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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
1-1-1921 Volume 39, Number 01 (January 1921) James Francis Cooke
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JANUARY 1921 $2.00 A YEAR The ! TEACHING WORKS FOR | ELEMENTARY INSTRUCTION Most » <1 »fr >F -F»t< >F * ❖❖ ♦ *t« * *? ■!< * "t< ‘t"fr * iH* 't» ♦ ♦ *F ‘F $ SONGS of the NORTH AMERICAN IND1 By Thurlow Lieurance Price, J TWENTY-FIVE MELODIES FOR EYE, Recent Mr. Lieurance’s transcriptions and arranger! EAR AND HAND TRAINING of native aboriginal themes have attained irnnl popularity and almost invariably will be fount] By Mathilde Bilbro Price, 75 cents the concert and recital programs of the foref These little pieces may be regarded as second Publications artists. Nine of his recent and most grade studies and are intended to aid in establish¬ ing the position of the hand upon the keyboard, at¬ In Book Form taining freedom, training the eye, especially in leger of the lines, in staff positions and cultivating a musical ear. STUDIO SONG ALBUM They are all tuneful and interesting to practice. Price, $1.00 Theodore Presser Co. Every voice teacher who has faced the problem of MELODIES WITHOUT NOTES securing suitable songs of moderate range for pupils By Mrs. H. B. Hudson Price, 60 cents New and Important Works will welcome this collection. It furnishes, most eco¬ nomically, just the material needed. Every song in The apparently paradoxical title of this book is A Progressive Musician well justified by its contents. The little melodies are the took is good enough to be used for recitals, written out in capital letters instead of in musical Should Know notation after the plan so successfully used in the author’s previous work, A, B, C of Piano Music, to which this book may be considered a successor. FOUR-OCTAVE KEYBOARD CHART The World of Music Price, Boards, 50 cents; Cloth, 75 cents POPULAR CHOIR COLLECTION For teaching names and locations of the piano Price, 35 cents keys or for hand and finger training. The keys are A new volume recently added to our highly st of standard size and the chart is made sufficiently cessful series of anthem books. The anthems ; rigid and durable to be placed upon a table or ad¬ bright and tuneful, adaptable to a variety of oc< justed over the piano keyboard. Above the printed sions and can be taken up readily by the avera staff, the clef and time signatures, the relative note STANDARD AMERICAN choir and given with very few rehearsals. values and various signs used in musical notation Price, 75 cents are given. 4 BERWALD’S MEN’S CHOIR An unusually large collection, consisting almost SONGS and DANCES from FOREIGN LANDS entirely of compositions by contemporary American rr,ce> ou cenls ranging in difficulty from Sacred and secular numbers for men’s quartet, By M. Paloverde. Price, 75 cents composers, the pieces ranging in difficulty from grades two to six :hers will find in thi/volume chorus or choir The sacred numbers will prove This is a book of interesting and easy transcrip¬ a goodly supply creational material for stu- most acceptable for all religious ceremonies^ where a tions of more or less familiar folk songs and dances dents working in from various countries arranged as second grade meeetLgt°whlle thed’paSrt-s( 1egesuTtablefrforrneny piano pieces. The numbers are all good and there CELEBRATED PIECES IN EASIER is much color and variety in the entire volume. ARRANGEMENTS JUVENILE PLAY SONGS Price, $1.00 By M. Greenwald Price, 75 cents In making the The twelve numbers contained in this book are pieces, the original as closely as possi' traditional games of childhood arranged as piano A VIRGINIAN ROMANCE pieces with short, easy variations. The original text valuable works is given and the games will be found both educa¬ dent. A most e_ By H. Loren Clements Price, $1.00 tional and entertaining if sung and acted. in the second, third scenes for schools, colleges or amateur organizations, STANDARD ELEMENTARY ALBUM BEETHOVEN SELECTED SONATAS local color, the music is sprightlyt Eand . cafiffiy^and Price, 75 cents Price, $2.50 it will appeal to the average audience. Probably the most extensive collection of ele¬ Only the more frequently played sonatas of Bee¬ mentary pieces ever issued. The numbers, from the thoven, such as the Moonlight, Pathetique, etc., have compositions of classic, modern and contemporary been included in the fifteen numbers that appear in I VIOLIN writers, have been chosen with the greatest care, this volume. As befitting a work of this kind, the ' only for their melodic appeal but for their edu¬ most careful editing has been done, the well-known cational value as well. Cotta Edition being used to a great extent. FAVORITE OLD-TIME TUNES ADVANCED STUDY PIECES Violin and Piano Price, $1.00 An extensive collection of jigs, reels and heart- THEORY and LITERATURE Price, $1.00 songs of grandfather’s day, that still retain their The demand for suitable supplementary material, charm »and popular appeal, newly arranged for violin preferably in the form of melodious study pieces, for and piano. MUSICAL THEORY and WRITING BOOK students working in the fourth and fifth grades sug¬ gested the publication of this book. The numbers FIFTY SELECTED STUDIES By Carl Venth Price, 75 cents are of moderate length, composers of all periods IN THE FIRST POSITION This work can be taken up with almost the first being represented. By Chas. Levenson Price, $1.00 lessons on the piano. It impresses, through the A much needed compilation of first-position stud¬ writing exercises given, just the knowledge of ies from the best of the world’s violin writers. The theory every student should possess. studies are arranged in progressive order and r PIANO-FOUR HANDS be taken up after elementary instruction has b PIANO PLAYING WITH PIANO given. QUESTIONS ANSWERED SELECTED VIOLIN STUDIES HOME PLEASURES By Josef Hofmann Price, $2.00 IN THE SECOND AND THIRD POSITIONS ] By C. Gaenschals Price, 60 cents A work of momentous interest to every student By Chas. Levenson Price, and teacher of the piano by one of the greatest A collection oi very easy four-hand music, the pianists of the age. Contains almost a hundred pages primo part within a compass of 5 notes in each hand, The cream of the best second and third-posit^ of essays, in addition to 250 questions answered, in and the secondo is also very simple. These pleas¬ studies from the works of all the great writers fr clear, direct and impressive language. ing little duets are splendid for teaching time and the violin. Not difficult, but just such studies i rhythm to young students. should be used after a proper amount of work.
NURSERY TALES RETOLD An Opportunity to Ascertain the Real Worth By Geo. L. Spaulding Price, 75 cents Theodore Presser Co. of the Publications of the Theo. Presser Co. Familiar nursery tales are cleverly retold in the To afford a better opportunity of judging the verse ad libitum to these new duet numbers for genuine value of the books listed on this page we will gladly send any of them for examination. young pianists in the first and early second grades. To further assist in the selection of music, we Mr. Spaulding’s successful books of easy duets, en¬ have catalogs covering every classification. We titled Just We Two and You ’ T 1710-1712-1714 CHESTNUT STREET will gladly send any of these gratis. mendations for the it PHILADELPHIA, PA. Spaulding writes duets for y THE ETUDE JANUARY 1921 Page 2 Page ; JANUARY 1921 THE ETUDE The Best and Most Used Collections and Studies for Piano, Voice, Violin and Organ IS Suggestions for the Teacher—Recreation Material for the Student—Albums and Works for the Music Lover
PRIMERS—RUDIMENTARY WORKS PIANO TECHNICS AND STUDIES PIANO COLLECTIONS BILBRO, MATHILDE. Spelling Lesions ii ADVANCED STUDY PIECES. $1 LITTLE HOME PLAYER. ARTISTIC VOCAL ALBUM FOR HIGH VOICE. LANDON, C. W. Writ! BACH. J. S. Little Preludes and Fugues S< MASON, Dr. WM. Touch and Technic: Part I, MacDOWELL. EDW. 6 Po. ARTISTIC VOCAL ALBUM FOR LOW VOICE Time and Notation. “ Inventions for the Piano. 1 The Two Finger Exercises; Part II, The merit in 4th, 5th and 6th grades. BERWALD’S MEN’S CHOIR . ^In a unique^ manner thm work acquaint: “ First Study of Bach (Leelson). Scales; Part III, The Arpeggios; Part IV, MASTERPIECES. The21 BISPHAM, DAVID. Clebrated Recital Songs The School of Octaves. 4 Books, each... . $1 ALBUM OF DESCRIPTIVE PIECES 1 “ Well Tempered Clarichord, Vol. I . 1 MATHEWS, W. S. B. Stan, The most notable collec BURROWES’ PIANOFORTE PRIMER (PAPER) g to a full knowledge BECKER, CUSTAVE L. Exercises for Developing CLARKE, H. A. Theory Explained to Piam Accuracy in Piano Playing. mediate*Gr"de^Cene8 aD The Theodore Presser Company cheerfully opens accounts with responsi¬ ble individuals, grants liberal discounts to the profession and offers many other advantages, such as the “On Sale” Plan, to the Mail-Order music buyer. VOGT, J. 24 Octave Studies, Op. 145. WIECK, F. Piano Studie.. form will be sent gratis upon request A selected graded list of pieces irt sheet j THEODORE PRESSER CO., msupplydehousuesic Philadelphia, Pa. THE ETUDE -ANNUAL SUBSCRIPTION, $2.00- Page JANUARY V.):il <■ * .,%• V -ftv . • ' e ♦ ■ The Music Student lEastpr Muxxt A Selected List for Choirmasters Finds more delight in Practice Hours THE following selection has been made from the best new and standard numbers in our catalogue. Solos, Duets When the instrument is a Anthems and Organ Compositions; all have the true festal ring. In addition to our own comprehensive catalogue we carry a complete stock of the music of all publishers. We will gladly send any of these copies for your examination. THE ETUDE JANUARY, 1921 Single Copies 25 Cents VOL. XXXIX, No. 1 UPLIFTING EASTER SOLOS 12948 Christ Hath Risen. High. (Violin Ob.) .Rockwell Behind the Scenes Are We Insular ? —Because it’s a piano par excellence. R!. ..Brander .15 14798 Christ the Lord is Risen Med.Delafield The success of many ventures is due to the silent workers Every now and then some disgruntled European credits 12530 Christ’s Victory. High. Neidlinger behind the scenes. The inspiration for some of the greatest us with insularism in music. How can we be? Our racial Made by Jesse French & Sons—New Castle, Ind. 1*0 10474 As It Began to Dawn.. Stults masterpieces of music has come from men who are themselves complexion is as varied as Joseph’s coat, despite the fact that 15708 At the Lambs High Feast 12532 “ “ Low . We Sing. (New)...Stults 8924 Come Ye Faithful. Med. forgotten. The excellent Italian musical periodical Revista our national body is still very obviously Anglo-Saxon. Where 10513 Awake! Glad Soul.... Bridge Minetti in the world is there such a mixture of peoples as one can find 10910 Awake, Thou That Sleepest. 12534 Death is Vanquished. High. Music-ale of Turin devotes part of a recent issue to the poet- Neidlinger librettist Pietro Antonio Domenica Bonaventura Mctastasio. in America, and where docs one see concert programs repre¬ 12535 “ “ “ Med., v You..Solly .15 Neidlinger His real name was Assisi, and he was the son of a Papal sol¬ senting greater variety? “But,” says the critic, “take up any 16162 Easter Dawn. Med....Scott dier. He was born in Rome, January 3, 1698, and was splen¬ good European art magazine and you will often find articles 10475 Chr 12721 EasterTriumph. High. Shelley 10221 Chr 12722 “ - Med. “ did^ educated. In 1730 he became the court poet of Em¬ printed in many tongues.” That is true in many cases, and Announcing 10984 Chi 12723 “ “ Low. “ Americans, as a whole, know two languages at best, but when *H,UelWoh.lott 5330 Glory to God. High..Rotoli peror Charles VI at Vienna. The remainder of his life, until Christ Our Passover. Shacklcy 6321 '• “ Med... “ his death in 1782, was spent in Vienna. In addition to being one knows music, one knows it in all tongues, and our ears are THE Christ the Lord is Risen, 5362 . Low... " Gilbert 8046 Hail Glorious Mom. Violin a poet he was also a musician of accomplishments. Of his no different from those, of the musicians of other countries. Ob. High.Geibel twenty-nine dramas, eight oratorios and nearly fifty cantatas, Perhaps America at this day is less insular than any country in 8047 Hail Glorious Morn. Violin Ob. Low.Geibel some have been set to music by other composers as many as the world. __' American Supplement 10237 Easti 12748 Hail Thou Risen One. High. 10114 East< Ward-Stevens thirty or forty times. Among the composers inspired by his (THE SIXTH VOLUME) 15507 Glori Really worth while works arc sure to find a champion. The 12749 Hail Thou Risen One. Low. work arc Scarlatti, Popora, Hasse, Jommeli, Piccini, Paisiclle, TO Ward-Stevens symphonic compositions of Anton Bruckner have been very slow 6891 Hail to the Risen Lord. High. Paer, Mercadantc, Handel, Graun, Gluck, Galuppi, Caldara, Harding in securing a public. Many consider them very long, very tire¬ Grove’s Dictionary of Music and Musicians 8077 In the Dawn of Early Morn¬ Mozart, Haydn and Spontini. Surely such a man deserves some and fearfully complicated. But only a few years ago these ing. High. Violin Oh. ^ EVERY MUSIC LOVER IN AMERICA WILL ENJOY 10308 Hallelujah more than passing mention in musical history, even though were the accusations against Brahms. Now. the First and the POSSESSING THIS MOST INTERESTING VOLUME 10802 8078 In the Dawn of Early Morn¬ Mozart’s Clemenza di Tito is the only work from his pen Fourth Symphonies of Brahms arc in great demand. Arthur He Was Crucified.. ing. Low. Violin Ob. Shackley which is heard with any frequency on the operatic stage of Nikisch boasts that he has played all nine of Bruckner’s Sympho¬ 5387 Lord is Risen. High. Violin nies last year. At tlic same time lie tells us that he has found no sin Indispensable Record of American Musical Institutions, Ob.Lansing to-day. Lorenzo da Ponte, who was born near Venice in 1749 10390 I Know that My Redeem 5372 Lord is Risen. Low. Violin new men of startling musical genius in Germany since Strauss. Personages and Achievements Bra, Ob. and died in New York in 1838, was another worker “behind EdItor-in-Chief WALDO S. PRATT, Mus. Doc. 10629 Jesus Christ is Risen. 8061 Light of Hope. High..Geibel the scenes”; lie was responsible for the libretti of Mozart’s Neidli 8062 ‘ “ - Low 10653 Lift Your Glad Voices. 16241 Lord of L Figaro, Don Giovanni and Cosi fan Tiitte. Despite the fact Chug, Chug-ga, Chug, Chuga-ga, Chug, Chuga-ga! High .. fe “dF? A? Clark that he was a professor at Columbia University, he lost his THERE ARE OVER 1000 ITEMS IN THE INDEX OFFERING 9868 Resurrectic n Song. High. Every age has its distinctive mark. The Paleolithic, in 41 5 Biographical Articles about American Musicians. grip and died in destitution. Arigo Boito (1842-1920), who the dawn of civilization, shows its crude stone tools, the Neo¬ 8059 Risen Lord. High.Geibel 290 Biographical Articles about Foreign Contemporaries. 8060 •• •• Low. “ wrote the libretti of Verdi’s Otello and Falstaff, was a mas¬ lithic—stone refined to more definite uses—the Bronze Age, 15586 Now is Ch 7692 42 General Articles on subjects such as Indian Music, Negro Music, 10115 Passion and 1 All the Sons i terly musician. Puccini’s best-known operas are set to texts the Iron Age—all arc distinguished by ineradicable signs of Orchestras, Piano, Rag-Time, Public School Music, Phonograph, 15595 The Resurn G*c . Low.MuelU They Came to the Sepulchre by Illica and Giocosa and represent a great advance in the the people and their activities. Some one has called this century TH?gh: ..Solly 91 Operas, Oratorios and Songs are dealt with and there are about ictor Immortal. High. dramatic adaptation of ideas to opera. the Age of the Machine. Perhaps it is, and perhaps this very 300 other articles and notes treating upon Associations, Boards, Brackett intensification of motion is now having its effect upon the music Music Schools, Choral Societies, Orchestras, Chamber Music oice Triumphant. High. Stults of our day. T v Groups. Opera Companies. Buildings, Periodicals, Libraries, 10120 Thanks] “ Low. Stults In the heap of fire arms, fire water, tobacco, tinsel, looking Instruments, Publishing and Manufacturing Firms, etc. 10401 is Glori is Easter Momim Riding in a railroad train, on a boat, or listening to any glasses, trinkets and junk that William Penn paid the Indians EASTER DUETS one of the hundreds of different devices for turning coal and A VERITABLE ENCYCLOPEDIA OF AMERICAN MUSIC 10389 Triumphant Lord.. Berwald in purchase for the colony of Pennsylvania, there were one hun¬ 10063 Welcome, Happy Morning 14467 Chris A NEEDED WORK FOR EVERY MUSIC LIBRARY Brackett dred jewsharps: Was he the first American musical missionary? oil into units of energy, we repeatedly hear this rhythm, chug, 15662 Welcome, Happy Morning. 9447 chug-ga, chug, chug-ga, chug, chug-ga, and so on for hours. Special Introductory Price, $3.50 .very Flower. (Sop. and 10309 Why Seek Ye the Lidtg”'" Alt.) .Rockwell Think for a moment of the great number of popular pieces of 14381 am the Resurrection. (Sop. and Alt.) .Stults Arbitrary Traditions the day in which one hears this rhythm ad nauseam. THEODORE PRESSER CO., PHILADELPHIA, PA. WOMEN’S VOICES ^ 14403 Easter Morn. (Sop. and 10803 Alleluia, A,t-) .Schoebel Traditions are often the obstacles of progress. Some¬ .. Brander Hosai (Two Pari times they are founded upon very superficial reasons. Some¬ There arc lots of things you have always longed to do that ORGAN COMPOSITIONS times they are based upon an obvious error. The Egyptians, remain undone, for no other reason than that you have never MEN’S VOICES lleluia, Alleluia!...Brander Festal Prelude. for instance, mummified the bodies of fish and of goats because pulled the trigger. In music—as in everything else, “getting at it" ehold, I Shew You...Solly Andrc-Rockwell they thought they were sacred. This belief persisted for ages, takes the most effort. hrist is Risen. 11219 Festal Postlude in C Minshall-Nevin and these bodies can be seen now in the museums of many large Piano Playing with ng With All the Sons. cities. Just think how hard they must have worked to do it. Re-written Music Brackett Short Postlude f Piano Questions Answered In music, traditions of a prohibitive character have been the Clyde Fitch, who in later life earned an income of EASTER CANTATAS barrier which has kept back thousands. Yet music study is $250,000 a year writing plays—he put out some sixty stage dependent upon discipline, and discipline is drill conducted works—had a most interesting method of working out his man¬ THE GREATEST LOVE VICTORY DIVINE under certain specified restrictions. Thousands of students A Great Virtuoso’s Guide to Modern Pianoforte Playing By H. W. Petrie 75 cents By J. c. Marks $1.00 uscripts, which might well be employed by musicians who are I' rom Rubinstein, his teacher, to the present day, Josef Hofmann has known all of who have attempted to mould themselves without the restric¬ satisfied with the first or second drafts of a composition. Fitch DAWN OF THE KINGDOM the great masters of his instrument and he has acquired a vast store of knowledge THE WONDROUS CROSS tive traditions have resulted in becoming shapeless, inartistic employed different colored pencils. The first draft was written that is imparted in a practical manner through the pages of this wonderful book. By J. T. Wolcott 60 cents By L Berge 60 cents hulks. The greatest teacher is the one who can teach his pupil in red, the second in blue, the third in green, the fourth in Two Hundred and Fifty Questions Answered IMMORTALITY FROM death unto life how to handle traditions without breaking any bones. purple, the fifth in black, and so on, in order that he could Wf " ns> properly answered form the most interesting kind By R. M. Stults 60 cents By R. M. Stults 60 cents always trace the progress of his works. Almost a Hundred Pages of Essays Dion Boucieault used to say, “Plays are not written, they Hozc little we. know of the musical activities of other music There are chapters covering General Rules, The Indispensables in Pianistic Any of the above Publications will gladly be tent for examination Success, Correct Touch and Technic, The Use of the Pedal, How Rubin¬ lovers! In the north of Ireland, for instance. Flute Bands are are re-written.” A great deal of our present-day music would stein Taught and other vital subjects. very popular. Recently a concert was given in London by such he better if it were more frequently re-written before it is Everyone interested in piano playing should read this book. THEODORE PRESSER CO. a band consisting of twenty-five players, including piccolos and published. This was certainly one of Beethoven’s working THEODORE PRESSER CO., PHILADELPHIA, PA. 1712 Chestnut Street Philadelphia, Pa. bass flutes. ■ ~i-\ 'V, - , i THE ETUDE JANUARY 1921 Page 7 ' , EDITOR’S NOTE: No composer far more subtle. That is because we of British birth, with the possible are striving to depict emotions which exception of Elgar, has attracted are no longer human, but which belong Music in Russia’s Hour of Crisis The question was, how a woman who had ever had any real so much attention in recent years as to a higher plane of consciousness. musical ideals, who had ever wanted to do anything big in Cyril Scott. Despite the fact that his This is true of the new French school, Some time ago we published an editorial entitled Music teaching young people an art, could have made such a descent. music is strongly tinged with modernism, of Debussy and Ravel, the German iind the Mad Hour which attracted a flattering amount of at¬ and often "esoteric,” it has enjoyed a school of Schoenberg and the works of tention. It attempted to indicate how music becomes the balance The truth of the matter was, that, despite a certain amount of vogue which might almost be called my compatriot, Eugene Goosens, who, wheel in the political and social chronometers in times of great technical proficiency, she was not a person ever to become a “popular,” because of its sheer beauty despite his French-sounding name, is and rare exotic charm. Mr. Scott zvas crisis. We earnestly believe that music is of the highest signifi¬ teacher. an Englishman who has advanced to a born at Oxton, Cheshire, in 1879. At stage far in advance of many of his When you select a teacher for a child, that teacher should cance to the State in these days of readjustment and recon¬ the age of two and one-half years he contemporaries. As to my friend, struction. have something far more than the ability to teach. She should startled his parents by commencing to Percy Grainger, I have on the author¬ That a public, even in the most terrible stages of civic be an inspiring individual who represents something which the play, the pianoforte by ear, that is, pick¬ ity of a highly-trained psychic that he disintegration, cannot dispense with the spiritual sustenance child cannot help emulating. There are hundreds of people ing out tunes at the keyboard. His is unconsciously used and that his father zvas a noted Greek scholar, and music is the music of power and of music, is tragically indicated by the city of Petrograd. who teach to one who is really ordained from on high to be a the atmosphere of his home was de¬ vitality. Petrograd has lost population by the hundreds of thou¬ teacher. lightfully suited to the impressionable > Is Beethoven Passe ? sands since 1914. It has become a place of horrors, murders, In the olden days when the ministers of the Gospel always child. He received local instruction in “There are a large number of peo¬ famine and pestilence. Yet the opera houses and theaters have felt the divine call—the seal from on high—their lives be¬ piano playing at six, and again at ple who will frankly confess that they been kept open and concerts arc frequent. tzvelve, when he was sent to the Hoch came a mission. We ought to have more of that spirit Conservatorium, at Frankfurt. He do not care for Beethoven. Of course, Even at this moment, when it is reported that every cellar among teachers of music. Mere musical inclination, the good was then brought back to Liverpool, this is not Beethoven’s fault, rather is in the city is a cesspool of filth, with the whole sewerage system fortune in having a fine technical training, the desire to earn England, for his general education. it due to the age in which he lived, to the fact that many people feel no of the great metropolis hopelessly broken down, forty opera a fairly lucrative and very comfortable living, should never Later, he zvent back to Frankfurt, and remained for three years with Ivan longer in sympathy with that particu¬ houses, concert halls and theaters are open nightly in the city, be the factors in helping the novice to decide upon taking Knorr, one of the most liberal of the lar era. For we are living in 1920, and giving intellectual and spiritual inspiration, when even bread up the career of music teaching. Rather let it be, “Do I modern German teachers of musical not 1820, and entirely different influ¬ is difficult to buy, even though one has the money. feel a call from the Great Spirit of Mankind to devote my composition. ences surround us. When Beethoven H. G. Wells, the eminent English scientist, novelist and life to one of the noblest of causes?” In addition to his musical work, Mr. produced his masterpieces, the world sociologist, in the New York Scott has published several volumes of was no more ready to receive them The teacher who is “called,” than it now seems ready to accept some Times of November 14t.h, reports poetry, works on the Aesthetics of and who has the training and nat¬ Music, the Philosophy of Modernism, Unseen Influences in Musical Compo¬ of the compositions of those highly re¬ that Shaliapin (Feodor Chalia- ural ability, is the best teacher. and has also published under an as¬ ceptive composers who are receiving Pme), “the greatest of actors HAT a delightful thought is New W The student who has such a sumed name, which he refuses to re¬ sition and Interpretation the impressions of the times and and singers,” is still making great Year’s Day! veal, several works upon occult mat¬ putting them in their works to-day. teacher is fortunate indeed. successes in his favorite roles of As to what time in the year you make up ters. His compositions include a one- Yes, I am convinced that the time will act opera, “The Alchemist,” a setting An Interview Secured Expressly for The Etude with the Noted come when these works, which to many The Barber of Seville, Faust, etc. your mind to celebrate it, depends upon whether you are a Christian, a Hebrew, a of Keats’ “La Belle Dame Sans Merci,” English Composer, Poet and Pianist are apparently so abstruse will be More than that, he is being paid Only the higher—the spiritual Greek, a Hindoo, a Chinaman or a Pagan. two “Passacaglias,” “Nativity Hymn” widely accepted. It is merely a ques¬ 200,000 rubles a performance, —fame really endures. Material tion of getting used to them, and then Nature determines to fashion a brand new for chorus and orchestra, one Piano CYRIL SCOTT and gets whatever he asks* be¬ appurtenances of the great are Concerto, one “Overture to Princess the public will identify them as spiritual year and sets about it every springtime, open¬ significant chiefly to the museum Maleine,” two “Old English Dances,” messages, and not exotic growths. cause, as Mr. Wells puts it, “for ing her verdant gates with joy, color and per¬ makers. A number of American a “Rhapsody” for Orchestra, “Au- Americans are especially receptive. Shaliapin to strike, would leave fume. Technical Training students some years ago were bade,” for Orchestra; “Christmas Overture, Arabesque," They are always willing to give a new thing a chance. too dismal a hole altogether in No one, more than the musician, needs a The new world is not so steeped in the prejudices and studying organ in the Lcipsic Con¬ and numerous works for piano and for voice. “Of course, one must not suppose from this, that Petrograd.” All this in govern¬ New Year’s Day—at least one festal time conventions which make progress in any art difficult. servatory. They were required to technical training is not essential. Indeed, the purely ment subsidized opera houses, in a when we can resolve to rebuild “the stately have special shoes when practicing “To one who is susceptible to the manifold unseen in¬ mechanical side of learning, the craftsmanship in any Bolshevik regime! mansions of the soul” a little closer to noble fluences which surround us every moment of our lives, art is merely to make one’s self a superior instrument Debussey Inspired by Nature Spirit upon the conservatory organ. Hav¬ On the other hand, the fa¬ ideals. the present world of unrest is revealed as merely a tran¬ for inspired communication. The greatest Violinist of ing no place to store the shoes “The works of Claude Debussy are clearly inspired The Masters—the super-men and super- sition stage—the equalization of the classes. It will pass, all times could not get the same results from an in¬ by the spirits of nature, those entities which look after mous writer tells us that he met when not in use, they stuffed them women—strive to turn every dawning into a of course, and the more significant matters in our devel¬ ferior instrument that he could from a gorgeous Strad- the growth of flowers, the evolution of plants, trees, Glazounov, the noted Russian into an old piano in the practice New Year’s Day—a new year of richer artistic opment deserve our attention. Music has suffered fear¬ avarius. The student’s preparation cannot be too thor¬ rocks and rivers. I do not know whether he was con¬ composer, formerly a very big, room. Once, one of the students fully by the war. The conditions under which the world joy and achievement. ough. There is so much to learn in music, that in these scious of that himself, but it is all very evident in his florid man, but now so much fallen asked to whom the piano belonged. has moved during the last six years do not lead to the Happy New Year to you. days, years must be spent at the task. Even after the compositions. These spirits, in occult parlance, are production of music. It must be perfectly apparent, even away that his clothes hang loosehy The caretaker replied, “Ah, that technical phases of theory, harmony and counterpoint called Devas. Their speech, their language is music. to one not versed in occult matters, that the unseen influ¬ upon him. He was still compos¬ was Mendelssohn’s piano.” have been mastered, there is the huge undertaking of For thousands of years this has been known by those ences which lead to a state of war are incompatible with ing daily, but his stock of music getting acquainted with the literature of music. Of versed in occult matters. All schools of occultism in all those which tend to produce beautiful music. course, no one will ever know it all, but just to know paper was almost exhausted and “When that i gone, there Diplomas and Diplomas countries, have identified them in some way. Many will be no more.” a part of Wagner, Chopin, Beethoven, Schumann or of these are very ancient, as the Vedantists, who date An Etude reader writes: Clairvoyant Faculties Bach, takes years and years of intimate hard work. from 2000 to 1500 B. C., the ancient Alchemists, the After the annihilation of thousands of the intelligenzia, “My mother has a letter from Professor.who has a diploma “Music does not progress in the world in any hap¬ Greek Gnostics, Taoism, and that branch of Christianity the Bolshevik are realizing that art, science and progress de¬ fr°m.Is that a good endorsement ?” hazard manner. There are very definite channels Wagner’s Psychic Receptivity known as the Rozicrucians. Ancient phases of Free mand that brains, first of all, need the succor and support of We had never heard of the teacher who gave this diploma. through which it must proceed, and those who have “The case of Richard Wagner is a marvelous instance Masonry were once decidedly occult. In all occult be¬ the State. delicately trained clairvoyant faculties, are conscious of liefs there is recognized a state, known in some by the We looked in ten reference books but could find no mention of of psychic receptivity. Study his life closely, and you Just when the chaos of Russia will resolve itself out of its this development. Thus much of the music of any word Nirvana—meaning a complete state of annihila¬ his name. We looked in directories giving the addresses of must realize at once that he was used by unseen beings infinite misery into a prosperous, progressive, humane state, era is ephemeral. Only those Masters of Wisdom who to bring a wonderful message to the world. In the first tion of , self, in which a condition of absolute super¬ musicians in his city. We could find no vestige of his resi¬ use music and musicians to further the spiritual evo¬ consciousness is evolved. The early priests of the in the modern sense of contentment and happiness, no one pre¬ place, consider the altogether supernormal rapidity with dence or career. He may have been a very good teacher in¬ lution of the race, will leave any permanent impression Christian church sought by means of self-abnegation to tends to know, but the tenacity with which the Russians are which he acquired his early wisdom. There is some¬ deed, but his diploma was quite worthless in the great world of upon the art. This does not imply that such a master thing uncanny about it. Naturally he worked, and place themselves in closer touch with divine power, and holding fast to music, like a life-preserver, will go down in the music. as Chopin or Schubert or Schumann, or even the in¬ worked hard, but with a scant year’s instruction, he their messages, which to-day are a guide to thousands history of the ages as one of the remarkable phenomena of all spired composer of some beautiful folk theme, is con¬ A diploma is like a bond—only good for what is behind it. accomplished more than any other composer. He and thousands of believers, are the result. I am often times. ' __ scious of this. Men and women with peculiarly recep¬ reached a spiritual height in music which had never asked what are my own religious beliefs. The only We .have repeatedly known men with degrees trailing after tive, spiritual faculties are destined, by the great scheme been attained previously. In a letter to one of his answer is that they are universal, and comprehend the At Harvard University a brief organ recital zvas given in their names like centipedes, but who at the same time were of life, to produce precisely as the flowers and the trees friends (or was it to Mathilde Wesendonck?) Wagner great truths in all religions, as far as my wisdom has Appleton Chapel on examination days to overcome students’ pathetically short on any kind of useful knowledge. Indeed, produce. They do it unconsciously. It is my firm con¬ avowed himself a Buddhist. This was not in any way proceeded. nervousness. More and more. Music'is coming to the front in even with great universities carrying authority and dignity viction that they are influenced by beings both living hostile to his Christian ideals. Indeed, in Parsifal, a “The musician who is not conscious of the fact that purely Christian exoteric work, there are high occult the practical phases of Life’s work. with their degrees, we have repeatedly encountered men who and dead. music is to play a very big part in the development of “There are countless instances of composers who touches which only the initiated can comprehend. He have been woefully behind their “less fortunate” brothers in the race—the musician who is merely working by have done their best works and yet at the same time may have been a man of strong passions, but I have material means to produce compositions of purely tem¬ The Best Possible Teacher so many respects that we have often wondered long over the always felt that he was very much maligned. His have hardly been conscious that they were producing porary value, is hardly worthy of the name. The very Oxce we paused in a tiny shop of a vegetable vendor in a value of degrees. heart was pure, and represented a lofty type of idealism them. It is said that both Schubert and Mozart failed art itself is so spiritual, that it is a matter of convic¬ little German city—long, oh, very long before the war. The such as the world has seldom seen. The man who has what is known in the streets as “the to identify their own inspired melodies after they had “The amazing precocity of Mozart and Mendelssohn, tion to me that when one plays, the influence of the proprietor’s wife was a woman of forty. Someone mentioned written them, in some instances. There is no question goods” does not have to concern himself over “degrees” or shows very clearly how these masters were influenced music is by no means confined to the hall where one is something aboiit. music, and she ventured to say that she had “diplomas.” The first concern of the teacher should be to give to my mind but that one can be trained to be open to by unseen forces. Beth were men of gentle, charming playing. It reaches out for miles around. Scientists been a teacher in a great German Conservatory for several the pupil something so extraordinary that no one will ever think the highest inspiration. The great composer is frankly personalities, and yet. while in their ’teens, there came will some day surely give us an explanation of this, a medium of forces infinitely greater than himself. He and there are those to-day, who seriously dispute the years. Yet she was content to step down into a trifling business of asking for a diploma. At the same time there is a ffratific-i- to them some of the most-virile and vigorous music cannot, as. a rule, control these forces, but they can con¬ old material vibration plan. Music is as inexplicable as with a fussy old husband who spent most of his time with pota- 4-"~ - -r ’ • - that has ever been written. Despite the fact that it all tion in receiving a handsomely engraved record attesting to trol him. His higher self will be developed by means electricity. Many think they know, and think they toes and turnips. seems very open to musicians in this day. it was clearly work accomplished under a really good teacher. of his general spiritual evolution, his spirit of service to inspired, and not merely contrived, as the materialists can explain it physically, but while they are explaining, mankind, his renunciation cf name and fame and his would have us believe. At this time music seems to be music is .actually reaching out to psychic spheres, the u lofty and pure ideals. seeking another dimension as it were. Composers are extent of which few beings yet know.” Page 8 JANUARY 1921 THE ETUDE THE ETUDE JANUARY 1921 Page 9 How to Check Up a Child’s Progress shat they can hardly be recognized, or does he play Why Does My Back Get Tired When I easier melodies fairly correct, as he should do? Practice? By Victor Blondeau Does he play scales and exercises so rapidly that they-are a meaningless jumble, or does he play them at By Ira M.’ Brown Many intelligent but musically uneducated parents a moderate speed, but correctly? ADELINA PATTI Lastly, does he slur from one note to another like are often led to wonder if the young hopeful, who is Frankly, your back gets tired because you do not taking music lessons, is making the progress which will a sick Hawaiian on a ukulele, or does he hit each note knov.- how to sit. Sit on the chair, not up against it warrant a continuance of the expense with the present clearly? This “slurring” may sometimes be allowable Let the chair support your weight so that you have no teacher, or at all. Simple as such a question would to a finished player, who knows how to use it, but never sensation of balancing yourself as on the old-fashioned Queen of the Opera of the Last Century appear to be to the musically equipped, it is anything to a learner. piano stool. Have the chair at the right height, not but an easy riddle to the parent who, besides lack of To check up the progress of a singing student’s work merely so that your arms and hands will be free, but so technical knowledge, is often handicapped by personal is even more difficult, and requires some knowledge of [The material for this article and review has been taken from the recently published work, that your head may be held at the proper angle. affection and an inclination to over-estimate the child’s the subject, especially in the initial voice-forming “The Reign of Patti" by Herman Klein, published by The Century Company. Mr. The head is an exceedingly heavy part of the body progress. Assuming that the daily practice (and pos¬ stages. There are, however, a few profitable questions, Klein is a vocal teacher of prominence living in London. He came to know Madame which the anxious parent may ask herself. and should be securely supported by the spine. If it sibly the lesson) takes place at home, and may be both Patti exceedingly well, and this work is accepted as her authorized biography. It seen and heard, the mother may obtain some guidance Does the pupil continually sing very high or very low hangs forward it will tend to draw upon the neck, in her daily practice? shoulder and back muscles and make the back tired, the has been written with deliberation and great care. The quotations from con¬ by thinking over the following questions and supplying temporary reports are voluminous and helpful. It is a worthy life story their answers with her own ears and eyes. As the body tired and the mind tired. Try keeping your chin up of the greatest singer of her time. The book is liberally illustrated.] greater percentage of children are studying the piano, strain! so that it forms a right angle with your spine and you it may b<* well to begin with that instrument. Does she sing her exercises with full voice, or only will probably find that you can practice longer and better. Does he (or she) continually make the same mis¬ mezzo, or half voice, as she should do? (This, of takes, or break down in the same place, even in a piece course, does not apply to advanced pupils.) which has been put aside as “learnt?” If so he is If she is learning songs, can you understand even- Intensive Left-Hand Practice Without question, the most famous singer of the over all the scenes I had witnessed in the theatre. A denied that there was any such thing, and therein told either being badly taught or is playing something be¬ word of the text, or is the pronunciation of some of last half of the Nineteenth Century was Adelina Patti. cloak of my father’s, with a red lining, and an old hat the honest truth. But in searching for the real cause yond his powers, which, for the pupil, is the same them so changed—especially the vowels—as to be hardly By C. W. Fullwood Born of Italian parents in Madrid, February 10, 1843, and feathers belonging to my mother, did duty as an she often omitted to lay sufficient stress on the beneficial recognizable ? she was surrounded with music from the hour of her extensive wardrobe, and so I acted, danced, and twit¬ effect of her ‘simple life’ at Clapham. She would try lesT A SOO<1 t6aCher WiI1 inS'St °n’ and ~9Ct smocth- Does she persistently sing the same notes out of The value of left hand solos cannot be overestimated. ; birth. Indeed, her mother, Caterina Chiesa Barili Patti, tered—barefooted but romantically draped—all the operas. to account for it (just to satisfy her questioners) in all tune (“off the pitch”) ? Does he race through the scales and exercises in a Usually the left hand does not get enough practice, but sang Norma on the night before her birth, j Her father, No, not even the applause and the wreaths were want¬ sorts of ways. Once she told a Parisian interviewer Do the veins at either side of her neck swell like slovenly, slipshod manner? They should be done only in exclusive left hand studies that member has to take care Salvatore Patti, was a tenore robusto. When Patti was ing; I used to play audience as well, applauding and that the principal reason, in her opinion, lay in ‘her cords- when she sings ? If so there is something wrong. at a rate of speed consistent with smoothness and of both melody and harmony, in range from the bass born, Jenny Lind was twenty-three years old and had flinging myself nosegays, which I manufactured by no comparatively strict mode of living after she had passed Is she husky after a lesson or a practice period? She evenness. Each and every note of a scale should be to the treble. It is awkward at first trial, but by per¬ made her first appearance in opera. Malibran had been means clumsily out of large newspapers crumpled up the age of forty!’ there, clear and distinct. should not be, neither should she feel any sense of sistence there is a surprising amount of satisfaction and dead seven years, Pasta had been retired from the stage together. “ ‘Up to forty,’ she said, ‘I stinted myself in nothing. exhaustion. Are the lessons a tiresome string of “don’ts,” or does pleasure in this form of practice. This, too, is one of for fourteen years. Of her immediate contemporaries, “A heavy blow now overtook us. The manager be¬ I ate and lived as I chose. After forty, however, I the teacher control the situation sufficiently not to have Does her teacher give her exercises especially writ¬ the best means of corrective pedal work. Pauline Lucca (1841-1908) and Christine Nilsson (1843- came a bankrupt, and disappeared without paying the became more strict. Since then I eat no red meat and ten for her voice (which is right), or is she merely to repeat the same correction continually? In the quick jump or spread of the left hand from -) were the best known, but their vocal careers ended arrears of salary. The company dispersed, and there drink only white wine and soda. When I feel weak, a “going through” the exercises in some printed book Does the child hold his hands still over the key- bass to treble there must be-a nice adjustment of pedal long before that of the wonderful Patti. Nevada, Min¬ was an end to Italian opera. My parents found them¬ glass of champagne picks me up. I never touch spirits (which is wrong in nine cases out of ten)? Does it board, or does he bob his wrists up and down in the work with hand touch. If the pedal is pressed too nie Hauck, Gerster, Nordica, Eames, Calve, the brilliant selves without the means of livelihood. We were a or liqueurs. My diet consists of light food and white sound as if she were si iging her low notes in a differ¬ stiff, awkward manner which most children acquire soon, there is a jangle of chords or tones; if the pres¬ Sembrich, the velvet-toned Melba, Farrar, Garden and numerous family, and so want and anxiety quickly made meat and vegetables. I always sleep with the window when not properly taught? ent voice from the high ones ? In other words, does her sure is delayed after the stroke of the hand or fingers, others, all represent a different generation. Not until their appearance. My father took one thing after an¬ wide open in summer and partly open in winter, so as voice sound different at either end? A well-trained Does he play his pieces or exercises disjointedly and there is a break in the harmony; but the right use of the advent of the golden-voiced Galli-Curci have we wit¬ other to the pawnbrokers, and frequently did not know not to get the cold air straight on my face. I never get disconnectedly ? voice is. equal in quality throughout its compass. Of the pedal at the right time gives a delightful sequence nessed such a furore over a singer, akin to that of Patti. one day how we were to dive the next. I, however, to bed early, hardly ever before half-past twelve or one. course, it is well to bear in mind that this evenness is Does he rush over the easy parts, and slacken down of harmony. Intensive left hand practice pays a hun¬ Patti was taught pianoforte by her gifted sister, Car- understood but little of this, and sang away merrily early A severe hygiene and an elaborate toilet before bed are reached only after long practice. The point is: is it on the hard ones? Remember that he may play as dredfold in interest and progress. lotta, who unfortunately was quite lame. Her half- and late. absolutely necessary to any woman who does not want slowly as he likes when learning, but he must play in evident that the teacher is aiming for this result? brother, Ettore Barili, has the credit of having taught “My father now began to observe me, and conceived to get fat. That is my only secret of health.’ ” correct relative time. Notes which are meant to be Obviously, the teacher may not be to blame if some her how to sing. Signora Paravelli also gave her some the notion that with my childish voice I might extricate played disconnectedly have a dot over them; other¬ of the faults enumerated above, or even many of them, Handicapped Players instruction, and Patti states that her brother-in-law, the family from their distress. Thank heaven, I did. wise, they should be smooth and joined together. Patti on Voice Training are apparent, even after many lessons. It is well to Maurice Strakosch, taught her certain embellishments. When I was seven years old I had to appear as a con¬ Does he make a break in the sound every time his remember that, little as the parent may like to own to it By S. M. C. Patti, according to Mr. Klein, was gifted with won¬ cert singer, and I did so with all the delight and sim¬ Patti was, as has been said, a “natural” singer. Few thumb goes under the other fingers when he plays singers of this type ever seem to be successful in im¬ her child may not be very intelligent, or very attentive, derful poise and aplomb as a child. He says: plicity of a child. In the concert-room I was placed on broken chords (“arpeggios”) in which his hands will parting their knowledge. However, some years ago, she or very musical. If there is any suspicion of this, the For a number of years I have been teaching a pupil “No matter who was listening, she never betrayed a a table near the piano, so that the audience might see travel up and down the keyboard? The passage of related to Mr. W. Armstrong, certain principles which, teacher should be approached for a candid expression who when ten years of age, lost the use ..f the thumb scintilla of self-consciousness, but sang as a bird would— as well as hear the little bit of a doll. People flocked the thumb should not be detected at all. in turn, were printed in the Saturday Evening Post. of opinion and the chances are that the truth will out, oi the right hand through a felon. The doctor cut the with the keenest sense of enjoyment and freedom in the in, and there was plenty of applause. And do you Does he clamp down the loud pedal all the time, or The following is an extract of this article as printed even at the expense, on the teacher’s part, of a perfectly tendons so that the thumb is now bent stiff under the act of using her voice and warbling her melodies. know what I sang? That is the most remarkable part in Mr. Klein’s book: maybe not use it at all? The pedal should be spar¬ good meal-ticket._ palm of the hand. This pupil has, by patient persever- “Did she go through a regular course of technical of the business; nothing but bravura airs, such as Una ingly used in children's pieces, and only where indi¬ ance, overcome the natural defect to such an extent as voce poco fa, from the Barbiere, with precisely the same “People who cultivate the voice have widely different cated. training in the art of voice-production? This question The Written Lesson in Music to be able to do professional work, placing for dances has been asked a thousand times, and the answer she her¬ embellishments which I sing at present, and similar ideas on what constitutes the best methods of its pres¬ Does the teacher give him paper work at home? and entertainments, thus adding no small amount to the self always emphatically gave was, ‘No!’ Nature had florid compositions. I had the joy of seeing the articles ervation. If I gave lessons, I should cultivate the mid¬ And does he do it when asked to? It is almost as family income. Artistic execution with the right hand taught her nearly everything that the average student of clothing and the valuables which had been pledged dle tones, and the voice of the singer would be good at By Abbie Llewellyn Snoddy important as the piano practice. Teachers are not per¬ is, of course impossible, owing to necessary change of has to strive laboriously to acquire. To put it still more find their way back, one by one, and quiet and comfort the age of a hundred. The whole harm to a voice comes fect, of course, any more than* pupils are, but if the fingering and the frequent omission of notes which are precisely, she went through no regular course, but was once more reign in our house.” in pushing it up and down, in trying to add notes to its compass. parent is sure that some of the above faults are being “Writing maketh an exact man”; and, if we did not out of reach; but, as the player has the fortunate faculty carefully trained to do everything well. Patti’s debut was made in New York, in Lucia, under made, and they persist through many months, then know better, we would be willing to wager, on the of supplying missing harmony, the effect is entirely sat- the stage name of “the little Florinda,” November 24, “ ‘How high can you sing?’ appears to be the question. there is something wrong. Violin instruction is some¬ strength of that remark alone, that Sir Francis was a But what about the foundation part of the voice—that handicap.' PerS°"S ""f beCOme aware °f her Common Sense Studies 1859. She was then sixteen. However, she had made what more difficult to check up, but there are some school teacher. Every teacher knows that the written her first appearance at the age of seven in Trippler’s is, the middle notes? My success is founded on those things that no good teacher will permit. “Both Ettore Barili and Signora Paravelli seem to notes, and there can be no enduring success without lesson quickly puts to rout that unfailing pupil-excuse fJ;o°nCV‘tCndeCl a Pr°gram given ^ a charitable insti- Hall in New York. Upon this occasion she sang the Does the pupil’s violin hang down when he is prac¬ “I know, but I can’t tell it.” Vagueness of thought n t where a woman who had lost one hand attempted have acted in this matter with the utmost common Echo Song by Eckert and Ah non giunge from La them. How many can sing very high and yet cannot ticing, instead of being held horizontally as it should must vanish before the written page, like snow upon a to play the drill for the little tots. The effect was most sense. They merely filled in the gaps that nature had Sonnambula, certainly wonderful indications of pre¬ sing Home, Sweet Home! Some pooh-pooh the idea of always be? left. They taught her how to breathe, how to sustain the difficulty of that simple melody. But it is more, warming day, and in its place must stand clearness of cocity. Sf1oveIwitPhThrfiSeeTd 40 ^ “e* tone with what Italians call the messa di voce (swelling difficult to sing Home, Sweet Home than the waltz song Does he bow with a perfectly stiff wrist or with a idea and accuracy of concept. a hit-.nH r k 7e ,fingers ,n the hass, then make After Patti’s operatic debuts in London (1861) and loose one, which is correct? hit-and-miss stab at the treble, which gave one a and diminishing on single notes), how to execute scales in Paris (1862), her fame was assured, and her ap¬ from Romeo and Juliet, because of its demands upon nervous shock, to say the least. Does he play his exercises so badly out of tune that Music is an art of the intellect as well as of the ear and runs—in fact, all the exercises for agility, the orna¬ pearances the world over were simply a long series of the development of the voice. Without the beautiful . they are unrecognizable or unpleasant? and finger, and unless a pupil uses his brain intelligently ments and embellishments, that form the foundation of musical triumphs. Her voice was not powerful, but it middle notes there is no cantabile, and upon the proper the old Italian school. development of these, and the avoidance of strain by Does he know when he plays out of tune? If not he cannot progress far nor fast. Every device which' was wonderfully sweet, clear, even and “meltingly” beau¬ “Happily, too, they ‘let well alone.’ (And would that forcing high and low notes, the enduring powers of the either his teaching is faulty or his ear is bad. Can aids him in thinking more clearly and exactly is helping What are the Best Kind of Playing tiful. Its range was from “a” on the second ledger line him to form right mental habits. all who teach this art would do the same!) They made singer depend. he,, after a few months’ lessons, tune his own violin, Fingers below the treble staff to the “f” two octaves higher. Her Written lessons are especially valuable to the student no attempt to interfere with her manner or method of technic had few counterparts until the arrival of Galli- “High gymnastics are very beautiful; but, lose the which he should do, or does he practice at home with emitting her voice. Its delicious purity and extraordi¬ middle notes, and you lose all. The very high and the the instrument in any sort of condition? during the first year or two of his study, when he still By Elliot X. Cross Curci. Her high notes were taken with a velvetlike needs constant drill upon the fundamentals. It is some¬ nary volume furnished a sufficient warning against any smoothness and with quite the same ease as her lower very low notes are the ornaments, but what good are Does he slide up and down to find his notes, or does attempt to improve upon what they must have recog¬ Gobelins and pictures if you have no house to hang times amazing to discover that a seemingly apt pupil TuE average person will answer this question with notes. Her fees for performances in her later life he put each finger down fair and square on the finger¬ nized as nature’s perfect model. They doubtless realized cannot draw a rest properly, or place his notes and their the offhand judgment: "Why a long, thin hand, of never ran below $5,000. board without hesitation? The latter is right, even if that she was a genius—one of those ‘fortunately gifted “The tremolo, one of the most objectionable and un¬ troublesome stems correctly upon the staff—much less course. The fact that a long, thin hand seems to he puts his finger down on the wrong spot, for no geniuses in whom are united all the qualities needed to imply a free and loose hand, does not by any means bearable of vocal faults, is but a phase of this forcing, learner can exactly gauge his distances; that is one write a clear definition of a tie, or of legato and attain greatness and perfection, and whose circumstances How Patti Kept Young and comes of the spreading of the vocal cords through mean a good pianistic hand. Henri Falcke, the great staccato. But let him understand that a written lesson in life are equally fortunate; who can reach the goal Probably one of the most astonishing things about straining. of the difficult things he must learn; but “fishing,” and French Jechnicalist, was terrified when he had a pupil is coming, and he will clear up his befogged ideas as earlier, without devoting their whole lives to it.’ ” her singing, was the remarkable youthfulness of her “How often the question has been put to me: ‘Mme. groping uncertainly for notes mean bad tuition. with a “long, slender, bony hand, with thin fingers tied hastily as a lazy housekeeper straightens her home upon Patti herself gives a fascinating account of her child voice long after she was no longer young. Her death Patti, how high can you sing?’ and I have thought: Watch him going up a scale; first he plays on an together like lead pencils.” In fact the great pianists— the approach of company. studies: on September 27, 1919, closed a career of seventy-six ‘Are you at it, too?’ The middle voice is the one that open string, then he plays the first finger, then the Rubinstein, Carreno, de Pachmann, Reisenauer and A pupil who is. brought up on a regular diet of writ¬ “A musical ear, as well as an aptitude for and great years, during which time she sang successfully before you need to sing with. I sing comfortably. second, then the third and finally the fourth. When others, have had hands which can only go under the ten lessons, consisting of definitions of dynamics and love of singing, was developed in me at an extremely the public for a longer period probably than any other “If you want to sing for years, do not strain the natu¬ the latter is down the three other fingers should still class of “chubby.” Carreno once called the' writer’s tempo, rules for scale and chord building, and who is early age. Even as a little child, I was madly fond of singer of her sex—sixty-two years. Mr. Klein writes: ral compass of the voice. That is like living on capital. be down in their original places and not raised until attention to the fact that her hand was almost exactly trained to write scales and chords accurately, away from music and the stage. I went to the opera every evening “No artist of the theatre (with the exception, maybe, I have always lived within my income, and I have always the bow touches the next string. If he raises them like that of Rubinstein, and that he had commented the piano, will not be likely to disgrace his teacher in my mother appeared; every melody, every action, was of Sarah Bernhardt) was ever asked so frequently if had something to put aside. before, he is being badly taught. upon the fact that a small hand and a comprehensive after years by his ignorance or his exasperating half impressed indelibly on my mind. When, after being she could describe her elixir or write down her recipe “The question of success or failure as a singer is Does he play comparatively difficult pieces so badly knowledge. mind were far better than a comprehensive hand and a small mind. brought home, I had been put to bed, I used to quietly for preserving a youthful aspect long after the age when simplified by self-judgment and discrimination. Many get up again, and, by the light of the night-lamp, play most women begin to look old. Of course, she always voices are not worth the cultivation, and that means Page 10 JANUARY 1921 THE ETUDE 12. upon what do you base your teaching, upon beauty time and opportunities lost. Very often students wear How Would You Answer These Self- out their voices with over-study before they appear in of tone or techniC? THE ETUDE JANUARY 1921 Page 11 public. They destroy the freshness of the voice by Searching Questions ? Where does technic begin? singing too much. Is technic an end, or a means to an end? p The following questions were prepared by Johan “As to the length of time to be devoted to study, I 13. What is the end you are aiming for, a musical Grollc, Head Worker of the Settlement Music School myself do not give more than fifteen or twenty minutes genius, or a human being who loves music ? l - 7? - t- *"&■ S' e - * * of Philadelphia. Mr. Grolle is a former member of to it daily, and these few minutes I devote to scales. . . . 14. How much should a pupil practice? the Philadelphia Orchestra, an altruist in the highest "My golden rule in singing is to spare myself until 15. Is it quantity or quality that brings results? sense of the term and a lemarkable organizer. His the voice is needed, and then never to give it all out. 16. Does your teaching include the teaching of self- ivork in the Italian and Jewish sections of Philadelphia, Put it in the bank. I do not push my voice for the reliance, and do you prepare the practice work among the highly talented children of poor people, en¬ pleasure of the moment. If you are prodigal of your that is to be done at home and when you are not listed the interest of Mrs. Edward Bolt, who built ofie One Note powers at such times, the next time you wish to be gen¬ present ? of the finest musical sihool buildings in America, as a erous you cannot.” 17. Do you train your pupil in such a way that he can Some of the Fascinating Curiosities of Acoustics memorial to her mother. Splendidly equipped in this find his own mistakes, and do you aim at the way, Mr. Grolle has gathered about him an earnest What Dickens Thought of Patti development of his reasoning powers? group of teachers. At one of the school discussions By F. CORDER One of the most interesting sections of “The Reign 18. How do you select your teaching material? V* *! the question of self-examination came up. and Mr. ' 1 V of Patti” is that in the Appendix, containing extracts Do you know and use Bach? Professor of Musical Composition, Royal Academy of Music, London, England Grolle prepared the following list of questions which from contemporary appreciations of the great diva. Pos¬ Do you love him ? The Etude reprints. Take a pencil and a piece of paper sibly the most interesting of these is that of Charles 19. Upon what do you base your choice? and see how you would answer them. It ivill help you Dickens, published in 1861, the year of Patti's debut in Do you consider the individual like or dislike of Composition, Counterpoint, Harmony, arid even the feet long, five inches broad and three inches deep, hav¬ Why does an ordinary youth go into a pianoforte fac¬ quite ar much to look into yourself as to have a teacher London. your pupil? Rudiments of Music are subjects too extensive and com¬ ing about a dozen catgut strings stretched along it, and tory, serve a few years of apprenticeship and come out make the survey. able to put a piano into flawless tune—a feat which the “And 'now has come the youngest Amina of all, and PERSONAL Do you believe in folk music and folk songs? plicated for many minds to tackle. Let us see whether these are all accurately tuned to the same note (about at once, without a single note of prelude or preliminary 20. Do you allow your pupil to choose his own pieces we cannot extract interest from a subject of more modest the low C given in the above diagram), being placed in greatest musician in the world could not achieve un¬ trumpet, has stirred up the tired town to an enthusiasm scope—that of one single sound. Let us survey this sub¬ the gap of a window which is shut down upon it, the taught? And, again, how is it that when you get a new servant girl, before she has been in the house a fort¬ recalling the days when Malibran tottered across the 21. How do you know your pupil’s likes and dislikes? ject from various aspects, and examine it thoroughly, draught of air causes the strings to vibrate, ranging up stage in haste and frantic grief, and when Lind breathed night she can discriminate between the sounds of the 22. Do you ever ask your pupil his preference for tonal when, I fancy, you will be surprised to learn how much and down their scale of harmonics, and no two doing this put her whole soul of sadness over the flowers as, leaf front door and back door bells, though to you they may quality? Also why he prefers the major or the there is to say about it. in the same way. So it utters wailing sounds, sometimes by leaf, they mournfully dropped on the stage. Born minor key? sound alike? Don’t you see the answer to these ques¬ Firstly, I should tell you that, strictly speaking, there common chords, sometimes weird harmonic sevenths and in Madrid. Italian by parentage, trained exclusively in 23. Do you know that the knowledge of your pupil’s is hardly such a thing in nature as a single note, or sound. tions? People can do these and even more wonderful elevenths (not in tune with our scale), the whole having America, Mile. Adelina Patti, on her first evening’s natural tendencies and preferences for key. tempo, The instant that the air around a string, pipe, or other things simply because they have to. I only acquired a a strange, uncanny effect, which soon, however, becomes appearance at our Italian Opera—nay, in her first song- (Strewn of Consciousness.) ° p® pl wi*h etc., is a great help in choosing your material? vibrating body is thrown into a rippling, quivering state, reliable ear when I had to work in a country village and possessed herself of her audience with a sudden victory 6. Does not your own inner life find expression in your 24. Do you awaken the pupil’s imagination? each pulsation breaks up into partial pulsations, each of wearisome to the ear. Had anyone the sense to con¬ there was no piano within ten miles of me. I had a which has scarcely a parallel. Old and young are now music and in your work? struct a more complete form of this instrument, which Hindu pupil to whom European music was an unmean¬ 7. Do you believe that the richer your life, the more your Do you keep it alive? which produces other tones, higher and higher, fainter treating as conspiracy and treason any looking back to art will mean to you, and the more you can give to 25. Do you believe that the pupil’s music is the tonal and fainter, until these interfere with and neutralize one. should, from time to time, alter the root note by inter¬ ing noise, but he became in three years a very fair past Aminas—any comparison. This new singer, in her expression of his emotional life controlled by the another—something like the recoil and jar of railway vals of a fourth, or even a third, wonderfully impressive Western musician because his king would have certainly early girlhood, is (for them) already a perfect artist— mind ? trucks shunting—till the whole train of vibration comes results might be obtained. . But then it would not lie One chopped his head off if he had failed. And choirs can one who is to set Europe on fire during the many years What should his music mean to him? to rest. Note. easily be trained to maintain their pitch if you deny them . to which it may be hoped her career will extend. Pan you be convinced? 26. Should the whole lesson consist of merely playing Some of you know, perhaps, that all brass instruments, the help of an accompaniment. “Nor is their delight altogether baseless. Mile. Patti’s Pan you learn from the opposite point of view? 10. Do you have a definite conception of your responsitdlity music, or should you penetrate the pupil’s world, such as trumpets, trombones and horns, have really only Tonic or Dominant voice has been carefully and completely trained. Those as a teacher and towards society? and let him enter into yours? one note—the note produced by their particular length But to return to our One Note. Taking it now in its who fail to find it as fresh in tone as a voice aged nine¬ 11. Do you keep informed about the real things in life? 27. What would be the result if you included such of tube—and that the other notes are produced either by 12. Do we owe it to ourselves and to onr pupils to keep musical aspect, which note do you think is of most fre¬ teen should be, must be struck by its compass, by the teaching In your regular curriculum? momentarily shortening or lengthening the tube or by fresh in mind and body? quent occurrence in any piece of music? The key-note certainty of its delivery, by some quality in it (not to be 1.2. Should the music teacher know the* other arts? 28. Should a teacher prepare his day’s work and give using the harmonics of the one note. Sometimes both or tonic? Only occasionally and in that class of pieces reasoned out or defined) which has more of the artist 14. Is it wise to give all our time to n one-sided develop- each pupil individual consideration? Don’t be alarmed at this simple diagram. It merely these devices are employed. Thus in the flute, or tin nentf ~ to which the name of Berceuse is given. Originally the than the automaton. She has a rare amount of bril¬ 29. If things go wrong do we investigate our own be¬ represents to the eye what I have just tried to present whistle, the fingers are successively removed from a MUSICAL drone of a tagpipe must have been the earliest attempt liancy and flexibility. She has some ‘notions’ (as the havior as well as our pupil’s behavior? to your minds. The lowest note is the only one you are series of holes in the tube and so shortening its vibrating at harmony, the alternate consonance and dissonance Americans have it) of ornament and fancy which are 30. Could the public school be of service to the music conscious of hearing, but the other sounds grow quickly length. When an octave of sounds has been played, the caused by the persistence of this one note through tonic her own, if they be not unimpeachable, say the dry-as- •onseious of what y re doing while teacher in knowing the pupil better? (but not instantaneously) out of it as the rippling rings fingers are put down again, a greater pressure of air dusts, in point of taste. and dominant chords lending a certain spice or flavor 31. What characteristics has the lazy child? the indif¬ spread out when you throw a stone into water. So every used and the same series of notes an octave higher in “If not beautiful, she is pleasing to see: if not a i. Do you listen to ■ourself, or merely p y the notes? to the music. Thus was evolved that harmonic idea i. What is rhythm ? ferent child? the superficial child? the enthusiastic note is the stalk of a bouquet—the stem of a tree of pitch produced. Pasta, a Malibran, or a Lind in action, she is possessed called a pedal or pedal point. A note capable of per¬ What is a musical phrase. child? the spoiled child? the flighty child? the sounds—the sum of an infinite series. You will realize Pitch with her story. . . . What is phrasing? sisting against alien harmonics must be either the tonic ...mi resemblance is there between the spoken and the nervous child? this if you listen to the clang of a great church bell; So much for Acoustics; let us now devote a few “For the moment the newest Amina has the ear of musical phrase? or ^the dominant, the latter being the most usual. It * 32. How would you treat them musically and socially. this vibrates so strongly that several of the component moments to the consideration of that term Pitch. Sound, London. In the future Mile. Patti may become worthy Where does the inspiration come from that marks the should be evident that a dominant pedal creates a feeling real artist? tones can be heard almost as strongly as the original one. as we know, is vibration—the regular quiver of anything of having her name written in the golden book of great of expectation, as tending towards a climax, while a (Love for ^expression and ability to express a deeply The only trouble is that, owing to the inequalities of transmitted by the air to a wonderful apparatus which singers. Meanwhile, what a tale is here told, not merely tonic pedal seems to tell us that we have come to our Of what does perfect balance, musically, consist? thickness and density of the metal of nearly all bells, our ears contain. This consists of a quantity of minute of her great and welcome promise, not merely of her When You Practice point of rest. In music there are sometimes whole move¬ these “partial tones,” or “harmonics,” are sadly out of rods or fibres, each of which responds to one particular possessing that talent for success—charm—which is ments written on a pedal point, such as that wonderful PEDAGOGIC tune. Only recently has science taught men how to over¬ kind of vibration and transmits it to the brain. There born into few persons and which cannot be bought or By Janies I. Wray come this defect, and bells are now being cast of a rav¬ fugue in Brahms’ Requiem, the “Dance of Sylphs” in 1. Do you know anything about the history of teaching? are about 3,000 of these hair-like rods, and since our taught, but of tile lasting truth and attraction of the ishing quality of sound that makes us ashamed of our Berlioz’s Faust, or the prelude to Wagner’s Valkyrie. What is a teacher? range of hearing is about bounded by the extreme sounds music to which Bellini set the story of the innocent girl Practice with all your heart. Put into your study old church bells—if we are musical, that is. The prelude to Rheingold is more curious still, being Why do you want to teach? of the pianoforte we ought, if our hearing were really who walked across the mill-wheel in her sleep 1” period the best efforts you possess and you shall be Now, another curious thing. It is a poor rule that the sounding not only of one note, but one single chord What is your duty as a teacher? faultless, to be able to discriminate more than 400 sounds rewarded a thousand times for your faithful practice. won’t work both ways; so if you sound two notes at for 120 bars. But besides these examples I could enum¬ What makes teaching interesting or uninteresting? to each octave. But as a matter of fact no one has ever A surgeon who performs a delicate operation must once truly in tune with any of those given in my dia¬ erate many others in which the One Note idea has been 2. Should the teacher be an authority who wants obedi¬ even approached this delicacy of hearing. There is a know the use of his tools. He must also know in detail gram, you can hear the father and grandfather sounds employed in an unusual fashion. There is a long pas¬ ence, or should he be an interested friend who prodigious difference between the hearing of a trained Use Up-to-Date Beginner’s Books every section of the human body. Just so with your grow downwards as well as upwards. You cannot do sage in the slow movement of Raff’s Spring symphony, points the way to musicai knowledge and feeling tuner, a fine musician, an untrained musical person and music. To get the most out of ,t you must put info it this on a piano, but on a violin or ’cello it is quite possible. where he sounds a high G at the beginning of every and correct thinking ? a non-musician, the latter being sometimes unable to per¬ By S. M. C. your very soul. You must love it. Not the kind of love other bar for 40 bars, always contriving to make it 3. Should we teach the pupil to imitate what we know, ceive any difference at all between the pitch of sounds. that is changeable, but the kind that comes through A Veritable Fairyland sound possible against the freely modulating music be¬ or should we try to awaken within the pupil the There is an amusing story told in Hawkins’ History of It is gratifying to note what a wealth of really good understanding your instrument and the compositions you The science of acoustics seems a dreary and unattrac¬ neath. And there is the “Star in the East” episode in desire for knowledge and self-expression? Music of how Louis XII of France, wishing to pose as methods for beginners have been put on the market in tive subject to most people, but—as with all sciences— Liszt’s Christus, where a high note is sustained against 4. Should we be the master of the pupil’s thoughts, or an art patron, bade his court musician, Josquin Despres, An artist who paints a picture will use not only one once you are past the threshold you will find it a veri¬ the “March of the Three Kings.” recent years, suitable for the needs of the tiniest tot to should we guide him toward the expression of his compose a mass with a special part in it for the king to color, he will use many shades and. tints to bring out table fairyland. Helmholtz and Tyndal have shown that the gray-haired adult. own world and the intelligent understanding of sing. Upon investigation the composer found that his Curious Compositions the real beauty of bis picture. In addition to his shades what is called the timbre, or quality, of a sound—a thing Teachers will find no excuse for starting their pupils his environment and reaction upon it? majesty could pitch one note correctly, but when any There is a famous song by Cornelius and a less known and tints he will work weeks, months—yes, and some¬ we are all keenly sensible to, yet cannot for our lives with any kind of method which they may happen to 5. What is our greatest opportunity while teaching one by Schumann, .each with the voice only on one note. time. years to get the results he wants. ’flow many describe—depends upon what I may call the size of our have on hand and desire to get rid of. As an instance music ? Moskowski has written a whimsical pianoforte piece in students of music pamt their music in one color? By bouquet, the audibility of the higher partials giving of the folly of such procedure I may cite the case of (Building of character by means of self-expres¬ the shape of a waltz, the melody of which is all on one this I mean some play forte all through their solos, brightness and,' eventually, shrillness—the audibility of a professor of music who, some forty years ago, started sion, the expression of the beautiful, etc.) note and that the third of the key. It is not quite so some play piano, while others play and never think to only the lower portion of the series giving sweetness a little child of eight years with a book of German songs 6. What is the motive power of our work ? other was sounded he could only make this same sound. attractive as Poldini’s Waits, Op. 42, No. 1, on two make a retard or an accelerando. How terrible this must and, eventually, dullness. A note on a large open pipe with difficult harmonization. Another teacher of very (Love for the expression of the beautiful and Accordingly, the undaunted composer wrote his mass in notes. The most artistic and beautiful piece on one note sound to the ears of a well-trained musician! How of a church organ is very toneless and dull; the moment recent date attempted to teach the rudiments of music B flat in such a way that whenever and wherever the is undoubtedly the D flat prelude of Chopin, about which confidence between the teacher and pupil, etc.) many pupils have you heard play in such a manner? If you add another pipe, an octave higher, it brightens up, with Czerny’s School of Velocity as the first book! The 7. What is a good and what an inefficient teacher? king put in his one note it would always fit. This was a romantic (and, of course, apocryphal) story is told. I were restricted to the use of one word to apply to the and there are stops which add four or five “upper par¬ no great feat, but Hawkins gravely quotes a portion as lessons of pupil No. 1 were brought to a speedy termi¬ Do you consider your pupils your disciples? The repeated A flats appear to continue monotonously above music students I should say “CARELESSNESS.” tials” to every one, causing the tone at last to become an example of Josquin’s erudition. nation by tears and entreaties on the part of the child, Do you consider yourself to be one? Of what? throughout, now soft and now loud. Really they are To be successful in music depends upon your self- almost squealing and harsh. A note on a violin or clari¬ In the course of a large experience I have met with occasionally discontinued and changed for other notes while the second pupil wisely sought another teacher. 8. What are the fundamental principles of a good per¬ imposed amount of study. Your teachers can instruct net is much more sympathetic in quality, because it is ’ but three cases of singers like King Louis XII and I here and there with extraordinary skill, so as to avoid Sometimes a mother introduces a prospective pupil formance ? you, but they cannot study your lessons for you. Just richer in harmonics; the same note on the human voice (Tone beauty through relaxation, technical mas¬ am not at all sure that these were genuine cases of tone the mechanical rigidity which would destroy its romance. with the following injunction: “We simply cannot buy as each human being must work out the salvation of is richest of all. deafness. An eminent teacher of my acquaintance has One of the most curious musical ideas I have ever any more music; we have trunks full of it at home, so tery, and musical conception, etc.) his own soul, so each music student must work out his The most interesting thing that acoustics reveals to us 9. Which is the more important, to teach systems or told trie that it may be only lack of control of the vocal heard of was a hand of Russian performers who visited Jennie will have to use what we have on hand.” If own salvation in music by study and practice. Your is connected with rendering sound visible, and the won¬ organs, which patient care will amend. It is indeed London about 1850. There were fifty of them and each methods, or should these be applied individually? you cannot persuade the mother that this is poor policy, own musical standing in the community where you re¬ drous beauties of combined sounds as shown by that doubtful whether absolute tone deafness and color blind¬ man had a kind of trumpet or bugle upon which he 10. What is an artist-teacher, and what is a mere com¬ side rests upon three persons. Your parents, who have strange instrument the Harmonograph. But this is out¬ rather lose the pupil than liegin or continue with a mercial teacher? ness exist. So many people belive that “a musical ear sounded one note. You might compare the whole band furnished you with financial resources; your teacher, side 'of my present scope, which is limited to One Note. method which cannot secure the best, or at least good 11. Should we adapt the method to the pupil, or should is a gift” that I am always having to remind them that to the keys of a piano or organ. Quite brilliant pieces results. who has done all that he can for you; and yourself, who A striking example of the manifold nature of one note the common bandsman generally begins with an ear very were performed by them, each man fitting in his note the pupil adapt himself to the method? have I contributed the practice. is afforded by the Aiolian Harp. This instrument is al¬ little better than that of King Louis, while he ahvays accurately into the time. Can you imagine yourself most unknown in the present day, but is occasionally acquires eventually a finer sense of pitch than you or I playing, say, the 2d, 7th and 29th notes only in a passage exhibited in lectures. It is an oblong box, about three have. of sixteenth-notes? just think of the practice it must Page 12 JANUARY 1921 THE ETUDE THE ETUDE JANUARY 1921 Page IS have required-and the foolishness of it all! I have from the harp half a dozen strings on each side of the A Rhythmic Knack heard something 0f the sort done, but on a very mild one required, so that the player had only to count his scale, by clowns in a circus, playing on flower pots, or bars correctly, and the composer records with satisfac¬ what not, but fancy a really quick scale executed under By Harold M. Smith De Gustibus Est Disputandum, I Say these conditions? tion that the gentleman came through the adventure iul f ^ without a hitch 1 -There is a well-known story of Niel Gow, the Scotch Many apparently complex rhythmical problems may Far different was the incident that occurred at a Matters of Taste in Music a Question of Personal Development lies itinerant fiddler, who used to tramp the country in order be cleared up in the mind of the pupil by rewriting jn famous English music festival a few years ago. A very to play at the country houses of the gentry. Coming to a more simple form. The following passage from eminent composer had a big work producecfin which he By the Noted New York Critic • a river, over which a party of workmen had just finished desired at the chief and final climax to produce a splen¬ Kern’s Drifting and Dreaming seemed to perplex a building a handsome brick bridge, he asked them to did effect by means of the single stroke of a gong. He little pupil of pay him a trifle, m return for which he would play to HENRY T. FINCK engaged a trusty percussion player and took him up to them while they had their dinner. They uncivilly re¬ Birmingham, where the work was duly rehearsed and all fused,whereupon he threatened to “fiddle the brig went well. Alas! at the performance the player, having The gentle art of making enemies has many branches, Donizetti or Wagner “As the race, so the individual. Go and hear the operas h ' lf KThcVsc°ffed at his threat> but when, seating waited through two hours and a half for his cue in a hmiself beneath the arch, he found on his instrument the but perhaps there is no more effective way of making To come now to taste in music. If a man tells me, “I of the composers just named and you will presently lose hot concert room, fell asleep and never played his one your preference for Donizetti and Bellini. And it will ote to which it responded, he sawed away rhythmically people dislike you coridally than questioning their taste don’t like Wagner,” I don’t shrug my shoulders and say, note at all! be due to my having argued with you about a matter of and their likings, gastronomic, esthetic and otherwise. “It’s a matter of taste, and therefore not to be argued "0te.tdl tbe bnd£e actually seemed to tremble An almost similar, but far more ludicrous incident oc¬ and a few pieces of mortar fell. The alarmed workmen For that reason the maxim De gustibus non est Dis- about,” but I do argue about it, in this fashion: curred in my own experience at a concert of the Brighton I first asked h w times Once a man told me he had been to hear Lohengrin; hastily whipped up the sum demanded and were only putandum—“don’t argue about matters of taste”—has “You have heard the anecdote about Carl Bergmann, too glad to pay him to depart. Music School. Here also a new work was being played, been generally accepted. he was bored to death and had vowed he would never who, more than a half-century ago, conducted the con¬ a cantata for schoolgirls, in which a single clash of the Personally, I don’t approve of that maxim without a attend another Wagner performance. I argued with Berlioz tells, in his autobiography, of a grand concert certs of the New York Philharmonic Orchestra. He was he once gave at Lyons, getting every possible player to cymbals had been somewhat daringly introduced towards good many “reservations.” Most disagreeemnts in “mat¬ him, told him a few facts about the gradual growth of one of the first in this country to appreciate the genius assist in swelling his orchestra. His harpist, being also the end by the lady composer. She entrusted the arduous ters of taste” rest on misunderstandings; and very often interest in Wagner’s operas, and finally said: “Go and of Richard Wagner. When he was told that his audi¬ a violinist, was inducted into this more useful position, part to a friend who, she thought, could at least count a good argument does change a man’s predilections. hear Lohengrin three times more this season, and if you ences didn’t like Wagner, he answered: ‘Den dey must and an amateur, one M. Georges Hainl, recruited from time. The cantata was played and warmly applauded, Yesterday a young lady said to me: “Once I had a don’t like it then come and tell me and I'll pay for your the ticket office to the office of harpist, he never having but the cymbals never came in. Presently, as the audi¬ violent argument with a man who said there were no hear him till dey do.’ ence were departing and the hall being cleared a mighty touched the instrument before. There was only one note mosquitoes in the Adirondack Mountains while I main¬ “By the time Theodore Thomas became conductor of He came, but I didn’t pay for his tickets. He frankly crash on the cymbals startled everybody. The amateur to play—a kind of bell effect in one of the pieces, so tained there were. Finally I asked him when he was the Philharmonic a large -proportion of the hearers had confessed himself an enthusiast, and couldn’t thank me Berlioz provided against possible error by removing player had indeed counted his time correctly, but he had there and he said, ‘September.’ That explained it. I learned to like Wagner's music. He did much to enhance enough for having argued with him. counted four instead of two in a bar! had been there in June. We were both right.” this liking, and so did his successor, Anton Seidl. To¬ Of course, what I said would not have done the job had Often musical critics are sneered at because they con¬ day—and it has been so for the last twenty-five years— not the music come to my aid. Good music is its own tradict each other, even in things which ought not to be when the Philharmonic conductor—at present Josef best argument. matters of opinion. Thus, one of them will write that Stransky—wants to make sure of a crowded and en¬ There is one thing I like about the manufacturers of How Can I Find Out Whether My Child is Musical ? Miss Debutante sang lamentably out of tune, while an¬ thusiastic audience, he announces an all-Wagner program. machines for reproducing music. From a business point other will laud the golden purity of her intonation. One it means, of course, no difference to them what sort of Even with her meagre knowledge of fractions, she “As for yourself, the reason why you don't like Wag¬ of them heard only the first half of the program, when music the public prefers, trash or the classic. But these By the Eminent Eurythmic Specialist was not long in understanding, as soon as she smv the ner is the same as why Bergmann’s audiences at first the singer was nervous, while the other heard only the companies are constantly featuring the better music and second beat which had previously been “nothing but a didn’t like him: you don’t know him well enough. E. Jaques Dalcroze second half. Both were therefore right—and wrong, too. pointing with pride to the fact that the frequent repeti¬ “Your taste, you said, is for Donizetti and Bellini. rest” to her. Numerous problems of this character Naturally, the first critic wrote a “nasty” notice, be¬ You make me smile. You ought to have been born a tion of good pieces or songs, which the phonograph makes The fact that a child is not attracted by music, does arising from two-voiced harmony can be readiI\ sim¬ cause, when a singer wanders from the pitch, you can¬ possible, very often and promptly effects a change in the piano, smooth or crisp, increasing or decreasing in speed plified in a similar manner. century ago. In the year 1822 the Imperial Opera in not like to sing, does not instinctively fall into step with not enjoy anything she does. You wish it were over taste of the purchasers. The music itself “argued” them or volume of tone. Contrive that this education m per¬ Vienna devoted its whole season to the operas of Rossini. - military music—these do not indicate a complete absence and are glad to escape. The public puts it down as a into preferring high-class compositions to popular trash. of musicality. As in the grown person, the aptitude for ception shall be made a pleasing game. Place the child Suppose the Metropolitan Opera House, two years hence, “difference in taste” on the part of the critics; when, Music begins where words end; the two together often music is often deeply hidden in the child and, for one or behind a door; then let him (guided by the music of the should try such a Rossini programme; would its million¬ piano) open the door quickly or slowly, in response to A Peep Behind the Scenes as a matter of fact, it wasn’t a matter of taste at all, present an irrefutable argument. another reason, does not find an avenue of expression. but simply needed a horological explanation; in other aire stockholders be able to pay the deficit? the time of the music. Again, when he hears a concert, “The public’s taste has changed radically. Together To reach after and lead out the musical instincts of the words, a reference to the hour when each of the critics child is the province of education. point out to him how each instrument sings with a differ¬ By Blanche J. Stannard Rossini, Bellini and Donizetti wrote more than a hun¬ How About Brahms ? heard the girl. ent voice. The trombone has a big, gruff voice like dred operas; but of all these only half a dozen are heard Yes, how about Brahms? There is an impression that Under normal conditions, how does musicality reveal papa ; the clarinet speaks soft and clear, as when mamma Edgar Allan Poe, in his Philosophy of Composition Bananas and Bread Crust in our opera houses to-day, and those not often. What I don’t like his music, that it isn’t to my taste, and that itself in the earlier years? What are the obvious signs? tolls her little boy what he must do; the flute is like Aunt To be a perfect musician it is necessary to have a good says: “Most wHters-poets especially (and he might brought about this change? The.opportunity to hear bet¬ I am stubborn as a mule in adhering to my dislike of it. Hortense when she comes to visit and says all manner When a man tells me he “doesn’t like bananas” I well have added musicians)-prefer to have it understood ter, richer, more musical operas; the works, particularly, Well, greater men than I have had no use for Brahms. ear, a lively imagination, intelligence and temperament; ot charming and pleasant things. The violins have many promptly argue the matter violently with him. “Of that is, the ability to feel and to communicate artistic that they compose by a species of fine frenzy-an ecstatic of Verdi, Puccini, Gounod, Bizet and Wagner. I know that Paderewski is far from being an enthusiast, ways of singing, sometimes so clear and strong, some¬ course, you don’t like bananas,” I vociferate, “and they emotions. intuition—and would positively shudder to think of let¬ don't like you. They disagree with you be¬ and Tschaikowsky simply raged whenever he times, when they use the mute, like the sound of the ting the public take a peep behind the scenes," etc spoke of that Hamburger. At a time when Many parents think that the possession of a good, wind in the tree tops. . cause, like most people, you eat them when Teachers are somewhat liable to encourage the public Brahms was the musical lion of Vienna, clear voice implies musical talent. This is not always One great lack in the parent’s early training of the they are yellow—that is, half ripe. Wait tell Hjystto.hehef. They are too fond, lie fore their Tschaikowsky, then little known, was advised the case. Everyone knows that it is the rhythm that child, is that, though he is told stories in words, his they are nearly black on the outside. Then they pupils of telling in bated breath of Beethoven or of to call on him and benefit by his influence. gives sense or meaning to the juxtaposition of sounds. A interest is not aroused in little stories told in short are infinitely more luscious and as easy to di¬ child who improvises in a pretty voice, a succession of marveling at Massenet without dwelling on the labor in¬ What was his answer : “I may tell you, without obvious musical phrases. One can so easily portray volved m bringing their works to fruition. gest as a peach. You can’t help liking them.” notes, disordered and unrhythmic, is no doubt less of a motions, sounds, and character in music—the galloping Such a man simply ‘doesn’t know bananas.” false modesty, that I place myself a good deal musician than another child who improvises upon his horse, swift-running mice, bells far off and near as the litiaturehaenflTUld ^ !*tter to search thr°ugh musical If he follows my advice he will be sure to like higher than Brahms. What could I say to little drum a march in good rhythm. him- If I were an honorable and sincere man wind blows the sound from or toward us. o at affi tb ■ ™ °f .he StruggIes made ^ ‘he masters them, and he will- thank me for enriching his It is commonly believed that the recognition of the In my own experience I know the absorption with crud tts of T ^ thC daborate aild vacillating I should have to say something of this kind: tCLUT!S of ‘hought-at the true purposes sensed onlv at life with a new delight. names and relations of notes constitutes a good ear. which even babies listen to short descriptive works of If I ask, “Which is the better part of a loaf ‘Herr Brahms, I regard you as an uninspired that arriraTrTt t* tKbe innumerable glimpses of idea This is a mistake. There are other qualities more valua¬ composers such as Schumann, Reinecke and others. of bread?’” an American will answer “the and pretentious composer, without any creative ble than that of pitch. The ear ought to appreciate the Long before he is able to make music for himself the f,,llv Ti V? 3- the mafuri‘y of full view—at the genius whatever. I do not rate you very ableT” marred failcles bearded in despair as unmanage- crumb,” while a Frenchman will say “the various degrees of intensity, resonance, power, accent, normal child is prepared to listen to music. The best crust.” “That settles it, of course,” you may highly, and look down upon you with disdain. timbre—all that constitutes what we call musical color¬ way to interest a child in music is to make him like it say; “it’s a matter of taste; and, therefore, not But you could be of some use to me, so I have ing, quality and emotion expressed in sound. come to call upon you.’ But if I were a dis¬ trom his own childish standpoint. to be argued about.” It is not discouraging that a child of six years cannot The mother should be tactfully on the watch for the I say, on the contrary and most positively, honest man, then I should say exactly the op¬ reproduce melodies, either vocally or on the piano, if it first sign of fatigue, that the lesson be not too long that it is a case for argument. In the chapter posite. I cannot adopt either course.” is obvious that he recognizes these melodies when played continued On the other hand, the need of repetition is on “French Supremacy,” in my book on Food Grieg, on the other hand, greatly admired or sung for him, and if he appears to be sensible of the to be emphasized. The child himself demands this in his neS'nofleadthe'^ 1“ in works of genius and Flavor, I devoted no fewer than seven Brahms; and, when I spoke rather disparag¬ gradations of resonance, and to the contrasts of piano stories He wants the same story over and over again— pages to explaining why French bread is prac¬ ingly about the Brahms’ lyrics in my Songs a"d.7’ .t0 .cban»es of time and marked changes of especially certain favorites of which he never tires. This tically all crust, and why it tastes so much bet¬ and Song Writers, he wrote me a letter in pitch; that is, if he is apprehensive of musical nuances. faculfy can be easily carried over into the musical field. Inspiration may have supplied a ft, . ter and is so much more digestible than Ameri¬ which he scolded me for my lack of apprecia¬ Parents often say: “Do not let us make our boy Any tune or musical picture which he gives evidence of can bread. I don’t blame my countrymen and tion. This “arguing” about a matter of taste study music. He has no voice at all.” Yet often a wise favoring, should be played again and again for he will women for not liking the crust of American made some impression on me; and when, in a teacher discovers that the child’s voice is not at all at learn more from it than from others less liked. And bread; it is usually as tough and indigestible as more recent volume, One Hundred Songs by fault ; it is simply that the child does not know how to tor the development of the true musical sense, one must sole leather. Ten Composers, I had occasion to comment on establish a relationship between the ear and the sounds see to it that a large portion of what is played to him Over here anybody who wants to can bake what I consider Brahms’ best ten songs, I took which he is asked to make. His ear is not false but is not overburdened with words or stories. Unless he and sell bread. In France a baker’s apprentice pains to dwell on all the beauties I could find lazy, and his vocal apparatus lacks suppleness, and quick¬ eventually loves music without program, he will be no has to go through a four-year course of studies under a high-power microscope. I still con¬ ness of response to mental impression. music lover. before he is accepted as an expert. Is it a won¬ sider the Brahms songs, however, inferior in 2r.iwr.srm ^ s inspiration to the songs of Shubert, Franz, . The ear js vei7 closely related to the larynx; and it der that French crust is so much crisper and jfbat about. iau,ty Pian° Playing? Rubinstein says it Iharm,!LT„ finuy5ng the Nation of genius, but Schumann, Jensen, Grieg and MacDowell. that the musician with the best possible ear often plays is certain that there are, reciprocal influences between the tastier than ours? Americans visiting Paris has eve?e!ck *° aHow,a"y pupil to Wieve that genius The full-blooded Brahmsites are funny. false notes. But he will be a better musician, perhaps voice and audition. The fact is that to train the voice need only a meal or two to prefer the French roval rona S? fr.0m,labor and become famous The They look at you askance unless you admire improves the ear if it is borne in mind that the pupil bread. In an American boarding-school no than numerous other pianists whose fingers never go nherW “ the Same "‘W as the philoso- with equal fervor everything Brahms ever mmst be taught to appreciate the relation between sounds one wants the crust. In an English school, astray, yet whose ear and temperament are never in ac- wrote. Have you ever heard the story of the To develop the ear of the child, then, it is well to where bread is baked the French way, there is, i°rd,,^0t bemg initiated into conventions of harmony, LmSHSfSIT'f “""from girl who was a Browning fanatic? A horrid the child may not notice the playing of false notes, but cultivate the voice, that he may always have the means I have read, “keen competition for the most this is a matter of education. at hand to express himself musically when so inspired. crusty portions.” friend one day read to her one of the less Ostentation in playing is often destructive of the known Browning poems and then said: “Can .X* i= important that the child shall be made to appre¬ Also there is value in training both senses since there is So you see, this “difference of taste” between a reciprocal education between the two which counts in very impression that the player tries to create. Avoid ' Americans and the French in the matter of you really see anything in that?” “I think it’s ciate the nuances of music; whether the music is soft motions _ and mannerisms. La Rochefoucauld said: or loud, quick or slow, at the top or the bottom of the the ultimate musical development of the individual.— crust and crumb is decided by a thing to be adorable,” was the reply. “That’s funny,” said translated for The Etude from Le Menestrel. ability6”IS ablllty m lmow®8 how to conceal one’s argued about and explained. Henry T. Finck the horrid friend, “I skipped every other line.” Page U JANUARY 1921 THE ETUDE TEE ETUDE JANUARY 1921 Rage In Among the Brahmsites there is a good deal of that sort of insincere worship. His most intimate woman Reminders in Teaching Children friend, Frau von Herzogenberg, was an exception; and mat was one reason why he liked her. She wrote to him frankly: “Why, dear master, when you can give By Lindsay McPhail us pure gold, do you so often give us brass?” I have always discriminated, in my criticisms, between Brahms’ Three words, any one of which might form the hit-the nail on the head when she remarked: “I do not gold and his brass; ar.d because I refuse to accept his basis for a paragraph’s writing or discussion, appear believe in ‘all work’ and ‘no play.’” Still that is just brass as of equal value with the gold I am denounced as in my mind to be the most important, most full of what many students wake up to find themselves guilty an anti-Brahnisite. It doesn’t worry me in the least meaning in all teaching, and especially in the teaching of, usually too late. How many teachers can honestly New Paths in Pianistic Expression I assure you. I am not an anti-Brahmsite at all. I ad¬ of young children. They are say that every one of his pupils is in good health, mired his second symphony when I first heard it, in 1881 MIND, strong en.ough for piano study and playing? Or can By SENOR ALBERTO JONAS and I still enjoy it after hearing it some fifty times! say that, if such is not the case, they are helping 1 do not, as Philip Hale once accused me of doing, look HEALTH, their weaker pupils to regain their health and become for the fire escape every time the orchestra begins a DESIRE. Brahms piece. stronger little by little? Not many, I believe. Then Senor Alberto Jonas, distinguished Spanish Piano Virtuoso and Teacher, gn'es many impressive As the word “DESIRE” might aptly mean the “heart” From the above remarks we see that much of what is we teachers must be blamed ourselves for the com¬ of a student, this treatise will be meant to cover the thoughts for ambitious players regarded as a question cf taste is in reality a matter of mercialization of the art we love! discrimination and sincerity. entirety of a human, so far as the “main essentials for Why is it done? Why do we insist upon ruining musical success” are concerned. The awe inspired by great names does much to im¬ our pupils, and art besides, by accepting nervous and pair sincerity of judgment and to create the notion that physically defective pupils? Every time some such ating entirely the impressions made on us. Therefore Keep the Mind Alert For an artist it is rather surprising and disconcerting there are differences of taste where there are none. pupil comes for his lesson a frown covers his counte¬ to have a pupil ask him—and he does ask often: “Do if we wait for a special grand occasion on which we a/T „Newman’ in his delightful book, “A Musical Where is the greatest mind amongst men? Where nance. We, as teachers, are not looked upon by such you want me to play my piece with expression?” The are to play a piece “with expression” we may find Motley, gives two amusing illustrations. At a concert is that mind most free from care, business, worry and a pupil as a helper, but rather as some hated being pupil might well ask, with just as much propriety, only dryness and barrenness where the little, delicate he had to write about, a flute sclo was played as an all problems of life? In a child. Few teachers of whose very presence is detested. All this because of whether he is to be pleasant and kind to those he meets blue flower of poetry -was beginning to grow. encore which he described as touching the very depths music acknowledge this fact and attempt proper progress our having accepted an unhealthy, “unable” pupil. and speaks with. Play “with expression” the moment you begin to of inanity “A scandalized friend,” he continues, “there- from that standpoint. No piano practice, I believe, should ever continue The reason for such and similar questions is to be play at all. As your impression of the piece becomes upon asked me if I knew that the piece was by Mozart, I have special reference to teachers who believe that longer than thirty minutes. A little rest, fresh air or sought in a misconception of the word expression. It more varied and deeper, your expression will likewise t did not; and not knowing that, and, therefore, not to explain anything to a child one cannot talk plain exercise of some sort is then in order. This is espe¬ is often used by the pupil (and also, I regret to say, be richer, deeper and broader. As new points of view, being hypnotized by Mozart’s name, I could see the English, but must depict a miniature “Toyland” in the cially true if the practice has been mental instead of by the teacher) when the word shading is meant. new sources of delight, or of joy, or of sorrow are melody for the empty, perfunctory thing it was ” child s mind, with a little “umph, umph,” “itchy koo,” physical. Each day there must be plenty of good There is a great difference between shading and disclosed by studying the piece, playing it over and “da da” and such baby talk mixed in for season¬ rJdtn °rher inStfnC,e refers t0 a" early Beethoven exercise in the out-of-doors before, between and expression. over, thinking about it, so new effects, new vibrant rondino for wind that Sir Henry Wood was very ing. Even if a teacher believes that play-talk is neces¬ after the practice sessions. William James said the Expression nearly always includes shading. But strings will seemingly be added to the instrument which fond of giving, no doubt because of the chances it sary, why not make the piano the plaything? Instead thing well in his book on “Ideals”: “KEEP THE shading a piece may be accomplished without bringing under your fingers is evoking anew the magic life affords to good wind players to show what is in them. of telling little Mary or little Henry that a smooth FACULTY OF EFFORT ALIVE BY A LITTLE to light the purpose, character, mood, spirit, atmosphere which slumbered in the silent symbols. It one of our young British composers,” writes Mr scale sounds better to everybody’s ears than a faulty GRATUITOUS EXERCISE EVERY DAY !” Now, of the piece; without investing it with the personal Shadings alone—no matter how skilful fhe dynamic Newman, were to produce such a work at Queen’s one, both pupils are suddenly taken forty miles or so add to this a little more recreation, play and pleasure, equation of the player—his own feelings, emotions and treatment—are insufficient to render adequately the Hall the critics would with one accord say things away front the lesson because of some such teacher and there will be more healthy musicians than there thoughts which he, both unconsciously as well as magnificent, broad sweep of the following measures, about him that would make his ears tingle for a month catechism as: “Now, pupils, that scale playing will are. For “HEALTH” is “SUCCESS I” through volition, attunes to the thoughts, emotions and which, like the huge portico of a cathedral, usher us into after. Yet very few of us say, the morning after a never do! What if your toy soldiers fell down on feelings which swayed the composer as he created his a tone creation of vast and noble dimensions: the concert, that we think the rondino dull; and if we the job as your little bitsy fingers are doing? We’d Keep the Desire Strong Fantasy and Fugue in G minor of Johann Sebastian drop a hint to that effect, it is in a half apologetic way, all be bad Bolsheviks within two weeks!” and then, Unconscious Shading Bach, arranged for piano, in supreme, masterful “Your soldiers must march straight up to fight well.” Again I ask to touch upon the question o f com- • i we knew we were doing the wrong thing in sup- Shading a piece may be accomplished through a fashion, by Franz Liszt. Something is needed here posmg that so great a man as Beethoven could ever In short, under this heading “MIND,” I believe in mercialization of our art. How many teachers can purely mechanical process, by reason only; although besides a firm touch, forceful accentuation, careful be third-rate. speaking reasonable and plain English to the children honestly say that every one of his pupils is 100 per cent, interest and ambition in his work? How many usually it is by an unconscious process that our feel¬ shading and skilful pedalling: the understanding of It is now clear that the indiscriminate worship of the at all lessons, to hold the mind to the musical side of ings dictate the distribution of lights and shadows, of and capacity for reproducing—for portraying—the ele¬ German classics was one form of crafty German propa¬ it for at least that amount of' time a week. Goodness teachers can say that they have made a complete fortes and pianos, crescendos and diminuendos. Shad¬ mental grandeur of this broadly conceived work. ganda before the war. Not a few critics and amateurs knows that the little ones will soon enough be back at study of the natural gifts of their students and have ings correspond to the heaviness or lightness of the m America and England were caught in the meshes their house wrecking and toys again without these be¬ found that those pupils are most talented along mu¬ recitatives must ever remain a matter of wonderment drawing ; to the intensity of the color applied to the. A Titanic Work of this propaganda and are now ashamed of it When ing incorporated into the music lesson, too 1 The sical lines? Not many, I’m positive. Well, then, to and study, for the earnest musician. What grandeur, teachers, here is one more cause for a poor pupil. painting. Shadings may, therefore, be considered The Fantasy and Fugue in G minor were written by what pathos is expressed in them! At times methinks they praised certain inferior pieces by Haydn and Mo¬ sooner musical terms are put into the child’s mind, Bach for the organ, and we can well understand that He is probably out of place—no fault of his—but synonymous with the greater or lesser volume and the old Greek chorus is evoked here, for such must zart, Beethoven and Brahms, which I did not praise, it the better, the child’s memorizing, playing and musical when strewing therein the wealth of his musical ideas your fault for having accepted him! And Lord help intensity of a sound. have been the impassioned recitation of the ancient was—or wasn’t it?—a “matter of taste” quite worth effects in interpretation will be. In addition to this, he was influenced and helped by the infinite resources arguing about. a child is always proud of achieving a new word. It a stranded musician to-day above all other accidental But expression is the concomitant of all that the psalmodist as he sang and was answered at intervals, piece has awakened within us. whether directly or indi¬ To be sure, there are different ways of arguing about is m the nature of a new toy. To make a successful pianist or teacher of piano out Grave in short, wailing, or fiery accents by the surrounding rectly connected with the piece. Just as we perceive matters of taste. To throw a beer mug (empty, of It will be time enough to talk baby talk to the child of your pupil DESIRE must be the predominant fea¬ chorus of singers. “The Grecian tragedy was at first an object because a greater or lesser part of the rays course!) at one who disagrees with you—as happened and invent terms that will make its musical problems ture of the pupil’s actions in all lessons. Why shall nothing but a chorus of singers”—(Dryden). Or is it that strike it are reflected to us, so expression is the many a time in Munich in the days of the war on Wag¬ more obvious when the teacher sees that it cannot we expect music or the musical talent in a carpenter the Jewish chant which is heard here—this strange reflection of the impression made on us by a tone poem ner—is not the best way to enforce an argument. understand plain musical English. Children are very or electrician? Or from a stenographer or an excep¬ melopoeia, with its trills, turns and shakings of the much smarter in comprehending hard words than we tionally good business woman? Moral: It can't be and -which v/e project from our own personality. But in done! Why try? order that this projection—this expression—may take voice—at times lamenting, anon querulously supplicat- • give them credit for being. It largely depends upon ing, a blending of the old Arabian, Egyptian and Jew¬ Practice and Muscle Fatigue These foregoing remarks refer, of course, only to place, our impressions must have been keen and strong. our pers,stent use of such words in speaking to the ish priestly invocations, and which to this day is sung the pupil who is going to take up music as a career. The deeper and stronger and keener these impressions child. A boy of five, the son of a professor at one in the synagogues by the high-voiced rabbi? By John U. Osgood of our large colleges, was able to use the botanical Everyone-no matter what his talents in other direc- have been, the more potently and convincingly will they names of the flowers he saw, simply because he habit¬ tions-should study music in childhood just as he be projected from ourselves through the medium of an Why do my fingers get tired? ually heard his father using those terms—not at all studies other subjects whose immediate use is not instrument. Why is my practice at a standstill? because he had been taught them. And it will be the obvious. Even if the child attains but little in the Therefore the first requisite for acquiring to a I so fatigued after playing such a piece as same m music, if the teacher will have a little more way of technic, some understanding of music will be marked degree the power of expression is to possess, the Chopvi Military Polonaise”? faith in the receptivity of the child-mind. Remember, grasped and retained, so that in later years he may and carefully safeguard, a musically sensitive nature. There is a reason and a very physiological reason. it is the child’s business at this early age’to absorb “ t0 rausic with a comprehension and pleasure This includes sensitiveness of the musical ear, which Getting tired is getting poisoned. Every physical action everything that is set before it Why, then, should it that would not otherw.se be possible. For, fortunately perceives the slightest difference and fluctuation in the pitch, volume and color, or timbre, of the sound; re-acts upon the body in two ways. be compelled to absorb nonsensical terms and idioms for the immense army of performers, there are some (o) Every muscular effort results in the casting off that it must later throw overboard as so much junk? people t constituted rather to listen to music than to sensitiveness of feeling for harmony, in its blending of of poisonous detritus—or shall we call them fatigue Try even long, difficult words on its intelligence, and consonant and dissonant sounds; sensitiveness as to toxins. 6 see what it makes of them. Of course, be scrupulous Finally, then let us find out if the “new pupil” is the slightest change in the tempo, so that once the (b) Every muscular effort is followed by the assimi¬ about the pronunciation, and insist upon the youngster musical enough, by natural talent, to have the “mak- tempo of a piece is heard it is never forgotten; sensi¬ lation of new energy products from the blood stream getting the word exactly, right. Ten to one it will go mgs of an artist in him; or whether he will fall into tiveness to the rhythm and to the measure; sensitive¬ ness to accentuation, touch, delicacy, strength, and, Therefore, if before the muscles are sufficiently strong home and “spring” them on the folks—proud as a pea¬ the classification of the well-informed listener- and let and supple to bear the strain, one severe or unusual cock to know more than anyone else about the house. these conclusions govern us in guiding his studies. But above all these, to the inner, glowing life of the com¬ muscular effort is followed shortly thereafter by an¬ whatever we give him, let us keep a keen eye upon these position, to its appeal to the intellectual faculties or to other muscular effort, and then another, and so on, as Keep the Health Sound three points: sound and direct teaching, no matter how the emotions of man. in thousands of instances in pianoforte practice, the young the child is; just the quantity of work neces¬ I believe that I know of at least twenty “prominent Expressing is Creating muscles become fatigue-poisoned and progress is at a sary for the object to be obtained, and well within the failures, meant to have been future “greats,” all due to To express means to reproduce, with the inevitable of the mightiest of all instruments. But -what shall be standstill. This is one of the reasons why in scale nervous and physical strength. Careful and well-vision¬ the lack of health and strength necessary to stand the alloy of our own individuality. To express may also said of the Chromatic Fantasy and Fugue, this wonder¬ playing and in arpeggio playing there must be ever ed teaching like this is beyond price, and as high a strain of an artist’s life. A former teacher of mine once be said to create anew. ful example of tonal architecture, the fitting companion recurring periods of rest. work as anything that calls to the idealist to be done. The moment we read, play or sing, or hear a piece of the Fantasy and Fugue in G minor, over which it Rest without muscular effort is stagnation. sung or played, we receive an impression; and it is perhaps towers through its boldness and vastness of Muscular effort without rest is poison. henceforth impossible for us to play or sing this piece design and the Cyclopean strength of its execution 1 The successful student is the one who watches him¬ NEXT MONTH without investing it with expression of some kind. The Chromatic Fantasy and Fugue of Bach remains Ferruccio Busoni (in his edition of the Chromatic self very closely to find cut how' much effort he can This expression will be more marked if we read, play in some respects an unsolved problem. How could Fantasy and Fugue) by the simple, yet clever device of stand and how much rest he requires. The Etude presents an exceptionally interesting interview with the or sing this piece often, or hear it often sung or the great German write for the tiny clavichord a work using three staffs, presents in a graphically clear man¬ famous prima donna played, and also according to the greater or less free¬ that tests, and in no way exhausts, the depth and ner the solo voice and the answering orchestra or To go deeply into one art* is the best means to learn dom which we give to the impressions which the piece power of our modern piano? The piano, the organ, chorus. Viewed thus, shall we not express better these au.—Hauptmann. MME. ALMA GLUCK h-s produced on us. If we deny them utterance, if we the orchestra, the chorus, all seem to he needed here wonderful cantilenas than if we are concerned only to stifle them, we run great risk of deadening or obliter¬ for an expressive rendition of this great work. Its render them in a well "shaded” manner? —1 Page 16 JANUARY 1921 tub etude THE ETUDE JANUARY 1921 Page 17 And how can shadings alone bring home to our Making the Most of the Practice Hour Hearts the fervent song of earthly renunciation, of 1 he Revolutionary Rtuae • heavenly hope, which Beethoven has sung in the sec¬ » ond, and last, movement of the last sonata which he By Anne Guilbert Mahon li 11 wrote for his beloved instrument? r;j|.;*i A Christmas Story of Music and the Great Unrest “How do you keep in such splendid practice?” asked exercises, I practiced the pieces on alternate days, keep, one busy young music teacher of another, as they met, ing in practice with all the varieties of movement.” S ■ | i By CAROL SHERMAN , I each on her way to give a lesson, and walked along “Then,” she continued, “I found by watching that ; i\ together. “I find it so hard to keep in practice myself. I often lost time practicing a whole piece when reading PART 11 I’m bttsy teaching all day and often in the evening. or memorizing, when there were only certain phrases (Concluded in this issue) I have go few spare moments, yet I feel the need of or sections which needed special study. You’d be sur¬ practice. Keeping up with my pupils is not enough. prised to find how time is wasted that way when you Synopsis I need to amplify up my own repertoire—and I can’t don’t realize it. When I try a piece over for the first [This story began in the December issue of The Etude being suspected of some very contemptible work as a spy through the f iship and 1 If"of hr10 answer-fati,cr «*«», “wen and butter and the welfare of his family, lost heart Thaleon was telling the truth. Yet, it was necessary . there! and that settles the matter. Isn’t it deliciously THE ETUDE and quickly sought employment in an uptown cabaret. have some one other than Hans and his big viol JANUARY 1921 Page 19 funny? Dear old daddy! How happy I am that things As the time for the recitals approached, Thaleon vouch for Thaleon. Hans forgot all about his appoint! — have taken this turn! He already not only looks upon could think of little else. By the tenth of December ment at a Christmas dinner in a cabaret and left his buli - » >as- ^ 3 u as his son, but he has enclosed a promissory note he had dismissed all of his pupils and devoted his entire fiddle in the corner of the chief’s room while he went r with the check for *3,500 because he knows you well time to practice and to outdoor recreation calculated, out on a search for Eliott Pyle. enough to realise that you would not accept this as a 1 to contribute to his vitality. “Pep,” Mary’s father A dozen times Thaleon congratulated himself that called it. For four interminable days he did not even he was dressed ready for the recital. If the worst came Alivays your loving see Mary. Then they met one night, just to celebrate to the worst he could yet go directly to the hall. The ' " ' >f MARY. over the fact that the seat sale was far beyond their time dragged infernally until it seemed as though Pyic expectations. Lavish advertising had paid. If it only would never come. Finally he rushed into the room Unscrambling Difficult Passages fa ti I uZ u I"'11 f °nce over tht' telephone, and in a succeeded in filling one hall and launching his artistic with the breathless Hans behind him. In two minutes half hour he was thanking Mary in a more-but per¬ craft! It was. reported that Streponski also had a Thaleon was on his way to the Astor with Hans for the haps we had better not say anything about that. most excellent “sale.” The papers were already com¬ finest luncheon he had ever had in his life. By GEORGE F. BOYLE Too prudent and practical an American to waste any menting upon the appearance of the rival pianists on We shall have to refer you to the daily papers for the same day and the critics were whimpering about Professor of Pianoforte Playing at the Peabody Conservatory, Baltimore ‘fnb!rf”°nT TcaIe°n knew that if he did not make a the criticisms on the recital. Perhaps the most practical splurge when Streponski was using that method in their over-worked concert days, forgetting that many estimate of its success was the contract made the next of them spend much of the summer pretty much as advertising, he would suffer with the unthinking con¬ day by a large manufacturer of records, calling for y, Australia, June 29, 1886. they chose in cool country resorts. •t appearances in 250 towns cert goers who are called by the loudest voices. Thaleon’s services for a period of five years. Thaleon ; conducted entirely by his rnsively in Europe as a co mere was a precious day with photographers, print- despite his exciting experience, was more invested with l Sidney Moss in Sydney. a play the MacDowell Celt ers a clever and honest manager who had known poise than ever. When he reached the Revolutionary The twentieth, the twenty-first, the twenty-second, the Etude, which came just before the final Liszt Four¬ ta h f JlnCf y r, a,Ul rejoiced in the opportunity The late Theodore Roosevelt once commented on of but one. The skeleton is practically the same as- passage being the F major triad, each note preceded by to buy more desirable publicity. Then another friend twenty-third, the twenty-fourth—and then the twenty- teenth Rhapsody—he glanced out over the darkened the impossibility of unscrambling eggs! a "gruppeto.” A similar passage occurs at the end of ah advertising expert for a large corporation, was ap fifth ! The days ticked by like the strokes of the ex¬ silent house and then burst forth into a pianistic whirl¬ ecutioner’s clock. On the morning of the twentv-fifth However this may be, with regard to our favorite Ex.2b proached His fees were quite beyond Thaleon’s means, wind such as New York had seldom heard. "Rosenthal but friendship is a wonderful reducer of fees \n Thaleon awoke as in a dream. No man on his wedding- breakfast food, it is precisely the process of “unscram¬ Paderewski and de Pachmann combined!” one enthu¬ bling” which must be employed to render the major¬ intensive campaign was planned; and, by the time Thal- day could be more excited. After a cold bath and a siastic “cub” critic called it. walk in the open, he returned and played scales for a ity of seemingly intricate musical passages intelligible, eo„ was ready for the great day. New York and half The recital over, Thaleon rushed from the stage into half hour. He had resolved not to touch his “program” and consequently capable of being mastered with com¬ the country knew that there was an American pianist the arms of not only Mary, but her father as well that day. He and Mary had also decided not to see parative ease. A still more easily unravelled type of passage is Chopin’s Etude (also in F major) Op. 25, No. 3. whose playing had been compared with that of Pade- Thence, they went to Gramercy Park, where Thaleon rewski by two of the greatest teachers in Europe. each other before the concert. To make this scheme The majority of passages, no matter how extended that in which no true rhythmical disguise exists, but How many students' have been appalled by the mere bad another overwhelming surprise. The Stapletons and elaborate, are usually but sequences or successions Thaleon saw little of Streponski, save for a chance endurable, her father had arranged to go out to Long sight of this left-hand passage from the study in C% had arranged a kind of congress of the best artists and of short figures, however complicated the finished meeting 9t Ditson’s or Schirmer’s. Then the two men Island for a' “run,” as their English chauffeur ex- Minor, Op. 25, No. 7? musicians in the city as a reception to Thaleon. Surely structure may look—and sound—it is generally possible merely bowed. Quite evidently Streponski had no sus¬ pressed it, , there never was such a Christmas fi-te. The great to discover the skeleton around which it is built. picions of Thaleon’s investigations into his underhanded Exactly at twelve-thirty, Thaleon heard a knock at receiving rooms had their walls dressed with ( hri-tmas- As it is useless to expect the fingers to master any work. Once he heard from a very genial manager of his door and two men entered very abruptly. tree branches, until the house looked and smelled like passage which remains a puzzle to the mind, it will be Are you ThaIeon Blake?” asked the leader. »n mUS1C St°rc’ known to everybody as a transplanted forest. the intelligent student’s first concern to analyze the uaddy, that Streponski had inquired whether a thief \es ’ stammered the bewildered pianist. “What do you think of it, Thaleon?" asked Mary structure and become familiar both witli the skeleton A translation into a more familiar key—think of it had ever brought in a carefully fingered copy of the Well, said the other man, “we are from the Secret I can’t think of it," he whispered, "all I can think and the means employed to ornament it. as being in Bb instead of A#—and the discovery of the Lhopm Revolutionary Etude for sale. How well Thal¬ SWCf„a^d 'yeJh!Ie ,a warrant to search your rooms." of is you. Apart from the necessity of this for technical mastery, “skeleton,” would simplify it considerably. eon knew that etude, only he and Mary were aware But, blurted Thaleon. it will be equally helpful for purposes of memorizing. There was the secret of Streponski’s fiendishly brilliant “There ain’t no huts with us, young fellow,” exclaimed Ex.SA The methods of building passages with figures whose performance of the work, a very ingenious fingering the detective. “We are here to find a piece of music, , I- Ml. which permitted far more rapid performance and at and a mighty important piece, too.” identity may seem disguised, are of course, quite nu¬ the same time did not mar its clarity. Since Strepon¬ “Here we are,” said the other man, taking a piece of merous. ski s recital was scheduled for the night of the twenty- paper from his pocket and comparing it with the Revo¬ Among the simplest is the device of the rhythmical Another easily recognizable type is a double-note fifth and since he was certain that Streponski would be lutionary Etude on Thaleoii’s piano. “Here it is pin¬ “ Plain Language ” disguise, as for example, the use of a two-note figure in passage broken up Into its individual components. sure to include this "war horse” in his program, Thal¬ pricks and all.” ’ v groups of triplets. The following from the familiar G'b Etude pf Op. 10 eon gave more attention to this number than to any “I always wondered what those pinpricks were” By Ada Mae Hoftrek (the so-called 'Black Key Etude,”) other on his program. The critics could not fail to muttered Thaleon. draw comparisons. Thaleon purposelv did not adopt “Oh you did, did you? Well, perhaps the judge will the fingering of his rival, but set about endeavoring to enlighten you later on to-morrow,” guffawed the larger contrive new effects a la Godowsky. He tried hundreds To liegin with quite obvious examples, the passage of new ideas until he finally realized that he had hit “But it doesn’t belong to me.” insisted Thaleon. is clearly made from upon one that seemed like an inspiration. He was not Of course, said the little detective. “Get your hat altogether in sympathy with the current pastime of Remember all that you say here will he put down' against you.” distorting Chopin’s delightful masterpieces to make the clear'Z'the'l3 P®rt,cular,-v backward pupil make things public gasp; but at the same time he knew that if he But I can t go now. To-day is the day of my recital ber that the I n and "'^rations. Remem- could contribute real beauty to a work in keeping with and the whole house is sold out.” fier that the language of music is new to them iust as a the technic of the times, even Chopin wduld have been Both men looked at each other and then broke out foreign language would be to us. may seem, on first sight, to be composed of two differ¬ which can be simplified by. grouping in twos to obtain delighted to hear it. in roars of laughter. ent figures of three notes each, whereas, it is really a shorter figure and more regular sequence. exmesLadfnanCtrl'P?iIScd° "0t "ndfrs,a"d all that is The first time he played the etude in its new form „.“Say’ you"S man,” said the larger government officer expressed for their benefit, but are unwilling to admit a recurrence of a two-note figure. Ex.SB in the Stapleton home, Mr. Stapleton was not content if you dont go with us, we’ve got to carry you; and until he tried over a dozen records of the work from his that won t look very pretty in the streets.” 2 "ZVl'o, '***<”***•. library records made by as many famous pianists. At Thaleon realized that the time for quick action had the end lie asked Thaleon to play again. With the last come. He could settle nothing here. In three hours Such passages, although written in single notes, notes Mr. Stapleton put his hands on the boy’s shoulders at the most he must be on the platform at Aeolian Hall should first be practiced in their fundamental state, as =~smms. The “skeleton” is simply our old friend, the triad of and exclaimed; “Do you know, young man. I'm mighty Consequently he put on his coat, and, asking the de¬ George F. Boyle double notes, as this teaches the hand to prepare its proud tliat you are an American.” tectives if he- might take their arms as he walked C major, each note of which is preceded by a passing necessary positions more rapidly. through the street, he got the reply: note, or appogiatura. "Robij’son’cru’oe-’jn 0< * >ik« where the fundamental figure begins- on another note The same principle of practice should be employed Oh, you needn’t think we’re worrying about your Ex. ic of the group than the first. in most passages consisting of chords broken up into It is becauseDecause so manym’anv people7 can°f understand0116 and two it. syllables. getting away. The last fellow that tried that never 1 have seen a student come to grief over such a single notes, at least when the fingering for the single Some days after that -famous evening at the Staple- came back to earth no more.” ton home, Thaleon returned from a concert late at night simple passage as the following from Chopin’s Study, notes will be the same as that for the chord. This and found that his rooms had been entered in his ab¬ O" 1thc'r way to the office Thaleon saw a face that from the C Minor Etude, Op. 10, No. 12 (known as the filled his heart with joy. It was little Hans Tobleman. Aids to the Correct Fingering of Scales, Ex. 3 sence. A small sum of money was missing and' a few “Revolutionary”) struggling under the burden of his big viol his ever- Bear in mind, however, that this type of analysis must articles of jewelry. Evidently the thief had been fright¬ Hands Together faith ful countenance beaming with Christmas smiles not be apparent to the listener; the rhythmical accents ened away, liecause there were other far more expen¬ Hans came up but was roughly brushed aside by the By A. M. Steede must not be changed—unless specially marked phras¬ sive articles lying around. It was not until the next plam-clothes men. ing by the composer demands it—in order to conform to day that he began to suspect that the theft was a blind, Op. 10, No. 8, by failing to remember ivhen the two the figure recurrence. when he commenced to hunt for some letters that faith¬ Hans, said Thaleon. “I’m in trouble. I’m arrested.” last notes of the group comprised a fifth and when a Shut up, said one of the detectives. “Our orders In other words, while the passage under consideration ful Hans Tobleinan had sent him regarding the machi¬ "•*wl;° ™ fourth, whereas, if the figure were considered as start¬ are to let no one talk.” becomes hopelessly muddled as to firmeru should be thought of as IB, it must be accented as nations of Streponski and others in the Nihilist group to play them together. fingering when asked ing on the fourth note of each group, the same mis¬ called for in 1A. that is, it must have four 'accents, not Fortunately; he had contrived a kind of code for the Thaleon did not need to talk, as Hans Trundled along take could hardly occur, as we then have simply a suc¬ like a little dog. Of course, if the fingering had become automatic as little German-American so that his connection with the cession of short trills (beginning on the upper note) on affair might not be recognized. Whoever had come sv“"“ ™ each note of the C major triad. into the room, it was certainly not Streponski, because The same study furnishes another example of an or¬ On their arrival at the office Thaleon told his story lying spread out upon the piano was the precious copy namented triad, and closely resembles our second ex- quietly to the chief who was courtesy itself. He was the Revolutionary Etude. assured that if he could produce the right alibi he would One or two “second person” conferences with Hans be released. There was no question, the chief said, but An example of a three-note figure treated as a failed to reveal that he was in any way under suspicion scales ( G, D. A, E and Ab major, the THIRD quadruplet: regarded in the light of the rhythmical by the group that met nightly at the East Side Caff, that the code message pricked in the piece of music could be connected with the Court House explosion and fingers of each hand play together grouping, this is composed of three different figures— ck, "Tl Tli where the little musician sawed faithfully with his bow what was far more serious, it was also an attempt at a the fourth beat, as a figure, parallels the first—instead nack and forth numberless times over the strings of his In RbBmDb>Fi,n °b- tHe THUMBS Play together, may be practiced with advantage—in order to become revolution in the mining district. The chief was far familiar with the ■ foundation of the structure, as well huge bass fiddle. Hans, however, fearful of his bread third “■tS'cttr" 6"g" «**, the too serious and too sensible a man not to realize that Here, again, there are not three different figures, as sug¬ as to teach the hand to “prepare” adequately—in the fol¬ Similar rules may be evolved for the minor scales. gested by the grouping, but a regular recurrence of one lowing manner: type, as shown by the brackets above the notes, the * The key signature is changed so as to avoid accidentals. _ Page. 20 JANUARY 1921 THE ETUDE THE ETUDE JANUARY 1921 P'age 21 Ei.7a Of course, passages of the alternating-hands type Goethe’s Neglect of Schubert are not always written in octaves, therefore, the “fig¬ No musician has done more to bring tonal beauty tn ' The Teachers’ Round Table ure notes" will not invariably be played by the thumbs, the works of Goethe than did Schubert. In his day the though they will generally be found in the lowest notes great poet was a powerful force in this land. His Conducted by N. J. COREY of the right hand and the highest of the left. Excep¬ fluence was so great that a word from him would have tions can usually be analyzed easily enough. In the been of great service to a young composer. Goethe's This department is designed to help the teacher upon questions pertaining to “How to Teach, following examples, the essential effect is always the knowledge of music was very slender, indeed. On the “What to Teach,” etc., and not technical problems pertaining to Musical Theory, same, that is, a trill between G and Ab, with the har¬ other hand, his immense popularity in Europe was such History, etc., all of which properly belong to the Musical Questions Answered , °ctave alternating between the two hands, mony of the dominant seventh chord of C major. that he was constantly being importuned in person and by letter to meet this and that person. In 1817, when ' department. Full name •and address must accompany all inquiries. empSnentC' a“Cnti0n 0,1 accou,lt of their Sequent Schubert was twenty years old, his friend, Herr Freiherr The effect intended is generally the "tripling” of a Josef von Spaunn, wrote a beautiful letter to Goethe I tion accordingly. All this work could easily be com¬ smgle note passage by the addition of the first and sec¬ asking that the great poet would send him “two words” 3 Time mental resources that they can think out new principles ond octaves above. passed by a reasonably gifted pupil in two years’ study giving Schubert permission to dedicate to him some of “I have a pupil who reads her notes readily, of instruction and apply them in their work. and practice. his famous settings of the Goethe poems, including The and apparently understands time, but is unable to Your young man, therefore, has a vast field open before get the rapid notes in at the time they should be. him. He is not likely to acquire virtuosity mastership at Erl King." They waited in vain for a reply. Goethe She says she understands how they should be Two Tables was evidently too busy to pay proper attention. Later played, but just cannot do it. Are there any the age of twenty-two, but as an accomplishment, a means of delightful diversion, and a possibility of open¬ “1. What is meant by table work in piano les¬ in 1828, when Schubert was a little better known, lie ven- ■ studies that will assist her in this matter?”— sons? Will you kindly explain what it comprises? D. E. C. ing up to himself the wonderfield of musical composition, tured to send a personal letter with another group of ■ “2. How much technic. Including scales, finger and, even though living in a remote village, being able to exercises, arpeggios, etc., are comprised in each songs. Again no letter ever came. The composer was ! What your pupil says she understands is of little im¬ keep posted to a considerable degree on what is going on grade in piano playing, grading in ten grades? greatly affected by this and terribly discouraged. portance. How she does her music is proof of what she I am especially interested in the first five grades." in the world of music, he is master of his own destiny. In 1830 Goethe heard the great singer, Sehroeder-! really understands. The meaning of the word is deter¬ —L. E. S. mined by what it is applied to. If her musically under¬ You do not ask if he can become a reliable teacher; in Devrient, sing the “Erl King for the first time. Then this he would need more direct training. But as a cul¬ 1. Table work applies to a system of finger training This is obviously an standing nature comprehends how a certain grouping of imitation of the effect which Ex.IOd ] he realized the greatness of the genius of the composer tural asset, what he will acquire will be invaluable to before attempting to use the keyboard. Many teachers would be produced by who had set no less than seventy-two of the poet's poems notes should be played, she will have no difficulty in per¬ begin their first instructions in this manner, and when forming it, except it be technically too difficult for her him, if he has a taste for music. to music, and Goethe is said to have been filled with re- ' systematically applied, with most excellent results. It fingers to master. Your pupil needs a great deal of prac¬ If you will send to the publisher he will provide you morse with his neglect of Schubert. Alas 1 Schubert’s • may not have occurred to you that playing the piano is a tice on the rhythmical adjustment of all sorts of note with a graded list of study material, etudes and pieces beautiful soul had fled two years liefore that time. lie sort of gymnasium, in which muscles are trained in groups to the beat, and to the measure. Secure a copy (the latter classified as classic, semi-classic and popular), died in 1828, at the age of 32. special ways for special purposes. Table work is usually of Studies in Musical Rhythm, by Justis, and Exercises which you can turn over to your protege. He will find confined to the very first beginnings, and with some in Time and Rhythm, by Hepler, and follow directions. no better manual of general instruction than the columns teachers is very brief, and with others elaborately de¬ In beating rhythmical grouping of notes with the pencil of The Etude. By referring to the back numbers of “When Shall I Stop Taking Lessons?” veloped, several weeks being used before the keyboard is upon the table, it is a good plan while speaking the counts the Round Table you will find many'outlines of selected approached. In this the fingers, for example, are also to beat them with the left hand on the table. studies and pieces that will be of great assistance to him. By Norman H. Harney trained to make the first elementary motions correctly and in supple conditions. Then they are trained until High School Credits The question as to the proper age for beg inning the Self-Teaching as a Cultural Asset the motions are automatic, and the muscular control well In each case here, the trill—the coherent figure—will study of music is one which is asked repeatedly and “A young man of twenty-two decides that piano “The following is a high school plan in the sec¬ developed. The greatest difficulty with beginning piano ft" “”;,lhrit be produced by a different pair of fingers. In 10 by ond grade for giving credits for outside music answered in detail again and again. But there is an¬ playing will do him immeasurable good by chang¬ pupils is the effort to do a number of things at once, pro¬ *£%££* ” wmU * ■»*» i» «. L, 1—R. 5; 10\ L. 1—R. 4; 10B, L. 1—R. 3; 10°, ing his loafing hours into a veritable garden of study under private instruction : Technic, all major other question which, while no less important, is not scales in parallel and contrary motion. Prepara¬ nounced by popular maxim to be impossible. But the It i L. 1 R. 1; 10», L. 3—R. 3; 10E, L. 3—R. 1.: 10p, L. refining influences, both for himself and chosen 8A Wl hav^the”^ t0 ,ren,e"lber’ however, that while in nearly so common, and that is the question which serves friends. A stubborn will put an end to study at tory work in the minor scales up to B. Triads, adage was made before anyone had tried to play the ave the complete chromatic scale in three regis- 4 R. 1; 10”, L. 5—R. 1, and to produce the proper ef¬ the age of ten, and during the last six years arpeggios, of all kinds through one octave. Fin¬ piano. Those who begin with table work believe in one ters, in 8 we have as the title of this article. The advice which first sug¬ ger exercises. Transposition of exercises into one only, the middle; fect the notes played by these fingers must predominate. gests itself in answer to this query is, he has played trombone in the village band, thing at a time, and try to develop elementary finger Ex. 8B The foregoing sketch but touches on the fringe of the which has helped him musically. There is no familiar keys. Stndies in short pieces of both “Study with a good teacher until there is nothing classic and modern composers. Analysis of form action as much as possible before attempting the com¬ subject and is only intended to be suggestive. If it en¬ teacher here with whom he can study. Do you more to learn.” not think that, with proper material in hand and of all compositions studied. Harmony—the conso¬ plications of combined keyboard and reading notes ables the student to discover logical designs in passages by careful study and interest (which is certainly nant intervals, explanation of principal triads and And, then, if the questioner, eager for more informa¬ cadences. Ear training and dictation of phrases necessities. Intelligent pupils approve such a beginning, that were hitherto only conglomerations of notes, it will marked), reasonably satisfactory headway can be but an ignorant clientele resents it, not being able to see have served its purpose. tion, asks, W hen will that be?” the advice-giver, assum¬ made?”—B. 0. in one or two parts. Sight reading in grade one. ing him to be altogether honest and candid, will, in the How much work do you understand this plan that the student is thereby learning to play. ■ rhferjTn 3 ,Pr°I,er t0nal ba,ance is here v-ery necessary, Never lose sight of the obvious fact that technical— to cover? I have pupils from many different great majority of cases, be compelled to reply-. ‘Not as 2. I know of no one who has exactly systematized the tain the effect Tth ^ al,Iowed to Predominate we ob- that is, physical—mastery, depends upon mental mas- That stubborn will which worked in the wrong direc¬ teachers, but have never found one in second long as you live.” grade work who had anywhere near covered all amount of technical work essential to each grade. Pupils but ifthf t f 7 C°mp,ete chron'atic scale, as in 8B tion at ten ought to serve in good stead now. Much of Of course, no student likes to face the prospect of the evil in this world is wrought by a will directed in the this outline. Is it possible to get all of this in, vary so in the advantages they have had, or their readi¬ strong thevI1Care f * the fifth fin«ers are unduly’ in one short lesson a week?”—C. E. y are too far apart to sound coherent and we Preparation for Action taking lessons all his life long. Every one looks for- wrong direction. If the same dogged persistence were ness in accomplishing a given task. The matter of exer¬ . ward to the time when he will, in some sense have cises means using them as a constant means of develop¬ obtam an entirely different and erroneous effect-in this exercised for good, what a change it would make in This will be most interesting to the many teachers who case, two conflicting whole-tone scales. By Russel Snively Gilbert ment throughout one’s study. To determine the grade “finished his education” in the field of music, when he human affairs 1 Meanwhile, as modern slang would put read The Etude, and may also serve to set many of will have gained the right to work independently, to be it, “it is up to you,” and you know that “Where there is a pupil may have attained you will judge by the manner There is a reason for every touch employed in play¬ them thinking. It looks more terrifying than it really (accuracy, tempo and interpretation) with which a his own guide and counselor. But, on the other hand, a will there is a way.” There are thousands like you in is. Even with only one lesson a week, if persisted in for ing a piece. How many students during practice ever it is a mistake for the student who has finished a reg¬ the country, and pondering over the same question. player performs the pieces and etudes assigned to a stop long enough lie fore playing to determine what touch two years, and this matter given little by little, with given grade. When he or she can accomplish this in a ular course of studies to decide definitely that he is Those who have the stubborn will get somewhere in reasonable aptitude it may be accomplished. It will give to use and how it should be used? through with lessons forever; and this applies to the their playing; those whose wills are weak, fall by the satisfactory manner it is time to classify said pupil in In passages of this type, therefore, look to the thumb many a teacher a hint as to classifying instruction mat¬ Before playing a note the student should be silent for person taking up music professionally as well as to the wayside. the next grade. a few moments and think of the touch advised bv the ter in such a manner that all items may be taken up and amateur. The lienefit to lie derived from studying with It is said that Schubert never studied counterpoint, studied. Naturally all Of the matter indicated could not ££ tatSS? A" W teacher. If the student is not under a teacher, he should a good teacher m any field of education is found not which amazes those -who study his Mass in A Flat, with Bricks for Building decide some definite thing that he desires to accomplish be gone over at one lesson. It is to be hoped that the • f ey 'l1 tbe 7* dlat the teacher can impart certain its wealth of contrapuntal writing. The progress of time will come when teachers may not be expected by “1. Will you please counsel me as to what should and meditate upon it a few moments before going to information to his pupil, but comes very largely as a many a musician is due to self-teaching. Indeed, it is follow Bach's Two Part Inventions, the three work. & * parents to show pupils how to play a number of little books of Czerny-Liebling, Heller. Op. 45. 46 and this which makes every musician. A student is with his In the recent war many men were not wide awake reeef 7 1C ®!lmull,s a™l incentive which the student pieces, and this to be considered the main object of study. 47, with the usual scale and rrpeegio work. receives from h.s instructor. Everybody who has studied teacher two half hours, or possibly slightly longer, each On the' contrary, no more pieces should be tpRen than Should I give Cramer now, or would I better use during their moilths of instruction. They were indiffer¬ Chopin? Should the Three Part Inventions be given some times alone and some times with a teacher is well week. If he is a serious student he cannot put less than will not prevent the presentation of elementary theoret¬ ent and did no quiet studying before the battle. As a aware of this. Strive as we m^t vvSftt ™ thirty hours a week on his study. That makes twenty- at this time? Which numbers should be used? result they went into action with no plan or understand¬ ical matters from the early months of study. The ma¬ ”2. Please suggest some solos suitable for this nine hours he works with himself, and one with his grade, and also a concerto. Would this be called ing in their minds. When orders were given they did working 7 ^7 °r make 50 Progress when jor scale work suggested above is not excessive-for two working alone as when we have a teacher to set us a teacher, each week. Is not the amount of his real prog¬ years’ practice, even though they were not begun until eighth grade work?”—D. R. not understand them. They then tried to think while in definite task from week to week ress, then, “up to him?” As I have often said, the the second year. Nor is the minor. Triads and arpeg¬ action, thought wrong and were shot in a few moments. 1. The Three Part Inventions may follow, or they teacher can only guide, direct, correct, and train; watch gios in one octave is not excessive. This does not even So many try to do their thinking while actually prac¬ hifl‘h,’S /eaS0" mUsic no matter what may be deferred for a time for the sake of varying the his stage of progress, can jirofit immensely bv an oc- over him and see that he does not go astray. What we involve the passing of the thumb. If you will make ticing and not in advance. It is no wonder that the work. Numbers 1, 2, 7, 9, 10, 12 and 15 make a good rfurn ,.t0 formal instruction under' a good really known in music was first thought out by some one some experiments you will find that it is not difficult teachers are discouraged when lessons are brought to selection. Chopin should not be used yet. Cramer teacher. A violinist known to the writer an enthu- for himself. for pupils to transpose simple exercises into familiar them shot full of holes.” Five minutes of quiet think- When Wagner dared new chord formations, no one should be used and some of the Clementi Gradus. Also, accent ratCUr' rW7e Stl,dent da>'s « the commonly keys. Let them try five finger exercises and pieces first. ing will often save an hour of wasted action. had taught them to him. He taught them to himself. the first book of Moscheles, Opus 70, should not be over¬ va7, iSeUSe ° ,the term are far >*hi"d him, has at Commit them to memory, and then placing the fingers various times in the course of his life, when the leisure When Liszt added to the technic of piano playing, he- over other keys tell them to play. Your transposition looked. Octaves should be studied. A joint use, on added something not before known or tried. He thought and the opportunity presented themselves, placed himself work indicated above does not go much beyond this. the part of the teacher, of tbe fourth book of Mason’s Finish in Piano Playing them out and taught them to himself. The reason why Iffmf liM,0 a “mpetent instructor and worked with The study of the classic and modern short pieces is just Touch and Technic, and the Kullak Octave Studies will so many pupils fall by the wayside, completely fail in By G. de Long Harrison him faithfully as long as his other interests permitted. what you are doing now. Analysis of the form of such prepare you to teach octaves. Then you may be able Ano her enthusiast, a singer, goes yearly through a their efforts, even when talented, is because they are little pieces is very simple, and it is possible for any to use Chopin, first time over at moderate tempo. Then, short season oi coaching with the best teacher he can totally devoid of this mental initiative. They do nothing of the celebrated French teachers (Louis Diemer) teacher to instruct even very young students how to do it. after a diligent study of some of Bach’s Preludes and find. In these lessons the two men find not only great except what is told them by the teacher in his little Fugues from the Well-Tempered Claiier, Chopin should as as-e< w’ > he was so partial to the compositions half hour. They never observe, discern or think enough Very little is asked as to harmony. No more than can of the writers of the seventeenth and eighteenth cen- enjoyment, but also the satisfaction of realizing a decided be taken up again and an approximation towards virtu¬ for themselves to know what to do with a new com¬ be told a pupil by taking two or three minutes at a iny. His reply was, “the great attention to detail improvement m the quality of th -ir work. They avoid osity attempted. Your pupil is in about the sixth grade. position. Even with a simple little piece that they may lesson and continue little by little. It is the same with the delicate perfection of the technic, the detailed ac¬ the danger of growing “stale.” They have the pleasure Beethoven’s First Concerto is a good one to begin with. happen upon, they cannot tell “how it ought to go.” Of ear training and the elements of dictation. More and curacy which the works of Rameau, Scarlatti, Padre of knowing they are not standing still. There is a For solos, Mendelssohn, Rondo Capriccio, Op. 14 ; Schu¬ definite purpose liehind their studies, and they feel that control over their mental faculties, and of knowledge how more attention is being given to these. Sight reading Martini and Couperin, Le Grand and many ethers alone bert, Impromptu in B Flat, Op. 142; Chopin, Polonaise. they are moving steadily in the direction of their goal. !o direct them in thinking, they have none. The profes¬ should be begun at an early day. Let your pupils grad¬ l.'nle(.1 to Promote.” Of course, Bach is really the cul¬ ually grow into these things. The trouble is that so Op. 26, No. 1; Schubert-Liszt, Soiree de Vienne. mination of the1 * styles of all these writers, but in the Do not be too eager, young music-student, to leave sion itself possesses many of these. Teachers who can many teachers have never thought of doing such work. No. 6; Chopin, Impromptu in A Flat; Sinding, Rustle older writers there is a kind of opportunity for fineness youi teacher. The time will come when you will lie only repeat what they have been told, and they rarely ’ of Spring. and clearness which always has a beneficial effect in the thrown upon your own resources, and this is right and remember but a portion of that. Others are so fertile in It is time they learned how and classified their instruc¬ way of impartmg finish. profitable and necessary. Do not feel, however, that you are through with teachers for all time. Page &2 JANUARY 1921 THE etude How Teresa Carreno Taught the Piano This little tilt restored by self-possession and I did Useful Teaching Hints THE ETUDE JANUARY 1921 Page 23 play, better than I thought 1 could. By Walter Howe Jones During all my time with her, how kind she always By Joseph George Jacobson was !—how thoughtful and how great hearted! She took MENUET CLASSIQUE [Mr. Walter Howe Jones for CARL MOTER Hie State University, Chamnaimrmerly professor of music at pains whenever possible to have me meet the great musi¬ While working hard to acquire a technic do not works have frequently appearred in U'p a comP°ser whose cians, saying it was a good thing to know such people, favorite pupil of Mine. Uarreflo neglect to cultivate the touch,—what the old-fashioned A very good example of the menuet in olden style. To be played in a manner prim and exact, with little or no pedaling. Grade . His description of heraplan and one could always learn something just from being if imparting musical knowledge is unique and helpful.] Germans called the tone development of the touch with them, I could give the names of many of the truly Technic can become artistic only when qualified by re¬ M ME. Carreno was very wise in her teaching, for she great to whom she introduced me, but 1 will only relate finement and poetry in taste and touch. Mere bravura¬ knew when to point the way and when it was best to an account of my first meeting with ope of the great¬ playing is ill-advised. Old Cramer said: “De tnon leave the pupil to discover it alone. For instance, when est of his time, since it was an unusual occasion and there temps on jouait fort bien aujourd’hui on joue bien fort,” I began with her I had been preparing a program was an amusing contretemps attending it. an almost untranslatable pun which might be rendered which I wanted to play privately before some musical thus: “In my time they used to play loud well; now friends when I should have it ready. She let me keep Freezing Out the Wrong Man they play very loud.” Let your technic lie controlled at work on it, heard me attempt the numbers now and A short time before it happened, Madame Carreno had by thought, for without the latter it would lie purely hen, and criticized me in a few words, but always with said that she sometimes wished I were with her when I mechanism., a careful reserve. At last one day when I found myself was not, as she was frequently annoyed by newspaper Thought is intensified by emotion, the latter is the floundering through a passage in the Chopin Ballade in interviewers and found it difficult to get rid of them. “Divine Spark.” ‘le feu sacre,” that something that lifts ,V ™ln0r- 1 lur"Ped up from the piano and exclaimed, I told her to let me know at any time when one was an audience into rapturous ecstacy and fervor—note, for III never be able to play this program!” annoying her and I would take care of him. Very well. example, the playing of d’Albert, Rubinstein, de Pack¬ v *,,Sm;',ed and said Quietly, “I’m glad you have found One afternoon I was to be at her hotel at one o’clock man and Paderewski. Sometimes emotion is controlled °f' ™e”:"fter Waiting a moinent for that to sink for luncheon and a lesson. When I went in the clerk told by intellect through which real refinement and wise dis¬ in, she added. Do you really want to play it?” me Madame was already in the dining room. As I 'Most certainly I do.” crimination are nurtured—note, for example, the play, entered, I saw her at a far table, and, seated with his ing of Josef Hofmann, Godowsky, Heifetz. Levitski ‘Then if you are willing to do just as I tell you, it back towards me was a man talking earnestly to her. and others. will not be long until you are able to play it.” I fancied she looked bored, and I thought that here was A great pianist should possess these four characteris¬ “I’ll gladly do anything you say,” I told her. my chance to rid her of one of the pests. I would prop¬ tics—emotion, talent, intellect and technic. In addition Her advice was that I drop work, not only on the erly freeze him out. I walked to the table, passing the to this, a noble culture, which has restlessly made its program, but on any other compositions as well and man whom I did not even look at, and greeted her, talk¬ incursions into all the domains of intellectual wealth, devote my time solely and entirely to work on finger ing rapidly about some commissions I had executed for adds the breadth and symmetry to playing, and gives a exercises and scales. It took me from four to six hours her. As I talked, I glanced at the man out of the cor¬ lofty repose to art through which genius ascends to that daily to get through the task she gave me, and I played ner of my eye to see how he was taking my snub, and high peak of fame wjiich commands the reverence and those things to her at every lesson for three months. was stupified when I realized that my newspaper reporter admiration of the world. Her sole comment each time was, “You’re doing well; was none other than Dr. Hans von Bulow. I wished I Watch carefully the effects of the pedal, which is keep if up. Finally one day when I had finished she could sink through the floor ! I stammered and stopped indeed, the soul of the piano, as Rubinstein called it. t' suddenly said, “Good ! Now play me your program.” speaking. Madame Carreno, immediately sensing the do not believe that the higher art of pedaling can I* ’ But I haven’t thought of it for three months ” I situation, introduced me to him, saying I was a former gasped in astonishment. pupil of Miss F. whom he knew very well, and at pres¬ taught. There are very fine books and academical, old- fashioned rules, which say: "Change the pedal at every “That makes no difference. You knew it then and ent I was studying with her. He greeted me most cor¬ it will come back to you now." dially and I was invited to sit down with them. In new harmony,” etc., but the real scope of pedaling is far wider than that assigned to it by any little dry-as- To my amazement I did play it. as I had never be- time I recovered from my embarrassment, and ate my dust strictures of the conservatory or the academy. To heved I would be able to. It was simply that my fingers luncheon while listening to their conversation, which was create color is the true mission of the pedal. The had needed training to do the work my brain demanded on subjects well worth while. When the coffee was genuine artist knows no rules when recreating hi- pieces, of them. served, von Bulow took out a gold cigarette case and and will often combine even heterogeneous harmonies.' Punctuality at Lessons offered me a cigarette. I was declining it when Madame especially wl^en playing modern compositions Then As Madame Carreno had not come to Berlin to teach, said. Take one. You know you’re dying for a smoke.” there is the type of piano to be considered. One piano but to give concerts, and as her overwhelming success Von Bulow said, “Yes, do have one, they’re not had will admit of more use of the pedal than another. The from the very first made her in great demand all over they’re Russian.” acoustics of the hall also require different pedaling. Lurope, my lessons were somewhat irregular; but in So I took one, and Madame whispered to me to put it Seldom do you hear the great pianists pedal through the her greatness of heart she saw to it that there was never in my pocket. Von Bulow, hearing it said, “Oh, no. it’s same piece alike. I asked de Pachmann before one of a long time between them, and she always kept me too bad to deprive the young man of his smoke;” but she his concerts in Berlin if he used the pedal in the short filled up with work to do. She would even wire told him she was sure I would rather lqeep it as a introduction to the G minor Ballad by Chopin. I L> re¬ me when she was returning from an engagement, and memento of the occasion than to smoke it. Whereupon, though she might not be spending more than three hours plied, Of course not.” But I noticed that at the con¬ with a funny look on his face, he handed me the case m Berlin she would find time to give me a lesson cert he instinctively used the pedal three times with again, saying, “Since you do me so much honor, have charming effect. One particular lesson I can never forget. She had another one to smoke.” asked me to lunch with her, after which she taught me for an hour. At its dose she said, “Now what are you I often met him after that and he was always cordial, going to do?” and I think he enjoyed the joke, that he, who could snub Bonaparte’s Flute “Go home and work these things out.” so fearfully, had once been snubbed by a poor music student! By H. E. Zimmerman ■Not to-day,” she said. “Instead you are going to sit here and listen to me practice. You may get some As for Madame Carreno it was her quick understand¬ pointers.” ing that saved the day for me; and I cannot do too much She was to give a recital the following evening in honor to her, not only as a great artist, but as a wonder¬ Dresden, and it was this program she worked on. Be¬ ful teacher and a whole-souled woman. ginning with Bach and then a Beethoven sonata, down through a list that ended with one of the rhapsodies— t W1 beremembered that after the battle of Water- which she called “the fireworks”—she played each num Blundering Players l°t Bonaparte, King of Spain, and brother of the her slowly, thoughtfully, and with the utmost care; and famous Napoleon Bonaparte, fled to the United States, it she made a slip, the passage was gone over a dozen By Angela Becker and resided for a number of years in Bordentown. N. times correctly before she would leave it. She sat at “J® the narae fof ,Count de Survilliers. Flute play¬ the piano five hours that day; and it was the most im¬ The young piano student, if given the initiative will ing, then so very fashionable, was one of the Count’s pressive lesson a pupil could ever hope to have. It taught favonte pastimes and it is said that there were few me more than I could otherwise learn in a year. begin to play a study or a piece in a very confident, hasty manner; as if to say: in the country who could equal him. Among the more frequent guests at his home was a young societv gem The Brunhilde of the Piano “I’ll show you what I can do.” One day, immediately following one of her big Berlin But the doing does not proceed in as lively a fashion flute'ri included ° some old Scotch**■ »airs <£*£**+> that were par- recitals, when she had been acclaimed by the critics as as originally intended, and after strutting through a few measures, the over-confident student usually “conies vo'uit mf aSmf ‘° tHl C0Utlt The flu«* which the the “Brunhilde of the piano,” I went to her for a lesson evem-L V was the pride of his life; but one 1 was so overcome with my temerity in daring even to sit up for air” and tries to discover just where he is. In Z 'ZZ r W31 lajtmg '! aside the Count exclaimed down to a piano in the presence of. such a great artist other words, such performers have managed to remem¬ m a burst of enthusiam, "Wonderful! You can make that I became painfully self-conscious. In consequence ber a part of the piece and really play it “by ear,” as music with a stick. Such a player should have a hand¬ I played badly, as if I had no brains, and as if each the term goes. They create quite a numlier of rests or some instrument. Accept this flute of mine, and I will finger were a drumstick! Finally she said. “See here stations which do not exist in the piece. hereafter use yours." The young man in question was get out of this. Go down stairs, go out on the street and A good way to remedy this childlike fault, is for the JJ” /t1r UnT',,ellvgrandfather of the present owner tall in love with someone, no matter whom—the first teacher to count aloud before allowing the student to o the flute, Mr. H. M. Norris, of Cincinnati, O. The woman you meet, and then come back and play!” begin to play. For instance, count two full measures flute is of glass, with pearl and silver keys. An imp of mischief suddenly took possession of me slowly and distinctly, to give the player the proper tempo. and with a gulp at my own audacity I replied. “Madame’ I need not leave the room to do that 1” 1 hen insist upon the player counting aloud. Also ex¬ plain that it is much better to play a little slower and The interest and delight in music history is that it With a flush and one of her sudden brilliant smiles o concentrate the mmd on the notes as they are written. is about something constructive—something for the bet¬ she said, I accept the compliment. Now do me the terment of mankind and not like the average general honor to play as you should.” Instead of a rest station here and there, the playing will be smoother and more uniform in character. history which Voltaire described as “a picture of human crimes and misfortunes.” % From here go back to the beginning and play to Fine- then play Trio. Copyright 1920 by Theo.Presser Co. British Copyright secured THE ETUDE JANUARY 1921 Page 25 Hjge^si > | fTi- < ■ mm9 9 S 3- « i L—LI — z ZZJ—I—\- T T *. m. L, ff f -rf * j :C M . i—t- ^I ff » \ J \> 4 1 j-i- ~ - J—i 1 i - ihUJ N- "-f-l ^■■rr * y E/r r AT EVEN FALL Well adapted for elementary study of the singing tone and the legato style of delivery. Grade 2V E. E CHRISTIANI . Andante M.M.J-72_ British Copyright secured Copyright 1920 by Theo. Presser Co. British Copyright secured Pas’ 26 ■''**0**7 mi tue THE BUTTERFLY pnpTpp THE ETUDE JANUARY 1921 Page 27 Ve AIR DE BALLET PORTER STEELE, 0p. 9 ery gracefyl^and delicate. To b$ played with extreme refinement. A judicious employment of the temporuba to is desirable, r 4 JANUARY 1921 THU ETUDE JANUARY 1921 Page 29 HUNGARIAN POLKA HUNGARIAN POLKA To be played in a dashing manner, rather faster than the usual polka time. PRIMO F G. RATHBUN Tr. , SECONDO Vivace^M.M.j = 144 , tij; > % ' l } \ 1 Yivace m.m.J = 144 > ' k '—v 3 k k. ^ „ r, n- i,s f frf f ifff f if* f iffr.fn A Q _ ;>■ 1 3 1 8 _K «^/ -4-#_^ .. * . -B5PT1. ^— * ‘s«L^ y V V x*\^y7 --*=* ♦ #T • # • * 1 ^1 1 "> ^ ^ ^ 2 ♦ 8^~ 5ji 1 3 4 « f f t ? |- 1:^X7^ 4 £ A 21r ■*- fL a#i i T ft f * , rj f f p- ■My-g. 8k > \A ft V " r V 8 i. ^ f 1 _^ . t"Z>A ‘ z~> ^ 8--^ 8^— .:- ^ \ rFf1^' k ffft £, f a 'n s/cr>^^¥i i f k*jr- rfrrf f r ft f 2 » 3 5risr> v-' ' 1 1 4 " o 1 1 s'- -^3 4j£ 5* 8^t 3^--^ 8 >—^ ^ ■' W', i'N irj>£ fpr ^ v- > > y-t 8^2 —|5 l..'."....!. 1 8 ^5 "i Hi " ^~ (?...’C“” fL-8 ! --- 4 __— -o _ 2 3 A Jt 8£l C> 5 ft £1,14 1 >f f f . ;- jftff A-—s—” dnM 7-fc. ^ £ ft jji i 2 4 5 2 3 4 5———t—a /Tv CODA Copyright 1920by Theo. Presser Co. British Copyright secured Page 30 JANUARY i92i TT/,mmn the etude THE ETUDE JANUARY 1921 Page 31 CONCERT GAVOTTE CONCERT GAVOTTE Copyright 1920 by Theo.Presser Co. Page 32 JANUARY 1921 THE ETUDE THE ETUDE JANUARY 1921 LITTLE INDIAN CHARACtERISTIQUE To be played in characteristic style, observing carefully all dynamic signs. Grade 2*2 WALTER WALLACE SMITH ARBUTUS Anaante cantabile = : 72 A 5 ^---. I-1, t ^ dim. ) ^ mp con m°tt° espresstone^ crese. mp ^ . ^ f -m'‘ s 4 1 Piu animato 5 3 Copyright 1920byTheo. Presser Co. British Copyright secut ed Page 34 JANUARY 1921 THE ETUDE THE ETUDE JANUARY 1921 Page 35 SUNNY AFTERNOON Folk Songs in the Home To be placed as though sung by two voices, the right hand supplying occasional aecompaning tones, Grade 3 By Benjamin E. Galpin This TRADE MARK T cacher. “Good morning, Joseph! How is your 'Represenhs the BEST fhere is violin work progressing this week?” Pupil (disgustedly). “Same, old story. Grandma keeps tell¬ Bdvutiful Baliaw ing my mother that we arc wasting our - money giving me music lessons. She is ( Sacred ~ Secular ) always telling a!>out an old friend of hers Solos - -Duets - Quartete , who became a fine fiddler and never took a lesson ill his life. Mother realizes how .well your pupils succeed, but grand¬ mother does not. It takes the spirit out THEY of me to have grandma make fun of my scales and ‘scratching’ as she calls it.” CAN BE Poor Joe! A fellow can’t play ball > unless he has a little cheering from the PLATED , crowd. Grandma’s day and generation ON and her nationality were evident. The " first thing to do was to win over grand¬ PIANO mother. If she still balked, a fine,, in¬ telligent, young pupil might be lost. Ac¬ OB ORGAN cording- Joe had for his study lesson The Wearing of the Green. At the next lesson lie said: “Grandma has changed entirely. She IDEAL FOR says that she never heard a lx>y as young as I am play so well. She wants mother the HOME to give me three lessons a week instead of two” CONCERT What grandma wanted was tunes, and being “from the old sod,” she heard and CHURCH music in The Wearing of the. Green, where many teachers might have heard only a jingle. The folk song that per¬ sists has a human, artistic value miles 1 IF YOU LOVE above many of the popular teaching pieces. When father hears his daughter A GOOD sing My Old Kentucky Home, nr The BALLAD Old Folks at Home, lie sits back and ( SACRED or SECULAR) puffs bis perfecto and dreamily says to himself, “Well, perhaps all I have put SEND FOR out for music lessons is worth While after all." Folk soiigs of this type are the TfllS bridge over which many a sensible teacher BOOKLET has walked to success. Fit yourself to conditions. It is often far- better than trying to make conditions fit you. In time the parents can be trained to like : SOMGLAND better music, but to attempt to make them tonA i, Glolcp, dcw*d l swallow Bach Fugues and Brahms Inter¬ mezzos may bring on the sort of musical indigestion that costs many a teacher the COMPLETE loss of a pupil. COPIES - POSTPAID " SOLOS 40 mts - DUETS 50 ci Their Fads •Mud Irish Rose Richard Wagner—Dogs. QUARTETS IKS) 15 & 25 cats Eten Josef Haydn—Fine clothes. Can be had wherever.music is sold } Felix Mendelssohn—Sketching. I, John Sebtstian Bach—Lithography. M. W1TMARK & SONS NnewTyor kBUITyG Ludwig van Beethoven—Walking in the bUNRISf 4ndTou country. (EtasrcSftll MihFhrt | Starlight Lov^ StkStatVniW I Asleep |n The Deep L ;A|ovabieLady[|%i0ffeqhfiJS] My Dear. Robert Schumann—Literature. Giuseppe Verdi—Farming. WHO KNOWS? Giaehimo Rossini—Cooking. t Franz Liszt—The ladies. Tool h n| HoHn.ItJnlht'tKNfwj •••-».1—1 [I TurHv.ovr.,.FeHeaetCali [I W UDp J IamputHou7\msWtoUAg Charles Gounod—Theological matters. Josef Hofmann—Automobiles and me¬ chanics. Vladimir de Pachmann—Gems. A New and Revised Edition of this Favorite Album I. J. Paderewski—Billiards and poultry. MANY editions of this collection have been made and a continued salt- is the Alberto Jonas—Chess. rc/llbum of surest evidence of especial merit. Former editions were repititions of the Enrico Caruso—Caricature and sculp- original and, of course, as time went on the plates, style, etc., needed bringing up-to-date. In this new edition all these details have been well taken care of and the contents were also revised, eliminations being made and new numbers Instructive added in a way that greatly improved the compilation. The numbers are ar¬ ranged in progressive order and such numbers as Melodie, Schumann; Bohemian Real Talent Always Triumphs r~r\t price Melody, Behr; Rustic Dance, Schnecker; Cradle Song, Heller; Marcia, Holmes; and •The talent in which all the require¬ many others by excellent composers arc included. Teachers will find this an ments of an artist are united is very rare. teces excellent album, all the pieces being well phrased and fingered and of a style- i $1.00 that will develop a taste for better music. Real talent will get along even with an inferior teacher, in some way or other; Various Composers An Excellent Collection for the Pupil in the Second Year of Study while the best teacher cannot produce tal¬ *By ent where there is none., Such a teacher, -['however, will not bgfcuile people with ITHEO. PRESSER CO. C SUPPLY HOUSE PHILADELPHIA. PA.l” ■ hprortiises that canrfttt, be kept.—Lilm ' Lehma }&fdn:How<'4{> Sing. ■■ Please mention THE ETUDE when addressing onr advertisers. Page 86 -JANUARY 1921 THE ETUDE TEE ETUDE JANUARY 1921 Page 87 cyhe Brunswick Method of Reproduction 0*e .ULTONA PLAYING A BRUNSWICK RECORJD The ULTONA The AMPLIFIER The Ultona is one of the units of the The Brunswick Tone Amplifier is a Brunswick Method of Reproduction further improvement in sound wave and an exclusive betterment obtainable piojection. only on The Brunswick. Etude Readers are Sincere Critics— It supplants the old way. It applies At a turn of the hand, the Ulton? acoustic laws in a scientific manner. plays each type of record, exactly as It is oval. It is of moulded wood. intended. It has no metal throat. Not merely to It presents to each make of record be different from the ordinary, but be¬ the correct needle, the proper dia¬ So We Welcome Your Comparisons cause acoustic principles acknowledge phragm and the exact weight. only one right way, and this we have This does away with makeshift at¬ adopted. tachments and awkward changes. It is Brunswick set the pace in amplifica¬ the only all-in-one reproducer of its 'T'HERE is a final judgment of all phonographs— How this finer tone is accomplished is secondary. tion. It is the combination of units kind, a Brunswick patent. of the Brunswick Method of Repro¬ The Brunswick Tone Arm is coun¬ A the ultimate appeal, the last word. Suffice it is to the knowing critic that it is there. Not duction that in their very co-ordina¬ ter-balanced. This diminishes old-time tion give this phonograph its marvel¬ surface noises. The needle and record merely a trifle better than the ordinary,but vastly better. ously better tone. contact perfectly at all times. There And Brunswick alone controls this is no undue pressure, no faint spots. And that is tone. Less musical people than the combination of betterments. So Bruns¬ The Ultona plays each type of rec¬ The Brunswick Method of Reproduction stands today wick alone can attain the new stand¬ ord at its best, reproducing those deli¬ readers of The Etude may be satisfied with other con¬ ards. cate shadings of voice or instrument in as the highest accomplishment in phonographic art. Hear The Brunswick. You’ll imme¬ which a music lover finds such great siderations. Many of the uninitiated may make un¬ diately appreciate its superior repro¬ delight. duction. Everyone does. knowing mistakes. Some may not even appreciate This is not merely a statement. It is a fact. You the hidden beauties of music. can prove it yourself. Your ear will instantly detect the difference between Brunswick tone and the ordinary. But supreme tonal quality in a phonograph is the Visit any Brunswick dealer. Be critical. Make major consideration of every Etude reader. And that com parisons. You’ll be delighted at the new standards is why so many have preferred The Brunswick. set by Brunswick. And undoubtedly you, too, will The Brunswick does satisfy the ultra-critical. It accord The Brunswick first place and install one in brings to the real music-lover many obvious superiorities. your home or studio. Brunswick Records bring refine¬ THE BRUNSWICK-BALKE-COLLENDER CO. ments too. They can be played on all instruments with steel or fibre needles, General Offices: 623-633 SMabash Avenue, Chicago but, like other records, are heard at Branch Houses in Principal Cities offnited States, Mexico and Canada their BEST on The Brunswick. Canadian Distributors: Musical Merchandise Sales Co., New England Distributors: Kraft, Bates & Spencer, Inc., 79 Wellington Street, West, Toronto 156 Boylston Street, Boston, Mass. ffirunswick ffinm&wick Page 88 JANUARY 1921 THE ETUDE the etude JANUARY 1921 Page 39 GOLDEN DREAMS REVERIE M.L.PRESTON The grace notes in this entertaining little drawing-room piece should be treated in the manner of broken chords played downwards.Grade 3 Aids in Making Teaching Success A Guide for Teachers *-**-.•**?•**!”* Andanteluitute i-uitcon oBpicBBioneespressione lvi.n.m.m. J=72» —/ « __- — ^—■-— ( Start the Child Beginner With | The Second Grade of Study ifH rU}$ -i BEG STANDARD GRADED COURSE of STUDIES—Grade 2 By^ ETHTHSE ReL®SOK~Sch001 °f the Pianof°rte-Vpl. 1 By W S B MATHEWS ’ PRICE, $1.00 SHriSH; Second Grade Piano Collections First Study Can Be Pleasingly Varied With YOUNG PLAYERS’ ALBUM price. 75c.„„ £ SOUVENIRS of the MASTERS musical picture book VERY FIRST DUET BOOK PR1CE 75Cents Pieces in Sheet Form for the Second Grade | | Works for Continued Progress in First Grade | ii iiiffs i 5 "';i~ ilsrl z b,Tw^DbAmathSADED COURSE of STUDIES—Grade 1 IS" MT5U:: li PRICE, $1.00 | The Third Grade of Study STANDARD GRADED COURSE of STUDIES-Grade3 STUDENT’S BOOK—School of the ;—Vol, 2 In 'Lt B- MATHEWS PRICE. $1.00 PRICE, $1.00 "_..:,ii—; | Third Grade Collections for the Piano I Pieces in Sheet Form for the First Grade StdmLud Graded Compositions, (tale__ Popular Parlor Allium.$0.75 VERY EASY -’I ?f y;v, •” 9629 Banco of the Faiiy Queen «-..P«canaZI | Pieces in Sheet Form for the Third Grade | 7271 1 io lit!i ThWL?si;;; . ..Renard ,50 4050 MatuSlka^ I HAD R^R^EXAAHNATKIN^THROU^H THE “ON SALE” PLAN W°rk* Couerin8 in Detail Various Phases 7f StfTy Tn a notation - ■ in a Number of Grades Spelling Lessons in Time and Notation time difficulties liUssin OCTAVES ^™E0dpRESSEORCf*Ve P,ayin8 Exerciae* in Time and Rhythm pupil “second and By E. A. HEPLER Price. 60 cent. By I. PHILIPP Gr*dUS’ P*p Jt j( m ■^ggjg t,;s suss* Rhythm and Technic PEDALS Pedal Book siii'sll Bv DR. J. M.BLOSE Price, JLOO saeysstetask I ^-S^ss^swSi THEO. PRESSER CO. :: ~ PHILADELPHIA, PA. Copyright 1920 by Theo. Presser Co. British Copyright secured Page 40 JANUARY 1921 tape etude the etude JANUARY 1921 _Page 41 LOVE’S VICTORY ( WALTZ , C.S. MORRISON, Op. is Avery useful waltz movement by a popular writer, suitable either for dance or the drawing-room. Grade Tempo di Valse m.m.J»=54 IDLY DRIFTING* FERD.SABATHIL BARCAROLLE A charming study in legato playing; chiefly on the“black keys’.’ Grade 3 Moderato M.M.J = 48 # May be played in G 'fe*- by changing signature; Vs become f’s, t’s become l^’s, M> s become \>s. Inter national Copyright secured Copyright 1920 by Theo.Yresser Co. THE ETUDE Page 42 JANUARY 1921 the etude JANUARY 1921 Page 43 PLAISANTERIE PEGGY To played throughout a capricious manner in free time and with strong contrasts. Grade be in 4. IRENEE BERCTT A clever little musical characterization, taken from the set Friends of Mine. An elastic wrist is required for the right hand part. Grade 3. Allegretto m.m.«Uio8 Moderato m.m.J=108 5 W.E.HAESCHE i... U \ copyright 1920 by Theo. Presser Co. Also Published for Violin and Piano British Copyright secured THE ETUDE Page 44 JANUARY 1921 the etude JANUARY 1921 Page 45 HAPPY WANDERER EDWARD LOCKTON WAIT FOR THE ROSES ARTHUR F.TATE Mr. Tate’s latest song; a most singable number. and W/U much tmderntiiiii 1.When all the world is shad~- "owed,And long seems ev - ’ry rail.2- Each heart must have its sor - row, JEach hour must have its When fa - ded flow’rs are ly -Y ing A - bout your sun - less 'way; Each night must hold some long - ing, Be - fore the dawn ap - pears; vou will hear The voice of hope so sweet - ly say. goon the ro - ses will wake for you, God is near, And H.e will keep you through the years. " ~ ten. Vist verse , i ~ ' ~ll 2d verse'_/?{_ International Copyright secured Copyright 1920 by Theo.Prefer Co. the etude Page 46 JANUARY 1921 To Mrs. HR Goodday MELODIE EOMANTIQUE WILLIAM REED A fine solo piece in the true violin style,requiring clear intonation and an expr l 4 a ten. % tempo PIANO Copyright 1920 by Theo.Presser Co. British Copyright sect ths etude JANUARY 1921 Page 4 9 Page 48 JANUARY 1921 T/TS STUBS FINALE from FANTASIA . On Hawaiian National Airs h.j. stewart A charming concert number,played by Dr. Stewart at his recitals with great success. The complete Fantasia cont' i our additional airs. Like no a Like MANUAL THE ETUDE JAM'ARY 1921 Page 51 THE etude Page 50 JANUARY 1921 A Humorous Musical Anti-Climax One of Mozart's favorite operatic basses Before he had a chance to receive the MARGARET OLIVE JORDAN kJSHOW JA »* MBATX THEJ- WAY HOMER TOURjee was Ludwig Fischer, for whom the com¬ applause to which he was accustomed a poser wrote the part of “Osmin” in the An effective song far church or home. Expressive and dignified. sailor in the gallery took up the pitch Andante religioso (fervently) Entfiihrung. Fischer’s great joy and pride of his last note and sang the following l Moderato con espress. were his very low, powerful notes. It is in a still more powerful voice: said that, when he went below the bass staff he gave the impression of descending into a deep cave. Once, when he was sing¬ ing in Mainz, he finished an aria with: After that Fischer never bragged about his prize low notes. Interesting Facts About the Opera The recitative is said to have been first petus to the development of opera in his introduced by Vincenzo Galileo, father of country, by encouraging the work of Lulli, the great astronomer. of whom he was very fond. Louis himself Pope Clement IX is credited with hav¬ was a capable musician, and at times wrote ing written a half-dozen libretti for operas. music for special ceremonials. These, however, were very probably not Among the many great masters- who like the libretti of the modern operas, but have not permanently distinguished them¬ more like the old Greek tragedies with selves in opera might be cited Bach, Haydn, choruses. However, the popes, in 1500, Schumann, Mendelssohn, Brahms, Grieg. "Just a song at twilight had a very complete theater, in which the Chopin, Liszt. The operas of Handel, When the lights are low. scenery by Peruzzi is said to have been of Beethoven and Schubert were temporarily a really marvelous realism for the time. successful, but, with the exception of Louis XIV of France gave a great im¬ Fidelio, have almost entirely disappeared. THE BRAMBACH BABY GRAND is a beautiful little instrument that will fit into the smallest room. Its price is only what you Practical Letters from Etude Readers would expect to pay for a high-grade upright. Ask for a catalogue and a paper pattern ipn pn^ showing the exact space requirements. 'j. r i A Cure for Tardiness A Very Serious Problem for Out-of-Town ^ val - ley where clouds hang low,-,_ If Thou lead-est, 0 One, there will r g°-— To The Etude: Students BRAMBACH PIANO COMPANY Every teacher has difficulty in getting To The Etude: Mark P Campbell, President young pupils to report early enough for their lessons. Here was the way I solved The writer of this came to New York 640 West 49th Street, New York the question in my own home studio. In from a small town in the Middle West, my waiting room I had all sorts of things with the purpose of studying singing. It . *nnv \ ii^\ r>t- dim. to make their waiting interesting. There was very easy to arrange for lessons in . if— were pictures, books, copies of T he Etude, advance, but impossible to arrange for : and, liest of all, a large blackboard upon living quarters. The first week I spent in which I wrote exercises in note spelling, a hotel, where the rate was away lieyond scale writing and chords, which the child my pocketbook. The following week I was expected to copy and work out for the secured rooms in a rooming-house on the lesson. This simple plan insured having East Side, in the eighties. The. rooms the pupils on hand a little in advance of were good enough, and when I went in I “How I’ve always wanted the time I expected them. told the owner that I would have to prac¬ a collection of Patricia Lynch, tice. Vocal practice at best is not enter¬ International Falls, Minnesota. taining, and at the end of two weeks I “got notice.” Then I applied to various Beethoven Sonatas!” Profitable Vocal Exercises student rooming-houses of a semi-phil¬ To TnE Etude: anthropic character, and found that their A recent writer in the Voice Department waiting lists contained names which had Exceptional Offer! of The Etude states that one should al¬ been on for nearly a year. I had a liberal Here is the opportunity. A splendid new ways practice “mezzo voce.” My instruc¬ amount of money to spend for rooms, but 281 page—full size edition of the best in tor. who received his training under the it was nearly five months before I was Beethoven’s Sonatas. great Gaetano Nava in Italy, has always finally located in the quarters that I now Many of Beethoven’s more intricate maintained that if one does not sing with have. They are far from my liking, but Sonatas are rarely played, but this admir¬ full voice, the voice will become “emascu¬ the tenants are out during the day, and I able collection contains all of those gen¬ lated” and lose that full, rich power that it erally demanded. “Pathetique”, “Theme can practice to my heart's content. My possesses by nature. His rule was light with Variations ”, “The Moonlight”, lessons have been very expensive, and I tone for quick scales.” Of course, this “Appassionata” Opus 10, No. 2, Opus depends largely upon how much the voice cannot help feeling that I have lost half 14, No. 2, Opus 31, No. 3, etc. has been developed. their value by the annoyances and inter¬ Beethoven is the cornerstone of every A particularly good exercise is that of ruptions I have undergone. At the same real musician’s library and no active music time I have blessed my luck, time and Actual size lover can afford to be without these skipping light octaves downward, main¬ sonatas. The collection is graded and taining the light quality as you descend. again, that I am of the so-called “stronger 9 inches x 11% inches has an excellent biography and portrait of the 281 pages This keeps the voice smooth and even. sex.” It is easy to imagine what a young al gift. Ethel M. Hart, and sensitive girl, dumped upon a great Los Angeles, Cal. city like New York, has to undergo to Act Promptly— I THEO. PRESSER CO. secure proper quarters. What our big | 1714 Chestnut Street, Phila., Pa. Loose Wrists cities need now are dormitories for the This Collection To The Etude: students who come from a distance to study I accept your special offer. S Perhaps my experience with stiff wrists with private teachers. The need is a very Beethoven’s Selected Sonatas. End might be beneficial to some other Etude real one. There is little use in establishing Retails at $2.50 reader. My remedy is to give short exer¬ new music schools unless this is attended By special arrangement : able t 1 NAME .. cises of the type of the five-finger exer¬ to. Moreover, I think that every wide¬ make this exceptional offer. It will require cises, and after the performance of each awake teacher should have a list of avail¬ but little effort on your part. Think how group lift the arm, and hold the hand in a able rooms, in order to assist pupils. Of easy it will be for you to secure two sub¬ scriptions to The Etude! Why not enter | . thoroughly relaxed position, so that the course,' the housing shortage at the present hand “droops,” as though lifeless, at the subscriptions for two friends or pupils? Now [ NAME. I time makes this matter extremely difficult, * • 1 * doJ - I*it. TAz-rv’tDon’t delay—theair—-flip * I wrist. If this is repeated a great many but in normal times the teacher should edition is limited. This. special offer [ ADDRESS . times it will be found that the exercises realize that even before his pupil has his extraordinary. Given without additional-JJ—— themselves are played in a much more re¬ lessons, he must deal with the serious mat¬ laxed manner. I have found this very simple and very beneficial. ter of living. For Two Subscriptions to THE ETUDE Cut out this Coupon Mrs. W. Randle, L. D. F . and mail it to-day— Michigan. New York. I Please mention THE ETUDE when addressing our advertisers. British Copyright secured THE ETUDE JANUARY 1921 Page 59 Page 5$. J AX VARY 1921' THE etude sung in the chest voice when it should be non. While his lower chest notes were medium, or thick when it should be thin¬ rich and full, at the same time, so to speak, ner, or medium when it should be head most softly veiled, his high notes were voice, cannot be emitted with unconscious absolutely of overpowering beauty, and ! ease, but reveals the singer's embarrass¬ he knew how to use them with equal ment ; he cannot tune, he cannot pro¬ power and ease up to the high D. Department for Voice and Vocal Teachers nounce; worse and worse, he cannot ex¬ press. Look at his face. Is it not often rabid as in rage, when it ought to be ex¬ pressing love? Have we never observed F. W. Wodell of Boston, D. A. Clippinger of Chicago and Mme. Clara Novello Davies of New iofk this? Vowel Resonance A SCHOOL OF SINGING 4. Tone or pronunciation depends, as we A Masterly Article by One of the Most Eminent Living Teachers of Voice, have seen, on the way we tuned and placed the note. Whenever the root of the tongue WILLIAM SHAKESPEARE is fixed, the body of the tongue is im¬ ■ 1. nf thirteen was a church organist. He studied composition plicated. On the freedom of the body of [Mr. William Shakespeare, bom at Croyden, England, has devoted his entire life to the art of music. He i for piano. Playing and composition after the The sonorousness of his voice, combined with Molique and won a scholarship at the Royal Academy of Music, studying under William Sterndaie Benmyeare under Reinecke, and went to Milan to study^singing under Lamperti. ^ Hejbecame^ a the tongue depends the pronunciation. The Wlwt Doctors do tor their own Wghf^uccSuUoncertVndoratorVo^Tngm-Tn^Engiani^ndtheTbelamepiofessor'ofsingfnglitsuccessful performance of his Trio, his Sonata and his Concerto for piano. He studied at Leip2 the Royal Academy. Among iiis many famous pupils was avi isp am. is win er r a e- vowel sounds ah, a4, a, el, i1 and ee are with his unerring precision in attacking speare is teaching in Washington, D. C.J formed by raising the tongue. Try this the notes, thrilled all hearts. To this must V Hv Sore throats be-added a dexterity of execution and an by whispering. Other vowels demand that *——— “I want to congratulate you, Doctor, on the great"1 will scarcely be raised, the sides and back, to hold the breath. When we can vocalize agility, in which he equaled the most On my desk before me lies an article on The subject thus divides itself into: the tongue be balanced back, as: aw, er, success I hear you are having with your throat cases. under the shoulder blades, will be enor¬ with the throat open, we shall be bound o1, uk Oo is formed with the lips, which famous instrumentalist; further, the most “A School of Singing” written by me (1) The management of the breath. (2) I myself have attacks of inflamed throat every win¬ mously expanded, as well as the abdomen to balance back the breath with the right in good singing act independently, as well distinct pronunciation; and, above all, a some time ago for the Etude. Being now The management of the vibrating instru¬ truly electrifying capability of expressing ter, can’t seem to get rid of them. W sh you would about the waist, but not too low down. breath muscles—there is nothing else to do as does the soft palate. asked to write more on the subject to ment in the throat. (3) How to sustain it with. every shade of feeling that may agitate the Practice many times drawing in noiseless Donders, a Dutchman, was the first to take a look at mine and tell me what to do. which I am devoting my life, I feel I can or place this instrument over the breath. breast. There was the sweet sigh of pure breaths, at first slowly, then quicker and 2. The vocal cords in the Adam’s Apple discover the fact that the cavities of the scarcely do better than head this article (4) Tone or perfect pronunciation. (S) are little more than half an inch in length, devotion, despairing and menacing jeal¬ ‘I guess, Doctor, I will have to introduce you to quicker, without those gasping sounds too mouth, when shaped to produce the dif¬ with the same title. On reading through Freedom of facial expression. Unfor¬ so it is not much good using a telescope, ousy, the distress of the forsaken, and the Formamint. Here’s a real good throat antiseptic often heard. Noiseless breath! ferent vowels, resound at a different pitch. my first essay, I cannot help feeling that tunately, the space at our disposal must or a microscope, or even a laryngoscope blissful agitation of the happy; and I be¬ with which you will keep the soft tissues in an al¬ at the time of writing it I was inclined to compel a cruel brevity. lieve he could/- have made all these im¬ most constant antiseptic bath, because you will Economizing the Breath for we should learn too little. Let us be pessimistic, for it concluded with such 1. Much more breath must be drawn in understand, however, that when the edges mutable themes of the loving heart tell find Formamint pleasant and convenient enough to Now for the act of slowly sending out questions as: by the singer than for ordinary speech, as of the vocal cords are brought together sO on his audience in singing the simple use frequently. I find that the average patient will the breath so as to economize it._ If we do Do schools still exist for the mainte¬ this would not last out the phrases, nor , as to be exactly opposite and in the right scale.” readily dissolve a Formamint tablet in his mouth this rightly, it will give us a sensation as nance of the highest principles? could he intensify the sound of his voice position, they quiver to the breath pressure every hour or so, and you know how hard it is to get of warming, some imaginary object in Studies at the Papal School at Rome What are schools doing in the pres¬ sufficiently for theaters and large halls. as the violin strings to the bow. The in 1624 them to use gargles or sprays consistently, even The enormous volume of breath necessary front of the mouth, as, let us say, the higher the note, the shorter become the ent day? two or three times a day, especia ly children. to the singer, causes the act to be quite finger placed close to the lips. Practice cords and only the edges quiver. The It may likewise interest our readers to In our concerts and theaters are we By prolonged whispering, he learned to gymnastic in character, very hard work, this warming exercise for 10, IS or 30 lower and broader the note, the more do know Angeloni Bontempi’s description of “Formamint tablets certainly relieve sore throats and enjoying sounds of beauty, or are we recognize the particular pitch of each although good for the health. Some seconds, six times a day, not only in the cords lengthen and vibrate in greater the form of studies at the Papal Singing are heading off a lot of tonsillitis for me, but i am even m ^ still pained by notes unnaturally forced, vowel. Mr. William Aiken, of London, School at Rome about the year 1624 A. D. masters have given pupils such instructions silence, but also while whispering a long thickness; indeed, they thicken and interested in their prophylactic power, and so I am advis_n„ harsh and tremulous? has proved that when the cavities in the “The pupils of the Singing School of my patients to use them freely during the throat and influ¬ as to cause them to distend themselves in ah. Do not sing, we are now practicing lengthen in the low notes as do the strings As time goes on one may feel more en¬ mouth of a man are rightly adjusted, the Rome were obliged to practice, for one enza season to prevent infection.” different contortions. The matter can, breathing so as to establish a habit, which of the pianoforte. The wonder is, that all vowels in oo, o, aw, ok ah, u*, er, a*, e‘, a, couraged by the interest now spreading hour daily, intervals of special difficulty, however, be put in a nutshell. Breathing later on should become unconscious. We this can happen in an instrument only half ji, ee, sound the scale of C. Women, by Formamint is sold by all druggists. Any druggist everywhere in all that concerns singing in order to get facility of execution; for is rightly done when we draw in a suffi¬ will practice one thing at a time. How an inch long. Proof that a note is cor¬ reason of their smaller mouth cavities, will tell you how widely Formamint is recommend¬ and the best way to cultivate it. The another hour they were employed in prac¬ ed by throat specialists, physicians and dentists. cient quantity of breath in absolute silence. many people worry the voice in trying to rectly started—that the vocal cords vibrate should sound a third higher, viz., the scale public is becoming educated towards a with the right length and thickness—is af¬ ticing trills; a third they spent in singing The shoulders will now repose, the chest dp two things at a time—to sing as well as of Eb. When these whispers are cor¬ higher standard of art. Gradually coarse forded when that note starts in fullness rapid passages; and, finally, one in the cul¬ rectly tuned we have an absolute pattern tivation of taste and expression. All this sounds emitted by immature, so-called exactly on the pitch intended, or only the of how the throat and tongue should1 feel they did in the presence of the professor, singers are rejected, and the pure and more mechanism appropriate to that note could during singing. When the note is easy to who saw to it that they sang before a look¬ expressive and restrained sounds of the have produced that tune. The ■ coopings start in fullness, exactly on the pitch and ing-glass, in order to learn to avoid every artist are being appreciated. This dis¬ heard only too often, are the result of too with vowel purity, as during whispering, kind of grimace, or unpleasant motion of ormamm big a note, or of carelessness. cernment will help replace the mere vir¬ the muscles, be it wrinkling of the brow or , GERM-FIGHTING THROAT TABLETS 3. Some placing or support of the voice the singer has hit on the correct produc¬ tuoso; his miracles of technique, in the winking of the eyelids or distortion of the |p Formamint is our trademark. It identifies our product. Bauer is necessary as the tension of tin- cords is tion—as it is called. One thing must be absence of expressive phrasing, will no mouth. All this was but the forenoon’s increased. Certain muscles which form remembered, that in doing this, there re¬ longer suffice. Noise alone is being found occupation. In the afternoon they devoted the floor of the mouth and the root of the mains the other balance, viz., of the breath, out and the feeling is growing that “Art half an hour to the theory of sound and tongue serve to balance the larynx (or which should gradually and unconsciously THOSE WHO LOVE is not meant to astonish, but to move.” acoustics, another to the study of counter¬ Adam’s Apple) and keep it in position be economized, and will prove to be more point; a whole hour was then spent in |—TO SING-Read77m/— In its highest sense singing may be de¬ over the breath. This should be done un¬ Sacred Cantatas and more of the nature of wanning rather learning the rules the master gave them scribed as “Our emotions tuned and consciously with no sensation of holding. Thousands of Dollcirs THE CHOIRMASTER WILL FIND titan blowing. for their compositions and their applica¬ worded.” It is that, which stirs within us To put the matter in a nutshell: When are spent on singing lessons. There are THESE CANTATAS WORTHY OF 5 The freedom of the throat which tion in writing them; after another hour RENDITION AND THE PRIVILEGE similar emotions—nature appealing to the lowest notes of the chest voice are thousands of teachers, tut Very few teach causes the notes to sound in fullness to in reading, the rest of the day was spent OF EXAMINING EITHER OR BOTH nature; quite different from singing which sung, less tension of the floor of the mouth how to produce a correctly placed tone. WILL BE CHEERFULLY GRANTED this controlled breath permits, and is ever in playing some instrument or composing fails to stir, which leaves us untouched is necessary; but by examining with the accompanied by, freedom and expression notes, songs, or any work suited to the GET THIS NEW BOOK! and indifferent. Have we not trembled fingers underneath the chin, when the of the face. The facial expression, ever and turned cold by the accents of the great higher notes of the chest register are emit¬ capacity of the pupil. Practical Natural The Redeemer changing with the emotions, is nature’s These were the ordinary exercises on artists? ted, a greater increase of tension can be By Julian Edwarda Price $1.00 days when the pupils were not allowed to Common Sense observed. The louder and broader the mode of conveying appropriate color or Prolonged Study timbre to the voice. Observe the sound of leave the school. Tf. on the other hand, Voice Technique note, the more difficult is it to place or bal¬ they had permission to ta' e a walk, they To bring about such results, prolonged the voice of the moon-faced and insipid. ance it without stiffening the floor of the often went through the Porta Angelica, study is, of course, necessary. The stu¬ mouth. In a lesser degree the medium Observe the brightness of the vivacious, not far from Monta Mario, in order to dent must have mastered a technic or voice is also supported and the head voice the love in the affectionate. THE ONLY SELF INSTRUCTION BOOK WRITTEN adapted forThe entire Christian year divided sing against the echo and to become ac¬ WHICH TEACHES THE DEVELOPMENTOF into foot Parts: The Advent, The Nativity. series of studies which enables him to dis¬ seems to require little contraction about Ferdinand Hiller, a friend of Mendel¬ The Crucifixion. The Resurrection and Ascen¬ quainted with their own failings through A BEAUTIFUL NATURAL FREE TONE , the floor of the mouth. sohn, described, with striking eloquence, sion. Each part may be given separately at play his skill, with confidence, ease, and listening to its answers. At other times Explains in a clear concise manner, easily the proper season, or the work may be per¬ without any signs of effort. Until he can the perfection of singing displayed by an understood by any one. the development of a formed in its entirety at any time of the year they were either employed in the great per¬ good, clear and resonant voice. A complete sing without disturbing the expressiveness Sing with a Free Jaw artist whom he had just heard. He wrote formances in the churches, as they were explanations ^how fully "knd >0^°^ the Lazarus of his face he has not mastered his art; If, in order to make high notes, one permitted to attend these in order to hear By Julian Edward. Price *1.25 in other words, “the greatest art lies in its screwed up the strings of the violin too ntroL thI t teachesTUw Rubini’s Greatness many great masters in their art who were concealment.” By a rigid method, instead much, we should probably break the in¬ flourishing under the reign of Pope Urban strument, as the strain would be too ex¬ “After John Sebastian Bach, Handel of revealing the emotion intended, he will VHT, 1624-1644. This division of studies cmdbmusical‘ only be betrayed through his look of em¬ cessive. So it would be if we sang too and Beethoven, I do not despise the lighter perform . Thete may seem severe,'yet we know that singers irable and the story told barrassment. Let us now consider some of big, too long or too thick a note—the ten¬ charms of Rossini and Bellini, premised, sion required would be so great at the floor however, that they are interpreted by fit of those times were able, up to their old the principles of singing which, once age, to excite their hearers to admiration, grasped, may prove simpler than we ex¬ of the mouth that instead of balancing tne singers. Such a one was Rubim m his voice with unconscious effort as we sing, by their perfect technic, the richness and pected. Mastery over the difficulties of we should be compelled.to hold at the flexibility of ’their voices, and the vigor Liberal Discounts from the above prices voice production gives confidence to the tM“If one has not heard Rubini himself in throat and fix the floor of the mouth. This and duration of their breathing. These D. A. Clippinger singer; his breath will not fail him, he will the parts written for him, one cannot com¬ Authorof would fix the jaw and the face and the great results were achieved mainly through sing with accuracy of pitch, purity of tone, prehend the degree of rapture to which I The Head Voice and Other Problems. Price $1.25 eyes. Moral: Do not force up the regis¬ the caution exercised in the selection of ,VJ. I Bellini’s music could inspire an audience. 1 Systematic Voice Training. Price $1.25 1 THEODORE PRESSER CO. unerring pronunciation and, lastly, with all ter higher than can be done with a free studies and songs at the School of Rome, the expression and emotion with which Rubini1 possessed the most extraordinary I Preparer Singers for alt Branches of Professional Work 1710-1712-1714 Chestnut St., Phils jaw, and with a natural expression of the which were always kept wifliin the bounds nature has endowed him. tenor voice, and the extent to which it l Address 617-18 Kimball Hall, Chicago, 111. face and eyes. Again, the note which is of the most natural and easy register.” was cultivated made him quite a phenone- ,e mention THE ETUDE when addressing out advertisers. THE ETUDE JANUARY 1921 Page 5o Page 51> JANUARY 1921 How the East Accepts Western Music Nature’s Method Best The sound reproducing machine has "The choice fell on the Spring Song, played an enormous part in making West¬ New Musical The Secret of By Harry Hill which, however, met with little favor. The ern music of the lighter type familiar to audience evidently had no opinion of Men¬ The Organization and Leadership Eastern ears. At one time it was chiefly Books a Beautiful Nature has given man a speaking voice delssohn. The small children made for that he uses, to a great extent, freely and of Community Music Activities records of native music that were sold, their mothers’ arms in terror, and were naturally. In speaking, one is conscious but all this seems to be changing, and an only consoled with difficulty. The general Steeplejack. By James Gibbons Iluneker, enormous number of records of rag-time, two volumes, handsomely bound in cloth. 047 of two sensations, i. e., the resonance of feeling was one of astonishment passing to pages, numerous Illustrations. Published by * Voice the head and chest. As speaking and light opera, and music-hall songs are dis¬ displeasure! We hastily took off that rec¬ the Charles Scribner Co. Price. $7.50. posed of directly to the natives. In China, Mr. James Iluneker places himself upon singing are synonymous, why not make ROBERT LAWRENCE ord and replaced it by a hunting chorus, the steepletop and views the world through much to my regret, sound reproducing ma¬ plentifully sprinkled with the blare of his Intellectual telescope, which, for all that, immediate use of these sensations in vocal at times becomes a fluoroscope. Few things teaching? Why work around for years chines, together with large orchestrions, are horns. This met with a most enthusiastic eseape his vision, and none writes with amus¬ gradually displacing the native orchestras ing and original freshness better than Mr. hy humming, grunting, and by various reception.We went on to the music- Huneker. Despite the sophistry and wisdom wonderful ways that are used by most that used to be so much a feature of every halls', and singers, and whistlers, and when of his critical Judgments, there is a reju¬ venating quality to this work which makes teachers of singing? JO,000 tea-house and restaurant. It is, indeed, the interval was announced after Fou Rire, us want to think that it was done by the The aim of voice training is to teach the rather remarkable how Eastern races have the entire audience went off almost con¬ handsome young man whose portrait is on the fly-leaf of Volume I (the Iluneker of pupil to produce a round, open, and above Illustrated taken to our light music, especially rag¬ vulsed with attempts to imitate it.” 1890), rather than the serious sage, whose Net, $1.00; by mail, SI.10 time. I have many times amused myself portrait appears on the fly-leaf of Volume II all, a clear tone; to enunciate clearly, and Of the countries of the East that have (the Iluneker of 1920). One volume Is to sing as easily and naturally as they At the Better Book Shops with noting the effect of European music taken most kindly to Western music Japan frankly an autobiography, nnd Is a mighty speak. on my native servants of different races— is the chief. Fifty years ago Occidental lively one at that. Both are filled with THE ABINGDON PRESS reminiscences of so many celebrities that w< This can never be attained by con¬ LILLIAN XORDICA Malays, Tamils, Javanese, Chinese, Japa¬ music was unheard and unknown in the could not possibly record them here. Mourel New York Cincinnati tie Maupassant. Salvini, Pope Pius X, Dvorak scious control of the tongue, larynx, or nese. I have played on the pianoforte or land. There, existed only the native va¬ “Madame Nordica" to give her her Booaevelt, Moore. George Bernard Shaw any other part of the vocal organ, but gramophone all kinds of music—Stravin¬ riety, a good deal of which, incidentally, Pailerewski and Duse. Who is there of con professional name (which, by the way, is sequence that this man has not known teach a pupil to produce one clear, round sky, Debussy, Irving Berlin, Elgar, Boro¬ is very beautiful and acceptable to Western At one time Mr. Huneker was the editor of pronounced Nor-de-cah, with the accent The Etude for a short period. tone, and note the sensation, and other on the first syllable), was born on May din, Lionel Monckton, etc. In every case ears. When Japan started to modernize tones soon follow if produced in like 12, 1859, at Farmington, Maine. Her the result was the same, they were always she did it thoroughly, and included music Vocal Mastery. Tty Harrlette Brower. 292 manner. pages, bound In cloth, numerous excellent Wonderful New Method professional name was adapted from her attracted to anything with strongly marked in the scheme. British and French band¬ portrait illustrations. Published by the By drawing attention to that one, its real one of Norton, to give operagoers rhythm. Nothing else seemed to matter; masters were brought in to train army and Frederick A. Stokes Co. A collection of talks with famous singers, Improves Your Voice feeling of freedom, and its placing gen¬ the fillip of a foreign cognomen, without the harmony might be ultra-modern and navy bands. A few years later Western including many bits of advice which cannot erally, and working in easy steps of a sec¬ which, in those days, the singer’s pres¬ involved, or utterly elementary, so long as music was introduced into the schools and fail to assist the vocal student. Homer, Case, d'Alvarez, Edward Johnson Werrenrath, de ond and a third, and directing the pupil to tige would have suffered. Her musical the rhythm was there. Borodin’s Prince colleges. Conservatories on Western lines Lucca, Mattrel, Caruso. Barrientos, Griffith. Bring Out the Hidden Beauty Bisphant. Saenger and Duval are among the ity in your voice almost immediately. This exclusive maintain the clearness and placing of the education was obtained in the New Eng¬ Beneath the soiled, discolored, faded or aired com¬ It)nr Dances drew them just as surely as were established, mostly with German Feuchtinger method is endorsed by leading European sing- plexion is one fair to look upon. Mercolized Wax grad¬ singers interviewed. The book is written in pattern tone, more can be accomplished in land Conservatory under John O’Neill. ually, gently absorbs the devitalized surface skin, re- Irving Berlin's Watch Your Step, while teachers, who ran Japan’s music for many a very engaging readable style, with many a few weeks than in many months by She began her career by singing in a yeahng the young, fresh beautiful skin underneath, such things as Debussy’s L’Apres-midi years. The Japanese proved apt pupils, so personal glimpses. fancy methods. church choir. Afterward, she toured the naturafness."^Jave^ou tHedif?r°rcompIexion8 dime faunc found them absolutely indiffer¬ much so that they are now quite competent English Literature. By John Louis .Haney, Do You Stammer? Take the bugbear of many singers, the country with Theodore Thomas’ Orches- Mercolized Wax Th.D. 450 puges. substantially bound In cloth, ent and bored. Strong rhythm, therefore, to look after their own music, which a wealth of illustrations. Published by vowel sound oo as in fool, if a singer can tra> with great success. She sang also seems to be the element that attracts them they do. Harcourt. Brace and Howe. Price. $1.60. sing oh or ah freely and with good reso- with the Handel and Haydn Society. All The Etupe has constantly advocated tht in Western music, and this doubtless ex¬ There-is now very little to distinguish need for broader education and reading amonf You take pride in show¬ by dint of preserving the resonance this was under her own name. But after Music Printers •»<> Engravers plains why jazz and rag-time generally the Academy of Music, Tokio, from simi¬ musicians. Every music worker should have ing your phonograph to sensations of those vowels on oo, the diffi¬ she had made a successful debut in Lon¬ a knowledge of English literature if possible. Prices on all classes of music have attained such a hold. I was much lar institutions in European centers. It Her, • ■ • • -. your friends if i t is a Sonora. culty is overcome and oo can be made as don at the Crystal Palace with Gilmore's printing and engraving gladly turns out fully equipped students execu¬ ho standard 1_.. , bright and telling as the other vowels. American Band she studied singing with quoted on application interested to come across confirmation of ...... 1 facts of the histc.„ ... This instrument is inter¬ this recently when reading a most inter¬ tively, who are absorbed into the numerous tare in very concise and extremely readable Then, too, singers would not be held in Sangiovanni in Milan, Italy. And by his THE MARSTON PRESS form. Dr. Haney, who is the president of the nationally famous for its esting hook on Indo-China by a French orchestras and bands that exist in the coun¬ the thralldom of closed and open tones, advice she made her debut at Brescia, as 114 N- Thirteenth St.. Phils., Pa Central High School of Philadelphia, ha - magnificent, clear, rich, writer, Beaudesson. He tells how he made try. Most of its teachers are Japanese, and very wide reputation here and abroad a- ., but the voice would lie at perfect liberty to “Violetta” in La Traviata, under the philologist. He has the way of presenting expressive tone, and as it express the emotions as does the speaking stage name of Nordica, which she after¬ experiments with a sound reproducing ma¬ nowadays Western music has even entered facts in easily digestible form so that o— cannot fail to assimilate them. The bo plays ALL MAKES of ward retained. chine on the Moi, one of the primitive races into court circles.—Norman Peterkin in is written in masterly English and it I have found that by making a pupil Mme. Nordica was married three times. Your Music Is Torn! of Indo-China. In his own words: the London Musical Times. with referen— ^ disc records perfectly immensely t. say oh or ah at ordinary speaking pitch, The first marriage, in 1882, to Mr. Fred¬ It will Take One Minute to without extra attach¬ and noting the sensation, then having the erick A. Gower, lasted eighteen months, Repair it by Using The Book of the Great Musicians. Percji A. Shales. /24 pages, notation , ments, it enables you to en- pupil prolong the sound, making of it a and divorce proceedings were pending amplrs and illustrations. Published ioy the records of not one, vocal tone and keeping the same sensation, when Mr. Gower attempted to cross the Multum-in-Parvo Binding Tape Humphrey Milford of the Oxford University but ALL makers. PERFECT VOICE INSTITUTE. or as I term it, the edge or clearness, re¬ English Channel in a balloon and was sults come more quickly even with the never heard of again. The second mar¬ children in England. One-fifth of the book most stubborn cases. riage—in 1896—she married the Hun¬ Transparent Adhesive Mending Tissue is devoted to early British music. Purcell. Q Speaking Q LI The pupil will soon learn to tell when garian tenor, Zoltan Doeme, from whom John Bull, etc. Schumann. Beethoven, If your music dealer does not carry it, send to Bach. Handel, Mozart, Grieg, Chopin, Elgar S&Mrjll the throat commences to interfere. she was divorced in 1904. In July. 1909, uud MacDowell are the composers whose she married a banker, George W. Young. Theo. Preiser Co., Philadelphia, Pa. lives are given. Another later book will In¬ clude Mendelssohn, Schubert, etc. The Highest Class Talking After the death of her first husband Multum-ln-P.r Machine in the World Nordica reappeared in opera at Boston, Philadelphia, Pa. Musical Appreciation in Schools, Why Definite Practice and How. By Percy Scholes. pages, is noted for its handsome dis and later made her debut at Covent Gar¬ hound in paper. Published by Humphrey den, scoring a great success as “Violetta” Milford, Oxford University Press. tinctive appearance, and is By Alfredo Trinchieri A brief discussion of the methods __ .. unrivalled for its important >n La Traviata. Her voice was distin¬ troducing music work in schools in England. * SUMMY’S CORNER features, such as the ALL So often we say to ourselves, “Now I guished for its roundness and richness in the upper registers, where sopranos BRASS tone arm, powerful, must practice for a while.” How many silent, extra-long-running mo¬ times do we ask ourselves the question, are so apt to be shrill. She was esti¬ Two valuable additions to mated as one of the great dramatic so¬ the field of elementary Some Amusing Examination tor, tone control at the sound What shall I accomplish by this prac- source, effective automatic tice?’ pranos of the day, and she sang many teaching Pieces Answers parts, mostly in London, singing also stop, convenient envelope fil¬ What really do accomplish will de- STORIES TOLD IN TONE, by Beck T he following answers to musical ex¬ concert. In 1894 she sang "Elsa’ ing system, substantial pend not on how hard we work with our r‘JiT "w" ,‘V°” T ^ m Eight charming bits of true musical amination questions come from London. thick cabinet panels, etc., etc. Get the Drop fingers, but on how carefully we work with Lohen9r'n at_ Beyreuth. After this she inspiration. They were collected by Francesco Berger, returned to England, where she contin¬ A wonderful collection of brain. the well-known London teacher: on that Cough ued to sing in opera, gaining a consider¬ Summy Edition, No. 89 . . 75 cts. models is available for you to Before beginning practice, select what Q. How many sorts of scales are there? Don’t cough and choke. Deans, the first able fortune. choose from. you shall do during that period. Then take FOUR STUDY PIECES, by Trumbull A. Three; the major, the minor and the mentholated cough drops have just the Her tragic end is well known. She a few minutes to read the music through (With Exercises and Explanatory aromatic. Superb upright and necessary menthol to give instant relief was making the voyage from Australia notes) carefully, to determine just what you wish Q. What is a double sharp? period styles, $75 to $1800 from irritation after smoking. They stop on an operatic tour, when the ship was Each piece is designed to develop to accomplish, just what idea should be A. When you strike two black keys at Write for General Catalog 4 coughing and make breathing easy. wrecked and Mme. Nordica suffered the new technical principle of arm uppermost in your mind. If it is a study, the same time, one with each hand. or Period Catalog 4X sasant. Menthol is such exposure (subsequent upon an inoc¬ weights and relaxation. “For what particular object was it written Q. Define “Form” in music. : specialists as an ex- ulation from which she had not fully Summy Edition, No. 91 .. 60 cts. is are as carefully and just how am I to work to attain that A. Well—it is not good form to applaud Sonora recovered) that she succumbed and died result?” If it is a piece—“What was the Make each lesson COUNT by using by stamping your feet—you should clap at Batavia May 10, 1914. Phonograph Co., Inc. composer trying to express in his writing, the Arnold Lesson Record . . 35 cts. jour hands. George E. Brighton, President how has he done this and how shall I best Q. Can you say anything about the Hal¬ New York: Send for the Study-Service-Sheet. Sent lelujah Chorus? accomplish the reproduction or recreation Music as Advertised free upon request. New number dis- 5th Ave. at 53rd St. 279 Broadway of this?” cusses Piano Technic, as well as How Zakkl Hisothkrs A. It was composed hy a man named ■ Canadian Distributors: “Come to me” for fifty cents. Halle, who in his youth had been appren¬ 1. M mtagnes & Co., Toronto XffAfrs \\ ith this done, one is ready for the real “After the ball” for second base. and What to Teach. MUSIC PRINTERS anB ENGRAVERS ticed to a blacksmith. ^MENTHOLATED j practice, the real study of the music. Get “Home sweet home” in one flat. a definite object in mind. Work carefully SEND FOR ITEMIZED PRICE LIST AND SAMPLES Q. What does sf signify? “See the conquering hero ccmes” CLAYTON F. SUMMY CO. A. “So far,” for one day’s practice. toward that end. Then note how much with full orchestra. Publishers Q. What is a Minuetto? CoughDrops more interesting study becomes, and, best “By the river” high or low. COLUMBIA AVE. AND RANDOLPH ST.™ PHILADELPHIA, PA. 64 East Van Buren Street, Chicago, III. A. A piece that you can play through it of all, how much more is accomplished by “Let us give thanks” for women’s Please mention THE ETUDE -when addressing practice. Please mention THE ETUDE when addressing onr advertisers. one minute. Please mention THE ETUDE when addressing TIIE ETUDE Page 56 JANUARY 1921 the etude JANUARY 1921 Page 57 Anyone hating had the good fortune greater clarity of execution, than did Guil- p-: -: to play such pieces as Bach’s Fantaisie in mant himself. G” ' minor,' -Bach's Fantaisie- in G- major,- He often rae that while it is pos- | Bach’s Toccata and Fugue in D minor, sible to play some passages at a quick * Mendelssohn’s first sopata, Handel’s con¬ tempo, it certainly is not always expedient. | certo in D minor—I say, anyone having Play whatsoever, wheresoever, whenso- ^ studied these pieces under Mr. Guilmant, ever, but "toujours clair.” will recall how he would endeavor to Bach (my pronunciation of this word never Department for Organists inculcate, so patiently and persistently, did quite satisfy Mr. Guilmant) and Lem- the true recitative style. Then again, the men's School of Organ, the greater part or which Guilmant played by heart, weie al¬ Edited for January by CHARLES GALLOWAY trill, the shake, the mordente—all these ways used by the Maestro as instruction came in for careful consideration. Mr. Guilmant was a stickler about de¬ “The eloquent organ waits for the master to waken the spirit.” DOLE tails. How he did love tb teach a good fugue, often singing an inner part for renients of each pupil. the pupil! It always seemed to me that There was only one Alexandre his heart and soul were in his work, that courteous, dignified, n Charles Henry Galloway was bom in St. Louis in 1871. When only seven years of age he exhibited remarkable skill at the organ and became widely known in local circles. He studied foil: void of all ecccntriciti LUTE NORM AT,. IT'1 years with Alexandre Guilmant in Paris and became organist of the American church of The Holy Trinity. Returning to America he has filled many important positions and has toured widely he really enjoyed giving instructions. jne bright—nevc-r He was the official organist at the St. Louis Exposition. And that he did get results is an incon¬ affoetion and re- A Satisfied Judge!! trovertible fact. e amounted almost to idolat “Toujours clair," I have heard him ex- The Theory of Music as a Prerequisite Study for Any Seriously-Inclined Organ Student ' claim a hundred times. And who will say that clearness of execution Both Food and Drink sirable requisite for at organist to pos- pastniaster 0f this s^cl'y |'egjl0 TINDALE MUSIC CABINETS if==I*IAI>IISTS^= fi •“vsasfe?- Arranging' ^Correction of Mss. A. W. BORST,APrPeEssIrLBldg.) Phila., Pa, ilpijifffr::,, Me3hSbllS!f~an<1 8WeU the sound in New Time Saving tween hands and feet! What a concep¬ tion of tone-coloring! What musicianly They result from the purchase of an m UNDERWOOD i«$SPINS-RINGS BOOKKEEPING ttSssifi: MACHINE LEARN DRESS It will demonstrate DESIGNING in how your office 10 WEEKS can cut down its Three Kinds of Technic JANUARY 1921 Page 61 Page 60 JANUARY 1921 THE ETUDE THE etude citement when some one discovered the ' \ 7 be theirs when the violin was sold.- They magic name of Stradivarius in it. The moved into a larger house, bought new _ local fiddlers were called in, and unhesi¬ clothes for all the members of the family, Violins Built in Our Own Workrooms tatingly pronounced it a genuine Stradi¬ and an automobile, and began to cut a varius worth thousands of dollars. Several wide swath in society; when, unfortu¬ Combining all the points in tone quality and workmanship to satisfy the most offers, one as high as $400, were made nately, the bubble was punctured by a critical requirements. Made of wonderful old wood The top, bass bar hnmgs. ixist for the violin, which the family indig¬ and blocks from one of the first buildings put up by the earliest New England settlers. traveling violinist, who played at a con¬ The back, sides, neck and scroll from old Colonial furniture maple. Beautif Department for Violinists nantly refused. The word spread through cert in the town, and who informed them texture; as handsome in appearance as the best of the Cremonas. the little town, and the lucky family own¬ that the supposed Strad was a cheap Finest Italian Strings for Violin, Viola, ’Cello and Bass (also Harp.) ing the violin was looked on as compara¬ German copy worth about $8. Edited by ROBERT BRAINE tively rich. They concluded to take their If any violin owner believes that he has Write for catalog, prices and terms to time about selling the violin, so as to get a violin which is a genuine instrument, MUSICIANS SUPPLY COMPANY “If All Would Play First Violin We Could Get No Orchestra Together.”—R. SCHUMANN the best offer, and in the mean time they the sensible thing for him to do is to send began to buy all sorts of goods on credit, it to a reputable violin dealer for examina- 60 Lagrange Street BOSTON, MASS., U. S. A. on the strength of the wealth which would A Late Start Fake Labels a Huge Fraud What About Violin Duets? Thousands of people realize that they to the movements involved in violin play¬ It is simply astonishing what a child¬ vinced that a crude, iactory-made fiddle, would like to play the violin, at an age ing. This adjustment cannot be made in like faith people have in the labels which which has originally cost $7 or $8 whole¬ By Gustine Nagro when it is too late to acquire much violin adult life, when the bodily framework and are pasted inside almost all violins. sale, should be a priceless Cremona, simply technic. In childhood they resist the ef¬ muscles are more rigid. More important People, who could not be taken in by because it has a label pasted inside, bear¬ During my studies with several teach¬ difficult ones by Wieniawski, I recently forts of their parents to have them study still, the processes which must be built up stage money, have unbounded confidence ing the name of one of the great masters ers, and especially private teachers, I have heard two of the greatest violinists in a of violin making. a musical instrument, never realizing how in the brain, sub-conscious mind, and ner¬ that a crudely executed, and evidently failed to notice the use of violin duets in joint recital, Ysaye and Elman, and, out¬ Music dealers, musical magazines, violin much they would enjoy such knowledge vous system, in order to produce the newly printed Stradivarius label, inside teaching the young violinist. side of their double concertos and so¬ experts, music schools, and violinists are later on. Then, when they reach a period myriad movements required in violin play¬ their voilins, proves them to be genuine I think duets, trios and quartets are the natas, they played the six duets by Godard, deluged with letters asking about supposed VIOLIN CASES OF SUPERIOR QUALITY in adult life where they attend a violin ing, and for that nice coordination re¬ specimens of the handiwork of StradiT foundation for good ensemble playing. which are very good and can be played recital given by some great artist, they are varius, and worth well up in the thousands. Cremonas, and these letters do not come quired for the simultaneous working of They not only accustom the student to by the average student. thrilled by the beautiful tones, and the both sides of the body, cannot be made The Etude receives many such letters entirely from the ignorant classes by any play with others, but are a big factor in means. Many of them are written by Some time ago a recital program was , uplift of the wonderful music, and feel with equal success in adult life. The be¬ from such people. They seem to think developing correct time and rhythm in F"°’^"oid ^Ssively^Teading1 music dealers throughout the United States and bankers, lawyers, doctors, merchants, col¬ sent to me by a large school of music. that they would make almost any sacri¬ ginner late in life finds that bow and left- that the label is the most important of all playing. They also give strength and se¬ Canada. Ask your dealer to show you these cases. lege professors, and people that are evi¬ There were twelve violin students on the POHS MANUFACTURING CO.. Inc., NEW YORK. U. S. A._ fices to be able to express themselves on hand fingers will not synchronize and proofs that the violin is genuine . curity of tone and aid in the general cul¬ dently highly educated, and prominent program for solos. I believe the program this king of instruments—the violin. They work together with that nicety required Now the truth of the matter is that the ture of the student. people in the localities in which they live, would have been much more interesting usually realize that it would be commenc¬ for difficult music. People commencing label is the last thing which a real expert There are many books of duets valuable but who have failed to apply good com¬ ing too late to hope to cope with the enor¬ late often complain of stiff fingers. In looks at, in determining whether a violm for the beginner and advanced student. and attractive if violin duets, trios and Notice, to All Kinds of Violinists A New mon sense to this phase of the violin We can supply you with everything you may desire mous difficulties of the Tschaikowsky or most cases it is a case of “stiff brain” and is a genuine product of one of the masters. The teacher can begin by using Pleyel, quartets had been interspersed among the II you will but write fully what you are looking for. and Artistic the Paganini concertos; but they cannot “stiff nervous system.” Piano students The things that tell the story to him are problem. solos. We have a selected assortment of Mazas, Spohr, Viotti and up to the very STUDENTS' VIOLINS, from $15.00 to $60.00. see why it would not be possible for them commencing late complain of the same the lines of the violin, the wood, the In conversation with one of the leading Musical Calendar $75.00°to $3,000.00. to play such pieces as Schumann’s Trau- thing. How often do we hear such stu¬ varnish, the scroll, the F holes, the dealers in old violins in Chicago, not long —1921— merei, Saint-Saen’s Swan, or Beethoven’s dents say, “I can play either hand sepa¬ characteristic tone of the instrument, the ago, he said: “It would surprise you to Little Hints know how many letters we get from people cessfully by twirling the peg around in a PRACTICAL FOR PIANO, Minuet in G. These pieces sound com¬ rately, but cannot put them together.” general character of the workmanship, A perfectly fitting set of pegs is a boon DESK OR WALL paratively simple to them, and they do not As our correspondent says, the adult and the many little mannerisms character¬ who think they have valuable old violins for the violinist, and simplifies the tuning piece of sandpaper with the fingers. 8 ceAts Each. 75 cents a Dozen, Assorted realize the matchless art which gives these may have a better conception, mentally, of istic of the maker, etc., etc. made by the great makers. These letters problem to a wonderful degree. The best The size of violin pegs is not standard¬ pieces their wonderful effect when inter¬ the expression necessary for the music, Well executed counterfeit labels of all have become such a nuisance that we send way is, of course, to have the pegs fitted ized, and when the owner of a violin has Correspondence invited. Catalogues. or they can be tacked on the wall. The calendar pad preted by a great violinist. but the trouble is he cannot acquire the the best known makers can be purchased, out printed circulars, explaining that a by a first-class repairer, but thousands of occasion to buy pegs at the music store, is 3 x 1)6 and above it is given a pleasing poem with label is not a proof that the violin is he should take his violin with him, and an illustration and melody for the same. Artistically The Etude receives many letters from mechanical skill to express himself on the and pasted in any violin; and, when people insist on being their own repairers. HUBU5T GEMUNDER 81 SONS printed on a high grade beautifully tinted card stock. people who wish to know the limitations violin’ as the child can. blickened by a little dust, are calculated genuine, and that there are millions of Too many of these, when a peg does not try to find pegs which fit more or less per¬ Estab. 1846 141 West 42nd St., N. Y. THEODORE PRESSER CO. attending a late start. The following let¬ The mechanical feats required of the to deceive almost any one. In the case of violins in existence bearing the names of fit, get a jack-knife and whittle it down fectly. Sometimes a very fair fit can be Subicribe to THE VIOLIN WORLD A Monthly, Estab¬ 1710-1712-1714 Chestnut St., Phlla., Pa. obtained in this manner, as many music lished 1892, $1.50 per year, The Instructive Magazine ter is typical of hundreds received by the violinist playing concertos and pieces in¬ the cheaper violins, the labels are usually Stradivarius, Amati, etc., only a very small to'the right size. The result is a peg with stores carry a large assortment of pegs of Violin Department: volving difficult technic, are equal in dif¬ crudely executed affairs and are not in¬ percentage of which are genuine. Any¬ a jagged surface, which will not adhere “Editor Violin Department, Etude.— ficulty to thq best work of the most highly tended to deceive any one. They are put one who wishes to know definitely what to the surface of the hole in the string various sizes and styles. s You Organizing an Orchesfra or Bantl ? VIOLIN STRINGS his violin is, and what it is worth, can send If a violin has been used for a long mom her we are leading publishers of easy Or- I have been wishing to learn violin playing trained juggler or sleight-of-hand per¬ in the violins by the makers more in the box, and which is a constant.nuisance with atra and Band Books. ROOT’S BEGINNERS Used by the leading artists of the Philadelphia Orchestra it to us for examination. He must of tiffie, and the peg-holes have been worn Solo and Orchestra players who understand good for a long time. I have no desire to he a former. Then the ability of playing in nature of trade marks, or to show the- its eternal slipping. In the absence of strings are using The Etude Brand Violin Strings. Per- course pay express charges both ways, too large, the holes must be “bushed;” feet in fifths, good intonation and more than equal to professional player, but just to learn absolutely correct intonation on the violin model of the violin. Stradivarius, Guar- tools or special machinery for inducing and if the violin is a really good instru¬ that is, the holes must be filled with new the best Italian strings American make. enough to play standard ballads, easy clas¬ is of itself a tremendous problem, involv¬ nerius, Maggini, etc. People often write the size of the peg, or making it round, Etude *‘E" Stringy 8 lengths . $0.20 net ment, we charge a fee of $5 for giving wood and new holes bored. sical music, and good popular songs. ing years of practice from early youth. to this department about a violin which the work can be done more or less suc- Etude “D” gtrjng,’ 2 lengths.20 net The brain of the child is plastic, and it our opinion as to the’ maker, to what “ tToot & SONS, 1530 E. 55th St., Chicago, III. “I am sure I have a good ear for tone, has a label in it, which, in addition to the Bundle LotAjSO^ssorttS Strings)^- nf 4,25 net seems that the measurements of the inter¬ school of violin it belongs, etc. We also can remember a song, or orchestral piece usual Stradivarius or other label, has THEO. PRESSER™ CO. - Philadelphia, Pa. vals on the fingerboard, involving a won¬ appraise its value, and furnish the owner The Mother of Facility after hearing it played once. “Made in Germany” printed on it. They “The only thing that keeps me from derful nicety and muscular control, can with a certificate. If the violin is a cheap, ought to know that Stradivarius violins, factory-made imitation fiddle, we usually By T. L. Rickaby starting is my age. I am now 32 years only be implanted in the very being of the >, MELLOW, SOULFUL- which were made in Cremona, Italy, could make no charge.” IREDIT. Easy terms for old, and admit I will have to go some to pfayer during childhood, while brain, This ability cannot be bought, or given -rf„l instruments. GET muscles and the whole organism is ductile not have been “made in Germany.” A Of course it is not impossible that some “Necessity is the mother of invention,” be even an amateur. to one—no, not if a mint of money were VIOLINS!r DETAILS TO-DAY. ’ and plastic. Spring is the seed-time for man who had one of these “Made-in-Ger- of these millions of old fiddles are says the proverb. We might make another CUSTAV V. HENNING “I cannot see why a person must start to be offered for it! A teacher can only plant life, and early youth is the time for many-Strads” wrote to The Etude not genuine, just as it is not impossible that for music pupils, “Repetition is the mother 2424 Gaylord Street DENVER, COL. playing very young, aside from more finger tell the pupil the best ways of doing commencing the study of the violin. long ago stating that the local violinists of one might find a $10,000 bill in the gutter of facility.” The trick of keeping five flexibility. I do not see any advantages, things. The pupil must do the work—the However, if the adult beginner on the the town where he lived had pronounced when walking along the street, but it is balls going up in the air and from one hand except in finishing your studies at an • repetitions. They must be judicious and violin is satisfied with a moderate amount his violin a genuine Strad, and that he extremely improbable. Violins, with to another is learned by repetition. The earlier age. Do you not think an older must be prompted by intelligent thought. of technic, and the mastery of compara¬ had refused an offer of $1,500 for it. He labels bearing the names of Stradivarius, ability to walk on a rope or wire stretched person could put more feeling into a com¬ Unthinking repetition, like unthinking any¬ tively simple music in a more or less finished was much disappointed when he learned Guarnerius, Amati, Stainer, and the more across the stage is acquired by repetition. position, or interpret better certain kinds thing, will accomplish nothing. Listen manner, he can get a great deal of en¬ that genuine Italian violins were not made famous makers, are more likely to be imi¬ To play four thousand notes in a minute carefully to instruction and advice; re¬ of music, who understands the ‘music joyment out of the study of the violin, in Germany tations than is the case with those of the (or one thousand or one hundred or even member, think, and then act—and keep it language of the piece,’ as you might call twenty) can only be done after endless for few human pastimes are more fas¬ It is a queer psychological fact that less famous makers, for the reason that up till success comes. it, than a young student? cinating than violin playing. Every indi¬ people should place such unbounded faith the owners of violin factories label their repetition. “I would be very grateful if you can de¬ vidual is different, of course, and some in fake violin labels. Anyone who finds wares with the labels of the more famous cide this problem for me. If you think I ✓who commence late in life, can accomplish on the street a string of imitation pearls makers which are known to the greatest am not too old to ledrn violin playing, more than others. There is a case on which has been bought for 50 cents at the number of people, since they find that this just to have a little change from a hum¬ record of a young man commencing in the notion counter of a department store, does makes the violins sell better. drum routine, I will start instantly and early twenties, who mastered several diffi¬ not jump at the conclusion that it is a Violins of the cheaper grades often have persist in the studies. If not, I will have ,-i j lessons to a pupil who wouldn’t count, and cult violin concertos before he was thirty; string of genuine pearls, worth $100,000. various names branded in the wood of the I had a pupil who disliked to count lessons u» ^ a ru,e nQt t0 give to be satisfied to listen to symphony or¬ but this is one case out of a million. Jewelry bought at the 5 and 10 cent store violin, on the scroll, at the top of the back, For a few lessons I counted bt ^ a pupi, who refused t0 count I chestras and music made by friends.” The best thing ‘for our correspondent to deceives no one. A chromo or litho¬ inside the violin or elsewhere, such as I realized this would not do, as trouble with her after this, Whether it would be wise for our cor¬ do is to try. Let him borrow or rent a graphic copy of a madonna, with the name “Ole Bull,” “Paganini,” “Stradivarius,” count for her when she was practicing at ^hay^ young pupil who didn’t respondent to take up the study of the violin and take a few lessons. He will of some great artist, like Raphael or “Stainer,” “Remenyi,” etc. It is very rare home. One day 1 re^a*edf1J ° j * few like to count, but when I told her she could violin under the circumstances depends soon get an idea of what progress he will Murillo, in the corner, bought in a second that a violin of any quality is found thus upon how easily he would be satisfied be able to make and whether he enjoys it hand store for a few dollars, does not branded, and such names are used in the with the progress he would be able to well enough to continue. More can be usually convince a person of even less way of a trade mark. make. It is quite impossible for one to accomplished with a late start qn the vio¬ than average intelligence that he has a It is almost incredible to what lengths AKADEMIE & ETERNELLE Carl Albert Silk Strings bec'ome a really finished violinist starting lin than on the piano, since the violin is a genuine Raphael or Murillo, worth a half people will go on the strength of an old Violin Instructor as late as thirty-two. At that age the melody instrument, and most of the music million. No one with common sense, who fiddle with a bogus label in it. I heard of LA FAVORITA & ELITE Gut Strings From Rudiments to Artistic Perfection. Most muscles lack the plastic, pliable quality we written for it is in single notes, with oc¬ found a $500 roll of stage money, would a case not long ago where a family in a For Sale by Leading Importers and Jobbers Effective Studies Used, Including Sevcik. find in early youth. When begun in child¬ casional passages in double stops and think of taking it to his bank and trying western State discovered an old fiddle in so-i^M.EsMGa.k. hood, the bones, muscles, and the whole broken chords, which can, however, be to deposit it. Why is it then that people their attic. It was grimy with age, and human anatomy gradually adapt themselves simplified. who ought to knew better, are firmly con¬ badly dilapidated, but there was great ex- Please mention THE ETUDE when add. easing our advertisers. JANUARY 1921 Rage 63 THE ETUDE ■ Page 62 JANUARY 1921 TEE ETUDE Questions and Answers Al BARGAINS Violin Questions Answered (Continued from page jp) polished until they n A Siring mam* in mm manner naturally hill ETlM&ADntS s it. Sometimes a Q- 1 SPECIAL! a robin's egg. 2. We presume your question means thu ‘"inn or the It a I„ww Jw — forms almost a Good only for month of The t the s pressed ' you do not see why accidentals are not ex is the most ancient na¬ tightly against the nec .... playing A Frequent Question. tion that practiced music as a cultivated art ■ violin around q iv/itit number on the metronome would and science?—Theophilcs, New Orleans, Ini. Great Offer to Teachers stead of hoiding it in one position, qu A. The violin as we know it to-day is January ^pf motionless. This causes a constant rubbi f° That depends upon the pace required, comparatively recent, that is, about 1480 to and chafing of the neck, setting up the so 1530; but its primitive forms date back to and lumps. Hold your violin still when you ,T. W. R.—Your violin is e fast' or slow. ry-made copy of a Stradivarins. The loud! the darkness of antiquity, namely: Rebec, and Musicians play and do not dig it into the neck and your rubella, rubella, erwth, vielle, rebab, erbeb, difficulty will disappear. Approximate Tempi. flTT and ETUDE Readers only, this extraordinary opportunity Pr°of is worth a pound of promise. Making claims is easy— ,lv r»nmps from fihr» thnfi + J * keirmntclie, lyre, lyra, viol, etc. (which look Q. At u it number should the metronome up ill Musical Dictionary). The harp is one making good” is the real test of merit. Hundreds of Music Teachers and to ph andante, of tlie most ancient string instruments, for to buy our latest and best piano publications at lowest successful Musicians claim that they have been greatly benefited by the Siegel- ’tfniT*aUtfl it was in use in Egypt many thousand years introductory prices. We have made no similar offer in any other magazine, because we particularly want to favor you as an ETUDE Reader._ THE BOSTON MUSIC CO. CRAMM—KEYBOARD KINKS Ten four-hand pieces with jolly rhymes. Just the, thing for-young ill40 Sherwood Normal Lessons OH the metronome for allegro Nbw Yobkbu. for Piano Teachers set^paee quirked by *hc composer with “a A- George F. Bristow was American. He CRAMM—THE U. Si A. IN RHYME AND LAY was better known as an Instrumemausi A novel idea! Twenty tunes with clever verses and pictures ",’mk’k1” nd'agio,"*allegro^ etc.’, the performer (piano and violin) and composer than as a illustrating the most important events in ^history of1 ill 68 J in’ all cases use htB own judgment and teacher of singing, although he was the offi¬ S«d CUNTS taste and pluy the movement according to ,,L Jwn individual temperament, observing, cial teacher in the New York schools, lie hnwever the general directions indicated by was born in New York (1825) and died the coinuoser Tbe use of the metronome there (1898). FIRST STEPS IN BACH Lives both approximate pace (Indicated by the Italian words, largo, etc.) and absolute Figured Bass. Admittedly the best introduction to the great master whose I Is 33 I...... ,.|S indicated by the numbers). When t adopted. must the foundation of all music. Use it with every first year H W O CENTS there is no indication, use your own judg- and how long u pupil. Grade II. Regular Price 60c —Bertha 1 Sherwood Piano Lessons Mo. ^ *° mC FISHER’S MUSIC PUPIL’S YEAR BOOK S Rests. ..ass first appeared in the six¬ The best features of all of the daily practice record books on the is II dotted half-note with a quar- teenth century; it was adopted by the Flor¬ *i and address of sender (not written on a P 2. He worships God ardently. SunioTetude Competition, 1712 Chestnut J j^y S^eT the Webern leaving. StT Philadelphia, Pa. before the . of January. The names of the prize ners and their contributions will be fished in the March issue. Please comply with all of — “OL’ CAR’LINA” ’ rfATI1r r?-* An Excellent PRICE Song for 60 CENTS T TP-TO-DATE Just Published U first steps in Both clefs are used from the beginning; new, up-to-date ideas! No matter what Method you are Brehm’s Modern accustomed to using, give this one a trial and you will use no other! Graded Course price, 40c each; z^:z: - -1 - if not satisfactory. FOR PIANO a the waves of the Makv Elizabeth Wole (Age Ig^ Professional Directory - »™..BcSjis. m.M BEECHWOODggSS HWIERICAN COM...BS .aARNOLDnnum -Tr^-ccsgw ■tsetse;, *„ I r't . i *\ j:x *tii£asg*sr**i*"« .. .’ >v.t nilNHINR SS^@ K aS > odaum •"sestjesattas- about the same thing. A phrase is a part 11 y ^ * °ng TO the f SK'iLfH DUNNING ELBSS3 5 8t BROWN -•sSSSSSSS: EDDTj^SFaggg BURR0WES7SKSS, times a phrase will begin loud and dimin¬ FABRI CHICAGOSSSSaS ish, sometimes it will have the most tone ■ , ' | 1/llirl HAWTHORNE CINCINNATI Fisssasi “.. ‘. su JACKSON f&|$Sg£ig£ COLUMBIA“Sbjs, —- -w DAHM PETERSENk“’“ KRIENS _ was— MdULTH^^ DETROIT_- lg JJSww** NEW YORK DETROIT : But you probably know that without being .b. — „ n SALVINI ■^SSSs#:'-’- MGir^toi^^ OAKLAND. CAL.sSis j He .solved a riddle T0WLU10”;,^^S. About a fiddle And said "1m a ■ rVSF«ic:a5” rnNMCR^P rni i \NESTERH cC^l i •Page 66 JANUARY 1921 THE ETUDE Easter Sixth Volume- the etude JANUARY 1921 Page 67 Grove’s Dictionary Music Great Singers on the Art Easter is celebrated at an early date tf there ever could have been any pos¬ Czerny One Hundred Easy From the Yellowstone Russian Album of Singing this year, March 27th, and choir directors sible complaint about the original five and Progressive Lessons Four Songs for the Pianoforte volumes of Grove’s Dictionary in the By Cooke should plan for the musical numbers now. With Words By Thurlow Lieurance Among the music of the modern Rus¬ We are prepared to help by sending gen¬ matter of neglect of American composers This collection of conferences with the By F. L. Hudson The titles, A Mountain Madrigal, The sian composers, some of the most inter¬ erous selections of cantatas, anthems, that is entirely removed now by the pub¬ greatest singers of our time 4 the result We are going to publish with words the Eagle and the Lark, My Collie Dog and esting piano pieces are to be found duets, solos and organ numbers. Write lication of the Sixth Volume—devoted ex¬ of many years’ effort and is not a mere first book of this work for the earliest Farewell, Cabin Mine, indicate a most Many of these pieces open up practically to-day and make use of our “On Sale” clusively to American Music and Ameri¬ ephemeral jotting down of the singer’s can Musicians. This work is unique in its beginner. These exercises have all been interesting departure in Mr. Lieurance’s new fields and all are highly original even facilities for your Easter music. There likes or dislikes fa personal matters, as is nothing like an extended work to stim¬ conception, plan and arrangement. The given names such as A Day in June, My work. They are songs of our own great when they do not display peculiar na¬ the conferences are confined exclusively ulate the interest of choir members. The first part of the book is devoted to the Cat, The Sailor’s Story, In the Hammock, West, filled with the thrilling call of na¬ tional characteristics. Our new Russian to questions pertaining to voice study and etc. The words add decided interest to following are a few cantatas available— history of American music and each pe¬ ture, with here and there a snatch of those Album is made up of the best of these all are churchly in conception with fine riod is accompanied by a brief chrono¬ voice teaching. Mr. Janies Francis the study, and with them the pieces then pieces containing representative works by become either vocal or instrumental. The haunting Indian themes which have done solos for the various voices and excellent logical and biographical register of the Cooke, whose collection, Great Pianists on so much to give virility to the work of Arensky, Cui, Grodzki, Karganoff, Kopy- words are very well adapted to the music low, Liadow, Pachulski, Rebikoff, Wran¬ choral effects. The Wondrous Cross, by most active music workers in that period. (he Art of Piano Playing, has had -a this noted American composer. There and certainly enhance the intere.t of the gell, Rimsky-Korsakow. Practically IreneS Berg6; Immortality, by R. M. Then follows one of the most complete large sale, was also a teacher of voice, a will be editions for high, low and medium close student of vocal physiology and study, and we feel sure that everyone who every piano recital, nowadays, contains a Stults; The Greatest Love, by H. W. and best written musical biographical dic¬ voices, respectively. tionaries we have ever seen. The work vocal literature and is the composer of has been using this popular work will he representation of one or more of these Petrie; Dawn of the Kingdom, by J. The advance of publication price is 50 Truman Wolcott; Victory Divine, by J. is so near publication that we have had in songs which have been sung by many glad indeed to have this adaptation of masters. NEW WORKS. Buying Music the words. cents, postpaid, or this work will be sent Christopher Marks; From Death Unto our hands complete copies without bind¬ famous singers. He knew through expe¬ The special introductory price in ad¬ by Mail Our special advance price for the work without charge, when published, to any¬ vance of publication is 40 cents, post¬ Advance of Publication Offers- Life (new), by R. M. Stults. ing. It is only a matter of a few weeks rience just those questions which the When one needs any article of com¬ If you contemplate a miscellaneous pro¬ before we can put this in the hands of average vocal students would like to ask will be but 20 cents, postpaid. one sending us but two subscriptions to paid, or this work will be sent without merce the first thought is where best to gram, be sure to include some of these Melba, Sembrich, Caruso, Bispham, Galli- The Etude. charge, when published, to anyone send • January, 1921 8peprfc, our customers. Everyone who has a set obtain it and if it is something in uni¬ solo numbers. Many of the solos enu¬ of Grove’s will need this Sixth Volume, Curci or Schumann-Heink, “if they only The Crown Collection ing us but one subscription to The Eti.de (not their own). Child’s Own Book—Liszt, Tapper. $ versal demand and use, the nearest mer¬ merated are within the capabilities of the yet the work is in a large way entirely had the opportunity.” One conference of Pianoforte Music Wedding and Funeral Music faithful members of your choir. Give Composition for Beginners—Hamilton. , chant large or small is fixed upon as the independent of the first five volumes. alone in this collection, that of the late This volume will be a little different for the Organ Melodic Study Pieces for the Crown Collection for Pianoforte. one who ought to be able to supply it; them an opportunity to show what they That is, it is a complete book in itself. Evan Williams, is of invaluable worth to from the ordinary collection of pianoforte By Kraft and usually he is prepared to take excel¬ Our advance of publication price for it the singing teacher and to the student. Left Hand Alone, Opus L 37 Earliest Duets—Kinross. music in that it will be divided into sec¬ This is a unique volume. There never lent care of such wants, but when it is a Christ Hath Arisen (high voice) (vio¬ is $3.50, or this volume will be sent with¬ The book will be published in the hand¬ Easy and Progressive Lessons, Book I, tions, each section having a distinct prob¬ has been any similar compilation issued, By A. Sartorio with words—Czerny . 20 question of something not so steadily re- lin obbl.), G. N. Rockwell. out charge, when published, to anyone some manner in which Great Pianists is lem to overcome, such as trills, scales or that is, wedding and funeral music for This will be the last month in which Elementary Piano Music—Neely. 50 quired it may be necessary to apply to a Christ’s Victory (high, medium and low sending us but five subscriptions to The issued, making it a most desirable work chords. There will be five divisions in the organ. The pieces will be principally this work will remain on the special offer. First Position Pieces for Violin and more remote source of supply. One often keys), W. H. Neidlinger. Etude. for any musician’s library. the book, but this does not mean that it Easter Triumph (high, medium and low selected with ■ a sprinkling of original The price after that will be about double. 35 goes to a distant section of the city or The advance of publication price for will be a book of studies, as there are keys), H. R. Shelley. compositions. The work will be under Sartorio is particularly happy in work of First Ten Weeks at the Pianoforte— 20 town or to the next town to get an arti- From Death Unto Life Great Singers on the Art of Singing is many interesting pieces in it, all of them R. C. Schirmer. Lord of Life and Glory (high), F. A. the supervision of Mr. Kraft, who is an this kind. He is an excellent workman; 25 cle that the nearby dealer, for lack of a By R. M. Stults $1.00, postpaid, or this work will be sent selected by teachers in institutions, and one of the best of our present writers. From Death Unto Life—Stults. Clark. excellent organist and composer. The J0 profitable demand, cannot afford to carry without charge, when published, to any¬ all of the music has been through the The selections that he has chosen arc From the Yellowstone—Lieurance. Resurrection Song (high voice), R. M. This new sacred cantata by the highly- one sending us but two subscriptions to music in this volume, although intended in stock. This is particularly true as re¬ test of actual use. We therefore feel from the well-known pieces of Wagner, Great Singers on the Art of Singing— Stults. successful composer, R. M. Stults, is de¬ The Etude. that we have a volume that will always for wedding and funeral use, will be gards not mere luxuries, but such necessi¬ Mozart, Mendelssohn, Schumann and Voice Triumphant (high and low voice), signed for use at the Easter Season. The be acceptable. The pieces are fa the adapted for general use in the church. Gurlitt, ties as books, music and related commodi¬ R. M. Stults. first part encompasses the story of the others, and there is a sprinkling of left Melodic Studies. Elementary Piano Music easier grades and all of them may be Our special advance price will be but ties. No small dealer in this class of Christ Victorious (alto and tenor duet), Passion and the second part the Resur¬ hand pieces in the work that makes it Heart Songs. taken up after the second grade. Since 60 cents, postpaid, or this work will be 26 merchandise is justified in carrying even J. E. Roberts. rection. It may even be given in two By Herbert G. Neely quite distinctive. They are not difficult, Kohler’s Children’s Album, Op. 210. the selection is all made it will be but a sent without charge, when published, to but it may be taken for granted that the !!n a half-way completed'stock on hand; there sections without any loss of climax. The We are happy to announce that we anyone sending us but two subscriptions Louis Kohler’s Elementary Studies • short time until we shall be able to deliver average pupil is defective in the left Op. 163.... are too few customers for these goods, entire work takes about thirty minutes in have secured the right to publish this the book. to The Etude. performance. Mr. Stults has a genius for hand and it is imperative on the part of Melodic Study-Pieces for Left Hand so, if he is sensible he stocks only such —He -Lives Again (soprano and tenor work on Elementary Piano Playing by Our special advance price will be but items as are in established demand of duet), W. H. Jones, acquiring effects with small bodies of Mr. Neely. The work is one that can be the teacher to look after this weakness. Alone—Sartorio .,. 50 cents, postpaid, or this work will be New Pipe Organ This is why we are continually publish¬ Milkmaids and Fanners—Spaulding. some volume. This is why so many thou- The following anthems display a fine voices; and he does not write so that placed before the veriest beginner. It sent without charge, when published, to sands of music teachers, singers, players, type of musicianship and can be sung only those with elaborate technic can emphasizes the principles that are now so Collection ing works for the left hand, so as to New Pipe Organ Collection. anyone sending us but one subscription to equalize the two hands as nearly as pos¬ choristers wanting something different by the average choir in a worthy man- attempt his works. His melodic gift is qiuch talked about of which R. M. Brei- This volume is about ready for deliv¬ Rachmaninoff Album. The Etude (not their own). sible and this should be on the mind’ of from the commonplace and conventional, ner. The two essentials of a well ren- clearly shown in this new cantata. From thaupt is tlie author. The work is along ery. It will contain a very varied list of Russian Album for Pianoforte. every conscientious teacher. This little have resort to the more or less distant dered anthem are a strict regard for the Death to Life supplies a real need for modern lines and lays particular stress The Earlier Duets the best and modern compositions for Schumann’s Fantasle Stiicke, Crus 12 the organ, similar to those included in volume we are sure will be welcome for Sixth Volume—Grove’s . mail order music store where every vari- indicated tempo and the observance of church use. The advance of publication upon relaxation. Mr. Breithaupt at the By John Kinross ety of music publication may be found in the composer’s dynamic markings. As It price is 25 cents, postpaid. the volumes. Organ Player and Organ its highly educational qualities as well as Stults’ Anthem Book ... present time is making a wonderful stir its interest. sufficient quantity to meet every need. It Began to Dawn, Martin; At the Lamb’s in Europe and Mr. Neely has been under This set of little four-hand pieces is Repertoire. None of the pieces in this Tschaikowsky Album . intended to be used with the various be¬ Our special advance price, postpaid, 0 is just this ability to furnish* such sup- High Feast We Sing, R. M. Stults; Milkmaids and Farmers his instruction for a number of years and work have ever appeared in any other Twelve Pianoforte Studies—Fianz .... 5 plies promptly and economically that has Glorious King, W. H. Jones; Now is ginners. They are in the form of Teacher volume that we have published thus far. will be but 40 cents, or this work will be A Half Hour Entertainment this work has the authority of his teacher. Violin Studies—Kreutzer . 0 built up the phenomenal mail order busi- Christ Risen, F. A. Clark; Resurrection, and Pupil Duets, but the pupil plays al¬ The pieces will serve an excellent pur¬ sent without charge, when published, to The work embodies the principles of con¬ anyone sending us but one subscription Wedding and Funeral Music for the ness of Theodore Presser Company; it is R- M. Stults; The Risen Lord, R. S. Mor- for Young People ternately the Primo and Secondo parts. pose in moving picture playing. The Organ—Kraft . trolling the muscles of the arm and fin¬ to The Etude (not their own). 0 much easier to get what and all that is rison; Welcome Happy Morning, G. N. By Geo. L. Spaulding gers from the earliest childhood so as to These pieces may be assigned to begin¬ volume will be strongly bound in cloth wanted by mail than to spend time and Rockwell. lead the pupil into an easy and natural ners after the first few lessons. There is and not in the garb of the cheap paper This is a genuine novelty in the way of nothing which so tends to the develop¬ New Music Packages carfare in a vain quest nearer home. In this issue on another page you will way of doing things, thus escaping much binding. Composition for Beginners an entertainment, which is now in press. ment of real musicianship as well regu¬ The mail and express service after a find a more complete list of suggestions drudgery and hard labor. The torment of Our special advance price will be but By Anna Heuermann Sent Monthly On Sale It has been prepared in response to lated four-hand playing. This cannot be period of difficulties incidental to the dis- for Easter, including anthems for women's unnecessary five-finger exercises is done 75 cents, postpaid, or this work will be many demands for something for young started too early. These duets by Kin¬ Hamilton The first packages of the season for turbed condition of" the■’ country■ voices, anthems for men’s voices, as well people which would prove shorter and away with and there is no suffering and sent without charge, when published, to both piano and vocal music were# sent to be getting back to normal and com¬ ross furnish a most happy medium. anyone sending us two subscriptions to The author of this work is a highly- more easily learned than a cantata or numbing of the little fingers. The work The special introductory price in ad¬ trained teacher, with remarkable success mit during the past month. These pack- plaints of delays are growing less and may be taken up at the earliest start and The Etude. operetta. Milkmaids and Farmers may vance of publication is 30 cents, post- in her profession. Composition for Be¬ ages were for either what is termed the less frequent. This company fills all or- be produced by a group of girls and boys full directions are given by the author for ginners brings to young students of large or small packages meaning eight or ders on the day received and the goods Heart Songs without any stage accessories whatever every little detail. The exercises them¬ Stults’ moderate talent the help that will enable fifteen pieces of either of the above classi- are on the way to our customers just as selves are extremely interesting. We gave of the Nation or if desired, even without special cos¬ Violin Studies Anthem Book them to make a start and to get in line fications. These packages are sent to speedily as possible. Not only regular tumes. Yet, it gives them something to the book a very thorough examination By Kreutzer This collection needs no recommenda¬ for larger work to come. The contents any of our patrons who desire them—they purchase orders, but also “on selection'1 Over the holidays and just previous to sing and affords opportunities for danc¬ before accepting it, and we feel that it is tion as Mr. Stults is so well known for of the book are written in a lively con¬ There is no more important set of stud¬ are sent once each month during the busi- orders are rushed through without un- that time we have disposed of hundreds ing, drilling, marching, etc. This num¬ a work presenting something of very similar work that there is not the least versational style. The progress is even ies written for the violin than those by est teaching season from November to necessary delay and our patrons may de- of this work among our... rpatrons,___ not ber, which is very easily prepared, may great value to the educational world and doubt that it will contain something that and natural, so that students will find Kreutzer. These studies are as important May. They are billed at our usual liberal Pen(1 at a11 times on 0,lr efforts to make only because of the great interest which be used as a special program number or particularly to the pianoforte teacher. We will appeal to every church choir. Mr. themselves gradually acquiring the abil¬ for the violin as are Czerny’s. Cramer’s professional discounts and they can be dealin& with us both pleasant and satis- this work arouses in every musical home it may be introduced as a specialty in would like to see every teacher procure Stults’ popularity is continually increas¬ ity to express their musical ideas intel¬ added to any other On Sale package from factory- but because of the exceedingly low price, some larger work. It has no dialogue, at least one copy of this work in advance or dementi’s for the pianoforte. We ing and especially along the line of church ligibly. It is a book which makes the have now in preparation a new edition of this house; the returns ’ of music not _ .. The book has been sold for some years but it is sung or played throughout, be¬ of publication and we are making the music. He has composed some hundreds construction of a musical composition as these famous studies edited by Mr. Fred¬ ing tuneful, catchy and full of action. price extremely low for a work of this of anthems and at the present time his natural a process as the telling of a found useful to be made at the end of Guide tO New ^ Sol,d ma"£ a‘ erick Hahn. Mr. Hahn has made this the teaching season. A postal card will Teachers £^lar. edition is still The special introductory price in ad¬ kind. works have a greater sale than any com¬ child’s story. With its help the invention work a labor of love and has expended start or stnn these niek-irres «... „ , on our shelves at that price but for this vance of publication is 25 cents, postpaid. Our special advance price is but 50 poser of this style of music that we have of tunes and harmonies becomes a lively cents, postpaid. upon it the right experience gained by Whetherwnetner a teacnerteacher liashas fa largearee On bateSale antt little booklet will be sentthlf *tomp0rt any' time,sPecial it editionis possible and forfor us toa limiteddeliver in our catalog. The anthems in this game for the imagination. The teacher many years of practical teaching. will find it of value in creating and hold¬ package from us or from any other source. Etude friend for the asking. It is a copies anywhere in the United States The First Ten Weeks collection are chosen from a great num¬ Tschaikowsky Album The special introductory price in ad¬ ing tlie interest of pupils as well as draw¬ these new compositions arriving to a small combination of a guide and a manual with postpaid at $1.25 each if cash is sent with at the Pianoforte vance of publication is 10 cents, postpaid, ber and only the most tuneful and number at regular intervals, have been a very carefully selected graded list of the order for the Pianoforte thoroughly interesting compositions will ing them to her class. By R. C. Schirmer or this work will be sent without charge, Special advance of publication price, found very convenient and usrtnL the materials to be used in the entire ten This is quite a volume, a book about Among the really great composers, when published, to anyone sending us but be used, so that you may look for a book hope, beginning with the We will publish this little work which of unusual merit. We believe that almost 60 cents, postpaid. grades. It tells “How to Begin Teach- 6 x 9 inches in size, containing 518 pages— Tschaikowsky is one of the few who has one subscription to The Etude (not their rent month, to improve our service in fng,” “How to Secure Pupils,’’““What „ will take the pupil through the first been able to bind down his genius to the every choir will welcome this volume and months of study. It will be published in these monthly Newurn Music OnO. Sale Pack- doJ*. as the Pupil Advances,” “What Ma- 20,000 people. “Twenty* thousTnd'n'eon'i; ■**** f writing of smaller or intermediate piano especially at the low price at which we First Position Pieces sheet form and there will be about twenty- ages to this extent-difficult music will be terials to Use,” “How to Grade Pupils.” sent in their favorite ^songs to assist in pieces without a loss either of inventive Kohler’s Children’s Album are offering it. for Violin and Piano four pages to the book. These studies The advance of publication cash price sent only to those who have use for in fact there is almost everything that the making of this work8 Every song power or finish of workmanship. Tschai- The violin is first and foremost a mel¬ and pieces are original by Mr. Schirmer, for Pianoforte, Opus 210 is 20 cents, postpaid. same and easy music will be sent to those the new teacher must know in order to of the past which has living value and kowsky piano pieces lie so beautifully ody instrument, although unfortunately, who have use for such music. We have make an intelligent start in music teach- so «..* ulLul™' ". who founded one of the‘most successful under the hands that it is a real pleasure This is a little study or recreation book mged that it can be sung in the conservatories in Philadelphia. He had which is used by many teachers. It has it so happens that the first studies on this sent question post cards in an effort to jng. The booklet represents months of family circle is contained in this book. to play them. The education of the pian¬ Child’s Own Book—Liszt instrument are, as a rule, anything but obtain this information, a European education and used this work been found particularly satisfactory in value of,> hard.. work and preparation uponLi | .kill theLUC partIJ This will very likely be the last month ist is not complete without a knowledge By Thomas Tapper melodious. In order to develop melody in his private teaching for years. Teach¬ of such pieces as Chanson sans Paroles, second grade work. It is not an exer¬ which is obvious to every teacher. It of famous teaching experts who have e during which we can sell the volume at Liszt, from his childhood to his old playing from the beginning, it is neces¬ transportation expense ers are sure to get something of a very Troika and June. These and many others, cise book but it is made up of little pieces centrated upon this task of putting in the this low rate. We offer this book not which are either original or else tran¬ age, had one of the most active careers sary to use bright and tuneful pieces but, practical nature. The studies are all all gems, will be found in our new Tschai¬ of course, these must be in the first posi¬ sirable material ■ and likewise works for young teacher’s hands jusAhelind o? much fa a c^nJe^ sense °C\Tau?e short and interesting, most of them con¬ scriptions of some of the favorite old in the history of music. Now Mr. Tap¬ economy in our use of printing and paper, guide indicated by the thousands of in- . kowsky Album which is ready for the tion. Our new collection of such pieces we think it is an opportunity to favor our tain only a line or two. There are copi¬ themes. Each little piece, however, has per has put him in the interesting “cut¬ a very important condition of our busi- quiries received for just this kind of im press. It will be a large and handsome is designed to fill just this need fa violin subscribers with a chance to get a work ous notes throughout the book which give some special educational value of its out” series, so well known to our readers. s at the present time because of the formation. There is absolutely no cost voliime. Children will be fascinated by this new teaching. Every piece in this new vol¬ of music which will give lasting pleasure. the necessary directions. It takes the The special introductory price in ad¬ own. Our new edition of this work has present exceedingly high costs. attached to it. Just send your name and We will send Heart Songs during the number and will certainly want to add ume is a gem and well worth playing. The plan also includes octavo music, pupil up to the beginning of scale play¬ vance of publication is 50 cents, post¬ been carefully revised and fingered. It address. You will keep it with you for current month to any subscriber who will ing through one octave. is now in press. it to the collection. The binding and the This book will tend to lighten the bur¬ either sacred or secular and music for years as a desk guide on important prob- paid, or this work will be sent without dens of both teacher and student. violin or organ. send us two other subscribers to The Our special advance price for the work charge, when published, to anyone send¬ The special introductory price in ad¬ general style will be the same as with Etude, delivered paid. will be but 20 cents, postpaid. vance of publication is 30 cents, po.t- previous issuer. The advance of publica¬ The suecial introductory price in ad¬ ing us but one subscription to The Etude vance of publication is 35 cents, postpaid. (not their own). tion price is 12 cents. THE etude JANUARY 1921 Page 69 Page 68 JANUARY 1921 Her Master’s Toi By Alfred Lief Schools and Colleges GIL Piano Conservatory V«:THE HOME OF THE VIRGIL METHOD J ar touched her fragile being-touched MRS. A. M. VIRGIL, Director ■t and smote it. TEACHER OF ADVANCED PIANO PLAYING Emmeline, with her heart full of rapture and adoration, opened the door slightly, Virgil Artistic Technic Public Performance and the strains slid in with more distinct- Competent Staff of Teachers and Assistants ness. As she half-lay in the rocker, enam¬ ored with the playing, she pictured the Special and Yearly Courses charm and the beauty of the violinist. He, unseen, must be her ideal; he, the mate of slant, when the brilliance of !he lighted room unclosed her sight, she shrieked. Address VIRGIL PIANO CONSERVATORY i in front of the t; , u;rCT 70.J urou-ir-r NEW YORK CITY Really to Play Mew scbiool Two little girls were conversing one day § about their music teachers. They had both g ©F M0S1IC AOT Special Notices zEI ANNOUNCEMENTS I WANTED and FOR SALE I and concmtail AllTrge suX^m^f % 53 MAIN ST., POTSDAM, NEW garden, elevator, and every modern conven- All brancheserofhmuesicnand Ae' artsAaught, ;£S=aSE=3= srSSS-S vsst | ANNOUNCEMENTS [ late, indicated to the writer how = te such a habit may become. ; music' lessons'1 a^nlght. ^ThThour^or the g was seven o’c.oc^and my minings | for PIANISTS, TEACHERS and ACCOMPANISTS .s: i r,;f- « only time ttatT had for recreation and p Then he graduaUy6 got tierTd" later,"l- | . SIGHT, TOUCH and HEARING i,:r..* INTERNATIONAL ^xuts,&Aagency ««|S ALVIN I S SINGING F1 long, all the old interest in mu; teacher who is inaccurate m om| 01™ iB^anffjnwK r“- SgffS actcr. Awid him! Quid Pro Quo "EE Jfow much is it possible for you to earn ? our advertl?«sWhCa Page 70 JANUARY 1921 THE ETUDE THE etude JANUARY 1921 Page 71 Musical Treasures for Our Presidents and Music To-morrow Schools and Colleges Nanki-Poo, that talented aspirant for General Grant is the victim of many high governmental honors, played on two chools and Colleges By T. L. Rickaby anecdotes which exploit the non-aesthetic ILLINOIS musical instruments—on the trombone and side of the man. The famous tale about PENNSYLVANIA AND SOUTHERN on the marine parade, as one of the Three knowing only two tunes—“one is Yankee |*""" Thirty-Fifth Season What pleases us when we are six years Little Maids observed. But Senator War¬ Doodle and the other isn’t”—has been ap¬ old will interest us little when we are ren G. Harding outdoes Nanki-Poo. He plied to him, and David Bispham, in “A CHICAGO MUSICAL COLLEGE twelve, still less at sixteen, and at twenty- has confessed that as a member of the Quaker Singer’s Recollections” tells how COMBS CONSERVATORY five we would be bored to death with what AMEWCAN-":~’| The Leading and Largest School of Music in America (55th Year) Marion (Ohio) Silver Cornet Band he on one occasion the General was compelled PHILADELPHIA gave us delight five years earlier. The performed on the alto horn and doubled on to sit through a glee club concert. The THIRTY-SIXTH YEAR reason of this is that youthful pleasures the tuba. If Senator Harding is elected enthusiastic hostess asked the President WINTER TERM NOW A Residential and Day School of unparalleled Facffitfa for attainiug a complete musical H0NSERVAT0RY are by nature transient and mutable. If he will have the distinction of being the what song he would be pleased to hear and Unsurpassed faculty of 100 eminent nstructors up to twenty-five we have net made From catalogues of stringed and band Each pupil tried to describe the instrument instruments I cut the pictures of each in¬ indicated on his card, so definitely that the Elocution—MUSIC Languages strument used in the orchestra and pasted rest of the class could tell its name. Then each pupil trial to plan a Sym¬ them on dark green cardboard, omitting phony Orchestra, selecting from the pile the name. I held up each picture and the the pictures as needed, and arranging them children guessed its name. with the strings in front, in the manner I distributed cards upon each of which in which the instrumentalists in the or¬ EUGENE YSAYE Season 1919-20 was printed the name of an instrument. chestra are seated. DANA’S MUSICAL INSTITUTE Michigan State Normal College Conservatory of Music WARREN, OHIO YPSILANTI, MICHIGAN THE SCHOOL OF DAILY INSTRUCTION IN ALL