore Mar¬ finds the most grateful response to sin- chesi gives an excellent study of it in the artists or even teachers are so clear on BLANK MUSIC PAPER. 12, 14 or 16 lines begets discord. Impatience disturbs the Publishing Co. Price, $1.00. gested a rainbow across the bended these points that they can read their and Vocal size, 14x22 inches, per quire 60c. heavens. If this be temperament, what second number of his well-known book, progress of the pupil. Avarice is not a This hook is filled with the sound ad- meaning quickly, even if the printer has BLANK MUSIC PAPER. shall we call that something in singing in which he introduces at least four dif¬ 100 leaves 7x8)4 with wide spacing. 25c. sign of devotion to ideals. A thousand vice of a very practical teacher, and ferent methods of using it. Vaccai pre¬ accidentally placed the right sign over BLANK PROGRAM FORMS. For Concerts eyes are watching the successful teacher, really contains many gems of thought of which we need not be ashamed? THE ACCIDENT (?) OF A CAREER. sents the matter very differently, with them. or Pupils' Recitals, 50c per hundred. If he is weak in any particular, some of which vocal teachers and vocal students Possibly McCormack was not tempera¬ DIPLOMA FORM. 21x19. Price 15c. Parch¬ After the evidence is all in, we may additional phases of it. It is interesting In regard to the trill, very few dis¬ the thousand will see it and call the atten- may read with profit. After all, the best delssohnPtlub, Madrigal Club, Chami mental in that song; perhaps he was only ment 25c. Club, Iiish Choral Society, Paulist Chori emotional. It is remotely possible that come to agree with Madame, Baskerville, to notice that, while the books of the two criminate between the trill and the shake; TEACHERS’CERTIFICATES. 11x8)4. 5c. tion of others to it. No man can be results come from the practical teacher, - Pittsburg Male Chorus—and i the world-famous coach for female opera- latter writers are of practically the same and how many are perfectly confident MUSICAL PRIZE CARD. 6)4x454 Inches. 10c. perfect, but many are so near it as they the one who has been over the ground lions because they like "< he was on even the lower plane called bleized Music.” ‘sickly sentimental.” singers. A teacher once asked her to grade, one presents the subject of the that they know whether the trill or the REWARD CARDS. LItho in Colors, set of view themselves that they need outside and who takes theories from practical 15. 50c. Are we teaching our pupils to discrim¬ hear a pupil, saying that she was the pos¬ Portamento very near the end of his shake should be on a half or a whole step eyes to get at the truth—to get in tune. experience. Miss Ryan is an enterprising work, and the other at the beginning—• how it should begin, and how* it should MUSIC WRITING PENS, per dozen 60c. inate in estimating the qualities that they sessor of an excellent voice. “Is the PROFESSIONAL OR VISITING CARDS. 50 The piano tuner for the piano, the voice specialist who has met with great e Gambleized music you should allow to affect them? Is temperament voice here or here?” she inquired, and only additional evidence of how widely end; yet those points are all important for 35c, 100 for 50c, 500 for $ 1. ’ 5. Neatly orchestral leader for the members of the success in the West, really the thing we are so fond of calling suiting the action to the words, drew the authorities differ in technical works on from an artistic standpoint. printed in the four most popular styles of type i chestra, the public for the singing the voice. A slip in any of these particulars of RUBBER STAMP AND INK PAD. Oneline it? May it not be something better? If edge of her hand across her throat, and 30c, two lines 40c, three 50c. A handy teacher. We n 11 be tuned. He is I The Voice, and Introduction to Practical not, let us at least split it up into kinds, then across her forehead. One of the best evidences of art growth the embellishments is sure to jar on the article for putting name and address on orders to pub¬ failure who gets out of tune repeatedly phonoiogv ’By W. A. Akin. Longmans, GAMBLE HINGED MUSIC CO., sensitiveness of the discriminating. Does lishers. etc. It prevents errors. so that there may be redeeming features. That throws some light on the remark is the manner of treating and using this on_zt, the „ same« ♦notes-./-.foe nfof Ithisi c era!.*scale. WhatWnnt _ „ ' A- . anyone doubt for a moment that the most Green & Co. Price, First let there be “emotional tempera¬ that we frequently hear people make who embellishment. The more advanced the use is the public as a tuning system if the discriminating are those best worth while This is one of the most complete trea¬ ment,” that warm, magnetic flavor that are not familiar with the art. It usu¬ singer, the less frequently it is employed, teacher fails to profit by his experiences gives so many people of tender age, ready and it is susceptible of such an infinite to satisfy? tises upon the physiological and scientific ally follows their first appearance at the of being tuned? His work in life is to side of voice production we have seen. sympathies and easy susceptibility their variety of treatment that the great artist THEO, PRESSER CO. tune others; if that is to be well done, opera or at a concert where some great the need of accurate knowledge. The writer has had the utilitarian purpose always longed for thrills—the kind that who uses it is rarely known to use it 1712 Chestnut St. - Philadelphia, Pa. he must employ every reasonable means singer appears, and is on this order: in view all of the time, and has not R O OT’S sings with half-closed eyes: “Come closer. twice in precisely the same way. It is The all-important idea in connection “Why, I don’t see anything so wonderful to keep in tune himself. wasted his research upon objects which Love, and let me dream my life away quite unnecessary to add that it is at once with the study of the embellishments is about her voice; Mary Jones, who sings are interesting but not profitable to the Technic and upon thy breast.” The emotional tem¬ the amateur’s chief delight and inevitable to fix them into the technical equipment perament always sings “thy breast;” just in our choir, sounds just as good to me.” Waterloo. David Bispham was undergoing the min¬ teacher. It is essentially a book for so securely that they will be available for plain “your” isn’t dreamful enough. There is not the shadow of a doubt that istrations of the ship’s barber. teachers, although singers who. are ad¬ Art of Singing SCALE GROUPS. instant use whenever they present them¬ Maid Concert Etudes “I ’opes,” said the barber, “that we shall Then there is the “mechanical” tem¬ many of the Mary Joneses are just as well vanced will also be interested in it. A FOR ADVANCED STUDY perament—which, by the way, is seem¬ equipped with the instrument as most of How many of my readers realize that selves in a score. It is not alone neces¬ ’ave the pleasure of ’earin’ you at the con¬ chart giving a very accurate idea of prac¬ ingly as paradoxical a combination of to be well-equipped technically they must sary to know even better than the printer Especially adapted i cert to-night.” the great singers. The difference is that B. Mathews’ Sta ^d°ed0CW’ tical pronunciation is appended. words as any one could invent, but not the top of the voice—that is, the brain not only know of the various scale- or the proof-reader which the composer and all other graded , $1.00 “No,” explained the famous singer, _ so illogical after all: for the something in groups, but have them at command? In intended, but to be able to execute it “I’ve had a long and exhausting season part—is not equal to the demands of the itudes and bound study i the mannerisms of By FREDERIC W. ROOT one that exercises the highest control in higher reaches of the art. modern study, the importance of the scale without special practice. To do this, the le especially to supply in America, and within a few days I am In an address to open in London. I have decided not to composers, Dr. Cowen, the English cotn- his relation to art is his temperament. If We hear it said: “Why, she was born TT1tUre Is frequently overlooked. student must make an exhaustive study > follow Grade Ten of I. Methodical Sight-Singing. Op. 21 , this vnvaee” poser, once remarked that Gounod is it is not so, it is commonly accepted as to singnothing can stop her.” This idea , e naif-hour of scales before breakfast of each embellishment. Part 1. The Beginning.50 d “Iffthe^same way with me,” said the close behind Mendelssohn in the posses- Part 2. Through the Keys.50 such, which answers for our present oi musical predestination is quite popu¬ has ceased to become a part of the vocal Take for example the appogiatura, [ all the celebrated Part 3. ProgressiveMusicianship. .50 needs. students regime. If, however, it were barber understanding^. “When I’m sion of mannerisms. He wrote more lar with those singers whose voices are which is by far the easiest to sing. How Now the mechanical temperament restored to its old-time importance, the THEO. PREISER CO. hashore I never looks at a razor.”—Sue- triplets than all other musicians put to- only in their throats. It serves as an did it originate? What effect is to be makes a very interesting exhibit. It dis¬ decadence of the colorature would be less 1712 Chestnut St., Philadelphia, Pa. gether.” excellent excuse for not making the gained by its use? How many different cess. plays itself in some composers, resulting heard of. III. Thirty-two Short Song Studies effort to complete that invaluable circuit kinds of appogiaturas are to be found? For high compass. Op. 24. .50 in compositions that sound like lessons in between voice and brain. Tt is quite evi¬ Some of the old writers developed their ^ hat. studies present it most favorably? PROFESSIONAL DIRECTORY on page 422 BROOKFIELD SUMMER SCHOOL OF MUSIC For medium compass. Op. 25.50 harmony after they have been corrected. dent that some people are born with scale exercises one note at a time, until For lower compass. Op. 26. .50 It is this kind of music that appeals to And in what songs or arias do we find Inserted 12 Tunes. Before Half Million Musical voices, but that particular birth relating hey reached the astonishing distance of People for $15.00 HERBERT WILBER GREENE singers with the mechanical temperament. to singing is in the brain, not in the two octaves. Others presented them in the. most effective examples of its use? DIRECTOR Its possessors usually toe in, wear their throat. It has quite as much to do with groups °f three, four and six, and if the It is not until one has gone deeply into VOCAL NORMAL WORK A SPECIALTY. Write for Prospectus. nails highly polished, and, when singing, the study of such an embellishment that unwavering purpose and high ideals as it shidents of music, who have marvelled hold their hands folded across the place guide for the male voice H. W. GREENE, 701 Carnegie Hall, New York City ; after June 1st, Brookfield Centre, Conn. has with intellectuality. at the possible permutations of notes in its real value and charm are revealed. where they breathe, if they breathe cor¬ Hence, a great singer’s career has never Greater demands are made upon agility VI. Sixty-eight Exercises in the melody, could realize the ingenuity that Synthetic Method. Op.28 75c rectly, while usually they do not. Singers been known to be the result of accident and control by the scale groups, the ^ifbeentd’®p1ayed by th°se who ' have (The General Principle of Vocalization.) with this temperament are always pleased Don’t overlook this, you young budding mordent, the gruppeto and the shake. GEO. CHADWICK STOCK, teacher of singing with themselves; for they sing things pre¬ written studies for the voice in Antio'u8 sPecia' exercises and songs for each, STUIUO ESTABLISHED 189S VII. Guide for the Male Voice. enthusiasts who are waiting for the Fairy difficult the scales, they would not be sur Here the study must be followed by prac¬ wil^hersjncludine ladies, who have to deal cisely as they are printed, typographical Manager to come along and discover you, Y. M. C. A. Bldg., New Haven, Conn. Season 191 1-12 begins Sept. 1 0 Op. 23. $1.00 prised at the facility of such a singer as' tice—a few minutes daily for years, if the errors included. The only musical terms and touch you with his wand, and CedgePle! wj^dtam oidaUh ~ know" Prospective Students o{ the Singer’s Art will be accorded the fullest possible explanation of my that are obnoxious to them are rubato and !nd.the school of cohrature ighest effects are to be gained. One can 8 . No other manual will be required. Hoop-la! I am a singer!” He and it 17lo THE0d°RE PRESSER CO. ad libitum; it is like attempting to run are myths. so plan his work that in the half or three- examples. ** ‘S °f the best ™ng quarters of an hour that are devoted to - 12 Chestnut St., Philadelphia, Pa. technic every morning he shall be able to Please mention THE ETUDE when addressing our advertisers 415 THE ETUDE 414 THE ETUDE SUGGESTIONS TO ORGANISTS auditors. We must allow some excuse always is the finest performer the best desired overtones. They did it and over for monotonous registration in the case did it, for the twelfths and mixtur Church Organs teacher. The ideal musical taste is truly \Virsching Organ BY S. N. PENFIELD. of small organs, which really have but built by catholic and perceives alike the beauty added a screamy, inharmonious mass 1 few useful combinations, but all organs tone which might have delighted the ea HUTCHINGS ORGAN CO. DEPARTMENT FOR and importance of the classic and of the THE PIPE ORGAN OF Charles Marie Widor, the renowned have more or less numbers of registers of of none except a Strauss or a d’Ind * romantic. Here are two pointers for the composer, organist of St. Sulpice at the four timbres—the diapason, the string- BOSTON. MASS. These stops have been properly a|,J‘ INDIVIDUALITY ORGANISTS intending pupil. and EXCELLENCE Paris, wrote a preface to A. Pirro’s tone, the flutes and the reeds—and these He can in the course of one year s doned by most of our organ builders of should be each occasionally brought into Merits and invites investigation. “Bach the Organist and His Works,” Edited for June by Da SMITH N. PENFIELD to-day. But the pendulum always swine evidence and contrasted. A church or¬ study with a teacher find out whether published by G. Schirmer. This preface H. HALF. & COMPANY his instructor is familiar with and fond from one extreme to the other, and the Literature, Specifications and is mainly devoted to the artistic career ganist should often hear other church or¬ New Haven. Conn. of the classic composers to the practical iconoclasts have with them also banished Estimates sent on request. . . . ganists and take notes—should, in the lan¬ of John Sebastian Bach, first as a stu¬ MAKERS OP MODERN exclusion of modern writers, or whether the so-called fifteenths or two-foot st0n guage of St. Paul, ‘’Prove all things, and THE HIGHER EDUCATION OF strument, but especially so on the organ dent with Froberger, Pachelbel, Bux¬ just the reverse to be the case. In either and weakened the four-foot stops, with The Wirsching Organ Co. hold fast that which is good.” But F»IF»E ORGANS and in modern music requiring a multi¬ tehude and others, then as a building, THE ORGANIST. case he is not broad minded. Further¬ the result that modern organs are large! SALEM. OHIO the organist will say, “I am always at my tude of transitions, sudden starts and more it open happens that one year prac¬ wanting in brightness. then independent, and finally masterly own service, and cannot hear others.” An organist starting on his career is instantaneous changes of registration. tically exhausts the special stock of in¬ Take notice of the orchestra. The vio organ virtuoso, composer and improvisa- Probably true, but there are always vaca¬ usually full of hope and ambition. He Nerve should be nerve strength, not nerve struction material which a teacher has at lins frequently play in octaves, and the teur. All organists and organ students tions, and, in fact, no person should take has had instruction for a longer or weakness. FREDERICK MAXSON command, and after that time the scholar flute in octave with violin or clarinet should possess and read the whqle book. a salaried position till well prepared, and shorter time; has had an introduction to IV. A deal of grit and determination, KIMBALL PIPE ORGANS detects him repeating himself. In all and the piccolo two octaves above. These We here call attention to the following this preparation should include this criti¬ the vast field of organ music of various popularly called “sand.” Every one finds WON HIGHEST AWARD such cases a change of teachers should represent respectively the first and third CONCERT ORGANIST three excerpts, in which Widor strays cal hearing of others, and still more rig¬ schools; has had his hands and feet on many spots, especially in contrapuntal be in order. overtones, and what brightness they give Instruction in Piano, Organ, Theory from his main subject: orous self-criticism. the keys, the registers, the knobs and music, that require to be played over and Alaska-Yukon-Pacific Exposition, Seattle, 1909 VIII. The importance of the auxiliary to the passage! As to sixteen-foot tones 1003 South 47th Street, Philadelphia, Pa. (a) “To be master of one’s self it is combination pedals; and the sense of over, perhaps 10 to 50 times, before they Special mention was made of the Tubular studies in harmony, counterpoint' and or the octave below the normal pitch, the necessary to abstain from every super¬ Pneumatic System (U. S. Patent) used in power and command, of evoking at his will go clean and sure. This is tedious Kimball Pipe Organs, stating “ It has solved fugue. All hymns, choir music and most problem is entirely different. In’ the fluous movement, from any displacement THE MUSICAL PROFESSION. a great problem that has vexed organ ex¬ will the mighty, the lovely, and the mys¬ but necessary, and the student must not of organ music is in harmony which the orchestra, three instruments double the perts For years.” terious tones of the instrument, thrills him allow himself to get tired of it. of the body. A good organist sifs firmly, "Whenever there is a tendency among organist is supposed to understand and normal bass by the octave below—the well balanced ■ upon his bench, inclining, W. W. KIMBALL COMPANY through and through. He goes to hear to be able to analyze. double bass, the tuba and the contra bas¬ people to be lukewarm about anything Pipe Organ Builders CHICAGO STUDY THE FINE ARTS. SOOKJRGV slightly toward the manuals, never per¬ Lemare, Eddy, Baldwin, S. P. Warren or The best of organ music, frequent pass¬ soon ; no others. In the organ the pedals which they should enjoy and patronize; mitting his feet to rest upon the frame other famous concert organists, and it V. A natural reverence for the classics ages in anthem music and occasional furnish the sixteen-foot bass, which is Stearns Bldg., Portland, Ore. or whenever there is a doubt in the minds which surrounds the pedals, but letting stirs his blood and his desire to go and and the classic masters in music, litera¬ hymn tunes are contrapuntal, and fugues legitimate and essential, but on the man¬ INSTRUCTIONS: PIANO AND ORGAN of promoters of any sort, about the suc¬ do likewise. He docs not and cannot as ture, architecture and indeed all the fine abound in classical music. Now it goes uals the double open ‘diapason doubles them glide lightly along over the keys; cess of any important enterprise, whether Church Organs LATEST IMPROVEMENTS yet count the cost. arts. This is a matter far too often over¬ without saying that the performer can¬ all voices by the lower octave, the upper heels and knees riveted together, so to religious, scientific, artistic or even com¬ Perhaps it is fortunate that he cannot. looked by teachers as well as pupils. The not do justice to these and certainly not and middle as well as the bass. This is mercial—they generally run to the musical BOSTON NEW YORK PHILADELPHIA Ho might be discouraged before he subject really requires treatment in a full to fugues until he is familiar with their a questionable thing. (b) “Nature has vouchsafed us two profession for help in providing music to CHICAGO LOUISVILLE DALLAS started. Out of one hundred such young article. The Musical Leader guides of the greatest value; with the save the situation and insure the interest HASTINGS, MASS, structure. To study counterpoint and The parallel octave effect is noticeable - — PUBLISHED WEEKLY --- organists, perhaps one reaches the coveted Suffice it here to say that an organ heels pressed one against the other, the of the masses in the thing attempted. Maiu Office & Works fugue is to learn to write counterpoint and objectionable. Four-foot and two- $2.50 a Year goal. Why do the others fall short? maximum separation of the other extrem¬ “Every one of us can recollect many player and teacher who has been himself and fugue, and until you can do this you foot stops do not give this effect, for they Ten week*’ trial subscription, fifty cents Various the reasons, multitudinous the brought up on Bach and Beethoven and are not really familiar with them. All are softer than the eight-foot and are ities of the feet gives us a fifth; with the incidents and anecdotes in proof of this The Recognized Authority on all Musical knees held similarly together, the maxi¬ Pair Prices. Established 1827. All Sizes. excuses, apparently insurmountable the has acquired a love for the classic dignity parts are melodic and independent, yet absorbed into it as overtones; but the Matters tor the Central and Western States. assertion; and yet, musicians, as a class, mum interval obtainable should be an oc¬ obstacles. Certain it is that very few and repose of their immortal works has a. they fit together into one complete whole. sixteen-foot tone is never absorbed into are very often the most misunderstood spell the word “success.” Probably the foundation on which to rear a super¬ In playing the composition the ear must In conjunction with ETUDE, adv ■ ntageous tave. Precision and confidence will never be people in the world, and sometimes the labllslied Sew York, 1861 SL Look,, 11 the eight-foot. A divided bourdon is a CLUB OFFER: most exasperating obstacle is the refusal structure with modern atmosphere and follow the continuity of each independent great convenience, and welcome will be obtained except by adopting this method; most unjustly treated of all the co-labor¬ MUSICAL LEADER, irgulnr price Club Price GEO. KII.GEN & SON of church committees to allow practice on ornamentation and is on the road to voice. The ability to . do this is important the arrival of a divided double open. holding the two limbs as if bound to¬ ers in the work of civilization. their organs to any one except their own Aal^ETUIt&rrrrilsr price *1.4(1 #2.50 acquire a truly catholic judgment. He to the pianist, but to the organist who This article would be incomplete with¬ for year. FOR BOTH gether, the two knees unceasingly in “When everything possible had been ac¬ Pipe Organ Builders organist. Therein do these stand in their has it in his power to plan the ground¬ contact with each other. The foot should spells his Art with a capital A it is essen¬ out mentioning that an accomplished or¬ Address THE MUSICAL LEADER complished by material progress and own light, for when they require a sub¬ ing and training of his pupils on the firm tial, for organ music is much more poly¬ ganist is fond of poetry and is at least McCormick Building. CHICAGO not attack the pedal vertically, but from scientific investigation for the good of stitute organist on short notice they have rocks of classicism. The temptation of phonic than piano music. interested in painting and the plastic arts well to the rear toward the front, as close humanity, and after the great plastic arts no one at hand who is familiar with the the young student is to use his half- and in literature. to the key as possible; gliding slightly or had been called in to add aesthetic beauty PROFESSIONAL DIRECTORY on page 422 peculiarities of their instrument. fledged wings of criticism and to con¬ Flagler’s Anthem Book “skating” the toe within a half inch of the to the rough columns upon which the Inserted 12 Times, Before Half Million Musical This is not the time or place to discuss demn off-hand all music which does not IX. While there is no such thing a black keys. whole fabric had been built; and even People for *15.00 in extenso these obstacles, yet the organ appeal immediately to his untrained ear. perfection, the organist should aim high Price, 50 Cents each (c) “Let us not forget that upon the after poetry and oratory had proclaimed student should ever bear in mind and in IS SINGING IN ITALIAN REALLY This the teacher should discourage, for even for the highest. He should be eve $4-50 per doz., not postpaid organ, as in the orchestra or chorus, all through all kinds of stentorian literature practice the proverb, “Where there’s a ORGAN REPERTOIRE nothing is more fatal to true and great a student, ever charitable to other organ ESSENTIAL? Tnls is a compilation of anthems for geu music is based upon the quartet. It is the the mastery of man over nature, it was will, there’s a way.” A Book of Pipe Organ Music for Church advancement. Classic music is not sensu¬ ists and ever open-minded toward nev In these days of continual agitation for eral use, composed, arranged and selected true foundation of the language. With reserved for our beloved art—the univer¬ or Concert Yet lack of opportunity for practice is by the noted American organist and direc¬ ous—does not at first sight and first hear¬ composers.. If he does not like their gen opera in English and songs sung in the tor, I. V. Flagler. It Is the product of " the organ, our quartet is embodied in sal language of mankind—and through its Compiled by PRESTON WARE OREM not the worst conundrum which must be ing thrust its beauties upon one. Mostly eral style, he may and probably will a English language, teachers should not for¬ experience of a lifetime. The anthems the noble and flowing sonority of the purity and subjectivity, the crowning Price. *1.50 solved by the aspiring student. Every it demands familiar acquaintance and to all of but moderate difficulty, suited to least receive new and valuable ideas fron get that for practice purposes at least a average quartet or chorus choir. Appropri¬ 8-foot foundation stops. The basso con- work of refining and finishing the whole The chief object in this compilation has been such student early discovers that no be performed in its own suitable atmos¬ their compositions. knowledge of Italian is almost invariably ate numbers will be found for all occasions. tinuo of certain organists who have fallen scheme, thus making man nobler and hap¬ to cover the ground as widely and thoroughly brilliant success ever comes without a The anthems are melodious and Interesting as possible, incorporating many novelties and phere. But under these conditions it Old-time organ teaching paid much at beneficial. Most experienced voice teach¬ asleep over their pedals soon becomes great deal of application and an enormous throughout ; none are dry or tedious. This pier by realizing the divine origin of original pieces as well as some standard com¬ ever shows its superior beauty. The stu¬ tention to improvisation—this especial! ers who have studied the language be¬ volume is well worth a place In the perma- an intolerable nuisance for the audience. positions and new transcriptions not to be amount of hard and dry work. It is not music, the last and greatest gift of the found in other collections, composers of all dent must be content to take it first on for two reasons. Collections of suitabll come conscious at once of the fact that tpertolre of any choir. It furnishes We should go wild at a performance “in the American air” to spend long hours - -th of material from which to select Supreme Architect of it all.” schools being represented. voluntaries were few, and the custom o there really is a certain dulcet quality in of a symphony in which the double-basses The above graphic presentation of the daily for years to reach a high goal. We VI. A good grounding in piano music THEODORE PRESSER CO. playing interludes was well-nigh uni the vowel sounds that is absent in Eng¬ played uninterruptedly from the first note I 71 2 Chestnut SL, Philadelphia, Pa. usually leave such work to the plqdding (not on the cabinet organ), and this prop¬ THEODORE PRESSER CO. place and importance of Music in the versa! Neither reason is any longer ap¬ lish. The jjfttient native teacher of Ital¬ 51712 Chestnut SI., Philadelphia, Pa. to the last. The superb rhythm of the Germans and expect to vault at once to erly carried as far as Bach's Inventions world’s progressive economy and prog¬ plicable. ian is at first exasperated at the student’s pedal when the organ responds to the the commanding height. Yet a multitude and the Well-tempered Clavichord. The ress, from the pen of the redoubtable Ra¬ The ability to improvise is still useful inability to pronounce the vowels with choir should emphasize the text, sustain of plodders we do have who never in a firm, decided touch of the pianoforte fael Navarro, appeals strongly to organists The greatest book on but not essential. Indeed, it frequently the proper suavity. These vowel sounds it in outbursts of exaltation and not vul¬ lifetime really succeed. should underlie the organ touch. Then and salaried singers who are continually Doubtless the worst obstacle of all is leads a player into temptation beyonc cannot be represented on paper, nor can garize it by a continual and unintelligible called upon to contribute their services, this transferred to the organ manual and, what he is able to bear. Modern Organ Blowing the absence of a clear and definite idea of modified into the most perfect legato they be represented by giving the English Austin Organs abuse.” far too often gratis, for entertainments of the goal that should he attained and the Our list of “points” is by no means equivalents. In fact to say that the Ital¬ These are valuable hints, which may all descriptions. Let us resolutely stand with an invariably firm pressure touch exhaustive. There are other studies col¬ ground that should be covered by the and without any high lifting of the fin¬ ian “ah” is like the “ah” in the English well be pondered by all. The last item, up for the dignity and worth of our noble, will be sent you-FREE lateral or supplementary which are oi student before he or she can rightfully gers, soon gives the generally required word father is absurd. It bears a family labeled (c), gives us occasion for thought heaven-born art. hold the head up and claim to be a pro¬ great use in building up and rounding ofl resemblance, of course, but most English and for comment. It is noticeable that It shows the Primitive organ touch. The pedal touch should be an organ education. The small builder who merely fessional solo organist. Let us survey essentially modelled after that of the people and most Americans pronounce most organists, having succeeded in secur¬ Familiarity with orchestration anc assembles organs can put up Organ and method of briefly the situation and the elements of manuals, but more decided, and for a this very word with but slight suggestion ing a salaried position, settle down within STRICT TIME IN HYMN orchestral effects helps much as the mod¬ as large a show in an adver¬ success. perfect legato with sixteen-foot stops re¬ of the indescribably beautiful and musical the first year or two into a certain groove, blowing. Also explains ern organ and music written for it be¬ PLAYING. We make, the following points: quiring the least little overlapping of the quality with which the cultured Italian tisement as the best equipped which lasts them for years, and often till come daily more orchestral. For orear There is considerable room for im¬ why the I. We must presuppose a quick and successive tones to allow for the sluggish invests this vowel sound. The English- builder. they finally retire. Perhaps a certain series recitals such knowledge is eminently use- true ear and a love for harmonic effects. start of the big pedal pipes. speaking teacher who has mastered the of register combinations, three or four provement in the rendering of hymns in fu! We mention also the science and Lacking these the chances are against the VII. Instruction from a judicious, Italian language and, speaks with the But he cannot answer your in number; swell always coupled to great; the matter of time. This should always KINETIC study of acoustics, with special reference be accurate; it seldom is. Inaccuracy is student. It is no kindness to one with a broad-minded, experienced organ teacher. sweetness of the native Tuscan is usually questions when you get down oboe stop with tremolo for all solos; defective ear or who is hopelessly wedded to overtones and the comparative effect better able to train English-speaking right foot glued to the swell pedal; the most noticeable at the end of lines of ORGAN BLOWER This counts for very much in the course. of sixteen, eight, four and two-foot stop* to details. to the cheap, tawdry style of gospel Thd* teacher is of more importance than students than is an Italian, for the simple pedals used only in the lower octave and common and short meter hymns. Where hymns, or to ragtime piano music, to and the so-called “mixture” stops. We reason that he has overcome difficulties of by the left foot alone, which is, of course, notes of three beats occur they should is quiet, easy to operate, the instruction book. No one book or cannot go into details, but we note that We can—and we ask you to let urge him or her to take up the organ. set of studies will fit to the needs of all pronunciation and knows liow to teach fatal to legato playing; in hymn tunes and always be held the full written length, the human voice is rich in overtones; thai us send information if you are inexpensive to install II. A good physique and the ability to pupils. There are many instruction books others to do the same. even in anthems the bass part always both by singers and players. The result all orchestral instruments except flute* ‘tvork and to endure cold. Commonly Which will answer for the early stages interested in the buying of a played with a 16-foot stop. This latter of not doing so is both depressing and and operate. much practice has to be made in cold of the curriculum. have them in profusion-the piano as well' pipe organ. is the “basso continuo” referred to by irritating to the hearer, and the mistake These ^overtones in their varying proper churches, and a student who is not robust But the teacher has to train not simply The monument erected to the memory Widor. is one that could be easily remedied with Over fifty churches in New tion give the special character or timbre York City have installed the may run the risk of health, perhaps of the technic but as well, perhaps more, the of Mozart in Vienna stands over an Then there are numerous other habits a little care.—Dr. Madeley Richardson in to the voice or the instrument. The or- Kinetic Blower this year. life, in zero weather. taste and the judgment. The scholar empty grave. It is not known exactly which in time become insufferable to the Modern Organ Accompaniment. gan is for the most part destitute of III. Much nerve and little nervousness. must perforce be guided by the directions where his body was laid. On the day of orertpnes. The addition of octave AUSTIN ORGAN COMPANY There is a great difference between these. and advice of bis teacher, so the choice twelfth,,; "fifteenth,” etc., stops, also of his funeral his friends were obliged to 165 Woodland St., Hartford, Conn. Kinetic Engineering Company A phlegmatic temperament is an awful of a teacher is of first importance. Usu¬ turn home at the cemetery gates owing 1,200 MOLLER PIPE ORGANS 68 in Pittsburgh; Builders of the magnificent organs 6B in Now York; 45 in Baltimore; 38 in Philadelphia. 32 in Cincinnati; 1 8 in Washington; Baltimore Ave. and 57th Street handicap in solo performance on any in¬ ally a fine player is selected. Yet not fops’ the registration was an attempt to supply the deficiency of the to the. severity of the weather. Mozart 20 in Hagerstown. For Catalogues address Mj. P. MOLLER, HAGERSTOWN, MD. was laid in the section devoted to paupers. Philadelphia Please mention THE ETUDE when addressing our advertisers. 416 417 THE ETUDE TH E ETUDE GIVING THE “A.” ABOUT ROSIN It is remarkable how prone an ama¬ There is a right and a wrong way to CORDE DE LUXE do everything in this world, and the giv¬ teur or inexperienced violin player is to musical Answers to Violin Questions The Best DEPARTMENT “blame it on the rosin” if he makes a ing of the “A” by the piano accompanist Hot Weather “squeak” or bad tone. The fact of the to the violinist when he tunes is no ex¬ biography Silk VIOLIN E FOR VIOLINISTS matter is that the importance of the ception. An accompanist used to playing J. F. E.—The first word of the label W. D. C.—The necks of the violins of USED BY LEADING ARTISTS with violinists, of course, knows how it Edited by R. BRAINE quality of rosin is greatly exaggerated, life stories of great i of your violin is no doubt the name of the old Cremona makers, including Stradi- 15c Each $1.50 per Dozen as a rule. Almost any of the prepared is done, but the average pianist, who only POSERS the maker, and the second, eine, is the varius and Guarnerius, were somewhat Catalog of ."me violins sent free rosins sold in the music stores will give plays occasionally with string instruments, Thirty-five Biographies of the ( French word for “elder.” There were shorter than those of modern instru- MUSICIANS SUPPLY CO. satisfactory service if properly applied is a sore vexation when the “A” is to Masters. Compiled by a staff of evidenty two violin makers of the same ments. They also varied slightly in 60 Lagrange Street - Boston, Mass. THE RECITAL SEASON. critics, hi st or .a n s.ar. _ w r Iter *. ^ whom it is impolitic, for business rea¬ to the hair of the bow in proper quan¬ be given. The latter style of accompanist name, father and son, and your violin length, some of the makers using longer As the present issue of The Etude is sons, to leave out. In such cases it is tities. The best way of putting up gives the “A” key on the piano two or was made by the senior of the two. Just as necks than others. A large majority of being distributed, teachers all over the not a bad idea for the teacher to have rosin is in little wooden troughs, which three staccato plunks and let’s it go at no art critic or picture dealer could give -qj Cremona violins have been re-fitted STENGER VIOLINS country are preparing for their closing them play in a group and drill them in ire further encased in pasteboard boxes. that, and is much surprised when the vio¬ a Vbo<^ of refeeDce it will be found an opinion of a painting he had never with longer neckSj of the modern stand- a very easy little orchestral selection, profitable investment. The book is recitals. A few suggestions on the sub¬ This prevents the surface of the rosin linist keeps on asking for the “A,” forget¬ illustrated with iull-page portraits. seen, so no violin authority can give an ard length> the original head and scroll ject may be of interest. which, with the . addition of a wind in¬ from acquiring a coating of dirt and ting that he is probably not like Mozart, Price, 31.50 opinion of your violin without examin- bei erved and carefully grafted on Fine Workmanship strument or two, say a cornet and clar¬ ing it. I will say, however, that violins necjc A small or moderate sized hall is grease, 'as it would do if left lying who could remember the exact pitch of a the masters and their music preferable, and an audience of moder¬ inet, and with the assistance of the around loose in the case and handled note for two or three hours after once with pictures inscriptions and inlaying The'modern-length neck began to come piano, will sound well enough for a By W. S. B. MATHEWS such as you describe, are not valuable as 170~ 17Qn_, , ate size. Pupils are apt to be awed by without protection. When a new cake hearing it. a rule, since the best makers from the «*o from 1780 to 1790, and although place on the program. The wind instru¬ A Hand-Book of Musical Liter a very large hall and a large audience, of rosin is purchased the surface should What the violinist wants when he tunes al Clubs, Classes and masters of Cremona down have usually information is lacking as to the first ments will cover a multitude of sins, and instead of rising to the occasion and be scratched with a knife to remove is an unbroken stream of “A’s,” with Private Students preferred to make their violins plain, maker who originated the practice, it is and the pupils and their parents will be The First Part contains material for Ten playing with full tone and brilliance, are the gloss, so that the hairs of the bow the damper pedal down, corresponding with here and there an exception. believed that it first came into vogue in gratified that they have been able to Musical Evenings or Classes relating to Bach, more likely to play with a feeble tone will “take hold.” Pupils often leave to the steady tone of the oboe or clari¬ Handel, Haydn, ..Mo * . Beethoven, X. DeM—You can obtain a half France, possibly having been originated appear in the recital. Of course this and weak style. It takes a good pro¬ their rosin lying around until the sur¬ net, when the tuning is done in the Mende' ’cello for a boy from ten to four- by the father of the celebrated French would not do in the large conservato¬ Se«>ndC Part’ contains Six Musicai fessional violinist to produce enough face is dirty and greasy, so that the orchestra. It is a very good idea also Programs, upon Brahms, Grieg, teen years of age. If his fingers are maker, Nicholas Lupot, or some other tone to fill a large hall. ries and schools in the large cities, but 7ottsoSt'*and °Mason, MacDowell, Arthur hair of the bow will not “take hold,” to give the triad of D minor. When small, it might be a good idea to have well-known French maker of that period, Above ev^yything else, the recital in the smaller cities people are not so ?oote and Mrs. H. Jl. A. Beachj Schar- and then wonder why they cannot rosin expressed in piano notation, the giv¬ •;enka, Jensen him study the violin for two or three On one occasion Sarasate, the late fam- should be limited to one hour and a well educated in music, and expect their their bows. An experienced violinist years before taking up the ’cello, as the ous Spanish violinist, showed the writer quarter, or half. This is the rock on ing of “A” would look something like children to take part in public work at can tell when his bow needs rosin technic of the two instruments is very one of his favorite concert violins, a mag- which so many teachers split. It takes the following: a very slight stage of advancement. by the way the hair of the bow “takes similar, and the violin playing would de- nificent Stradivarius, the neck of which a finished concert violinist to interest It is a good idea to hold several pre¬ hold” on the strings, just as a bar¬ FIRST STUDIES IN MUSIC BIOG¬ velop his fingers. was considerably shorter than modern an audience for more than one hour liminary rehearsals of the recital pro¬ L. G.—You will find what you want in violins, and fingered short in consequence. and a half, which is the usual length of ber can tell when his razor is dull. RAPHY gram, including one in the hall where Massart on How to Study Kreutzer. This Sarasate used the violin a great deal not- professional violin recitals. How then The inexperienced pupil has not this By THOMAS TAPPER the recital is to be given. This last re¬ valuable little work should be in the withstanding the fact that it fingered can we expect an audience to be any¬ knowledge, and has to go by rule at Teachers who know the superior value of hearsal is the most important of all, ographv over history for first study will thing but unmercifully bored, by sitting first. For a practice of an hour or an cure the best results in their classroom hands of every teacher of the violin and “short” since music sounds different in every through two hours and a half of pupils’ hour and a half he will find it gener¬ ork with this volume. Events in Ameri- serious student of the instrument. His N. B. J.—The best way to get a list hall, and the pupil who has previously m history are deftly woven in, and the application of a great variety of bowings of the best modern violin makers in ROOT VIOLINS violin playing. Such long recitals send ally sufficient if he draws the bow ader gets an historical picture from bio- practiced only in a small room, is apt the audience away in a tired, bored across the rosin lightly from heel to ■aphical study. to the various Kreutzer etudes is of Naples would be to write -to the director to become nervous when he plays on A full and complete sketch of every com- the greatest assistance in helping the of the “Conservators Musicale San frame of mind, and the teacher gets point fifteen or twenty times. A com¬ •vspr’ft lifp ig given. the stage of a hall, without having pre¬ little credit for the good work his pu¬ mon fault is to load the hair down Price, SI.50 pupil to acquire a good technic in violin Pietro Majellen,” Naples, Italy, and he viously practiced in it. Besides, the Of course there is nothing arbitrary pils may have done. The pupils who with too much rosin. The hair and playing. will no doubt send you a list. You could rehearsals are of distinct benefit to the about the succession or number of CELEBRATED PIANISTS come towards the last on such a long the strings of the violin become clogged P. T.—You must break yourself of the send money for a violin by express or pupil, as he becomes familiar with the single cords and single notes. The idea OF THE PAST AND PRESENT program, are hardly listened to at all, and a good tone is impossible. Where senseless habit of letting the strings down post office money order. Although pos- work of the others in the class. this is the case, the hair of the bow is simply to keep the tone going, until By A. EHRLICH after you are through playing. The result sible, it is doubtful if any Naples • violin and it is not fair to them to arrange Illustrated with one hundred and fifty long programs. If the teacher himself play one or and the strings can be carefully wiped the violinist is able to tune his A string of such a practice is that the violin will maker would send a violin on approval, two numbers in the recital it is a dis¬ portraits of European and .American In a violin recital the piano accom¬ off with a clean silk handkerchief, to to it. The accompanist must not dis¬ Pianists of the past and ^present ^ never stay in tune, besides you will only Your best course is to write to one of paniments are of prime importance. If tinct advantage to him, provided he has remove the superfluous rosin. The continue the “A" until it is seen that make a trifling saving in the way of them and ask him if he would do this, kept up his practice, and is a good con¬ liable works on musical biography published. the teacher is a skilled pianist, let him quality of the rosin is often blamed the violinist has it. The accompanist This American edition contains new material broken strings. The violin should be kept You would have to pay custom duty play the accompaniments; if not, the cert player. The audience will note when the fault lies with the hair of the then stops, and the violinist tunes the relating to pianists in America. strung up to the same pitch at all times, when importing a violin. Some of the the superiority of his playing to that of Contains 424 pages. Each of the one best available professional accompanist bow. Continuous playing wears the remaining strings with his “A,” with¬ hundred and fifty pianists has a biographical otherwise it can never be kept in tune for American music houses act as agent of his pupils, and he gains prestige hair of the bow smooth, and it must should be engaged. Pupils playing in out the assistance of the piano. After sketch of from one to thirty-six pages. five minutes together. Naples violin makers, or could import thereby. be renewed. If the hair is old and has Price, Red Cloth and Cold, S2.00 G. H.—For the pupil who has studied a violin for you. public become nervous and excited, and he has finished he will want the pian¬ If the recital is given in warm weather been too much worn, the best rosin A Lover of Music—(1) If the violin is it takes a skilled accompanist to follow ist to again sound “A” to see that the PICTURES FROM THE LIVES OF through the three books of Kayser, and them in their vagaries of time and ex¬ a hall should be chosen, if possible, with in the world will not enable it to take does not seem to be ready for Kreutzer, held properly there should be no strain tuning of the other strings has not al¬ TINDALE HUSICCABINETS * pression, and to help them through. On windows opening on one or both sides hold of the string. THE GREAT COMPOSERS try Mazas’ Special Exercises, or Herman’i on the left wrist. The trouble you de¬ tered the pitch of the A, as often hap¬ FOR CHILDREN such occasions they are apt to skip bars, of the stage, thus insuring plenty of air Bad tone is frequently blamed on the Etuden, Op. 20, Book 2d. scribe with your left wrist is extraor¬ The right way for By THOMAS TAPPER and make mistakes, which fill their and ventilation, otherwise the pupils rosin when it is really caused by faulty pens. This seems a simple enough mat¬ -You should keep the nails dinary, and could only have been caused keeping music will suffer greatly from perspiring and bowing, playing at too great a distance ter, but is astonishing how hard it is This is an ideal music book for a child, found at last. teacher with despair. A good accom¬ because— your left hand closely clipped. Long by an extremely incorrect use of the panist can do much to cover up such sticky fingers. Pupils should also be from the bridge, insufficient prepara¬ to make an inexperienced pianist under In the story encircling the biographies finger nails fray the surface of the strings, wrist and false position. The violin blunders, besides, the good piano play¬ advised to wear as light clothing as tion of the wrist, etc. stand it. there is another story of happy, healthy and also prevent the fingers from assum- should be held by a firm pressure of the possible. No violin pupil can be ex¬ child-life. ing of the accompanist is of itself a The story, besides teaching biography de¬ ing their proper position in falling per- jaw on the chin rest, and the action of Capacity, 200 pleasure to the audience, and does much pected to play well with clothing satu¬ lightfully, teaches also contemporaneous his- pendicularly on the strings. the left wrist and thumb must be at all pieces to 1,200 or to make the recital enjoyable. rated with perspiration, and warm, t0,Short Saxon words predominate, \V W —You will find the following times flexible and free. A lesson or two more. sticky fingers. The compositions played should be PLAYING. tences are short, the meaning alway But a few years ago the idea won and direct. effective violin solos for your purpose: on this point from a really first-rate such that they are capable of being fully Many teachers add variety to their Concerto in A minor, by J. B. Accolay; teacher would set you straight. (2) Your Aside from the piano, the violin i have been considered preposterous ( Price, SI.25 mastered by the pupils. The parents recital programs by engaging a vocalist Faust Fastasia, by Alard; Kuiawiak (Pol- idea of dividing your practice time into doubtless the most popular of all mi an American violinist securing impo: and friends of the pupils, and the pupils or solo pianist to assist, and it is cer¬ THE PETITE LIBRARY ish Dance), by Wieniawski; La Zingara, periods of half hour each is a very good Prices from tainly an excellent idea. sical instruments. Its thrilling ton tant engagements in England and c themselves, are naturally ambitious, and By EDWARD FRANCIS by Moffat; Sixth Air Varie, by De one. Violin playing involves a great $7.50 upward Two short recitals are better than and boundless, resources possess a p« the continent of Europe. All he coul will often try to bring pressure to bear culiar fascination for almost everyon HANDY POCKET BIOGRAPHIES Beriot; Souvenir de Wieniawski, by strain on the nervous system and the on the teacher to have the pupils play one very long one. hope for was a few engagements in h LIFE AND WORKS of Handel, Haydn, Send for illustrated catalogue musically inclined. Students tire c Weber. Mendelssohn, Beethoven, Cho¬ Haesche; Introduction and Polonaise, by periods of rest, between the half hours brilliant, showy pieces, which are in own country, from his admiring com other instruments, but for the violi pin, Liszt, Wagner. LIFE of Mozart Bohm; Berceuse, by Renard; Cavatina> by of practice allow it to recover. (3) One many instances too difficult. “Why this trymen. All this is now changed, an Price, 35 Cents each; S3.00 per set, ’ lesson per week, especially during the TINDALE CABINET CO. they seem to possess an enduring ai the American violinist is coming to h boxed. is a baby piece you have asked Willie THE PIANO-VIOLIN. Size, 2% X 3%. 125 pages. Bound n j ‘ s O’H.—Commencing at fourteen first few years of violin study, is em- 28 West 33rd St. New York fection. Pupils who take up the stud own. . During, the past season tw to play,” the mother will say to the of the mandolin, guitar, flute and man Red Cloth. years of age, there is no reason why you phatically not enough. For the begin- teacher. “He could play that two years For centuries instrument makers have American violinists, Francis Macmilk These miniature biographies are not has¬ orchestral instruments often tire c tily prepared sketches, but careful conden¬ should not develop into a good violinist, ning Spohr, the great violinist, always ago. Why cannot he play the Obertasse been striving to make a piano with the and Albert Spalding, have been ke; them with a few months’ practice, wher sations of the most essential facts of th< with good instruction and faithful prac- advised a lesson every day. There is so PROFESSIONAL DIRECTORY on page 422 or Raffs Cavatina?” The teacher knows tone of the violin. As far back as 1620, usy in Europe, filling engagements i lives and works of the Great Masters sc if they were studying the violin the mentioned. Appended to each (except tice Whether you can achieve the much for the teacher to watch in order Inserted 12 Times. Before Half Million very well why not, but he dislikes to the year of the Mayflower pilgrimage, the highest character as soloists, i would go on for years, enthusiastic an Mozart) is a list of the most importar'- heights attained by Kubelik and Fritz to turn out pupils with correct technic Musical People for $15.00 tell the mother, and in frequent in¬ and sixty-five years before the advent concerts of the first rank, in Londoi compositions of the Master. interested. A striking instance of thi Kreisler is another matter. Thousands of and of good school that the work is stances is persuaded into allowing the of Bach and Handel, we find a sketch Fans. Berlin, Vienna, Rome and all tl is the rapid decrease in interest i RICHARD WAGNER violinists who started at the age of five practically impossible where the pupil pupil to attempt the more difficult num¬ of. a German instrument designed for greatest European cities. Maud Powel mandolin playing, which became a veri HIS LIFE AND WORKS or six, with the most strenuous exertion, comes but once a week. It is no doubt ber, with melancholy results. The this purpose. Hundreds of applications another American violinist of the high table craze a few years ago. Instru By A. JULLIEN fail to do that, you know. If you have true that a majority of violin pupil; in Students’ Popular Album teacher should fight against pupils try¬ have been made to the United States est rank, also receives a warm welcom A Notable Biography of the Most Sig ment factories could hardly turn ou been a constant reader of Thf. Etude you the United States have but one lesson a FOR VIOLIN AND PIANO ing to play compositions in public Patent Office upon different mechan¬ whenever she undertakes a Europea nt Musician of the Last Century, isms, leading the idea of a piano-vio¬ The interest in a great novel, a great will have read in a previous issue of the week, but it is also true that not more which are far beyond their ability. ?n°Ugh> teachers of th season. Her last tour in Europe wa ay, or a great life is in the struggle. Price, SO Cents lin. We are at loss to see just why this mandolin flourished, and mandolin club great success of Robert Poliak, now a than two or three of such pupils out of a triumph for the American violinis ie stronger the struggle the :.hould be attempted. The piano is an were organized in every village. Th noted violin soloist of Europe, who hundred acquire a really correct technic PUPILS UNFIT FOR SOLO WORK. in addition to this, a large number c instrument of percussion, and has a interest in the instrument decrease' started the violin at the age of twenty, and perfect bowing and position with Americans are successfully engaged i Every teacher, and especially those in place all its own. The violin is an in¬ almost as rapidly as it began, and a Your previous five years’ study of the such infrequent lessons. (4) E strings teaching the violin or playing in o: ork. It* is copiously the smaller cities, will have among his strument with a character and an in¬ the present time it has largely died ou piano will be of great assistance to you in of Italian gut possess the finest tone chestra in Europe. All of which goe pupils a number who are hopeless as dividuality all its own, and does not all over the country. The interest 1 the study of the violin, notwithstanding of any strings, and are used by all the ; pr6ve that the American violinist i far as solo work is concerned, but lend itself to keyboard treatment. violin playing, on the contrary, is con the fact that the technic of the two in- best violinists. (S) Every musician stantly increasing. y COn lnten°j none when >t comes to ta struments is so dissimilar, since you should possess a good knowledge of ent and the ability to make good. THEO. PRESSER CO., PHILADELPHIA, PA. ought "to have a good theoretical knowl- harmony, no matter what instrument he edge of music by this -time. plays. Please mention THE ETUDE when addressing our advertisers. 419 THE ETUDE 418 THE ETUDE Summer We desire again to WHEN COMPOSERS COMPOSE. sage that necessity, and necessity alone, THE DRUM. Musucal Study, call the attention ot compelled her to resume her work. The ' boy wants a drum and nearly ROSSINI. teachers to the advan- tage of summer musical study and to day for the proposed party came. All every boy wants to be a Rossini said one day: “1 compose' of the parents had agreed to the plan of ;t js n;ce t0 know that the very'first special advantages to be derived from early everything standing before a high paying her for the lessons lost by her mtle boys raust have pfaved upon , the formation of summer study classes desk I never use the piano in compos¬ sickness, and the fund which they had b tbey are tbe first ; t s' and from club work. A class in musical ing ’ Good Heavens! The piano is a gathered was doubled by the unknown Jj*' ^ history may easily become the centre goad to composers, especially to those party whom* they all suspected was , n , , of various musical activities of a pleas¬ gh0 write for the theatre. I have Grade’s father. They were all sur- were hollow logs at first, with a ant and profitable character. I he op¬ known a few of these unfortunate musi¬ prised with the size of the amount. dried animal skin stretched over one end portunity for hearing music of the bet¬ cians who had to stick to the piano like They had deposited it in the local bank. Sometimes the Indians used a hollow log ter class during the summer months at snail to its shell. There was that splen¬ and Gracie’s father had drawn a check with a narrow slit or opening along flle a minimum of expense should also be for the entire amount. This they placed side. Into this they would put a stick did fellow Bellini, and then my poor- turned to advantage. in a bright, new Russian leather pocket- and rattled it backward and forward friend Meyerbeer, who spent three- , , , , f ourths of his life at the piano, although On Sale Returns At least once each Order Now At the close of each Music in America is rapidly taking its 'book. Some of these old Indian drums may be proper place as a real educational fac¬ MISS FARRINGTON’S SURPRISE presents at Christmas time, and has taught When they reached Miss Farrington’s seen in the Metropolitan Museum in New , „ find spontaneity and ideas in abtind- and Yearly year we expect from for Fall Work. teaching season we tor and is becoming much more than a our history class in the club for very lit¬ home she was more than delighted to York. „ ' Settlement. every one of our find that increasing PARTY. matter of mere amusement. Programs tle reward. Now, papa says that he see them. Her room was filled with But drums have changed since then atice’ patrons a complete numbers of teachers are making ar- are rendered daily in the various large knows of a gentleman who will give lovely cut flowers, for she had had many Every boy knows how big and solenrii 1 settlement of their account. The most rangements in advance for a supply of their hand* parks, at Chautauquas and summer dollar for dollar for anything we cot l_ friend's who had not failed to remember tbe rnilitary drum is. Then we have the Weber hegan to compose his opera Der convenient time to the greater number music, studies, etc., season be- gatherings and the public tribute to help Miss Farrington ,mei her during her illness. Gracie, of course, kettle drums used in Freischiits mentally on February 23. of Teachers arid Schools is during the rea.dy for u the orchestra. These ,t write down a single e before summer months, June, July and An- gins; some neglect ordering until the squares. Class Tubs might the big expense she has been under.” was the spokesman: rest upon legs on the floor. They are of Alice Grinell, with the importance of “Miss Farrington,” she said, “we have tile second of July. That is, he kept the gust. This settlement means the re- material is actually needed and then gather informally for the purpose of copper or brass, half round and covered I I_I ....___ _ nuch annoyance because of attending these various concerts in a superior years, arose and said with dig- all decided to postpone commencing our with parchment. full score of this wonderful work in his turn of all On Sale music not desired experience lessons until the beginning of next than four months. His with a cash payment for the On Sale unavoidable delays due to a variety of body, and much benefit might be de¬ The C Sharp club had been organized The kettle drums may be tuned by brain for “I don't think that Miss Farrington month.” son has said, “There is not a number music disposed of or retained, together causes; all this is prevented by placing rived’ from a critical study of the music for nearly three years. The oldest mem¬ tightening or loosening the parchment will thank us for making her an object Miss Farrington could not conceal a __ _ with a cash payment of the regular with us during the summer a music performed. ber was Alice Grinell, a very quiet' girl The kettle drum player can make the it which he did not work of charity.” frown of disappointment. Gracie went his'mind until R sounded satisfactory monthly account. supply order to be shipped in time to The Standard History of Music, by who willingly resigned the leadership to tremolo or roll piano, forte, crescendo bright little Gracie Williams with her Gracie was too politic to get angry at . he could say to himself ‘That’s it,’ The one exception to the above rule reach its destination before the l- James- —F. Cooke,- - is so planned- - i- this. She wanted to assist Miss Farring¬ and then he wrote it down rapidly, with- ** thi«j If y°«r selection has been sent of teaching begin! form of a series of lessons that the snappy black eyes and her good wishes “'A> • *» **-. TJSSSZ "* f°”r . , , _ . , - , . 1UIIH Ul CL 3C1IW «-»* for everybody—particularly the members ton and she had too much good sense to nesses to us, our parents have all in- , out hesitation, and almost without alter- y°u June, 1910, and is of such definitely known in advance now many whole grounci might be < ivered i of the C Sharp club. spoil her plan by a flare of temper. sisted upon giving you the entire amount 1- A pair covered with felt. a general character as to be of further pupils are to be taken care of, there surnmer’s work, and it might also be "You don’t understand me, Alice,” she for the lessons we have lost during your 2. A pair covered with sponge. use for the coming season, arrange- nevertheless is an element of certainty uged ^ a boob ^ biographical and crit- The January meeting was held at the SCHUBERT. house of Walter Redmond, because Miss •said. “We shall only be giving back to sickness, and also a little present which 3. A pair covered with leather. ment may be made to keep such music in that respect; it is comparatively easy . reference in connection with the Farrington, the teacher of all the pupils Miss Farrington what she has given us will enable you to go away to the moun¬ 4. A pair with wooden heads. The story of Schubert’s _ ■econd season by making a suitable to estimate the approximate needs, and aforesaid ana!yticaj work. I„ addition in the past.” who belonged to the club, had been ill tains for two or three weeks, until you The first two give a soft tone; the last Hark’ Hark! the Lark! is too well known payment, the exact amount to be d-e- “I have a plan,” said Kennett, who was *****"•»*, **«» **» with rheumatic fever for over three are entirely well.” vo give a hard, raw sound. The drum for repetition now; but here is an- termined by correspondence, ”,;rts *» weeks. The meeting had hardly opened now deeply interested. “What do you say Miss Farrington could hardly speak, other story equally inieresting. On the this way save transportation charges attention is given to advance “On Sale” e c?n. ULlt 3s a c a,s, ln g.el?®ra| iniisi the heartbeat of the orchestra: with- orders, and our patrons not only profit eal .information, which might be dis- when Gracie arose with all the dignity to this? Let’s get our parents to pay and before she had a chance to say more manuscript copy of Die Forelle (The two the big brass band would not especially to emphasize by the early delivery, but are also guar- se.n.nated through the preparation and of a little prime minister and said: Miss Farrington for the lessons we have than a few words the C Sharp Club know how Trout) Schubert wrote: “Dearest missed just as though we had taken them. march.—Jo-Shipley Wat- that tire most important points in mak- anteed a carefully prepared assortment reading of a serie; o papers and > “Friends and fellow members of the commenced to hold its program of new friend—I am delighted to hear that > She can’t help being sick, and it certainly sincere inK return of On Sale music is that in every particular; we invite corre- general discussion. Teachers contem- C Sharp club.” pieces, every one of which was a sur¬ like my songs. As a proof of my si seems a shame to make her lose all that tlie name and address of the sender spondence oil this subject and can plating the formation of a class of this "Ha! ha! Hear! hear!” said Kennett prise and a delight to the loving teacher. friendship I here send you another c..-, . ^ ^ ^ ...... Spencer, who, because he was thirteen money for something for which she is When they left, they all gathered down the outside of every promise the best of service to every kind should start at once. We should MUSIC AND SCHOOL. which 1 have just now written at Anselm pac]iaye Much delay and annoyance one taking advantage of th-e suggestion be pleased to send gratis our special years old and about to enter the high not to blame.” by the end of the common, and Kennett “That’s fine,” said Gracie, with a reward When Reisenauer. a German pianist, Huttenbrenner’s, at midnight.” ) patrons may be avoided if each in- to order early for next season. history club plan, which gives some in¬ school, was inclined to look down on the The melody written that night was later members of the C Sharp club. of smiles for Kennett. “You see, we are was eleven years old his mother took dividual will be careful to observe this ’ teresting data as to the means of secur- “Gracie, you are a brick; I’ll never him to play for Liszt, used by Schubert as the theme of some “Now you just stop.” snapped Gracie, none of us children of poor parents. Our detail in every instance. Music for This may be a little ing a class. forget this meeting of the C Sharp Club well-known variations in one of his with a glance which made Kennett look fathers can afford to do that easily.” as long as I live.” “So you want to study with me, do Unless there is some good reason Commencement, late to make any The price of the Standard History of you?” said Liszt. sheepishly down toward his feet. Ken¬ ‘‘It’s no more than right,” said sweet Gracie tried her best not to look “tick¬ quintets. for returning music earlier we suggest announcement on Music is only $1.25. and a special pro- nett liked Gracie more than he would little Cecily Miles, who was usually too led to death,” but Kennett caught sight The little boy said, “Yes, oil yes!” HUMPERDINCK. that our patrons await the receipt of this subject, but let us assure every fessional price is allowed on lots of a have been willing to admit. What was modest to open her mouth at the meetings, of a blush on her HU!cheeks, whichwuicu ‘a e Then the mother said- “Alfred wants n • „ Ufinsel and the June 1st statement giving detailed teacher and school if they need dozen. worse, he knew that several of the other and whose father was proprietor of the before making their,h,i, re-,e- ,h.„thinge a, .he I.,, ,ha, o thought was t‘ beautiful thing he 1° fVe Up. h,s, hi*h sch°o1 course and Summer This season of the year boys were very glad to win Grade’s favor. biggest mill in the city. “Whenever had e . & study music, but that is against his For the benefit, however, of lection Department is at their disposal Mail Orders, has only a comparatively I* was in this way that she wielded a kind anybody at the works gets sick or gets Parents’ wishes." village onmi the Rhine. He was-- engaged le who desires to make settle- for the most prompt service. We have small effect on the basi¬ of autocratic power over the more or hurt, father not only pays his wages n Taxer, who is now his wife. To lefore that time, we mention the made a specialty for years of music Gertainly>” sa'd Liszt, his eyes flashing. cs transacted in our “Order Depart- less restless male _ members of the C while he is sick but sometimes he pays LITTLE NUTS TO CRACK. ‘ But, master, you yourself did not her he played each evening as much as following: Returns should always be for exhibition purposes. We have Sharp club. the doctor’s bill, too.” What scale bears the same nam finish the high school course,” ventured he had composed during the day. A maid by the cheapest way, either by catalogue of i for odd combina- ment” when the usual force of t petent employees is maintained during “Kennett Spencer,” Gracie went on in¬ “What dp you say to a party for Miss any young person under eighteen the little boy. of the I’raulein condoled with her over mail in four-pound packages rate for tions of instruments. Let us send you ' at is generally known as the "dull dignantly, “if you don’t want to abide Farrington?” said Allan, who was now years of age? “And why?” cried Liszt. “Because my this, explaining that her fiance, a baker, which, is two ounces for om cent: by catalogues or, better still, a selection son,” and where we handle almost by the by-laws and constitution of the only too eager to have a hand in the 2. Which great composer’s ends parents were too poor. I went upon the when he called evenings, would do noth¬ regular express prepaid, or ; printed for whatever class of music you desire. many orders as in the winter. Spe- C sharp club, you can just get out.” matter. stage as a IF underkind (child prodigy) ing but bake bread for her. matter (packages that have f'ollowing cial attention is always given each or- "Second the motion,” said Allan Wil- “A party?” said Gracie; “why, she’s 3. What famous German composer was when my feet were about a toe above the out at printed matter rates are privi- An Important. The „„ ,h« der during all seasons, and even in liston, who was somewhat jealous of the buried in Westminster Abbey, pedals! No, my boy; when you bring TAUSIG. leged to return the same way); or if European Opinion opinion favor Gracie had shown to his older rival, England? summer nothing is neglected. The I know,” replied Allan, “but I don’t me the certificate that you have passed ft is told of Carl Tausig that one day, large packages and boxed, by freight, on the “Standard “Standard History Kennett. mean a party with games and lemonade 4. Which great operatic composer’s very large number of music teachers the examinations I will take you for a when he was walking the floor, compos¬ whichever is the cheaper. History of Music.” of Music" by Jas. "I'll be still,” said Kennett, with un¬ and cake and ice cream, but a little musi¬ name ends in luck? whose work runs through th-e summer pupil.” ing, the family cat arose and arched its Tf you prefer, send us the number Francis Cooke, usual willingness, “only 1 don’t like all cal party. Miss, Farrington will be de¬ 5. Which great composer has the repu¬ months will, therefore, find it to their The little boy raced through his high hack before him. Tt was an interruption of inches you have to send back and has just been received from Royal Pro- this bluff about ‘Ayes’ and 'Noes’ and lighted to know that we have not gone tation of being the happiest? we will -immediately let you know the fessor Herman Ritter, of Germany, advantage to intrust their music sup¬ school course and in two years became he could not stand. Something must ply orders to us; our motto is always things like that. Anybody would think back on our practice or in our history 6. Give the names of at least twenty- hepicked cheapest and best way to return it. Professor Ritter is looked upon as the this was the continental congress, and we a regular pupil of Liszt. ■ have snapped in his b "Promptness, intelligence and cour- work. Let us arrange td play some duets five composers of note who died her in the From Canada or Mexico, unless the foremost German musical authority’r- Schumann also had a high regard for up the unlucky cat an. were meeting to decide upon the future she has never heard us play, and let those not less than twenty-five years ago. package is very large, it is best to re- musical history. F of the country.” school in Zwickau, fire and wept over its ashes afterward. the author of a tCSi" of us who have mothers who are musical 7. Which great American piano teachlr Germany^"1:™? £ turn in four-pound packages by mail, famous six volui encyclopedia of Preparatory Technic The plates Having relieved himself of this his¬ was the son of p famous composer i:V(at /’ ,birt 1 lUYV11’ ,ie was * get up some new piece in fine style, and This saves the delay and expi ; for Richard Wagner often for the Pianoforce. this work torical advice Kennett sat down, conscious have it ready so that we can play it of hymns lively buy ^and possessed the gift of MacDOWELL. customs declarations or storage ferred wRb him and solicited his advice By Isidor Philipp. r finished and of his advanced learning. ■without a single mistake. Then let us 8. How long after the discovery of utaking off” the . boys . he played with.—■ The six Idylls, Op. 28, of MacDowell charges. h items being assessed by on historical points. Rubinstein and it will be “But this is serious,” pleaded Gracie. set a time to go and surprise Miss Far¬ America was Bach born? ’ . e vvou,d do this at the piano, making were written Mac- the exprei companies. In any others had a similar regard for him. off the press, but it will be continued “Very serious. Really it is. You all rington in a party.” 9. Which great living English compos- «■ mus,cal sketches of his playmates. eturning On Sale know that Miss Farrington has been very Dowell says: ‘ had been ill a long time, cumstance He says of this new and very popular on special offer during the current u “ All right,” said Walter Redmond. eris name ends with the initials of Was ordy ten -vears old- Later he music be sure your name and address sick and that she is getting better. Well, and I felt Edw: rd was neglecting his work music be first history for students at all ages: month. This is a work which contains “Mamma has consented to hear our his¬ the Grand Army of the Republic?1 ^'.ent to.the Zwickau Academy. Besides are written plainly on the outside of the I talked the whole thing over with papa in care of me So 1 made him promise ~"j “The Standard History of Mi all the necessary exercises for daily tory lesson until Miss Farrington can 10. Name a famous Italian composer ?“ "»f“. he managed to form a little package. This is very important. and mamma last week. Papa says that clear and comprehensive presentation practice to be used by pupils of inter- take up the work again. We are up to who died when he was only band a“10nS his friends and with his ac- he would writf a daily sketch for a week, In prepaying charges on all ship¬ the specialist who treated Miss Farrington of all that is worth knowing in the mediate grade. A book of this kind Handel now and we ought to be up to thirty-four years old. compamment on the piano they performed and these six were the result of this ments of return music be particular to was one of the most expensive in town, elements of musical1 history. It is of may be used continually for a consid- Gluck by the time Miss Farrington is -- some of the pieces Schumann wrote for 'promise.” note that when the agent receipts for and mamma says that she knows Miss able to be about.” it hp marks on the package “prepaid” particular value for music students. I erable period and have great advantage Farrington’s room at the hospital must Two weeks passed and the members-of men oTgemtwT’uff^ °f ™ fLeipricUnlve^ and on tne receipt methe amount paiu.paid. shall take great pleasure in recoin- as a preparation for still higher techni- have cost her a great deal. At the same the C Sharp Club learned that Miss Far¬ shins w ” • * ffer many hard- t0 study law and later he went to study at Von Biilow mdignant with pupils r recejpt unt;i your credit bill mending it to American, and English cal work. It will be very convenient to time she has been obliged to give up rington was able to be up. This infor¬ who neglected their- lessons’ upon— slight statement are received and found students who may be pursuing their have exercises of this sort all in one teaching for nearly five weeks and conse¬ mation came to them through a notice Sometime7LrirltlBerCethe°mem' ; dh U"iversity Germa”y- Hdd' excuses. One day before Ascension he ’ musical studies in Germany.” This substantial volume, properly classified, quently has earned next to nothing. It genius who could perform on nn ”US'.Ca wb.erg', He practlced his music all the time, which Miss Farrington sent to her pu¬ feared that many pupils might take ad¬ history forms the best imaginable back- Mr. Philipp’s work is always of an in¬ will be another month before she can instrument, was gild to sin, “n , , gmv U>J h” was ^le through __ _ that has pils, announcing that she would resume vantage of the holidays, bone for a summer course. Many teresting, practical character and thor- teach again.' In fact, papa says that it chorus of an opera com nam, Sr • US educatlon to conduct a musical news .rdingly he specially ordered, or damaged or used, her lessons in one week. They knew teachers will conduct summer classes oughly up to date in all respects. may be longer. Now, Miss Farrington enough, Maxim Gorky, the Rusrian°nov’ ^ Journal of Music made the announcement ro-morrow unsalable music, without a special i that she was really not strong enough to elist. sang in the chorus of a r wrote many articles on music am We shall hold religious services here, port being sent to us as to why the musical history this year with a view The special price on this work is 30 has been just too lovely for anything to do this without danger to her health, and shall play from Bach and from Beethov return is made, -- “ .“ keeping their pupils together. Price, cents postpaid if cash accompanies the us. She has given us lots of parties and they read between the lines of her opera company. The year following he po«r heV* bdng 3 gre3t COnl S- sold apples in the street. also a great literary worker 7he first is the Old Testament, the latter be accepted for credit and will be $1.25. Special introductory profes- order. If charged, postage will be ad- Jo-Shipley Watson. 18 ‘he New Testament." turned at the sender’s expense. sional price by the dozen. ditional. THE ETUDE 421 420 THE ETUDE SUPERVISOR OF PUBLIC SCHOOL Musical Picture Book This is one of characteristic and original. This is also Summer The packages of New Grove’s For a limited time we Letters from a When Mr. Bowman ---. -* * ^ mu**— , ^ ...... , , MUSIC desires position. Experienced for the Pianoforte, can composer is r r the Pianoforte. the best books one of our late publications. piano teacher, interested in church and Theodore Presser Co. New Music. Music sent at regular in- Dictionary. are able to offer spe- Musician to His gets up to talk at Bv Octavia Hudson. for young be- Of the Presser Collection there is the Offer" from two adjacents‘'1lar'Pnt tervals during the win- cial terms on sets of Nephew. By musical conventions By Luis Jorda. beginning to come districts considered. Address “Super¬ ginners to be usual number of volumes reprinted: visor ” care of The Etode. ter months will be continued through- “GROVE’S DICTIONARY OF MU- E. M. Bowman, (and he has been into his own, and PUBLICATIONS JUST ISSUED we take great pleasure in announcing d in connection with an instruction Burgmuller, Op. 100. out. the summer months to all patrons SIC AND MUSICIANS,” and we in- addressing conven- USe kindergarten course. The Diabelli, Op. 149. desiring to be supplied in that way; vite correspondence from any teacher tions for over a quarter of a century) this work by one of the leading Mexi¬ book • es are of characteristic order and Schumann Album. WILFRIED KLAMROTH CONDUCTS those who have been receiving these or student wishing to obtain the work the auditors settle down for a common- can composers. These dances are SUMMER CLASSES. Mr. Wilfried Klam- MAY, 1911 accompanied by appropriate text. The Clementi Sonatinas. packages will readily appreciate the either for cash n easy terms. sense talk, interspersed with wit, caus¬ thoroughly .original and decidedly melo¬ roth, whose original ideas.v..,..,, upon vocal—- u Any of our works sent on inspection to dious and interesting from all stand¬ hook may be used either for recreation Low’s Tone. Pictures- for Four Hands.- --attracted much attention, will eon- teachers, upon request, at our usual large advantages of the plan which provides tic comment and wholesome “Bowman- All standard works and in the Presser duct summer classes at Ws^New^York^tudios.his New York studios, protessicmal discounts^ plenty of fresh, pleasing and useful New Gradus ad Pamas- Octaves a n isms.” The interest never flags. There points. They are somewhat like the for study. These numbers may be „ ... . jar. Klamroth has developed his voice numher, not the title, in ordering. ° a as the very first pieces to be taken Collection,---t excellent editions. As theories from , psychological and physio- teaching pieces for use during the sea- sum for the Pianoforte, Chords, whic are never any nodding heads, for Mr. Spanish dances, particularly the Haba¬ PIANO SOLOS. son; to those who teach in the sum- Octaves and Chords, is Book 6 i Bowman is one of the few meni who nera, but they partake of certain other up after the pupil has had the first few to the quality of manufacture paper, of^e quaf- Tmcntarv lessons. The book will be printing, binding, etc., better than any ity of the tone prior to producing it._Manyiy 8789 Young Troubadours, Enycl- mer (and for many teachers the sum- By Isidor Philipp. this new si can make musical and technical sub¬ racial characteristics. There is consid¬ ublished in convenient, oblong form, other edition on the market, none ex- pupils are continually seekr - merer vacation period is one of the bus- 1 - - JCUSjects clentertaining..raWuuls. Toxc.* do this erable variety in the collection and ...... jG 8814 The Passing Parade, Rowe.. . 2 p • ted from beginner’s size notes, cepted. This means they will last FOR SALE—CLAVIER in good of The 8828 Shall We V Waltz, Rcnard... 2 test) these 'novelty” packages, contain- lected studies, is now nearly ready, and book, where the author’s personality they will prove well worth studying and tion. $30. Address h. m ' 8839 Our Favorite, Schottische, ing music mostly in the earlier grades, the special offer on this book will be must iook through the type, is even playing. The rhythms are extremely making it very easy to be read by young longer. It would pay to get our com- Etude, Immer . 214 are of great interest and of substantial continued during the current- month more difficult but in “A Musician’s ®aKerg plete catalogue of the Presser Collec- AN EXPERIENCED TEACHER ol _ __8835 Farmer Boy, Galop, Immer.. 2lA interesting and in some cases compli¬ ing, well educated, with knowledge of theory 8825 My Lady s * avoir, nmuru, "ssistance in the quest, for suitable only. Next month we shall announce Letters to His Nephew” Mr. Bowman cated. But all the numbers are thor¬ P Thf special price during the current tion- Our discounts are large, and ability as chorus conductor, desires Atherton . 214 “pieces,” either for study < • recrea- another volume, in all probability the has traced the musicai education of a oughly playable and well within the re¬ month will be 25 cents postpaid if cash every effort is to aid the teacher position with college, music school, conserva- 8824 Grand Promenade, Atherton. 2% tion; furthermore, the taking of these making readable usable edi- tor^ or^seminary.^ Begin at once. Address 8822 Affltrf Nonsense. A^hertoot 2% 1 Tr'M- Book 1, rea[ b0y ini a manner which will benefit sources of the fairly advanced player. accompanies the order. If charged, only in making readable, usable packages does not preclude the possi¬ They will be gotten out in neat, hand¬ postage will be additional. b«t at the very lowest retail Air EUROPEAN SCHOOL DIRECTOR Shackley . 214 bility of ordering other it teacher and pupil alike. He tells just price and at the best wholesale price ANd teacher of music wants a posi- 8834 Love in a^Village^ WtUener. ■ Zkfm> ltTOee‘"'r,l" hr b“" bI“ wh,l staid bedone * e.eh Step, end some shape. “““ — *. 8876 Russian Dance, ff’eyts. just possible. S““- Adclress W- v” care 8872 Enchanted Vision, Valse The introductory price in advance of Pianoforte Instruction This ii -HOME STUDY' r a r* Ait v AAvnxvv rDo You Desire-] To Rapidly Learn to Play or Sing Well? COMPOSITION OTHER SUBJECT PUBLIC SCHOOL MUSIC Stud for^ our beautifully ilkistrated 65 jxige as used in the Public Schools of New York City. the time usually taken to get a musical educa- E. F. MURKS, 2 West 121 at St., New York nouncing Guide” learn to play or sing artistically under our in¬ and complete In every struction; gives a comparison of teaching should miss it and all methods; biographical sketches of our 55 who do not ov teachers, of national and international reputa- PORTLAND .... Oregon into possession of a < convenient for hasty personal supervision of Gilbert Raynolds Normal College of Music drove, Ind. Combs, Piano; HenryScbradleck, Violin; Hugh The “Young Vfrf A. Clarke, Mus. Doc., Theory; Chas. M. PIANO, HARMONY AND Schmits, Vocal; Stanley Addicks, Organ. pieces for recital , The only Conservatory in Philadelphia having musicians.—E. Rut “life Stories of Dormitories for Young Women written and con Crandall, Wise. Guarantee on Enrollment “Stories of Stai that it will give satisfactory instruction, or Ed Baxter Perry, money refunded. Established over a quarter any musical library.- of a century; accommodates twenty-five hun¬ “Games and Pus dred pupils; confers degrees; reciprocal rela¬ Bloomfield, t tions established with the university of Penn¬ sylvania. Moderate prices. For further in¬ College of Music berta Crandall, Wit formation address^, er ^ ^ ^ DEGREES OF MUSIC CONFERRED I am very much 1511 Girard Avenue History of Music,” Co.?*• Conservatory of Music lessons to acquaint K. H. CHANDLER, PREST. ent composers whe Mrs. Uersterhager In the face of these fac HUGH A. CLARKE, Mus. Doc. The “12 Oeta’ University School of Music Wolff, are all anc as we do, that forms fluctuate like shad¬ LESSONS BY MAIL Ann Arbor, Michigai shall find them t terial for use in ows from a dying fire, and shift like In Harmony, Counterpoint and Compositi technic.—Wallace clouds on a wind-swept sky; that no The “Young Virt very glad to posset 4632 Chester Ave., Philadelphia, Pa. high order.—Mrs. . Tub Etude Is pmmss— The generous am.. LEARN HARMONY Irene E. B. Myers, ■ir and COMPOSITION NORTHWESTERN UNIVERSITY I feel that it is by MAIL ===== EV ANSTON-CH1CAGO =-: say a few words of ard History of Mus t Fall. THE WORLD RENOWNED SCHOOL OF MUSIC is that hi_ Is elementary in far ^Universitjr Professional School,_for the in volume, SB partments make ’ No matter what shore of Lake Michigan, in Chicago’s most can find helpful - especially like the I. Course in Applied Music, leading to D. E. Stoeckel, 1” ■ the degree of Graduate in Music. ill II. Course in Theory and History of have3? 3 tM?? b- SiCHT READING Music^ leading to the Degree of structive journal, and reading ^your artlclt III. Post-Graduate Course. IV. Literary-Musical Course. —Ruth Mills Ohio, V. Course in Public School Music Methods. tesy and straightfoi Courses I, II and V include literary studies in especially ■- — the College of Liberal Arts or Academy with- —Mizzle . ’'Theory A thorough Preparatory Department is main¬ tained. the best y ?/£ »f.P The environment is perfect and social ad¬ vantages superior. Catalogue upon request. school.—AlIred°J\ I do not know towns would do w; Your prompt att P. C. LUTKIN, Dean, Evanston, III. ever small, and ...V, iticais, etc., t leave nothing Moore, Wise tuted my former diet. A. Scales ar DANA’S MUSICAL INSTITUTE “I found that I was at once benefited by the change, that I was soon relieved WARREN, OHIO DON’T BLAME THE MUSIC from the heartburn and indigestion that Forty-third year. Music taught in all its branches. Lessons daily and private. CLERK. Fine dormitories for pupils, pure water, healthful location. used to follow my meals, that the pains TUITION, R.IOM, BOARD, LIGHT, HEAT, BATH, PRACTICE, *500 PER YEAR. Many musicians and teachers often in my back from my kidney affection Write for 64-page catalogue, and blue book, to WILLIAM H. DANA, R. A. M„ Prest. wonder why their orders are not filled had ceased. more accurately. A large music house “My nerves, which used to be un¬ has furnished us with a list of orders steady, and my brain, which was slow INSTITUTE OF MUSICAL ART °NV5,E representing something of the daily and lethargic from a heavy diet of problems of the music clerk. The clerk meats and greasy foods, had, not in a ■ FRANK JAMROSCH, Dire is expected to decipher all sorts of puz¬ Your Music is Torn! moment, but gradually, and none the ENDOWED SCHOOL OF MUSIC zles. The following gives the order as VT0WRLELp^r,?NBEYMS The opportunities of the Institute are intended only for students of natural ability with an earnest purpose to do serious less surely, been restored to normal work, and no others will be accepted. Application for admission should be made not later than October I st to insure con¬ the clerk received it and then in paren¬ efficiency. sideration. For catalogue and full information address Secretary, 120 Claremont Avenue, New York thesis the music that the clerk really “Now every nerve is steady and my NIULTUM-IN-PARVO BINDING TAPE brain and thinking faculties are quicker This is YOUR Opportunity to Study Music Crucifiction (Stainer’s Crucifixion), and more acute than for years past. Moonshine Sonato (Moonlight Sonata), “After my old style breakfasts I used Oh that we two were paying (maying)] to suffer during the forent ( Cholors Method (Koehler’s Method), feeling of weakness which 1 La Cin-qua-paine (La Gnquintaine), seriously in my work, but since 1 begs Summer Ramady (Semiramide), Pitzko Normal Conservatory oi Mu; to use Grape-Nuts food I can work ti (Pizzicato), Because from “Jocelyn” dinner time with all ease and comfort (Berceuse), Volcario (Walkure), Une and School of Fine Arts Name given by Postum Co., Batt Boce Toco Sea (Una Voca Poco Fa), Creek, Mich. Psalms (Palms), Post President Over¬ “There’s a reason.” ture (Poet and Peasant), Naomi, Lie- agg'-, Read the little book, “The Road 1 bach (Norma, Leybach), Perpetual De¬ Wellville,” in pkgs. EMERSON PIANO GO ■ Manufacturers votion (Perpetual Motion), Pa de meta- Ever read the above letter? A ne pmblic scl^ools.^W^ite^r ctUalogue’a’nr^fui^partictUars.’^ddre™311 fores (Pas des Amphores), Ma de Graf high grade Grand and Upright Pianos. Catalog on request. one appears from time to time. The (Madrigal), Pres de slude (Prelude) are genuine, true, and full of hums 560 HARRISON AVENUE, BOSTON Curious Animal (Cujus Animam). interest. THE ETUDE 427 426 THE ETUDE WILLIAM H. PONTIUS, Director Department of Music. CHARLES M. THE EXCEPTIONAL FACILITIES, COMPLETE ORGANIZATIOl 42.44 MINNEAPOLIS SCHOOL OF MUSIC MinneapolIs. Faculty of International Reputation Frederic W. Root Eighth SI., S. ORATORY AND DRAMATIC ART Minn. All Departments Open During The Summer SUMMER SESSION OF SIX WEEKS OPENS JUNE 13th, 1911 Elocution-MUSIC - Languages Stmunfr Also Special Normal Course in PUBLIC SCHOOL MUSIC Location and surroundings idea! for Summer study. For Catalogue and Summer Circular Address NORMAL WORK 'jJoPOLD WOLFSOHN “Superior PianoforfeTeaching” MISS CLARA BAUR. Highland Avenue and Oak Street. CINCINNATI, OHIO LORENA BERESFORD America*e Greatest Singer Compoter will give lessons in voice building and coach¬ Pianoforte Instruction VON ENDE VIOLIN SCHOOL ing, during June, July and August. 1 Gallery, 345 Clinton Ave., Brooklyn (Violin, Voice and Pianoforte) MRS. STACEY WILLIAMS Teachers of Singing' LOW RATES TO ALL SUMMER PUPILS , The Eminent Teacher of Singing Last Summer there were 14 States represented. * jll W. 117th St., New York Lawrence NEW YORK CITY IN AMERICA DURING SUMMER OF 1911 JULY 5-15 and Studen Only Earneet, Serioue Student. Accepted Sherwood Music School, Fine Arts Bldg., Chicago The plans, devices, illustra¬ Conservatory ALBERT ROSS PARSONS I] Announcement fir°omhaii“SartS°of (A department oi Lawrence College) tions, material, etc., given Offers unusual opportunities for the advanced by Mr. Root are from an study of music. Enjoys the intellectual and social Life of Lawrence College tudloM during unusually wide experience e, July, A in Europe and America. Why Summer Study Summer Session ualiiied Pupils placed in Opera, Concerf and Church work 1NC0LN a Normal Course of three \veeks’ in Publfc By FRANCIS School Music Methods, conducted-by the., ESPECIALLY ATTRACTIVE NORMAL COURSE Send forCircular ,,ntil the full growth is reached. The MRS. STACEY WILLIAMS In this day, when men and women American Book Company Suite 406-408 Kimball Hall, Please mention "The Etude" Chicago, ill. Kimball Hall, - - Chicago make their own opportunities with lone summer vacations of the past of Chicago and New York July 10 to 29, 1911 an ease never known before in the have been a decided menace to American musical education. It is Send for Bulletin SEATTLE, Washington history of the world, the summer CflRUTHERS SCH001 OF PlflHO study plan has become extremely for this reason that progressive stu¬ WILLIAM HARPER, Dean ELIZABETH GOODWIN JAQUES dents are observing the common- Appleton ... Wisconsin direction of Julia Lore Mr. D. A. CLIPPINGER popular. This is particularly the ft teacher ofeiuging of California, has permanemlylooated case with music, and America is sense truths which lie at the base of American Conservatory to July 22nd, 1911 dotted with cases of successful mu¬ all the doctrine of unremitting effort. SUMMER STUDY KIMBALL HALL, 304 S. WABASH AVE., ss CHICAGO, ILLINOIS sicians who owe their triumphs in a The old idea that a summer of in¬ beginning July first and enc dolence meant a summer of pleasure —FOR VOCt August fifth. The full couise large measure to the fact that they JOHN C. WILCOX, lat »«e%DX £ eludes fifteen private lessons, is rapidly disappearing. It has been lectures on the voice, ten c have turned their summers into pe¬ found that a summer devoted in part SUMMER NORMAL SESSION couductin’ “c traiaing’ a,lal) riods of glorious achievement, in¬ DENVER, BUSH TEMPLE CONSERVATORY “tWEL^STATES represer to work, in part to advancement, and JO private lessons; weekly round table discussions; 800 N. CLARK STREET, CHICAGO. KENNETH M. BRADLEY, Dlreclor stead of letting them remain days of in part to outdoor pleasure leaves diagnosis tests; lectures illustrative recitals, etc. atalog and special booklet JOHN J. HA TTSTAEDT, President. THE LEADING m HI T*r~t-r * sloth and sluggish inactivity. Rest CONSERVATORY OF 1VT 1 J.^ | and recuperation are construed by the student in better physical shape many to mean waste and retrogres¬ at the end of the summer than ACTING, LANGUAGES and EXPRESSION of Improved Music before. sion. . This is not Nature’s plan. Study for Beginners SUMMER NORMAL, Five weeks, beginning June the 19th. Nothing is more deadly to musical An interesting experiment was Dunning System MADAME JULIE SUMMER COURSE FOR PIANO TEACHERS tried at an American college some progress than long periods of indo¬ The Summer Normal Training Class for Teachers will open July 5th, MBS. BLANCHE DINGLEY-MATHEWS lence. Nineteen centuries ago Pliny years ago. The physical fitness of Detroit Conservatory of Music FRANCIS L. YORK, M. A., Director at Chautauqua Lake, N. Y. told the world, “Opportunities lost some of the students was examined wlkhing time should make arra?^1^^ JUL1E RIV^*KING’S cl PUBLIC SCHOOL MUSIC AND DRAWING There is a reason nuhy the Dunning System is the only one endorsed by the world- This justly ct___ can never be regained.” Every sum¬ prior to the vacation period and a renowned masters of music. There is a reason why a teacher in the suburbs of St. Louis FUIaL NORMAL COURSE, *25.00. For Anther informs Year Course, which entitles to LIFE CERTIFICATE »s, E. SC1IWENKER, Secretary prehensive and highly c mer presents an opportunity to the similar examination took place at the S STATE ^OF MICHIGAN^Students may enter should have a Dunning class of seventy-two in three months. Teachers are proving of the every day that it pays, Musically, Artistically and Financially, to take the Dunning ambitious student or the young end of the term. Some of these stu¬ Materials, Methods and Ends Proposed lCtOI2l««»e8 Limited to 20 Students System, for it is recognized as the best in use in its line of teaching. That is the in Artistic Piano Education teacher. Shall you take that oppor¬ dents came from rich families. Id—Methods, Ear Training, Sight Reading, Har- opinion of Lesclietizky, Scharwenka, Busoni, Carreno. De Pachmann, Gabrilowitsch, ony, Musical History, Elements of Music, Psychology, NEW The entire work of the first six grades of pian tunity and build, progress, advance? Others were poor—that is to say, Dr. Mason, Johanna Gadski and many others. For further information and booklets VIRGIL study will be taken up in detail and the material and their uses discussed from the standpoint c Or do you intend to let the coming they had to fight their own way iintiiig in Water Color, Oolor Analysis, Perspective! Address MRS. CARRIE LOUISE DUNNING, II W. 36th SI., New York City Practice and Art. Mr. W. S. B. Mathews wi Practice Clavier summer be one of the tombstones in through college. Every cent meant and* beVava!laWtUfreS jp°n inJresting points Far superior in its latest construction to any the graveyard of lost opportunity? a great deal to them. Consequently other instrument for teaching and practice. . MRS. BIjANCHE DIN OLE Y-MATHEWS All substantial human advance¬ the poor students looked upon the MICHIGAN CONSERVATORY OF MUSIC ment resembles in growth the won¬ summer as time for building up their Washington Ave. & Park St., DETROIT. MICH. FREDERIC L. ABEL, Director VIRGIL SCHOOL OF MUSIC derful development which may be ob¬ finances. They sought “jobs” of Summer Session lor Teachers begins Wednesday, June I4th GUSTAV L. BECKER served by examining a piece of white many different kinds. The rich stu¬ The well known specialist on modern mett coral. Starting at the ocean’s depth, dent spent the summer in the ap¬ LOUISE ST. JOHN WESTERVELT Enrolment Day, Tuesday, June 13th SOPRANO For catalogue and prospectus address: pre°aUfionaiwineCiVnlC’ 3S applied t0 artisti= it and building second by second and proved modem society methods of IU ^/C/It/] Teacher of Voice A' VIRGIL., 45 East 22nd Street, NEW YORK minute by minute, day by day and amusing the mind and body, by in- : win want. Address care year by year, the coral mass accumu¬ 'dging in all sorts of pleasures to SteintvayHallfNewV rk City, before May i5th. lates until it breaks through the ® extent of dissipation. One of waves to become a wonderful island. ijsf y°ung men, who would have S H E R W O O D MICHOOL us x«3<£5* SIXTEENTH SEASON Founded by Wm. H. Sherwood. The little coral cells keep piling one ghed at the idea of doing the work SPECIAL SUMMER SESSION, late r*- upon another just as the invisible ,a loc°motive engineer, drove his ttuqua Institute summer school for the past twelve™T^1 M’Shfri,*1’” tauSht at Cha- UF Chica9° Piano Department. Special classes in normal trainin/forau‘,n Chicago to conduct the V^/Paano College matter stored in the brain keeps ac¬ ° s.° ^ast that he was arrested rates for the summer. Write for catalog to Walter Keller, TSecrZtaly * DePartments> also special Kimball Hall . Chicago, III. cumulating. It is a continual process several times for speeding. The Special Term for Teachers of advance. There is no cessation June 26Ih to August 5th, 1911 s^pard^^schools Leschetizky School I65S52S EP* — of Music — Y * Advanced Students WILLIAMSPORT, PA. MISS MARY LUNDY, the director, returns study in London and Pla"°’ °'«ce. Violin,^ Other Instru- Special Summer School for advanced pupils and teachers in JULY AND AUGUST 5SM» Studio, 26 East Third Street -ill!!151 Street, ^ York 1 429 428 THE ETUDE THE ETUDE LEARN TO COMPOSE AND ARRANGE MUSIC STATE SUMMER SCHOOL fOR TEACHERS Crane Normal TAUGHT BY MAIL. PROGRESSIVE MUSIC TEACHERS North Carolina Agricultural and Mechanical College SUCCESSFULLY, PRACTICALLY, RAPIDLY Institute of Music Send 2-cent stamp for trial lesson. Three trial lessons free. If not then convinced you’ll Will be interested in the Courses of Methods Conducted and Taught by CHARLES W. LANDON, atSilver Lake Assembly, New York State, July Potsdam, N. Y. WILCOX SCHOOL OF COMPOSITION, c. W. WILCOX, D 17th till Aug. 12th, and at Coffey ville, Kans., Aug. 15th till Sept. 9th, 1911. 225 Fifth Avenue SnwmfgSooIs SUIVIIV1ER SESSION Courses in Art Touches and Tone Colors. The Improved Mason Touch and August 21 to Sept. 2 Technic with its Application for Art Effects. Musical Kindergarten. Harmony, COME TO BOSTON i An opportunity for Music Supervisors to get Counterpoint, Composition. Phrasing, Expression, Effective Performance, and new ideas on Public School Music Teaching. Music Teachers’ °o.vSZi'®P°oo, Analysis of Forms. Daily Lectures on Musical Pedagogy and Psychology. Course A for advanced music students de- “TEACHING TEACHERS HOW TO TEACH” siring to enter the school in September to Summer I a ’,naPuWl0 SchoolMn,I°- For details and prices, address complete the Supervisor’s Course in one year. Course B for teachers of experience seeking Mils. HALL, HOW TO TEACH THEM Normal hIhn summer institute CHARLES W. LANDON Kellogg Kansas modern methods of teaching. JOHN ORTH, steibxofsrtto^all Institute For Teachers in the Southwest ATLANTA CONSERVATORY ANNUAL SUMMER SCHOOL OF MUSIC OF MUSIC AND ORATORY Five weeks Normal Course by eminent teachers. Piano, WORKS FOR ORGANISTS Theory, Voice, Violin, Public School Music and Musi¬ GranberryGEORGE FOLSOM PianoGRANBJ8RRY, School Dike /0£fFA ELLIS {Continued from page 42J) 24 PROGRESSIVE STUDIES FOR of the city life must be omitted. cal Kindergarten, beginning June 5th. TEACHERS’ TRAINING COURSES physical test at the end of the su ISABEL IHTTCIIESON THE PIPE ORGAN EYBOARD HARMONY The delightful rural surroundings PEARL CUT1IBERTSON jDirectors Bush Temple Conservatory, Dallas, Texas FAELTEN SYSTEM mer showed that the poor young n CEO. E. WHITING Met--. is a system for rapid, ompensate for this, however. The r CARNEGIE HALL, NEW TURK definite reasoning based on au¬ were really the rich young men Price, SI.26 writer knows of at least a score of AN UNUSUAL OPPORTUNITY SPOKANE, Wash, thority. It builds and creates far as physical wealth was concerned B’or the development of modern technic rather than imitates and trans¬ voung people who have found sum¬ * WEIGESTER for TEACHERS OF SINGING and id the tone organ style nothing finer has school of Vocal Art SUMMER COURSE Music students who have the rea _ er been offered. Those having a fairly poses patterns. Can be used ADVANCED VOCAL STUDENTS good piano technic may take up these studies with children as young as 7 success idea in mind will find a morj mer study in the country one of the Summer School ” r completing the usual preliminary drill MASON METHOD Mrs. Susanne Oldberg, whose coaching (espe- years. Write in this. Reports which have conn most delightful and memorable ex¬ /Maiixr in thf» difficult art of Voice and Breath _ pedal work and the independence ol produced such remarkable hands and feet. Hence, this volume may from various sources indicate thal periences of their entire educational ’ to follow any elementary organ Effa Ellis Illustrated Music School VOCAL°MUSIC ill conduct her Sumr.- ch as Stainer’s “The Organ” or 203-4 5-6 Boston Store Bldg. the opportunities for summer stud) work. A spirit of camaraderie exists Lake Pontoosuc, Pittsfield, Mass. ouse in the environs of Washington, Rogers’ “Graded Materials.” These studies, will be greater this year than ever and the “art for art’s sake” idea mid ideal surroundings for pleasure JJition to their practical educational LOUIS G. HEINZE Director July 24»h *" Sept. 1st (6 weeks). he will carefully and thoroughly dev exemplifying various technical prob- before. Pupils are commencing to seems to be in the very air. If you ces of her pupils to highest efficie . (haracteris1-p assages and devices in Publish* of Music can increase A COMPLETE ANDSYSTEM- Lmate home fife during the term wil registr Heinze School of Music of The .Publications by adver find out that by combining pleasure have not tried the plan of adding to s piec’ r voluntaries. THE ETUDE. ierePaieso^ovidAed8ymnaSiUm ““ “ -SEND FOR RA with study much waste of time may AT1C COURSE FORSINGERS your musical and intellectual stature THE BEGINNERS’ PIPE ORGAN be avoided. The success of summer hy working in the so-called vacation AND TEACHERS 1712 Chestnut Street, Presser Building, Phila., Pa. GOURTRiQKT 3YSTEM OF MUSICAL KINDERGARTEN schools has been so widely discusser BOOK time, there is no better way than to ROBERT 0. WEIGESTER- and so thoroughly advocated by all MRS. SUSANNE OLDBERG CEO. E. WHITING start your correspondence with some Carnegie Hall, New York • Studio, Belasco Theatre B those who have attended them that Price, SI.00 representative teachers at once, and Washington, D. C The most elementary as well as the most 2 TO ENROLL they have become an institution in complete and practical pipe organ instructor E. R. KRUEGER, Director America. arrange for a “success” summer. ever published. May be taken up after one The advantages of the plan of se¬ year’s instruction on the pianoforte. The al Art Building, St, Louis, Mo. One of the best indications of the F. W. WODELL exercises progress by easy stages through mnmer School Especially for Teachers growth of the summer study move¬ lecting a teacher well in advance are Author "C. & C. Voice-Book," “Choir the keys, tending from the very beginning MADAME VON KLENNER and Chorus Conducting” (4th Thou¬ to develop the true organ style. Pedaling ment is represented by the courses numerous. In many cases the is treated in a clear and exhaustive manner. a Method sand), 25 years’ experience as singer Genuine musicianship is developed and a held in all branches of education at teacher can suggest a short prepara¬ foundation is laid for practical church u: 1 Summer S.kool at P .ir t Chautauqua, New Yont SAN FRANCISCO, CAL. most of the great universities. Thou¬ tory course of reading and self-study SCHOOL OF VOCAL ART sands of teachers throughout the at home prior to visiting the summer SUMMER COURSE BOOK OF INTERLUDES VOICE PLACING A SPECIALTY country have taken these courses and school. The teacher who teaches in in Singing and Repertoire, 3 weeks NORMAL SUMMER COURSE July 6-28, daily private lessons; normal By H. R. PALMER June, .Inly and August have raised their incomes very con¬ summer rarely takes quite so many work for teachers. Vacation tnpson sea Price, SI.00 and land. Let me send you full par¬ FRANCES THOROUGHMAN siderably during the following years pupils as in winter. Consequently ticulars. 610 Pierce Bldg., Cop’ey Sq. Short, practical and interesting interlude! Late of New York City 915 Van Ness St. THE COLUMBIA SCHOOL OP MUSIC in all major and minor keys and in all th< through the knowledge acquired dur¬ many students who have contem¬ more usual rhythms. In addition there is I CLARE OSBORNE REED, DIRECTOR ing a well-invested summer. BOSTON = BY=THE = SEA complete set of modulations from any givei plated studying in summer have been major key to every other major key. I Announces a Summer Normal Session in Piano, Voice, Violin, City life has been made vastly Mrs. Oldberg’s Studic may be placed on the music rack and usei FOREST PARK Theory and Organ. Opens June 26th. Closes July 29th. disappointed in not being able to get in conjunction with the hymnal, the anthen more interesting and enjoyable by Music teaches the art of development most1st exquisitely.—x/exquisitely.—D'Israeli. and the voluntary. Compact in form, care Stockhoff. Piano. Nordstrom Carter,Voice. 51st year. For Information Address J.B. Hall, Business Manager, 328 Wabash Ave., S. E. Cor. Congress, Chicago the services of the teacher desired, College, College Preparatory and College of Music. the big summer amusement enter¬ iully arranged and indexed, so that any re SUMMER SCHOOL IN MUSIC OPENS JUNE 1st. owing to the fact that the teacher = MUSIC EDUCATION = Annual Session, September 20. Gym., Expression. prises and the facilities, for making “trolley” trips to nearby resorts. had “booked” all of his open time SUMMER SCHOOLS AND NORMAL COURSES prior to receiving the pupil’s com¬ s8M£ university Many teachers combine pleasure with CLEVELAND, OHIO, June 5th to July 1st is UBS. CALVIN 1 GRADED MATERIALS FOR PIPE H study and travel by making a long- munication. Portland, Oregon, July 5th to Aug. 4th ORGAN coveted trip to some big city in the A great deal of the success in By JAMES H. ROGERS summer. Voice study is peculiarly Summer Study comes from pursuing Price, but SI.00 TEK desirable in summer, as the lessons ^ regular routine and making sure This _■k presents,__ _ _ .. . The Recognized Leader of All Practice Instruments manner, the fundamental technics - Study this Summer in SAN FRANCISCO are not so likely to be interrupted by that the routine is varied with pleas¬ ern organ playing. At first, specific tech¬ — Has Piano Action and Touch Interesting Catalogue SUMMER SCHOOL Teachers of International reputation. colds or the throat troubles which the ures that are real recreations. Here nical problems are treated abstractly, and Largest music school on the Pacific. finally are combined practically in short in¬ Residence department for ladies. severe American winters produce. « routine followed by a Summer teresting movements, as a test of the play¬ LEANDRO CAMPANARI, Artistic er’s progress. Separate chapters treating Director and Head of the Vocal De- The Virgil Piano School Study at summer schools located btudy student who went back to her of hymn playing and of registration supply For PIANO Students an abundance of helpful information, and in the country, as many now are, is °me the next year and increased GEORC KRUGER, Head of the Piano 42 West 76th St., New York the material throughout has been selected Department. ideal, although some of the fascina- income 25 per cent.: On Beautiful Lake CHAUTAUQUA from authoritative sources. Of its kind, this volume is unquestionably the best yet pub¬ Special Summer Session for Teachers lished. The typogiaphy and binding are CALIFORNIA CONSERVATORY OF MUSIC and Students-June 28th to August 8th HILL’S PIANO SCHOOL THE OTiGAN PLAYER 26 O’Farrell St., SAN FRANCISCO, CALIF. THE COSMOPOLITAN Jamestown-on-Chautauqua, N. Y. Compiled by 65 LESSONS t and Mrs. Crosby Adams PRESTON WARE OREM PROFESSIONALDIRECTORYonpage422. Inserted^ $55.00 SCHOOL OF MUSIC will conduct a Price, 11.50 12 Times, Before Half Million Musical People for $15.00.) _SEND FOR EXPLANATORY BOOKLET Auditorium An Institution of national fame in full operation during the summer months, For both church and recital use this com¬ CHICAGO, ILL. fecial summer class pilation offers material unusually good. The Autnist ?t1 In Kfl, affording teachers and students opportunity for observation in a permanent school character oi the pieces is such as appeals of methods so widely known for (heir simplicity, directness and effectiveness, that strongly to American tastes, and ii they lu^'hers »f p'»no in Weeds, a„T’“ •nterpretamon ot sruaie', etuaes, Director Earl H Hill constantly employs four assistants ; this in a school devoted are used for service purposes the organist exclusively to piano and its allied branches, and in a city of 31,000 inhabitants. can rest assured that his playing is being keen °"’ quarts, eto. Mrs. Adams has noticed and appreciated. The pieces, rang¬ sonr«fj07™8 ‘his material from world-wide FEATURES* World-renowned location. Weekly lectures on teaching. In- ing from the simple to the moderately dif¬ »lderanve 5?y 7*™. h’>9 tested it in her own ficult, are adaptable to either two- or three- BURROWES COURSE OF MUSIC STUDY; post criricallV!aCillngand classifled and graded it teroretation classes. Weekly musicales. Ensemble playing (twelve players at lists from and Ptactically in a series of typed manual organs. In extension, character and Kindergarten and Primary—Instruction for Teachers by Home Studv six nianos) Library of 7.000 numbers. Beautiful concert hall seating 300 persons. nvcstlgate •Wat’s materil?^4 work at the Pian0 on t0 the Finest private studios in America. Reasonable tuition and living expenses. superior to any collection now in use. KATHARINE BURROWES, •“I ask c^uMtlons N° WMk “ rciluircd' iust listen Send for illustrated prospectus and artistic souvenir views of Lake Chautauqua Crotb^Id6 f°r !urther Particulars to THEO. PRESSER CO., PHILA., PENNA. y Adam,. Oak Park (Chicago), Illinois m THE ETUDE when addressing our advertisers. 431 430 THE ETUDE THE ETUDE SAN FRANCISCO, CAL. A SCHOOL OF MUSIC Glorious Climate The Ideal Place to Study Music FLETCHER MUSIC METHOD Descriptive Analyses oi Piano MME. ISABELLE NARKS SOPRANO II. Course in Pipe Organ. Works §FTI£R five months’ lecturing and teaching in UI. Course in Violin. «>• EDWARD BAXTER PERRY inrainf §r|)ooIs London, England, Mrs. Copp has returned to IV. Course in Theory, Harmony A poetic, dramatic and historical SCHOOL OF SINGING (KohS,c.,h“’) and History of Music. analysis or description of some of Boston, and will open her summer class on V. Course in Public School Music. the greatest and best known piano Special Summer Normal Session. Voice Placing VI. Course in Piano Tuning- compositions, explaining everything (§A July 5th, at 10 o’clock. This is the 14th VU. Course in Elocution and connected with the composer or Italian Method Coach Mention “The Etude” Igjfl summer session, and the nth year in which composition that will aid to a better PRIVATE TEACHERS liSZTS METHODS and TRADITIONAL INTERPRETATIONS Our school maintains a splendid Band and understanding of the works in qu« Also Repertory, Technic, Style and Harmon- :- it has been held in Brookline and Boston. Orchestra in which all pupils far enough ad¬ •'in. Invaluable to Clubs and i Inter-State " „ ALL SORTS FROM EVERY- WHERE OLD DOMINION LINE Limn smog little b DELIGHTFUL 0UTINGS-A SHORT SEA TRIP | :U of human inter Balts ell’s Dictionary of Musicians. Con- To Old Point Comfort, Norfolk, Richmond, iuo ui „ul 0„ul.u ta‘n'n§' concise biographical sketches of and Washington, D. C. a exceptionally fine musician. Lanier musicians of the past and present with Affording Pleasure and Rest u16qmod IdrW 1881. Sillsi?iu° wool©whSo°if^’iS Hi© was one42 of„c en*B,e thenr pronunciationr t» d ,, /—»i• of foreignt-\* names./-> By thuslastlc devotion to his high ideals. He VV. J. Baltzell. Oliver Ditson Company, was a descendant of a family of musicians Price $1.25. who long held the post of court musician In . . . , . . , England. They supervised the musical enter- A he interest in musical biography and “r^irairK^cSre in musicaI has greatly increased his graduation from college he became a Ciuring the last twenty-five years. Bio- tutor in Oglethorpe College in Georgia. At graphical dictionaries of art, science, the outbreak of the Civil War he joined the ° ._c. , , ’ , . ’ Confederate ranks as a private soldier. He statecraft, etc., do not seem to be in was captured as a prisoner. and during this nearly so great demand as those contain- t'me he spent his days of confinement in the • , • , • , , . , study of music, poetry and art, despite the lnS the biographies of tone-painters. The limited advantages of a military prison. After reason for this is doubtless that the life the war his allegiance to his ideals threw „r _ ■ • . , , . , , him into n contlnuui fight for existence As of the musician is so closely associated a musician he was self-taught, and played with his productions that by the study nee that Amassed all who^eard^hlm. ° In ?873 °* biographical and historical aspects he entered the Tea body Orchestra of Balti- of musical development the student may of real value in his work, e bim for their orchestras but his falllug This new work, while much shorter health would n ters he said, “1_- musician fl°rst."0£ All8 who than other sim!lar existing dictionaries, is Round trip tickets, including meals and Round trip tickets including meals and state¬ have read his wonderful’ " ’ t * " very comprehensive, and is especially to stateroom berth on Old Dominion Steamers, room berth on Old Dominion Steamers, NEW doubt this. be commended for the detailed attention NEW YORK to NORFOLK or OLD POINT YORK to RICHMOND or WASHINGTON, Great attention Is given to dancltnclng In c< given to contemporary American musi¬ and return D. C. and return nectlon with the opera 1: da. The Ri $14.00 sian Imperial Dancers, cians. The reviewer has not had the $15.00 a great success in Amer:__,_„_ of the Russian Theatrical School. These opportunity' to read through the 2,500 dancers are obliged in most cases to I short biographical sketches in this book, The Only Direct Line to Old Point Comfort and Norfolk musical training. The government givt "—1...... for the promotion of dancing.. ^_ but judging from the author’s careful Without Change pupilsIs study for eight years andand* practice four an sntion THE ETUDE when addres ung our advertisers.