Gardner-Webb University Digital Commons @ Gardner-Webb University

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

1-1-1937 Volume 55, Number 01 (January 1937) James Francis Cooke

Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons

Recommended Citation Cooke, James Francis. "Volume 55, Number 01 (January 1937)." , (1937). https://digitalcommons.gardner-webb.edu/etude/851

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. Price 25 Cent? PRESENTATION O F PRESSER'S PREMIER ]93Z PRESENTATION NEW MUSIC PUBLICATIONS

for the CONCERT, or RECITAL, the STUDIO, the SCHOOL, the HOME a.d the CHURCH

- Single Copies of Any of These Numbers May Be Had for Examination ”

A Gift to YOU from the DE LUXE EDITIONS CLUB. And Here Is How You Can Now Get Other Great Books Like This, Formerly $5.00 to $25.00 In Exquisite New Ediiions for ONLY *1.50 EACH! WILL you accept this beautiful Each book is worth owning book as a gift from The De keeping, cherishing, both for it: Luxe Editions Club? We want content and for its physical crafts you to have it as an example of the re¬ manship. De Luxe Editio markable book bargains that Member¬ ship in this Club will bring to you. It costs you noinothing’ to join1 now, while Charter Memlmbership is still open! pages. Many are gorgeously illus¬ Do not confuse this Club with those trated in color by the finest artists. selecting, for the most part, new novels. And every volume is complete, i Its purpose is entirely different. Briefly, expurgated. its object is to take the great books of Typical of the many remarkable the world—“must” books that should values are such recent De Luxe Edi¬ be in every well-selected personal library tions as “Stories of the Great —ana to publish them in sumptuous Operas,” formerly in 3 volumes at new De Luxe Editions. And then to $10 50; Chaucer’s “Canterbury extend, exclusively to its own members, Tales, ’ in modern English, and with the privilege of purchasing them at one 25 full page drawings in color by standard price of $1.50—less than the Rockwell Kent, formerly $25.00; cost of the average novel! The Book of Old Ships,” illustrated Books Formerly $5 to $25—for 51.50 by the famous marine artist, Gordon Grant, formerly $20; and “The Travels If you love beautiful books, are deeply of Marco Polo,” formerly $5. interested in building up the kind of library that will mean as much to your Similar values will be offered in children in the future as it will to you forthcoming selections, all at the one now, then the De Luxe Editions Club was standard low price, to Members only, really founded for you. And now that of $1.50 each, plus few cents postage! you may still obtain a Charter Member¬ How Are Such Values Possible? ship free, you should hasten to join. Of course you ask this question. There are three very simple reasons: First, spe¬ cial permission from America’s leading publishers enables us to use the original, first-edition plates in printing these new De Luxe Editions. Second, contemporarv authors cooperate by accepting smaller royalties. Third, this Club plan enables manv nPnnU band together in their pur- aim uius to assure us of the quantity

immense savings would htaArtS'' 0,l"rw“' ” SEND NO MONEY

THEODORE PRESSER CO. 1712 chestnut sT. PHILADELPHIA, PA. mSJF : EDITIONS CLUB . 1 E, Carden City, New York JANUARY, 1937 * THE ETUDE HISTORICAL MUSICAL PORTRAIT SERIES An Alphabetical Serial Collection of The World's Best Known Musicians

Orchs^ Acttve In Los Angdes’. Opera

SPECIAL NOTICES AND ANNOUNCEMENTS

| SPECIAL NOTICES |

1 ANNOUNCEMENTS “‘:==Hpr boSStJEs’r™,3™”!r '^u.i^AFjsrsjsssii mEwmas gggSBSg* g-ga-gf”1^ gEgaaras* JANUARY, 1937 THE ETUDE =T

yright, 1936, by JAMES FRANCIS COOKE dore Preiser Co., . S. A. and Great THE ETUDE Associate Editor EDWARD ELLSWORTH Published Monthly HIPSHER By Music Magazine THEODORE PRESSER CO. 1712 Chestnut Street A MONTHLY JOURNAL FOR TEACHERS, STUDENTS AND ALL LOVERS OF MUSIC PHILADELPHIA, PENNA. Vol. LV. No. 1 • JANUARY, 1937

The World of Music

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

THE “THIRD SYMPHONY” of Sergei THE ROYAL PHILHARMONIC SO¬ THE SECOND CEN¬ MME. ERNESTINE CIETY of London has begun its one hun¬ Rachmaninoff had its first performance in public when on the program of the Phila¬ TENARY of the death of SCHUMANN - HEINK, dred and twenty-fifth season, which will Giovanni Battista Pergolesi best loved singer in all of include four concerts conducted by Sir delphia Orchestra, for October 6th, with musical history, joined the Leopold Stokowski conducting, at which time has been celebrated B. Puccini Thomas Beecham, its official leader, two by Buenos Aires, by a series heavenly choir on the eve¬ Sir Hamilton Harty, two by Felix Wein- it was received with enthusiasm. ning of November 17th. of performances of Italian gartner, one each by Adrian Boult, Dr. Mal¬ classics. The master's “II Maestro di Musia Born Ernestine Roessler, near Prague, Bo¬ colm Sargent and Constant Lambert, with THE BAYREUTH FESTIVAL of 1937 hemia, by diligent study and determined is announced to be held from July 22nd to (The Music Master)” had its first harm* one concert by the Dresden State Opera in Buenos Aires, along with which "La Sena persistence she developed a vocal and stage Orchestra under its own conductor, Dr. Karl August 20th. There will be eight perform¬ technic which placed her among the greatest Bohm. ances of “Lohengrin,” five of “Parsifal,” and Padrona (The Mistress as Servant)" and T! actress-singers of all time. Perhaps more •s-»■ two of “Das Ring des Nibelungen.” Matrimonio Segreto (The Secret M-irnagrJ than by these accomplishments, the world THE ANNUAL GUITAR FESTIVAL of were heard. was won by her magnetic and free hearted Havana, Cuba, was held early in October EAK TAI AHN, Korean violoncellist and personality, as was so wonderfully displayed at the Auditorium. This event was sponsored conductor, is announced to lead a November, THE FOURTH NATIONAL PIANO in the camps of the World War. And thus by the Pro Arte Society and was under the 1937, program of the Orchestre Symphoniquc PLAYING TOURNAMENT, oi the National has closed one of the most picturesque careers direction of Clara Romero de Nicola. of Paris. Guild of Piano Teachers, will begin in Los Angeles in - February and then continue of the concert and operatic stage, with a THE SOUTH AFRICAN BROADCAST¬ final touch of glory in the film art. THE CENTENARY of the death of Mali- serially in about fifty cities till it ends in bran (September 23, 1836), one of the most ING COMPANY, of Johannesburg, gave New York and Philadelphia in April. BOTH THE NEW ENGLAND CON¬ gifted singers in the annals of music, has lately a gala performance of “The Mikado,” SERVATORY and the Chicago Musical Col¬ been appropriately celebrated at Brussels. A in celebration of the centenary of the birth THE COLON OPERA HOUSE of Bueno? lege celebrate this season their seventieth an¬ daughter of the famous tenor, Manuel of, its eminent librettist, Sir W. S. Gilbert. Aires recently closed a successful season. One niversaries. The New England Conservatory Garcia, by a second marriage she became the The Johannesburg Symphony Orchestra, the of the last performances was “Der Rosen- was founded in 1867 by Dr. Eben Tourjee; wife of Charles de Beriot the famous Belgian Philharmonic Choir, and widely known solo¬ kavalier," revived after a psl of three sea¬ and in the same year Dr. Florenz Ziegfeld violinist. ists joined their efforts under the leadership sons. It is reported to have b-en presented instituted the Chicago Musical College. of John Connell. Neapolitan Peasants Dancing the Tarantella at Sorrento IGOR STRAVINSKY is reported to have brilliantly, with Editha Flcisher and Alex¬ accepted a commission to write a new Ballet HORATIO CONNELL, widely known ander Kipnis of the Metropolitan Open DR. STANLEY MARCHANT, who was Company in prominent roles. lately appointed as Principal of the Royal for the American Ballet, which will probably baritone and teacher of Philadelphia and have its premiere in New York during the New York, passed away November loth, at Academy of Music, of London, has had con¬ THE PORTLAND SYMPHONY OR¬ ferred upon him the title of Organist Emeri¬ spring season. the age of sixty. Born in Philadelphia, he studied with leading teachers of America and CHESTRA (Oregon) has celebrated its first tus of St. Paul’s Cathedral; which is said to THE THREE CHOIRS FESTIVAL, per¬ quarter of a century. Willem van Hoogstraten be the first time that St. Paul’s has given Europe, and made his debut as soloist with Superstitions m Music haps the most popular of these great British conducted a special program for the event, of this recognition to a departing organist. the London Symphony Orchestra in IQ05. •j-s> musical events, was held this year from He appeared with many leading orchestras which a feature was the “Concerto in C major, THE CHICAGO SYMPHONY ORCHES¬ September 6th to 9th, at Hereford. The first and choral societies and in manv of the for Three Pianos.” by Bach, with local TRA opened its forty-sixth season, with a program was entirely of British origin, in¬ larger musical festivals of America. As a artists, Henri Arcand, Nolle Rothwell May THIS is an editorial about something which ap¬ Among the aborigines of various countries there have concert on October 15th, in Orchestra Hall; cluding the elegiac and tender Melody in C teacher at the Curtis Institute of Music he and William Robinson Boone, at the instru¬ parently does not exist. Just that very element been different tunes which have been identified with spe¬ of Walford Davies, given by the orchestra ments. which began also Dr. Frederick Stock’s taught Nelson Eddy, Rose Bampton and makes it journalistically interesting. One of our cial rites. This is particularly true of the American Indians, “in devout memory of King George V,” and Helen Jepson (the latter two now at the thirty-second year as leader of this great valued patrons (and we have none that we do not value organization. The program included the closing with the Hallelujah Chorus of Handel. Metropolitan), and Wilbur Evans, winner DR. WALTER DAMROSCH'S new open such as music to appease the Sun gods, music to make rain, “Symohony in D minor” of Franck, and the The second day offered the monumental of the Atwater Kent award. Mr. Connell is announced as based on an adaptation by very much indeed) wrote us thus: music to drive away evil spirits. With civilized peoples, “Mass in B minor” of Bach; the third day, “St: Anne Prelude and Fugue” of Bach. w’as a man of rare culture and charm of Arthur Guiterman, of Edward Everett Hale's “Our club has assigned to me the subject of ‘Supersti¬ however, superstitions do not seem to exist in connection in the cathedral, became practically a story of “The Man Without a Country " personality, which drew to him a wide circle tions in Music’; please inform me what you know about with music. THE BROOKLYN ACADEMY OF memorial to H. Plunket Greene, with the of devoted friends. The work is almost completed and will be MUSIC, famed among the opera and concert program including Stanford’s “Stabat Mater,” presented with an all American cast, during them.” The writer recalls that once in Africa he was hunting auditoriums of America, has been saved. in the world premiere of which Mr. Greene THE MUSIC- TEACHERS NATIONAL the spring season of popular opera by the After a great deal of reflection we could think of only for an African flute for his friend, Thurlow Lieurance, Thrown into bankruptcy in 1933, the Brook¬ had been the leading soloist; and the pro¬ ASSOCIATION met in Chicago from De¬ Metropolitan Opera Company. one and that is the superstition of the Neapolitans about gram of the closing day consisted of selec¬ who has a collection of aboriginal flutes. Finally one was lyn Institute of Arts and Sciences now has cember 28th to 31st. There were discussions the therapeutic value of the tarantella as a remedy for taken over the building with its mortgage tions from Handel’s “Judas Maccabeus” and of themes important to the profession, by FIFTEEN SYMPHONY CONCERT located in the possession of a snake charmer at Tetuan in of $300,000 and tax arrearages of $8,813. leading authorities on these subjects. Enter¬ TICKETS were recently given by the Dow the bite of the tarantula. According to the legend, the Morocco. The snake charmer absolutely refused to part Last May the Legislature at Albany ex¬ tainment was furnished by eminent soloists Drug Stores of Cincinnati, for the best fifteen peasants believed that the dancing of the tarantella was with this instrument because he was sure that it had magic THE CHICAGO CITY OPERA COM¬ last lines to a limerick on “Dow’s Symphony empted the building from state taxes, thus PANY opened its season on the evening of and such organizations as the Chicago A a means of saving the stricken person. However, it should powers and that it alone would make his snakes perform. Tightening the burden by about $20,000 a Cappella Choir, the Chicago Symphonic Sundae.” which linked the enticements of be interesting for musicians to learn that this derivation year. October 31st, with a performance in the He said, that he had tried many other flutes, and had Chicago Civic Opera House of “La Fiamma” lhe Hlgh Sch°o1 A Cappella the musical feast with the savory ice cream and nut medley. And there be those who of the word “tarantella” is now regarded as highly erro¬ played the same themes on them, but they had no effect GERTRUD WETTER- by Respighi, with practically the same cast Rudnfnhr' Earl- V- Moorc presided, and neous. It is now believed on good authority that the name as in the North American premiere of this Tatfnn h GT’ yiceVresident Of the organi¬ say the taste for good music is dying! upon his dancing cobras. This he proceeded to demon¬ GREN, Swedish contralto zation, was local chairman as well as toast 4-» comes from the village of Taranto in the district of Apulia strate. He opened the bag in which he kept his reptiles, of the Metropolitan Opera work on December 2, 1933. Rosa Raisa is master at the Annual Banquet. reported to have electrified the audience with PAUL HINDEMITH, a in Italy. There, in past centuries, a hysterical disease was Company, has been ap¬ modernist among modern¬ and they remained undisturbed. Then he blew on his pipes her singing in the role of Silvana, second rampant for years, and in this the patients danced in furi¬ and the snakes emerged at once, waving their ominous pointed by King Gustav V wife of Basilio. ists in musical composition, to be Hovsangerska (Singer is announced as coming to ous fashion. It was thought that this dancing was the best “spectacles” in bewildering fashion. We were just an arm’s to the Swedish Court), MARIAN ANDERSON, Philadelphia con¬ America later in the sea¬ cure for the disease. The tarantula spider is also a native length from these messengers of death, but somehow we and is the first woman in tralto, achieved a triumph at her recent con¬ son, as a participant in the of Taranto, hut it was not until many years after the known Gertrud eight years to receive this annua! chamber music fes¬ felt that as long as the piping was going on we were safe. cert in Paris; when critics vied in such existence of tarantism that it was attributed to the bite of Wettergren recognition.,She is a lead¬ exclamatory phrases as “what a revelation -st 2k tival sponsored by Eliza¬ Without the charmer’s music we would have been para¬ ing artist at the Royal she always is!”; “each song having imparted (K. 42S) of Mozart, and the “Svmphonv beth Sprague Coolidge and this spider. Now medicine does not recognize any connec¬ lyzed with fear. 1Hindemith Opera of Stockholm and in E minor of Brahms. He won decided to it the rarest emotional and spiritual to be held in April, 1937, at tion between the two. Therefore, it should be noticed that Just why superstition has not fastened itself upon music early in the summer made a successful Lon¬ vitality”; “Marion Anderson sings like a favor by legitimate artistic means. the Library of Congress. don debut at Co vent Garden, as Amneris in the superstition referred to the dance and not to the music is hard to tell. Surely some galloping imagination should friend to friends” ... which “constitutes Washington, D. C. Of the of the dance. “Aida,” the same role in which she made her much of her charm and suffices to put her DR SERGE KOUSSEVITZKY has been living composers he is one of the most suc¬ have invented something like: bow to America at the Metropolitan. in the class of public benefactors.” recently elevated to the order of Commander of the Leg,on of Honor of France cessful in chamber music forms. (Continued on Page 64)

“And the Year Shall be Filled with Music” Music Study Ex aits Lift JANUARY, 1937 Fingers Musical Stars in Hollywood Musical Food for Millions “If the wedding inarch is played backward, the bridal pair will quarrel before the next turn of the Vms said that Holly wood has gone music mad. By Erno Rapee moon.” _ success of Grace Moore, Jeanette MacDonald, “If one sings a false note in the anthem, his Sunday Nelso^Eddy, Nino Martini, Lawrence T.bhett, Lily Pons, DIRECTOR OF THE GENERALAL MOTORS RADIO CONCERTS. MUSICAL DIRECTOR OF dinner will be scorched.” and others, in “musicals,” as they are called on Broadway, THEHE RADIO 'CITY MUSIC HALL “If Sweet Adeline is sung under the window of the has opened up a new field in movies. Now George Badhe, Police Station, the singers will be visited by very bad of the Music Guild Productions, Inc., is planning big things A Conference Secured r ” luck.” player unites spirit and matter, welding “To play Rule Britannia on the bagpipes at a Hiber¬ with grand opera in the pictures. In addition to these, there have been many movie per- himself and his instrument into one. nian ball is a signal of great danger.” The Etude, in June, 1936, made an experiment which ivas received with formers who have possessed pronounced musical ability. To press a key with the finger—that enthusiasm by a surprisingly large number of its readers. It printed an article seems a quite uncomplicated act; and just The late Ernest Torrence, one of the greatest of all We did know a singer who imagined that he was not at THE FUTURE of music, to my any in the French language, by Any Onestinghel, well known Bulgarian musicologist. because it is so simple, we do not see it his best in the full of the moon; and we once knew a movie actors, was an exceptionally fine musician and singer. mind, will lie more and more within spo It then offered a modest prise for a translation to be judged by the Editor and aright. Thus it may seem very ordinary pianist who felt that she should not open the piano except Ramon Novarro is known to be an excellent pianist. the field of radio. This does not doll The Etude staff. A large number of translations ivere received, and most of that in touching an object with the tip of just before her performance; but these were personal idio¬ The buoyant and popular Dick Powell, according to mean that the more personal fields of mus them were so excellent that it was extremely difficult to decide which was the one’s finger one receives delicately distin¬ operatic and concert work are to be cert syncrasies and not superstitions. “The Music Trades,” plays to some degree practically all successful one. guished impressions by which one knows jeopardized. Quite the contrary! Already it v No, music seems to have escaped the evil eye, save in a of the instruments of the orchestra. In fact, even if he did Finally the choice narrowed down to three and one of these (the translation whether it is velvet or satin, wool, paper, the booking lists of the leading managers a g presented herewith) was selected as the winning translation. It was submitted by few instances. Some of the early violinists were thought to not sing, he could excel as a leader of a hand or orchestra. or wood that one is feeling. But if we look are showing bigger tours for their artists, mus Erwin H. Vonderau, of Columbus, Georgia. Honorable mention goes to Gerald be in league with the Devil. Both Tartini and Paganini, Ann Harding is said to be a very accomplished pianist. at our finger tips under the microscope, the and greater interest on the part of the pub- pari M. Clenience of Washington, D. C., and to Mrs. Hans Fliess of Philadelphia. mechanics of these sensations become highly after flights of virtuosity, were accused of being under the Genevieve Tobin was a professional harpist. lie. The managers, who are business men, yeai Pennsylvania.—Editor’s Note. complex; for we see that we have, on the tutelage of His Satanic Majesty. Tartini’s “Devil’s Trill” is Irene Dunne was trained as an opera singer and studied incline to interpret this gain in terms of ner tip of each finger, tiny papillae, each better business conditions. As a musician, ian. supposed to have been inspired by a visitor from the piano at a Chicago musical college. charged with the duty of receiving special nether regions. In recent years a particularly melancholy 1I venture to10 suggest anotherauuiira reason for it: Iigh‘ ° r .. . . . Lew Ayres was a ban joist in an orchestra in a Hollywood namely that the rank and file citizen of moi0 bed with bits of cork tied between his effective means of displaying this sensations; and that it is really this en¬ tune called Gloomy Sunday, originated in Budapest. It hotel. . . ’ * _-_ _i —inHpnpnflpnrpthaiingers to enhance their independence. musical exnressionLexpression), So a Diamstpianist cconsider¬ semble, so exceedingly complicated, of dif¬ was reputed to be the cause of so many suicides that its this country is coming to regard fering sensations, that we consider as the Lily Damita saw him and danced with him. A producer one of the necessities of life. He does this pro ing such a passage as this, performance was prohibited by the State. This, however, simple fact of touch sensitivity. saw them dancing together and offered him a contract. lie because, for the past ten years at least, pub Ballet Legs and Keyboard Fingers was probably the result of the depressing nature of the Well, this is the tactual sensibility that then learned to play the piano and has written a rhapsody. radio has been making him more and more alrcv TOW, ALTHOUGH the practice of tune, rather than of superstition. enables us to perceive the majority of ma¬ Warner Baxter plays the guitar and many other per¬ music conscious. And radio will continue mu:i_\J certain French schools of the XVIII The drama, on the other hand, is clouded with supersti¬ terial sensations (even in some measure it formers are gifted musicians. work its effect Upon those who, without ing;entury, in forcing by mechanical means a tions; so much so, that in one production in New York, in it, probably would be still accepting music thir;jnger’s mouth to open only to a certain helps in the perception of weight), and can, above all other endowments, refine which there was a Mandarin role, it was hard to find an either from the street hurdy-gurdys• ' the reatrbitrary extent, was downright wrong, :f utilize would play it mechanical action. actor who had the courage to wear a peacock feather, the vaudeville theaters. That is why I say that Tnight still be thought advisable the future of music lies within the field of to i physical agency for rendering the fingers gx, 5 This is achieved by finger activity, that gorgeous raiment of the peacock being supposedly a sym¬ Extending the Ministry of Music is to say, by finger independence, which bol of very had luck. 'upple, provided that by “physical” muinean only a purely muscular operation. We independence in turn is itself nothing else If you have ever attended a Broadway rehearsal, you WHEN Alexander Graham Bell invented the telephone bilities of radio, then, the music students pleahould go to the ballet students, and study than finger self-control; because until it know that the average actor would rather face the tragedy he had in mind quite a different project. It was a of to-day will find opportunities of which thriow they achieve limberness for their legs, senses exactly its weight, it will never pos¬ of losing his job than say the “tag” of the play, the tag project to help those who are hard of hearing to he ad¬ those of a generation ago never dreamed. real/hich are for a dancer what fingers are sess tactual sensitivity, which has so much to do with touch. being the last line just before the curtain descends. One mitted to the joys of music. The result has revolutionized How to be ready for them? The onlyor the. piano player. actress once received a bouquet of flowers in which there all ideas of communication, yet his main object was not thing, of c 5 prepare 0 5 self the To let the young piano student go ahead, mus/ithout equipping him with the means of legato as in the second, are employed in As Masters Maintain was some salvia. She nearly fainted, because she had heard immediately accomplished. It is only within comparatively for a career of thorough musicianship, that salvia was unlucky. However, she recovered when she matter where the ultimate outlet may lie. aining finger independence, will do him compliance with the spirit of the composer’s HAT IDEAL EXPONENT of French recent years that inventive genius has provided apparatus T was unable to find anyone who ever had heard of this But there is another factor in radio that harm than good; it will slow down intention, and not in obedience to the letter clavichord music, Francois Couperin, which really makes it possible for one with diminished superstition. Another actor was enmeshed in the super¬ deserves special attention. It is a psycholog¬ his feet in a path 0f his direction. They are mere subtleties demanded of the clavichord makers one auditory sense to hear conveniently without making him¬ day completely lose 0f pressure, for obtaining clarity in the soft stition that if he looked over his right shoulder at the new ical factor rather than a musical one, and thing only; and that was that they should self conspicuous. The writer has known many brilliant men it applies to the hearer rather than to the oveiis way. note lifting, alternating, in each of the make their instrument capable of expression. moon, he would have very bad luck. He then met another and women who have been afflieted with deafness to a musician. The most important factor in we One of my friends, a distinguished piano pairs of eighth notes, with legato. “Observation has taught me,” he used to actor who insisted that it was the left, shoulder that mat¬ serious degree. One of these was the great Shakespearean radio to-day is the receptivity of the vast, milleacher, contrived a device to which he Speaking of pressure, I shall cite one say, “that it is not always the strongest tered, not the right. This cured him of the taboo. Every scholar, Horace Howard Furness, who was passionately unseen audience. amaubj ected the fingers of his small pupils, instance, out of a mass of others, because hands, nor those able to play at the highest green room in the theater is alive with superstitions. This son.vith excellent results. I however can state of its originality (it recalls what the vio- speed and with the utmost lightness, that fond of music, especiaUy the music of the Elizabethan sometimes reaches into the opera; but the superstitions Forward Strides experience that simply hold- linists do on the string of their instrument most beautifully deliver significant and ten¬ are theatrical rather than musical. Strangely enough, we period; and many times the writer went to his home and SOME FIVE YEARS AGO, when first woing the hands for a considerable : in hot when they desire special expressiveness). der pieces; and I earnestly confess that I never have heard of any superstitions in the green rooms played for him these old Elizabethan melodies, while his entering the radio lists, I conducted mawater, before going to the piano, helpful I saw this means once employed by the love the pieces that move me, rather than of concert halls. wife sang them into the old-fashioned, funnel-shaped con¬ a sponsored program on which was played rhand useful. Polish pianist, Miecio Horzowsky. It con- those that startle me.” Superstitions must be always regarded as the futile traption upon which the deaf, up until a short time ago, Wagner’s Ride of The Walkyries. After r< Just now the word “pressure” is in style, s;sts of a supplemental after-pressure of the The differences between Liszt and Chopin were obliged to depend. taboos of undeveloped minds. Yet by their absurdity they it. was over, the sponsor came to talk to and the expression is meaningful, although finger on the key, which under the imper- lay in just the antagonism which exists me. He told me that he had never heard u what is rather meant is touch sensitivity. I ceptible impulsion, yields a sort of pulsation, between virtuosity and feeling. “Let your are curiously interesting to many people. It is quite pos¬ The writer also recollects seeing Thomas Edison, on dif¬ ferent occasions, with his ear “glued” to the side of a piano, shall try to give it its real significance, There is obtained a renewed resonance, n soul do the playing,” the great Pole would sible that there are many musical superstitions of which we rid teaching ideology of cloudiness quite exhausted during the initial sustain- m order to get faint vibrations from the instrument. Ed¬ say: “play by your feelings.” never have heard. Perhaps some of our readers know of and misunderstandings. ing, the effect of which is surprising. Now since feeling is something not in the ison s defective hearing may have been a help to him. some of them. If so, we would appreciate it very much if Let pressure be prolonged and even made province of the music teacher, but in that you would send them on to us. Possibly some of them may because he was obliged to concentrate so intensely. He was heavier after the key is down, and it will be of nature, to impart, all I can say for the be so striking and amusing that other readers of The distinctly a man of his own mind and selected the com¬ Illogical, because the simultaneous 1 noticed that such continued pressure development of “touch” is, “Make the fin¬ Etude would be entertained. positions which he chose to be made into records, despite traction of the five tendons to a degree of keeping with mecano-physiological sense, gers autonomous.” That done, you will ac¬ The literature of superstitions is fairly large. We have the fact that he was not a musician. His good judgment in that prevents their independence from the But we must admit that it is fairly often quire tactual sensitivity, the generator of collected a number of volumes recording the fantastic this connection is indicated by the circumstance that hr parent muscle results in rigidity of that useful to employ pressure on a key already touch, which is just the quality that chiefly taboos of a few generations ago. The whole subject is so picked several forgotten compositions by the empirical muscle also. Not only does that fail in the down, to obtain a light staccato from, an- A daily routine drill, embracing exercises sets pianists apart one from another. other key as the hand rises, as it were, with for the activity of the fingers, would bring absurd and ludicrous that there seems to be no limit. The process which characterized all of his work, and these reo- purpose of giving freedom to the fingers; But there are no exercises which are of a bounce after a fall; for instance, where to piano teaching literature a new and themselves certain to engender this kind superstitions regarding dreams make a veritable three ords were very successful. Even during his lifetime acous¬ it actually stiffens them and handicaps the pupil’s progress. the player regards as staccato a note not profitable contribution and would fill up of sensibility. When all is said and done, it ring circus of clowns. Yet certain publishers, selling books tical devices for the deaf were so cumbersome that the In this connection I recall that the great many a regrettable hiatus. Naturally this is only through study of all the details of upon this trash, made small fortunes in their day. In thou¬ inventor was not inclined to bother with them. pianist, Benjamin Cesi, founder of the activity should be for the benefit of both the musical expression that it can be developed. sands of homes of supposedly respectable people, the • W’ ow?V«’ t^lere are devices, some of them stationary Neapolitan school of piano playing, and right and left hand. These details are those indicated by the dream book was a kind of “black bible,” and belief in it nd^viduT hu11Si’ an<1 ch“rche*’ ^d others carried by the former professor at the court of the Czar May it be said, by the way, that Czerny marks: staccato, legato, marcato, martel- was firmly intrenched. Those of us who are proud of a vthfVWuh Tlrtually open up a new life to those of Russia, would never carry a cane, be¬ leaves something to be desired in these re¬ lato, inciso, appoggiato. and so on. A course gards. His studies, though highly service¬ Puritan ancestry cannot fail to remember that only a particdufarivVe hea.rin^ At ^st these devices, although not cause he did not wish to subject the five of studies furnishing drill in these special century or so ago our ancestors were mired in supersti¬ r" ly conspicuous, attracted attention. Now they arc tendons of his hand to a prolonged and able, too often confine themselves to easy details would be highly useful. The piano tions which led even to the atrocities of witchcraft. It simultaneous contraction. keys and simple harmonies, and give the cannot, as does the violin, interpret these seems to us rather a proud thing that music, lovely music, andTeTLLl h°y ~ Some exercise, however, antecedent to left hand relatively too little discipline— directions in faithful perfection; but it is faults apt to favor dullness of perception has escaped this low contamination. Perhaps that is an that in general use, particularly a funda¬ precisely for that reason that pianists mental and purposeful exercise, should sup¬ and mental indolence. should take utmost pains in their scrupulous indication of music’s advanced position as an influence in plant the one of the five held notes which Finger activity embraces also the study observance. the progress of the world. is clearly unsound: one to unfetter the of tactual sensibility. This again is of first far? reade" * Even in 1600 the clavichord was lacking fingers, even before piano study is begun, importance, for it deals with something be¬ in resonance, and was powerless to show or at least keeping pace with it, but at any yond mechanics and of far greater interest, legato; yet Sebastian Bach brilliantly suc¬ ; employing drill away from the key¬ something rich and alive in itself—and that ceeded in conveying both illusions, and was board. It is said that Chopin used to go however, his bow a quite is touch, the engaging means by which the able to set forth handsomely the intricate

JANUARY. 1937 9 of Wagner. And will not only adm.t but «tn ^ . r eivjng entire program so mph<,njc efforts of the younger men. The adva™!! , „ can be devoted to the or- 8 ? When the e 1 j>a,,ubf of (CMI lift it a needed Increasing the Activity of the Fingers .. - *> “// the wedding march ^ble variety. The rachoconductor^ > Qur young^comp t<> (|o *, for one work, and Own would take a bridal pair will quarrel 6e, and dreams in terms write new ’ ( opportunity. The oi us hcmg a success, in order to Translated from the French of Any Onestinghel moon.” nfcuts. . fn • an enlarge- want of *e“uC “If one sings a false note What I look forward to s an , envisage ^ ^ , are engaging «w* of Ac* dinner will be scorched.” nent of the entire field of « { {res--h, newthe m accepted . works.... and...., then a fixed saUry. to writ, the music for ^ By Erwin H. Vonderau “If Sweet Adeline is srmgtself. One day we will be ^ ,r„ noW| dev '"red all the accep-——— song or one picture. Radio will worl nas opened field in movies, tame miracle (or Police Station, the singers n:ntire__symphgnies’ ) mJ mm “*>« serious com. of the Music Guild Productions, Inc., paters Tl>en. perhaps, people .ill stop ar player unites spirit and matter, welding luck.” . with grand opera in the pictures. mg mat science kilh an. HIS IS a very important subject, “To play Rule Britannia on the bagpipes at a Hiber¬ T himself and his instrument into one. In addition to these, there have b« To return, now, to the preparation of to- since, in teaching literature, extensive The Etude, in June, 1936, made an experiment which was received with To press a key with the finger—that nian ball is a signal of great danger.” formers who have possessed pronoui morrow*t radio musician, I an say «lv and diversified as that has now come enthusiasm by a surprisingly large number of its readers. It printed an article seems a quite uncomplicated act; and just to be, specialized finger activity is seldom in the French language, by Any Onestinghel, well known Bulgarian musicologist because it is so simple, we do not see it We did know a singer who imagined that he was not at The late Ernest Torrence, one oi that the more he studies no*, the'better potman hr will be able in fill There is adequately treated. That is why the teacher, It then offered a modest prise for a translation to be judged by the Editor and aright. Thus it may seem very ordinary his best in the full of the moon; and we once knew a movie actors, was an exceptionally always n**. at the top. and radio ^ in tentatively approaching the matter, often The Etude staff. A large number of translations wer, that in touching an object with the tip of pianist who felt that she should not open the piano except Ramon Novarro is know n to be an only top trainmen Let the aspiring con¬ does so at random and equivocally. Atten¬ them were so excellent that it was extremely difficult t one’s finger one receives delicately distin¬ just before her performance; but these were personal idio¬ The buoyant and popular Dick ductor try to make himself as much as tion is seldom given to finger training except guished impressions by which one knows “The Music Trades,” plays to some syncrasies and not superstitions. possible like Toscanini. That it no vag>* at the very beginning; later it is ignored Finally the choice narrowed down to three and one of these (the translation whether it is velvet or satin, wool, paper, No, music seems to have escaped the evil eye, save in a of the instruments of the orchestra. 1 CMinsel l.ct Towanmi be the medd oi entirely. presented herewith) was selected as the winning translation. It was submitted by or wood that one is feeling. But if we look few instances. Some of the early violinists were thought to not sing, he could excel as a leader ol music unship, of hearing, of taste. ac- Modern technic has encompassed so great Erwin H. Vonderau, of Columbus, Georgia. Honorable mention goes to Gerald at our finger tips under the microscope, the be in league with the Devil. Both Tartini and Paganini, Ann Harding is said to be a very i curat y. of painstaking detail—and do ml a range that the use of arm and hand is M. C lenience of Washing ton, D. Cl, and to Mrs. Hans Fliess of Philadelphia, mechanics of these sensations become highly after flights of virtuosity, were accused of being under the Genevieve Tobin was a professions amt lower because yew goal is radio. Let overstressed; hence a certain neglect of Pennsylvania.—Editor’s Note. complex; for we see that we have, on the building up tor the fingers a controlled tutelage of His Satanic Majesty. Tartini’s “Devil’s Trill” is Irene Dunne was trained as an ope the young composer remember that a pretty tip of each finger, tiny papillae, each power in instances where execution must charged with the duty of receiving special supposed to have been inspired by a visitor from the piano at a Chicago musical college. tune ai his head is not enough. He mist rely on that specific proficiency. effective means of displaying this item of sensations; and that it is really this en¬ nether regions. In recent years a particularly melancholy Lew Ayres was a banjoist in an orch I* a finished musician, before he accepts Thus it comes about that the finished to bed with bits of . cork tied between his llie least commercial engagnnm musical expression). So a pianist consider¬ semble, so exceedingly complicated, of dif¬ tune called Gloomy Sunday, originated in Budapest. It pianist, or rather the player almost at the fingers to enhance their independence. hotel. ing such a passage as this, fering sensations, that we consider as the was reputed to be the cause of so many suicides that its Lily Damita saw him and danced w Study at .me of our lading comem peak of achievement, realizes two facts: lortr* is best for c«**!«rtcri and composed, Ballet Legs and Keyboard Fingers simple fact of touch sensitivity. performance was prohibited by the State. This, however, saw them dancing together and offerei one, that finger agility is the hardest to not ImcatM* private tochers arc less OW, ALTHOUGH the practice of Well, this is the tactual sensibility that was probably the result of the depressing nature of the gain; second, that it is the most essential, N enables us to perceive the majority of ma¬ then learned to play the piano and hat thorough, but because the complete edoca- certain French schools of the XVIII tune, rather than of superstition. since on it hangs endurance in general and terial sensations (even in some measure it Warner Baxter plays the guitar at tiool course is meet iatensirt. Imtra- century, in forcing by mechanical means a The drama, on the other hand, is clouded with supersti¬ speed in particular. helps in the perception of weight), and formers are gifted musicians. tnrwialuii are already reaping the trims singer’s mouth to open only to a certain tions; so much so, that in one production in New York, in The pianist’s daily practice should, above can, above all other endowments, refine of scientific advancement A gtneratioo all, include drill on sustained tones. Each arbitrary extent, was downright wrong, it which there was a Mandarin role, it was hard to find an might still be thought advisable to utilize mechanical action. ago prreWMiw mstmmenls true less ad- finger finds in the note it is holding a This is achieved by finger activity, that actor who had the courage to wear a peacock feather, the vantagnMis «t reproduced music, but no* springboard which facilitates the subse¬ a physical agency for rendering the fingers gorgeous raiment of the peacock being supposedly a sym¬ Extending the Ministry supple, provided that by “physical” we is to say, by finger independence, whicli there is small difference in the reception quent lifting of another. independence in turn is itself nothing else bol of very bad luck. mean only a purely muscular operation. We U a Vfcjut er a psano. Singer I still come Schiffmacher, the famous German com¬ than finger self-control; because until it If you have ever attended a Broadway rehearsal, you WHEN Alexander Graham Bell in: at the bottom of the ItU. This it because. mentator on keyboard education, stressed should go to the ballet students, and study how they achieve limberness for their legs, senses exactly its weight, it will never pos¬ know that the average actor would rather face the tragedy he had in mind quite a differs, M • general thing, the Inwee roicn “come greatly—sometimes exaggeratedly—the im¬ sess tactual sensitivity, which has so much of losing his job than say the “tag” of the play, the tag project to help those who are hhard < over* better than the higher ones While portance of finger strength, advising a which are for a dancer what fingers are for the. piano player. All these effects of pressure, whether to to do with touch. being the last line just before the curtain descends. One mitted to the joys of music. The fSfijgic t resolutely heavy pressure on the keys. Bent To let the young piano student go ahead, show staccato as in the first instance, or actress once received a bouquet of flowers in which there 'fingers, however, should not push down all ideas of communication, yet his purely mutual without: equipping him with the means of legato as in the second, are employed in As Masters Maintain was some salvia. She nearly fainted, because she had heard immediately accomplished. It is only v <•» «bas ihr iwt. hard on depressed keys, but should, with relaxation, merely rest their weight thereon, gaining finger independence, will do him compliance with the spirit of the composer s THAT IDEAL EXPONENT of French that salvia was unlucky. However, she recovered when she recent years that inventive genius ha.- •“I "“"I ,hr ^ making easy a curved position for the finger more harm than good; it will slow down intention, and not in obedience to the letter clavichord music, Francois Couperin, was unable to find anyone who ever had heard of this which really makes it possible for cfl " •* ***** his progress and set his feet in a path of his direction. They are mere subtleties demanded of the clavichord makers one marc you know, the better tfcmcts yu> at rest without hampering the action of the superstition. Another actor was enmeshed in the super¬ auditory sense to hear conveniently s where he will some day completely lose of pressure, for obtaining clarity in the soft thing only; and that was that they should km far it i ilrpim your annul takats. others. stition that if he looked over his right shoulder at the new self conspicuous. The writer has know It should be noted, fundamentally, that his way. note lifting, alternating, in each of the make their instrument capable of expression. “Observation has taught me," he used to moon, he would have very bad luck. He then met another and women who have been afflictedH■ the fingers are the instruments used by the One of my friends, a distinguished piano pairs of eighth notes, with legato. teacher, contrived a device to which he Speaking of pressure, I shall cite one say, “that it is not always the strongest actor who insisted that it was the left shoulder that mat¬ serious degree. One of these was the arm to play on the keys, whether by means tered, not the right. This cured him of the taboo. Every of weight or muscular energy. In either subjected the fingers of his small pupils, instance, out of a mass of others, because hands, nor those able to play at the highest scholar, Horace Howard Furness, w speed and with the utmost lightness, that green room in the theater is alive with superstitions. This case it is in the fingers that most action with excellent results. I however can state of its originality (it recalls what the vio¬ fond of music, especially the music i kg from my own experience that simply hold¬ linists do on the string of their instrument most beautifully deliver significant and ten¬ sometimes reaches into the opera; but the superstitions takes place, which result is realized only period; and many times the writer w» I in so far as the flexing muscles work most ing the hands for a considerable time in hot when they desire special expressiveness). der pieces; and I earnestly confess that I are theatrical rather than musical. Strangely enough, we played for him these old Elizabethan i water, before going to the piano, is helpful I saw this means once employed by the love the pieces that move me, rather than never have heard of any superstitions in the green rooms easily and effectively. wife sang them into the old-fashioned- Thus we must be aiming falsely when we and useful. Polish pianist, Miecio Horzowsky. It con¬ those that startle me.” of concert halls. traption upon which the deaf, up uni • set our beginning student to thumping the Just now the word “pressure” is in style, sists of a supplemental after-pressure of the The differences between Liszt and Chopin Superstitions must be always regarded as the futile were obliged to depend. h.M traditional gymnastic on five held notes, and the expression is meaningful, although finger on the key, which under the imper¬ lay in just the antagonism which exists taboos of undeveloped minds. Yet by their absurdity they The writer also recollects seeing Thi what is rather meant is touch sensitivity. I ceptible impulsion, yields a sort of pulsation. between virtuosity and feeling. “Let your shall try to give it its real significance, There is obtained a renewed resonance, not soul do the playing,” the great Pole would are curiously interesting to many people. It is quite pos¬ ferent occasions, with his ear “glued” t Ex. I so as to rid teaching ideology of cloudiness quite exhausted during the initial sustain¬ say; “play by your feelings.” sible that there are many musical superstitions of which we in order to get faint vibrations from _, never have heard. Perhaps some of our readers know of and misunderstandings. ing, the effect of which is surprising. Now since feeling is something not in the ison’s defective hearing may have been a help to him. some of them. If so, we would appreciate it very much if Let pressure be prolonged and even made province of the music teacher, but in that because he was obliged to concentrate so intensely. He was heavier after the key is down, and it will be of nature, to impart, all I can say for the you would send them on to us. Possibly some of them may distinctly a man of his own mind and selected the com¬ noticed that such continued pressure is out development of “touch” is, “Make the fin¬ be so striking and amusing that other readers of The Illogical, because the simultaneous con¬ positions which he chose to be made into records, despite of keeping with mecano-physiological sense. gers autonomous.” That done, you will ac¬ Etude would be entertained. traction of the five tendons to a degree r jijjjU J11 sJvh—LiL the fact that he was not a musician. His good judgment in that prevents their independence from the But we must admit that it is fairly often quire tactual sensitivity, the generator of The literature of superstitions is fairly large. We have this connection is indicated by the circumstance that he parent muscle results in rigidity of that useful to employ pressure on a key already touch, which is just the quality that chiefly collected a number of volumes recording the fantastic down, to obtain a light staccato from an¬ sets pianists apart one from another. picked several forgotten compositions hv the empirical muscle also. Not only does that fail in the A daily routine drill, embracing exercises taboos of a few generations ago. The whole subject is so other key as the hand rises, as it were, with for the activity of the fingers, would bring But there are no exercises which are of process which characterized all of his work, and these rec¬ purpose of giving freedom to the fingers; absurd and ludicrous that there seems to be no limit. The a bounce after a fall; for instance, where to piano teaching literature a new and themselves certain to engender this kind ords were very successful. Even during his lifetime acous¬ it actually stiffens them and handicaps the superstitions regarding dreams make a veritable three pupil’s progress. the player regards as staccato a note not profitable contribution and would fill up of sensibility. When all is said and done, it tical devices for the deaf were so cumbersome that the ring circus of clowns. Yet certain publishers, selling books In this connection I recall that the great so marked. many a regrettable hiatus. Naturally this is only through study of all the details of upon this trash, made small fortunes in their day. In thou¬ great inventor was not inclined to bother with them. pianist, Benjamin Cesi, founder of the This passage, activity should be for the benefit of both the musical expression that it can be developed. sands of homes of supposedly respectable people, the . however, there are devices, some of them stationary Neapolitan school of piano playing, and right and left hand. These details are those indicated by the May it be said, by the way, that Czerny marks: staccato, legato, marcato, martel- dream book was a kind of “black bible,” and belief in it in theaters, halls, and churches, and others carried bv the former professor at the court of the Czar individual, which virtually open up a new life to those of Russia, would never carry a cane, be¬ leaves something to be desired in these re¬ lato, inciso, appogyiato, and so on. A course was firmly intrenched. Those of us who are proud of a gards. His studies, though highly service¬ of studies furnishing drill in these special Puritan ancestry cannot fail to remember that only a with defective hearing. At first these devices, although not cause he did not wish to subject the five particularly conspicuous, attracted attention. Now thev are tendons of his hand to a prolonged and able, too often confine themselves to easy details would be highly useful. The piano century or so ago our ancestors were mired in supersti¬ keys and simple harmonies, and give the cannot, as does the violin, interpret these so common and so inconspicuous that thousands use them simultaneous contraction. tions which led even to the atrocities of witchcraft. It left hand relatively too little discipline— directions in faithful perfection: but it is and are blessed hy their possession. Some exercise, however, antecedent to seems to us rather a proud thing that music, lovely music, that in general use, particularly a funda¬ faults apt to favor dullness of perception precisely for that reason that pianists has escaped this low contamination. Perhaps that is an mental and purposeful exercise, should sup¬ and mental indolence. should take utmost pains in their scrupulous indication of music’s advanced position as an influence in plant the one of the five held notes which Finger activity embraces also the study observance. The Etude wishes for nil its renders a Very Happy the progress of the world. of tactual sensibility. This again is of first Even in 1600 the clavichord was lacking anti Prosperous New Year! is clearly unsound; one to unfetter the fingers, even before piano study is begun, importance, for it deals with something be¬ in resonance, and was powerless to show or at least keeping pace with it, but at any The same device is occasionally neces¬ yond mechanics and of far greater interest, legato; yet Sebastian Bach brilliantly suc¬ rate employing drill away from the key¬ sary to show legato (not to the violinist, something rich and alive in itself—and that ceeded in conveying both illusions, and was board. It is said that Chopin used to go however, since he has in his bow a quite is touch, the engaging means by which the able to set forth handsomely the intricate

JANUARY, 1937 9 THE ETVDE tion as if it (the hand) were resting on the i R.it if that were so it would be rather keyboard; drop the fingers one after the voices of his fugues, and to play with sen¬ with articular sensibility. difficult if not impossible to take advantage The Magical and Misunderstood Art of These conditions understood and the de¬ other each on its own key, lifting them sational effect the swiftest passages of his of that important factor weight. and the after the hammer has struck. In this way preludes. Of course, though, Bach was . . . ductions drawn, I now propose certain ex¬ working speed of the fingers would be ercises for the building up of delivery in we get the double advantage of training Bach! somewhat limited. So let “ each finger to recognize its correct weight, Now I believe I am about to tread on the fingers, each according to its indir nosite picture, imagining energy as begin Reviewing and to strike with a spontaneous vigor of new ground in piano teaching. When the vidual weight. Stotaild «p .t the finger W* student has well grasped the difference For single notes; its own, unaided by extraneous muscular spreading out thence to the arm. in- e e- ergies coming from arm or hand. By the Distinguished American Composer between legato and non legato (which is Ex. 8 ergy I am talking about is specifically of Repeat the exercise again and again, not staccato!), and the distinctions one finger motion, a twofold mechanical act from another of marcato, martellato, inciso, proceeding through the round of keys. downwards and upwards. Summing up; the finger which actuates Henry Holden Huss appoggiato, and so on, he will have made Let us call this performance a prehensile the key has two sources of power; the first a great stride forward in the acquisition of act” It is definitely related to finger ac¬ physiological—that is to say, from its own For double notes; tivity, because a finger’s energy is the phrasing, of accentuation; little unnoticed particular muscle, giving a distinct sensa¬ Such studies, which seem at first sight Ex 9 equivalent of a finger’s weight. I LOVE TO QUOTE that old saying inaccuracies have crept in; fingerings have insignificant, have on the contrary an Finger activity arises from the natural tion of weight for each finger—which type attributed to Pythagoras, “One often Henry Holden Huss was born in Newark, New Jersey, J°nuary,21’1862, become altered, and so on. In short the analytical and practical purpose; like the touch, which I suggest as a basis of piano of energy one perceives and develops must forget a thing four times be¬ He was at first a pupil of his father and of A. B. Boise. In Munich he studied piece has felt the tooth of time, and has utterly simple vocalises which singing ar¬ technic. Truly the action of the fingers through the above floating hand exercise. fore he permanently remembers it” (or with Giehrl and Rheinberger. Since 1885 he has been one of the foremost teachers distinctly deteriorated. There is certainly tists use daily in order to gain habits of weight and its withdrawal encompass that The other source of power is mechanical words to that effect). I generally para¬ of New York. His works in all forms have had excellent receptions; and many a thrill in determining that the piece one expression and to sharpen the ear for vowel muscular energy that controls the weight and takes place with the finger resting on phrase it thus: “You often have to review of his compositions of symphonic dimensions have been played by our leading is reviewing not only shall go as well sounds, a thing that seems so natural and itself, giving a natural tone without strain (or, rather, sunk into) the keyboard. In a composition four times before it is a orchestras. as it did last time it was in presumably superfluous. either on key or hammer. the latter case each finger that moves is permanent and really artistic possession. “apple-pie order,” but also that it must When finger weight fails to perforin its supported by the ones at rest, which serve, What a world of meaning lies in those go much better, much nearer perfection. It Ex.7 tUQ For economy of space I merely suggest elemental (that is to say, its causal) role so to speak, as levers; and it is then that words, “an artistic possession.” One of the type of exercise; their development the finger, with its proper energy spent, learn how to study in a really artistic whiskey is better th2°*n" eS'anTa'S t^he^onftelk^%^“Lkinggtaprove- —for instance, in the delivery of staccato— the striking differences, which distinguish and efficient manner. No one ever really all!” So if one has discern and a high an adyance jn technic> in must be by the student. draws on that of tensed muscles in the a really great artist from even an un¬ Clearly the third finger is, shall we say, there is sluggishness in finger and hand; hand or arm. In this moment it can no usually talented and brilliant amateur, is gained even a moderate degree of perfec- standard, a l pieces are fflfficuh. Why, t gemjjne artistryi it is just this method of the master, of the others; hold it steadily whereas, in point of fact, both hand and WrVr^ longer be sensible of its own weight for the power to analyse one's own work from tion without a great and insatiable hunger takes a reall artist to “‘f P f *trade careful- conscientious study which is abso- at one level, bent at the first knuckle, and finger share in the action necessary for \"A iiHTr the simple reason that it has itself thrown a very lofty standard. You remember for it; and likewise a great and exuberant even a child s plece " the ,SeC°'^ g^T.’ lutely necessary. It would be an excellent try to make the others hinge from it: you setting the piano keys in play. On the other off that weight without having utilized it. Touchstone, in “As you like it,” refers capacity for painstaking, conscious study, with lovely touch, delicate phrasing subtl decidedly helpful idea to do what some will see that their freedom of articulation hand, when the fingers utilize their weight, Naturally this exercise of the sunk fin¬ to Audrey as “a poor thing but mine (I mean by conscious study, studying with accent, proper rhetorical pauses, and haye found sQ yery is hampered by the position of the third they spontaneously combine muscular ac¬ The more finely the fingers (or rather gers should follow that of the floating own.” We are too often to our faults “a your mind on your job, not letting your punctuation, pedaling coloring and so on have ^ finger. tion with it, and one must let them rest the perceptive papillae') become apt to hand; that is to say, it should be practiced little kind.” One hears a great deal about fingers go their own sweet, or more often Now the only i"fy h, like the camera, does exaggerate the Presenting Messages and Music From Many States meaning lies in the words “an artistic pos¬ the same tempo with both hands at once, notes, fingering, rhythm, phrasing, expres marked degree, session.” By Aletha ML Bonner How few, how pitifully few, of the tale'?* o7d,UJSTSShSt Sis") filrf'i.XE pieces reviewed by the ordinarily talented III. “I Hear America Singing”—In The South player, are “artistic possessions.” And why is this? The ordinarily talented student I wish I was in de land ob cotton, tainment. His work in caring for huge the art life of New Orleans, as early rec¬ stirred by the raucous refrain of a Rodeo works hard enough, spends a sufficient -szrfi&s^r&vsz?rxSV&r-- sal Old times dar am not forgotten, herds of cattle has resulted in a series of ords testify; the city having had a series Song: number of hours at the piano (sometimes %£%i to b’TLS thing l . - prut. » -- , p«e J*. Look aivay! Look away! songs closely associated with the circum¬ of opera houses from 1808, with one of the The baud of a steer to a cowboy's ear a much more than sufficient number of easy niece All pieces are difficult in vary- has been m disuse, and only semioccasion- utter- h°w b,tt"‘y ",p n ttiey Look away! Dixie Land. stances incident to this life on the plains. finest—the old French Opera—opened in Is music of sweetest strain. hours) doing what is euphemistically and ing^degrees. You know what the old Ken- ally played through, many little niceties you interrupt them! —Emmett. Some of these are called “Dogie Lullabies” 1859. This was destroyed by fire on De¬ And the yelping notes of the gray altogether too kindly called “studying”; tucky Colonel said about whiskey, “Thar’s have become blurred or forgotten. Forgot- Vacations for Pieces and are used to quiet stampeding cattle; cember 4, 1919, but its memory is still coyotes and yet how unsatisfactory, in too many no sech thing as bad whiskey; some ten are many fine points of pedaling, of TQ MENTj0N an important isten carefully to ail folk others are “Trail” and “Roundup” songs, tenderly cherished in old Orleans. Music L To him are a glad refrain! cases, is the result. It is indeed tragic J. point here. A piece must have a vaca¬ Songs; they are a storehouse of highly original in both words and music. lovers of modern days derive pride and when one thinks of the billions and bil¬ tion once in a while. Unfortunately multi¬ d most beautiful melody, and unfold These remarks relating to certain forms Of the musically talented sons of Texas, delight from the expansive Concert Hall lions of hours spent by millions and mil¬ tudes of students do not realize this. A to the mind the inner character of the dif¬ of characteristic music found in the South which is to be found housed within the none has a richer record for artistic accom¬ lions of students in “practicing,” but with favorite piece is constantly played and ferent peoples,” wrote Robert Schumann; and the West .are given as a.short prelude great Municipal Auditorium, built in 1930 plishment than Frank van der Stticken no noticeable improvement in style and played and played, (not restudied, mind ; add: to our. entrance into the. heart of each as a memorial to the city’s hero dead of (1858-1929), composer, choral director, finesse, yea, often not even with much Folk Music reflects, to a certain extent, regional section oil our musical-pilgrimage. all wars. and orchestral conductor; and it was you—a vastly different thing). Now what needed velocity, not even (to their shame, happens to the overworked piece? Why, the characteristics of the environment from The: mighty Mississippi River forms a The “Crescent City” (so called because through his birth town, Fredericksburg, be it said) with the imperatively needed it becomes stale, yea, rancid (excuse the which it originated. For example, in the water boundary betweqn: the states of Min¬ of the river’s double bend, and the con¬ that we journeyed along a northwestward accuracy. crude expression). Your neighbors and solitude of the mountains, musical expres¬ nesota, Iowa,. Missouri, Arkansas, and sequent contour of the town), was the route, which carried us out of Texas, and Many times the net result is a very your long-suffering family wish the piece sion is a matter of unassuming utterance. Louisiana (these.five) on its west bank; birthplace of one of America’s most poetic over the sands of New Mexico, with the puny little repertory. Not only puny, but never had been born (they may not admit The mountaineer, with naive simplicity, with another five—Wisconsin,' Illinois, Ken¬ composers and concert pianists, Louis weird cacti in the desert dawn. diseased and ragged and certainly not fit this to you)! You, yourself, consciously sings of his ‘‘houn’ dawg,” the “well-house” tucky, -Tennessee, and . Mississippi on the Moreau Goitschalk (1829-1869), partic¬ for performance at an average amateur or unconsciously, become tired of it And and its “old oaken bucket,” and other ele¬ east; and it Was along the flowing path of ularly gifted in salon writings for the Program—Part III radio “try out” (This last is certainly ments of his every day life. progress of the “Father , of Waters,” or (here is a fatal point) does the poor over¬ PIANO; descending to a very low level indeed. I The American Negro is blessed with a “Old Man River” (to quote the title of an worked piece, threatened with heart failure, Dixie Land. 6 Hands (Folk Song), Dan defy contradiction! ! !). How many stu¬ unique poetic and melodic nature, and of remain in its—let us flatteringly say— outstanding , song in Jerome Kern’s [born, Where the West Begins dents (often possessing decided talent) these musical gifts he has given generously, Emmett (Ohio) pristine state of comparative perfection? New York] light opera, Show Boat), that TT WAS WITH reluctance that we have a really available repertory of three as is indicated by a wealth of Spirituals, Back To The Colton Field, Mathilde No, a thousand times no! As I have al¬ we journeyed into the; sunny land of Dixie. A turned from the tawny waters of the or four pieces? Sometimes, if judged by a fantastically formed, in some cases, as to Bilbro (Alabama) ready hinted, it deteriorates, here and there home of the laeonic “Arkansas Traveler,” Mississippi and its towns of traditional and high standard—the very kind worth hav¬ major and minor modes; croonings, and A Mountain Lad (From “Blue Ridge and everywhere. A vacation is necessary, is the picturesque banjo-playing “Uncle Ned,” topical interest; however, the journey ing—the aforesaid repertory consists of one monotonously-droned “Work Songs,” and down where mockijig birds' trill songs of Idyls”), Lily Strickland (South Car¬ imperative. ahead promised pleasing prospect for our piece (if it is a long and complicated ecstatic “Shuffle-toe Tunes”; and truly delight, and where' graceful festoons of olina) When you do decide to review it, do not pilgrimage was to carry us Westward one). It is the piece one studied before tak¬ should he be considered a noteworthy fac¬ The Enchantress, L. Leslie Loth (Vir¬ delude yourself into believing that merely Spanish moss sway with the rhythmic ing up the new piece. Most of the old tor in the sum of the world’s folk music across- the broad “Lone Star State.” with ginia) mood of passing breeze. pieces have jagged holes; moth eaten places playing it through (necessary as that is achievement. a brief sojourn in the metropolis of the Negro Elegy, John Powell (Virginia) where the young player hurries and in¬ once in a while) at full speed many times, The American Indians also are impor¬ Southwest—San Antonio, Texas—founded Southern Nights. David W. Guion (Texas) is efficient reviewing. It must be gone A Romantic City by the Spanish more than two centuries evitably makes a bad matter worse; places tant contributors to a distinct type of folk Creole Eyes, Louis M. Gottschalk (Louis¬ after in the ways I have indicated—the Here in the southland has ago. In the city’s heart stands a low. thick- where one is uncertain about the fingering music. The aborigine lived to the accom¬ iana) ways that great artists employ. One of musical inspiration found its most ex¬ walled building—the historic Alamo—one of that complicated left hand scale pass¬ paniment of song; to him it was the one pressive voice in the ballads of the Bayou, VOICE: the many fascinating ways some great of America’s most illustrious shrines, and age; places (if one is playing without vital expression of joy or love of war or Ol’ Car'lina, James Francis Cooke (Mich¬ artists practice and review is to take a the fervent Negro spiritual, the plaintive held sacred to the memory of Davy notes) where one always gets mixed up sorrow—there was nothing trivial, nothing Creole melodies and the tender heart songs igan) difficult passage, each hand alone (and Crockett, Colonel Bowie, and other heroic about the phrase on “page 3” and its shallow in the message of this primitive of love and friendship. Pickaninny Lullaby, Op. 30, No. 5, Tod B. then together), transposing it into several pioneers. Near this citadel of Texas lib¬ slightly altered reappearance on “page 6.” musician, and his recorded songs and dance New Orleans, “Queen of the South,” is Galloway (Ohio) keys, very slowly, and then faster, but themes are full of human significance. erty stands the bell-crowned Espada. one Honey Chile. Clarence Cameron White All these defects and lapses make the a city of exclusive charm. Antiquity and old pieces unpresentable before even a keeping rigidly the original fingering, never of the oldest missions in the United States. (Tennessee) modernism are blended into a pleasing har¬ mildly critical audience. Have I overdrawn mind how awkward it may seem, with Nature Leaves Her Mark San Antonians have also raised a mas¬ String Loti’, Sweet Chariot, Negro “Spir¬ mony. of narrow old world streets and the picture, or painted it in too lurid varied accents, varied rhythms, varied AGAIN, IN the vastness of rolling sive memorial auditorium to their heroic itual" broad boulevards of beauty ;. venerable colors? I think not. phrasings, and varied degrees of power; A prairies, the ‘open range country,’ war dead and this is the great music Lift Every Voice And Sing (known as shops that .give delight to .the. antique Now what shall we do to remedy this in short to make a miniature etude out of away from immediate contact with the out¬ center of the city; yet in this place of pic¬ “The Negro National Anthem"), James hunter, ■ and modern industrial''plants of lamentable state of affairs, and to gain a the recalcitrant passage. It was this method side world, the American cowboy has had mammoth design. Here, too, .music holds, turesque contrasts Music's voice is ver¬ Rosamond Johnson (Florida) satile indeed, for here one may receive a real repertory? Why just this: we must (.Continued on Page 60) to depend largely upon himself for enter- and has ever held, an important place in The Lone Prairicc (Cowboy Song), Arr. THE SONG OF THE NEW DAY peaceful message from mission bells, or lie by Arthur Farwell (Minnesota) 10 JANUARY, 1937 11 the etude The Romance of "The Sweetest Story Tooting Your Own Horn" The Most Difficult Instrument for the Musician to Learn

Ever Told" A STORY OF HOW PUBLICITY TURNS THE TRICK FOR THE MUSIC TEACHER By the Widow of the Composer By Marie Dickore

ing. In this way she contacted another make the photograph unavailable when her own photograph and that of Evelyn Mrs. R. M. StuSts SEE that Rose Smith just got back group of potential patrons. I that hat went out of style. The picture in the ci(y paper, whose editor used a nice from that music school she gradu¬ item about Rose and her studio tea. When a great artist was booked for a ated from. Wonder what she is going turned out well and Rose had several SHORT TIME AGO I encountered blame a man for being overwhelmed by produced by a local amateur taunatk: or- Sally used, at various times, the list of concert in Monroe, Rose was thrilled to A to do now?” mused Mrs. Sawyer. She had glossy prints made up, unmounted. On remember that this artist was her sorority among the effects of my late hus- such a personality. I joked with him about ganization called The rai guests, the program, items about Evelyn, seen Rose grow up, had heard her prac¬ the back of these she lightly penciled her band, Robert Morrison Stults, a being jealous of the glamorous individual, Club. ’ This was compose o about Rose, bits of interesting information sister. She immediately dropped the news ticing on the piano, and, like all good name and the legend, “Pianist.” into Sally’s willing ear; and, when this copy of an article he had written telling but he only replied, “You know the song and resembled the men s ama eur c Her plan now called for a large Studio about the composers, the compositions, and neighbors, hoped Rose would make a suc¬ item was read in Monroe, Rose was asked of the inception and development of The „„„ „„t written for’her, but for you.” the various big universities. It is interest- Tea; and, as her home was not large quoted from the papers in those cities cess of her musical talent. to serve on the reception committee honor¬ Sweetest Story Ever Told, certainly one I do not believe, however, that when he ing to note that the leading ^ actor in us enough to accommodate all the people she where Rose had played while at school. “Ah, yes,” answered Mrs. Westover, who ing the singer. of the most widely used songs e wrote the song, he had any idea that it production of “Joan of Arc was Harry would invite, she arranged with the hotel The table decorations were mentioned and had dropped in for the latest gossip to be All this time her little class grew posed. There have been so very many ap¬ would become world famous. Mr. Stults Lehr, the New York society leader and the names of the ladies who would assist taken with a cup of tea; “but. music is a for the use of its drawing room. She was plications from widely distant points for s a great believer in writing by inspira- entertainer, who has recently come into the Rose in the hospitalities. Similar items steadily in numbers, and as her little pupils hard business to get started in and you able to get a special rate, because she this story that I have decided to permit i. Although he was a very regular public eye through the extraordinary book were sent to all papers in near-by towns progressed Rose gave them pretty little know that Jones girl had to. give up her could promise the manager some good its publication. worker, right up to his last days, turning written by his wife. This book is known from which some of the guests came. pieces whose titles had some bearing on voice lessons and go to work in her uncle s publicity. Winter, Snow, Christmas, Toys, or such Robert M. Stults was born at Hights- out a certain amount each day, he felt as “King Lehr.” To keep down the cost of the invita¬ themes. They were simple little things, town, New Jersey, in 1862. His father was that the works that really counted were “Hit” is Written tions she had these mimeographed on a “Rose has more spunk than that, I’m Early Victories mostly just melodic arrangements of ex¬ a successful newspaper publisher in Long those that apparently wrote themselves; pretty, moss-green, rough paper and sure,” defended Mrs. Sawyer. “She will ercises; but they served a definite purpose Branch. His father gave Robert no en- that is, works that were inspired. He made 1ET US TELL Mr. Stults’ story in his own compositions. It was through Mr. decorated with a measure of music from THE MUSICAL TEA proved a great 1 now how to get pupils and to keep them because of the titles. couragement in his musical work, but two manuscripts of the song under con- .. own words: Jordan’s interest in me that several of my a well known classic. These were sent to success; and Rose felt she was wanted him to continue in the newspaper sideration, one of which was used by 1 1884 that I resigned my posi- interested.” launched on her career as a teacher when When she felt her pupils were ready to earlier songs were programmed and sung Mrs. Sawyer was right about Rose, her friends and former schoolmates, and to business. His mother, however, and her Mirella on her tour through the South, musical instructor in the Long on the following day several mothers tele¬ play a little recital, she asked the mothers ‘on the road.’ who had spent much of her spare time the mothers of prospective pupils. two sisters were both very musical and his and the other went to the publishers, the Branch, New Jersey, High School and To make the tea more attractive, Rose phoned about prices and time when their to come to tea; and then she explained in the office of the school’s publicity di- her new plan to them. She showed the first music lessons came from his aunt, Oliver Ditson Company of Boston. Unlike moved tc> Baltimore,_ , Maryland,. to engage_ _ “The Tar and the Tartar” wrote for one of her classmates at the children could take lessons. i ;ctor, where she had often helped this It was not long before Rose was asked mothers sketches of costumes, and samples Margaret Swift Morrison, and were given many songs, it did not require years to in the piano and sheet music business. Lo¬ OME YEARS LATER, while filling school of music, a lovely violinist, to in the old Morrison home at Hightstown. make this song popular. It started right eating on Lexington Street, the firm of S clever woman type or paste up clippings. to accompany Mrs. Roth, soprano, who of crepe papers in fascinating shades, and a position as sheet music and piano come and share honors with her. Evelyn His second teacher was a Professor at once, and the demands came pouring in. R. M. Stults and Company started on its The publicity director had given her many gave a program before the Monday Club. told how the little pianists were to appear salesman in Baltimore, the same old pop¬ lives in the state capital, where her father Whortel, but his training at this time was Notwithstanding its very great simplicity, career, with popular music publishing as a valuable suggestion, such as, “You are And then Rose was asked to play several in costumes representing their pieces— ular song ‘bee’ continued to ‘buzz in my is prominent in banking circles; hence meager and up to the year of his death it has been sung by some of the foremost a side line. an excellent pianist, Miss Smith, a good groups of piano numbers at a later meet¬ snowflakes, winter, holly, mistletoe, sleigh- bonnet’ with undiminished intensity. It was Rose was able, with Sally’s help, to get in 1933, he was always embarrassed by the singers of the last four decades. This song “For a long time I had been obsessed teacher, and you should learn to ‘boost bells, Santa Claus, toys, candy, dolls, fact that he had not had extended oppor- was the means of inducing my husband to with the notion that I could write a senti- during this period that I became acquainted yourself’; in other words, ‘To toot your and other suggestions for the holiday sea¬ tunities for study. Realizing this, his own take up musical composition as a profes- mental ballad that would become a great with many of the leading musicians of own horn’; because that is very necessary son. The mothers were fascinated with efforts were infinitely greater. His first sion. He was almost entirely self-taught in popular favorite and yield me a com¬ Baltimore. I lived in a musical atmosphere. in these days. Formerly a music teacher the idea and made the costumes. position was that of musical instructor in his youth, save for a few lessons from a fortable income. There are a great many Adam Itzcl, Jr., a rare musical genius, rested on his laurels and expected pupils The afternoon the recital took place the the Long Branch High School. maiden aunt, who took a great interest in people at the present time who are moved whose early death was universally deplored, to come of their own accord. Frequently class marched in on the stage, proud of I remember perfectly the time when Mr. him. However, he was always a great by the same impulse, not knowing of the wrote a light opera called 'The Tar and he starved to death. Someone has said that their costumes, bowed in unison and took Stults came home in Baltimore and was student and was forever bringing home intricacies which bar the way of the ama- the Tartar,’ and it was put in rehearsal every conservatory should offer a course chairs placed at the left of the stage. Then, fired with a zeal to write a new song. As books on harmony and counterpoint. Mr. teur song writer and prevent him from at the old Holiday Street Theater. Those in ‘How musicians can Toot Their Own at the proper time, each little pianist he says, I was accidentally the means of Theodore Presser encouraged him to go getting his song before the public, were the days when comic opera organiza¬ Horns without lowering their professional arose, went to the piano, bowed, sat down giving him the title, by the remark I made to New York to study composition with “Conditions were somewhat different in tions were made up of such stars as Digby dignity’; for to-day you have to keep and played, then acknowledged the applause after reading The Bird’s Christmas Carol Frederic Brandeis. After a few lessons, the old days. Then the demand was for Bell, Laura Joyce Bell, Robert E. Graham, in step with the procession and to sell your of the delighted audience, walked around by Kate Douglas Wiggin—“Well, that’s Brandeis told him that his fundamental melodious and appealing heart songs, minus Mira Mirella and others. wares by using two good forms of pub¬ the piano, and sat down again. the sweetest story ever!” He immediately knowledge of harmony and counterpoint “jazz” and senseless syncopation. Public “After ‘The Tar and the Tartar1 had licity, if you cannot afford real adver¬ In this way the audience could view added the word “told” and had his title, was such that he needed no additional in- singers during this period did not, as a finished its first week to big houses, a tising.” each child’s costume, the children became With this thin thread of inspiration he struction for the work he proposed to do. rule, expect to be paid for singing a new young woman of singular beauty and de¬ “Why, I have been thinking that there accustomed to their first audience, and started upon the song, and in cidedly theatrical bearing came up to the is but one form of publicity. What is the the feeling of companionship and competi¬ had completed the words, and ii These remarks relating to certain forms delight from the expansive Concert T[ music counter of the store where I was other?” asked Rose, in surprise. ■j (- characteristic music found in the South which is to be found housed within tion kept the program alive. two hours the song was done. employed and asked me to show her some “By word of mouth is the one, the The stage was decorated in keeping with t d the West are given as a. short prelude great Municipal Auditorium, built in 1 R5 of the very latest love ballads. She wanted newspapers give you the other. You must Christmas, much of evergreen, many red A Subject for Moods Iowa> Missouri, Arkansas, and sequent contour of the town), was e citals, present your pupils in programs, give Mirella, he mentions, was considered in an interpolated song called Afterward, by red ink on a paper of a light green tint, “Thdui?iana (these. five) on its west bank; birthplace of one of America's most poC the folks, especially the boys and girls, the Baltimore of our day to be a star of Mullen, which did not quite fit the situa¬ and were decorated with various Christmas was th another five—Wisconsin; Illinois, Ken- composers and concert pianists, L<" something besides the movies, auto rides, great prominence. I remember that she tion. What she wanted was a song of designs. After the recital each child re¬ to ha^> 'Tennessee,: and .Mississippi on the Moreau Gottschalk (1829-1869),’ par* and the like, to talk about at the dinner wore a dress of brilliant colors, with strong heart appeal. We spent probably an ceived a big stick of peppermint candy, long train, to which was attached a long i serf*; and jt was along the flowing path of ularly gifted in salon writings’ for * table. When you get ready to open your hour together, going over various ballads, beautifully wrapped and tied. loop that enabled her to lift up the train life j'gtc'ss of the “Father., of Waters,” studio, Miss Smith, ‘toot your own horn,’ none of which seemed to please her. During the holidays the program was in the street. She wore waterfall curls and js a lid Man River” (to quote the title of an good and loud; and then get the news¬ Finally, in desperation and with brazen repeated before two Sunday School classes a small hat of coquettish type. As she lives.tefittdiflk song in Jerortie Kern’s [born, paper and the young people to help you Where the West Begins ' nerve, I remarked, ‘I guess nothing remains and, by request, at a near-by orphan home. a very handsome woman, could hardly eretUw York] light opera. Show Boat), that TT WAS WITH reluctance that amplify it.” Journeyed into the sunny land of Dixie, but for me to write a song for you.’ In each instance Rose found the Daily A turned from the tawny waters of j “At first she did not appear to take my News very receptive to items about the ne of'the laeonic “Arkansas Traveler,” Mississippi and its towns of traditional ; Starting a Campaign picturesque banjo-playing “Uncle Ned,” proposition seriously, but I insisted that 1 recital and the children, even sending the topical interest; however, the jouri’ really meant what I said. So, after more THERE WAS no publicity director in \vn where mockifig birds trill songs of ahead promised ’pleasing prospect, fo/c her home town, to whom Rose could staff photographer over to take a flash talk over details, it was agreed that she light picture of the recital. These stories fight and where graceful festoons of pilgrimage ' was to carry us Westw* go for further advice; but she did drop in should meet me at the store on the follow¬ brought an invitation from the radio sta¬ mish moss sway with the rhythmic across-the broad “Lone Star State” w" ing day, at eleven A. M., at which time I at the office of the Daily News, for a chat id of passing breeze. a brief sojourn ;n the metropolis’of 1 with Sally Brown, with whom she had tion in an adjacent city to bring the chil¬ was to produce the manuscript. dren for a special program for shut-in 4 O . ... Southwest—San Antonio, Texas—foum! graduated from high school and who was | A Romantic City by the Spanish more than two eentnr now assisting the society editor. Sally was children; and this radio appearance The Muses “On Their Mark” brought her three new pupils. JERE IN THE SOUTHLAND has ago. In the city’s heart stands a low hi1 OING HOME that evening, I had not glad to give Rose an item telling about G her graduation, the honors she had won Immediately after the holidays Rose be¬ i music.al ^piration found its most ex- walled building-the historic' Alamo-.'" the slightest idea of how 1 was to Lssive voice in the ballads of the Bayou, of America's most illustrious shrines •" gan plans for a spring recital when little ‘make good’ on the self-imposed task; nor at school and her plans to open a studio | fervent Negro spiritual the plaintive, held sacred to the memory of D pieces illustrative of spring flowers, sun¬ had I any reasonable ground for the belief in their community. sjf°le melodies and the tender heart songs Crockett, Colonel Bowie, and other heu Rose planned her campaign carefully, shine, trees, wind, rain. May day, robins, that my fair singer would keep her ap¬ ;if|love and friendship. pioneers. Near this citadel of Texas ’ to cover the first five months of the sea¬ rabbit, and other easily costumed titles, —New neleww - erty stands ^ P pointment. Still I felt that it was a chance jjiNew Orleans, “Queen of the South, son; and she began with a visit to the would be on the program. worth taking. I spent most of that mem¬ jHcity of exclusive charm. Antiquity and local studio for a new photograph of her¬ About this time Sally was told by her of the oldest missions in the United Stall orable evening in our apartment, trying to ^ odernism are blended into a pleasing har- self, a professional one—a picture that editor that she would be sent to New San Antonians have also raised a n ‘ formulate a title. I realized that this was >ny of narrow 'old world streets and would be pleasing, yet not exactly too flat¬ York for the spring Fashion Show. She sive memorial auditorium to their heif essential, but I seemed not to be able to >ad boulevardsuuuievaros ofoi beauty;oeauty; venerable war , dead, and this is the , * tering. For this she wore a pretty after¬ wondered how Rose would get along with think of anything but commonplace and -4ps that .give delight to the antique center of the city; yet in this £S ouj noon frock which showed a good neck line. the stories about her spring recital and TT/-«intf*r ' atlrl irfnrlprn inrlttcfnri 1 Txlr,A__ llil' l)1«ce OI ft conventional names. The title of a song, She did not wear a hat, because this might talked with her about this. if strong and with an outstanding appeal, Birthplace of the Composer of The immoth design. Here, too, .music holds, satile indeed for herTone prove the opposite of what “hot dated “The editor has a waste basket along¬ very often makes the composition of both His Mother in the Ftd has ever held, an important place in peaceful message from mission beE^ coffee” should be; its “date-line” would side his desk, that just yawns for every (Continued on Page 47) JANUARY, 1937 13 THE ETUDE Their Toughest Spot would be writer’s manuscript,” she told Book,” in which she had pasted every Rose laughingly. “Because I do not want item, carefully clipped and dated, about First Steps in Mus Composing for to see your publicity fall into the yawning herself since she-returned to Monroe. Even Taking Things As They Conte chasm, while I am on this trip, I will type the various programs on which she played, By Harold Bauer some of the rules for you. Follow them, and that of her pupils’ recital, were A Very Easy Road to an I the Pictures and take the stories in to Mr. Harris your¬ mounted, so the book presented a complete of which you speak in your recent letter. self.” history. In the life “From one aspect I look upon the career These are the directions which Rose “Be sure,” cautioned loyal Sally, “to use of every artist By Carl M. of a musician as an unalloyed joy, in which received: your name in every item you write for the there comes a “First of all, be careful that, if the edi¬ paper, and to use it so that it can not be time -when a external success plays no more important a By the Noted Austrian Master tor is busy, you just leave your copy on blue-penciled. It is very important for you point is reached part than the momentary gratification of Transposing a piece of music, the desk and go out immediately. If you that the readers of the Daily News see at which an im¬ personal vanity. From another aspect I re¬ from one key to another, is a very respect his work and time he will ap¬ your name frequently.” portant decision gard it as an unremitting and lifelong simple process, when once a few Erich Korngold preciate it and will feel favorably towards “Later on,” said Rose, “I want to pay must be made. struggle, bringing few rewards and many fundamental facts are understood. It may your copy. for some advertising for my class. I think The Etude disappointments. be accomplished by the person with no it would be but fair to you and to the “The greatest problem before to-day's “Be sure to type your copy and to double asked a number particular knowledge beyond the simplest An Interview Secured Expressly for The Etude Music Magazine News which has been so good to me; and of foremost ar¬ aspiring young artists is how to obtain op¬ rudiments of the theory of music, includ¬ “Type your name in the upper left hand I think I shall be able to afford a small tists to relate portunities to perform in public and how ing, of course, such items as the sharp, Verna Arvey announcement at least once a month. I do the “toughest to earn their living by such performances. flat, natural, and the scale. With this we By Flats are added to the key signatures in “Begin your story one-third down from want to play fair. You and the editor have spot” in which I believe it is rare to find an artist whose begin. the following order: B, E, A, D, G, C. the top of the page, and indent about 10 been so fair to me.” they had ever success has been definitely achieved by the In January Rose had formed her pupils Intervals spaces. HAROLD BAUER been placed. overcoming of any one single obstacle, al¬ “Leave a margin of one inch on sides into the Monroe Junior Music Club and These replies are being published in a though such cases do undoubtedly exist. ANr INTERVALI is the measure of the Transposition and bottom of page. asked the National Federation of Music monthly series. Mr. Harold Bauer, in his "All I can say is that I find work just /i- disdistance or difference in pitch between ransposition is accomplished by “State the date of release of copy (day Clubs to accept it for membership. This T Erich Wolfgang Korngold was born May 29, 1897 in Briinn, formerly forceful and genial manner, tells that we as arduous (and just as satisfying), ob¬ any two tones, and is named according to playing, singing or writing music in when it is to be used), in upper right hand opened the way for recognition, for ex¬ Austria, now Czechoslovakia. Since 1901 he has resided m Vienna. He is the stacles just as formidable (and just as un¬ the number of the degrees of the scale in¬ a higher or lower key than the original, change programs with other clubs, and for must take life as it comes and enjoy its son of Dr. Julius Korngold, music critic for the Neue Freie Presse of Vienna. triumphs as we are hurt by its rebuffs. He important), discouragements just as great cluded. Thus we have: Unison or Prime, “Do not write in any head lines. If participation in state-wide contests, besides Second, Third, Fourth, Fifth, Sixth, oufdTerve to project the full meaning of tl He began to take piano lessons at the age of six, and made his first attempts at says: and artistic elation just as keen, as any of you have a suggestion, then type it in at giving Rose another opportunity to keep Seventh, and an Eighth or Octave. We will the composition when but seven. His teachers were Robert Fuchs and Alexander V. “I am sorry to be unable to respond to these things ever have been in my life. Per¬ center top. her name in print. She joined the Monroe not concern ourselves with the kind or There is not an allegro in any overture Zemlxnsky. At the age of ten he composed a fairy tale cantata, which he played your invitatioh as I should like; but, to haps my ‘toughest spot’ is yet to cornel” “If you use a second page, be sure Music Club, served on a committee, and variety of intervals. of Weber, Mendelssohn, Wagner or any before the amazed Gustav Mahler. His pantomime-ballet, ‘ The Snowman, u-as your name is at the top and add ‘Page 2.’ played when needed. be perfectly frank, my memory does not To read an interval, remember this one other classical composer (with the excep- composed at the age of eleven. Many more compositions followed m rapid suc¬ “In writing this copy, be clear and con¬ Rose found that there were several serve to recall such ‘toughest spots’ or important point: in reckoning the interval tion of Mozart and a few others of the cession. The youthful prodigy progressed so rapidly that before he had reached cise. As Mr. Harris says, ‘Write so clearly members of the music sorority, she had seemingly unconquerable obstacles as those always start with one on the first tone. We earlier composers) which does not require the age of twenty-three he had completed major works, such as the operas that it is not only easily understood but joined at school, living in nearby towns; will take two notes of the scale, let us say many changes from the main tempo—to “Violanta” and "Die Tote Stadt.” He became a conductor of his own works, as that it can not be misunderstood.’ and she asked them to drive to Monroe C and D. distinguish properly between that which is well as of the works of other composers. In 1924 he married a granddaughter of “Each of your stories, as every good for a reunion at her home. As these sorority Fifty Years Ago This Month , purely rhythmical and that which is emo- the actor Adolph Sonnenthal; and in 1930 he became a professor of the W icner news story does, should answer the ques¬ sisters came from chapters other than her -x’ tionally sentimental. This is quite equally Stoats Akademic fiir Musik. His biography was lonttcn by Rudolf Stephen tions, Who? What? Where? When? Try own, Rose was able to get nice items in the fa I | true of all other forms of pretentious music Hoffmann and was published in Vienna in 1922. He is, at the time of writing to get this all into your first paragraph. society columns of the Daily News and in * .1-1 whether symphony, tone poem, or rhapsody. (1936), still a young man.—Editor's Note. “Take the copy in yourself, the day be¬ the papers of the other towns. In this way STEPHEN A. EMERY, eminent oblivious of this often troublesome skip. Tempo marks are merely suggestive of the fore it is to be printed. she was able to spread the news about her authority on harmony and counter¬ "The subject broadens beyond the possi¬ Starting with one on the C, D i: i main tempo but too many conductors ad¬ “When you begin writing copy,” said piano studio and secured several new pupils point—which he taught in the New bilities of the present occasion, and I Hence C to D is a second. here to them slavishly throughout a move¬ Sally, “think of the central idea behind from out-of-town. England Conservatory from 1867 and in hasten to make a passing reference to the This time we will take C to E. ment instead of attempting, by a careful your recital, in this program it is spring, Soon she found it expedient to put the the College of Music of Boston University reflex influence of touch acting on the offer the world will not allow his mind to him to dictate to those who pay him his and work this into your first paragraph. accompanying advertisement in the Neivs; RT IS LONELY to-day,” declares the mode of expression that has changed. from its foundation till his death in 1891— mind and returning in transformed impulse be contaminated with that sort of enter¬ salary, and to be independent so that he It might be that there is not much space because it was apparent that it would Erich Wolfgang Korngold, the “For the young composer, there are n had the following to say on “Mental Proc¬ to the hand. Let any one practice on an old. tainment music. After all. they are two can return to Vienna to write his new that day for your article and it has to bring her contacts that soon were made into l. Viennese corhposer who was once many dangers. The young composer should esses in Musical Execution”: worn-out instrument: how soon does the “A different things: writing film music, and opera, “Die Kathrin,” when the film work be cut. The editor will not rewrite it, he patrons. termed the most amazing musical prodigy first study the old masters—pot to copy “The inability to fix the mind upon some¬ interest flag, the mental energy disappear writing art music. The approach to the one is finished. He may then return, if he will, will just ‘blue-pencil it.’ He probably will of the twentieth century. “The public is them, you understand, but for background, thing other than what is immediately before and the progress cease? With the lack of is that of a craftsman, to the other that of to write the score for “Danton,” Max begin by cutting out the last paragraphs. one not infrequently renders it impossible responsiveness in the instrument, it is, against great art. It wants something Perhaps he should even go to Vienna for Reinhardt’s scheduled screen undertaking. MUSIC STUDY MADE an inspired creator. The one factor that If you have any items of interest, such for the student to play certain things. Many indeed, a wonder how the players of cheaper. Films and radio suffice to enter- this. Then he should discover his own Yet, to a certain extent, Korngold has as your twins who will play a four-handed DELIGHTFUL tain it, since the opera and the symphony musical personality. He should not be dis- makes this evident is the amount of me¬ improperly trained pupils cannot play the Bach's time retained any intensity of musi¬ chanics in film music—mechanics to which had to adapt himself to Hollywood. When number, use this- as a special article. Each Ir this age of Music, the Study of an major scale of G-flat, though told that, cal feeling. Every pianist recognizes how orchestra are not sources of joy to it. appointed, nor should he lose his energy he first arrived, he told the producers flatly day pick up something of interest to your all the composers must conform in order instrument is becoming one of the save in notation, it is quite the same and truly indispensable is a sympathetic action, “A musical difference in Europe and and his ideals when he discovers how few that it was impossible for him to work as readers for your item. You may not get to give their work a commercial value. “Musts” in the Child’s Education. Rose played the same as the major scale of F- without which not only arc all refinements America? I am sorry to say that such a opportunities there are now for sincere art. hastily as other film musicians work. He them all in the paper, but if your copy is keep going; someday -recognition Even Korngold, while he worked on the Smith has had wide experience in sharp; and as for the major scales of of expression impossible, but. because of thing no longer exists. The days when peo- . _ insisted that he needed time for reflection, interesting and well written, there is no But the film, “Anthony Adverse,” developing his making music lessons interesting and C-sharp and C-flat, they will not even at¬ this, refinement of feeling, also is seriously pie felt that all the world’s culture dwelt and understanding will for mature deliberation, as well as time reason why it should not be printed,” stated fox trots. new idea of pitching the music just under¬ profitable. She may be seen, by ap¬ tempt these. Similarly, the trouble is only i the other side of the Atlantic Ocean young composer should nqt Sally. lessened. A responsive action and a pure neath the pitch of the voices and rushing it for his own creative work. Even he has had pointment, at her Studio, 374 Watson mental that prevents so many from playing have long since passed. Of course Europe He should close his eyes to the films and to make concessions. No longer can he “And do not forget, when you have your tone are so invaluable that we may well into pauses in the dialogue, had to work Building, Bardstown, Kentucky. the grand arpeggios of the dominant e fond of opera than is America, ’ ' —~ ^-the radio.JS~ He should »simplys—j| programs printed (or mimeographed),” say a good instrument is equal to at least with stop watch in hand; for in such cases create his own music while he is actively seventh in any minor key, when identically though opera has declined there also, of serious music, as the masters did: added Sally, “to be sure that the exact date one term of lessons. accurate and precise timing is of paramount engaged in underscoring a film. That for the same arpeggio has been well played, late years. Still, there is not in Europe the real, a difficult question to-day, for writing and the name of our fair city are given. At the end of the year Rose found her¬ "Finally, we ask, what is the prime importance. “Captain Blood” was written in three if regarded as a part of a major key. dearth of operatic presentations that one entertainment music is not composing. Men weeks—surely, as he remarks, a “crazy” You know, some of your programs may self busy with a large class and with prom¬ source of that wonderful gift which we like Mahler, Bach and Bruch were giants. Korngold is not worried only over young “Imaginary obstacles often grow to be finds in the United States, where there way to do things. Yet, he was pleased with be sent out of town and be read by some ises of more coming in. Her circle of call improvising? Most especially in the gifted, but he has nothing to do film musicians. He is worried also over the real. I recall an amusing illustration in the only a few cities able to support opera for Lehar one who might wish to get in touch with friends had widened; she was in the public exercise of this talent does the player ap¬ ;. And those films! fact that in many cases too many composers the score, pleased that a suite from it would case of a young lady who excused her only a few months each year—and this is with music, eye whenever music was concerned. Pub¬ preciate the inspiration of a truly musical >, for they need so are assigned to the same picture. Conse¬ be published, and pleased with the writer’s broken playing by saying: ‘I don’t see nothing. Opera is too expensive for these They are dangerous Rose showed Sally her “Publicity licity, well handled, had turned the trick. instrument. But the instrument is a mere many musicians! They hire every composer quently, too many alien ideas creep in. He suggestion that it would be of interest to why I can’t play to you; I’m not afraid of United States. It was always a luxury the general public to print the entire score, auxiliary. What unseen influence guides Europe, though Europeans loved it too they can find, with the result that many of is disturbed over the fact that in a non¬ you, but when I come here I cannot play.’ apart from the film, just as a screen sce¬ the fingers of those whose improvisations much to worry about the cost. Opera they them lose their best inspirations in pictures musical picture, where there is, neverthe¬ Upon my suggestion, she promised tcf im¬ nario has lately been published in its orig¬ present so intricate a lacework of har¬ that will be scrapped to-morrow.” less, music, it is relatively unimportant. He Getting the Perspective in Teaching agine me sitting near her at home, in order monies adorned with all of grace that feels that more recognition should be given inal form. to overcome her nervousness. At her next melody can furnish? What is it that gives A Master at Work In fact, Erich Wolfgang Korngold likes lesson she said: ‘I did as you told me; I to these unstudied bursts of music their A Far Flung Audience JT MUST BE EXPLAINED that this picture work. By Gertrude Greenlialgh Walker opened the door and invited you in, and The King Condescends “I play only the piano and the orchestra,” wondrous delicacy of expression, their “ OERHAPS THAT IS the difference T interview with Korngold took place ir placed a chair for you near’ the piano, mysterious romance, their enduring fascina¬ A between the music of to-day and that the busy Warner Brothers-First National THE STUDIO AT WHICH he works says Korngold. Then he adds whimsically, where I imagined you sitting; but I tion? Not the most intense study or im- is justly proud of the acquisition of “The orchestra is such a very nice instru¬ Just as an artist needs to stand away of yesterday. The modern composer writes film studios in Burbank, California. Korn- and then giving corrections after the se¬ couldnt play a thing, and had to ask you gination could suggest them; not the pen Korngold. The studio heads heard his music ment to play.” When he composes, whether from the subject he is painting to see more lection is finished, generally makes the to go out of the room.’ his music for the masses of people, not for gold is comparatively new to the film world, of the readiest writer could indite them. wealthy patrons. Beethoven, on the other though he has underscored many major for “Captain Blood” for the very first time or not his music is intended for a film, he clearly, so should music teachers stand student more attentive to detail if he knows Vocalists often hesitate in reading, as They spring, in all the freshness of spon¬ hand, wrote his quartets for approximately at the preview. They simply took it for writes immediately as the completed music away from the performing student to see the teacher can hear wrong fingering, a test, a simple passage ending on a note will sound. Thus, if his composition is or¬ taneity from some unknown shrine, where four hundred people, most of whom were granted that it was good and said nothing and hear more clearly. Many teachers sit pedaling, and so on. chromatically raised; but the next note mingle the interchanging forces of brain aristocrats. To-day, hundreds of thousands great composer is tremendously interested more about it. Fortunately for Korngold, chestral, it is written in full score. He too close to the piano during the entire Then again, if a pupil cannot get the above being added, the whole is sung and hand. They who share most largely in of people hear the same quartets. Beethoven the work at hand. His interest in films he is said to be wealthy in his own right. never writes for the piano and arranges an lesson. This habit tends to dull the ear, point in question, have the pupil stand accurately and without hesitancy. The this strange gift can tell us almost nothing had no conception of what would happen —a new form of musical expression—leads He does not need the films, or the money orchestral score from the piano copy. Of and does not allow the teacher to notice the- away from the piano with his back turned. somewhat trying melodic interval of an of its source; but its exercise presupposes when his music was played over the radio. him to speak much of them. In like manner, they bring; so that, if they do not like course, if his composition is intended for sitting position or the foot or arm position Let the teacher give the two interpreta¬ augmented fourth is usually sung with almost unlimited skill in execution, joined Doubtless, his surprise would be great. as soon as he begins work on his new what he writes, if his own work dissatisfies the piano, he would think of the piano first. of the student as he unconsciously assumes tions, the pupil’s and his own, and invari¬ ease when occurring in the midst of a se¬ to an extraordinary refinement of feeling, Could he have foreseen such an event, per- opera, he will speak of it constantly, him, or if he does not like the picture, he his usual attitude at the keyboard. Sitting ably the student hears the difference and quence, the mind being so fixed on the Genius and Simplicity with a pupil in the early development of and to a musico-poetic imagination of per¬ haps he would have written differently, it will occupy his waking thoughts as well stops work immediately. They evidently immediately gets the point in question. So, regularity of the progression as to be allow him to do so if he wishes, so great is E IS SAID to be tremendously popu¬ the piece is quite necessary, but it is im¬ teachers, do not sit all the time, but walk fect development.” perhaps not. Who can tell? However, his dreams. His current interest, how¬ H their respect for him. lar with the other musicians in Hol¬ perative to stand away from the student to about the room, getting the effect from for the hundreds of thousands of listeners ever, is film music and the problems il “I am already a noted composer,” he lywood. A legend has crept out of the hear the finished product, as it should be various angles, and then in an inconspicu¬ that the modern composer writes. That is offers. says simply, in a matter of fact tone, with studio recording room that discloses a rea¬ heard in a recital hall. ous way, give ear training to the pupil why the results of his efforts are different. Nevertheless, he need no visible conceit. Fame is not new to him. son for this popularity and sheds light on Distance makes for changes. Turning by having him listen to the various tonal But, when one analyzes things, art itself cemed over the young composer in films; one's back to the student as he is playing effects as played by you. and remember well that concent 7mi\7cu7t^tT has not changed in a hundred years. It is for the man who has something genuine to He has known it all his life. That enables the amiability of this composer. He lifts spiratwn ,s many times sheer laziness.”-Lillian Nordica 14 JANUARY, 1937 15 THE ETUDE 'Their Toughest Spot'' his baton to open the rehearsal, and the face gradually and boyishly lighted up ; entire orchestra, bent on a quiet joke, he said excitedly, “Yes,, that’s it! That : First Steps in Musical Transposition crashes into a discordant, loud, extremely the way to feel! That is the way I alway Taking Things As They Come wrong chord by way of greeting. Korngold feel!” merely smiles and says, “We’ll take it Indeed, fame has given him confidence ii By Harold Bauer A Very Easy Road to an Important Musical Goal again, gentlemen!” himself, but it has not taken from him i of which you speak in your recent letter. The. fact that his very first composition certain boyishness that is inherent in all “From one aspect I look upon the career By Carl M. Hartman of note was a ballet is explained by Korn¬ great men. Mention his composition, “Ru of every artist gold as being because the ballet is the bezahl,” to him, and he will jump U] there comes a of a musician as an unalloyed joy, in which easiest form for a child of that age to spontaneously, run to the piano and plai time whenmen a external success plays no more important a F lowers it a half tone because the key comprehend. Despite his extreme youth snatches of it rapidly and happily. If he i reached part than the momentary gratification of Transposing a piece of music, signature sharped it. Now to lower the when he wrote this ballet, the conductor asked to sign an autograph book, he wilj at which an im- personal vanity. From another aspect I re- from one key to another, is a very • E a half step, we cannot use the natural did not change a single note of it. It is still first look over it in interested fashion, tci portant decision gard it as an unremitting and lifelong simple process, when once s sign, because the E is already natural. To performed, from time to time. Korngold see if it contains the names of anyone hcl be made, struggle, bringing few rewards and many fundamental facts are understood. It may lower it we must flat it. Study this care- now considers this initial ballet as being knows. “Oh! Molinari!” he will cry. “II T H rr ~ r, ,r disappointments. be accomplished by the person with no It looks exactly like the one above, ex¬ fully. an important step toward his great ambi¬ knew him! When I was conducting in asked a number “The greatest problem before to-day's particular knowledge beyond the simplest cept the signature. Why is that, you ask? Let us put Ex. 13 into the key of A-flat. tion—opera. He has written no more ballets Rome. And there is Hertz! I know him,| of foremost aspiring young, artists is how to obtain op- rudiments of the theory of music, includ- . For now, take it as a fact. This holds good since that time, because the opera form is relate portunities to perform in public and how ing, of course, such items as the sharp, for the other keys such as B and B-flat; more attractive. “Why write a ballet,” he ‘toughest to earn their living by such performances, flat, natural, and the scale. With this we A and A-flat; D and D-flat. Whither Going? Flats are added to the key signatures Always keep in mind the interval of the asks, “when it may be included in an opera spot! which I believe it is rare to find an artist whose begin. AT THE BEGINNING of Korngold’s the following order: B, E, A, D, G, two tonic tones—the key of the original, with far greater effect? Opera is the com¬ they had - success has been definitely achieved by the bination of all the elements. After all, the iJk amazing career (not so very long ago, HAROLD BAUER b{.'n placed. overcoming of any one single obstacle, al¬ Intervals and the key you wish to transpose into. one must admit) there was much discussion N INTERVAL is the measure of the This is the interval used in raising or inspiration for the dance comes from the rhese replies are being published in a though such cases do undoubtedly exist. A Transposition See what happened to the accidentals music, not music from the dance.” about him. Everyone acknowledged his “All I can say is that I find work just . distance or difference in pitch between RANSPOSITION is accomplished by lowering all the notes, precocity, though enemies once attributed; onthly series. Mr. Harold Bauer, in his T this time. The A-sharp became B. This B In Korngold’s estimation, Stravinsky is as arduous (and just as satisfying), ob¬ any two tones, and is named according to playing, singing or writing music in Write o”- 77Ex. 1 in all the remaining his great success—and even his music- rceful and genial manner, tells that rye is flat because of the key signature. To the best of the living ballet composers. stacles just as formidable (and just as un¬ the number of the degrees of the scale in¬ lower key than the original, keys. his ambitious father, a renowned cr ust take life as it comes and enjoy its sharp, or raise, the tone a half step, we “After Stravinsky, there was no develop¬ important), discouragements just .as great cluded. Thus we have: Unison or Prime, i.j- ■ - — > "'he foregoing also applies to the bass put a natural sign in front of it. The F- True, there was no parental opposition iumphs as we are hurt by its rebuffs. He project the full meaning of the ‘C ment, only imitation.” and artistic elation just as keen, as any of Second, Third, Fourth, Fifth, Sixth, would' se natural in the second measure became G. here. Dr. Julius Korngold was happy over !ys: Bible.r„re ;s £x, J with the bass staff added. Korngold works extremely hard, and is these things ever have been in my life. Per¬ Seventh, and an Eighth or Octave. We will the text. As this is a G natural we must flat it to those musical leanings. sorry to be unable to respond to not concern ourselves with the kind oi There is not an allegro in any overture his own worst critic. He is never satisfied haps my ‘toughest spot’ is yet to come!” lower the tone a half step. Contemporary modernists are wont to de¬ ur invitation as I should like; but, to variety of intervals. of Weber, Mendelssohn, Wagner or any lived ill with anything he does, though he is im¬ We will now go to the key of F-sharp. cry Erich Wolfgang Korngold’s later perfectly frank, my memory does not To read an interval, remember this one other classical composer (with the excep- He al| mensely pleased with the works of others. This key is seldom used. We use it here works, to protest that he has not lived up -ve to recall such ‘toughest spots’ or important point: in reckoning the interval tion of Mozart and a few others of the the a: “No performance of my works is good. I because it involves the use of a double have never heard a perfect performance of to his early promise. The impression is mingly unconquerable obstacles as those always start with one on the■' first ™ earlier composers) which does not require and ( any of my operas!” he declares. If some¬ given that Korngold (like the baby of the will take two notes of the scale, let many changes from the main tempo—to one dares to opine, in his presence, that his Mexican legend, who was born, spoke and C and D. distinguish properly between that which is new work will be greater than his last, he died) came too early to the flowering of purely rhythmical and that which is emo¬ Fifty Years Ago This Month Ex.l will demur. "Let us wait and see,” he will his genius, that he said what he had to say tionally sentimental. This is quite equally say. The writer spoke of the reaction of and never grew. “Sterility”' is the word true of all other forms of pretentious music another young composer, when he dis¬ most often applied to him. whether symphony, tone poem, or rhapsody. covered faults of his own during a radio One might ask this pertinent question: ‘EPHEN A. EMERY, eminent oblivious of this often troublesome skip, Tempo marks are merely suggestive of the broadcast of one of his works. The other “Should Korngold deliberately become an uthority on harmony and counter- “The subject broadens beyond the possi- Starting with one on the C, D i main tempo but too many conductors ad¬ The A-sharp became G. This G is al¬ man in the room looked alarmed, as though ultramodernist just because some zealous -which he taught in the New bilities of the present occasion, and I Hence C to D is a second. here to them slavishly throughout a move¬ ready sharped by the key signature. To a shrine had been desecrated by the speak¬ critics would consider that an advance over id Conservatory from 1867 and in hasten to make a passing reference to the This time we will take C to E. ment instead of attempting, by a careful half step we must sharp it again. what has gone before?” ing of another composer in the presence of ■mq^ptW^m.Jloivprsitv reflex iqIlucncc _of_JLaucl)> the and sincere study and analysis of the This makes it a double sharp. The F- Films have given Korngold a new outlet. count quickly and decidedly, somewhat again have music. the genius Korngold. But Korngold’s own Ex. 2 trasting melodies, to arrive at the prope natural became E. This E is sharped by the key signature, and so to flat it we use Richard Wagner, who was a distin¬ Accidentals the natural sign. guished conductor as well as composer, has The handling of accidentals should be • two written that “the right comprehension of 'OW WE COME to another impor- The Strangest Carillon Starting with one on the C, D i . tant feature in transposing accidentals now clear. If not, go back over this sec¬ tion on accidentals. E is three. Therefore C to E is a third! r„tl%CSeoiyJ^- a,U -loose—those sharps,Sllctl pS, fiats,nao. and naturals,'“‘""—I other~- ~ Now take F to B. put this in the key of three sharps, or A. tban tbe sharps and flats of the key signa- Accidentals in the bass clef are handled in the World We find that the tonic tone of the key of ture These should not be confusing if these in the same manner as in the treble clef. A is a second higher than that of the key ru,es are kept in mind (j) if the acci- Write out Ex. 13 in all the remaining keys. of G. We must, therefore, write every note denta, raised the tone a half step in the Hymns make excellent material for By Jane B. Hopper of the original a second higher. Remember origjna1> it must be raised in the new key. practicing transposition from one key to to change the key signature from one Jf -t jowered the tone, it must be low- another. Starting with one on the F, G is two, sharp, the key of G, to three sharps, the ered jn the new key. The fact that the purposes. These were placed on a frame, “Reminder” Accidentals something after the manner of a xylophone. A is three, B is four. F to B is a fourth. key of A. accidental is a flat in the original does not of the tone is painted. The chimes wer HERE IS another kind of accidental This first automobile brake drum carillon This is the method used with any two To illustrate: mean it must be a flat in the new key. This T first used on Easter Sunday morninf The original melody of America (or God .g alsQ true of sharps and naturals. For which may cause trouble in transpos¬ was an immediate success; but it was de¬ is also . April 21, 1935. The hymns played wer Save the King) would be, in the key of G, cided to make it larger, so it was dis¬ instance, in the new key it might take a ing, unless understood. This is what might When I Survey the Wondrous Cross: Go Key Note or Tonic Tone mantled and taken to Binghamton, where natural sign to lower a tone that is sharped be called a “reminder” accidental. It is a Will Take Care of You; and O Jesu. sharp or a flat placed on a tone that is the Rev. Mr. Arnold and Mr. Rolles pro¬ Thou Art Standing. EACH KEY or scale has a fundamental by the key signature. A double sharp or or basic note or tone. This is called : double flat on a note in the original, low¬ sharped or flatted by the key signature. cured two more drums. This carillon is now placed in the ope the keynote or Tonic tone. ering or raising the tone a whole step, must Its only purpose is to remind the musician The fifteen drums, giving fifteen different tower of the First Baptist Church, an For example, in the Key of C, the key- be raised or lowered a whole step in the that the key signature sharps or flats the tones, are sounded by the performer who the Addisonites feel that it has amazin new key. tone. Some composers and arrangers place employs a celluloid-tipped hammer to set volume and remarkable tonal qualities THE FIRST BAPTIST CHURCH If you are transposing correctly—that is, these in parentheses. When so written they ADDISON, NEW YORK if you have the correct interval—accidentals are easy to distinguish. When not, the will always work out smoothly, without easiest way to distinguish them is to see changing the transposing interval you if the signature already sharps or flats the WHERE there is a will, there is a started with. If they do not, check the tone. If so, it is just a reminder. If a true way.” So found the good folk of n the Key of F it would be repre- £ transposing interval you are using. accidental, it would have to be a double the First Baptist Church of Ad¬ In Ex. 1 there were no accidentals. Here sharp or flat. In transposing, disregard dison, New York. With a belfry already is an example with accidentals. “reminder” accidentals. provided, they wanted chimes to fill it and Ex-® Not so hard, was it? Yet we have made determined to have them. Addison is a • v i aiucr rcmarKaoic imng awui -— Ex. 13 =| a complete transposition from the key of Minor Keys village near Elmira, Painted Post and homemade carillon is that it was possible G to that of A. INOR KEYS are not so generally Hornell, if either of those names means to secure enough drums to make a range We will try another one—going to the M geographically more to the reader. understood as the major keys. While of one octave and three notes, as here A chart of the keys follows, showing key of E-flat. Referring to the Key Chart, One day the town had a visitor from the tonic tone for the same key signature given: C-sharp (D-flat), D. D-sharp (E- the keynote or tonic tone of each. For our we find that E-flat is a third lower than G. Binghamton, New York. He was Mr. Wil¬ flat), E, F. G. G-sharp (A-flat). A. B, is different, the intervals of the minor liam W. Rolles, the proprietor of a garage. purpose we will not go above six sharps Change the signature to three flats, and tonic tones, so far as appearance is con¬ C. C-sharp (D-flat), D, D-sharp (E-flat). or six flats. write all the notes two degrees lower. During the winter of 1935 he removed a E and F. cerned, are the; same as the majors. Hence, brake drum from his car, and when he Mr. Arnold, the pastor, is a young man Key Chart for practical transposition purposes, minor whacked it with a hammer, he found that in his thirties, who plays the piano, the keys may be handled as if they were major it made a musical tone. His son-in-law, violin, the cornet, and the violoncello. He Notice how the two accidentals worked keys. the Rev. Kenneth E. Arnold, saw carillon plays the carillon, personally, although the t. The A-sharp became G, but because possibilities in this; and, together with two writer of “Ecclesiastes" contended ^that the A was sharped, which made it a half Transposing Instruments young men of his congregation, he set out “there is no new thing under the sun.” There you are. But, you say, the key of tone higher, it was necessary to raise the HE MOST USED musical instru¬ in quest of more and different sized brake T Who would have thought of finding mu¬ four sharps, which is E, is also a third G a half step. This required a sharp. The ments fall into one of five groups: drums. They ransacked the town garages sical instruments in an automobile iunk lower than G. All right; if you would F-natural in the second measure became C, B-flat, E-flat, F or D-flat. and found thirteen drums that could be yard? All honor to Mr. William B. Roll? rather have it in sharps, here it is. E in the new key. The natural before the In the C group: Violin, Piano, Oboe, C operated to make a scale suitable for their and the Rev. Kenneth E. Arnold, for their 16 ingenuity! JANUARY, 1937 17 the etvde Saxophone, C Flute, and so forth. This chart may be used also to find the In the B-flat group: B-flat Cornet or concert key, when only one or more keys Trumpet, B-flat Clarinet, B-flat Saxophone, are known for the transposing instruments. RECORDS AND RADIO and others. For example: The B-flat cornets are play¬ ;nt y In the E-flat group: E-flat Saxophone, ing in the key of C. We find the key of C BANDBAJN AND ORCHESTRA DEPARTMENT E-flat Horn, E-flat Clarinet. under the B-flat group on line 11. There¬ By Peter Hugh Reed In the F group: Horns in F. fore, we use line 11 and we find the con- In the D-flat group: D-flat Piccolo, cert key to be B-flat. The keys for the Conducted Monthly by D-flat Flute. other groups would be found 1 line 11. If we play the C scale on the piano and O..t— Zee -run- PPFATEST living sian by birth, who was long associated VICTOR J. GRABEL violin, or on any C group instrument, we Bass Clef Instruments Etll°vJHnn GBac^T is Albert with the Berlin Philharmonic Orchestra. FAMOUS BAND TRAINER AND CONDUCTOR find they sound alike. But if we play the C ALL INSTRUMENTS playing ,« the Schwete?, ninaician, tliaologian and medi- scale on the piano and on a B-flat cornet, A baa, au« a.. He Ley o. the C geonp c„ , S.hwete^ boat » »£ ^STfa^'lTt or any B-flat group instrument, we find . ^ I notable^ work,__ a_^P_ nn tistry was immediately accorded the honor they do not sound alike. However, if we The scale of the transposing instruments 0ften quoted than any other treatise play the C scale on the B-flat cornet and playing in the bass staff are so “fingered” Eisenach composer. “Bach belongs — it- deserved. This..... conductor . /nr-.. does not stress the B-flat scale on the piano, they will that they sound the notes as written. For order of objective artists,” Schweitzer the morbid sensibilities of Berliozs pro¬ sound alike. The reason for this is that instance, a B-flat Baritone player, playing t jj. us an(j further—“The art of the gram,” but instead presents the music in the B-flat cornet sounds the scale of B-flat in the bass staff, is taught that he is play- objective artist is not impersonal, but a literal manner which Permits one, if he An Approach to Interpretation while playing from the written scale of C, ing C when he sounds C; but in reality SUperpersonal. It is as if he felt only one so desires, to forget the highly romantic thereby making an automatic transposition, he is “fingering” or playing D as in the 1-rnTmise_to express again what he already story that the composer attached to this In a like manner the E-flat group sound treble staff. finds jn existence, but express it'' defini-J~£“: work.-' Theru" recording"~'rA"r',r here “is goodanrA ”withoutM““* conducting—for the term conducting im¬ MYTHOLOGICAL SCULPTOR, interpretation largely to guess work. It is “Beethoven was a German composer the scale of E-flat while playing from the tively, in unique perfection . . .” being dynamically outstanding. A plies the ability to analyze and interpret much as though an actor merely memorized who wrote the ‘Moonlight Madonna’ and scale of C. The F group sound the scale Sight Transposition It was a fitting tribute to the right A number Ol years ago, i ( Pygmalion, by many months of his lines word by word without any refer¬ other symphonies. He became deaf from the compositions being dealt with, and of F, while playing from the scale of C. IGHT TRANSPOSITION, that . ujjuiman whenviiKit Schweitzer___ was invited to record kowski_ and his friend _ Henry Eicheim, arduous labor, had created, in the S ence to their meaning and gave no study listening to his own music. artistic interpretation involves a higher The D-flat group sound the scale of D-flat transposing at sight, involves no new a serjes 0f Bach’s organ works. For he American composer, made a trip to Bali form of a beautiful ivory statue, his ideal degree of emotional artistry and musician- of womanhood. Though of the most lovely to the proper inflection of the voice or the “Haydn was of lowly origin, being the while playing from the scale of C. rules or principles. Written transposition approaches this music with the proper dig- in the Dutch East Indies, the island that ship than baton technic. proportions it was, when completed, merely subtle shadings, pauses, and so on, which son of an Austrian pheasant. He wrote The B-flat, E-flat, F and D-flat groups >t be practiced continuously, in order- artists in recent years have hailed as the Is it reasonable to expect that conductors "Sot? riumpns as we are nun «««-— — - cold and unresponsive ivory. The more would serve to project the full meaning of the ‘Creation’—which is mentioned in the are called transposing instruments, because one may become proficient in sight tr anci“last earthly paradise.” While there, they and performers with such limited training Pygmalion gazed upon his handiwork the the text. Bible. they sound a different key from the one rposition._ There are, however, theanade a study of native music, and par- and narrow vision should be expected to “I am sorry to be unable to respond to more he admired it. He finally fell in love There is not an allegro in any overture “Handel was a German composer who in which the notes are written. We find transpositions which are easily hapticularly of the gamelang, a native orches- give adequate and sensitive performances lstde- our invitation as I should like; but, to with his representation of the ideal woman of Weber, Mendelssohn, Wagner or any lived in England and wrote Italian operas. these various instruments are actually built A B-flat instrument, playing from .. :ra made up of gongs, bells, drums, and of the art works of any of the great ; perfectly frank, my memory does not and presented it with jewels and other rich other classical composer (with the excep¬ He also wrote ‘The Messiah’ during which in the keys whose name they bear. group key in the treble staff, has on! ;o on. Upon returning to this country, Mr. masters of music? A study of some of :rve to recall such ‘toughest spots’ or gifts. He implored the gods to bring his tion of Mozart and a few others of the the audience stands—including the King The C group are not transposing instru- read one tone, or a second, higher, men Kicheim created a work for Mr. Stokow- the books, listed at the conclusion, will emingly unconquerable obstacles as those beautiful statue to life. One day, when earlier composers) which does not require and Queen.” ments; they sound the pitch as written, changing the key signature to one ofl i and the Philadelphia Orchestra which serve to arouse a new interest, broaden kneeling before the altar, the altar flame many changes from the main tempo—to _ less flats or two more sharps. 1 1 called Bali. In it, he makes use of the Musical History Important shot up to a fiery point three times, as a distinguish properly between that which is the vision, and give a clearer insight into Concert Key An E-flat treble clef instrument ncse gongs and bells, creating a mood the meaning of musical ’masterpieces. token that his prayer had been heard. Upon purely rhythmical and that which is emo¬ MUSIC IS THE MOST ancient of all THE KEY USED by the C group in from the bass staff by mentally chanl Fifty Years Ago •h is both orientally atmospheric and I am sure it would increase one’s appre¬ his return home he again gazed upon the tionally sentimental. This is quite equally the arts as well as “the most lib¬ playing a composition, is called the the clef sign to treble and subtracting tu if o-1dentally sophisticated. It is music of beauty of the statue and placed a warm true of all other forms of pretentious music eral of the liberal arts and the finest of ciation of the advantages enjoyed by mem¬ Concert Key. flats or adding three sharps to the 'r tl r ■ tic % interesting and well worth hearing. bers of the present day school bands and Now we must find keys for the trans- signature. The reason for this is bee kiss upon its lips. The virgin felt the kiss, whether symphony, tone poem, or rhapsody. the fine arts.” The history of its evolu¬ orchestras if he learned that the great posing instruments so they will sound the the E-flat instrument must play in a tlTEPHEN A. EMERY, eminent obliv'1 h h's recording of this work (Victor blushed, opened her timid eyes to the light, Tempo marks are merely suggestive of the tion through the ages is of as great inter¬ Theobald Boehm first had to learn to play same pitch as the C group. B-flat is a tone, which is a third lower than the C grt authority on harmony and counter- “T1" s 14141-42), Stokowski lias coupled a fixed them upon her lover, and stepped main tempo but too many conductors ad¬ est to the serious student as that of any on a flageolet; that his first flute (of which or second, lower than C. So the B-flat The C in the bass staff is a third loi si( point—which he taught in the New biliti* ngent Japanese Ceremonial Prelude dat- from her pedestal—a woman so beautiful here to them slavishly throughout a move¬ other art or profession. The gradual de¬ group must have a key that is always a than the C in the treble. Thus the diffc finand Conservatory from 1867 and in haste1 : from the 8th century, transcribed for as to arouse the envy even of the god- ment instead of attempting, by a careful velopment and evolution of the musical he was so proud) had but a single key; tone, or second, higher than the C group, ence in pitch of the two staffs, with b( aiVniw—TIniversitv reflet,(,crn orchestra by the contemporary and sincere study and analysis of the con¬ scale, of part writing, of the symphony, that after he had become an artist he Thus we find that the key for the B-flat used as treble, takes care of the transpoJ count quickly and decidedly, somewhat zlfipanesc composer, Ilidcmarn Konoye. I have observed the work of many school trasting melodies, to arrive at the proper spent many years in developing an instru¬ group will be always a key with two less tion when the key signature is changed, Verdi was eighty years old when he bands and orchestras and am moved to ment which could be played in all the flats or two more sharps than the C group. Another one is a change of key froi ■[reatedrcat his opera “Falstaff,” based upon touch upon one shortcoming which is some¬ Richard Wagner, who was a distin¬ various keys and which would be in tune; Sharps are added when lacking flats to sharps to flats, or flats to sharps, withot famous Shakcsperian character. The times in evidence during their perform¬ guished conductor as well as composer, has that when nearly fifty years of age he subtract. changing the note positions. est Carillon the humor and the rich humanity of ance—a fault which tends to nullify in written that “the right comprehension of took a college course in applied acoustics The key for the E-flat group, sounding Subtracting the number of sharps in the TheI'' sstory are most ingeniously set forth in large measure their otherwise remarkable the melos (melody in all its aspects) is to aid him in his research and experi¬ i third higher than the C group, is one key signature from seven gives the nity, ana ne francs it m the manner the music. In all the realm of opera, there work. This is their failure to infuse their the sole guide to the right tempo; these two mentation; that as a result of this study with three less flats or three more sharps, ber of flats in the new signature. The same t[lat Bach conceived it—not in the over- is no score which realizes the c performance with the true spirit of the things are inseparable: the one implies and he was enabled to design a new system The key for the F group, sounding a holds true in going from flats to sharps, dramatized manner of the virtuoso nor of a the story upon which i composer’s intent. qualifies the other.” In referring to some of tone-holes and a new key system which fifth lower or a fourth higher, is one with Watch for the change in type of the acci- modern transcriber like Mr. Stokowski, truthfully, as vivaciously and as cleverly Many directors display remarkable abil¬ of the conductors of his day he said, brought this important instrument to its one less flat or one more sharp. dentals. They must be made to conform Tbe tempi he rightfully believes should as does this one created by an aged com- ity as teachers. Some of them teach every “These people seem to look upon music present state of perfection. This system The key for the D-flat group, sounding to the rules for transposing accidentals. not be hurried, for the lines “must stand poser. If one sits with the libretto and instrument employed in the complete con¬ as a singularly abstract sort of thing, was soon applied to the clarinet family. but a half tone above the C group, will By referring to the Key Chart, we read- out 'n ca'm plasticity.” He rightfully con- follows the story, the recording of the cert" band or orchestra and attain ex¬ an amalgam of grammar, arithmetic and Without his years of study and experi¬ have five less flats or five more sharps, ily see why this key change is possible. ter*ds that to hurry Bach is to destroy opera is made alive, and one's interest traordinary results in the development of digital gymnastics; they may be able to mentation we could not have the splendid Each line across the page gives the cor- Notice that we always have two keys for the musical experience. is not only sustained but doubled. In the individual players and of the several choirs teach in a school of music, but it does not concert bands of to-day. Schweitzer was permitted to select his recording (Columbia Operatic set 16) the which constitute the organization. Through follow from this that they will be able to Instrument Transposition Chart own organ for the recordings. The one character of Falstaff is sung by Giacomo months of arduous labor they are able to put life and soul into a musical per¬ Analyze the Work he used was chosen, we are given to under- Rimini, and the balance of the cast are develop a technical ability equal to the re¬ formance.” AS YOUR BAND or orchestra C B-flat H E-flat F D-flat stand, because he considered that it pos- drawn from principals of the La Scala quirements for the performance of some Johannes Brahms was asked by a noted played Wagner’s dramatic overture Instruments Instruments Instruments Instruments Instruments sessed the color of tone nearest to that Opera House in Milan, Italy. The chorus of the great musical masterpieces. Too conductor whether the metronome marks to his opera “The Flying Dutchman?” 3 Key of C D. 2 Sharps A. 3 Sharps G. 1 Sharp B. 5 Sharps which Bach knew. The program he also and the orchestra are also from the same often they fail to advance beyond this in one of his compositions should be If so, did you first make a study of the Ft. 6 Sharps ' selected himself, chosing three universally institution. point—they seem to be satisfied with mere strictly observed. In reply he wrote: “Well, life of this great musical genius? What 2 G. 1 Sharp A. 3 Sharps E. 4 Sharps D. 2 Sharps Gb. 6 Flats admired works—the Prelude and Fugue in Two chamber works reflecting modern technical ability. This technical surety is just as with all other music, I think that is the legend upon which he based the Cl. 7 Sharps Fa>!‘asiaAanf in G harmonic treatment, as widely opposed in one of the first essentials but it is not the here the metronome is of no value. As far libretto of the opera? Under what cir¬ 1 D. 2 Sharps E. 4 Sharps B. 5 Sharps A. 3 Sharps Db. S Flats F, n,L IJn G.reat)- and/he Toccata and their concepts as their creators’ native ultimate—it is not of itself music. as my experience goes, everybody has cumstances did he gain the inspiration FI. 6 Sharps for writing the opera? In the thematic PretlZtl fj v°r; ° W^'Ch h-e added the ,ands- are thc Polish Tansman’s Divcr- The next procedure is to convert this sooner or later withdrawn his metronome 4 A. 3 Sharps B. S Sharps Gb. 6 Flats E. 4 Sharps Ab. 4 Flats uftlf punf. FU9r m G ma]0r- and ‘be tissement for piano and strings (Columbia technical performance of a composition into marks. Those which can be found in my development of the overture when does F#. 6 Sharps Cl. 7 Sharps living music by superimposing upon it an works were put there because good friends the motif of the Dutchman occur? When s E. 4 Sharps Gb. 6 Flats Db. 5 Flats rt Z9'A- TTr- set X'66)- and the Hungarian Bela Bar- B. 5 Sharps Eb. 3 Flats nliiWl ^ dlI?gs,of these works, accom- tok’s “Second String Quartet” (Victor set artistic interpretation which will serve to had talked me into putting them there, but of the opera, of the organ, of the string is introduced the theme of Senta’s ballad, CJt. 7 Sharps FI. 6 Sharps present it in all its varying moods as the I have never believed that my blood and instruments, of the various woodwind and and when does the Sailors Chorus enter ? 6 B. 5 Sharps. Db. 5 Flats Ab. 4 Flats Gb. 6 Flats l i t ' are, veuy fine- c,ear M-320>- Tansman if, in part, rhythmically Bb. 2 Flats true cSs of «arrn\ hoP- that all energetic in the mknne“of Stravinsky, composer originally conceived it. a mechanical instrument go well together. brass instruments, of the orchestra, of If you have learned these things, to¬ Ft. 6 Sharps Cl. 7 Sharps ofds for Wlll„he/rJ tl?ese rec- and in other sections, romantically reflec- The so-called ‘elastic’ tempo is moreover the concert band, of the art of conduct¬ gether with the tradition concerning the 7 Gb. 6 Flats Ab. 4 Flats Eb. 3 Flats Db. S Flats F. 1 Flat Technic Not Sufficient brou'ght to life in ey ,W1 find !he music tive in the manner of a modern Chopin. not a new invention. Con discresione (with ing—the study of any single phase of this tempos of the various movements, you 8 Db. 5 Flats Eb. 3 Flats Bb. 2 Flats Ab. 4 Flats C. None THE CORRECT MAIN tempo,' the discretion) should be added to that as to universal art can prove of intense interest should be able to perform this work with 9 Ab. 4 Flats Bb. 2 Flats F. 1 Flat Eb. 3 Flats G. 1 Sharp - ststLAT ja 5 irsi subtle changes in tempo for the effec¬ many other things. Is this an answer? I to the serious student who desires a fuller intelligence and dramatic effect—without 10 Eb. 3 Flats F. 1 Flat C. None Bb- 2 Flats D. 2 Sharps tive presentation of the varying and con¬ know no better one; but what I do know understanding and appreciation of that to this knowledge your organization may be 11 Bb. 2 Flats C. None G. 1 Sharp F. 1 Flat A. 3 Sharps ss sx trasting moods, the adroit turn of a phrase is that I indicate (without figures) my which he is attempting to give expression. merely playing notes. 12 F. 1 Flat G. 1 Sharp D. 2 Sharps C. None E. 4 Sharps here and there, the indefinable phases of tempi, modestly to be sure, but with the Too often the student devotes his entire Is your organization studying the over¬ rubato, a climactic note prolonged here or greatest care and clearness.” time merely to the mastering of the technic ture to Weber’s opera “Der Freischiitz?” responding key which each of the various each note position—one it a rhythmic passage hurried over there, The story is told that, after a series of of a single instrument and totally fails Have you learned the story of the opera? groups of instrumentsments plays so they will in flats: for instance the keysofF~and phonv Tn G minor’” w tO'T*’Mozart’s1?'3, “Sym- tive listener spellbound. The work is c artistic phrasing, accurate tonal balance, lectures on music appreciation, the day for to study the historical and emotional sig¬ Can you distinguish the various important sound the key. ~For example: The F-sharp, B and B-flat, E and E-flat, and music expressivelv’ find!,-, * ,>a','S the press,vel-v performed in the recording by proper stress of any dramatic material— examination arrived and one of the tests nificance of the art, thus becoming little themes which are taken from the opera Key for the C group,jroup, or Concert Key, is so on for the rest of the keys. Adding the a new Xfuence i" ^ 3 a"d Budapest Strin« Quartet these and many other phases of truly ar¬ submitted to the members of the class was more than a mere technician. Quite often, and do you understand the mood each is F. We find the key of F for the C group sharps and flats of any of these pairs of which are particularly wekome T. '' , Pe«nt imP°rta"t piano recordings in- tistic interpretation are essential and must this—“Give some details concerning the life also, the director learns but little more intended to depict—the emotion of love, on line 12. Therefore, to find the keys for keys gives the number seven. In reality cording here is simerlX! The re' cIude Liszt’s Maseppa, performed with ex- be injected into a performance before it and principal works of each of the follow¬ than the mere mechanics of conducting— fear, horror, or triumph that each is the other instruments we use line 12, the there is a half tone difference in the pitch The latest set of nZvZ■' r traordinary brilliance and fire bv Egon can become a thing of artistic beauty. ing composers—Beethoven, Haydn, and time beating—and neglects to study the supposed to express? What is the signifi¬ B-flats would use the key oi G, the E-flats of each pair of keys-because one tone is gram” symphony-ffie “fL^T"5 Petri Columbia disc 68644D) : Chopin's Too often a director chooses the most Handel.” higher and more advanced phases of the cance of the lovely horn passage in the t: hut y e _ fantastic (Co- brilliant Mazurka in C sharp minor, Op. technically difficult numbers on the pre¬ One young man, who had evidently been art of conducting. While it is quite true opening movement? Do you allot to each the D-flats the key of E. the note position remains the same. ris. It SO. No. 3 coupled with his Etudes, Op. scribed list and then spends most of his far more concerned about football scores that correct, forceful, and expressive time theme the tempo which will best give Fru«- (Continued on Page 60) time perfecting a technic sufficient for their than about things aesthetic, proceeded to beating is an art within itself it consti¬ expression to its emotional character? Do 18 Jierformance and leaves the vital matter of unburden himself of this information: tutes merely one of the fundamentals of (Continued on Page S3) THE ETUDE \ NUARY. 1937 19 COURSE MUSIC EXTENSION STUDY Al*olyot „j 4 Monthly Etude Feature •PP^hHk °f practical value, For Piano Teachers and Students The Teachers’ Round Table by an eminent ,k Specialist of lli* /*, Conducted Monthly by By Dr. John Thompson GUY MAIER NOTED PIANIST AND MUSIC EDUCATOR

ALONG THE NAVAJO TRAIL hand carries the theme in double notes. reached when the right hand resume* perceptible In By Seldon H. Heaps This march music is very cheerful in the melody. are clear, also M-nhmrat from Still in holiday mood The Etude offers character and is clearly intended to be Dynamic marking: practicing these etudes for most of their hands, play gradually lengthening fast them exactly. who start out frankly to play only the finger groups such as 1-2; 1-2-3; 1-2-3- this month colorful if somewhat light mu- played with military precision. portant. Try to folio Sympathetic Muscular Action lives. popular variety, to play more substantial 1-2; 1-2-3-4-1-2; thinking only of the last sical fare. And before proceeding with The first theme is in C major. The sec¬ ~ I would like to know liow I can The best all round compilation of short, the task of analyzing it for you, may not ond section is in the subdominant key, in THE GARDEN OF MEMORIES music. tone, getting to it as rapidly and easily HoT wVii rPCw| n y Hiird and Your prestige will not suffer, since your technical exercises that I know, is Isidor your faithful Scribe offer every student keeping with the best march traditions and By L. Leslie Loth There are ctr as possible, and bouncing from it to com¬ serious music record (from the report in Philipp's “Complete School of Technic, and every teacher who reads these col- should be played in a sustained manner. This piecepi by Leslie Loth in lyric style 4 the great plete rest in the lap. your letter) is an excellent one; and you careful selections from which should meet umns the heartiest good wishes for musi¬ A third_,_ section, beginningo_o with.. measure calls..11 forc - . —. . .. . best• * singing- mil* mi* U.’uc Iiancy ot my playing.—W. C. (New In this way the student gradually gets Jersey). will have the added respect and admira¬ all specific needs. cal progress in 1937? 39,3 suggests,oinroroct* in the left hand, the trom- AfterAft" a- two1 measure introduction loch the habit of thinking in quick group-im¬ tion of the young people for your expert¬ Mr. Seldon Heaps is the first composer bones of the band or orchestra. Play the establishes the tempo and rhythm, the pulses (instead of single tones) followed Your weak fourth and fifth fingers evi¬ ness in both lines. It may even incite some Popular Music Again on this month’s calendar, with a thoroughly left hand marcato, with plenty of accent melody begin- in the right hand against stand endless reprtifk dently need careful, systematic training. by complete release. Be sure when you say American number entitled Along the of them to follow in your steps! on the half notes where indicated. a waltz accompaniment in the leii The after all thr real in The practice basis for such exercises is saiV* pertaining to modern' popular “3” that all tension stops, and that for a Navajo Trail His little piece pictures But, if you are convinced that you have In difficulty this piece is about Grade melody make- its fir-t appearance in single l**cee of music How given in the recent October issue. The music. I think yon are right, for one brief time the arm really relaxes in the rhythmically the progress of the dogged some definite and original principles which can love the classics and still play two-and-a-half; and it should find a ready for' eight' measures. Thereafter student should also spend ten or fifteen lap. and sturdy Indian ponies which, swinging preserved thr rrsiiel you can clearly present to help students a piece of popular music. Do you mlmmwelcome» wfor ;n the school .- — repeats in two parts and still later, meas¬ even while the right minutes daily working alternately, very approve of allowing absolute be¬ Instead of counting “4” I find it some¬ along the sandy desert trails, are a familiar assembly hall. acquire the jazz “style,” do not confine ginners however, to attempt this ? I times better simply to repeat the formula— sight in the West. ure 19, it appears in octave*, f>ieicomposer, , wno,who, oyby the way,way aptly saicTthat'on! ** if* ul’ ,M' l,rr" By Etu Kmun and consequently I wonder if it is too has contributed many~- finer. things., . to thes* “P**y said that one shouhl learn early to independence. ance of this piece. And it is well to re- « Krttrm’t little Hi. a* \ W-'Jhe would0 you advise?— D. J. B.^MUine- hterature of educational piano material. ♦i?edf1 ™!th ,he brain ra,hcr 'ban with . S'-5-IS-X- member that any picture of the West the foot. A Jazz Class should have something of the glowing Marks of dynamics will be found in -.1 J . ^ The only advice I can give, is to find color of the region, and should be well nearly every measure so that there is small grailrr*. Tlig melody rrnumi j a tempo ROMANCE IN k-flat ing jazz, al another teacher who will give the technical marked with strong lights and shadows excuse for derelictions in the matter of finger puttiion throughout. «h> n time I have helped interpretation. Lots Wentworth side of the fully helpful t<> the little one* & to clarify to some ol mj drill which you so obviously need. If you The second section is in the key of the Miss Wentworth’s composition is also pupils, certain technical problems cannot find such a taskmaster, I prescribe BAVARIAN VILLAGE DANCE tuneful the melody gut. * connected with it. One reason for these.“ - r-t Vi! ’vunu.—u.minor—E minor—and carries on with the fr* f*'* rand should be played fourth and this has been that as 1 formerly the same treatment recommended to N. P., By Frederick A. Williams I fifth fingeri of be played here in a jazz orchestra, I with the same rhythmical motif as the first th ,reedo,n of an improvisation Its useful noim M. H. and W. C., in our current-columns; Some of Chopin’s valses often stray it overlwked ■ wanted to get people out of the no¬ probl lg. tion that I was interested only in I 5 5 6' but, like all the rest of us, what you really clear over the accepted line into mazurka that. To further this declaration ot utes; 5 need is a good teacher to keep you on the rhythm; and there are certain German independence of "swing,'' I have right track. dances which are also closely akin to the played for the Woman's Club, or the l.h. The little "broken chord'figures on which ^"ofc^te^he impre " * * " * Snfc 1 mazurka form. Here is a Bavarian village ■ ir every club or group that ■r has He piece closes should be almost literally fssness' On ‘he contrary j, *’ " okh:! ">x. l , u tt r^T ^N// Too Rapid Progress? dance as an example of the similarity brushed off the keyboard with the ntmnct 1 1 H ’> ,hc throiTtpp; two. I now am playing Exercise Ao. ter-a characteristic of the mazurka. The Last y ' 1 4 ^ \ 6.1. of "Czerny. Op. 823,” and am al¬ it will be found helpful to keep thTfingers mournful " Z most through with "Burgmiiller, Op. little mordent figure in grace notes is also 100." I can play Beethoven's Minuet a feature of this dance form. close to the keys and to roll rather than 3 breath = peacch Mv 7 ^ At>' “Horn Trio," and the Mozart “I jf If in (1, with what my teacher says is flat Trio,” and at another time the two ; [>■»■ tchm.e\i: f In playing the first theme of this piece finger the passages. This procedure pro Caressingly; Renta*iff, 'Y tmnixt with "Third Sonata" of Bach, the "Som good expression.” duces almost the effect of a glissando slackening of the time ' UX*** °r ■“* POMibil • a F" by Mozart and the “Sonata to a i . _ — Personally. I think that my pro observe carefully the many two-note slurs with-* » ress has been too rapid. Do yon thii also the staccati and accents. These are all Use both pedals, damper and una corda F°r the P,a.' i"R of the met ,h such rapid advance can harm n m the last two measures. very best singing tone Pr - * of k dranalk playing later on? Do you think I ha’ essential to the dance atmosphere. Rhythm giving ^ a ^ class ' ,m■ \ missed anything fundamental ?^ will be fortified if the pedal marks are broken legato in the moving ful ol "'‘crest to the avenge fbiM •* THE DANCING LADY e arPeggio figures and rx-dal a*vo *nfeNi|fcni?y oroertrod and fa# of popular music. I could make it ” by Czerny. observed closely—down on the first beat, so much easier and more convincing released on the second. By Mathilde Bilbro I,h carc‘ wH, musically and pmmstKzIb For than the students are able to do for ' "Burgmiiller ?—M~. TWILIGHT ONT THF pivpd stance, the first theme »inP ■*icc ! themselves. If I have something I can offer them, and that they J throughout”8 mUSk ^ Vig°r0usly ' .- ’ rsruDE gives us in thic T1. Bv Ti-CDtvic -- Rf.nkRrw- K second in the tonic or parallel want, it seems a little snobbish to F P A beginner twenty-two years old, who The second section is in E-flat major, say, “No, I will teach you Bach, number another variant of the dance form . Th‘S httIe nuiuher i, in ‘rue ,barcarolle l)'™*' 3nd ,he ,hird **rtion rpWW W‘ Beethoven and Brahms; but I will is playing the later exercises in Czerny’s siibdominant key. Again at this point. It ts by Mathilde Bilbro, and one isy’e'. Make certain to l ui1"' not sully my artistic hands with “Little Pianist, Opus 823,” and “Burg- staccati and two-note slurs have their im¬ Gershwin, Kern and Berlin.” even go<_ 1 though I have told them repeatedly i r. mtiller, Opus 100,” need not worry, but portant bearing on interpretation that I think it is all right to play f dim. 31 0 n\ should remember that a gifted adult begin¬ ™l,d0fIein0tf « the right hand will jazz : because there are good jazz and [ t ner can easily accomplish this much in six probably be the better for separate hand ”rv°TF“- sS ■: ' cheap jazz, just as there are good, P» •; A serious mnsic and masses of cheap, months. For your next etudes, I would practice. The second section is heard later so-called "classical” music. Do you -o think this class in jazz music would recommend Book I of those admirably °n ,ln ‘b« tonic key and leads into the tend to defeat all I have been striv¬ 1 . . P- selected and edited Heller etudes, called t-oda. This being essentially dance music they Rre thoughtfully designed to deveW !“re touch in order l^'!iUPp,y a ***- ... .. ing for during the past four years “Studies in Musicianship,” by Isidor remember that rhythm is paramount of teaching?—L. H., Virginia. This, M the « Philipp: also John Thompson’s “Keyboard throughout. Set a good tempo in the be¬ _k ginning and stick to it. Not if you have it thoroughly under¬ Attacks,” containing twenty-four well ar¬ stood that the jazz class is a special course ranged examples from familiar great com¬ CADETS ON PARADE entirely apart from your real job of de¬ posers “to develop interpretation and By Ella Ketterer keSg“eamfp8oisedaforfd2cenTeaSUre’ thrV P,- veloping your students’ technic and taste expression.” You might also begin Liftl's Miss Ketterer opens the short four meas¬ in the playing and appreciation of more excellent “Preparatory School to Bach”— serious music. I can see several advantages a set of thirty-one easy pieces by Bach, ure introduction of this march with a cleaT br°^4SdS‘ormS,,V U ; v « bugle call, heavily accented, thus estab¬ particularly the one closino- ti,„ c dearly, the threat h ' meas ' rtethred b? - to your plan : Cl) By keeping your private Handel, Corelli, Couperin, Scarlatti, Mo¬ lishing the proper military atmosphere for lessons strictly “classical,” you could offer zart, and other masters. the march proper, which begins with the a weekly jazz class as an additional in¬ ducement to only those who already study fifth measure. The left hand eighth notes “Music gives tone to the universe; wings set and preserve the tempo while the right v .v t, with you. (2) You could charge an extra r« . hand. TM. con,i„«, «, „a,ur« ™ fee for the class, accepting anyone from to the wind; flight to the imagination; a 20 the outside who is properly equipped. (3) charm to sadness; gayety and life to every¬ You could probably persuade many persons, thing."—Plato. Pi”' “ JANUARY, 1937 21 THF. BTVD The "Berceuse, Op. 57" of Chopin FASCINATING PIECES FOR THE MUSICAL HOME ALONG THE NAVAJO TRAIL A Master Lesson By the Eminent Russian \ irtuoso Slowly the rugged little ponies, with their colorful riders, creep through the cactus,down into the canyon.The composer has caught in wonderful fashion the varieties of shadows and high-lights of the picture. This is a dramatic piece of musical prose, painting the vanishing West,and should Mark Hambourg be.played with fluency and in rubato style.

ment, with an effortless technic and with THE DEFINITION of the word emphasis on the first thirty-second note of as the greatest Russian pianist “Berceuse,” as applied to a piece of Mr. Hambourg is regarded by many each group of four when measure 22 is invaluable.—Editorial Note. music, is given in the dictionary as since Rubinstein. His master lessons are reached. The tempo should also slow down “a cradle song.” It should consist of a slightly at the end of measure 22, to usher suitable, soft and soothing melody sup¬ in a further development of the material, ported by an accompaniment which conveys same manner as in the previous measures, this time in triplets and sextuplets. accompaniment in the left hand should pro¬ the impression of a gently rocking move¬ The chromatic thirds in triplets com¬ ceed flexibly but not too rubato. The fingers 3 4 5, and 6, the melody rising and falling ment. as the phrasing of the music warrants it. mencing in measure 25. must be played as Chopin’s work in this style is without should caress the keys and not be lifted too high off the notes, nor strive to strike Proceeding to measure 12, the eighth legato as possible, and the difficult progres¬ doubt the most original and successful one notes on the third, fifth, and sixth beats in sions, from the last third of the second in existence; but other famous composers the keyboard, but preferably approach the keys with a gentle pressure. the right hand must be stressed with a triplet (on the notes B-flat and D-flat) to have also used it, arid have written lovely slight ritardando (the notes to be stressed the first third of the third triplet (on D- things in this genre, chief amongst them At the end of the third measure another rise and fall of the tone should be made being A-flat, G-natural, and G-flat). natural and U-natural), must be managed being Mozart’s Wiegenlied, Schumann’s In measure 15, the lower notes of each with a sliding movement of the hand and Schhmmerlied, and delightful examples by in the right hand on the three eighth notes in the second half of the measure and appoggiatura in the treble must be brought fingers. This sliding movement will present Schubert and Brahms. The palm, however, out, because the melody is to be found any break in the sound and must lx ap¬ goes to Chopin, whose Berceuse is a little subside in the beginning of the fourth there, inserted in a most ingenious and plied to the similar progressions later in masterpiece, a gem both in construction measure. unusual way; a charming device of the the measure, from the second third of the and in charm of invention. It consists The crescendo should appear again in the composer. This appoggiatura figure con¬ fourth triplet (on D-sharp and F-sharp) of only seventy measures; and, like all right hand in the second half of the fourth tinues until the end of measure 18, which to its succeeding third (on E-natural and Chopin’s music, it is perfectly conceived, measure, and again on the last three eighth notes of the fifth measure. Coming to the begins in tnczzopiano tone, and sinks into G-natural), and also from the last third both as to material and form, thought and pianissimo on the 4th, 5th, and 6th beats, style; and, with a magician’s touch, he im¬ sixth measure, the melodic outline suffers in the measure (on B-flat ami D-flat) to with a little ritardando. This ritardando parts to it a serenity completely satisfying. a diminuendo towards the end of this meas¬ the first one in measure 26 (on B and D prepares the listener for the next variation, Chopin was an innovator not only in ure, with a slight pressure and hesitation natural). The sliding movement should if I may call it so, which commences in regard to pianoforte technic but also in on the last beat of the measure, on E-flat, continue in measure 26, at the progression measure 19 with a trill lasting for two the art of composition. He found new com¬ so as to prepare for the resumption of the from the second third of the second triplet beats in the right hand. Here the figures binations of rhythms, new harmonies, and theme on the first beat of measure 7, on (on D-sharp and F-sharp) to the succeed¬ in thirty-second notes must fit lightly and the power of his imagination was unend¬ the note F. During measures 7, 8, 9, 10, ing third (on E-natural and G-natural). gracefully on the supporting accompani- ing. No other seems to have probed the 11, and 12, the theme is brought out in the In measure 26 bring out the sixteenth soul of the piano as he did. In fact, to quote notes of the triplets on the fourth, fifth Schumann’s well known words about him: '■ Is contributed many fine things to the “pedal with the brain rather than and sixth beats, as shown by the pressure “Hats off, gentlemen, a genius!” /terature of educational piano material. the foot.” marks. This Berceuse is really a theme with va¬ / Marks of dynamics will be found in At the opening of measure 27 there com¬ riations, flowing gracefully along, and de¬ nearly every measure so that there is small ROMANCE IN E-FLAT mences a new figure in the right hand veloping into delicate embroideries, each /excuse for derelictions in the matter of By Lois Wentworth which must lie played lightly and playfully, more and more elaborate in design as the interpretation. Miss Wentworth’s composition is with tiny accents on each triplet beat, be¬ piece proceeds. I The second section is in the key of the in the lyric style and should be p fore taking the jump to the staccato note The work must be played softly through¬ relative minor—E minor—and carries on with the freedom of an improvisatioi which follows. This playful variation ends out, and as legato as possible, whilst im¬ I with the same rhythmical motif as the first themes weave about constantly, char at measure 30, with another ritardando to parting a singing tone to the melody, and theme. It grows to its climax at measure tempo and modulating freely through herald the latest embroidery of the theme much change and variety of color to the ! 34, after which the first theme reenters ous keys. Despite this fact the perf which appears in measure 31. This is a i piano and resumes as before. ance must not create the impression of rhythmical variation of the chromatic pro¬ The whole structure of the music is built The little broken chord figures on which lessness. On the contrary it should gressions in triplets which occurred in up on the bass accompaniment, which re¬ the piece closes should be almost literally the serene quietude of a nocturne. Su measure 25, and which again assumes a mains continuous in the form of a basso brushed off the keyboard, with the utmost the clues to interpretation supplied by- new aspect in measure 33. but before doing ostinato, throughout this lovely master¬ lightness, to suggest the flickering of composer : espressivo—with expre.v so the tempo broadens a little at the end piece. The arabesques which embellish the shadows. In playing the last two measures doloroso—sad, mournful; sospirando- of measure 32, whilst the last three notes theme must be executed plastically and with it will be found helpful to keep the fingers a breath; tranquillo—peacefully ; l elegance; but with this they must still more close to the keys and to roll rather than of this measure are stressed. Returning to gando—caressingly; slentando—relaxin tempo at measure 33, the second top notes or less conform to the accompaniment in finger the passages. This procedure pro¬ slackening of the time. the bass on which they rest. Personally, I duces almost the effect of a glissando. of each triplet of sixteenth notes must be For the playing of the melody use brought out. the notes being G-flat, F. change the pedal with each new measure, Use both pedals, damper and una corda, very best singing tone. Preserve an’ instead of on the third beat of the meas¬ in the last two measures. E-flat, A-flat, G-flat and F. The same broken legato in the moving parts, stressing on similar notes should continue ure, as is the usual procedure. On account the arpeggio figures and pedal with car of this way I take the pedal, the first bass THE DANCING LADY in the following measure. note in the first measure (D-flat below the By Mathilde Bilbro In measures 35 and 36 the top notes ot first added line) is emphasized slightly, in each chord in the right hand must be made Holding valiantly to the rhythmical holi¬ By Ludwig Renk order that, as the pedal is taken upon it, prominent and also the lower notes of the day mood, The Etude gives us in this This little number is in true barcar. this D-flat may carry the rest of the meas¬ last triplet in each of these measures; but number another variant of the dance form. style. Make certain to establish a g< ure on its foundation. This gentle insistence liesides this, in measure 36 the lowest notes It is by Mathilde Bilbro, and one is re¬ six-eight swing from the outset, so as on the first bass note of each measure of the first two sixteenth-note chords must minded in passing that the piano teaching suggest the gentle rocking motion of should be present throughout the Berceuse. profession owes a real debt of gratitude boat. be brought out, as also in the succeeding triplet chords on the second beat, the mid¬ to this composer for the many excellent The first theme opens dreamily, p dle notes of the first two chords should be studies, pieces and books she has contrib¬ traymg the onset of dusk over the' wal stressed (the notes being B-flat and A- uted for teaching purposes. Her works are The right hand should here supply a pr ilways melodious and at the same time sure touch in order to produce a sing flat). . . hey are thoughtfully designed to develop tone while the left rolls off the acco Arriving at measure 37. the variation o the figure changes into thirty-second notes, pme specific point either musical or tech- pamment against the pedal as marked jcal. The second section, beginning meas, and in this measure tlie first note of each 1A certain dainty grace should be the key- 17, m the key of the relative minor, , group of four thirty-second notes must jte. of this number. Toss off the phrases mands an increase in tempo. The to slightly accented, whilst in measure •» The opening measure of the piece is iding on the first beat of the measure, also, is fuller than that of the first s make a syncopated accent on the secona teping the arms poised for descent on the played messopiano, and the second meas¬ tion and is somewhat suggestive of note of each thirty-second note group, thus jistained half notes which follow. ure piano sinking to pianissimo, as if it brewing storm. At measure 29 (calmat. making the figures into a synthetic um I Articulate the diatonic passages clearly, were an echo answering the first measure. the threat, however, recedes and perh; tion of the progressions in measure 3/- • Particularly the one closing the first theme, There should be a slight crescendo rising the moon makes an appearance, since small ritardando is made at the end ot me > heasures 21 to 24, and subsequently at up from the D-flat and F, on the third music grows again quiet and the fi ure 38. returning to tempo again m mea> beat in the first measure, to the C and measures 45 to 48. In measure 49 the left 39, where the original melody undergoe hand picks up the theme on the same theme reenters—D.C.—The Coda is G-flat on the fourth beat, and dying away entirely quiet one built upon the sa once more a metamorphosis and appears figure as that previously played by the again on the A-flat on the fifth and sixth melodic structure as the first theme. triplet thirty-second notes. Th«e triplets, right hand. This continues until measure beats. Everything must be legato, and the Play this little piece as expressive which commence in measure 39, must (Continued on Page 62) Copyright 1936 by Theodore Presser Co. British Copyright secured 22 JANUARY 1937 the etude 23 BAVARIAN VILLAGE DANCE iVJ- FREDERICK A.WILLIAMS, Op. 165

Grade 4 Tempo di Mazurka m.m.J = 132

? f l f 3 6^ i } f

(l^a *LLit. m x , 'Ha't r tf fr -

^15 ^ 20 g. P / > -r-J-J.-| -3--—

British Copyright secured THKFTUDS THE DANCING- LADY SHADOW DANCE N. LOUISE WRIGHT Moderato m.m.J = 160 MATHILDE BILBRO THE GARDEN OF MEMORIES WhenonceThis reata.ee learned, h really this inis .eetur..quite as simplestyle with to play the as is the key of C. The composersaireciions,jjKit a USSXLVZ ressingly), should be faithfully followed. Grade 5. LOIS WENTWORTH Andante cantab ile m.m. J = 69

2?. C.

U l “ 3t 8| ^ivr- ^rfi frffi 1 S’'" r 1 ./ Li-^ \ p1- j»OCO # y?OCO il , slentando = hir* * 7 Mu l- T7 r r- P\! r qJ mp30 sc. 1i^i 1 Nfj- -e= CODA < "i o 1=^ m m International Copyright Copyright MCMXXXVI byOliver Ditson Company, Inc. International Copyright secured THE ETUDE JANUARY 1937 MASTER WORKS TWILIGHT ON THE RIVER See Master Lesson by Mark Hambourg in this, issue. BERCEUSE first composition of the amateur, aJmost always, is a cradle song. Notwithstanding this, there are not more than three or four great; crad.le songs,„ ;amongmnnff whichthieh are the Brahms Lullaby andthis incomparable Berceuse of Chopin which is a veritable fantasy of the imaginary dream ments’of the little one who has so recently come from the great unknown. FR. CHOPIN, Op. 57 The fingers should caress the keys and should not be lifted high off the notes Grade 10- . strive to strike the keyboard.but approach keys with gentle pressure of fingers.

f.M.i' = 104 ^

30 British Copyright secured 31 THE ETUDE JANUARY 1937 The Trills loudish, the ornamentations pianissimo.

33 theetude JANUARY 1937 OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES . L ^ r F""1. - -Q—m

STARLIT On - ly to show with love and pvirip The rose tints of vour ra-diant! soul. J Rosetta M. Lukey CHARLES WAKEFIELD CADMAN ^ roll» | g i ■£=: # / J-Ly / J-,? rail. r ) ! .?!]#• -g-_ llrY j jjfLgn r ^ i §J THE FLOWER THAT YOU GAVE LOVING SPIRIT, THOU HAST BROUGHT US TO A LILY Adapted from OUT OF ERRORS NIGHT an old Welsh Melody

Pedal

,\ om - i-f—-r| rr„ i j - ■ i -fT p rm Z

f t

Copyright 1936 by Theodore Presser Co. British Copyright secured THE ETUDE JANUARY1937 S7 ANDANTE CANTABILE

* rail.

the etude January 1937 3S 39 IN OLD VIENNA IN OLD VIENNA Arr. by LOUIS VICTOR SAAR PRIMP Arr. by LOUIS VICTOR SAAR

JANUARY 1937 41 PROGRESSIVE MUSIC FOR ORCHESTRA 1st CLARINET in Bb TWILIGHT SONG ■ -■ate-. —— REVERIE FREDERICK N. SHACKLEY TWILIGHT SONG FREDERICK N. SHACKLEY Moderato e sostenuto REVERIE Arr.by W.H. Mackie Moderato e sostenuto M.M. J*= 63

1st Violin

Piano

1st CORNET in Bb TWILIGHT SONG REVERIE FREDERICK N. SHACKLEY Moderato e sostenuto |?i JT^irpr \f&r jl

VIOLIN OBBLIGATO TWILIGHT SONG REVERIE FREDERICK N. SHACKLEY Moderato e sostenuto

> *1

Grdde 1 Moderato m.m. J = 112

‘ =£

British Copyright secured Copyright 1936 by Theodore Presser Co.

THE FIRE ENGINE ADA RICHTER Grade 2. 'Moderato M.M. J =

Copyright 1936 by Theodore Presser Co. British Copyright secured QUEEN ANNE’S LACE

1 1 i A 5 3 A > 1 £ * A ♦ A ♦ /) A 3 A A Af Af ► 1*1 ' 1 m PT"

— —— nvp-======. f ' 15 20 " ^8= =±8= IH: jlp’ Plp‘

A £ A 1 3 Tempo I A

raU. mf -f J* Clang! Clang! Now the fire is out! Ding! Dong! Hear the peo-ple shout. g 25 m m r P-» p - -:

]X , | r ^ r -m [ I J J=^=EEE —J J J 1 ^=F= l -vp 1 | - - J •■ --*—•— J ) ^ Honk! Honk! En-gines start a - way. Hur - ry, hur - ry, hur - ry, hur - ry Home a - gain to play. 30 -- ^ ======- ) 8 ^ rit. r r r r f r LJT T ;

Copyright 1936 by Theodore Presser Co. British Copyright secured 44 THE ETUDE Romance of 'The Sweetest Story Ever Told" Piano Teachers!

(Continued from Page 12) I I I I CARMEN words and music comparatively easy. By GEORGES BIZET “My wife, who was seated in the room Light. Story Retold By Elsa R. laeger near me, soon settled this question. She Love's Threads of Gold. ditto . Piano Solos Arranged By had been reading a novel, and as she fin¬ Madriennc . ished the final chapter, threw the book ditto . LOUISE CHRISTINE REBE Message in My Dream, A. . . . aside with the remark, ‘There! That’s the Nightfall. Price 75 Cents sweetest story ever —She got no far¬ Once in the Bygone Days. . . . Only Dreaming. A delightful novelty for that recital! ther, for she had furnished the title and, Sing Again That Song to Me. in two hours, the song was finished. Sing Me a Song of the Olden ' Several piano students may partici¬ Sing Me Some Quaint Old Ba] “My actress-singer kept her appointment Sleep, Dearie Sleep. . pate in this interesting story of the the following day and was most enthusi¬ Springtime of My Heat t, The. . famous opera “Carmen.” The story Ditto . astic in her praise of the new song. An Sunlight Land. is interspersed with nine of the orchestration was quickly made, and The Sweet Dreams to You Sweetest Story Ever ' favorite musical themes, arranged Sweetest Story Ever Told was sung for piano solo in about the second throughout the South all of that season. a Longing in My Heart, Dowt to third grade in difficulty. Costumes Its success was instantaneous. And so The in Carolina “. Sweetest Story Ever Told was started on Where Lies My Dear Love Dream in; may be used to make the story the Ditto . more vivid and colorful. its long run of over forty years of un¬ Words That Made You Mine, The. broken popularity, which at this writing World of To-morrow, The. shows no sign of abatement. Will it live forever? Some people have told me that it will. It has been published in fifteen or Children of the I A MUSIC READER Clinging to Thee more different arrangements and in many God's Will Introducing Chords and Transposition countries, for as many voices and instru¬ Glory to God. In the Cross of Christ I Glor By LILLIE M. IORDAN ments, no combination having been over¬ ditto . o-jn looked. I have in my possession copies of Is It For Me?. F-g New Edition—Price 60 Cents Jesus, Lover of My Soul. Eb-F editions published in England, Germany, Formerly known as the CHORD Denmark, and other foreign countries. METHOD READER. In this revised “Having reached the goal of my early Jesus i. Still Lead On. d-g ambition with this song, I came to Phila¬ ___ Us. Heavenly Father. bb-C new edition, teachers will find ad¬ Lead Thou Me On. Eb-Eb ditional valuable material for the delphia in 1899, where I gained the friend¬ Lord, Forever at Thy Side. Eb-ab ship of the late Theodore Presser. He Lord, Forever by Thy Side. d-g child beginner. The book is espe¬ O Holy Child of Bethlehem. d-g urged me very strongly to ‘try my hand’ O Lamb of God, Still Keep Me. d-g cially adapted for transposition at other lines of composition, mentioning Open My Eyes, O Lord. d-Eb work. Redemption . E-g But once I really think I heard church music in particular. Since then I ditto . db- I’ve never seen a Gloopie, have written over a thousand composi¬ ditto . c-E The music of their band; tions—anthems, cantatas, part songs, op¬ Resurrection Song. E-p, For they are very shy; Still, Still with Thee. d-F TWELVE TWO-VOICE PRELUDES erettas and teaching pieces.” Thou Art the Way. d-E They never, never show themselves A tuneful march with accents bold Voice Triumphant, The. F-c By NEWTON SWIFT When you or I pass by. Rang out from Fairyland. Some Compositions of Robert New Edition—Price 60 Cents M. Stults Comments: This list might be considerably extended VOCAL DUETS were it to include a large number of anthems, How Sweet the Name of Jesus "These Preludes are the work of an excellent choruses, instrumental arrangements, com¬ Sounds . musician. Melodious, skillfully written and positions used in books and collections, as well I am the Resurrection and the Life. carefully phrased, they will be welcome to as other large numbers published under pseu¬ In the Hour of Trial. donyms used by their author. Invocation to Summer. every teacher who aims to cultivate musical PIANO .Tosus Shall Reign Where'er the Sun. . Sop taste In the pupil.”—Harold Bauer. Title Grade Light of the Morning. 0— Advance Guard, The. March. 3 Song of the Angels. Christmas. . "Every piano teacher knows the many All for Freedom. March. 3 Sweetest Story Ever Told, The. . charming pieces that Mr. Swift has already American National Anthems. The Star- Spangled Banner, America. 3 ORGAN contributed, but we feel sure they will find Ballet of the Birds. Gavotte Caprice. .. 3% Andante In G. that his Preludes, without title or program, Birds in the Meadow. Caprice. 3V4 Church Festival. March.. will prove even more stimulating to the Bit of Nonsense. Danse Grotesque. 314 Blushing Roses. Intermezzo Caprice_ 3 student’s musical growth and initiative.” Bound for Home. 3 —Clara Damrosch Mannes. Burmese Dance. Kouli-Kahan. 3 Marcia Pomposo . 3 Castanet Dance. 3 Meditation, A. 3 Clover Bloom. Caprice. 3 Nuptial March. 3 Dance of the Fireflies. 314 Offertoire in A Flat., 5 Dance of the Ladybugs. 4 Prelude in A Fiat. . . Old Sentinel, The. March. 3 Processional March. - FIFTEEN TWO-PART Patrician. Valse Intermezzo. 4 Reve d’Amour, (For Soft Stops). 3 Stand by the Flag! Patriotic March.... 3 Summer Idyle. 3 INVENTIONS Sunflower Dance. 3 Orasshoppers Parade. 3 CANTATAS AND OPERETTAS By IOHANN SEBASTIAN BACH Sweetest Story Ever Told, The. Easy Alleluia. Easter. S.A.T.B. Cantata- Transcr. 3 Belshazzar. S.T.B. Cantata. With Harmonic Structure for Second Piano Transcr. by Chas. D. Blake. 3-4 Betty Lou. Operetta. or Organ Sword and Sabre. Two-Step. 4 Easter Glory. Cantata. Toccatina . 3 Folderol. Operetta. By GUSTAVE L. BECKER Watermelon Shuffle, The.. ' 3 From Death Unto Life. S.A.T.B. Easter False Etude. 3 Cantata. Hearts and Blossoms. Operetta. New Complete Edition—Price One Dollar Thl.T VOCAL (Secular) The Herald Angels. S.A.T.B. Christmas Dutch Lullaby, A.. . d-E Cantf *■- This special edition has been highly For Love's Sweet Sake. En-F Love Thee So. Eb-g endorsed by prominent musicians I Love You, Dear. Eh-a and educators, among them Percy Goetschius and Harold Bauer.

Do You Know? SCHROEDER & GUNTHER, Inc. 6 E. 45th St.. NEW YORK. N. Y. That the “Bay Psalm Book” (1640) ber 14, 1752, at Marlborough, Maryland? toas the first music book, and also the sec¬ That the first mention of French horns YOUR OPPORTUNITY E.J.-37 ond book of any kind, printed in Amer¬ in America was made in 1756, by Benjamin SCHROEDER & GUNTHER, Inc. ica? Franklin, when writing of the fine music 6 East 45th St., New York, N. Y. That the first Pipe Organ to reach in the Moravian Church at Bethlehem, Gentlemen: Enclosed one dollar ($1) for which kindly send postpaid one copy of each of the “Carmen" America from Europe was placed in the Pennsylvania ? a and the “Music Reader” as advertised. That the first American made piano was JD Kindly send, “on approval” for sixty days the piano teaching material advertised i m 17MPf ChUrCh °f P°rt Royal> Virg'nia. done in 1774, by John Behrent of Phila¬ lowing teacher’s i , ?\at “Flora; or, Hob in the Well.” a delphia ? TO:D: ?allad 0Pera. was the first operatic per- That music was first taught in the public Name . rmance in America, when given at schools of America, by Lowell Mason, at Ltorleston, South Carolina, in 1735? Boston, in 1838? . State. with™1 thA record o{ an orchestra That the first public performance of an American operatic performance Hail Columbia was by Gilbert Fox, at as with “The Beggar’s Opera,” Septem- Philadelphia, on April 25, 1798? 10 previous account)’ January, 1937 Why Do They Sing Off Pitch?

By John C. Wilcox

THE SINGER’S ETUDE A LARGE NUMBER of singers occa¬ ing to bring the tone up to pitch. And sionally emit tones that fail to score yet there were two or three tones in her . a pitch “bull’s-eye.” Indeed, a rela¬ own scale which, when sung with any Edited for January by Eminent Specialists tively small percentage of the army of men degree of intensity, were always below and women who claim public attention as pitch. The cause was obviously a violent It is the ambition of The Etude to make this department a “Singer s Etude complete singers are guiltless of such occasional contraction of muscles at the base of the lapses. What is the matter with these tongue, which caused the larynx to rise singers? Is their hearing sense deficient? and the laryngeal pharynx to contract. Have they “bad ears”? Thus, while this singer must have held the In the great majority of cases, singers correct pitch thought (since she possessed fail to achieve accurate pitch because of absolute pitch) the pitch mechanism was faulty physical habits in tone production. unable to achieve accurate adjustment be¬ It is true, of course, that many singers have cause of the strong pull of interfering Can The Singer Disregard Hygiene? failed to sensitize their pitch thinking muscles. After a long struggle, we elimi¬ through intelligent disciplinary practice, nated the interfering reflexes sufficiently to Samoiloff and that their intonation suffers because of permit automatic adjustment of the pitch By Lazar S this failure; but the fundamental cause of mechanism, and the tones began to sound stomach is upset through overindulgence should not be taken in excess, especially by such wide spread deviation from pitch accurately. HATEVER THE WALK in life, ing, or too soon after rising. The voice among singers is, nevertheless, an incorrect W in food, or any other unwise dietetic prac¬ a vocalist. The singer must at all limes there are certain cardinal rules of cannot be properly judged in the morning, habit of voice production. Some Physical Problems and very few people like to sing at that tice, the lining of the membrane in the conserve energy, so as to be relaxed and ! health which must be followed, if vigorous during his vocal performances. ANY VOICE TEACHERS have, I the individual is to attain success. The time. Later on the voice begins to appear, stomach and the throat becomes inflamed The Mystery of Lapse in Pitch am sure, shared my experience in so that an hour or more should elapse and irritated. This will consequently im¬ student of singing must particularly realize The Mind on the Throne HE PITCH mechanism of the human encountering numerous sopranos who were that there are definite limitations placed between slumber and working hours. pair a singer’s work. But it is only neces¬ vocal instrument is a seemingly com¬ unable to sing a few tones in the upper upon his habits of living, which are of such If a nap is to be taken before a vocal sary to eat less for a day, and remain in Mental health » important * plicated and, as yet. a mysterious mechan¬ medium range with pure intonation. The genuine and significant importance to his performance at night, at least three or bed, for health quickly to return. bodily health. Worry of any kind is ism. We know some of the muscular trouble in such cases is always one of mus¬ entire vocal career as to demand the most four hours should be allotted between the Alcoholic drinks in excess are bad for agitating, and it should be avoided by the adjustments that take place in the vocal cular interference, and it manifests itself nap and the performance, for the singer to rigid adherence to them. any person; but they are particularly in¬ singer, whenever at all possible. If a singer organism to produce pitch changes, but not at this point in the range because con¬ In this respect there is a similarity be¬ put himself at mental and physical par. thinks too much about his singing, he is all of them; and, since all of the muscles strictor muscles have been gradually closing A huskines's is frequently noticeable in jurious to a singer. The stomach becomes tween singers and athletes. The football or likely to lose the correct perspective on involved in these automatic adjustments the laryngeal pharynx on tones of lower the voice when one attempts to sing too upset, with resultant sore throat. And the baseball player undergoes a special and like, and he is thereby actually harmed by are in the involuntary group, it probably pitch and the contraction becomes so acute VOICE STUDENTS! Start the New Year “RIGHT" with soon after sleeping. Unless it is the result nervous system, so important to every strict training. He who breaks training is what in moderation would be beneficial. would not help the singer to achieve pitch in the upper medium range that the pitch “THE ‘HOW’ OF ACQUIRING FREEDOM IN V01CErPRODUCTION” TRUTHS- of poor health, this huskiness will soon vocalist, is shaken and disorganized. A penalized by suspension from the field, be¬ A pupil often has some pet worry which fidelity, even if all of the process were mechanism no longer can withstand the in¬ pass, and the vocalist will be able to use singer is totally unfitted to do his or her cause he obviously could not be at his best preys upon his mind for a more or less known. But this we do know: When the terference. When the habits of such singers his voice in the accustomed manner. upon it. best work. Some singers, principally the protracted period. Such worries invariably singer thinks pitch accurately, and there are have been so corrected that progression reioe^rom almost completeness to^pSiSWr No COURSE. NO NOW$fo?°you? clpy^D' Wnt° AU1IWR and Many singers, like athletes, fall by the Italian ones, persist in their custom of go their way in time, and it is best for the WILBUR ALONZA SKILES, Analytical Voice Specialist—Author—Teacher Singing by the Pound no reflexes of muscular interference in the from low pitches upward can be achieved (analysis by mail, $5.00) wayside early in their vocal careers, simply drinking light wines, and these probably teacher to advise him to worry not at aU vocal habits, the tones will speak accurately without lower throat constriction, the (Contributing writer, THE ETUDE, etc., for years) P, 0, Box No. 194, because they do not understand or appre¬ A COMPARATIVELY FEW years are not injurious when taken in moderation. or at least as little as possible. In the end on pitch. Every observant voice teacher offending off of pitch tones at E, F and F- ciate the paramount importance of health, ago, most of the well known singers But the best advice to singers, especially the clouds will always disappear, and the must also know that, regardless of accurate sharp are automatically corrected. or realize the inevitable results of dissipa¬ of the concert and operatic stage were to aspiring pupils, is to avoid the use of sun will come peeping through. However pitch thought, the singer’s tones will not On the mental side, singers should con¬ inclined to corpulency. From this fact HARMONY BY MAIL tion and general neglect of hygienic laws. intoxicants in any form, as a sensible pre¬ trite this philosophy, it is familiar to ns all: always sound at pitch if there be any seri¬ centrate more earnestly upon pitch thought Every pianist knows that his piano will many laymen derived the idea that it was 1 practical and thorough course of 40 lessons, caution and a safeguard to their talent. and when it is discarded upon occasion, like ous muscular interference in his vocal habit. previous to attack. The time to establish .mall monthly payments. Send for particulars. function properly even though he may not necessary to be stout or even gross in Smoking is definitely harmful to singers. much other general knowledge, the individ¬ Nor does the fact that the singer him¬ conditions for accurate pitch and correct Music composed to your words. be in the best of health. Although ill health physique, in order to sing well. As a matter All know that smoking is irritating to the ual generally finds that he lias suffered self fails to sense that he is singing off vowel is during breath inhalation, imme¬ certainly will never permit him to play at of fact, such singers became fat merely many unnecessary pangs in vain. pitch prove that his “ear” is at fault. The diately preceding attack. If the singer con¬ his best, a sufficient exercise of will power through lack of sufficient exercise and an throat, and this organ is so vital to the The singer should be interested in every¬ vibratory sensation, conveyed to the inner centrates his thought upon pitch and vowel 64 E. Lake St., Chicago can result in a creditable performance. But overfondness for good food in large quan¬ singer that he never should tempt fate by thing and everybody, like any other intelli¬ ear of the singer by his own tone, does not while taking breath, the muscles will auto¬ the singer’s instrument is himself. He can¬ tities. It is possible that they really deluded forming the nicotine habit. Whether the gent person in the field of artistic en¬ register the same accurate pitch impression matically adjust themselves to produce both not force it, or put undue strain upon it themselves into the belief that exercise individual may smoke much or little is deavor ; and he should daily strive to be accurate pitch and correct vowel, unless without harmful results. If his throat is would weaken their voices and that heavy beside the point. The best means of avoiding that the auditor receives. One of the most perfectly normal and balanced in his con¬ raw and strained, the singer faces such a meals would strengthen them. irritation and its consequent huskiness is persistent “off pitch” singers encountered interfering muscle reflexes prevent such tacts and outlook. He who enjoys life and handicap as to render him thereby unfit to Yet for a long time it was customary to simply to abstain from any practice that in my long teaching career was an excel¬ accurate adjustment. When such reflexes living will inevitably carry a beautiful are present in the singer’s vocal habit, they give a proper performance. refer to a person of large proportions as involves the possibility of a throat disorder. lently trained musician who possessed the in • message of music in his voice. must be eliminated before true intonation On the other hand, it is often true that possessing “a good build for singing.” gift of “absolute pitch.” Listening to an¬ Daily practice must never be neglected. singers worry unduly about their state of Now this erroneous opinion has been The Self-Supporting Student other singer, she would recognize the may be expected, regardless of the sensi¬ TODAY’S GREAT PIANO BALDWIN PIANOS • CINCINNATI Proper singing exercises, taking in the slightest deviation from pitch. She could tiveness of the singer’s “ear” if artistic health, and live in constant dread of such repudiated, and physical bulk is no longer HEN SINGERS become successful, W song is to be achieved. eventualities as colds or sore throats. Be¬ considered the measure of merit in a vocal¬ there is of course no need for them whole compass of the voice, and regularly almost tell the number of vibrations lack¬ sung w ith intelligent concentration, develop cause they realize the necessity of having ist, even though the delusion may still to work at any other task than singing. NOT ALL BEAUTIFUL | linger in some minds. On the contrary, the vocal organs. Every organ is benefited VOICES ARE GOD-GIVEN! | their throats in singing condition, they are Yet among students of voice it frequently fmiJItTiiilllJJI.WDff inclined to pamper themselves in their or¬ it is realized that pulchritude on the stage, happens that a job of some kind is an eco¬ by use, and harmed by disuse. dinary routine of living, and consequently and an attractive figure are definite assets nomic necessity. A student often will worry Practice is not wearying, if approached The Singer's General Education wHK} Pianists—Send for free booklet show- forget to lead normal lives. This practice, to any singer. over such a situation in life, believing that in the proper mental spirit It fosters en¬ when it is carried to extremes, is just as When some of the older singers per¬ a lack of funds with which to devote all his durance and makes the singer master of his ■P**Hng. swUp^toaD^ I mirdmfzecL0 Used ‘*by'"famous* pianists, foolish as a flagrant disregard of health mitted themselves to grow large, all hope time to voice training is a formidable own voice, and sure of the results upon all By Emmett E. Holmes students. No obligation. •r "^^Prof.^ugeneVe^^Ul^g^rj^t E«^La^estrBet,ddreM | rules, or an indulgence in dissipation. of stage illusion was lost with them. The handicap to a successful vocal career. occasions. The day after a strenuous per¬ Broad well Studios. Dept. 112-A, Bendix Bldg.. Lo« Angeles. Calif. younger generation have realized this, and Many students must work to support formance, whether of opera or concert the are now capitalizing on charm and beauty The Normal Life themselves while studying, and those who singer should sing less: but he should sing- ARTISTIC singing involves much be- dote on “emoting” while they leave a vocal as a logical means of furthering their ODERATION is decidedly the best find it necessary should work cheerfully The early morning hours are tire best /A yond a good voice and a technic in technic to emulate Topsy and “just grow.” M vocal careers. course to pursue, and the singer and be glad of the opportunity it offers to time for practice, and the remainder ot *■ “its use. Great singers of the past Now what we need is the roundly devel¬ MASTERPIECES OF PIANO MUSIC The public is quite naturally intrigued should avoid extremes of either one sort be self-sustaining and independent. Voice day should be devoted to various other have been great personalities, with fine oped singer—the singer with a finely fin¬ by a singer of attractive stage appearance, or another. Every singer rightfully should training is one thing, and work in any branches of study. Only a certain amoun mental gifts, and with these highly devel¬ ished technic, and this supplemented (or, 53 CLASSIC COMPOSITIONS especially in operatic performances. So consider the matter of his being in good of singing should be done every day, oped. Along the road to vocal success lie would it be better to say, “based upon”?) 536 Pages such as Spring Song principles of diet for singers must be pre¬ reasonable form of employment is quite mental and physical condition, as the para¬ another. There is no reason why the two the bleaching bones of many a fine talent, a highly cultured mind—one that has been (Mendelssohn) scribed. Foods should not be too fattening, order to be fresh and ready for w°* Prelude in C (J. S. Bach) mount issue at stake in his day by day because the owner of a gorgeous natural fed on the study of fine literature, includ¬ and exercise should be indulged to the should not go together, without conflict succeeding days. It is better to pn>«'“ 75 MODERN COMPOSITIONS existence; but he should eat, sleep, work m any particular. voice became enamored of the idea that ing poetry, drama and fiction; on a sen¬ extent of leading normal, healthy . lives. for one hour every day than to P0* m such as Melody in F (Rubinstein) and exercise in a perfectly normal manner. Exercise not only keeps down excess hours on one day, and no time at all np° \0lce is all that is needed to make a sitive study of the finest in sculpture and Paper Edition Scarf Dance (Chaminade) Sleep is a cure for many ills; it rests Vocalists should eat “wisely, but not too singer; whilst at least two-thirds of the painting; and upon a real study of many well.” avoirdupois but ,t also develops muscles the next $2.00 38 LIGHT COMPOSITIONS the body, the mind and the nerves. A good making of a great artist depends upon forms of musical art besides singing. With such as Simple Aveu (Thome) There is a definite reason for allowing wh,ch supply grace to the human carriage. A good singer never can lose his voice- night’s rest is of advantage to any person, me possession of real brains and the abil¬ such conditions fulfilled, we have a Schu- Cradle Song (Hauser) several hours to elapse between eating and Stage presence and appearance demand Colds or other discordant events may c and it is particularly beneficial to the ity to put them to effective use. mann-Heink, a Nordica, a Sigrid Onegin, a 25 SACRED COMPOSITIONS singing. When the stomach is full, the dia¬ proper muscular control, and this in turn the progress of an individual from time singer. A few extra hours of sleep often How is this to be attained? Surely not Sims Reeves, or a David Bispham. such as Largo (Handel) phragm cannot move and give the lungs is dependent upon a healthy physical con¬ Cloth Edition will suffice to cure an ill voice condition. time, but only those who have boen smg> Is it worth the effort? Try it, till you Ave Maria (Bach-Gounod) proper room to absorb sufficient air. After dition. Long walks, a round of'golf or a 0) warbling up and down the scale, nor $3.00 Because the singer is often called upon to without true knowledge of voice *unc , can sit in the rare atmosphere where abide 29 OPERATIC COMPOSITIONS a hearty meal it is noticeably difficult to few sets of tennis are superb aids to a ny developing a rippling trill and a spar¬ such as Evening Star (Wagner) stay up very late at night, it is of supreme will be dismayed by such temporary an the few who have found their joy in feed¬ breathe deeply. fee mg of physical well-being. Horseback ing staccato—desirable and necessary as Celeste Aida (Verdi) importance that any lost sleep should be versities. Those who do suffer colds o tnese accomplishments may be. The pity ing their artistic souls on any and every regained, and the body kept fresh and in¬ other physical setbacks can cure thetmene For sale at your favorite music counter or sent postpaid on receipt of price. otof exercise3 thatth°atbenefiCia1 is not too' “ strenuous. ” °.,lt 's that we have so many singers, ration that would fit them for existence on Money refunded if volume does not meet with your approval (NOT SOLD IN CANADA). vigorated at all times. Do We Sing with the Stomach? with only a minimum of difficulty, i Exercise induces healthful sleep, aids the gnted and highly trained in coloratura, who Parnassus. Wiil you enjoy the fruits of Illustrated folder with contents cheerfully sent upon request. Morning is the best time for practicing, IT IS A COMMON SAYING that most have proper training in voice matters, seem to feel that an intellect is superfluous; the realm where musical giants dwell; or, by means of vocal gymnastics can fl0 as the body is then rested: but singing cases of sore throat are directly at¬ nd to offset these are the dramatic so¬ taking the easily traveled way, will you E13TMUMIL PUBLISHING CO., Inc. vb^d^ayy. never should be done too early in the morn¬ tributable to stomach disorder. When the regain complete and normal use ot pranos, baritones and tenors, who simply choose the Road to Mediocrity? ,h" “w* ». sjrEjjs; vocal organs. 48 the etude January, 1937 49 way that to play such pieces as the Melody O’er may be used. If the tune is to be in F by Rubinstein seems to be a mistake. played alone, soft flutes or strings, without The slow movements of the Mendelssohn pedal, are suggested. Keep the tone bright; JuAi OmJL and Rheinberger sonatas would be better play with good rhythm; and do not play chosen, music that, if well played, will more than two verses. prove uplifting and helpful rather than At the end of the service the organ can dreary or theatrical. Sometimes the family well come in with a hymn played softly, will express a wish for certain pieces, and leading into an organ number played just THE ORGANIST’S ETUDE these can usually be worked in without loud enough to cover the noise and con¬ destroying the continuity of the mood. fusion of the family and friends leaving “Organists Etude” complete in itself. Sometimes these request numbers are, to the building. Should there be a family It is the ambition of The Etude to make this department a say the least, startling. However, if they room, as is usual in mortuaries, the organ¬ are quite unfitted for such use, the family ist should keep playing until the family is usually glad of advice as to what is best has left; and this is a good place to repeat suited to the occasion. any request numbers, if they are suitable. Perhaps the worst difficulty to overcome It is such little things as these that make is when a friend of the family offers to or mar the service, a service that may mean sing. At such a time they are usually too little to you but that- to the family may How Firm a Foundation upset to bother very much about details, mean the difference between hope and and it is not until the service is over that despair. By Mrs. W. Henry Herndon they realize the offer should have been The request numbers, other than hymns, refused. Of course the only thing to do, differ widely. The vocal numbers most INVEST your music money wisely when the vocalist is not up to the mark, popular are the Going Home by Dvorak, a sermon than a song. The singer tells his of the Portuguese Hymn; but at the same WHY IS the Bible the cheapest book in the is to cover the defects as much as possible My Task by Ashford, The Lord is my Author: R. Keene was leader of music As yet little information about him is time, when sung with religious fervor, the hearers that a solid foundation for their ShSSaSswtftiB simple—mass production; no royal- with judicious accompaniment. A short in¬ Shepherd by Liddle, and others of a like i Baptist Church in London, of which available. underlying minor strain gives to it a pe¬ nature. The organ numbers are usually Story: About two years after this hymn faith is laid in the Scriptures. He then terlude between the verses of a hymn helps Dr. John Rippon was pastor. In 1787 Dr. proves this by quoting different passages, culiar and plaintive human touch entirely ; published in England, it appeared in a great deal. It seems to give the singer such transcriptions as On Wings of Song Rippon brought out a song book entitled concluding with the promise given in appropriate. There is something infectious le CENTURY EDITION. confidence and certainly it gives an .op¬ by Mendelssohn, the first movement of the "A Selection of Hymns From the Best American song book. From the very about the melody, especially when one is Beautifully printed, ca sing it; and it soon Hebrews 13:5. . portunity for a deep breath. With such “Moonlight Sonata” by Beethoven, Largo 100 Authors.” In this book the hymn, How first, people liked In general, throughout the English just a little “in the dumps." singers it is best to keep to the old hymns by Handel and Meditation by Morrison. Firm a Foundation, was first published, became a favorite n all the Protestant In rural communities it may sometimes speaking world, this great hymn of Chris¬ TEACHERS wt and avoid songs. The most general trouble Among the organ pieces that the writer Original and Standard Solos be heard with rather elaborate ‘‘fribbles" tian faith and trust is sung to what is possible for many parents 1 is that the more incompetent the singer the has found most useful are the lovely Choral Beautiful Colored Title Pages TLbe Christian 3Life known as the Portuguese Hymn, because (a high counter-tenor by female voices) more difficult the song that will be se¬ Prelude, A Rose Breaks into Bloom, by it is used for the National Anthem of and “tweedles" (peculiar little improvised 1 That’s why we w. “Please Ask for Century Edition/' lected. When this happens it is a good Brahms, At Evening by Buck, Cantilena Portugal. Its origin is not definitely vocal flourishes in moving from one pitch You will get a new conception of your money’s worth. plan to have the minister to ask for special by Foote, The Curfew by Horsman, In known. By some it has been ascribed to to another). In many books of the South¬ Century piano solos, 15d ea. hymns as being best to go with his remarks. Memoriam by Nevin, Adagietto by Bizet, By MOISSAYE BOGUSLAWSKI a little known composer, Portogallo land it will be found in the “be Reverie by Borodin, many of the “Songs The Funeral Repertoire Without Words” by Mendelssohn, and five , TEACHERS—FREE ■ or six of the short pieces of MacDowell. a regular copy and catalog FREE I F THERE IS NO SOLOIST it is al¬ | to any Piano Teacher—Postpaid. | ways effective to play one or two verses Here is also a further list, from which of a familiar hymn, selected by the family, a choice may be made: In Paradisum by On Sale At Your Music Store during the service. Ministers are asking for Dubois, Elegie by Youferoff, Chanson this more and more, and in most instances Triste by Tschaikowsky, Aspiration by MODERNE PUBLICATIONS selecting their own hymns. Often they like Nevin, flour of Devotion by Rathbun, 2611 Indiana Ave. Chicago, Solace by Pease; Consolation, No. 2 by .. Dli—Schubert -LI to read the words while the tune is being played softly. If this is done, do not try Liszt, Cantilena from Cello Sonota in A to keep up with him but play the tune in minor, Op. 14 by Goltermann, In Remem¬ RINGS&PIN5 FOR MUSIC CLUBS the normal way. It will be generally found brance by von Blon, Awakening by Engel- that while the tune is played through once mann, and Prelude, Op. 28, No. 6 by the minister will have read two verses of Chopin. dy Betty, Old English Dance, G—I Si the hymn. With a little adjustment the tune In conclusion, the music should not be and words will end together. doleful; it should be kept soft enough to Quite often the minister will read a poem, form but a background for the service; it C. K. GROUSE COMPANY such as Sunset and Evening Star or The should not be “cheap,” except in complying J65 Bruce Aye., North Attleboro, Masa. Other Room. Here again a background of with the desires of the bereft; and, above very soft music helps wonderfully. For this all, it should be not sentimental. Remember TINDALE that the organist is there to help in the sort of background such hymn tunes as Music Filing Cabinet Ten Thousand Times Ten Thousand, service, not to play on the emotions of the sorrowing relatives. Needed by every Musician, Hark, Hark My Soul and The Strife is Music Student, Library, tju School and Convent. *“ id. To you who for ref-ugeto Jc - sushave fled? A-vex. protected from damage, and The author’s name was not given, merely Churches. It was the favorite hymn of How to Play Over Hymn Tunes where you can instantly the letter “K.” Andrew Jackson’s wife, and it is said that End it. For years no one thought much about Robt. E. Lee hummed it so much that his Send for list of the authorship. Later, several different friends always mentioned his name when Sir,—I intended writing earlier, but have and then the almost always delightful prel¬ TINDALE CABINET CO. hymnologists assigned the hymn to Kirk- it was sung. It was used at his funeral. been very busy. ude on the organ. ham and some to George Keith. Dr. A. Theodore Roosevelt also chose it as his (Portugal) ; by others it has been credited notes” invented by an ancestor of the dis¬ Your correspondent, “St. Cecilia,” com¬ At York Minster, I heard the choir sing Fletcher, assisted by Thos. Walker, pre¬ favorite hymn. In England, however, it is to the author of the words; whilst still tinguished American composer. Charles plains that the opening voluntary is often Melcombe, in procession, begin the Service pared a book called, “Fletcher’s Collec¬ not sung very much except in Baptist others believe it to be a folk tune without Wakefield Cadman. which simplified note curtailed and that the organ maintains a with Marbeck’s Lord’s Prayer, the organ Churches. . • Etude Advertisements are "Tl tion.” Both of these men knew not only regular authorship. reading in the "singin' schools" of our early “depressing silence.” Surely, if there is entering with fine effect for the Venite, Bulletins of Splendid Buy- IL Interpretation: Few hymns are more re¬ Dr. Rippon but Keene as well; and, since In our Southern States it is almost uni¬ Victorian forebears; and it is here so re¬ 2367 Waltz'!?t?« FIowSSTd/?.’' 1 T^haikowsfcy silence, it should not be depressing to a this being the first sound from the organ. ing Opportunities - - - I they assigned the hymn to R. Keene, Dr. viving or spiritually helpful; therefore it versally sung to a tune known as Fouuda- produced. This is undoubtedly the tune worshipper or musician. It should be elo¬ Almost any method is effective, provided I should be sung in a thoughtful and con¬ 2696 Wayside VhapeLF—2! ,<^1 Wliron^Srooms Julian and other hymnologists have reached tion, which is, again, of unknown origin. It beloved by the knightly General Robert E. quent! In very many churches it is im¬ that it is a “method” and follows a plan. secrated manner. The words are more like the conclusion that R. Keene is the author. lacks something of the pomp and majesty Lee. possible to play a voluntary before service Surely Mr. Ernest Pullein takes “Hes- VIOLIN AND PIANO DUETS, 1each on account of the bells. Even one bell toll¬ perides Hotbath” a little too seriously? I Each number has separate parte for Violin & Piano ing often spoils the effect of the organ; think most of us took the letter as a legiti¬ B-l to B—3 Easy “’difficult ““ and to listen to both is far more depress¬ mate joke. A bishop sent a Christmas card A Service Too Often Neglected ing than either alone. I used to enjoy the to his clergy recently commencing:— *2471 Barcarolie/’slmp.f A—8...... ^Offenbach By Roland Diggle, Hus. Doc. set voluntary at St. Paul’s Cathedral on Give me a good digestion, Lord, || cr'adj!i*Soi?glrl'Ap2n’'‘ A—3 ' / ScSmam Christmas Eve, or a Sunday afternoon, And, also, something to digest; and ending something like:— instrumental, will either help or hinder this which ended two or three minutes before DURING THE PAST few years the The Organ No More a Luxurv 2773 10’ Give me a sense of humour, Lord, writer has had an exceptional op¬ condition, even more so than the words of the most beautiful in America, and «* service time, and allowed for a short si¬ OINCE A SMALL ORGAN can now be And strength of mind to see the joke. portunity in a branch of the organ¬ of the minister. have never seen funeral services conducted lence before the choir was played in ex¬ j Purchased from seven hundred and fiftv Surely we can all do with that! ist’s work that is too often neglected. This The average organist, called upon to play more beautifully than here. Great care is •jp SSli^^vv-'v-v^ temporaneously; but I also love the quiet dollars up the great majority of mortuaries taken with the music, to sec that it fits the 1265 So’ldfeFs'S_1 A "2.V°8t wait at Westminster Abbey until Big Ben —A Cheerful Contributor, is the playing of a funeral service. It is for a funeral, does not think of this and are installing them and using them for the often uses some familiar pieces with the particular needs of the family and to see has struck, the choir prayer and Amen, in Musical Opinion. the hearing of these services that has services conducted in their own chapels. At *2497 Turkey^n'bie’istra ”^"3 Saena prompted the writing of this article, with Vox Humana and tremolo working over¬ that no jarring note is introduced to nur Forest Lawn Memorial Park in Glendale, * These numbers cannot be sold In Canada. the hope that these experiences will be of time, hoping in some way to create the the peace and serenity of the service. An Cahfornia, there are two churches in use-/ ’The Century Catalogue contains over 2 900 compo- right sort of funeral mood. We have heard organ prelude of some fifteen minutes be¬ smonsconMsting of PIANO SOLOS—DUOS and help to other organists when called upon the Wee Kirk O’ the Heather,” an exact such familiar hymns as Lead Kindly Light, fore the service begins is given over to InRd°STr.VJSHN and PIANO— DUOS —TRIOS to play such a service. duplicate of the little Glencairn kirk in M2»j8n,A.RJETS—1SAXOPHONE and PIANO- Abide With Me and the Old Rugged Cross music that is impersonal, care being taken MANDOLIN and GUITAR and VOCAL. "Men rarely realise the place music has achieved in the business of the Without doubt the most common fault Dumfriesshire. Scotland, where Annie with organists, both good and bad, is that played with such exaggerated “expression” to avoid such numbers as are too familiar- direct’ to°u3 *'our S£! world. I am told that today it takes third place among the professions. And they insist in making the music sound as to be almost unrecognizable. Invariably thapU“TC-iuaSruaptiued and worshipped. and in such services, organists have teen Plate catalogue will he mailed you FBEEon request. this statement is not intended to include those who publish, manufacture, and the Little Church of the Flowers.” In the sentimental. They fail to realize that both this sort of treatment reacts on the listen¬ heard to play music that cannot fan 0 CENTURY MUSIC PUBLISHING CO. sell musical merchandise; it includes only those who are engaged in producing first is a beautiful three manual Estev family and friends are under a very nervous ers : and, instead of the service being of bring up memories of the theater or t e music for pay.”—W. F. Webster. tension and that the music, either vocal or help and comfort, it becomes depressing. ThUM*'"d !'n °ther a Hammond organ latest radio program. There is so muc This Memorial Park is conceded to be one beautiful music that is never heard is ,11IS JANUARY, 1937 51 50 the etude ORGAN AND CHO.R ONIONS Bands and Orchestras Answered Play the (Continued from Page 19) By Henry S. Fry, Mu,. Doe. IMPERIAL ^ P ylvani* Chapter of the A. C. 0. you endeavor to give any appreciable e: though he was he recognized that there Ex-dean of tb. •“ unless accompanied by the JMlwm* pression of these varying emotions were things concerning his art which he these contrasting themes occur? t yet learned, and only a few days MARIMBA : secure a biography of Carl before his death he had visited Sechter, Maria von Weber which will give you an a learned contrapuntist of Vienna, and insight into the life and ideals of this arranged to take lessons in counterpoint. , iuat purchased a rced au This is ulso true the chart-hlifo. lovable character? It will repay you well Surely, a study of the life of such ; church has fastpw enclosed no ,,,,-ntlnn. Thin must be learner! largely to study carefully the plot of this opera i would enable us to see his music in organ^with the stops named on toe ',slri For accompanying onisooX lpf,h?Zrn0a tlndc Jv to stick. Will i»>l 4. auttielent ,up^, and the ingenious manner in which the f light—would enable us to interpret you ‘advise’tne,elcas as to f£ere.ntdifferent stopststopse ^orUo COnal ththef voices. rs; stopsareare onenormal oeta £««*• «me as composer molded the several themes from his transcendently beautiful melodies with the opera into his overture. i glow of understanding admiration which .a&artfert tfes k It should be of interest to remark that we never before had experienced. Such a ^money the buyer wishes to spend!"T{3ee<1 pitch as the Pia“°'^ave higher?o”s£ will{ “he. 5ofS; 4 jESfeSr?**ifieshanil. ami where roee.sary '^JACOBS’ BAND MONTHLY andJACOBS,!^ Stops that are «“ ®£tave “ g o{ 2, pitch , *“« * soprano, tilto ami tenor ,;t practical case is one of wood frame pitch; those two octaves hign , , pitch * hie | m Dorothy Heick and ^ered with keratol; such a case can be Charles Garble won •but for ordinary I *r*r*r Jor o chased for six dollars and up. a very desirable church org enthusiastic applause h treble and bass manual t'he teacher will advise concerning the use try 8' and 4' stops in ' stop B ir/i Ich I ona^for'tbe __-ful.' *:!!]..,M,, WeiV agree with T«u I above conditions. Insistence on these Troiniu-tte (or u bright < on»on*aoI « LVuSnhnbSs! command the sweet, rich notes that only more useful than the til**- While » nts will yield returns in better results the IMPERIAL can give! Your friends O. I am interested in building a residea It to t>e bright, we would augget Ih m the pupil and a higher trade-in value and family will marvel at the rapid organ with electric action. Will you go <■ < •■not too fiery." We suggest that a < a specification for a two manual ana t << be Included a en a better instrument is about to be strides you make musically. organ with a minimum number of stops a think It entirely aworth while t< CONSERVATORSHENANDOAH Y^ OF MUSIC. COLLEGE^ Special Courses in rchased. Literature describing the "Queen of a list of stops that can be added when finan< -illation*. - All Marimbas” is yours for the asking. ■mitt The organ to be suitabl,e^for Twelfth^ d Fifteenth be'borrow. OrSnTmSng. RatesReasonable. Indiebeartof tSeSbc of o.„. aofter thnn^ t andoah Valley, Dayton. Virginia Write today. secondary ?. Arc n that a you in favor of Hrely c great mH....proadneo J. C. DEAGAN, Inc. organ of a reside iarr‘- foundation tour—Oiien lMspssoo. We tra egression boat Of duplexingT Of unification,-jtti suggest I tie use of tne KsIMansI for thb y Your Violin Dept. E-l, 1770 Berteau Ave. Will you name some books on —himibfect „ pose—though It I* Included tat****™; perienctA. organ building which might , -t Otto press!on box. We would «l*o offer Hut < CHICAGO, ILL. prices. Can any of these be i on ap- ('.rent Octave sboiild lie taken from tb*- lie hearsal of his glorious “Unfinished Sym¬ Helpful Books on Interpretation provalt What is the approxtm of un- IHnpnson—also Included Is Ibe Swell «£ phony?” After his death—he died at the voiced flue and reed pipest—E...... A. You do not state the size of space avail¬ early age of thirty-one—many of his finest “On Conducting,” by Wagner; “Stand- able : and. as the specification desired is to pro¬ C^NY PUBLISHER, OUR REFERENCE compositions were baled and stuffed away ar(f History of Music,” by Cooke; “What vide for future additions, it will be necessary to have enough space to accommodate t in¬ in a musty cupboard where they remained Is Good Music?” by Henderson; “Or- complete instrument. Space and expense, also 2054W.LAKE ST. CHICAGO. ILL are factors In the decision as to unifying anil for many years until^di^vered^there^by chestra and Orchestral Music,” by Hen- duplexing. Taking It for granted that unifying °Sir - ArthurA-*', SullivanC"1' | and' Sir" George Grove.“ derson; “Standard Concert Guide,” by and duplexing are contemplated, we suggest What a loss to the musical world had for the initial installation (space can be pro¬ Upton; “Great Works of Music,” by "Jazzy" Repartee they never been found 1 As a matter of vided for a larger instrument, or pipes for Goepp; “Stories of Great Operas,” by some of the stops suggested can be installed fact, an entire act of one of his operas The Gramophone of Eden Newman; “Life Stories of Great Corn- Open Diapason .61 Pipes learned from experience that IlfW (in manuscript) was used by the igno- . , 1/ a combination Is well balssrrS. Edison is said to have been asked by a rant servant of a friend in starting a fire. Posers- bY Lawi Storles of Symphonic Bourdon.!>7 Pipes is to try II without lh« lermoto. -t| New York reporter, “You made the first Schubert’s premature death was induced Music,” by Gilman; “My Musical Life,” by right T talking machine, did you not?” A. Since the proper use of th by privation and overwork. Though now Rimsky-Korsakoff; “Marching Along,” by Cornopean P(bright) 7:t Pipes stop Is illrtsted by good isste. w* c “Yes,” replied the great inventor, “but acknowledged to have been one of few Sousa; “My Life,” by Richard Wagner; Vox Celeste .61 Pipes cuss the matter at length, sod coo they are trying to take the credit away Vox Humana.61 Pipes gest thnt It be used when resistrotR great musical geniuses, he suffered much “Franz Schubert,” by Norman Flower; Pedal Bourdon .44 Pines from me. They are saying that the first Harp and Chimes, If desired more sntisfsctory by such use- Th*1 contemptuous treatment from less worthy and “Music, A Science and an Art,” by PAN-AMERICAN These stops to appear at following pitches : matter of preference Is Indicated o: one was made from A dam’s rib.” musicians of his day. And great musician Redfield. Open Diapason. s’ thnt we have beard tore very Dulciana . _ 8;-4'-2%'-2; views. Salicional. 8'-4'-2'4<.'-2- Musical Comedy Mathematics Violin Diapason. g'-4* Cornopean . k-.x. The two chorus girls were having tea Vox Celeste . k-..|> Autumn Days in the Presser Gardens Vox Humana. g> together. Pedal Bourdon . 16'-8' “Do you know,” said one, “when the thef necessar ^S^endf1P°ce 51 nd w,8h to manager asked me my age I couldn’t for I harr fust pared RENT duplexing and uniSeation^cai/bo redm7»!it mV.l the life of me remember, whether I was By Virginia C. Castleman ForSCENERY All Operas and Plays. Tonal sound carrying metallic ebtr that Tew twenty or twenty-one. drapes for concert stages. Lists. Samples. Address: how f might res bought a /*« ‘■What did you say?” asked her friend. SSif^ -is “Oh, I split the difference and said nine¬ Miss Virginia Castleman, a new resi¬ Red cannas, glowing dahlias— ' ■ ’' Aqnn“t Chamberb-S£u 0" r£?n (Sfaigh't)," bV t 53.00 a The Cinema and Then ter teen.”—London Tit Bits. dent at the Presser Home for Retired The summer’s aftermath. Etude Advertisements are by Whitworth, at $3.15 ; “The Com ry American Organ," by Barnes at Music Teachers in Germantown, Pennsyl¬ Bulletins of Splendid Buy¬ ing Opportunities - - - vania, was inspired to write the following Chrysanthemums, fall flowers, Ing the Instrument examined siel el*J Warned verses on the gardens which cover some Adorn the hilltop here. a practical reed organ m«*hsr.k A > Mother—“Goodness! Here’s a note from three acres about this lovely retreat. The •r pipes vary according t Their color riot dowers .c, t-^vyc nuu compass; and we smrir»>«t »i but"0 nn” '* ,n K,'r1 Hazel saying that she and that crazy pi¬ poem was written in October, when the ,The passing of the year TOY SYMPHONY faetnred the Instrument yen meaik* anist have eloped!” gardens were in their final autumn glory. might communicate with them la **■ With, rich October glory and to the matter. Father—“That’s great. Now let’s get Last spring ten thousand tulips were in That burgeons in the trees, bloom. The Etude Music Magazine rarely MUSIC KINDERGARTEN „ 9. Where css f secure ’The f busy and move away from here so they Whilst boxwood hedges, hoary, Orgon" bp Whitworth sad mB** ’* 1 can’t find us when they come back.”—Chel- prints poetry; but we thought that our Complete correspond, wne^e /SccH 7F«*1 zr": Make sibilant the breeze. most successful child » ham her Organ- b, Jfjl.r. sad a**- readers might get some pleasure from grown from 16 pupils .n enrollment price of rack t Hoi much would «< " 400 in ‘ sto “ wh tn the °--rr rrr, proximate Ip. to assemble aa fleeter » reading this lovely interpretation of na¬ start childrei Fo?Svoices(7t0toS lC?nvL'r?eJ,0r "r''° I"’’ '>"< < Drink deep, my soul, the. nectar, - kindergarten y mrdiam sirrf—C M ture’s autumn dress. have all the private pupils lie. Let %&£L5% A. Th* bonks rnu mealiea an^ Portrait Series Error Breathe perfume from, the leaves, A. We are advising > > The fine and spicy odor be completed in 30 days° LIMITED^pFER; By an oversight two pictures of the The glimmer of the sunshine 15 piece set of instruments and 27 toy sym¬ ■S2SJ? “A wl Historical Musical Portrait Series in the Lights up the terraced green. That floats upon the breeze. phony arrangements FREE with course. This oTth? instrume'nt'1 'or' that W ^ This is the last donation is y°ur chance to become independent. Only December issue were misplaced. If the It flickers -through the willows $30. Terms; $15 on enrollment: $15 in thirty The cost of a cuts of Ernst Patter and Emil Paur are In lovely, golden sheen That nature’s brush, portrays, days. s??"*S2r?h emcP«, .v: dependent on sli estimate this eo exchanged they will appear correctly over And touches bright the salvias Wealth of her flower creation, stops t0 b« used wlirdeS™' So brilliant by the path, The end of autumn days. KnTup* fheir biographical notes. 52 r £T i M January, 1937 53 in the progress of the pupil are obtained Violin Prices THE VIOLINIST’S ETUDE more quickly with a good violin than with one of inferior quality. Some parents, how¬ THE COST OF VIOLINS which meet ever wish to purchase the outfits them¬ these conditions varies. At to-day’s School- Music Collections All clarinet and cornet parts for Bb instruments Orchestra All Edited by selves, and to such it may be well to point market prices, such instruments can be Books published for saxophones B^oka out a few facts worth remembering. procured in any of the three sizes for Columbia Collection of 120 Patriotic and Favorite Home Songs.Orchestra .50 .50 ROBERT BRAINE fifteen to twenty-five dollars. Jacobs’ Album of Master Classics.Orchestra, Band 1.00 .50 , „ «Violinist's Etude” complete » The Size The bow should be of Pernambuco wood, Jacobs’ Band Book of Classics, No. 1.Band ... .30 make this department a Violin HE SIZE OF THE violin to be pur¬ absolutely straight grained throughout its Jacobs’ Band Book of Military Marches, Nos. 1 & 2.Band It is the ambition of The Etude to T Jacobs’ Concert Album.Orchestra, Band, Saxophone Band 1 chased is governed by the length of length, and with a curve inward towards Jacobs’ Ensemble.Orchestra, Band, Saxophone Band the left arm and the stretching ability of the hair. The frog and screw should be in Jacobs’ Evergreen Collection of 50 Famous Old Songs.Orch., Band, Sax. Band r the fingers. A violin too large is a tre¬ good working order; the hair of correct Jacobs’ Polio of Classics, Vols. 1, 2 & 3.Orchestra Jacobs’ Folio for School Orchestras, Vols. 1, 2 & 3.Orchestra mendous handicap for the pupil; one that length so that the tension of the stick can Jacobs’ Loose Leaf Collection of Standard Marches, Vols. 1, 2 & 3.Orchestra may take years to overcome. In general, be tightened and relaxed. A cake of good Jacobs’ School and Community Band Book, No. 1...Band Joseph Joachim, Classicist of The Violin children of six to nine years of age require rosin is essential. The cost of the bow may R. B. Hall’s Band Book of His Most Famous Marches.Band a half sized violin; nine to thirteen years, vary from three to six dollars. To Supervisors and School Music Directors: Send us your name and permanent ad together By Arthur Troostwyk a three quarter sized violin; and over thir¬ The cost of the case is governed by the parts to these folios. Check or advise which to send. teen years, a full sized violin. The bow and amount of protection expected and the sum WALTER JACOBS, Inc., 120 Ho vision St., BOSTON, MASS. , „ @5Mnhl ypitdh.~~ case should be of the same size as the of money the buyer wishes to spend. The higher w^112?epifch • JACOBS’ BAND MONTHLY and JACOBS’ ORCHESTRA MONTHLY, J1.00 per ye violin. most practical case is one of wood frame ■i?1 than’normal pitch ing a few days of relaxation in Holland name do not suggest It was an unusually severe winter and the following specifications apply to the covered with keratol; such a case can be THERE . HAVE BEEN musical organ ; but for ordinary violin; the finger board and nut at the purchased for six dollars and up. AUGUST GEMUNDER Si 50N5 careers that were picturesque; there in both treble and.bass all of the canals were covered with thick 119 West 42nd St., New York end of the finger board should be of ebony The teacher will advise concerning the have been those that were romantic ice. Everybody was enjoying the skating, art'For8 congregat’ionaf'singl'ng and the sweepers had a busy time trying and' correctly fitted; the bridge of the purchase of the specific type of chin rest Old & New VIOLINS and filled with heart and human appeal; you mightTry “full organ,” which is probably proper height and carefully fitted, should “Gemunder Art Violins** available through the opening of both Kn^ to keep the surface smooth. Having taken which he believes is best suited for the and there have been those attained almost be placed opposite the nicks in the F holes; Bows, Cases, Strings, Expert Repairing o/£SK FOR' FOLDER^ exclusively through prodigious technical fells. Hav< up his abode at a hotel situated near the pupil. The chin rest is an indispensable Send for Catalog E. 'gan rn lie to ascertain the cause of stick- the sound post should be set inside the body Famous Violin Hou and interpretative achievements. Among canal. Joachim could watch the merry accessory for supporting the violin, and jmedy. of the violin, three-sixteenths of an inch these is that of one who possessed prac¬ throng of skaters from hi* window. Finally should be purchased only upon the advice 'cm$MFRASERM5STARK, S/IGIMWMH. q m our church there is an organ with back of the right foot of the bridge; the tically all those traits, in an unusually his interest grew until he, too, felt the of the teacher, as there are many styles one keyboard including stops on cnclo*€*ll*!t: tailpiece must be correctly adjusted. The Kinne memorize music ■ VIftf ,, balanced blending; and that one was Which arc usually used for hymns and whuh urge and tlse desire to put his two legs to available and all are not suited to each in¬ for HandeVs Largo?— H. S. nRO Memorizing Course «utck and sure vitM .a Joseph Joachim, a star of the first magni¬ work with a pair of skates attached to instrument should come equipped with a dividual. good set of strings (that is, the G, of silver ends forgetting Lessons by Corrrapondence ,’“c?ha°n foTLmTNo de.d .po"1 tude in that brilliant musical constellation tlietn. although lit had ntver before in¬ It is thus seen that an outfit may be pur¬ iAswells—or &rzss.?i the 8'a-J " -'flu,%k a wound gut, the D, of aluminum wound gut, MARION KINNE, 1324So.LindenwoodSt., W.Philadelphia.Pa VICTORP°HAMSHAR, 6 Thyra A of the Victorian Era. It was Joseph Joa¬ dulged in this winter sport To Joachim it chased for from twenty-three to forty a low, the A, of gut and a steel E). The pegs chim, who could be so simply and kindly The el appeared to require no especial skill » dollars; and many stores offer complete the right hand should be of hard wood (ebony, rosewood human as a man, and who at the same time plays’"the'soprano,'alto and tenor parts As he borrowed a pair of skates and boldly outfits at these prices. But the purchaser or boxwood) fitted to turn easily but, at possessed both a violinistic technic which we do not know what arrangement of Hand, Is and proudly struck out for no particular should be certain that the instruments meet Largo you use, we cannot suggest stops for the the same time, to hold firmly; a tuner was superlative in its finish and an inter¬ destination. But alas, tlse result was as the above conditions. Insistence on these should be mounted on the tailpiece to facili¬ pretative instinct which, among all violin¬ painful as it was surprising; and the violin¬ points will yield returns in better results O. I am interested in building a residence tate tuning the E string. This is standard ists, raised him to perhaps the greatest ist gathered himself together and, nothin; from the pupil and a higher trade-in value organ with electric action. Will you pi re me equipment and should come with the violin achievements in the purely classic spirit. a specification for a two manual and J caul daunted, dashed off again with precisely when a better instrument is about to be organ with a minimum number of stops anil purchased. In his unselfish spirit, it was Joachim a list of stops that can be added when finances the same result plus a little more added who discovered Johannes Brahms, then but permitt The organ to be suitable for all types physical pain and mental anguish. For near¬ a boy, and. with Franz Liszt, sent him to of organ music as well as transcript ions (of secondary importance) and church music. Are ly an hour the famous violinist continued to Robert Schumann. Also, it was Joachim you in favor of entirely enclosing the great whirl his manly (tame wildly about on his who later presented to the musical world organ of a residence instrument in a separate expression boxt Of duplexingi Of unification t new skates. The sweeper, who had heard Being Kind To Your Violin his admirable violin transcriptions of the Will you name some books on the subject famous Hungarian Dances of this same_organ building which, might half Joachim play at a concert the prenoos week, was the only interested spectator Brahms. Joachim was an ardent admirer of This was only one of many instances of . , _ „ , By Robert Francis A talent, once discovered by Joachim, Wieniawski; and when the Polish violinist Joachim's kindness and bis consideration along the^ tonic of the canal Finally 1. soon flowered into genius, under the was announced to give a concert at Kroll’s for his fellow artists, as well as for his “chim landed ““in a most undignified heap, master’s touch. From the Joachim method. Theater, in Berlin, Joachim invited his pupils. Often an eavesdropping pupil would almost at the feet of the sweeper. A VIOLIN, like an animal or a human Not only while the violin is being played, was developed the modern school of violin pupils to be his guests for the event, hear the master say to a pupil. have exclaimed with , >mile, -Ah. Master' y being, responds to kind treatment. but also while it is at rest, we need to be VIOLIN QUESTIONS see, skating ! so easy an art as k You cannot force it to sound well. as taught by Leopold Auer, one of Joa- Wieniawski, who was subjected to severe good violin, I will lend you Answered chim’s pupils, and later to be remembered attacks of asthma (from which, incidental- and the fortunate pupil would leave the fiddling r You can bully it; but the result is an angry (1) Keep it clean by polishing off dust tone. as the teacher of Mischa Elman, Jascha ly, Joachim died), was to play the Mendels- studio with a precious Guarncrius or an and rosin with a soft dry cloth. By Robert Braine There are times when each of us gets Heifetz, Efrem Zimbalist, Kathleen Parlow sohn “Concerto in E Minor.” As he had Amati tenderly tucked under his arm. (2) Protect it from dampness and ex¬ out of patience with his instrument. Some¬ 3 mention a few of his played in Berlin for several years, the It is particularly interesting to know that treme dryness by keeping it Ho question will be answered in THE ETUDE unless accompanied by the full name The Beginner’s how it will not do as we wish. It refuses theater was filled to capacity, with a line it was on just such an occasion that Joa¬ wrapped and in its case when not and address of the inquirer. Only initials, or pseudonym given, will be published. to sound as well as it did yesterday, per¬ waiting in the lobby for returned tickets. chim loaned his famous ‘‘Strad” to a pupil First Violin in use, and by keeping the case in An Art Serene When the orchestra had played the open¬ haps. If we are wise, we will suspect that SeuJivHnU mai/ ad^es,sed the Violinist’s Etude consists of written who was none other than that sterling some sheltered place like a closet writerf ask’J,hrf TTnVn T-f oU On the basis of these, the THE CALM, reserve and surety ing bars of the concerto, Wieniawski com¬ American violinist, teacher, and former By Henrr Volk the trouble is not in the violin but in our¬ writers ash. us to tell them if the violins are genuine, and their value. We regret Joachim’s playing, and his first c menced the main theme selves. It is much more likely that we have I this is impossible. The actual violin must be examined. The great the first concertmaster of the New York Philhar- (3) Guard against jolting the violin w/ar€ counterfeit and no indication of the real maker. sideration for his pupils, contrasted with movement. Suddenly, while changed than that the violin has done so. the Pwne\ °f a supposed valuable old violin to take or send it to a the middle monic Orchestra, the late Theodore Spier ■eputable ...... _ ... ___ his sudden flares of temper that seemed to of the cadenza, Wieniawski The violin is merely responding to our im¬ or knocking it against objects dealer in such instruments. The addresses of such dealers can jog- (For those with a flair for tradition: ’ ITH THE APPROACH of H* when you are carrying it. The ^obtained from the advertisint lolumns of The Etude and other musical pub- die as soon as they were born. And where throw up hts arm and to motion that he it will be interesting to recall that Joachim patience, nervousness, fatigue. We need to Christma* season nan? P*1*45 urapping cloth will help to cushion Concerning; Gngliuno. there is smoke there usually is fire. , was unable to continue further in the per- always used his “Strad” when he played w* f lering the poftto* “ | calm down, relax, perhaps rest for a while from playing. the violin, and will prevent the K. G.—Gagliano, Gennaro (Januarius). Born K. X. C.—It may be that the condition of The conflagration, that was at times be- formance. Great consternation prevailed but, with Rubinstein, Chopin Brahms Mendels- violin outfit for one of the “ in Naples, 1700, died 1770. The second son of your rosin cake has more to do with your yond control in Joachim’s nature, raged to after a brief interval, a chair was brought sohn or Schumann who were intimate Have you ever heard anyone make his bow’s rubbing against it. Alessandro, he was the finest violin maker of f?sro troubles, than the quality of the rosin prelude to the study of musk. Be10" • the Gagliano family. He had a beautiful Tar¬ itself. Most of the rosin sold in the music intense heat if the name of the composer of upon the stage and Wieniawski resumed friends of the great violinist - -i - take their checkbooks in hand andIpw violin stutter ? Have you ever done it your¬ (4) Make sure the bridge and sound- nish, for which the recipe, in his own ha ’ shops is of good quality. Many players make “Tristan und Isolde”- ■ - was injected intoboh 9 nbirimrplaying while seated.seated AgainAuai>eescape methe' hn,* r " ,he ,K°°d simple it is. Yet how often we fail to do violin develops, the more it is played. It as the friction of the hair on the rosin is apt ferring to wait for results before violin. Even prominent teachers differ on the to cause it to melt somewhat. When the rosin as stormy for them as any to be found in ski and volunteered to substitute for him. keen yetvet wittvwitty tr,„„.tongue t"®To" it, eh r>U1oa uenaiii. « *—l their teacher to remain at home for the est state of enthusiasm, rection, to make his .. ,ln ’’,is di' development of the child; The Violin Bridge. evening. With the orchestra sounding fanfares T. Y. I.—The best wood for the violin bridge amid the wild cheering of Berlin’s music maple; and it___>e of the right density, seums aiso nave collections of noted violins places. To meet these c«ndit»«w lither too hard nor too soft. The bridge The Metropolitan Museum in New York, has Another Picture lovers, the climax was reached when must have certain definite , Violin Tone great deal to do with the quality of tone, an excellent collection of notable musical in¬ HE AFFECTION and esteem held by Wieniawski, who had revived, wishing pub- said that Joachim’ use extreme care in selecting T„ struments, which may be seen by the public. T The best way to go the b( s, the bridge of such Some Joachim for another famous musician licly to express his grateful appreciation, pupils. alone of his violin outfit is first to tekettne ^ By Ada E. Campbell provided a dramatic touch in the following led Joachim upon the stage and heartily A keen with whom the child u tostuaT distal incident. Here we look into the heart of embraced him while the auditorium once t[1™ - of humor was one of Joa- to rely upon his experience ^ »f the bridge will occupy a position directly of these dealers... can—. be obtained from tl.*-the c.iyd Joachim and almost feel its accelerated more resounded with cheers and tumultuousonce chim’slar 1, natiVe“traUs“n^n, ,ve trait‘ r the E string “and tte left foot direct, > :uous Id- .1_ . : " Mne stofy in particu- Most teachers are only too P^2 <#■ When the violinist is striving to get a below the G string. The middle of the right 1 telephone directories, or from the clerks pulsation. applause. ea always toId ‘•'th gusto, the incident touttful tone, it will be found very help- foot of the bridge lies directly above the ‘Vi iarge,’ reJtat1 music stores. Violin pupils having occurred .n . . in this way. The selection A a sound post, and the middle of the left foot would be wise to hunt up these collections, so 54 ° ,n AmsterdanAmsterdam, dur- 110 Practice in a darkened room. When that they can become familiar with the ap¬ fit makes their work easier. for gooo directly above the bass bar. pearance of the great violins of history January, 1937 The Piano Teacher’s Greatest Aid Piano Accordion Department /ljoy

-A Result-Producing First Instructor To Suit-The Pupil’s Age Taking Up The Study of The Accordion

THE GREAT DEMAND FOR THESE METHODS IS MAY BE OBTAINED FOR EXAMINATION. An Interview With THEM BY PIANO TEACHERS EVERYWHERE. ANY OF THESE WORKS MAY

Paul L. Donath five sets of —LITTLE BEGINNERS UP TO AGE EIGHT hand-tuned reeds and automatic MUSIC PLAY FOR EVERY DAY Secured Expressly for The Etude Music Magazine bass coupler. 41 r _Price *i 75 Or in Four Parts—Price, Each Part, 40 treble keys with ke procedures, riueu -Vf” " DONATH is a musician of dis- three sets of A captivating nrsu msiiuciui ujiug r-: reeds and auto¬ to juvenile imagination. Best for 5 to IVI tinguished attainments in the general and charming_trmsir melodious music. AppealingAnnealine to juveniluvemle imi matic octave 8 yrs. There is a sequel book called Happy Days" in- Music Play. field of music. He was born in Dessau, coupler. Weight Germany, where his father was a music 17 pounds. Fin¬ iddle C and the Notes Above and Belo teacher; and his grandfather was a violinist es for Tiny Tots— By Lidie Avirit Simmons— -7 Sc ished in ivory By John M. Williams—7 5c in the orchestra of Richard Wagner at celluloid. Attrac¬ Little beginning "steps" for Music Scrap Book (A Kindergai Bayreuth. He was educated as a violinist tively decorated. youngsters. Beginners Louise Wright—60c and as a pianist, in foremost German con¬ ATTENTION ro’s Middle C Kindergarten Book— servatories, and played in many Grand PIANO By Matbilde Bilbro—7Sc Playtime Book (A Primary Grade Book) Opera orchestras in Europe. Among his TEACHERS: By Mildred Adair—7 Sc A fine work by a favorite author. famous teachers were Friedrich Seitz and We have pre Arthur Nikisch, the latter the distinguished pared an inter conductor. In America Mr. Donath has This new w°r" , easy to on- esting fold-' -FOR BEGINNERS IN AGES SEVEN TO TEN- played twelve years with the Philadelphia It is so comp oflel combmes BEGINNER’S BOOK (School for the Piano, Volume One) Orchestra, three years with the St. Louis This new lig^f design.: and Pcr‘ Symphony Orchestra (as concertmaster); of tone, srna t dern precprecision mam and he also has conducted many orchestras By THEODORE PRESSER Vrice’ *}-°° THE STANDARD workmanship- dcpcnFndabiUty.^d. The immensely popular ''red book” for piano beginners lt is as stmple as a hrst GRADED COURSE OF and singing societies. His experience, there¬ if it bears t. fore, has been very wide and dignified, from reader.” There are two following books i-STUDENT’S BOOK and PLAYERS ing m,e5°‘our instrument . i world of n STUDIES FOR THE PIANO a musical standpoint, and readers of The proud of ) s in the BOOK. Vurhtzer-tan enient terms n Originally Compiled by W. S. B. Mat bent Etude will be greatly interested in his rea¬ sons for taking up the study of the piano over 200iyears^_-- Adventures in Music Land— Bilbro’s First Grade Book— 1N.TEN GRADES PRICE, $ 1.00 Etch Grade By Ella Ketterer—$1.00 By Matbilde Bilbro—$1.00 accordion. Mr. Donath is the author of the This excellent instructor i»L/ a gifted A most practical and up-to-date This, the original and most successful of “Ideal Collection” and the “World’s Fav¬ composer of easy, melodious piano work. all graded courses for the piano, gives in SUPREME AMONG orite Melodies," for accordion.—Editor’s pieces. logical, progressive order the best materials Note. First Steps in Piano Study for practical and successful instruction from ACCORDIONS Story of Nanynka—By John Mokrejs—75c By Theodore Preiser—if.25 A novelty for the younger students the very beginnings to the highest degrees which weaves first lessons into an The Amateur Musician of virtuosity. old Czech legend. By Russell Snively Gilbert—7 5 c In Germany the accordion has attained THE HISTORY of the accordion, great popularity. In nearly every city and Matcriali Selected From Beit Source* from its invention by the Austrian village there is at least one accordion club. —THE BEGINNERS OF TEN TO FOURTEEN- For each stage in the student's progress, Damien to the present time, covers Some cities boast several of these. Some of the works of the greatest piano pedagogs a little more than one hundred years. Of and recognized authorities were ruefully these clubs number as many as three hun¬ FIRST YEAR AT THE PIANO course the accordion is really a form of examined, and only those selected fot in¬ dred members. Their performances are By John M. Williams clusion in this course that ate best adapted portable organ; and, prior to Damien's in¬ characterized by great technical accuracy vention, there were other portable organs Complete—Price, $1.00 Or in Four Parts—Price, Each Part, 35c for insuring as rapid progress as is con¬ and they follow the notes just as would the sistent with thoroughness. which resembled it in principle but not in players in a symphony orchestra. This is one of the masterpieces in twentieth century first piano instruction material. shape. These trace their ancestry back It holds up interest always and achieves a satisfying speed of progress._ many hundred years, to what was known May Be Taken Up At Any Time Expanded Possibilities This first volume (grade one) of this in Germany as the Bible Regal. These sim¬ _for fourteen to sixteen celebrated graded course makes a fine firs pler accordions were brought to America WHEN I FIRST took up the study importable to handle ... the 1937 style trend of the accordion, in 1900, my interest BOOK FOR OLDER BEGINNERS instructor, but it is not necessary that me and were common among the Pennsylvania Sejpyue yjou. (my any student be started in the Standard Graded .. most responsive, easiest playing accordion Dutch (German) settlers, by whom they was of course one of casual curiosity. I ver made. Write for Free Art Catalogue, men- wanted to see what could be done with it. By John M. Williams—$1.00 Course. Especially is this true ion make of accordion you play. came to be known in the English language young students for whom a number ot as “lap organs.” However, the changes in The old type of accordion, with the button One of the first works to recognize the older beginner's aversion to juvenile materials and f 333 SIXTH AVE. valuable "play and work" methods ate the accordion itself have been very numer¬ keys, instead of piano keys, was very lim¬ ACCORDION it most successfully gets the older beginner to that ability-to-play-something stage he desires. available. But thousands of teachers «'' EXCELSIOR ; NEW YORK ous, and the piano accordion of to-day is ited in its scope. I do not know who it was lead their students into the Stand or when it was that some gifted manu¬ Graded Course and therefore any grade no more like the little accordions that I facturer thought of the idea of adding a -FOR THOSE OVER SIXTEEN AND UNDER SIXTY- may be purchased separately since pupils knew, as a child in Germany, than a 1937 at any grade of progress may go from Lincoln is like the old Model T Ford. piano keyboard to the instrument; but this GROWN-UP BEGINNER’S BOOK other works into this graded course. addition, together with that of operating These studies arc interesting and stimu¬ “shifts” or “registers,” to change the tone By William M. Felton Price, $1.00 lative throughout and, with a minimum ot An International Instrument effects by a slight pressure of the wrist • For ft In this day and age when every one seems to be staying young, the piano is coming in for a re¬ accordio time and trouble, develop the best of musi¬ 1 REMEMBER that when I was a boy, upon a' lever, has completely altered the yourself, markable share of attention upon the part of those who want to play but just never had the cianship and technic in the average pupil- chance to start studying when younger. the accordion was particularly popular instrument. Very few people know about ally kno Grade One may be had with both clefs at in South Germany, in Switzerland, in Italy, these register levers and how they are em¬ This new book stops all groping for suitable material to aid the grown-up piano beginner progress the start ( revised edition) or in the original and in many mountainous sections of Eu¬ ployed. They are located on the instrument to satisfying playing ability. This book, step by step, gives a good music foundation as it carries edition using the treble clef approach. along a clear exposition of what is being learned. Much attractive music is given. A keyboard rope. It was, however, an instrument with¬ just under the player’s wrist and by means chart comes with the book making it possible quickly to associate the notes on the staves with out high caste. That is, it was played of pressing upon these lightly, different sets the keys on the piano. largely by peasants and amateurs, and of reeds are employed, so that the tone ook of V ok of Piano Duets for practically no one considered it seriously of the instrument may be changed to a Adult Beginners—; Adult Beginners-$1. Theodore as a musical instrument. However, as long flutelike quality, a saxophone quality, or This book provides 27 easy-to-play, 19 interesting four-hand piano pieces ago as 1900 I felt that the instrument had a violoncello quality. The left hand also but cleverly filled-out, melodious for 2 mature adventurers on the decided musical possibilities, along with a has a register bar, which is not pressed by piano keyboard. Presser peculiar fascination; and that the time the wrist but by the fingertips. Some in¬ Co- would come when manufacturers cer¬ struments have three, four, and even up as high as eight shifts. These have the FOR CLASS INSTRUCTION OF PIANO BEGINNERS THERE ARE SUCH EXCELLENT WORKS AS "My First tainly would recognize the sweet and reso¬ Efforts in the Piano Class” (Piano Class Book No. 1) ; Makmg Progress in the Piano Class” (Piano Class Book No 2 1 Prompt 1712-1714 nant tone of the instrument and improve same purpose as the stops and the couplers "Proficiency in the Piano Class” (Piano Class Book No 3) ; First Period at the Piano”—Kammerer; "Second Period a! Direct-Mail CHESTNUT it so that it might be used with other mu¬ on a pipe organ; but, because they are both the Piano"—Kammerer; "Piano Pathways”—Mathews; Piano Journeys —Mathews; Music Play for Every Day" (In 4 placed on the instrument and played so STREET PIANO ACCORDIONS sical instruments. I even foresaw that great Books) ; "First Year at the Piano” (In 4 Books)—Williams. ’ ' 4 composers would realize this and that the inconspicuously, the public rarely knows Everything ii PHILADELPHIA, From Factory to you at PA accordion would be employed for specific anything about what is being done when Ask for FREE Catalogs of Real Help to the Teacher of Piano Playing. Such a Music Public effects in symphonic as well as in operatic they are employed; but they are just as Write for Catalog request will bring you graded and classified lists of studies and pieces along with scores. Stravinsky, Alban Berg, Schricker, important an advance in the instrument as thematic portions of a generous number of attractive piano teaching pieces. Standard Accordion Mfg. Co. is the piano keyboard. I250-691H St.. Brooklyn, N. Y. Hugo Herrman and others already have used it in their concert and opera scores. (Continued on Page 60)

56 January, 1937 THE QUESTION AND ANSWER DEPARTMENT .. . An Interesting Recital Feature Karl W. Gehrkens Earn a By Ruth Price Farrar TEACHERS DIPLOMA ALFRED MIROVITCH Private Teachers (Western) or a ♦ ♦ ♦ BACHELORS DEGREE SAMUEL BALL ELEANOR HAZZARD PEACOCK expression; and, since P^ents } being first Step position and swing body forward, at Home in Your Spare Time! “HSs! present rhythm Back-swing body back, still holding Step ““’S.wrffi|Us4An ADVANCED COURSES OFFERED BY THE UNIVERSITY EXTENSION CONSERVATORY VERA BARSTOW Pi

LAZAR S. SAMOILOFF FREDRIK E. BLICKFELT irc^A^wsr

CHARLES DALMORES

HELEN A. TRIPLETT V,"d ABBY de avirett ' TEACHERS OF PIANO

ANDRES DE SEGUROLA BERTHA VAUGHN

CARL CRAVEN

PROF. D. C. DOUNIS course in Violin Playing for Artists, ing in Hollywood J Private Teachers (Eastern)

HOLLYWOOD OPERA COMPANY UNIVERSITY EXTENSION CONSERVATORY 1 525 East 53rd Street, CHICAGO, ILL. is optional. The position is similar to that far as the recital is concerned. The resjwn* of the minuet dance; the children dance from the public appearance is worth far in pairs; and, instead of both of each pair more than the effort expended, but the nal ■ILL IN AND MAIL THIS COUPON TODAY—

UStnfdethth'e£tthe°t- sid^^etT exists “ the

JANUARY, 1937 59 p The Magical and Misunderstood VOICE QUESTIONS Invest in Sherwood training Art of Reviewing Answered By Frederick W. Wodell

CHICAGO MUSICAL COLLEGE SHERWOOD MUSIC SCHOOL

M E. vS-g.-&5- " ^ """ "'C " ,>J ” CcfeACO

TRINITY COLLEGE OF MUSIC SCHOOL OF MUSIC . it is not because Mr. Man- (LONDON) ENGLAND OF THE UNIVERSITY OF MICHIGAN ^“ (Instituted 1872) ?«%%%( The Right Hon. "Viscount Hailsham THE SCHOOL OF ofHSteK1 Music Sir Granville Bantock

gssnsiiil esipra

^fOteUmiXnatentenf.

For Free Bulletins Write to SCHOOL OF MUSIC Holy Writ tells us that we cannot ex- faulty style of study among our pupils." OBERLIN CONSERVATORY OF MUSIC |\|TI| AIT INSTITUTE OF Pect fiSs f™m thistles. When I was very It reminds one of die old. gruesome ule o: Vi ?„• .M,5- fVUI \. jlv*.AL AK1 ... Aj/ Are.. Chieage.

I JffiSTW.

&3§§§§p W. ST. CLARE MINTURN. Director

ATLANTA CONSERVATORY of MUSIC Completing Courses in Music THEODORE PRESSER CO. ISsSt

INSTITUTE OF MUSIC AND FINE ARTS LONG BEACH. CALIF. Winter Season Now Open mis Taking Up the Study of the Accordion

(Continued from Page 57) (Victo^ srt M-r321)b>InWth!s^,hisBs^nd The old form of accordion was perhaps now find themselves surprised ai ^ThXToSbTa disc 9H6J) h fine masculine doq»w« an?Sfive SkS accordion. Very few of these old ck's "Iphigenie en Taunde W 'g'rme from Of. 116, Of. 117 and 0 PEABODY^SSfr musicians have ever had one of the ™ •s “Les Abcncerages." both » type of accordions^ in their _ hands. They The merits, tne^instrument nas jumpea^mu^n VTthey would an old stag f Ht j S T"StrunientaI Quintet, r id harp, turv: and' organi- disc 1764), 1764). sings some I I Tell your Music Loving Friends about THE ETUDE and ask them to give orchestras.SCh001’ “ PUMlC SCh°°1S ^ Sip a^oldSe^tage coach! SSattf 2^’ V’Ct?r ^ughT: rmann's Lorelei a* Musicians, who turned up their noses at (Part 11 ™U 4250-51), whkh wa^ widefy acd^med ibert’s An die Koch! the old fashioned accordion o yesteryear, a ear nex man . lts intrinsic beauty. More recently. in alien Gestalten. Tbr | THE ^S1,PM.. „

the ETVDS 61 January, 1937 ■■ JUILLIARD SCHOOL OF MUSIC ——— Brahms the Selfless Musician John Erskine, President By Robert Haven Schauffler Publisher’s Monthly L6tt

ably a symphony, but was careful not to Where shall one find biography more A Bulletin of Interest for All Music Lovers —" 1—^^ JUILLIARD SUMMER SCHOOL inquire further, for I seemed to notice that delightfully retailed than in The Un he already regretted having come out with known Brahms,” a volume from the pen George A. Wedge, Director of Robert Haven Schauffler, in language so much. “This ‘set of waltzes and polkas’ turned which scintillates from cover to cover. We out to be the ‘E minor Symphony!’ The present his rehearsal of Brahms flippant July 12 to August 20, 1937 same year Brahms made another statement, attitude towards his own works. considerably less fantastic, about a part ‘‘As a rule Brahms mentioned his music Next, Comes Easter only when protected by the brazen shield of his mighty work. A journalist named Advance of Publication Reservations Now Being Received. A thought i or irony In September, 1885, Kalbeck Grosser had published a surmise that Brahms had been inspired to write the Offers—January 1937 mind of many a :i alert called, and could not hide his curiosity as Icicles choirmaster, even as tne to what the summer had brought form. passacaylio finale by Thorwaldsen’s frieze of Alexander's procession in the Villa Car- All of the Forthcoming Publications strains of Christmas “ ‘You evidently want to know,’ said the in the Offers Listed Below are Fully music are fading away, Catalog on request master, ‘if I’ve been careless about compo¬ lotta on Lake Como. Now Brahms, as a Described in the Paragraphs Follow¬ and as the appreciative sition. . . . Once more I’ve only chucked wise man and a true musician, had no cor¬ ing. These Works are in the Course of words of friendly par- 13Q Claremont Avenue Room 221J New York, N. Y. together one of those sets of waltzes and dial liking for the hybrid called program Preparation. The Low Advance Offer ishoners for the successful program are still polkas. If you’re absolutely set on hear¬ music. Prices Apply to Orders Placed Now, ringing in his ears. Just as adequate prepara¬ with Delivery to be Made When tion helped “make” the Christmas program, ing it, I’ll play you the thing.’ “ ‘For heaven’s sake (he wrote to Sim- rock), Grosser’s Procession of Alexander Finished. so the early selection of material, the regular¬ “I went (wrote Kalbeck) to open the (Roses ity of rehearsals, will contribute largely to piano. ‘No,’ he parried, ‘don’t do that. The hasn’t mounted to your head and Klinger’s, Fourth Year at the Piano-Williams. *0.50 has it? That would be an atrocious piece Ada Richter's Kindergarten Cuss Book- the success of the coming program for the business is not quite so simple. Nazy must greatest festival of the church year, Easter. of stupidity: and to register my horror Piano .30 NEW YORK SCHOOL of MUSIC and ARTS help.’ He meant Ignaz Briill and a second MY First Song Book—For Little Pianists • The icicles are here now, garlanding the eaves of the Some choirs, volunteer organizations, mostly piano. Now I grasped the fact that he was thereat, I now content my self by loudly —Richter .23 houses and the branches of the evergreens. Winter seems a in the large cities, find difficulty in mustering 310 West 92nd Street, New York City (At Riverside Drive) crying ‘Ha 1’ " Pianoscript Book for Beginners—Jonas.40 RALFE LEECH STERNER, Director speaking of a large piece for orchestra, prob¬ permanent thing at this moment, but we all know that six their full membership at Christmas music re¬ Presser’s Concert March Album for Or¬ hearsals, largely because of the demands of Lowest rates for tuition and board chestra-Parts, Each.-. .20 months from now our gardens will be abloom with roses. business. But practically all are fully manned 36th year Enter any day Piano Accompaniment .40 Just as the roses are certain to come, so is the June for the Easter rehearsals. This permits the Presser’s Two-Staff Organ Book . 40 Vocal and All Instruments Arpeggio Drill Recreational Album for Duet Players students’ recital season. Teachers everywhere have found preparation and presentation of a cantata, or Diplomas and teachers’ certificates —Piano, Four Hands .35 that there is nothing superior to the recital as a means of of an ambitious Easter “service of song.” Selection now, means an early start on the By Annette M. Lingelbach Sea Album, the—Piano Solo Collection.30 expanding one’s classes. Of course, recitals at any time of Third Year at the Piano—Williams.50 work of preparation. We give here a selected Three-Voice Inventions—Piano—Bach- ^ the year are valuable, but June is the climax month of the list of appropriate cantatas, riot only for of In Book One of “Czerny’s Selected essential to swift and brilliant playing. spring season, and custom makes this the best month for Easter Sunday, but also for Holy Week and CHOOL MUSIC College of Fine Arts the Lenten season. Ask for any of them “on of TEMPLE UNIVERSITY Studies,” Number 47 offers the following Twelve Negro Spirituals—Men’s Voices— recitals. More than this, interest is thus kept up to the end S Syracuse University Clark approval”: arpeggio pattern of eight notes which may 13 Thorough individual instruction Two-Voice Inventions—Piano—Bach- of the season and often the June recital is a means of enlisting TVo-reec- Bachelor of Mu,ie be developed into a drill for speed, gmooth- in Piano, Violin, Organ, Voice degrees. Master of Music pupils for a summer course. EASTER CANTATAS and all orchestral instruments ness, and beautiful tones, by playing it Young People’s Choir Book—S. A. B.25 by a staff of competent teachers. Piano, Piano Teacher Training, Voice, daily in the various scales. This arpeggio The immediate point is, that it is not a day too soon to Violin, Organ, Cello, Harp, Composition, Teachers’ and Graduationiuatian pattern also trains the mind to think begin to pick out fresh and interesting pieces, which with Everlasting Life, by Mrs. R. R. Forman Public School Music The Cover For This Month Time, 45 minutes Price, 60 cents Certificates All^ the advantages^! a large University. Special quickly and accurately and to play acci¬ the standard numbers, will go to make up your June pro¬ Messiah Victorious, by Wm. G. Hammond rrr . Courses leading to the Degree . dentals, whose smooth execution is so “Start the New Year grams. Write us your needs and let us help you. We have Time, 30 minutes Price, 75 cents Wnte Bachelor and Master of Music - I music students, 5 pipe organs With Music” is a He Lives, the King of Kings, by Anna Priscilla for Moderate tuition fees—No High just received a series of programs from one of the leading Richer Catalog School Education required, “ SUMMER SESSION-juiy s to Aug. 13 thought to which Time, 20 minutes Price. 50 cents cept for degree Courses. For bulletin address every parent well teachers of Mexico who gave a student recital every day for Victory Divine, by J. Christopher Marks Dean H. L. BUTLER might give considera¬ two weeks. Many teachers in America are now giving a week Time, 1 hour Price, $1.00 SCHOOL of MUSIC I Chopin's "Berceuse, Op. 57" King of Glory, by R. S. Morrison of TEMPLE UNIVERSITYc y Room 35, College of Fine Art, tion, so therefore The of recitals in June, so that no pupil will be slighted. 1812 Spring Garden St., Phila., Syracuse, N. Y. (Continued from page 22) Etude Music Maga¬ Rabboni, by Benjamin Loveland zine has devoted this first-issue-of-the-year TheG: performed as legato as possible and in a of the first triplet. E-flat, D-flat and octave cover to a pictorial Time, 35 minutes Price, 71 WANTED: A REPRESENTATIVE TRINITY PRINCIPLE former, should have in his library a good his- ken of the music theorist In this group of flowing manner, but with the utmost tran¬ D-flat. should be lingered on, and the effect conception of the hap¬ torv such as the Standard History of Music, twelve spirituals Mr Clark has endeavored Life Eternal, by Norwood Dale in every town to PEDAGOGY piness of the family The only Scientific Pedagogy based quillity and repose, the rhythm of the trip¬ of a portamento be given between the D- Cooke ($1.50), or A Complete History of to set down texts and tunes as he heard them Train Children’s Voices on Feeling, and practically lets coming out distinctly under the flow' | group enjoying a mu¬ Music, Baltzell ($2.25), frequently reading when a youth, in the family circle, or at the applied to Music. flat and the octave D-flat, like such an sical instrument. Time, 20 minutes Price, 60 cents High grade work with excellent remuneration of the melody above them. This flowing chapters to refresh the memory on matters homes of relatives. The arrangements for interval would be played by a stringed Alert music teachers should urge the pro¬ ' *, men s voices are ideal m their close harmony. [mmortality, by R. M. Stults Louise Weigester School figure continues until measure 43, where ■ Time, 35 minutes Price, 60 cents instrument. prietors of the news stands and music stores LENTEN AND HOLY WEEK CANTATAS it culminates in a long descending passage “The history of any “live” art is constantly While the editors and our mechanical de¬ 160 West 73rd St. New York Measure 55 is piano in tone, but the in their communities to give prominent dis¬ in the making, therefore The Etude Historical partment are engaged in preparing this work Mixed Voices introducing a sequence of trills, all four Calvary, by Ernest H. Sheppard sound must be melodious and very colorful, play to this cover of The Etude because every Musical Portrait Series is especially valuable for publication orders may be placed for Time, 30 minutes Price, 60 cents of which should be attacked with gentle and continue so all through measures 56 parent started thinking about music in the with its up-to-the-minute presentation of the single copies at the special advance price, 15 Christ’s Words from the Cross, by Mrs. R. R. £ accents. The third trill, on the first beat and 57, whilst each time the note C-flat home through seeing such a picture is that likenesses and biographies of those who have cents, postpaid, much nearer to making arrangements with a of measure 44, should be mezzo forte, and occurs in these measures it should be em¬ made noteworthy contributions fVlA *rf The Mei m the Cross, by Will C. |lK>iei\e KS IKe&tre the graceful ornamentation in triplets music teacher for a son’s or daughter’s in¬ INTERNATIONAL MUSICAL phasized slightly. The tone sinks to pianis¬ Turn to the page in this issue where it appears My First Song Book Macfc which arises from it should sink into piano. struction. Time, 30 i Price, 75 c« simo at the end of measure 57. and remains and note the all-inclusiveness of the listings. Familiar Songs in Very Easy and EDUCATIONAL AGENCY whilst again the trill on the fourth heat of It is even possible that this picture might Piecinni, Gluck’s rival; Peabody, founder of Arrangements for Piano so for the first beat of measure 58; but suggest the purchase of a piano by some par¬ t and School Positions / measure 44 must be mezzoforte, and the a great music school; Frieda Peycke, well- By Ada Richter Seven Last Words of Christ, by Th. Dubois then a crescendo should arise, returning to ents who as yet have not included an instru¬ Time, 1 hour Price, $1.00 subsequent ornamentation, piano. known composer and dramatic reader; Philipp, Penitence, Pardon and Peace, by J. H. Maunder mezzopiano in the beginning of measure 59. ment in their home investment. Young pianists are quite happy when they In measure 45 there commences a long noted pedagogical authority; and Piatigorsky, Time, 35 minutes Price, 75 cents H. Armstrong Roberts, the Philadelphia outstanding contemporary cellist.. . can play familiar songs and hymns which they Stabat Mater, by G. Rossini series of triplets in thirty-second notes, When measure 61 is reached, there e the first like to sing and in which others who happen photographer, took the picture of this happy So tins series htis progresse^ since e rs^ - — °lt are like] to j0;n ;n singing! Be- Time, 75 minutes Price, 75 cents which should start rather deliberately and should be a little ritardando. and gent'e home group and we were inspired to adapt Crucifixion, by J. Stainer pressure should be made on the first six¬ instalment in February 1932^ so it win pm^ ^ ^ ^ found ^ practical> easy. Time, 1 hour Price, 75 cents Jacobs* Piano Folios proceed faster towards the middle of the it to a cover of The Etude for this January An 8-page folder, giving a complete list of measure and then slow down again as the teenth notes of the second, fourth and sixth 1937 issue, to give those in the music teaching ceed until there has bee „resent of to-play arrangements of such numbers are A Veritable Treasure Store of Melodious r®® CENTS^ nent figure in music, Pj®* Stained Many particularly helpful to beginning pianists, Mrs. Easter Music—cantatas, anthems, solos, organ end of the measure is reached. This long beats of this measure (in fact, they can be profession something of an opportunity- numbers, etc., may be had FREE for the Compositions for the Recreational Period L POSTPAID J passage in measure 45 must be played very held on as though they were of the value creating poster as it is displayed throughout readers have sa^d^l i^ies oT The SZ Ada Richter has arranged about forty of them the country. readers nave saveu Th ,,.i10 m such a clever fashion as to prove effective asking. Just write to Theodore Presser Co. Over 100 volumes, each containing 6 delightful lyric pieces lightly and freely, the distance between the of quarter notes!, and on the second and and ask for Folder P-1. The piano salesman could want nothing in which the series hi s PP ' tiret„ mav to hear, give some support to the melody, and —tuneful, interesting, and colorful—exclusively by American notes in the triplets being managed with fourth beats of measure 62. as also on the do not possess the series - 7 • yet stav within the playing range of first composers well known in the field of light music, classified as hotter than to have this picture to show to obtain missing pages at the nominal price J ^ Some are made so easy that continuous oscillation of the wrist. The last six sixteenth notes in this measure parents who do not as yet have a piano in Recreational Album for Duet succeeding measure 46, repeats the same The accompaniment in the bass should TONE-POEMS — REVERIES — BALLETS — NOVEL¬ their home, and the music teacher will find ■e printed as it appears in the magazine. Players triplet passage, only in pianissimo, which linger a little in measure 63. thus definitely keyboard, the average youngster could at¬ that this happy family scene, when viewed For the Piano ETTES — ORIENTAL — INDIAN — SPANISH — brings us to measure 47 and 48. where the slowing down the tempo, and when the hy parents, will do more to bring them to a tempt their playing succesfully. Music publishers know that those who en¬ MARCHES — GALOPS — WALTZES — ETC. melodic sixteenth notes on the fourth, fifth end of measure 65 is reached, the hands decision to start a child in their home on In the numbers selected for this collection Twelve Negro Spirituals joy playing piano duets like to have at hand should be taken right off the keyboard as music lessons than could be done bv other . are vocal melodies which are familiar in Every Number An Original Copyright Found In No Other Collection and sixth beats of both these measures Arranged for Men’s Voices church, in school, in celebration of holiday volumes containing a well-selected assortment must be brought out. though a breath were being taken, and then Persuasive efforts. Send for classified booklet of Contents and Thematics By F. A. Clark seasons, and in the home, or elsewhere, where of sight-reading material. Music club members at measure 66 the music starts again p>aso [IF YOU ARE A PIANO TEACHER send your professional "I After a little ritardando in measure 49 Broadening One’s Musical Conceived in the days of the race’s greatest familiar old ballads are enjoyed This it will use piano duet numbers to give variety to the card for a GIFT of great practical value. Refer to this ad. and a return to tempo in measure 50 the but sonorous. tribulation, inspired by a deep religious fervor, be seen, gives a nice variety to the collection. program, and teachers find them invaluable J music flows on till at the ’ e . . the end of measure The final chords in measures 69. and 7®- Education for pupils’ recitals. _ 120 BOYLSTON ST. The piano-four hands selections in this new Walter Jacobs, Inc. boston, mass. must be played piano, but distinct » Intelligent individuals in any branch of lit¬ Srrxs& Jt‘SJSrasK™Ka line, the top notes in the right hand. E-na hook are compositions and arrangements in erature, the arts or sciences, realize that the modern style and all are within the playing "In years gone by, it seemed to be the anxious ambition of every piano and D. being emphasized. The I re acquiring of the technique of their craft capabilities of pianists able to handle third teacher to restrict the pupil in every iimaginable form. The pupil was told should be to give these chords a kind 01 s aot sufficient, if they hope to achieve and fourth grade music. marked success. A knowledge of the history continually what not to do. Non', the contrary is true. Teachers are striving ofInthTefirstretS thC beginning "<*' °f «ch quiet impressiveness, assembling as it w«e ItTs indeed remarkable how these simple these worth while easy arrangements, While the book is in preparation for pub¬ to produce the greatest possible freedom in pianoforte, but by an economy into them an epitome of all that has g«* .i;t“eir profession, its traditions, and some- it is inueeu * , attractive har- Single copies of this book may be ordered lication copies may be ordered at the special namely, B-fla^DZ'Td ng about those who have assisted in its of means—tliat is, without unnecessary exaggerations.”—Arthur Schnabel. before : the Berceuse has worked its charm: Zntirio "^ at the special advance of publication cash introductory price, 35 cents, postpaid. rought out; and m measure 54 the notw dopment, is most beneficial, (Continued on page 64) the world slumbers. 62 very musician, teacher, student or per- 63 the etvde HNVARY, 1937 printed form a preservation of Advance of PubliccUion Offers World of Music n (Continued) Ada Richter s Kindergarten lings which the good teacher would Each month tee propose in the Publisher’s Monthly Letter^to (Continued from page 4) , Af Letter. Copies of these books Class Book flat Tenor Saxophone, First B-flat Trumpet, stress in lessons to the pup1■> “ writing ^ S^romptly to advance subscribers 8 My Open Fire (Low)—Sproi A FAVORITE Second and Third B-flat Trumpets, First and vides pages ruled with staves for th A Piano Approach for Little Tots wJj iL srecial prices at which they have been COMPOSER is entitled to designation as a favorite composer of piano music. Theodore Presser Co. is Second Trombones (Bass Clef) or Baritones, of special exercises. There also are blame pag THE PHILHARMONIC ORCHESTRA are nowPwithdrawn. Copies of either, pleased to announce the First and Second Trombones (Treble Clef) for keepmg various le*s0“ things ;n of Berlin began its series of concerts with a quS may be had for exammatiou. forthcoming publication of or Baritones, First and Second Horns in F, The book is indexed for JconveSent program under the baton of Carl Schuricht nkiv Rhythmic Pantomimes from the one of the most unusual First and Second E-flat Horns, Tuba, Drums, such a systematized form «be. c°hi book and with Alfred Cortot as soloist in the tvi r«vnnr"Song Books, with descnptions Tympani and Piano (Conductor’s Score). for reference The 8fat w«^h of th* book, “Concerto in C major” of Beethoven. Charles E. Overholt and interesting methods for which keeps the pupil from forgetting or over fjSoS Dorothy Gaynor Blake kindergarten piano classes “a long-awaited volume that we know wdl OCTAVO—MIXED VOICES, SACRED looking important details in early instructions, 10192 Great Is the Lord and Marvelous— that has yet come to light. Two-Voice Inventions also may be of considerable service to those F. FLAXINGTON HARKER, English 1‘“the music folk for whom it is intended. Diggle .$0.15 g| g The author has had a long Three-Voice Inventions who, later in the teaching profession, wish to born composer and organist of long Amer¬ “U enhance the value of the Songs of the 10508 Come unto Me—Burleigh.10 wBBHp anf® successful experience cm World volumes for all those who now |ljfiEi teaching the youngest be- ((.Bach-BusonBach-Busoni ) apply to their pupils some of the ican residence, died on October 23rd. at Richmond, Virginia. Mr. Harker had been use them, and should prove of inestimable ginner, and her numerous English Translation by Lois and Guy Maier *** to kindergarten and primary grade popular teaching pieces for organist of All Saints Church, Biltmore. Ferruccio Busoni’s greatest Place your order now for a single copy of North Carolina; at St. Paul’s Episcopal teachers, as well as to piano instructors of piano attest to her knowledge of what the contribution to the Bach In¬ this new work at the special advance of pub¬ ore-school students. Price, $1.25 child likes to do and can do easily. Church of Richmond; was connected with ventions is his attempt to lication cash price of 40 cents, postpaid. the University of Richmond; was for ten V Under the Big Top, an album of circus This method is written for the child from awaken in the performer an pieces for the piano, is one of those collections four to six years of age. Psychologists call years dean of the Virginia Chapter of the understanding of the essential The Sea Album music for which Theodore Presser Co. is this period the “age of dramatization.” During spirit of this music. He set American Guild of Organists; and his com¬ Piano Solo Collection positions have been widely known and used, iustlv famous. The material it contains is these receptive years, the child lives in a world himself the task of making interest-creating, it gives first and second year of make-believe, often assuming the part of Albums containing many of them appearing in the catalogues more generally comprehensible piano pupils excellent recreation pieces, it has some other person or animal. Experts say that the subtle meaning and well- piano pieces of a of the publishers of The Etude. this dramatic tendency begins in the third descriptive character some study value, and. as the basic material thought-out plan of these works of Bach, for the annual students’ recital program, it year and reaches the climax before the seventh which often have been considered to serve seem to be in great year. The author has made use of this valuable demand. Witness the “L’AIGLON,” an opera by Arthur Honeg¬ is unsurpassed. There should be little difficulty only as dry technical material. ger, based on the Rostand play made famous in arranging a most attractive recital program tendency by weaving the entire method around The principal features of the Busoni editing success of the Around the story of Goldilocks and the Three Bears, the Year with Music by the divine Sarah Bernhardt, is reported with this material. Price, 60 cents considered the best-loved story of childhood. series. Among the to be in preparation for production at the 1. A lucid presentation of the musical Monte Carlo Opera House. The tale is augmented somewhat by the in¬ text throughout, particularly in regard Birds, Going through The Mountain Climber s clusion of incidents in the every-day life of to correctness, execution of embellish¬ the Zoo, and others. •a-t* Equipment the bears, a birthday party for the baby bear, ments, etc. This is especially the case with books of piano COMPETITIONS and the celebration of each holiday as it comes music ranging around grade 2 and progressing There are some very 2. Choice of suitable fingering. A CHAMBER MUSIC PRIZE of five essential things in the along. This is an important feature, for chil¬ 3. Indications of tempo. into the early stages of grade 3. hundred dollars is offered for a string quar¬ ,/ way of equipment re- dren love holidays. At the end of the book 4. Expression marks, intended to serve as Unquestionably, most of these successful 20486 Sleepy Hollow there is a little operetta which is planned for a guide to a correct conception of Bach’s books are given to pupils as recreation mate- tet to have its world premiere at the Festival • quired by those who Kountz . use as a spring recital program. style.„ rial, but there are any number of teachers of Pan-American Chamber Music to be held 'J/ ) attempt to seek to ne- 35101 Letet All My Life Be Music (3 parts) position with the The material of this course is properly very Foot-notes containing suggestions for who are glad to use the pieces in such books at Mexico City in July, 1037. Details may Wr gotiate successfully the Spross .1° ing violin. He ah simple. Few technical terms are used. The be had from Hubert Herring, Director, Com¬ £ * scaling of a mountain attacking problems of piano technique for pupils’ recitals. Sometimes a bit of diulog OCTAVO—MEN’S VOICES, SACRED Compositions of Charles E. Overholt book does not progress beyond the five finger and comments on interpretation. is written to lead into the rendition of each mittee of Cultural Relations with Latin j . | peak. Many who have 20223 Jesus, Meek and Gentle—Protheroe. .$0.10 position and no fingering is marked, so that The English version of the original German of a dozen or so pieces and thus form a con¬ America, 289 Fourth Avenue, New York .. | i J set out witliout creepers 36177 God Is Love—Franz-Hawley.12 PIANO SOLOS the child will be encouraged to read the note text has been made by Lois and Guy Maier. tinuity, entertaining alike to performers and City. Al/ attached to their shoes Grade Price Cat. No. Title and not find it by the fingering. The child "pi, have been forced to stop, OCTAVO—MEN’S VOICES, SECULAR Mr. Maier is a distinguished pianist and edu- audiences. 20332 Good Night, Good ‘Night, Beloved—^ ^ 26096 Crape Myrtle. 8% does not learn time values or “counting” until cator, a member of the piano faculty of the Our editors are planning this book par- A CHORAL DRAMA PRIZE of five hun¬ and some even have 26144 Hallowe’en Frolics. 3 Lesson 15, the rhythm of the preceding les¬ of Michigan, and is considered an ticularly for recital purposes, including pieces dred dollars is offered by the American slipped into oblivion. The life-saving creepers 35277 Danny Deever (Chorus Parts) — 25085 The Humming Bird. 2% sons being taught by rote. The development able authority on Bach. for sure footing represent only one item of 24158 Indian Dance .. 2 with imagination-exciting titles, yet of such Choral and Festival Alliance, for a work in 36308 The Green Cathedrai—Hahn-Huntlcy .15 26095 In a Chinese Garden .2 is so gradual, and so interesting, that the child Copies of these two separate fine musical content as to make them really this form by an American citizen. Entries equipment. Warm clothing, gloves, snow does not feel he is having a music lesson. volumes, Two-Voice Inventions , worth-while for the public appearances of close April 1, 1037; and full particulars may goggles, a rope, and a tool for cutting steps OCTAVO—SCHOOL CHORUSES “Busy work” plays an important role in the and Three-Voice Inventions, a student performers. We hope soon to be able be had from Rudolph Ganz, 64 East Van also play a part in helping the mountain 20319 The River Nile (S.A.B.)—Gest.$0.08 RHYTHM ORCHESTRA book. It gives those children who are not re¬ may be ordered in advance I to announce the titles of some of the individual climber move upward. 20366 On the Sea (2 parts)—Morrison. ceiving individual attention from the teacher Buren Street, Chicago, Illinois. 20410 The Chimes (2 parts)— Gest...... 6 26535 Red Bird March.. of. publication at the cash pieces which cover such subjects as The Ocean -j-d The music publication which moves into 20747 Look to Your Banners (3 parts) — something to do and provides rest periods for price of 30 cents each, post¬ Spray, The Surf, Pirates, Phantom Ships, Jollv repeated printings likewise must possess more Meyerbeer-Felt on ...... the times when strict concentration is not re¬ paid. The sale of these books Tars, etc. ONE THOUSAND DOLLAR AWARDS than one detail of equipment. Melodic appeal, 20832 Pickaninny Sandman (S-A.B.)-T(U- Etude Combined With Other quired. With this in mind, each lesson has for young pianists, violinists and vocalists; bert-Felton .• ■. will be limited to the U. S. A. During the period _ a sustaining interest, a musicianly worth, and High Class Publications —Your Pupils Will Be— been planned with accompanying “busy work,” and its Possessions. that this book is in with additional prizes of five hundred dollars other things are requisite. It is because active which may consist of writing notes, copying course of preparation for the two best opera voices; are offered music workers have a need for being ac¬ “m < ^?=^,,<£3‘) You are fond of good magazines. The Etude music, or coloring the attractive illustrations by the National Federation of Music Clubs, 3 has made arrangements with many other high Helped byTheseText in the hook. an opportunity is af¬ quainted with such publications that space OPERETTAS Young People’s Choir Book forded teachers, and in connection with its 1937 Biennial Conven¬ here each month is given to listing publications class publications whereby one or more maga¬ There is a big opportunity in the kinder¬ (S. A. B.) tion. For particulars as to entry, write Mis. Crimson Eyebrows (Mixed)—Dodge.$1 zines, including The Etude, may be purchased Books-- garten piano class idea, and this book provides others interested in which in the past thirty days have come up From the Yellowstone (Mixed) —Lieuranee The final selection of the material for this obtaining copies, to John Alexander Jardine, President. 1112 for new printings. A single copy of any of at a substantial saving in price. Some use the answer to the plea of many mothers who enthusiastically awaited book for Intermediate order them at the Third Avenue South, Fargo, North Dakota. SECULAR CANTATA Christmas gift money to pay for a years THESE WORKS ARE FOUND IN ask of teachers, “Have you a class for my these may be procured for examination. Choirs has been completed. A good proportion special advance of Mon-Dah-Min (Treble Voices, 3 parts)— subscription to The Etude and also add a THE REFERENCE LIBRARIES OF youngest child? I don’t want him to have Bliss.?l of new and original compositions, such as In ' " LAKE PLACID CLUB PRIZES, amount¬ SHEET MUSIC—PIANO SOLOS fine periodical or two to their readmg matter. LEADING MUSIC EDUCATORS much work to do, but I would like to have Cat No. Title and Composer Grade Price _ _ _ Send post card for catalog showing special Pastures Green by Bixby and Oh, How Lovely ing to Fifteen Hundred Dollars, are offered CHURCH MUSIC COLLECTION him start music before he goes to school.” by Baines, together with new arrangements 8412 Cheer Up! (With Words) — EVERYWHERE--— Order your copy now at the special advance for chamber and choral compositions. The Rowe. 1 $0.25 Offering ~~.. combinations of leading magazines with The of standard and successful sacred works, as¬ Presser s Two-Staff Organ Book 26209 Indian Medicine Man—Richter. 1)4 .25 Etude or tell us which additional magazine of publication cash price, 30 cents, postpaid. sure a wide variety of useful numbers for the closing date for choral entries is February 11173 Jolly Blacksmith—Harris .2 .25 VIOLIN INSTRUCTORS _ w;sh and we will make a special price With Registration Prepared Especially 15, 1937; and for chamber works, March 13892 Donna e Mobile. From Rigoletto service of worship. C1R^k^Haffca^-ButlCT °°fc. f' ^Studcnt3 $0.75 quotation on the combination. Third Year at the Piano The choir group for which this book for the Small Organ 20, 1937. Further particulars may be had —Verii-Greenwald .2 .25 STANDARD HISTORY OF from George Carroll, Lake Placid Club, 24331 Witches—Ketterer .2 .35 Fourth Year at the Piano planned may be made up of singers drawn The church organist, requiring for use at 24817 On Tiptoe—Ketterer.2 .30 ??n_seiiibie Method fo ‘ violin'Hock Caution! Swindlers Are About MUSIC—By Jas. Francis Cooke from high school choral organizations. The all times preludes, postludes, interludes and Essex County, New York. 24973 Valsette—Kerr . 2 .25 Cloth Bound—Profusely Illustrated—$1. By John M. Williams 30061 The FuHMoon, Op. 63, No. 3— ^ ^ Again! We had hoped to be able to announce in - -offertories, is always glad to add to his librarv A real treat to use as a text book this issue the publication of the first of these fortable range for the student voice. The part a volume of appropriate selections. This is AMERICAN COMPOSERS, native or 19637 Pride”of the*Regiment,' Op. 'U3 This is another warning to our musical class or club study. The chapters faci for the young men is prepared for those whose wel* proven by the advance sale of this volume, 50 Selected Stuaies in ji.nfl tate the arrangement of lessons and ma instruction books, but while it will probably naturalized, may enter compositions for organ, 24903 Bird^CaUfr-Wripriit.2W 5!5 Levenson . friends to beware of strangers offering The be ready shortly after the first of the year, voices are not sufficiently developed to sing The average collection of orgnn music piano, voice, violin, viola, violoncello, string 26205 Country Gardens (Mor^ii Etude Music Magazine at a cut price. Crooks the usual tenor and bass ranges and is written usually contains some numbers that can be VIOLIN AND PIANO COLLECTION the special advance offer price on both vol¬ quartet, or any combination of these instru¬ Dance)—Felton .2% -25 Album of Favorite First Position Pieces... .$1.00 often will offer The Etude at any price they umes will continue this month. so that it may be sung by both tenors and played effectively only on organs with three ments, and for a cappella chorus, to be per¬ *3 The White Moth—Ware .2% .40 feel they can collect, and then pocket the “ The Gypsy Child—Paldi.2>4 .35 VIOLONCELLO Most teachers are familiar with Mr. Wil¬ ba2fs- x, , , . , or “ore manuals. Thus, such books are un- formed at the “Festival of American Music." In??? ?ream of Yesterday—Preston 3 .35 money. Pay no money to strangers unless you liams’ work and the advance sale of Third Until the book is released, the publishers satisfactory for the organist whose instru- of May. 1937, by the Westminster Choir 30111 Stars and Stripes Forever- Student’s First Cello Album.*1’00 are convinced of their responsibility, or are HARMONY BOOK FOR are accepting orders for single copies at the meat has but two manuals and a limited March—Sousa .3 .50 __MUSICAL LITERATURE willing to assume the risk. Etude repre- BEGINNERS—By P. W. Orem Year at the Piano and Fourth Year at the reasonable advance of publication price, 25 registration. School. Entries close January 1, 1937. In¬ «84 On the Lake—Williams.3% .40 Piano has been most gratifying. There is still quiries may be addressed and scores sent to 7931 Quartet, From Rigoletto- Griegg (Child's(Chad's Own Book of GiGreat Musi- sentatives carry the official receipt of the Flush Cloth Binding-Price, $1.25 rents, postpaid. The sale of this book will be Presser’s Two-Staff Organ Book will con ins)—Tapper ...... • • • • • • •'• • Theodore Presser Co., publishers of The time to order your copies at the introductory Roy Harris, Director of Festival of American V erdi-Engelmann.3% -25 ■ ■ ■ Supplies a superb foundation for fu¬ price, 50 cents each, postpaid. limited to the U. S. A. and its Possessions. tain a fine lot of church music that will sound Music, Westminster Choir School. Princeton, 18425 Our Invincible Nation (Grand Musical’Leal Playlets'Playlets for Young FolksFt —Co .. Etude Music Magazine. Help us to protect Triumphal March)—W. Rolfe 6 .50 ture musicianship. Its exposition of the well on small organs and yet is of sufficient New Jersey. BAND 7B you from swindlers. fundamentals of harmony is given in a 22502 The Arkansas Traveller— dear, concise, colloquial manner. Presser’s Concert March Album Pianoscript Book for Beginners lmporUTe for performance on more fulls 4--1- McDonald . 6 .50 34007 King Cotton March—Sousa. By Alberto- JonasT pipped instruments. It will prove a veritable 23801 Rose Blanche (False de Salon) 34039 The Fairest of the fair for Orchestra boon for the beginning organist, especially a THE PHILHARMONIC-SYMPHONY oton- ~ ~Wach3.5 .50 Change of Address The author of this book £5825 Dark Eyes—Pecru 5 .50 Owing to the immense amount of work ORCHESTRA of New York offers a prize We again remind our subscribers that when has proved, by results ob¬ 25936 The Flight of the Bumble Bee— A Binder for Your 1936 THEORY AND COMPOSITION entailed in proof-reading, printing and binding tained with pupils, that he of One Thousand Dollars for an orchestral Rimsky-Korsakov—Felton ... 5 .40 changing an address, we should be advised at composition ranging from twenty minutes OF MUSIC—By P. W. Orem the twenty-five books that contain the com¬ is one of the foremost living .. SHEET MUSIC—PIANO DUETS EtudeS least four-- weeks in advance,--- giving■; - both... old plete instrumentation of this sterling com¬ to full symphonic length, and a second prize 12140 Garlands of Roses (With Words) , -1 f T'nv UVTTnv Music and new addresses. Wrappers for mailing Flush Cloth Binding—Price, $1.25 piano pedagogs. He has To regular subscribers of TheEtoteiMi* d very much in advance ot lhe publi pilation, it has been deemed advisable at this trained pupils in all stages iffi ‘is"dT„t°s £££"*? of Five Hundred Dollars for an overture, Spaulding.2 $0.25 Those who have studied the author’s writing, mid-November, not to count on its of piano playing, from the pedals are printed on the same staff m he suite or symphonic poem not longer than ten „ . , PIANO INSTRUCTORS Magazine, who wish to bind tne t tion_+i, date si 0p rkrr»mTkt nrvhfirn.tmn sho “Harmony Book for Beginners, or any being ready for advance subscribers by the bass clef and may be nlaved W ir. i , to twenty minutes. Entry blanks and full beginner’s Book (School for the Piano. Vol. issuesfwe make the following specud offer: other course in the elements of har- very beginnings to the at- , V) Presser.$1.00 time this issue of The Etude is delivered. tainment of virtuoso success. information may be had by writing to the The ^oTTtiris fif £4™ this book for going on to actual com¬ Therefore, the special advance of publica¬ The individual care and sys¬ h price, Philharmonic-Symphony Orchestra. 113 West „. , „ PIANO STUDIES position of music. tion offer price will remain in force during tematic procedures given his 57th Street, New York City. Selected Studies (Vol. 1). Czerny-Liebling. .$1.00 Study Pieces in All Major and Minor Keys. Kid “The Etude.” If you will send your January—20 cents postpaid for each Orchestra pupils have been of vital it* t —Koelling . .75 increase your Part, 40 cents for the Piano Accompaniment. importance in his teaching. svavance of Publication Offers 4055 Melodious Studies'' in ‘ Style’ and’ Mel renewal for the year 1937, at cure, we will The sale of this book will be limited to the ANTHEM CONTEST: One Thousand chartism (Music Mastery Series)— make you a combination offer oftffisfine INCOME! Previously, Senor Jonas made available one Withdrawn Dollars are offered in Twelve Prizes ranging Schnec her.60 Easily—Substantially—Pleasantly U. S. A. and its Possessions. of the means utilized by him for taking care With A , binder and a year’s subscription for $3.25, from Two Hundred and Fifty Dollars to Fifty $2.00 to pay for the renewal, the additional -Take Subscriptions for- . As a guide, to ordering we list the following of important phases of study with advanced on the mark^Tt °[ New Year place . PIANO SOLO COLLECTIONS instrumentation: Solo Violin (ad lib.) First Dollars each, for unpublished anthems. En¬ standard Second Grade Recreations.$0.75 $L25 covering actual cost of the bmdw._Here s THE ETUDE MUSIC MAGAZINE Violin, Violin Obbligato A, Violin Obbligato students. This was through his Pianoscript eral months n»sT g°f "T Works “‘at forre” tries close February 1. 1937. and full mlor- 0°""* Piano Folio.50 an opportunity to have all of your 1936 its for particulars — Book ($1.50). Now comes Ins Pianoscript special offers Li1,/'3'.! ]H'en "“hided in the 1712 CHESTNUT ST. PHILADELPHIA: PA. B, Second Violin, Viola, Cello, Bass, Flute, Book for Beginners. This latter book not only P "/c ,.ed ®5d described in this Pub- mation may be had by addressing the Lorenz ETUDEsbound in easily accessible form. You Publishing Company. Third and Madison T„ , plANO DUET COLLECTIONS Just We Two—Spaulding .$0.75 will not regret this investment. 64 Advertisbment ( l on Pa9e 65) Streets, Dayton, Ohio. Advertisement THE ETI DE JANUARY, 1937 JUNIOR ETUDE —(Continued) THE JUNIOR ETUDE Junior Etude Contest A Tune Is Such a Funny Marjory Learns Her Scales Edited by The junior etude will award three Thing By Stella Whitson-Holnies pretty prizes each month for the best and ELIZABETH A. GEST By Grace E. Hall You should have heard Marjory play sharp, Hif jyou_..._ like, neatest original stories or essays, and for , tMfle is such a funny thing! her scales of F-sharp and D-flat (or rather, ‘Ob,” answered Marjory, “seven sharps answers to puzzles. &e of neither reeds norstnng: trying to play them). Her ear kept telling to find!’ Any boy or girl under the age of sixteen your may compete, whether a subscriber or not, Tt has no fragrance, color, form, her they were not correct. “But that is easy, just as easy Itisnot cold,it is not warm; “Well, well,” said a voice. “And you scale of C. Play that for me.” and whether belonging to any Junior Club or not. Class A, fourteen to sixteen years t dies at once, when .t is sung, think the scale of F-sharp is difficult, do Marjory could almost have played that The Toboggan Ride The Little Whittier ???Who Knows??? And yet lives on in old and young, you? You just play all the black keys and in her sleep, she thought—all on white of age; Class B, eleven to under fourteen; the white ones that lie at each side of the keys! . Class C, under eleven years. By Gladys Hutchinson 1. What is the difference between a note, Who life give to it only when Subject for story or essay this month, By Mayme L. Peterson a tone and a key? They sound its pleasing notes again. group of three black ones.” “Now C-sharp is just as simple. You Fouk friends went tobogganing one day, It lives forever in the mind Marjory saw that she had a new teacher, just raise every tone by one halt-step. “Great music.” and their names were Grace, Bill, Doris, 2. When was Mozart bom? Must contain not over one hundred and and wood, and how to whittle, but nothing 3. What is a string quartet? That loves its beauty; strangers find “Now this key, and this,” continued the Try it. and Frank. IT WAS carnival week in Cremona, and Marjory played. Not a difficult scale, ; fifty words and must be received at the new teacher, pointing to B and E-sharp, the streets were crowded with gay about music. Amati is the greatest violin 4. What was Haydn’s given name? It in their bosoms, unaware, Junior Etude Office, 1712 Chestnut Street, Now, suppose we take their initials, G, “lie next to the group of three black keys. all, she thought. B, D, F, and build a chord with them. revelers. Three Italian lads came stroll¬ maker in all Italy.” 5. E-sharp is the third degree of which In all its loveliness, and there Philadelphia,DUIGAJnViJo PonncvlvariiaPennsylvania, hvby JanuaryTannarv They are the only white keys in this scale, what about D-flat?” si ing along toward the Duomo, but they Salvator and Giulio were so elated over major scale? Is kinship t, when folks sing: „i eighteenth, 1937. Names of winners and were not in holiday attire, nor were they the gold piece that they decided to go and when you play them with all the black asked, 6. What does pesante mean? A tune is such a funny thing! „ ‘Oh, D-flat? Well, just play that C-sharp their contributions will appear in the April taking any part in the merriment of the home, and Antonio trudged along with 7. What instrument is this? keys, you have your scale.” gay crowds. them. When they came to the river bridge Marjory tried, and found it worked per- scale again and change its letter names, issue, “Hurry, Salvator,” urged the tallest lad, Antonio left them and went on to his fectly. ‘“Why,” she cried in delight, “you explained the new... teacher. _ , Rules The Symphony Marjory was hard at work on her scales put your namej age atl(] class in which We find that we have a seventh chord “this is the last night and people will be own home and crept into bed. good teacher. And would you be when her mother came into the room. They yQU enter, on tj,e upper left hand corner of with the root, G. generous with their gold, and we can easily But he could not sleep for thinking of kind as i show i : the scale of D-flat, Family Game did sound very much improved, but no one your paper. and put your address on upper Now each time these friends coasted get twenty lire before the fun is over.” the great Amati. Right here in his own down the hill they changed places so that “You are right, Giulio. You play, and I city, with knives and wood this man made By Albertha Stoyer “Easy,” said the new teacher, “or C- ever knew that a little elf had helped her. rjgj,t hand corner. If your contribution each could have a turn sitting in front. So will sing. Come on Tonio, you may come wonderful violins! To play this lively music game you will _. takes more than one sheet of paper do this let us change the positions of the notes in with us. Of course, you can neither sing The next morning Antonio was up by 8. What is the relative minor of G-flat need four small cardboard squares for every r. on each sheet. Write on one side of paper Answers to Who Knows ordy the chord to correspond to their positions nor play, and it will be too dark for you dawn. He took some things that he had major scale? player. . of instruments. £»0 not use typewriters and do not have on the toboggan. to whittle, but you can watch the crowds. whittled and started out to find the great 9. From what country docs the bagpipe Divide the players into four sections and 1. A note is a tone symbol written oil a 4. Haydn’s given name was Franz Josei. one copy your work for you. It is a pity you can do nothing but whittle. violin maker. This was an easy task, for come? to the first group give cards with names staff; a tone is a musical sound of 5. Is-sharp is the third degree m the scale when schools or clubs compete, please Whittling never brings you anything.” Amati was well known in Cremona. 10. What was the nationality of Dvorak? ot the stringed instruments; to the second definite pitch; a key is a lever which Antonio’s eyes filled with tears as he Soon Antonio stood at the master’s door, (Answers on next page) pushes the hammer against the string of C-sharp major. have a preliminary contest and send in no group give those with names of the wood¬ 6. Pesante means heavy, or with much more than tw0 contributions in each class, glanced down at the small wooden sword but a Servant answered his knock and wind; to the third group give cards marked to produce tone. A key is also the tone. Competitors who do not comply with all in his hand. Yes, he could make things out scolded him for disturbing the household with names of the brasses; and to the fourth group of tones in a certain tonality, This gives us the same chord each time, of wood, but he could neither sing nor 7. A trumpet. 0f the above conditions will not be con- so early. A little later Antonio again group give cards with the names of per¬ or scale. 8. E-flat minor is the relative of G-flat sjdered but the notes in the chord change places, play like his friends. All he could do was rattled the big brass knocker and the 2. Mozart was born in 1756. just like the tobogganers. Play these po- cussion instruments. major. to whittle. master himself opened the door. Stock-Taking Seat the players in a large circle on the 3. A string quartet is a composition, usu¬ sitions o n your piano in various keys, and 9. The bagpipe comes from Scotland, As the three boys reached the crowded floor, and place a small basket in the center ally in classical sonata form, to be School Music without one single though it is found also in other coun- piazza Giulio took his violin out of its By Gertrude Greenhalgh Walker of the circle. Let each player try to throw played by a first and second violin, mistake. Antoaiui Stradiuanus Cremonenfis (Prize Winner) case and began to play an Italian folk his or her card into the basket. The group a viola and a violoncello. The term mes. „ . paeiebat Anno Music is becoming more important than evt song. Then the voice of Salvator blended All day Friday it snowed, and Robert which gets the most cards in the basket also is used to designate this group 10. Dvorak was Bohemian. inn schools. -Some of us are just beginning t sweetly with the tones of his brother’s was delighted. "Skiing will be great to¬ realize- the- -beauty of* lie. How are we 1 learn the rudiments of isic? Every one ca violin, and many stopped to listen and to morrow, Dad. Do you think we can go out As the children probably will know, there not have private lessc so what should t Beethoven's Days drop coins into the singer’s hand. and try it?” asked Bob, excitedly. done to teach children appreciate and lot Original mark in Stradivarius Violins are four families of instruments in the sym¬ Diagonal Puzzle usic in the school Beethoven said that “every day we spend “I think so, son,” answered his father. Letter Box Antonio, sitting quietly on the cathedral phony orchestra; and, to help in marking How many children, or even i without learning something is a day lost.” steps, noticed a man mingling with the “Stop at the office about one o’clock. I By E. Mendes ho Bach, Mozart or Chopin, wa dll “Good morning, sir,” said Antonio. “I your cards, these are listed below. How many days do you think Beethoven crowds but taking no part in the fun. might be a little late, because we will be cut these things out with my knife. Do STRINGS: violin, viola, violoncello, and ; without help and would consider YOU had lost? And, ac¬ Presently the man came and stood near taking stock.” I have thought it all < The diagonals, reading down from left do»e£* you think I could learn to make violins?” contra-bass. WOOD-WINDS: flute, pic¬ it works very well for i cording to Beethoven’s method of calcu¬ the young musicians, listening to their Saturday was a beautiful day, and when to right, will give the name of a musical iess we have music in our schools. . The master smiled kindly at the small colo, oboe, clarinets, English horn, and Make and’wrlte'a small chart,1under “it“the"name of My school has about six hundred and fifty lating, how many more days do you intend music. : Robert reached the office he found every¬ the top and v pupils, and we have two glee clubs and three to lose? See if you can add it up to zero. boy. “Tell me your name lad,” he said. bassoon. BRASSES: French horns, trum- piece•-1 and the-the composer. Play' the piece from bands. I think all schools should have music, "That is a beautiful song, my voung "Antonio Stradivarius. Oh, sir, I can body very busy, and bustling around. “Al¬ pets, cornets, trombones and tuba. PER- -veryevery day and if you mas .... ' I sincerelyrhope that sonic^da^they will. friend,” he said to Salvator. “Would you most finished.” called his father. “Just a mistakes put an X on t... — Mildred Heston (Age 14), ( neither sing nor play; but i’do want to CUSSION: drums, cymbals, triangle, bells, nnlv one or two put a circle, Florida. mind singing it again?” few more shelves and boxes to look over learn to make violins.” gongs, tambourine, castanet, and xylophone. it without any mistake put January Anniversaries Then in response tq the stranger's re¬ “Well, my boy, you shall have the while we are taking stock. You see, to get end of the week see how i quest Salvator’s lutelike voice rang out chance to try,” said Amati as he invited a true value of our year’s work we must haThen the next week do School Music -once. more. piece, and kccP^tli' (Prize Winner) Anniversaries of the following musicians Antonio into the house. check up on everything. Yes indeed, stock¬ Dear Junior Etude : occur this month. When the ballad was finished the man taking is necessary before any business can When I first started to take music lessons Carolyn Holmes, 1, A fruit; 2, An insect; 3, A vegetable; Some one has said, “The heights by great From that day on, and for many years, “Massachusetts. Christian Sinding was born in Nor¬ dropped a coin into the singer’s hand and begin a successful new year.” I was sure I would like them, aud I do. 4, A country; 5, A flower; 6, A bird. men reached and kept, were not attained by disappeared in the crowd. teacher and pupil worked tirelessly to¬ We have a music club and I am the secre¬ N. B.—Carolyn forgot to give her age, but sudden flight; but they, while their com¬ way, January 11, 1856. His, Rustle ’■of gether ; and when at last Amati died. An¬ “I suppose that is what Miss Brown tary. We meet once a month. I like the re¬ as the idea is a good one, her letter panions slept, were toiling upward in the Spring used to be very popular with Junior “A gold piece! A gold piece!” exclaimed meant when she told me to make a critical citals and rhythm band, and sometimes I Salvator. tonio, then grown to manhood, took the compose melodies. One day when I was feel¬ printed. Honorable Mention for 1UThc teachers of school music have a great pianists. great master’s place and carried on the review of my music,” remarked Bob. “She ing happy I composed ~ “* opportunity before them, for spreading the “Small wonder,” answered Giulio. “That Honorable Mention for October Essays: gospel of music throughout the land. This Stephen Foster died in New York, wonderful art of violin making. said I could make better New Year Resolu¬ “Rhythm,”Rhythm,” *because■-- *-it is very quick was the great Amati. Well could he afford bappy. October Puzzles: Najla Chakour, Rachel Tiniinerinan Dorothy will not be attained by sudden flight but January 13, 1864. He is known all over Salvator and Giulio played and sang their tions if I knew where I stood. So I will From your friend, Lee Gauleim Lily. King, Catherine Hajdu, through long years of patience and effort. the world for his simple, appealing mel¬ to give us gold.” Beatrice Barrie (Age 10). The end will be a musical America. way into the hearts of all Cremona, but just check up on a few things while I am School music offers us an opportunity to get odies: Old Black Joe, Old Folks at Home, “Who is the great Amati?” asked An- Ontario. Vera laier, Stella Anderson, Sera Antonio Stradivarius, the little whittler waiting for you to finish your work. Dad. Foster Coble. Flo J My Old Kentucky Home, and many others. tonio. who had been un¬ with patience and persistence and Don’t hurry.” Diar Junior Etude : How many of his songs do you know? noticed by the stranger. We have organized the “Gerasi Mandolin with a noble purpose in his heart So Bob took out his pencil and paper tlnb," consisting of mandolins, guitars and Edward MacDowell died in New York “Ha, ha,” laughed Giulio, JjpsfcatsESsSIS banjos. There are twenty-four members be¬ I value school music chiefly for its effect £became the greatest violin maker and wrote: a character. May every boy and girl in our on January 23, 1908. He is considered one “Tonio knows about knives tween the ages of nine and sixteen. Our .„,i «n opportunity to have school mu- the world has ever known. SCALES—Need more practice in 1937. teacher’s violin pupils entertain us with solos of America’s greatest composers; and at onr meetings. * 'llrig'fiijr&iissB,” nearly every pianist plays Ms To a Wild EXERCISES—Fairly good. e pay five cents a meeting 1 South Carolina. Rose. ARPEGGIOS—Same class as scales. every six months w Mozart was born in Salzburg, Austria, PIECES—Good. Would have been ex¬ From your friend, Ruth Jache (Age 13), School Music on January 27, 1756. Try to learn one more cellent if scales had been better. New Hampshire. Mozart composition this month. ATTENTION during practice — Gen¬ (Prize Winner) Verdi died in Italy, January 27, 1901. erally good. The importance of music in all grades is EFFORT during practice—Good, but not increasing steadily. Already school choirs 1 He is one of Italy’s greatest opera com¬ Answer to October Puzzle: gained a high standard and school bands posers; and you can hear the arias from one hundred per cent. n themselves to be of great value in pro- STEP his operas recorded on Victor records and AMBITION—Unsteady. moting: teamte work and musical ability. Schools TOLL „ . r the world are realizing the imnortance Columbia records, as sung by the world’s of music. Festivals encourage c petition in “How does it stand?” asked his father, ELSA and outside of school. best singers. coming toward him. "Well stocktaking is I love to listen to school choirs, and I love Schubert was born in Germany on Jan¬ PLAY quite a job,” answered Bob. to be in one myself. Our teacher is so kind uary 31, 1797. Try to hear his Unfinished Prize Winners for October that we have come to look upon her class as “Here is a good slogan for you for 1937, a special pleasure. We have won several cer¬ Symphony again this month. It has been Bob: Puzzle: tificates and one silver shield, and hope to recorded by the Philadelphia Orchestra on Class A, Paula Bretz (Age 14), Georgia. win another. We all work very hard : but that Good, better, best. is half the joy of success, and success is our Victor records, Nos. 6663 to 6665, or 7050 Class B, Paul Keuter (Age 11), Mis¬ u. I standard flag. to 7052. Never let it rest, souri. Barbara Bruce (Age 10), Class C, Till your good is better. British Columbia. VILLAGE OF CREMONA, ITALY, TODAY Class C, Hadassah L. Binder (Age 9), do-re-mi music GANC, COATESVILLE, I 66 And your better, best.” New York. the etude JANUARY, 1937 THE OLIVER DITSON COMPANY, INC.

ANNOUNCE THE MID-WINTER SCHEDULE

BERNARD WAGNESS CUSSES IN MODERN PIANO PEDAGOGY

WEEK OF CITY & STATE SPONSORED BY

Jan. 4th Rochester, N. Y. LEVIS MUSIC STORE 412 East Main Street

Jan. 11th New York, N. Y. HAROLD FLAMMER, INC. 10 East 43rd Street

Jan. 18th Charlotte, No. Car. BRODT MUSIC COMPANY 235 North Tryon Street

Jan. 25th New Orleans, La. WERLEIN’S 605 Canal Street

Feb. 1st Houston, Texas THOS. GOGGAN & BRO. 1201 Main Street

Feb. 8th San Antonio, Tex. SAN ANTONIO MUSIC CO. 316 West Commerce Street

Feb. 15th Denver, Colorado CHAS. E. WELLS MUSIC CO. 1629 California Street

Feb. 22nd Springfield, Mo. WILL JAMES MUSIC SERVICE 301 East McDaniel Street

Mar. 1st Indianapolis, Ind. GLADYS ALWES MUSIC SHOPPE 33 Monument Circle

Mar. 8th Louisville, Ky. SHACKLETON PIANO CO. 324 West Chestnut Street

Mar. 15th Nashville, Tenn. THE MUSIC SHOP 29 Arcade

Mar. 22nd Knoxville, Tenn. CLARK fls JONES 510 South Gay Street

Mar. 29th Cincinnati, Ohio GROENE MUSIC COMPANY 205 East Sixth Street

in.the week of.. .

There is no fee charged or obligation incurred by this enrollment. f

Let PHILCO hying the greetings of the radio artists of the world! Not just at New Year’s ... but all the year ’round. From the great British stations at'baventry . from powerful European transmitters . . . from our Latin-American neighbors i the South . . . from nearby Canada and faraway Australia. And most im¬ portant from the stars who brighten our own networks ... and make American broadcasting the treasure-house of entertainment and enlightenment that it is! for the easiest tuning of any year . . . tune your favorite American stations with Philco Automatic Tuning. Twirl the dial just once . . . and Click . . . there s your station!

Radio stars represented are (i) Molasses 'n January, (zj Fred Allen and Portland Hoffa, (3) Jessica Dragonette, (4) Lanny Ross, (5) Kate Smith, (6) Ted Husing, (7) Guy Lombardo and His Royal Canadians, (8) Louise Massey, (9) Shep Fields and His Orchestra, (10) Rudy Vallee, (it) Nelson Eddy, (iz) Eddie. Cantor, (13) Giovanni Martinelli, (14) Helen Hayes, (15) Boake Carter, (16) Jack Benny and Mary Livingstone, (17) Town Hall Quartet. PHI LCO 3

FIFTY-TWO MODELS * 20 TO *600

PHILCO REPLACEMENT TUBES IMPROVE THE PERFORMANCE OF ANY RADIO . SPECIFY A PHILCO FOR YOUR AUTOMOBILE