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

8-1-1897 Volume 15, Number 08 (August 1897) Winton J. Baltzell

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Recommended Citation Baltzell, Winton J.. "Volume 15, Number 08 (August 1897)." , (1897). https://digitalcommons.gardner-webb.edu/etude/418

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]. METROPOLITAN A NEW BOOK BY W. s. B. MATHEWS. COLLEGE OF MUSIC OF THE , PAGE. Musical Items. 2f(. University of the State of New York, The Piano and Our Gills. ^uboiint W.'Mottri.... 202 Thoughts, Suggestions, and Advice"".™".!’.".'.’”*" *S 204 19 and 21 East Fourteenth St., Pianoforte Study. Aloe. McArthur.’2os [T\usie: Gleanings, tv. F. Galtt.206 Gleanings Threshed Out. onn NEW YORK CITY. New Publications.!!'.!!!!!!!!!" 206 Whither Are We Drifting? W. W. Paos!"!!.'.'.".’’"' 207 Its Ideals and JVIethods The Wit of Composers.’ 207 Musical Stage Fright. Robert Braine ...... 7. 208 DUDLEY BUCK—Interpretation and Orchestration. Editorial Notes. '' 2og HARRY ROWE SHELLEY—Theory and Composition Bach Anecdotes.. 209 Liszt and Tausig...... 77.7.'...' 209 F COLLECTION of Essays for Young * HERBERT WILBER GREENE-Voice Training. Letters to Pupils. J. S. Van Cleve..7.77.7.7 210 The Story Teller. \ 210 Teachers, Amateurs, and Students, ALBERT ROSS PARSONS-Pianoforte. Counting Time. E. Cook.77! 210 relating to Music considered as My Fellow Students. E. M Trevenen Damon...... 211 ^"llethi ®HITTElf:DEN"—Pianoforte, Synthetic Aids in Teaching Time Values. Alice Johneon. 212 an Art and Literature, and to Problems A Guide to Pianists. Translated by Miss Leonhard. 212 The Musical Listener. 213 of Piano Teaching. + -f + + + B. HUNTINGTON WOODMAN-Organ. Automatism in Technic. W. J. BaXltell.* 213 A Promising Indication. 213 ¥¥¥¥ JOHN 0. GRIGGS—Church Music and History. Musical Inconsistencies. E. M. Young.. 214 LOUIS SOHMIDT-Violin. A Day’s Practice. Frederick Mariner. 214 Pithy Thoughts. Carl Whihner. 214 Bv the author of “How to Understand Music,” “A Popu¬ A Plea for Primary Instructions in Harmony. lar History of Music,” “Studies in Phrasing,” k»« th. T»ltt»Wet^a.*Mr»tio»nof,»m^?epartfn,nt*' e*ch d«Partm«nt Waldemar Malmene.. 215 ■*king i* POMibU for the ^880ciat6 Pfofossors »nd instructors, My Visit to the M. T. N. A. John Orth. 216 “Standard Grades,” “ Primer of "Fid prot^ wHhou« an3ue :ipe^,‘r0mP ‘h9 mOSt thoroI,«h *“d Thoughts About tbe Most Salient Features of Musical Form,” etc., etc. Music Life. By G. Ft. Richter.... 216 is of graduation with col- Publisher’s Notes...220, 221

npportedT?Dmney1Bn^Jl7?EBiT'. head«d by H. W. Greene, (This work, which contains about 75,000 words, fremon Miller Frank Int«rPretation, by John 0. Griggs, E. MUSIC. •*>« beet adrantages for Tocal0sh?J’ and 0*her*. offers without question is the first important literary work which THF pi . “ oc*’ 8todr to be found in America. PKICB Ilf SHEET FOBV. Mr. Mathews has published since the second ^on.Tifb?rt°^T*®^KA«T.*S*T , under the active Dance of the Gypsies. Lack.$0.40 Professor in advanced wnrV*^08’ Caia Aarup as Associate Hongroise. Liszt...... 35 volume of “ How to Understand Music ” and his Pic and in Ioternretatinnrk, offers the broadest training both in Tech- The Troubadours. Rhode.35 “History of Music.” thetio Dspartment of Norm»iV>a^t -°f thii worL comprised in the Syn¬ Forget Me Not. (Gavotte.) Nettmann.40 jet lx»«ib” m nr„.^Hri ng’"n

shaping and life-giving touch of the composer’s imagina¬ * * Const, v. Sternberg. -- ♦ -- * * * tion they are monotonous and soon fatigue the attention. Theodore Lack, Op. 55. When a pupil brags that he enjoys practicing scales by THE STORY TELLER. In a churchyard in a town in Wales which is known the hour I think of the noble horse, who delights to by the rather unpronounceable name of Llanfilantrohyl, Foe Summer Reading. Allegretto giocoso. crunch his spikes of uncooked corn, his withes of hay, is a tombstone bearing this epitaph : A his toothsome oats ; I think of that other admirable BY FRANK L. EYEE. “ Under this stone lies Meredith Morgan, animal upon whom Nature has bestowed a voice of power, Who blew the bellows of our church organ; and I think of his devotion to the thistle, which even Tobacco he hated, to smoke was unwilling, The moment a celebrated man dies, the papers begin surpasses that of a Scotchman. Yet never so happy as when pipes he was filling; to relate all sorts of anecdotes about him. For the past No reflection on him for rude speech could be cast, No : if you are musical you will abhor technical labor, f month or so musical journals have been rife with obitu¬ Though he gave our old organist many a blast.” or at least the sound of its incessant iterations more A, aries, criticisms, reminiscences, etc., of Johannes Brahms. 2 A) irritating than the hoarse-voiced cicade of summer ; and Q- They have reviewed his past career, speculated on why yet it is absolutely indispensable to master technical n. he never married, stated various facts about his compo¬ materials by repetition. As well talk of flying before COUNTING TIME. sitions, etc. Brahms, it would appear, was possessed of the feathers have been developed as of making music a horror of autograph seekers and callers in general, and, before technical facility has been pounded and hammered BY E. COOK. like many a celebrated man before him, took a delight and driven and settled in that stronghold of automatic in escaping from their clutches as often as he could. skill, the ganglionic centers of the nerves. In a recent number of The Etude, I noticed an article One of the best anecdotes we have seen about him runs My advice to you is two-fold : first and foremost, wind in which singing the counts was advised with the plea as follows. He was just leaving his house one day when up your resolution to the very top notch and with relent¬ that expression is thereby furthered. Perhaps singing a long-haired youth with a bundle of music under his less perseverance master the details of technic by the melody might be an aid to one incapable of conceiv¬ arm hailed him with : thoughtful repetition: second, do not, however, raise ing it otherwise, but all this may well follow the elemen¬ “ Can you tell me where Dr. Brahms lives?” these labors to the agonies of martyrdom by practicing tary stage where counting aloud is necessary. One thing “Certainly,” replied the Doctor, in liis most amiable technic exclusively upon the piano, hut do at least two- at a time is about all the average pupil can attend to. manner; “in this house, up three flights,” and so say¬ thirds of it on the silent keyboard of the Virgil Practice Counting aloud and very distinctly is beneficial in this, ing, he hurried away. Clavier. It calls the ear in as an aid to define time when the pupil History fails to relate what the long-haired youth said The second petal which I will pluck out is this : when is quite incapable of thinking it correctly unaided by after he had climbed up those long flights. If they were you say “thump” you give an illustration of an Ameri¬ these regularly recurring sounds. When the pupil of the length of those we have climbed in Europe, his can slang phrase which is so expressive that I wish it sings or drawls out the counts, in my opinion there is remarks must have been anything but musical. were not slang. You “give yourself away. ” You must no benefit derived. To be of benefit, the counts must not thump technical exercises, but you must produce as be well-defined points. I always insist on a complete beautiful a tone as you would in a nocturne. Every ending of each word, for the moment the words begin to time you strike a piano carelessly you injure yourself, One story always, as a rule, calls up another ; hence run together all definiteness ceases and hurrying is the just as you vitiate your scholarship every time you we remember of one we read recently of Humperdinck. result. Some pupils find the eye to be a much greater thoughtlessly make an error in grammar or mispronounce This gentleman, it seems, is very abstracted at times, and aid than the ear, and in such cases the teacher can help a word. one day, while teacher of harmony and composition at the 1 3 1 2 4 2 4 3 them to develop time by heating with them while thej 2 4 3 1 2 4 3 1 The third petal is not so cheerful in hue ; in fact, Frankfort Conservatory, arranged to have an examina¬ count aloud. although it is taken from a rosebud, it is tinctured with tion of his advanced class in composition in theoretical I think the domain of the technical should be quite J f • f the dark indigo of discouragement. Your question matters. Herr Sclioltz, the director, was present to distinct from that of the emotional and expressive- makes my heart ache for you ; it aches with remembrance, listen when Humperdinck began his questions. But Center the mind first on the technical, which is the for I also, as a boy, hoped that I could purchase release the class seemed remarkably dull. Not one correct ground-work, then on this foundation build the beautihj P from the galley-oar of technic'by frantic straining for answer was given. Humperdinck grew perplexed, and structure of expression. To claim that this course wi two or three years. The only result which came of such Sclioltz got red in the face and finally exclaimed, stifle expression is as groundless as it would be to say misdirected effort was a temporary hardening and viti¬ “Really, Herr Humperdinck, this class seems entirely that a close study of the rules of grammar will kill the ation of my touch, though I had good sense enough to unprepared.” Suddenly Humperdinck’s face took on a 3 j germs of eloqueut expression. The real truth is, that an § § stop before I brought on pianist’s cramp and crippled r > ! look of doubt; he hastily took a memorandum book r exhaustive knowledge of grammar and rhetoric is myself, as so many do, in the paroxysms of American trom his pocket, scanned its pages nervously, and then essential to true eloquence. impatience. pulling Herr Scholtz aside, said, “I have made a mis¬ Alas ! I am coin])elled to tell you that you will never take ; this is the wrong class. These are the beginners see the day when yon will be free from the necessity to in harmony.” „ * * —A Japanese proverb says that a thousand miles ^ cultivate technical exercises—not if yon play the piano * * * A) Remember that an accentuation sign on a weak beat fhere the 2

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E) Hold these upper notes of the left hand pretty, orchestral Violoncello effect. * m°S exactness and play them very legato; they make a F) /Vie small slurs are divisions suggested for preliminary practice. 2232 - 5 2232-5 * N9 2257 HONGROISE. Ferdinand David.

Edited by T. P. FRANZ LISZT.

Copyright 1897 by Theo. Presser. 4 7 6

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ROBERT KRATZ.Op.12.

C°pyright 1897 by Theo. Presser. 2 14 N° 2253 The Troubadour.

EDUARD ROHDE, Op. 122. N9 1. Fingered by Richard Zeckwer.

Copyright 1897 by Theo. Presser. 4 it; N? 2255 CRADLE SONG. Words and Music by R.M. TRUMBULL.

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The Eternal Stars of Music by Words by J. LEWIS BROWNE. ANNA GORDON.

*Andante Placido.

With simplicity.

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Allegro.

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2252.3 THE ETUDE MY FELLOW-STUDENTS. 211 lack of nerves betrays itself in her playing as a lack of The Student Who Flirts. BY E. M. TEEVENEN DAWSON. teterpret a t! on' °f Sen8itivene8s. fatal to artistic Moderato. Seldom with her fellow-studentsof the masculine gender • from head to f " V™'tlDghng’ ma-vbc. with nerves trom head to foot, are far more likely to be possessed of though that used to be common enough, it is true, in (Concluded.) - years gone by, nowadays, through the foresight of the -A ^ ? ^^ ^ Y- v-v EE = — To turn now to two very opposite types of music stu¬ keLTv t temPe;ament- For’ if y»« fed, unpleasantly, J — — —0 a — s V —#-!—0L 0U U-0T- —• authorities, scant opportunity is afforded for this agreeable U ^LL--« —0 ' -- -—* -0 M J dents, we have the dreadfully nervous ones and those un toythater ,°f the examiners> a 'head of not coining ^3^- up to their standard, fear of failure, anxiety to do your pastime. In the choir, in the orchestra, at the rehearsals cool, calm souls who apparently know not nerves. at the classes, “ young men and maidens ” are no longer she cried Everybody has met that very common type, sliake a^d ^ COmbine to “lake your fingers fore” allowed to mix promiscuously. But the flirtatiously in¬ 1 He f "r Ur 711661,-80 al8° are y0U ab‘e to enter clined damsel is not to be deterred by this ; she can still The Neevous Student. pWt of ,i ‘UgS °/theiCOmpOSer’ Ws moods, the spirit of his work. And that will peep out in your keep her baud in with the masters. So far as my When she appears on the concert platform her voice P aying, let your fingers shake ever so much, or come academy experience went, however, those of German ex¬ shakes and becomes at times almost inaudible ; she sings down nervously on a wrong note here and there ; and the traction were unresponsive in the extreme, some few of painfully flat, or forgets her part, while the audience examiners will nod their heads approvingly, Lay your our own countrymen were arrant flirts, while many—I pity her heartily, but heave a sigh of relief when she re¬ performance • shows promise,” and-pass you. So take might almost say, most-of the Italiau masters were tires. Or she appears as a performer, with shaking courage, for I myself have known this happen time and notorious. Such glorious opportunities there were, too lingers and a sinking heart; forgets to make her bow. If time again. for the student who flirts, not only at her lessons,—two a pianist, plunges headlong into her piece without wait¬ Speaking of examinations,-nowadays such an import¬ half-hours per week.-butatthe practices, in the entrance ing to arrange her skirts so that she can get at the pedals, ant and constantly recurring feature of academy life - hall, on the stairs, in the green-room, even in the singing and consequently gets her feet hopelessly entangled in reminds me of a type, very common among “ my fellow- classes. Aud of course she was generally a vocal student draperies (and amuses the audience by kicking violently) students,” as they always had the most time on their hands. whenever the pedals come into use. If a violinist, misses The Student Who Fails. Somehow or other, however, this little amusement did that critical high harmonic, and gets horribly out of Tempo I. You’d naturally think she would want to avoid the not serve to increase the awe and respect in which pupils tune in her double-stopping. On either instrument, takes rail. "‘'v - P^ subject; would wish to “ bury the past in oblivion,” and should hold their masters. There was the rase, for runs and difficult passages with desperate rapidity, to the seek to hide her diminished head. Not at all. The instance, of Miss Thompson, an advanced student, ltegin- utter ruin of all clearness ; and this, not from want of M Y n rj O girl who has failed goes ’round telling everybody, and ning to appear in public as a vocalist, who carried on a ability, even conspicuous ability, but out of sheer ner- accuses the examiners loudly of unfairness, or prejudice lively flirtation with her (very distinguished) Italian vousness. cause it was not dark e-nough, my child” So shine the e - ter-nal stars in sor-rows night; The or incompetency. singing-master. He made a point, in his lectures on To see such a one at her worst, however, you must Of course, here and there some ultra-sensitive soul, on voice production—I had heard him myself—of denounc¬ Tempo I. see her at an examination. There she not only shakes learning the (for her) unfavorable result of an examina¬ ing the use of stimulants for the voice, solemnly assuring all over, and looks the picture of misery, but I have seen tion, will burst into tears and refuse to be comforted. us that port wine, in especial, did more harm than good. -e- her turn absolutely green. The printed notes dance But the really typical “student who fails” blames \ et, when Miss Thompson was about to sing at one of the w5 * before her eyes, and suddenly, in the middle of her piece everything and everybody except herself, and works concerts for which he had procured her an engagement, f r or song, she forgets what key she is in, or what clef, and herself up into a state of flaming indignation. “ Such the Signor would take her to a restaurant beforehand, and co/ canto. P rr feels an overwhelming terror of wrong notes in c’onse- a wretched old piano ! Could n’t get a bit of tone out himself order a glass of port, which he would insist on quence, in fact, a kind of blind panic. of it, and the keys so loose” (or “so stiff”); “of course her drinking. Now, how could she or any of his pupils TT I remember, for instance, an extreme case of this sort, feel respect for such inconsistency ? jS I could n’t do myself proper justice.” “ It was a shame IE where, during a preliminary examination, a young putting Herr So-and-So on as an examiner; it’s notorious Familiarity, too, as we all know, is apt to breed con¬ ■=¥ pianist fainted toward the end of her performance. that he always passes his own pupils, and no one else.” tempt, or something not far removed from it. I remem¬ Notwithstanding which she had the pluck to go in for The idea of making that stupid old Mr. So-and-So one ber, apropos, another girl, the pupil of yet another the final competition, just managed to get to the last note of the judges ! He’s as old as the hills, and quite Italian singing-master,—a dark, handsome fellow, with of her piece, fainted for the second time, but—passed. behind the times. Of course, we of the modern school very lively, rather free, manners, and such a temper Nor was this a solitary specimen of this extreme type ; haven’t the ghost of a chance with him.” Etc. etc w hen provoked. She was a regular flirt, and ready to for on one occasion, a young girl, playing for the first ad lib. carry on with anybody ; but this Signor Umberto was tune at a students’ concert, was so horribly nervous that I was once in the same car with a student of this type, the one who encouraged her most,—met her half-way, hrst she hurried the tempo more and more, and next fell on the way home after the results of a silver medal com¬ so to speak,—so we were always seeing them joking and laughing together. hunting to the floor of the platform with a sudden petition for pianists had been announced. I had barely “ thud,” striking several of the piano keys in hideous spoken to the girl in my life, but she talked to me the One day, however, the Signor’s laughter was turned to gravity, for something had suddenly gone wrong with discord with a crash in the act of falling. It was really whole time, seizing the opportunity of proclaiming her his eyes, so that the doctors feared he might lose his quite dramatic, for there was a momentary pause of failure, for the benefit of a train load of people, and railing sight, and with such a terrible calamity hanging over horror and alarm on the part of the audience, and then at the unfortunate examiners. Fortunately for myself 1 his head he could but feel anxious and troubled. We several gentlemen sprang from their seats and rushed had passed successfully, for 7 should have been anything students knew nothing of all this; all we knew was that forward to pick the poor little girl up. It was anything but pleased to have had my misfortunes made public. one day, without the slightest warning, Signor Um¬ but a pleasant experience for her, and gave many of her Nevertheless, I must say, it struck me then as not only berto arrived at the academy with a huge green shade lellow-students a disagreeable shock, very foolish to abuse the authorities, but in extremely bad over both eyes. We looked up amazed, then turned to The opposite type, taste to do so to a successful candidate. For whether the others with subdued remarks: “ What can lie the mat¬ student who fails rails at the “favoritism ” or the “in¬ The Student Without Neeves, ter? Is he losing his sight?” “Poor man! what a competency” of thejudges, it must imply, “ You don’t dreadful thing that would l>e ! ” Yet his favorite pupil is decidedly more rare. I have met her, though, and a play a bit better than I do ; you only got through by a (the girl in question), when she went to take her singing 'cry unsympathetic companion I found her. Her lips fluke.” lesson, broke into a loud and unfeeling fit of laughter would curve scornfully when she overheard us describ- One type of student frequently fails in examinations— and exclaimed hilariously “ what a guy” he looked o low bad we felt at a concert, an examination, the one who is too sure. She is so certain she will She told us afterward she could have bitten her tongue e'eu an ordinary lesson, and mutually sympathizing: pass that either she does not practice sufficiently, or else out for having said it, when she saw how he took it; but it ; . Shc.'VOuld break in loudly with the boast, “ I don’t carelesslyneglectsherteaclier’sdirections. Thus, I knew was too late. Signor Umberto burst into a perfect fury e\em nerves. It’s all stuff! I’m never nervous, one student, otherwise a fairly able pianist, who tried rushed from the room, aud—never forgave her. No thank goodness; I simply don’t know what ‘nerves’ four years in succession for a certain medal, and failed each more laughing aud talking for her after that, for he real¬ e- n fact, she gloried in her absence of nerves as time, simply and solely because she would keep the ized then what a fool he had been to expect sympathy 11 ”, * 11 "ele some special virtue, and openly despised dampers raised for measures at a time, regardless of anil commiseration in his overwhelming anxiety from , " ° confessed to feeling nervous on any occasion changes of harmony or even of key! Her master was the butterfly “.Student who Flirts.” ^hat^ever. When she performed in public, how we dreadfully vexed about it, naturally, having never failed Well, well ! I could go on and on with these reminis¬ (Uffipi ifGU'" ^le co°l way she attacked that perilously to point out where the fault lay ; yet it was committed cences of academy days. But it is high time I drew to block r passage> "b'cb had, perhaps, been her stumbling again and again out of pure heedlessness. a close,—not from want of material, but because 1 fear Again, a student is apt to practice assiduously the final shivering "6e^S ^nd more was she envied by her to exhaust the patience of my readers if 1 write any and more difficult competition piece, bestowing scant time take h D§ rif' alS at S°me competition, where she would more abont “ My Fellow-students.” as tkn ?e'!t at tbe Pinno before the examiners as calmly or attention on the easier preliminary one. This is the ‘‘Oh ? °Ut ^ Pra,ctice in her own room at home, student who is bound to fail. For when the eventful day exelair i W^la*; "oold n’t I give to have her nerves ! ” arrives, she plays so unsatisfactorily at the preliminary A Possible Assistance.—“ Willie is a remarkable examination that the hard-hearted examiners do n’t allow boy,” said the lad's mother to the eminent musician. her to enter at all for the final one, and she never gets a “ He remembers every tune he hears.” student without ^ ,liail>' a tlmc bave 1 kn(.wn the chance of showing them how brilliantly she has mastered “Indeed !” examination C°me °Ut Very l0W down a“ So there is tbe nervous one pass with flying colors, the difficulties of that second piece. “ Is n’t that a valuable faculty ? ”

the pv.,„ * 110 need 10 envy her, fellow-students ! For Not nearly so common a type, but one very noticeable, “Well—it may enable him to liecome a successful meis don’t indorse your opinion; and that very much en Evidence, at the Academy, is composer.”— Washiiujton Star. 212 THE ETUDE is recommended that the windows be opened, for th-it T H E ETUDE AIDS IN TEACHING TIME VALUES. ourselves about how they ought to be. If we attempt 213 that, we enter upon a field even larger than that of increases the size of the audience. If this happens after £be flDustcal Xlstenet*. 11 o’clock, the police will come, too. Teachers’ National Convention held in New York in music. -- ♦—-- • une, the women were given a department to themselves do the same thing the same way every time this special BY ALICE J. JOHNSON. Let us look at the keyboard more closely. The tone The Listener recently listened to a discussion among as a new feature of the convention. Although this d“ activity is required. A departure from ‘directness ’ is which is directly in front of the player is called c (pro¬ several piano teachers about the true meaning of the word A GUIDE TO PIANISTS. parture does not meet with th*» t i0* > 0 waste, since it does not deepen the channel of communi¬ nounce “see!”). On the right are found the higher because Lo u • , ‘ Listener’s sympathies, The writer remembers, when about beginning her “style ” as applied to musical rendering. cation between sense-perception and muscular action.” tones, on the left the lower. One player can not easily it ri '"iS W°men’8 W°rk OU*htt° s“md for what career as a teacher, the reply of an experienced instruc¬ Translated for The Etude by Miss F. Leonhard. Teacher No. 1 said : “ I have had several pupils in my Instrumental or vocal technic implies a number of strike more than ten tones (keys) at a time, unless he sit tor when questioned as to his methods, and the surprise life who were gifted with natural style and needed little exhibition1 TT ‘ Md not * off for physical activities dependent upon nerve and muscle down on the keyboard. teaching along that line.” , . ’. 'e ls g ,u American women can make such a awakened at learning that he treated no two pupils alike. The piano, also called instrument, is for making a noise, action, which, to be most highly effective, must approach One can often play very pleasing melodies on only two This seemed very astounding and impossible then, but which can be used in many ways, particularly to accom¬ No. 2 replied : “I do not believe we have the same yea?the°iIffigaS *7 ^ he h°',es t,lat “""“'er automatism Execution demands rapid and accurate womeffs u 0", C°mmittee f0T t!le exhibition of experience taught to the contrary. pany singing and dancing. Many people play the piano or three notes. If three, four, or even five notes are understanding of the word, because I never in my life pi.vsical activity, which can lie secured by exercises that from the W°r iWI meet Wlth a morc rwer which hitherto convinces a pupil of the point one wishes to make out appropriate physical means to produce the desired “There are not lacking, also, indications of a like Any one can easily remedy this by fitting the key, which tionai 4 e y°,:i,1gest of the arts as a means of emo- infinitely quicker than any amount of verbal explana¬ If a piece is too hard for one player, or if he wishes to effect. But there must be a first time, and there is a change in the attitude of the musical profession toward comes for the purpose, onto the iron pegs, and turning it get through it more quickly, let him try four-hand the educational idea in music work, as instanced by the tion, or than numberless pencil drawn circles supposed new fon P' rSS,0n iS ”°W be'Dg put to scientific use as a maxim that has bearing upon this question. When far enough from left to right. For ordinary households of Phil.,1,' ? motive Power. The celebrated Mr. Keely, very complete series of conferences now being held by to represent so many pies or apples. This was formerly playing, which requires two performers. Otherwise, this conscious of a new act, when beginning something new, piano-tuning is not necessary, and is, indeed, seldom this association. We are coming to learn that it is essen¬ sort of playing is not to be recommended, for the out hoi • *t ^ 11 aUd mo4or Lime, believes he has found a favorite device with me, aud I was always surprised practiced. let us “ launch onrselves with as strong and decided initi¬ tial to good musicianship to have the broadest possible His no,., ° I *'*1'11 v'Lrations for mechanical purposes. that it was not more convincing. My experience would character of pianists is not often so yielding that one ative as possible.” We proceed from the known to the view of our art, and to understand fully and set forth o-J I clearly its relation to all other life forces. This is the indicate, however, that the circular form does not make will wait for the other. Rather take more time and ph'J iustrumem^h^V8!61 m°ti0n by the strikinS of au uuknown by means of comparison and experiment. In (Klavier Schlussel),—which is easily lost, and thus giv< tendency of sane scholarship everywhere, and to find pro¬ the idea quite as clear, even when cut out of cardboard your piece alone. In playing four-hand music, ladies inwardness ofth °r ^ * tuniDS-fork> but the order to grasp instantly the value of a new effort, concen¬ rise to many a dissension,—the violin clef* fVioli fessional musicians and music teachers moving for pro¬ with movable sections and manipulated in the same always sit on the right. who Claim, r ^ 'S known alone to Mr- KeelY> tration of mind is necessary. Concentration aids in pro¬ founder, more scientific conceptions of music is a mark Schl'iissel), which is used with the right hand, and tb manner as the straight slip. The latter is specially The young pianist who follows the foregoing adw|'e somethin ?r ? superiority oyer all other motive forces, ducing a “ strong initiative.” It is preeminently neces¬ of progress. bass clef (Bass Schlussel), which is used with the lefi “ The trend thus evident in connection with this con¬ valuable in teaching the value of dotted notes, and eluci¬ will soon become an excellent artist, if he only has111 "«• tot*01 “ J“ “ b”«•—, oamas rmi sary in taking np music study or in seeking an advance Pianists of orderly habits carry all four keys on a rim idea y are 111 Cresting themselves in the new ference furnishes to it its greatest opportunity. Never dates very clearly the complications of double dots. clination, diligence, and patient neighbors.—Piccolo. step. Concentration and directness are two useful ideas. lo play m the evening, one must light candles (to b have the educational powers in this country been so The music teacher may argue that be is not a teacher day whenTv Sri-1'1 the°tber da->’- “ Just tbink of the An embodiment of the latter is found in the following favorably inclined to treat music seriously, never lias the had in any large shop), so that the hands will not hit i of arithmetic, aud ought not to be expected to devote —The pupil who imagines that a superior teacher w* could go from l" i"? “ hlgh ° °n the tuuiug fork a mail maxim by Prolessor Bain, the psychologist: “Never music profession udressed itself with such an interest to the wrong places. In what is called “improving educational problems. If we can this afternoon present his energies to making clear what should be properly carry him through without doing hard work hinise 1 0,,t further efforl^I^w HariCm °D 8 bic*cle with- suffer an exception to occur till the new habit is securely many performers play without light; but that is an u„ the experience of the past and the conviction of the pre explained in the school-room. This is all true, but sure to be disappointed. Learn to stand upon youi ov^ incredulity -m which facetious remark shows the rooted.” The principles already stated may be compre¬ certam affair.-a leap in the dark, as it were. Neve sent in the form of wise, practical, and earnest ndvice to most of us learn, if we are wise, that the only way to feet, for you must walk over every foot ot the road t even tlmm.i ' " blcb t,le new power is still considered, hended iu the law of “ economy of time and attention,” tile colleges, the words of this body of specialists with play from notes without a light. In playing at night . °Ugb ‘he belief in it is growing. make life useful and happy is to accept things as they leads to success. There are no stage coaches or buy* which is the result of a quasi-automatism, the latter the indorsement of this association can not fail to have great weight, and can scarcely avoid marking a new era are when they can not be remedied, and not concern * The French “ clef” and the German “Scbltiaeel» 1 that will take you there. If you covet success as a 111 we use both c/e/and key. b“e' are»Mdwhei At the SDlendiHi,, * * ‘ * being a prime fadfactor in technical mastery. I would also in the development of music as a branch of higher edu sician you must fight to attain it. J successful meeting of the Music sum up as follows : “ Seek to know what to do ; always cation.” 214 THE ETUDE are many who tell with evident bravado that they always a pupil is before he can tell how to treat the pupil in 215 MUSICAL INCONSISTENCIES. A PLEA FOR PRIMARY INSTRUCTION IN practice so many hours each day. Naturally, their friends hand. He must have a standard. He must reason from him why a certain number of sharps or flats belong to believe on this account that they are rapidly becoming the general to the particular. HARMONY. blandishments; to be willing, if necessary, to face pov¬ BY K. M. YOUNG. erty and walk alone through life, ignored, if not despised artists. The teacher must be a physician. He needs knowledge disUmmidfi1 tVraiU the PUpiI'S ear that he is ab'e to and rejected, by one’s own time and generation, that one Eight hours’ practice of this kind never yet made an BY WALDEMAR MALMENE. distinguish these two intervals without seeing the instru¬ of things and knowledge of people. He must change diets. may be a beacon of purest light in the path of genera Many musicians and musical minds wonder why artist. Something besides the mere sitting at the piano ment. Encourage him to sing, hum, or whistle such He is a false teacher who uses a panacea for all ills or tious yet unborn. Oil! Beethoven, Bach, Schubert, and deplore the fact that so many individuals are met and keeping the fingers going over and over various tones as lay within the compass of his voice. for all times in one “ ill.” It needs to be remembered While it is impossible to state the exact number of Schumann, Haydn, Mozart, great and noble souls! with who, both by education and an inborn perception, studies and pieces is required to make enjoyable playing. Major and minor thirds, as also the interval of the that the conquering of difficulties is dependent on the persons who gain a livelihood by teaching music, yet it High priests of art! we do but faintly, even now, np- are discriminators in the world of letters and many arts, This something is the right use of brains. perfect or major fifth can be taught as soon as the com¬ skilful use of contrast in means. A fault may be reme can be safely said that it exceeds that of any other preciate the divine mission among men ! Oh! America, and yet are wholly unable to appreciate the beautiful in All pupils certainly have brains, but not all are using mon chord is used, either as a wrist exercise, when the branch of a liberal education. Although music is reck¬ my country, when wilt tlion also bring forth such sons! true music and derive enjoyment from listening and them to the best advantage. Four hours a day, with died by indirect application also, as with many dis¬ sounds are struck simultaneously, or as an arpeggio. eases. oned as one of the seven liberal arts and sciences, never¬ Not, methinks, until thy great national life has been performing music which is at best very commonplace. proper outdoor exercise and rest, will surely show the best 1 he intervals of the fourth and sixth can be explained theless it does not follow that all music teachers are Purified and exalted through greater travail anti suffer- The purpose of this essay is to draw the attention of results, and I find that those pupils who adhere to this ith the first and second inversion of the common chord, It is a teacher’s duty to bring out originality. It js either artists or prosecute their calling with a view to iug than thou hast yet known. the “many musicians and musical minds’’ toward rule are the most successful players at the end of the when played as previously mentioned,-and teach the better to leave go for a time an inconsistency, if the exalt it as an art. This may be owing to the fact that Albert Ross Parsons, always incisive, individual, and themselves, and on reflection and a little self-examina¬ year. This amount of perfect concentration in piano pupil the chords of the sixth aud of the fourth and sixth. pupil has been striving to grasp principles and to make to the majority who learn music it is nothing more than philosophical. I remember going over his first work at tion discover whether or not they may be justly called study is generally enough to tire the ordinary student, Ihe interval of the seventh is best taught with the domi¬ them his own also. a mere matter of amusement or necessary social accom- translating while we were delving together with Kullak inconsistent. I refer now to the predominating class of leaving him in a condition where, if more work is insisted nant chord of the seventh; its inversions follow next, . plishment. However, there are thousands of earnest —Wagner’s Brochure on Beethoven. I must try to find pianists and organists. upon, one has to force himself to keep at the work, and, Everything is magnified in the eyes of the pupil, and and its resolution and direct connection with the tonic students who are not satisfied with a mere technical dis¬ time for his work on the “ Pyramids of Egypt,” for 1 am It is a well-known fact that very many if not the providing anything is accomplished, it is apt to be soon he is liable to exaggerate. But what is momentary ex¬ c ord will give the intelligent teacher opportunity to play of flexibility of fingers or voice, and who look up sure it must be interesting. majority of pianos are sold through the influence or lost; for knowledge acquired by a tired brain is not aggeration to lifelong imitation ? What is erring judg¬ dilate on the natural laws of harmony. to their teachers for guidance into paths where true And A. J. Goodrich, earnest, severe, almost sepulchral recommendation of music teachers. Question : Does readily retained. ment for the time to no judgment at all ? As soon as The pupil who has become thoroughly and practically knowledge can be gained in order to better comprehend in his seriousness, made a fine background to some of the average teacher justly merit the confidence thus re¬ As a general thing the eight-hour-a-day worker acquainted in this manner with the intervals and chords, he learns another thing the preceding one will assume the works of our great masters. the lighter element which was in attendance. posed in him or her by purchasers of pianos? wastes about as much time as he really uses. To prove its proper shape. And so goes the formation of all will undoubtedly be better equipped to take up the 1 he first step to obtain such knowledge is unquestion¬ Lusty, democratic, indefatigable Hanchett had as cor¬ My answer is emphatically, “ No ! ” I am forced to this, just ask yourself if during your practice time you study of harmony afterward without thinking it a standards. The teacher needs to know that there is a ably the study of harmony ; it is, however, a lamentable dial a greeting as ever for his friends. As Chairman of t he this conclusion after an experience of some fifteen years. have ever discovered that your mind, instead of being con¬ drudgery. time for correction and a time to refrain from it, and to fact that this is a sealed book, not only to the majority Music Committee he was a kind of axle, with a big load, Before entering seriously the ranks of the music centrated on the work in hand, wanders off to foreign put in its place appreciation of original thought. ol advanced pupils, but even to many teachers, some of around which the wheels revolved. By the aid of his teachers, I endeavored to prepare myself with as wide a fields, and on arriving at the end of the selection on the MY VISIT TO THE M. T. N. A. whom can hardly analyze a chord, much less harmonize splendid lung and voice capacity he made himself heard range of study as was consistent with proper concentra¬ Pupils easily lose confidence in their original powers music rack you find yourself wondering, have I or have a melody in four parts correctly. as well as felt at every point. Some Comments—Wise or Otherwise. tion on the two branches of musical culture known as I not been through the field. Certainly a mind in this as long as under the eyes of a teacher who keeps his cor¬ As a physician is not satisfied with merely diagnosing But what about the general standard, musically, you voice culture and pianoforte playing. It did not take me state of bewilderment is not in a receptive condition. rective powers in perpetual motion. the patient s condition, but will also investigate the BY JOHN ORTH. say? Well, this part of the subject is not so pleasant to long to discover that I knew too little of the construc¬ Concentration is absolutely necessary to the successful There is hardly enough willingness to accept the pos¬ cause of the sickness, so it is not out of place to inquire talk aliout. \\ hat, for instance, have mandolin music tion, mechanism, and rare of a piano. I resolved to student, and if you find you lack in this particular, then How did I like the M. T. N. A. meeting? Oh ! I had sibility of new ideas from a pupil! The teacher treats into the cause of such musical ignorance or indifference, and playing,—Alabama coon songs, Gilder playing and know the instrument as thoroughly as possible, and at a pull yourself together and work with the determination an enjoyable time. It was so very pleasant to meet again him as a vessel of some sort in which he may place food, and to suggest a possible remedy. Regarding the cause, compositions, to do with a national gathering of music considerable cost of time, money, and effort, by lessons that you must and will gain concentration. When this is some of my former associates and fellow-students of the and forgets the fact that there is possibility of gaining it can not be disputed that, instead of impressing upon teachers, presumably for the elevation of the art of from tuners and work in factories, I obtained what I gained, you will discover that you can now accomplish in Liszt Kullak period, as well as to catch a glimpse of nourishment in return. the pupil’s mind that the study of harmony is part of a music? One does not mind this sort of thing so much at sought for. Before that time, notwithstanding a study some of the rising generation, including among the two hours what you could not accomplish before in a rational musical education, it is left optional. Why an agricultural fair, or mechanics’ exhibition, but the of acoustics and considerable reading, I did not. correctly The teacher’s whole duty lies in the appreciation of latter men like Dr. Gerritt Smith, Dr. R. Huntington whole day. Four hours now will be sufficient to tire you should a musical education, if it aims at something idea of its being tolerated for a moment, or having any appreciate the term “ unison ” ; was unable to determine the pupil as a living thing that has its faults of sight, Woodman, Dr. S. C. Griggs, Dr. Henry G. Hanchett, mentally, and the rest of your time may be profitably higher than mere amusement, not be planned somewhat ]mrt in this convention, seems incredible. And just here always whether a note slightly out was flator sharp ; did hearing, and, consequently, knowing ; and in the utiliza¬ and others. What do all these titles “commemorate,” spent in the open air -perhaps on a bicycle. After a similar to an ordinary school education which, even in let me call attention to one thing which was very notice¬ not know what is meant by a “ good scale.” and what is their value and significance? I notice that sufficient amount of technic is gained, very little time tion of intellectual forces for the gaining of some end, lower grades, includes at least reading, writing, and able, and that is, that representative musicians, like This article is not written for the benefit of any whether that end be mechanical or emotional. He must Baermann, who brought one of the genuine articles with Chadwick, MacDowell, J. K. Paine, and Parker, were should be devoted exclusively to it, most of the four arithmetic? Why should not harmony and musical his¬ teacher of tuning or school of tuning; but I regard it as him from , discarded it a few years ago, and has hours being spent in memorizing pieces and keeping up know that errors are not all caused by faults in the fin¬ tory be part of a musical training without any extra almost painfully conspicuous by their absence, both in a great misfortune to the cause that so little is known been plain Carl Baermann ever since. But to return. person and on the programmes. a repertoire. If you have a fine grand piano, take gers and wrists and eyes and ears, but that the most are charge ? The more the mind is cultivated, the greater regarding the quality, condition, and care of pianos. Amy Fay, bright, sparkling, and fascinating as ever, was Does a M. T. N. A. which is ignored by men of this pleasure in playing on it, listen to the tones produced and due to faults in the mental organization. intellectual results may be expected. As the higher I will mention one or two inconsistencies that are there with her book, from which she read at one or two stamp deserve to live ; and, in fact, can it live under these enjoy them ; do not merely sit there from a sense of duty, branches of mathematics and logical training will un¬ like many that come under my notice. Not long ago I The emotional must fill up gaps which purely intel¬ of the sessions. Speaking about going abroad to study, circumstances? compelling yourself to play just so many hours. Enjoy questionably help to a closer reasoning, and to detect was one of a company of listeners at a lecture recital by lectual work will leave ; must give life to both ideas how fortunate it was both for Miss Fay and others that The attitude of these men means, I believe, that, in your practice, and you will find yourself improving musi- allacies which the casual observer fails to notice, so will a musician of considerable prominence, which was given aud pupils. The emotional is the iuspirer ; it can not she decided to do so. If she had not gone we never their opinion, there is something radically wrong in this cally and mentally. Possibly yon may say, “It takes also harmonic studies assist in reading with greater fa- at his spacious residence, the piano used being his be used as the instructor. Summary, in a word: Me¬ me longer than any one else to learn the same amount.” cility, etc., etc. would have had that charming book, and what a differ¬ movement, somewhere, and that the organization as now Steinway Grand. How interestingly he unraveled the chanics precede expression, although expression is the ence that would have made with what we know of Fay, conducted is not worthy their attention or recognition. But it should not. Such an excuse for so many hours’ To luost pupils the study of harmony means some- mysteries of classical music, and how apparently spell¬ higher ; mental work precedes emotional, although the because Fay without the book would not seem to be the There seemed to lie quite a general feeling that Mr. labor is not worthy of consideration. t ling very dry, uninteresting, often, at first, incompre- bound were many of his listeners as he sped through a emotional is the higher. The highest teaching is based “fay ” which now appears to as. Greene was the one to give the Association new life ; to If it really does take you so long, then train yourself lensible, especially when the instructions are hurried sonata of Schumann, and then caressed the keys which on recognition of such principles. Apropos of Fay, and her book, how would this do for a lift it out of the old musico political rut or slough into to accomplish the work in less time. It can be done, pro¬ through. Good results can only be expected when the sounded forth Schubert’s B flat Impromptu, I mean¬ variation on a well-known theme. which it had fallen. Somehow I did not find myself viding you so decide and work to that effect. More than cac dug is begun at an early age aud is carried on sys¬ while sitting on pins and needles as I vainly listened for thoroughly in accord with this sentiment. Mr. Greene four hours a day is injurious to the average pupil, and tematically. Amy had a little book, a single correct unison ! The piano was one continual Its leaves were white as snow, has push, energy, ambition, but—has he ideals 1 We shall should not be countenanced. Try this plan and see if A thorough knowledge of intervals is the first requi- wow ! This same teacher, organist, lecturer, and pianist AN APPRECIATIVE AUDIENCE. And everywhere that Amy went, all watch with interest his course as helmsman. Let us after a few months of this method of practicing you are The book, etc., etc., would insist, I am sure, if called upon to play elsewhere 81 ’ ut bear in mind the maxim of teaching but a little at all “ lend a hand ” whenever we can, and remember that not able to do all and more than ever before. ime, never to take up a new lesson until the old one is to an audience, that the piano should be tuned that very And my old friend the redoubtable and only Sher¬ every little counts. Practice should be a pleasure, not a duty, and should When Chopin, the great composer and pianist, was a thoroughly mastered. day. the inconsistent part of it being that if he personallv wood was there, too ; in fact, he was one of the principal It fell ont, as I expected, that I enjoyed the purely not exceed four hours a day.-Frederic Mariner. young man, he traveled through Poland with a ’ should select one from many, in a pianoforte wareroom, e following suggestions may assist the young teacher figures of the occasion, of course. I found him still social, more than the musical, side of the occasion, and and was one day snow-bound. Some peasants succe he would request it to be tuned even though correct at the • i accomplish the object for which this article was dissatisfied with some things,—and not very well pleased as my object in going was a social one, 1 was pleased in getting the sleigh out of the drift, and escorted written : time. I believe that I am not overstating it when I with others ; but in spite of that difficulty he played as with the result. assert that three-fourths of our American artists (?) and strangers to a post-house to exchange horses. Lse no text-book, but try to inculcate the knowledge wellas ever, if not better, both in the St. Saens G minor And so, good-by, my friends ; I shall hope to meet PITHY THOUGHTS. As the travelers entered the little house, Chopin we teachers are to be classed among the inconsistents. This nnt ?r.'als an<* chords, very slowly by degrees, as the concerto with orchestra, and in his own recital the day you all again next year, trusting that our Association to the piano, and, striking a few chords, exclaim J is only a part of the subject, but is there not enough of ,,na l)resents itself in all practical instruction books following. will he 011 a stronger looting, higher, and more and more lor the piano. suggestion here to set us all to thinking? BY CARL WHITMER. fully, “ Santa Cecilia ! the piano is in tune ! ’ an sea^ As Rive-King says : “ How does the man keep up his worthy its great aimsand possibilities. himself at the instrument. As he sat there, ™lir° i f°i a.m,i m‘nor sec°nds can be readily explained and playing with all his teaching and concert work ? ” If ing. the peasants stole in, and stood watching him „I Ct Wlt 1 the Tve-finger exercises. Adopt the rational you had seen wliatafrail little fellow he was when I first mingled amazement and delight. „ thm ?i ransposinS these exercises, using other keys met him with his father in Berlin at Kullak’s, in his —The study of music itself may lie made a fine men¬ A DAY’S PRACTICE. “We shall see whether they are lovers of mti > is in the contract. will f6 C,nSt°mary five white ke>’s from « to g. This seventeenth year, you would think the work he has done tal exercise, but only to that student whose mind lias said Chopin, softly, to his friend ; and thereupon ^ stant °

THOUGHTS ABOUT THE MOST SALIENT FEA¬ One should not frequently digress from the subject In some asylums for the insane concerts are given f the etude 217 during a piano lesson, and yet it is difficult to always be time to time (by sane musicians), for the reason HINTS AND HELPS. TURES OF MUSIC LIFE—TEACH¬ the strict and pedantic task-master. I once asked a music is believed to exert a salutary influence upon tl btausedh,hsef ^had made prevented any further attempts, ING AND OTHERWISE. rance against him that he can not stand up against; that little pupil of mine, who may have heard of Shakespeare, mentally deranged. My experience has been that if BY' C. W. LANDON. while L ’ad 40 him ollt °f the room, he must crush art and teach tunes and such rot; that he who founded Rome? and received the following neat such occasions a programme proves too long or tiresonT brought onTo^a8wtete * C°DVnlSi0nS a”d WhiCh ,learly himself no longer remembers the music is grand and BY C. HEINRICH RICHTER. reply : “ Romeo and Juliet founded Rome.” the sick will quickly cry, ‘‘Enough, enough and i’ When learning a piece, stop and correct every mis¬ noble, it has become such a matter of ignominy to him ; One evening while playing trios with friends, for * * consideration of the mental state of the audience the take, and be especially particular to finger uniformly ; he has fallen from his worship of art to the daily grind Translated from the German for The Etude by E. F. Weber. * * * music is instantly discontinued. but, after a piece is once learned, never stop for a mistake, a LtUi'10 '11’ and Cell°’ P^T^tory to giving a concert, ol keeping his clientele. Reading of art in other places II. < gentlemnn, a stranger, came to the door and wished to Can improvisation be learned ? Most certainly. Quite Once I was requested by the committee of a society de¬ because this would establish a habit of stumbling. is only a source of torture to him ; he gives this up. know if he might listen a short time. As none of us The selection of pieces is a most trying task for the as well as composition. Improvisation is only a little voted to the study of magnetism to play before a large What matter to him who has written a symphony ; little The fault-finding teacher too generally falls into this had any objections, he came in, took a seat, and we pro- teacher. How often a too difficult piece is given. It is less than composition itself, and this only because it audience upon a magnetized piano, which had the result he cares who are the leading artists, how much differ¬ bad habit, from the fact that he has nothing else to say : ceeded with the trio which we had already commenced. seldom, indeed, that the contrary need be criticised. allows more freedom to thought and does not necessitate that quite a few persons were put into a perfect magnetic ence does it make to him what good teachers are doing, either from lack of preparation, or of sufficient thought, After sitting about ten minutes he fainted and we had Pieces for public performance should be especially a strict adherence to the rules of form. But it is often state, making the audience a hypnotic rather than a he has sunk out of their reach ; he no longer studies or, perhaps, actual ignorance, he attempts to cover his to take him out into the air. Upon recovering he said adapted to the artistic understanding, the technical infinitely more valuable than a carefully thought-out pathological one ; which condition increased to a hi<-h natures; he says to the pupil: “What do you want? discomfiture by fault-finding. music always affected him that way, but he could not ability, age, and fingers of the pupil. composition ; for the reason that enthusiasm is engen¬ degree of ecstasy. So long as the music was of a sweet Get it, and I’ll give it to you.” This is an every day exam¬ resist the temptation to listen to good music whenever • * dered thereby, which flows from under the fingers with¬ It takes the art instinct to make sufficient account of ple of the young, ambitious teacher, torn to pieces limb * * * and subdued order those affected remained gentle lmt he could get an opportunity, though he had to pay so by limb by the ignorance of the people. When playing chords in both hands at the same time, out being impaired by close meditation. Improvisation when it became more spirited, interspersed with disso¬ the very small things in the study of music. The dif¬ dearly for it. remember to strike them together ; sustain them for the will give a truer tone-picture of momentary sentiment nances intentionally introduced to distort the tone pic- ference between ordinary and good playing is in the -- --- How can this dreadful condition be relieved? There full time prescribed and release both hands at the same and feeling than the most artistically prepared com¬ ture and ascertain the effect thereof, they grew excited ability to work closely to an ideal, and the ideal requires is a problem to solve, a more serious one than the opera precision in the smallest details. A PLEA FOR TEACHERS. instant. Do not forget these three points — striking, position. and some became Tiolent, One old lady! of high social question. It is not a matter of the teacher’s capacity. * * * * * In the locality of which I speak, I know dozens of first- duration, releasing. Most amateurs do not observe this standing, became so enraged that she belabored the poor Early impressions last the longest. If these impres¬ BY' EMILIE F. BAUER. class teachers, but how are they treated? Ask them. rule, but strike, as is easily noticed, the notes in the left One way of teaching the trill is to let the pupil feel it pianist most energetically with her fists, so much so that sions are false, they prove a great hindrance in the devel¬ Verily your heart would bleed to know their trials. hand before those in the right. Why not the right before —i. e., let him rest his fingers on the extreme end of the he deemed it wise to immediately return to soothing opment of the mind and character. A writer has said : I am responsible for the truth of every word, as those the left? Possibly there is an instinctive desire to con¬ keys without using any pressure whatever, then let the melodies. “ The first turn of the rill at the spring has most to do Half of the teachers would not be musical frauds if teachers whom I left struggling with these conditions can struct chords from the bottom up. Or should it be only teacher play the trill on the same keys. Although the Do not these instances demonstrate the fact that the with the final course of the river.” Moral: Good teachers they could help themselves. I do not now refer to the testify. Is it not enough to make them bitter and jealous an affectation of the arpeggios which induces the bungler rhythmical beat only, and not the dynamic, is con conduct of the general concert-going public is greatly in¬ are never needed more than at the beginning. teachers of our large cities, where reaches the education and small, and indifferent ? I can only say, God help the to strike the melody note last. ceivable by this method, it would be well indeed if all fluenced by social conventionalities ? While this is for¬ of the orchestra, the oratorio, the concert, the national School children understand and accept the fact that teacher in a community small enough not to know its own * # technical difficulties could be so well illustrated. tunate indeed for general “good form,” this customaiy conventions (!) to assist them. * * * their daily lessons are to be studied, learned, and re¬ ignorance, where any servant is master of the situation, dissembling retards the progress of art. The mentally In the first place a good, honest, capable teacher has to Play a new piece slowly at first. It is impossible to cited intelligently. But it seems difficult, in many in¬ and any music teacher is a football. This is not all! deranged and the hypnotized will not suffer the playing meet the competition of young girls who “really don’t play anything rapidly and correctly that one can not play stances, to make them understand that they are to apply There is much, very much more, but this is all for to day. With due respect to any great composer, it can not be of. to them, tedious selections; but the polite concert- need it, you know-just for pin money ’’—and it is pin slowly with ease. Children learn to walk first step by mind to the study of music. One of the first things to —Musical Courier expected that all his works must be to our liking. If he goer will sit through the, to him, most stupid programme money ; the pupil is getting stuck right along. She is a step ; only after they have stumbled a thousand times do be learned in piano study is, that active brains are a has ever delighted us, let us believe in him, and be not with equanimity ; yes, will even, because it is customary, member of some church, and people who ought to know they learn to run. great deal more necessary than nimble fingers. Brain „ * * too rapid with our criticism. To be able to appreciate better will say, “Well, you see, I wanted Elinor to study * * * clap his hands in apparent delight at the conclusion of , has always won its way against muscle. the music of earlier times, one must possess a liking for with a good teacher, but this girl is in our church you REMARKABLE DEFINITIONS. It is better to strike a wrong note energetically than an endless and uncomprehensive symphony. the antiquated, must be able to mentally transplant As every teacher knows, pupils greatly desire showy know ”—and there it goes. to touch the right one as if afraid of it, and repeat it one’s self into the epoch in which the writer lived, also and difficult music ; by taking advantage of this the Then there is the nervous mamma who “thinks it Music in conservatories is not always what it should several times in a stammering manner before getting it quite a torture to hear those horrible finger exercises ; correct. take into consideration his idiosyncrasies and the cir¬ teacher can sometimes get better work done by remark¬ lie. In a very prominent music school the following * * cumstances under which the work in question was ing that “ unless this piece, which is easily within your Mrs - don’t give them, and she studied in Boston, remarkable definitions and answers were given at a * * * A TRULY GREAT MUSICIAN. written. Yes, even the means at his command to bring ability, is soon learned, it will certainly be necessary to do n’t you know. Now, there is just one of two things, recent examination : The scale of B-major and that of G-sharp minor are, it to a hearing. For instance, the (at that time) very im¬ give you easier music, for this piece appears to be some- you will have to stop giving those finger exercises Da capo—Go back to the beginning and end in the from a technical standpoint, of a very diverse degree of perfect instruments. It seems strange, but now, after over two hundred what hard for you.” or give up the pupil.” This is all well enough if middle. difficulty. B-major is easy and G-sharp minor is difficult years of musical advancement, we still look back to one you are able to, but if it means bread to you what are Staccato—Disconnected. to learn. But why? The keyboard picture of B-major ***** Every music teacher should endeavor to have for his man whom we still reverence and call the greatest of all you going to do about it ? Are you going to give up the Arietta—Solo in an opera. is easily impressed upon the memory, while that of If thoroughbass is the root, the harinonical develop¬ pupilsatleasttwoor three good piano recitals by celebrated musicians, though he lived at a time when our art was pupil? Do you think about the contemptible gossip of Schubert belongs to the Erl King, Hiindel to the G-sharp minor, owing to the frequent change from ment the tree with its branches, the rhythmical element artists every year. Near the end of the summer months but in its infancy. That man was Johann Sebastian a small town? No, you do n’t realize that inside of Messiah. black to white keys, is not easily remembered. There¬ the leaves, then melody is the fragrant, richly colored lecture committees of churches and benevolent societies, Bach. The longer we live, and the more we know twenty-four hours all your pupils’ parents will have held Grieg was an English composer. fore look at your keyboard and learn to see scales before and beautifully formed blossom. and the managers of opera houses and lecture halls, are about music, the more do we learn to admire and rev¬ an indignation meeting over your temerity, and they The ninth symphony is the greatest work that exists playing them. One must possess a perfect mental pic¬ „ * * arranging entertainments for the coming season. If the * * * erence Bach, and the more do we marvel how far in will decide that you were getting along too well—had for the piano. ture of the succession of the keys of the different scales, music teacher will be active, he can easily secure one or advance of his age and countrymen he must have been. things you own way too long, taught those horrible sona- Brahms was an English composer. so that the fingers are able to locate them without the 1 o be able to criticise a painting one must stand at a two good concerts or lecture-recitals as a part of the lec¬ Bach’s music contains everything we prize in music tines and exercises instead of “nice little pieces.” Wagner was a Scandinavian. aid of eyes or brain. proper distance from it. The larger its proportions, the tin e course. In small towns where there are no com¬ to-day, rhythm, harmony, melody, counterpoint, tragedy, Ugh! I shudder at the words “nice little pieces.” French composer, Mazzenetta. ***** more distant is the point of view. This holds good also mittees, there is almost always some local charity or comedy, humor, sublimity. He was familiar with every When you are engaged (some of them call it “ hired ”) Russian composer, Meyerbeer. Do not expect the fingers to solve a problem which the in music. The listener must not immediately forget some church in need of money ; if the teacher would the first thing you are told is: “Now just have things Faust—One of Wagner’s principal works. mind has not yet conquered. Only after the brain has what he has heard, he must at least retain an impression human feeling, and his music expresses them all in a show a little active interest, the ladies who have the your own way ; I always let my teachers have their own Wagner’s subjects were usually taken from deep things, perfectly conceived the tone picture let the fingers repro¬ of it. The performing musician must interpret the com¬ masterly manner. The value of his music for instruc¬ management of such affairs can easily be induced to un way, and if ever my little one won’t practice, we’ll give and breathed out the primeval in them. duce it. The thoughts will then go directly into the position as a whole, i. e., have the tone-picture complete tive purposes is acknowledged by every one. Edouard dertake the business part of a lecture-recital or first-class up right away, because I won’t fuss about it.” There’s Massenet wrote the Erl King. fingers, yes, even into the toes, for these also must, in in his mind before attempting to play it. The composer Remenyi, in an exchange has this to say about the value concert. Even in a small town there can be sufficient consolation to start on. Did anybody ever know a Mozart wrote sonatas and a concerto. operating the pedals, act judiciously and with feeling. must know where to guide his ship. A work of art does of Bach’s music for children : ic -ets sold through personal endeavor to make the con¬ pupil who never grew tired of practice? For all infor¬ Mendelssohn wrote many “songs without words,” , * * not fall from out the sky. Inspiration is only a premo¬ * * * “ Children of tender age who learn music, after hav¬ cert profitable, especially if the artist has a great reputa¬ mation regarding such a pupil, the writer will be thank¬ which are a great improvement on the popular songs of nition of that which is developed, little by little, by re¬ ing acquired the necessary and elementary rudimen , tion. The thumb is the peasant among the fingers. Its ful, being much interested in curios. our day. flection. A motive, whether rhythmical, melodic, or and after having somehow learned to play the 8 movements are awkward because less trained. They are Then you begin and everything is very smooth for about Chopin showed how the sentimental could be brought harmonic, is only a seed which must grow, and the com¬ pretty smoothly, ought to be put at once to pphIa y also of an entirely different nature than those of the other two-voiced pieces so wonderfully full of jolhty a month. Then comes the question, “When are you out. His music is flaming and smooth, while that of poser must know the possibilities of this seed. Mistak¬ HOW MUSIC AFFECTS SOME PEOPLE. fingers, and it therefore requires special studies. The simon-pure invention by Sebastian Bach. A child P going to give him a little piece?” This strikes terror Mozart is more labored and not so spontaneous. ing them would produce deformity or monstrosity. As main rule to be remembered is that the thumb-move¬ to such a task in a playful way, and endowed wi to the heart of the teacher, for to him, her or it, the vis¬ A scale is when you progress from one natural tone to the sun which aids the seed to develop stands mil,tons of little talent, would make astonishing progress, and BY JAS. M. TRACY'. ment must not disturb the arm, which must remain per¬ ion of the finale is distinct. Tell this anxious mamma another until the octave is reached. save a great deal of precious time and urlm*Tc'nn(ri1 fectly quiet. miles above in the sky, so the disciple of music who A symphony is a composition without regular form. trouble in after life ; he would be endowed tnWB that it will be very soon—only to trust to your judgment; wishes to understand the beauties of the art and speak its ***** studing Bach in his tender age with an almost un<^^ T is conceded by all writers that music has a fasci- that the little one is doing nicely. But mamma after A sonata is an elaborate composition. language must mount Parnassus. P The fact that one part of a piece may be less difficult a mg power over the affections, but one can not believe four weeks of this will tell you that the little girl down Palestrina was born in Palestrina, near Italy. is no reason why that part should be played faster than ***** e wonderful accounts which both ancient and mod- the street plays a nice piano arrangement (I love piano Bennett is an early English composer. the rest of it. Neither are technical difficulties a reason dim All LUKCS WI til LUC ~ _ f-ochllV Gluck wrote Martha. pieces would never see the light of the day, 1 al|U f0*- have asserted and awarded to it. Person¬ arrangements) of Annie Rooney or Old Hundred, and An excellent practice for musical intelligence and Wagner wrote La Valking. for playing such part slower. However, in most in¬ compiled (not composed) by so many musical w al 1i ^aVe *nPuence over me at different times, that’s the kind of music she wants, and besides he does memory is to learn a composition, or part of It men If Mendelssohn wrote Eligha. stances where technical difficulties occur, there is also poops all over the world. . , .wh, Tl 'a'0 w^nesse<^ its remarkable effects on others. not need two lessons a week, one is enough. Remon¬ only a few measures, by heart from the notes onlv harinonical crowding, and in such cases a ritardando is ‘‘Bach ought to be the daily bread, the shi 0f re is no doubt that it affects different persons differ- strate if yon will that he will lose interest, but to no Verdi wrote Faust. without the use of any instrument whatever. This is on the talisman, the panacea, and the vade m.l (,;LSe, permissahle. avail, that little one will be down to one-half hour a Wagner wrote Des Meinstrelsinger. every musician, and if that would or could be t eeDth'r01 °r<*'n” their nervous organization and sus- v * * Beethoven was a modern Italian composer. * * * then music would be the art of arts, as being . ^ edi ! *■ ^ musical sounds. I know a gentleman of week, and you will hear rumors that his mother was just Clef is the sense of pitch. It is desirable that the pupil learn to play as soon as memory. y then passlI1g on to rightly treated, it is already an art and science co tfffen Pre^ l0n aDt* Veracity> "ho told me that the first im keeping yon because she hated to turn you off; that he possible without constantly keeping the eyes upon the sent to us from heaven as a consoling n)e(liu,l' ,, iim j_IOn th®t music made on him was of the most pleas- was n’t learning anything anyhow, and that she heard Clef is the five lines and four spaces we write on._ here and there, of which the Archangel is Bacn. Musical Courier. keyboard. Not only because the continued nodding of 2*. 111 ’ that in the course of time he found its effects that you were writing music, and she did n’t want any —-- • - the head is a rather ludicrous movement, which re¬ not'r< reaSe °n *''S nerves to such an extent that he could teachers who had such things on their minds. minds one of the Chinese automatons displayed in tea- -riik: a? •— si,™ ’n the room where there was fine playing or You may think this a solitary case. It is not. It is —The object of music is not to excite sensations, nor shops, but also because it is a hindrance to rapid sight- lietter'of 'l:u^ for several years tried to get the every-day experience, and the experience of all teachers merely to imply ideas, but, by creative power, to realize reading. —When a piece has been learned, learn it a®a' j^nity in til ° - US ^hngs, fearing he might appear ridiculous in smaller towns, and this is why my whole sympathy is and bring ideas before our eyes.—Adolph Bernhard ».eep - „M ” “ continue this course until it is learned as well as ‘ XTC ^ight ol his friends ; but the last experiment of for the teacher, because I know that he has such igno¬ Marx. will permit. 218 THE ETUDE profound response to the message in the lines, over¬ indorsed by this Association, would in time drive * THE ETUDE existence the innumerable claimants to an IDocal Department. powering the singer to the point of pain, when the 1 munity which allows children the unrestricted use of 219 heredity of method which is named a ter a mffnar-v teacher’s efforts must be put forth as the balancing and their vocal organs. nation, and kept as a mystery close locked inT»! a wattsotng.” Ule dty bef°re June>and Illar