Volume 46, Number 02 (February 1928) James Francis Cooke

Home , Alma Gluck, Bugbear, Cockfight, February 1928, Five Little Fingers, Giuseppe Danise

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

2-1-1928 Volume 46, Number 02 (February 1928) James Francis Cooke

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This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. The fournal of the ^Musical Home Everywhere

PRICE 25 CENTS February 1928 $2.00 A YEAR Four Composers Whose Songs Have Enriched

the Repertoires of Thousands of Singers Brother countries. $2.72 per year. Vo, No, 2 Si^ARY^ notice for fisc»ntinuan?e. " CADMAN - LIEURANCE 0%) VOICE Teachers, Concert Artists and non- THURLOW LIEURANCE was CHARLES WAKEFIELD CAD¬ professional singers in our foremost cities born at Oskaloosa, Iowa, March MAN was born in 1881 in make frequent use of the beautiful songs of 21, 1878, and in 1898, after serving Johnstown, Pa., and now resides in these notable composers. Space, of course, does in the Spanish-American War, he SK3&— tgSBFBSSS* Los Angeles, California. He is a not permit a complete listing of all songs enrolled at the Cincinnati College real American composer as his written by each, but this page with the songs of Music. One of his teachers was musical training was received en¬ brought to attention and the portraits and short Herman Bellstedt, the famous __ rl 1 tirely in this country. Mr. Cadman biographical sketches of each composer will cornetist and bandmaster. Mr. lieukance serve to give a better acquaintance with these IELD CADMAN studied under Emil Pauer and Lieurance is a'prolific composer for others and in 1904- placed his first celebrated contemporary writers. voice, piano, violin and flute but is especially vvell manuscript. Later he became interested in the music The r known for his artistic transcriptions of native of the American Indians and in 1909 he commenced American Indian themes. He has lived among the giving lecture recitals on that subject. His writings the 'highest 'note. A small Indians and recorded hundreds of their songs. Fre- are by no means confined to Indian music, how¬ ever, and the songs listed here include some of the anH instruments.

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Buzzi-Peccia KOUNTZ to,” is himself internationally RICHARD KOUNTZ, .one of known as a composer of artistic most successful of the youi songs and teacher of singing. Many No. 19971 Pric generation of American compo: ’ of bis pupils have won renown in TILL THE DAWN BREAKS THROUGH has produced in recent years a n concert and opera, among them such By Richard Kountz ber of striking songs, piano n outstanding artists as Alma Gluck bers, choruses, operettas and i and Sophie Braslau. In addition to tatas, some of which have atta the songs here listed Signor Buzzi-Peccia has also great popularity. Mr. Kount: written a most interesting and informative book, well known as a critic and \ entitled, “How to Succeed in Singing,” a book of recently was identified with the inestimable value to the vocalisjt about to enter upon Pittsburgh. He now lives in N following list is necessarily lim cessful songs. Cat. No. Title 19755 Sleepy Hollow Tun 19756 do . 19971 Till the Dawn Bre: Through . 23551 The Joy of You.... 19974 Driftin’ On . A FEW EXCELLENT AND INTERESTING 19694 do . SONGS BY A. BUZZI-PECCIA 22915 Into the Dusk. Cat. No. Title Range Price 18099 The Little Brown Owl...F sharp—g $0.75 23008 Castilla. 18100 do.E^-F .75 23007 Thinkin’ of You.... 19822 Eternai Light.c—F .60 23006 do . 19929 do.b flat—E flat .60 18540 The Rover . 23414 Forsaken (Song of Sorrow) .b—E flat .50 23183 do . 23413 The Return of Love 19765 Christians Triumphs (Song of Joy).d—E .40 19956 do . 1712-1714 CHESTNUT STREET THEODORE PRESSER CO. PHILADELPHIA, PENNA. Publications THE ETUDE FEBRUARY 1928 Page 87 Page 86 FEBRUARY 1928 THE ETUDE

No iv You, too Professional |-i ' —**§ Directory “Melody Way” j Qan You T5ell? » has enabled many teachers to 1. Who wrote the most famous setting of the song, Who is Sylvia? and what is the origin of the words? double their incomes 2. What and when was the first American Opera presented BECKERSfgga.a^ at the Metropolitan Opera House of New York? 3. What is meant by the “classic spirit’’ in music? 4. What two great forms of musical composition came into a i complete state in 1600 ? DUNNING Sa-Effagg 5. Name in order, from very slow to very fast, seven words indicating rate of movement. GUICHARD I 6. Who started the custom of the audience rising during the performance of the Hallelujah Chorus in Handel s Mes- I siah” ? 7. In what great German song does the music of the French SSHi National Hymn appear ? I 8. Define the Italian phrase: Volti subito. wqulton ! 9, What famous American prima donna perished in a ship¬ HEW YORK *sb*?£Ssk- wreck off Batavia? 10. How did the Saxophone derive its name? SPECIAL NOTICES TURN TO PAGE 167 AND CHECK UP YOUR ANSWERS. afS wM hUTfint“«SaC maSriauJh'n0^"1retot to AND friends. Teachers can make a scrap book of them for the benefit of early pupils or others who sit by the ANNOUNCEMENTS piSnTOH^® reception room reading table. I

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r(5he ‘Month of Genius

February—the shortest month' in the composer “who happens to be a woman,” year, with the longest list of distinguished our own Mrs. H. H. A. Beach (1867). names who claim it as the month of their October parades before us Domenico birth! Scarlatti (1685), born the same year as It is but natural that we think first of the great Bach. The birth month of his Washington and Lincoln because of the father, Allessandro Scarlatti, is uncertain. nation-wide celebration of their birthdays. From his tombstone the year is 1659 or But many other great statesmen were possibly 1658. This was one of. the very born in this briefest of months: Sir Wil¬ early names in music history, and he was liam Phipps (1651), Colonial Governor said to be “the brightest genius of his of Massachusetts; Benjamin Ogle (1746), epoch.” October has also Liszt (1811) Governor of Maryland, who first suggested Verdi (1813) and Johann Strauss of Only a WuRuTzer assures observing Washington’s birthday; Samuel "Blue Danube” fame. It was under a Osgood (1748), first Postmaster General; few strains of this well-known composi¬ Josiah Quincy (1772). Then we may men¬ tion that Brahms wrote, in a friend’s al¬ such uniform tone purity! tion William H. Harrison, Samuel J. Til- bum, “Not, unfortunately, by Johannes den, Elihu Root and Woodrow Wilson— Brahms.” To October we must also as¬ all names familiar to most of us. sign Saint Saens (1835) and Bizet (1838). Superb performance, music of rare and The month is equally distinguished in To November we credit Donizetti satisfying charm, is always yours from this literature, for it includes Henry W ads- (1797), Vincenzo Bellini (1801) and epoch-making Wurlitzer Player Piano. worth Longfellow, James Russell Lowell, Fanny Mendelssohn (1805), a woman com¬ Horace Greeley, Henry Watterson, Sidney poser cheated of her just accomplishments For, by successfully supplanting wood with Lanier, Rose Terry Cooke, Josephine by the restrictions and prejudices of the non-corrosive aluminum alloy in the player Dodge Daskam, Margaret E. Sangster, period and place of her birth and the action, Wurlitzer craftsmen have solved a the writer of many beautiful hymn texts, - fame of her distinguished brother. No¬ problem that has long baffled builders of player and Frank L. Stanton, author of the text vember likewise claims Rubinstein (1829) of Mighty lak’ a Rose. and possibly Purcell, early English musician pianos: they have created a player that is Among well-known names of those in of whom no baptismal entry is recorded. unaffected by atmospheric conditions. Extreme other walks of life born in February are : From inscriptions on his tombstone the humidity, excessive dryness of the air, never Cotton Mather, Daniel Boone, Susan B. date of his birth is thought to be No¬ Anthony, Dwight L. Moody, Joseph Jef¬ affect its easy action, the marvelous purity of vember 21st, 1658! close to that of Alles¬ ferson and Thomas A. Edison. sandro Scarlatti. While the locality is not its golden tones. Let us analyze the list of distinguished absolutely certified it is presumed to be See and play this Wurlitzer masterpiece, musicians and see if February retains its Little Saint Ann’s Lane, Old Pye Street, prestige in this field. We find January has for a new conception of player perfection. Westminster. but one really great name, Mozart (1756). February has Handel (1685), Rossini In this “speed-crazy” and “time-con¬ Visit your nearest Wurlitzer dealer, or send coupon below (1792), Mendelssohn (1809), with Ole serving” age when our “City Fathers” arc for photographs, prices, and convenient terms of payment. Bull, Victor Herbert, Adelina Patti, Em¬ doing away with all of our long-beloved ma Thursby, Enrico Caruso and Henry street names and substituting therefor nu¬ WURLITZER WURLITZER Steinway, the founder of the long-estab¬ merals and letters of the alphabet, and TREASURE CHEST PIANOS our efficiency experts are creating for us lished piano firm of that name. March OF MUSIC brief, snappy slogans, saving us time, talk, Reproducing $6,750 to$675 comes as a roaring lion with the great Period Grands$5,000 to $735 stationery, ink and everything else, is it Johann Sebastian Bach (1685), of whom Grands . . $2,500 to $625 Players . . . $665 to $435 Schumann said, “Music owes him almost not refreshing to come upon such a musi¬ cal name as Little Saint Ann’s Lane, Old Uprights . .$475 to $295 as great a debt as any religion owes to its It is, however, as a teacher and as a writer F. O. B. Factory URING the course of the past twenty- founder,” Haydn (1732), immortal Chopin Pye Street, Westminster, to linger loving¬ D of educational musical material that Czerny five years, the writer has enjoyed the markable fact is (1809) and Rimsky-Korsakov (1844). ly over it and to realize that there was a unusual privilege of having educa¬ that of all the will be best remembered. He had an un¬ For three years We can give April only one truly great period in the history of the world when tional conferences with practically all of the composers of he became the canny knowledge of the kind of exercise people had the ’ leisure and the inclina¬ name, that of Tschaikowsky (1840), while greatest pianoforte virtuosi of that period. studies and exer¬ pupil- and protege that best train the hand and mind in prep" j May has Monteverde (1567), the origin¬ tion and were not too hurried to write This has developed friendships and result¬ cises, Czerny is of Beethoven. He aration for great pianoforte play'"!! and speak it? ing correspondence upon all phases of ator of the modern style of composition. the only one was also under Through his famous pupils, Liszt, Lesclae- , We close the year’s survey with the Grand Piano Division Upright Piano Division pianoforte study. whose studies the tizky, Kullak, and others, have descended \ Wagner (1813) and Brahms (1833), said the advice of month of December and salute it as the Almost without exception, every illus¬ great masters of Hummel and musically, practically all of the foremos^ j to be the last of the great line of German De Kalb, Illinois North Tonawanda, N. Y. greatest among the twelve. For in it we trious pianist met during these conferences t h e instrument Clementi. pianists of the day. Leschetizky, in PaE I Masters. We must credit the lovely month celebrate, with the rest of the civilized Dealers and Branches Everywhere has emphasized in the strongest terms the unanimously de¬ Czerny’s compo¬ ticular, would not receive a pupil unless ‘"s j of June with four distinguished names, indispensable character of the studies of mand. sitions became “Vorbereiter” had given him a thorougn | Schumann (1810,) Robert Franz (1815), world, the birth of the Christ Child. De¬ Carl Czerny for present-day piano study. This eminent exceptionally pop¬ drilling in Czerny. 1 Gounod (1818) and Grieg (1843). July cember also gave the great Beethoven his The notable thing about this is, that re¬ birth day (1770) ; and, wherever music The Rudolph Wurlitzer Co. musical educa¬ ular. These in¬ As a man, Czerny was exceeding^ 1 has Gluck (1714) and Schubert (1797), gardless of what may have been the indivi¬ tional authority cluded 24 Masses, as we know it is heard, the supremacy of (Address either De Kalb or N. Tonawanda, as above) dual opinions of the pianists upon other modest, very simple in his manner, QU1 \ while August can muster only DeBussy was born at Vien¬ 4 Requiems, voiced, courteous and continually s“ ' 1 (1862), and Chaminade, bom a year this composer is recognized. This highly matters, they have all been of one mind na, February 20, Graduates, Offer¬ / Please send me illustrated portfolio of Wurlitzer..... upon the fact that every student of the in¬ rounded by loving friends. He was tota A j earlier, of whom it was said, “She is not favored month also claims Von Weber S Pianos, and complete information. (Upright or Grand) 1791. His father tories, Sympho¬ strument should have “a thorough course in different from most of the severe a 1 a woman who is a composer, but a com¬ (1786)—though there is some controversy was a very fine nies, Oratorios, here, some authorities crediting it to No¬ Czerny.” Czerny’s studies, to them, are and a History of arbitrary pedants of his day. He was J poser who happens to be a woman.” musician, and man of very broad culture and excel® 1 Name_._____ like scales and arpeggios; you simply can¬ Music. In all, September claims Meyerbeer, born of vember—Berlioz (1803), Cesar Franck not get along without them. taught the boy taste. (1822) and our own beloved MacDowell, with such skill over one thousand Jewish parents at Berlin (1791) and Address...'. A peculiar characteristic of the Czerny The great problem, with Czerny, *s *° 1 without question America’s most distin¬ that when Czerny of his composi¬ called Jacob Meyer Beer, a name after¬ studies is that while they relieve the student tions were pub¬ select from the tremendous mass of tm 1 guished name in music. City.—-State of the emotional tenseness involved in the terial he produced those studies which j wards Italianized to Giacomo Meyerbeer, he could play lished, and he left, Dvorak (1841) and another distinguished (Continued on page 149) practice of the more modern Etudes of m a d d i t i o n, a most necessary. , 1 Chopin, Liszt, Schumann and MacDowell, from memory a huge mass of un¬ Several of Czerny’s 1,000 publish** yet there is about them a quality that is large repertory j o f compositions Berlioz, Czerny and Liszt published manu¬ works consist of collections of as many fl pleasantly exhilarating. scripts. (Continued on page 153) A-

FEBRUARY 1928 Page 91 THE ETUDE 3 90 FEBRUARY 1928 FASCINATING PIECES FOP THE MUSICAL HOME

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a)In Hungarian Folk Music“Lassu” signifies a slow, deeply emotional or plaintive theme. The Hungarian peasants, have a saying that they are happi¬ THE BASIC est when they are sad. 1 ** here go to B and play l)>In Hungarian Folk Music the word"Friss” refers to the most spirited and jolly tunes. Ho C; then go to beginning and play MUSICAL Copyright 1928 by Theodore Presser Co. *From here go back to the beginning and play to A; then go to B. (to finishing with Coda. PIANO INSTRUMENT Other Music Sections in this issue on pages 119,127,159. British Copyright secured you write to advertisers ETUDE. identifies touch With the higher ide.Iu of art „nd life. THE ETUDE FEBRUARY 1928 Page 93 THE ETUDE Page 92 FEBRUARY 1928 AN ENCHANTINg , rhythm vory popular a. lb. pra.a.t ttmmljpch atteut™ "™“‘* Grade 3i Allegretto spirituoso

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|i •-ji mm \UEW] fggaff| British Copyright secured mf Melody Copyright 1927 by Theodore Presser Co. COLONIAL DAMES ip*« =- ~5 3 3 1 *, A vigorous, straightforward mrnber, with u.oful teebnioal faatures. Grade 4. FREDERICK A.WILLIAMS Lj -j— J ■ j mm 1 lr r HH fir j ' i u j?j j 1 Tempo di Minuetto

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FEBRUARY 1928 Page 99 Page 98 FEBRUARY 1928 Why Hot VW* to * Young ‘Pupil’ THE ETUDE W y B, Arthur A. Schwarz To a very young child, old enough to . financier who has, madp a coU'rsc, the teacher may address a Street can never get the » , gjng ,hc pupil-s work. Even the J5he 'Musical Home ■Reading “Gable This “Whole World” Catalog Free ••killing *» W *£ ,,.c S„,.cess that he got ^ sophisticated people like "sugar,” as Anything and Everything, as long as it is to every music lover in the United States (not in A Real Opportunity! atole France sagely remarked. The lct- Canada) on request. It is an intensely interesting Instructive and Interesting -«m book, an ex- booklet, profusely illustrated, containing the titles, descriptions and complete contents of all the books Jicrienccd editor said, "Remember this day, 1 ^ * should be advised to listen Conducted by S| MUSICAL pcnenccu an0ther i,ke it. , letter jn all seriousness and to dis- listed below. Whether you are a teacher, a student That young man has since become: one t of indifference, for children A. S. Garbett or a musical amateur, you will find a number of /thewodd’s renowned critics, but jl his observcrs. books for violin, piano, voice, organ, saxophone, hooks do not stir him as did that first ' The young pupil will read the letter not etc., which will prove the most satisfactory collec¬ JSsL UNIVERSUM The first published composition What the immediate family but also to all tions which you have ever used. Mail us a post¬ musician does not recall the tmgbng of One seven-year-old showed a card today with your name and address and the ;pine that was his when he saw ms ow ^ (Q hcr classmates, saying, My A (Cushion for Aida catalogue will be sent by return mail. Collection of Over per '"weil/iYleM does one eiijoy the fif^t tea^raS^.one visualize a child who has David Bispham’s ‘'Quaker Recollec¬ at hand, would kick with one high-heeled THE “WHOLE WORLD” number Jf correspondence, let it bemfiy apo^tca ^ promiscd a lelter answering the post- tions” contain some delightful memories slipper a train around behind her and as¬ MUSIC SERIES 4,000 NUMBERS 10* The newspapers, aware of tha ^ct ^ stentorian announcement, •Letter for of interesting people, including the now sisted by the tenor would compose herself ,y way of Junior Pages m thenr pafe ■. Evdyn_?» If so, one can picture almost legendary Adelina Patti, one of the in graceful position—and die. is the world’s premier line of musical collections encouraged children of different iates ^ ^ rapturc as the letter is read, greatest and most typical of nineteenth "The last time I ever saw Mm,e. Patti for piano, violin, voice, organ and other instru¬ Here’s a notable collection of the most popular classics vritc to one another. Hence me m sratitudc of the child will reveal century prirria donnas. on the stage was at Covent Garden Thea¬ ments. Each volume contains 256 or more pages etcher might do well to consider * ^ jtself in better prepared lessons. Let “Mme. Patti, while not being a great edited and revised by such masters as E. Parlow, E. V. ter, at a gala performance at the time of devoted to the choicest classic and modern com¬ actress,” says Bispham, “was always ade¬ Sauer, O. Singer, Fr. Seitz, A. Seybold, M. Frey, R. Krentzlin er of sending, perhaps, the i teachers try the idea. Queen Victoria’s Diamond Jubilee, when positions. Printed from engraved plates on clear quate in the histrionic side of her parts, the attention of the audience was attracted and others. Splendid aids in teaching-in entertaining- white paper, and substantially bound in either though, after the fashion of her day, she even more to the splendor of her dress cloth or paper. for your own enjoyment and training. invariably came to the footlights to sing than to the brilliancy of her voice. Upon Radio and the Jilusic Student her great arias regardless of the business her corsage there blazed a solid front of Here is the Complete List of “Whole World” Collections You will find herewith selected lists of numbers for Piano of the stage; its occupants might do as diamonds, and I was told that every gem Solo and for Violin and Piano which will give you an idea By Wilfred E. Despard they pleased as long as she had the un¬ in her possession had been carefully*sewed divided attention of the audience. She of the scope and value of this Musical Universum. Clip the Recital Piano I’ieci 1 Violin Concertos. was indeed a song bird, par excellence, upon the bodice of her dress. Ropes of coupon below and mail it to us, stating the number o Piano Duets . iolin Pieces. jrJfrS&i 27S, and never allowed anything to upset her pearls hung from her neck; her hands Light Piano Pieces >edia of the Violin. 2K Concert Piano Picc copies and the titles you wish sent and whether for Piano help cultivate the appreciation and love o g0^,hen flie announcement madefhal equanimity or her comfort. were covered with jewels, and a diamond Concert Piano Pier good music in America. Many vvor - famolls pianist is going m perform "I shall never forget her closing scene tiara sat upon her graceful head. So Moderi Solo or Violin and Piano, or both. Over 4,000 numbers to il Opet Home. famous pianists have been heard during t])c ra(jjf> niakc a note ut the sclcc- in A id a where she and the tenor are sup¬ valuable was the world-renowned prinia Grai I Open choose from and only lQc per number! HU™._ Pieces (E|j Alto)... the past year through a large New York ^ (o )){, playc(| Get copies of each posed to be immured in a tomb of stone. donna that, besides her husband, she was SSKrtTtXi. . Songs Whole World Sinf Saxophone Pieces (C Melody). Here are some of the selected composers and their works station and its allied chain which covers cortJpOSjtjon and have them read) when the At the close of the duet, Patti, who had guarded by several detectives, one of Love Songs Saxophone Pieces (B|> Tenor). instructed the stage manager to make her whom was with her in,her carriage upon Ballads Whol e World Sing Organ Pieces (Paper). the Eastern half of the United States. pro(,ram starts. Then, follow from your Violin Pieces Organ Pieces (Cloth). For Piano Solo This has enabled many teachers and stu- cop)r as (bc ar(jst plays, noticing all the comfortable, would carefully adjust a sofa her way to the opera house, while another Modern Viol American Home Music Album ARENSKY. Scherzo, Capriccio, Coucou, Cot cushion which had been placed conveniently sat upon the box.” solation, Valse, Barcarolle. Toreador et Andalouse. Valse Caprice. Tore dents who live away from the musical )itt)e marks 0f expression phrases, ac¬ BACH, J. S., 6 little Preludes (a Numbers), r centors to hear concerts by the best mu- cfntSi diminuendos, crescendo as you go little Preludes (5 Numbers). BALAKIREIV—GLINKA. The Lark. sicians. The national advertisers who aiong. BEETHOVEN. Complete Sonatas in single SCHUMANN, Complete Piano Works in single make these programs possible have learned This will teach you to b-: 1 to music ‘‘Sleep On It New York City SCRIABINE, Mazurka Nos. u and 6. that there is a growing radio public that intelligently and will help > u to know, BOROD1NE, Mazurka, Monastery. SPENDIAROW, Berceuse. wants the greatest and best music and understand, appreciate and 1 v to the The power of the brain to work while power of illustration and design than he CHOPIN. Ballades, Fantasies, Impromptus. T1WOLSKY, Moscow Fantasy. more of it. fullest extent the works • ti.e great CHOPIN, Mazurkas, Nocturnes, Polonaises, TSCHAIKOWSKY. Pianoforte Works in single the body sleeps is one all music students possessed, he could not progress an inch, If you are fortunate enough to possess masters. Make the most of > radio! Scherzos, Waltzes, Various Pieces in single Wagner! Rich., Overtures and Selections should take into account, whether in prac¬ and after several miserable attempts he from his Operas in single Numbers. ticing technical difficulties at the keyboard put it away and forgot all about it. JOHN M. WILLIAMS DELIBES, Coppelia Valse, Naila Pas des Fleurs, WEBER, C. M. von, Pianoforte Works in single nr in musical composition. Sir Charles . “Ten or eleven years later, when he had Sylvia Pizzicati, Ej Uchnjem, Song of the Volga Numbers. Stanford's book on “Musical Composition” quite forgotten his early efforts, he opened says: ‘Relating Key and ?iote se Jocelyn For Violin and Piano reminds us that “a well ordered brain a book at the same poem, sat down and BACH, J. S„ Air, Chaconne, Sarabande. never forgets. It will take an idea, and im¬ wrote it straight off without a hitch. But BEETHOVEN,-HOVEN, ia Romances,Romat Andante, Adagio, By A. R. McGregor By MacLachlan GOUNOD,Sp’ringSong,Meditation,ValseFaust. the surprising proof of ‘unconscious cere¬ CLinPINQ HANDEL, Largo. Sonatas. prove and refine it out of all knowledge; HAYDN, Rondo, Serenade, Minuet. BERIOT, sir Varie No. 1, 4, 5, 6, The following games have been de¬ on the proper key. Use only < oic or two and it will, if you are in difficulty, help bration’ came when, fourteen years after HELLER, Complete Piano Works in single Melodies Italiennes. Numbers. CORELLI, Corrente, Folies d’Espagne. vised to interest pupils in learning letter octaves at first if desired. you out if you do not worry it or your¬ the song was written and published, lie HUMMEL, Rondo. DELIBES, Coppelia Valse, Naila Pas des Fleurs. Divide the cards with a companion to self. Of the truth of this power the writer found the juvenile attempts in an old box, 1LJ1NSKY, Berceuse. ERNST, Elegy. , KAL1NNIKOW, Chanson Triste. GODARD, Berceuse Jocelyn. After stiffening a musical manuscript vary the game and see who can put all may perhaps give an instance from his and the first three verses were, both in mel¬ LIADOW, Valse, Intermezzo, Impromptu, GOUNOD, Faust Valse, Meditation. HANDEL, Allegro, Largo, Sonata. paper by pasting on a thin piece of card¬ of his cards in place first. Make several own experience. ody and harmony, practically identical LISZT, Complete Piano Works in single LALO, Chants Russes. board, cut it across tile staff lines into sgts of strips so that four or live persons “When he was fourteen years old he with those of ' the completed song. His Numbers. LISZT, Hungarian Rhapsody No. a. MENDELSSOHN, Complete Piano Works in MARTINI, Gavotte. strips a trifle narrower than piano keys. can play away from the piano, all cards tried to set a somewhat long drarpatic brain had remembered when he himself MENDELSSOHN, War March, Spring Song, single Numbers. Draw on each, with ink and pen, a bar, being divided equally among the contes¬ poem as a song. He wrote the first three had wholly forgotten and had found the MOZART, Complete Piano Works in single way out of the difficulty without his being MOZArH Sonatas in single Numbers clef and one whole note, beginning with tants at the start. The cards must lie face verses easily enough, but when the drama RAMEAU, Gavotte. down at the beginning of the game and began to become vivid and to require more in the least conscious of the process.” SCHUBERT, Ave Maria, Serenade, Match the note two added lines below the'bass “Is one of those wonderful pieces that happens about once in a lifetime. then lie turned up one at a time, each person Militaire. staff and continuing upward to two added PONCH1ELLI, Dance of the Hours from TSCHAIKOWSKY, Andante Ointabile, C.m- playing in his turn. Each card is watched I SHOULD TERM IT AN ABSOLUTELY PERFECT TEACHING PIECE.” Giacontla. _ , , zonetta, Barcarolle, Christmas, Organ Grinder. lines above the treble staff, not omitting RACHMANINOFF, C Sharp Minor Prehide, VIEUXTEMPS, Reverie, Fant. Appaiionata, as it is turned up and the n< who first the Qlarinet the notes between the staves. Now for Haydn and “Climbing'’ is published with preparatory exercises. Price 35 Pdichinelle, Serenade, Valse, Elegy, Melody. Ballade, Polonaise. cails off its correct line or space, staff and RAFF, Cavatine, La Fileus VIVALDI, Sonata. the game! WAGNER. RICH., Selections from his Operas. letter wins the card. Saint Saens has some interesting to replace the shrill tones that the trumpet CUT OUT W1ENIAWSKY, Legend, Mazurka, Kuyawuk. Call out the letter name and the line iRfj for MUSIC this advertise¬ Use your own ingenuity in "making up’ things to say of Haydn and his sym¬ lost as it gained in depth of tone. or space of a certain note and time your¬ ment and send it Write for full descriptive catalog containing over 4000 numbers other games in which brothers, sisters phonies in his Memoirs, particularly re¬ “Old editions of Haydn’s symphonies ON APPROVAL self while you place the designated strip f checked to or parents may join. garding the clarinets which Haydn, of show a picturesque arrangement, in that Harold Flammer the disposition of the orchestra is shown with your name course, introduced into the symphony or¬ .Love-Ballads (High) chestra. on the printed page. Above is a group .Love-Ballads (Low) and address and .Easy Teaching Songs you will be de¬ ASSOCIATED Tiling Before You ‘Play ‘‘Of Haydn's one hundred and eighteen made up of drums and the brass. In the center is a second group—the flutes, Piano Pieces, Grade 3 . Songs for Young Girls lighted with se¬ symphonies,” says the French composer- Piano Pieces, Grades 4 .Encore Songs lections sent. We B>- George Coulter oboes and bassoons, while the stringed in¬ Organ Compositions .Secular Duets (S. & A.) MUSIC PUBLISHERS, INC critic, “many are simple trifles written Readings with Music .Sacred Duets (S. & A.) wish there were struments are at-the bottom of the page. Anthems—Mixed; Witl • General Sacred Songs (High) compassed it, with the other hand alone. from day to day for Prince Esterhazy’s room here to i4o West 4znd Street, New York fcctly, never play it faster than you c When clarinets are used, they are a part Anthems—Mixed; With print the compli¬ With the same patient, straining. ?1°" little chapel, when the master was musical Anthems—2-part Trebli think. If your brain has not grasped 1 of the first group. This pretty arrange¬ Anthems—Men’s Voice: menting letters crawl you will combine hands, always director there. But after Haydn was ment has, unfortunately, not been fol¬ received daily by notes, your fingers, having no intelligcn called to London by Salomon, a director i—Mixed cannot play them of themselves. At fit sisting that your fingers 11 ever do anylhii’9 lowed in the modern editions of these us from Etude of concerts, where he had a large orches¬ readers whom we without touching the piano scrutinize 1 “on their (ran'’ that is, without the con¬ symphonies. UWomen’s Please send us tra at his disposal, his genius took mag¬ have served. passage as you would a conundrum, scious guidance of your brain. Finally• “In the works written in London, the Choruses—4-part Wom< the attached simplify it, divide the bar into two fo nificent flights. Then he wrote great sym¬ clarinet has utterly forgotten its origins. begin a steady, leisurely count, and en¬ phonies and in them the clarinets for the or eight parts and thus make absolm It has left the somewhat plebeian world of coupon ..C. O. D.Charge to deavour to co-ordinate your notes thereto- first time unfolded the resources from certain of the tune and rhythmical di the brasses and has gained admittance to Ten minutes of such intensive practice which the modern orchestra has profited sions. Now, with a mathematical exa the more refined society of the woods. will effectively dispose of a troublesome so abundantly. Originally the clarinet ness, extraordinary slowness, and the g Haydn, in his first attempts, took advan¬ played a humble role, as the name indi¬ NOW lest of touches, finger half a bar with , passage which frequently will not y*«£ tage of the beautiful heavy tones, chain- HAROLD FLAMMER Bf'iT cates. Clarinctto is the diminutive of hand, and, when you feel you have faj to months of monotonous, machine-!* . mean and the flexibility and marvelous STANDARD MUSIC INCORPORATED repetitions. ■larino, and the instrument was invented range of a beautiful instrument.” Please mention E ETUDE when addressing 01 Please mention THE ETUDE when addressing our advertisers. EDITORIALS

Nig. A. tragic Waste in Musical Education

An Etude Editorial by James Francis Cooke

CAN you imagine what would happen if all the business beneficial influence on American musical education. What of the entire world should suddenly cease for two these schools have done in a larger way for advanced students, months? should be emulated by the private teacher. Nothing should be We can recover from left undone to destroy wars when a part of the the habit of throwing population is spending away two or three of the its time in destroying as best working months in many men and things as the year. ’ possible, while another American pupils and part bravely fights to parents and teachers keep up the supply of should plan now, while materials of life. the snow is on the But — a two month ground, to save next period of a total absence Summer from being a from work would spell musical waste. Music is FAMINE! PESTI¬ different from any other LENCE! POVERTY! study. To get the most RUIN! — yet — two out of it, the student months of deliberate in¬ should keep at it unin¬ dolence is just about terruptedly. what happens in the case of thousands of music Teachers should pupils all over the land. negotiate with par¬ It is one of the signal ents far in advance, and tragedies of all musical arrange to have as few education. America is summer lesson days lost known as the land in as possible. Compara¬ which needless waste is tively few families have turned into wealth. Here a vacation longer than is a leak in our educa¬ two weeks. During the tional system which is rest of the summer the dissipating millions of dollars every year, Surely we cannot child is often worn out with ennui. Why not turn these waste afford to let it go unchecked. moments to golden hours of musical joy? The child who studies in summer should make many times TEACHERS who say good-bye to their pupils in the Spring the progress of the child who studies only ten, nine or even are heart-broken to find in the Fall that they have lost eight months of the year. To drop musical training for two unspeakably, due to the old, unnecessary, uneconomic habit months is not unlike turning, off the sun for two months in the of parents who permit their children to “give up” music growing season. Reasonable periods of rest and recreation are lessons in the Summer, the very time when they have the great¬ desirable, but two whole months of “hibernation” in mid-summer est practice opportuni¬ are unthinkable. ties. Most teachers are willing and glad to work MUSIC is now so in summer. They have widely recognized no desire to dissipate as one of the finest in¬ their time in needless vestments the parent prolonged and seriously may make for the child, wasteful vacations. that one should plan to In these days music get the utmost from it. study is made so delight¬ It remains with the ful that, summer prac¬ parent to decide whether tice is a pleasure rather the child shall live in a than a burden to the musical city of indolence child. and ruin, or the musical city of industry and IN our large music delight. centers, summer The Etude Music schoc4s have been con¬ Magazine urges that its ducted for years with teacher readers and also what can only be termed music dealers, every- tremendous success. They where, frame this senti- have afforded thousands of ment and display it in a ambitious pupils, young conspicuous place as a and old, a chance to part of a national move- brush up their work with ment to stop one of the master teachers. They greatest lea\s in musical have already had a very THE CITY OF INDUSTRY AND SUCCESS education.

FEBRUARY 1928 T3he ETUDE MUSIC MAGAZINE voi. XLVI, No. 2

Page 101 FEBRUARY 1928 Page 108 the etude Tdhe Magic of Melody An Interview Secured Expressly for The Etude Music Magazine, with

REJECTED GENIUS A FEW months ago, in Brussels, Mr. Otto Junne, the pro- fcd cncket 1 Eduard Poldini prietor of the fahious firm of music publishers, Schott THE MOST DISTINGUISHED COMPOSER OF PIANO MUSIC SINCE EDWARD GRIEG. Freres, told the writer with a smile how his father, years ago, had rejected the manuscript of Gounod's “Faust. It seems giving lesson after lesson, withou He begins t snarl unbelievable, at this date, that one of the most experienced enough to make any. n^mal man b .. de£ply the next at his Wends and hts f nuy, and y not judges in the publishing field had turned aside the greatest work of the French master and, at the same time, one of the finest minute. He imagines disasters an^ Hc womes operatic properties of the age. possibly exist. He resents. . siblc citizen. Yet, this is a common experience in all the leading music publishing houses. Every now and then a real gem slips by U»S™“y “ "othing BorC ”’in * KS unseen. It is also true of book publishers. "David Harem, daily change of scene oroccupatim^ which is said to have earned a fortune, passed through the WOMEN IN ORCHESTRAS hands of many publishers before reaching its final and very profitable resting place. The famous theatrical success Abies (NE of the things ^oin^m^cians^pl^' Irish Rose,” weSit the round of managers, we understand, before a1 in Europe is to note the number otimportancc Gf the authoress, in desperation, determined to produce it herself. It is now in its sixth year in New York and is running without halt in London and in other cities, making its creator a SS e-now m LdTme" :n P* in a millionaire. . x. Publishers are placed in a very difficult position. As Mr. J. E. Hammond, of the well-known London firm of music pub¬ lishers, A Hammond and Company, put it to the writer, “If you would compose, “One of the greatest “Music publishing should be classed under the "Gambling Act. ‘lenied b, cua» »; most folk¬ f '\ X E OF THE worst blunders made by ported to the left side so as to produce CORRECT time is another factor which seem like one gorgeous chain of sound. inborn instinct preserves as naturally as aA ing more or less technical problems, main thing, until the pupil has a proper songs? the student is the unjustified grouping an uninterrupted continuity of motion. the student and sometimes the ad¬ The soaring exuberant melodies of Schu¬ he does the intervals of the melody itself. there is a more profound excellency after conception of the way it should sound. or bunching of notes in running passages These two operations, (1) the passing vanced player overlooks. The notes are bert, the melancholy melodies of Chopin, In fact, the talent for composition rests 2. H'/iat determines, largely the value which the conscientious student ought to largely in the composer’s ability to clothe All technical directions are wasted. The which require the greatest evenness and of the thumb and (2) the shifting of the exact, the technical problems are more or symbolize gladness and sorrow, bringing of a melody f strive. First of all, he is to interpret the the melody with the harmonic raiment best pupil must come to feel the spiritual con¬ smoothness. This comes mostly from hand to the right in ascending and to the less solved, but the rhythm is neglected. together heaven and earth. What a tre¬ 3. What are the charaden si; .« of the master's meaning. Every composition has fitted to it. tent of the tone-poet’s thought. If he faulty passing of the thumb under the left in descending, must lie done with the Measures are not given due attention. mendous wealth of melodies have been creations of the greatest melodists? a meaning. It is sometimes expressed in really feels this, he will find that lie other fingers or from passing of the vari¬ greatest easiness and smoothness. The out¬ Triple time is often extended to quad¬ given to mankind by the great masters, the title, Lullaby, Spinning Wheel, Mili¬ Composing Pianistically instinctively develops some means in bis 4. How shall one compos, "pianistic- ous fingers over the thumb. We have only ward appearance of the hand in perform¬ ruple, or vice versa. Notes are not sus¬ Beethoven, Haydn, .Weber, Schumann and allyf” tary March, Funeral March, Serenade, Mendelssohn 1 In addition to this, we have USIC, however, is music. If you fingers that will produce the tone he con¬ five lingers in each hand, and, with this ing such running passages must not be dif¬ tained for their full value. Rest signs M woujd compose, conceive your themes ceives. Of course, one cannot write a book 5. What finally determines the quality limited number,• we must run over the ferent from the motion of shifting the are ignored and so on. This is a serious and in all the various dances, Gavotte, the thousands of lovely tunes which have Minuet. Walts, Polonaise and so forth. come from the Troubadours from Pales¬ ay from the piano keyboard and write or method for each individual pupil; but of an interpretation? whole keyboard as easily, as if we would hand (right or left) over the keyboard blunder which requires radical treatment. be possessed of hundreds of fingers. The without playing any note. An excellent preventive or cure of this Now, it is perfectly clear that, if the com¬ effect of the passages must be as if we In giving attention to equality of sound, a habit is to isolate the rhythm through ex¬ position is thus specified, the player has were not in the least handicapped by this good model would be the glissandos per¬ ercises on a drum or a tambourine. One his course marked in an unmistakable way. iMusical fading and T5hin\ing human limitation. No undue bunching of formed with the back of the nails. Here, of can begin the exercises with simple time A Lullaby must be executed with a notes should be noticeable by the listener course, the passing of the thumb not being division and then gradually advance to sweet, tender touch, as to visualize the By Edward A. Fuhrmann and no jerking motion should be visible at required, all the notes flow uniformly and the most complicated syncopated figures. mother singing the baby to sleep. How the time the thumb passes under the other easily. There is no grouping and no bunch¬ The task of educating the ear to this often have I heard even renowned pian¬ fingers, or the other fingers pass over the ing. Just as smoothly ought to flow all special branch of music, being thus liber¬ ists allowing themselves, in the midst of It is a deplorable fact that one finds so cannot give a piano student this technic, C t T> LADING MAKETH a full man.” read them, although it would seem that thumb. As a listener once remarked to a passages where passing of the thumb or ated from the other ingredients of tonal such a composition, the display of noisy little reading among the average music but the extensive study of things musical Thus wrote Francis Bacon in his this method would eliminate the "dryness” certain well-known pianist, “It looks as of other fingers are necessitated. Smooth¬ art, becomes comparatively easier of ful¬ crescendos and of other needless effects, students of the present age. It is astound¬ gives an indefinable something to the stu¬ discourse on “Studies.” “A full of lengthy readings at one sitting. if you had an unlimited supply of fingers ness of motion and smoothness of sound. fillment. which, of course, are a crime against the dent which can come in no other way. man” implies a thinking man. Is the ing that with the wonderful strides made Recently I heard a speaker say that the. in reserve. Verily, I cannot see where you To vanquish this defect scales and ar¬ character of such a composition. Every¬ With some musicians their musicianship average music student a thinking student? in America in music appreciation and pres¬ average person usually read- or catches get them!” peggios in all keys should be strenuously body understands that with such tonal Oscar Hammerstein said to Orville Har- consists entirely of intellect, and with Blurring entation within the past ten or fifteen up with his reading only during an attack A pearl necklace, to be perfect, ought to practiced, hands separately and together. explosions the baby instead of being lulled rold, prior to the time the latter had others, just the reverse; but the ideal years we should find that those in prepara¬ of grippe. It's an ill wind that blows no be composed of pearls of the same size, A few compositions which combine npHE INCLINATION to neglect the to sleep would suddenly be awakened and reached his present artistic heights, “You vocalist and instrumentalist is the one who tion give such one-sided attention to musi¬ good! If this misfortune, by giving an placed at equal distances from each other. classical beauty and highly instructive val¬ A proper finishing of passages and would start to cry uproariously. Which have it here,” pointing to his throat; has a thorough “theoretical” and “prac¬ cal development, leading themselves to be¬ opportunity to balance an otherwise lop¬ They should show an uninterrupted con¬ ue are the Impromptu in E flat (Op. 90, especially to blur the last notes takes a recalls the ludicrous impression received “but,” pointing to his head, “do you have tical” knowledge of his art. lieve that all that is necessary for the sided artistic training, can produce a few tinuity. If, however, they are all equal in No. 2) by Schubert, Mendelssohn’s Spin¬ prominent place among the shortcomings when the writer heard the great Phil¬ it here?” singer is a beautiful voice, for the pianist Jenny Linds, Hofmanns or Kreislers, then size but form groups of, say, three, four or ning Song and Chopin’s Minute Walts. of piano playing. This bad habit may harmonic Orchestra of Berlin (under the Words that bring forcibly to our atten¬ good technic and so on through the list. Stimulating an Interest in Literature let us plead for an epidemic of grippe more, and show empty spaces between, the result from the attention of the player be¬ leadership of Arthur Nikisch) perform a tion this necessary condition of musical If there is any time left it may be devoted T T IS SURPRISINGLY difficult to in- among musicians 1 beauty of the necklace is. marred. The ing given to catching the time of the next Lullaby adapted from a song for grand Wrong Basses development are those by Mme. Sophie to intellectual development, but there usu¬ A terest the greater majority of musical same is true of passages which require period. But hurrying toward the end orchestra. Imagine an assemblage of more Braslau in Great Men and Famous Musi¬ ally is none, if it is not taken. students in the reading of books and ar¬ What to Read equality and evenness of execution. Every CORRECTNESS of execution in the brings indistinctness and confusion. This than a hundred musicians, supplied with cians : “It pays to think much and sing Oscar Saenger, eminent voice teacher, ticles on musical subjects. Large numbers group of notes not prescribed by the com¬ left hand is often neglected. The inclination may be combated by retarding trumpets, trombones, timpani, big drums little. The trouble with many singers is XI/TIY IS IT that our music students has made this statement. “It is much of students of all ages and natural gifts poser is to be condemned as faulty. pupil, flattering himself with the belief that toward the end of a difficult passage. This and so forth, trying to put a tiny little baby that they never seem to think but want to ' ' do not apply the advice given by better to think a tone forward five will study with excellent teachers for Improper grouping, one of the most he has done his whole duty when he has effort of retarding will effectively neutral¬ to sleep. Of course they all played very be everlastingly ‘working’ their voices. minutes and to sing one minute, than to true artists? In what manner do they years, daily sing their vocalises and play prevailing defects, and one very difficult to mastered the passages in the right hand, ize the undue haste. The German has a softly, but the picture of an array of robust Americans, particularly, are a practical practice the reverse.” Concentrated think¬ expect to attain this intelligence ? Possibly their five-finger exercises. But will they eradicate, is caused usually by superfluous does not pay much attention to the left very appropriate expression for properly (male!) individuals engaged in lulling to people and want to see ‘something doing.’ ing of this kind should be beneficial they have found another medium besides read a book or magazine on a musical motions in the passing pf the thumb. The on which generally devolves the task of ending a piece. He calls it ausspielcn which sleep a little infant in his crib was too Let us have a little more of ‘something to the vocal make-up as well as to meditation. This seems doubtful when subject? Never! How often, how very majority of pianists wait until the last mo¬ accompanying and of supplying the liar- means play to a finish. farcical for words ! thinking.’ ” the mind controlling it. Numerous one hears of the many who fall along the often, when the question is asked, “Have ment for passing the thumb under the fin¬ monies and the basses. (I say generally be¬ A Spinning Wheel should suggest the As a general rule, thinking is not the authorities have expressed preference for way. They seem to forget, or never Another warning should.be sounded at you read this and that article or book by gers or the fingers over the thumb, where¬ cause sometimes the roles are inverted and smoothly rolling of a well lubricated result of the ordinary functions of breath¬ an intelligent musician with normal musi¬ realize, that their art will be commensurate this point. Suppose two consecutive pas¬ so and so ?” the only answer will ■ be a as this operation should be prepared in the left hand has the function of- perform¬ (not rusty) wheel without jerking, with¬ ing, eating and sleeping, but rather of pre¬ cal ability rather than for a musician with the mental conception thereof. When sages have been thoroughly practiced and staring blankness or, “Never even heard advance. ing the passages, while the right hand car¬ out roughness. Also the touch ought to vious and continued extensive reading, be whose natural gifts predominate to such a the intellect has not been sufficiently de¬ mastered, but, played in succession, the For instance, in the following: ries only an accompanying part.) The most the reader a musician, a scientist, a natural¬ degree that a wide gap exists between the veloped, a consummate art cannot exist, connection is still lacking. There is hesi¬ be light and floating. Any excess of common blunder is the striking of wrong tation; there is stumbling in passing from sonority should be avoided. ist, a theologist, or any other type having equipment and the knowledge of how to even though the technic of the vocal or !x.L should be of special interest to voca notes in the bass. Absorbed as he is in the an active, creative mind. If one will read use intelligently this equipment. This instrumental apparatus is of the very best. the one to the other. They must be joined, A" Military March, on the contrary, are “fed” to the singers in doses—a si faultless performance of the passages in attached, “pasted together.” One would should be performed with a robust, mas¬ the biographies of our master musicians, would almost signify that a good voice is article at each rehearsal, to be sile A broadening of musicianship is brought it will be found that their creative and “a” first essential to the singer, but that it about not by reading musical essays and fcf'j j j the right hand the pupil, as a rule, shows think that, having studied the two parts culine touch, suggesting all the noisy in¬ read before rehearsal, at rehearsal u a surprising persistence in hitting all the to perfection, the player should be able struments of a military band. reproductive genius was to a very’ great can hardly be termed “the” first essential. the one or the other voice part is rehe histones merely. “The musician should It is true that reading every book in the the pupil should not wait until he strikes notes except the right ones and seems not also to perform them as well in succes¬ One sees that a correct, faultless ex¬ extent the result of devoted research and mg separately, or after rehearsal-yet , read poetry’, biography and history—espe¬ e for passing the thumb, but should begin to be disturbed at all by the resulting sion. But this is not the case. The join¬ ecution is not the only requirement. The study. finest library on piano technic in the world about ten per cent. 0f the members , cially of musicians and music—drama, and the movement with the striking of d. cacophonies. ing of the two sections requires a special (Continued on page 141) (.Continued on page 151) THE etude f FEBRUARY 1928 Page 107

Page 106 FEBRUARY 1928 s= GREAT MOMENTS SF Wagner, T3he Eternal IN the Renaissance of the Immortal Music Dramas at Bayreuth and Munich WAGNER’S By Nicholas Douty Mr. Nicholas Douty, eminent teacher, composer, and for twenty-five years tenor soloist at the Bach Festivals of Bethlehem, NIBELUNGEN Pennsylvania, visited Bayreuth and Munich last summer in quest of materials for this article for THE ETUDE Music TRILOGY Magazine. Our readers will find it very graphic, in fact, “almost” as good as a visit to “The Shrine of Wagner.” WHETHER OR NOT a man is chestra interfered, in his opinion, with the Love of Three Kings’’ is more Wagnerian a quiet garden in Bayreuth but his brave really great can scarcely be de¬ dramatic situation; so he sank it in a pit. than Montemezzian. Nor could Charpen= and restless, if somewhat cynical, spirit termined, with any exactitude, The instruments of his day could not ade¬ tier make of his lovely Street Scene in moves about the universe more freely now during his lifetime. His influence, not only quately express all his ideas; therefore he “Louise,” more than a Gallicised picture of than, when it was confined within his these are the Famous upon his own but also upon future genera¬ improved the old ones and invented new ancient Nuremburg as painted by Wag¬ small, -slight and inadequate body. tions, furnishes the true and final measure ones. ner in “Die Meistersinger.” Puccini re¬ “‘Ring” Paintings of his place in history. Buononcini, dur¬ The old-fashioned opera house, with its members him in “The Girl of the Golden The Bayreuth Traditions ing his lifetime, was as great as Handel, four or five galleries in which it was im-. West,” even if he almost forgot him in the controversy between them giving rise p'ossible either to see or to hear well, next “La Boheme.” Elgar’s “Pomp and Circum¬ T T NFORTUN ATELY, under the direc- to the famous verses: came in for his censure. Nor was the stance” seems like a pleasant combination tion of Cosima, his wife, and Sieg¬ By “They say compared to Buononcini, stage as he found it adequate to represent of Bayreuth beer and British ale. “Pelleas fried, his son, the theater at Bayreuth has That Mynheer Handel’s but a Ninny; the mighty conceptions of his genius. Its and Melisande” and “Verklaerte Nacht” of become the center of Wagnerian tradition, Others aver that he to Handel boundaries had to be increased, its size Schoenberg lean heavily, on Wagner. And K. Dielitz a very temple of ultra-conservatism. Is scarcely fit to hold a Candle. enlarged, its traditions modernized, its if Schoenberg endeavored to create % new Everything must be done in 1927 just as Strange all this difference should be, technic reorganized. Lighting and color harmony by adding fourths to a root in¬ Wagner taught them to do it in 1875 or 'Twixt Tvveedle-dum and Tweedle-dee.” effects, unknown until his time, Were intro¬ stead of thirds, and a modern counterpoint 1883. The world has moved since then, Hummel, alive, was placed on a par with duced. Scenery was wound upon huge by logically leading the voices to their con¬ and not even the genius of Wagner can Beethoven; dead, he has become only a rollers and pulled across the stage to pro¬ clusion without regard to the harmonies entirely withstand its progress. The re¬ name in the dictionary of musicians. duce the illusion of motion during the per¬ produced, does not the germ of both ideas sult is that scenery, costumes, action and How has Time dealt with Richard Wag¬ formance of his music. In a word this lie in “Die Meistersinger” and “The production sometimes seem a little old- restless, anarchistic spirit, impatient of ner? Is he as great an influence now as he Ring?” faShioned there. It is true that the Wag¬ was when alive? Or has he, too, faded control, reckless of tradition, was always The whole-tone scale and its dissonances, nerian law is always most carefully and like the Biblical flower that had no root? endeavoring to improve not only the ideas used nowadays by .every composer in Tin faithfully observed; but his restless, ultra¬ Wagner has been the storm center of discovered by others but also the very modern spirit somehow escapes them. For almost every sort of musical argument. improvements which he himself introduced. Pan Alley, are first suggested in The Ride of the Valkyries. Jazz is a new invention example, when Parsifal is tempted by the His revolutionary theories in regard to art, In association with the architect, Semper, Flower Maidens, the members of the since his death; but many of its tangled his unconventional life, his association with he built with funds from King Ludwig of chorus in long skirts and tights present rhythms and some of its scoring can be the radical political element, which ended Bavaria, Festspielhaus in Bayreuth, the a ludicrous appearance. The music ac¬ traced to him. It seems like a sort of ille¬ with his expulsion from Germany—all most modern theater of his period, embody¬ companying this scene is quite up to date. these made him an object of horror and ing his ideas; and here, in 1872, his operas gitimate cousin four times removed. It is a slow waltz as sensuous and invit¬ amaze to the solid, respectable, if some¬ were adequately produced for the first George Gershwin and Rudolf Friml, and ing as Kiss Me Again of Victor Her¬ what stolid burghers of the Fatherland. especially Deems Taylor, owe him the very bert or Giannina Mia of Friml. He was looked upon, not as a fixed star in deepest debt. It may be safely said that no Staged by Ziegfeld or the stage man¬ the musical firmament, but as a comet of The Wagner Heritage other musician has influenced modem and ager of the Folies Bergeres in Paris, with tremendous brilliance with such an eccen¬ QNE CAN TRACE in all the modern ultra-modern music as much as Wagner. glowing colors in the scenery, with warm tric orbit that it would soon pass out of composers, even down to the present Fifty years have elapsed since the death lights against the flesh tints of beautiful the range of human vision. Brahms, the time, the strong influence of the master of of this marvelous, many-sided genius, young girls, this scene would have a uni¬ Vhe transcendent the flight of the sure, tlie scholarly, the calm and well- Bayreuth. Rimsky-Korsakov, an avowed musician, poet, philosopher, critic, conduc¬ versal appeal at once clear and under¬ behaved, the utter antithesis of Wagner, disciple of Russianism in music, revised tor and dramatist; and yet his influence standable. The fat and flossy singers of was the model that all young composers his entire system of orchestration after upon the art life of the world is greater Bayreuth, dressed in the stage clothes of were to follow. 'Magic Fire Music Valkyries is one of becoming intimate with the music of Wag¬ than ever. In every civilized land his our grandmothers, brought neither illusion What has been the judgment of posterity ner. One sees his influence in the works operas are given more frequently than ever nor temptation. A young, modern and ar¬ upon these two great men? What has before; the dent Parsifal would have taken just one Scene from “‘Die the most glorious been their influence upon the composers of Tschai- kowsky, of rep ertoire look,, jumped out of the window and of the present era ? The music of Brahms of no sym- steered straight for Atlantic City or Coney is as much admired to-day as it ever was. Wal\ure” is seen achievements in the Island. There, upon any warm summer As a composer he is as much alive as ever. day, he could find a display of feminine His music stands a monument to his genius, pulchritude carefully calculated to test the above. as solid as marble, as immutable as bronze. T h e musi¬ music drama. cal parents ered com¬ moral strength of the “purest of fools,” His symphonies are as great as those of the most Quixotic of medieval knights. Beethoven, his songs as fine as Schubert of R. Strauss plete w i t fl¬ are Liszt out his mu¬ However, if one can overlook such minor or Schumann, his chamber music as superb details as this, it is a great privilege to as Mozart’s. It. is generally recognized and Wag¬ sic. The bear and to see a performance of “Parsi¬ Wagner’s genius that with him ended the so-called Romantic ner : Erich movie di¬ Korngold rector finds fal” in the Festspielhaus in Bayreuth. One school. He was the topmost peak perhaps; enters it reverently, and, in its dusky atmos¬ after him there was nothing else to do is his grand¬ in his works phere, far removed from the rush and never reached greater but to descend. Contemporary composers child. His adequate mu¬ competition of the business world, one can learned but little from him; and his in¬ face peeps sical expres¬ recover for a moment something of the fluence upon the composers of the present through sion to ac¬ sense of sacredness of the art of music, heights than in this is almost nil. the German- company and depict the a feeling of the ethical value of stage At the right we have representation, so usual during the Mid¬ Wagner, the Progressive scene (above), in dle Ages and so foreign to our modern \\TAGNER, the revolutionist, was a Wolf - Fer- vanced film spirit. Siegfried slaying the * r thoroughly antithetical situation. He which ‘Brunhilde Jazz writei was an inventor and an Originator. Ever he Debussy steal hi The Bayreuth Orchestra strove for new harmonies, warmer orches¬ Dragon Fafner from methods, h tral colors, freer, more characteristic melo¬ A N ORCHESTRA of one hundred and carries a wounded s i c a 1 pil¬ melodies an dies. Nothing daunted him. No mood was TA ten men, picked from .all over Ger¬ “Siegfried”. grimage to his rhythms too high nor too low for him. His dramatic B ay repth; many, is wonderfully trained and led by warrior to Valhalla. sense was extraordinarily acute, his feel¬ dramatist Dr. Carl Muck, once the conductor of the and in “Pel- purloin h i ing for the theater, tremendously keen. He Boston Symphony Orchestra. Partly never was satisfied with anything—not plots ar owing to the marvellous acoustic properties with his wives, his friends, his thea¬ Meiisande” his stag of the theater, it has a glowing, golden ters, his theories, nor even with himself. are to be technic blended tone almost unrivalled by any If he was impulsive, nervous and irritable, d i s c o v- philosopher other operatic orchestra. No one instru¬ these very characteristics made him im¬ ered traces adopt h i ment nor group of instruments sticks out

LL Li patient of his own achievements and of this never- outlook upc of the tone mass—no acidulous oboe, no spurred him on to newer inventions, to to-be-forgot¬ life. H strident trumpet, mars its beauty, but an higher flights of genius. The visible or¬ ten visit. The • is buried i almost perfect ensemble is obtained. The FEBRUARY 108S Page, 109 THE ETUDE Page 10S FEBRUABY 1988 busch, a young and enthusiastic conductor serious, well schooled and sincere, was qujt; brass choir is especially fine—rich, sono¬ performance which partakes as much of in control of the s.tuation at all times rous, grandiose in tone, yet never harsh. ethics as it does of art. One leaves this Such a chorus of men, women and boys ancient town with a feeling of belief in Nine large-framed, long-haired Valkyrie is not to be found anywhere in this im¬ the present and hope for the future, a lifted up huge, yet pleasant, voices in that perfect world. They sing with the fire 1 elpful tonic indeed to battle with the tremendous pean of physical happiness and perfection of the Bach Choir of after-thc-war world, too full of material¬ which only Wagner could have written and only Teutons can adequately sing. If such Bethlehem under Dr. Wolle, but with even ism, selfishness and irreligion. SSSenunciation, characterization SSS and dramatic ‘Musicians, T3a\e (fare of Tour Ears! more beauty of tone. The thick, large- women as these are to be the mothers of throated German bass voices may sound The Munich Spirit the German children of the future the race somewhat guttural in solo, and the dark- 1K,S2SS.»--*-e with its heroic traditions, is surely in safe Irving Wilson Voorhees, T N THE Prinz Regenten Theater in characterize more and sing less than « th By M. D. colored contraltos somewhat masculine hands. 1 Munich an attempt is made to present customi,. America. To play a part well, when singing alone: in chorus they produce the Wagnerian music-dramas in the most to dress it, to look it, to live mi, The whole impression—as one thinks it -A Tooted jy_ew Tor\ Head and throat Specialist Discusses a Subject of a marvellous effect. And the boys are modern manner, unhampered by the weight much necessities upon the lyric as upon the over in retrospect—left by these summer taught to sing in a clear, bright head voice Great Interest to Music Workers of tradition. The building itself is very dramatic stage; consistently to sacrifice festivals of Bayreuth and Munich, is one which any English or American choir good to look at, simple and well designed, the music to the characterization is not of tremendous strength and the lasting vi¬ trainer might envy. Musically, the high with a lovely garden at" the back where necessary. The music of Richard Wagner tality of the Wagnerian music dramas. No point is the ending of the first act. In the audience can spend very pleasantly the is the greatest operatic music ever penned. other musician of modern times can ap¬ spite of its many beauties, the opera never half hour between the acts. The stage It is painful to hear the curve of his mar¬ proach the depth and height of them. Per¬ again quite reaches this perfect combina¬ BEETHOVEN WAGNER is small but equipped with all modern im¬ haps Richard Strauss comes nearest. In tion of scenery, music.-poetry, mysticism, velous melodies pressed out of shape, or provements. Scenery and costumes are “Death and Transfiguration' be goes down light and color which Wagner dreamed of to have his superb harmonic scheme dis¬ floor of a normal external ear canal, you new since the war; young voices have to the grave and rise- to the highest AVE YOU a “musical ear?” If so often and which neither he nor any torted. His dramatic situations are tense H would soon come to a harrier which would been discovered and trained to sing both enough; exaggerations only cheapen them. heaven. “Pelleas and Melisande” of De¬ you think you have, just what do other composer often attained. you mean by it? Most people would completely block further progress, namely, the choruses and the principle parts. The Yet exaggeration seems to be the keynote- bussy is a truly delightful series of stage The singing-actors to whom the leading nean that they are fond of music, have a a tense, thin partition through which you rather small auditorium, seating rather less here; the stage pictures are larger than pictures with lovely. -< n-u . musical il¬ roles are allotted are all routined artists, great sense of musical appreciation or can might look into a rather box-shaped cham¬ than eleven hundred, amphithcatrical in life, the emotions, superhuman. “Craft” lustrations. “Monna Vatina" of Fevrier is well trained in both the music and the design, with each row of seats raised a easily remember melodies once heard and ber called the tympanic or drum cavity. takes the place of “art”—mere size of con¬ interesting and intense, h: scarcely great. Then, if you could enter the mouth of the action. They know just when to make the little above the one in front of it, is repeat them note for note. Others are somewhat stilted and conventional gestures trol and balance. The- same tendency is Stravinsky’s “Fire Bird" el . , and gleams internal channel or Eustachian tube at the decorated in a gray-green color, very rest¬ exhibited in the huge and crowded can¬ proud of the fact that they have absolute- required of them, in rhythm with' the like a huge jewel compel! the thanks very back part of the nose, you woujd ful anji comforting to the eye. New and vases of some of the South German paint¬ pitch and regard , that talent as alone music, and, in Parsifal’s case at least, when and the admiration tin world. Puc¬ travel somewhat farther until y.ou came ardent musical conductors bring verve and ers of the (last century, and in the coarse of iraiseworthy of the designation of musical to stand still and remain in the picture. esprit to the performances, so that they cini’s triptych of otic act - ■ • a - never quite into the chamber seen from the other side Their words can be heard and understood are never languid, indifferent, nor coldiy recovers the charm and u rallies# of his As a matter of fact, all of these inter¬ of the drum, namely, the tympanic cavity. by the audience; and if they often sacrifice .correct. Nor is the stage management earlier works. KomgoM two or three pretations are inaccurate, for it is tile Once within, the only way out would he beauty of tone for clarity of enunciation, The Munich Ensemble to retrace your steps or to walk straight afraid to risk an innovation, for fear of successes arc pleasant t.and to hear; brain, and not the ear, which is in the last it is an open question whether they lose HP HERE IS much to delight the eye in on through until you came into a sort of the wrath of the conservatives or, worse they wind along as placi>ll> the Danube analysis musical. The ear is merely a or gain the more by this method. At least still, of losing a job. For example, in the *■ the stage settings, and a great deal to carrying agent or sound-conducting mech¬ ante-chamber called the mastoid antrum. they are intelligent and intelligible; while at Vienna. In the music T unas Richard first act of “Das Rheingold” three young please and soothe the ear as well, in these anism. It is the gray matter fn the brain Passing on through this you would soon many singers with greater voices are Wagner culminated all tin music, all the STRAUSS DEBUSSY and beautiful members of the ballet corps Munich performances. The very great cells which stores lip memories and inter¬ find yourself in the honey-comb-like mas¬ neither one nor the other. Here is no impersonate the Rhine Maidens, while artist who sang the difficult part of Hagen stage art, and most of th- philosophy of prets them in musical thought and lan¬ toid cells which lie just beneath the hard prima donna trying to “hog the stage,” no three solo voices sing the music. The ef¬ in “Gotterdammerung” made of it perhaps his age and period. He renuins alone upon guage. skin insanity is likely to develop. Going the'latter cause, but I know of no scientific ridge of tone which can he felt directly romantic tenor followed always by- the fect is fine visually, dramatically and mu¬ the most perfect delineation of the festival. his mountain peak, the tin ; - melted and It is interesting to. speculate upon the home one day he chanced to notice his evidence that supports this theory. behind the lobe of the ear. spotlight. Each artist tries, not for his own sically. No singer lying upon her stomach In voice, make-up, physique, action, enun¬ unapproachable. anatomical configuration of the human ear. children playing about the floor and found Although most people think respectfully personal aggrandizement, but to be in the and making swimming motions with her ciation and atmosphere, he left nothing to It lias been said that great musicians have that every one of them had exactly just I Am a Longshoreman! of the external canal and adhere more or same “mood” with the chorus, the orches¬ hands, can emit good tones. Nor can be desired. His Hagen was not a legen¬ had peculiarly shaped external ears. That such a shaped lobe. Just how this discov¬ less to the ancient dictum that “nothing tra, the stage director and the conductor, IT IS CURIOUS how impossible it is to three ponderous, middle-aged German dary lay figure, but a living, breathing be¬ SELF-TEST QUESTIO ON MR. is, the pinna or sound-catching ear has in ery affected his future calculations is not smaller than your elbow” should lie put to represent faithfully and perfectly the judge of functional ability by objective Hausfrauen produce the illusion of seduc¬ DOUTY'S ARTH LE some cases had an extraordinary shape. into it, it is, as a matter of fact, of much ideas of the composer and the dramatist. ing. Gertrude Kappel, who comes to the examination. I have always been inter¬ tive youth and beauty, be they ever so So it was in the case of Mozart, whose less importance than the internal channel This is no “Show,” no mere amusement. Metropolitan Company this season, has a 1. In what ways was /IV r a musical Sound perception is influenced a great ested in the singing voice, for example, carefully costumed and sing they ever so gorgeous, healthy voice, a pleasing person¬ whole ear was very thin and had almost or Eustachian tube, in so far as disease is As does the “Passion Play” in Ober- deal by the condition of the' external audi¬ and once upon a time during the examina¬ wildly well. ality and a captivating smile. The chorus no external margin. Another instance is tory canal. Any obstruction preventing the tion of a clinic patient I was much im¬ concerned. The only really painful con¬ ammergau, this Bayreuth “Parsifal” brings 2. In tvlial ways diet llagnrr influence Unfortunately there is no Dr. Muck can shout, as if often does; but it can sing, that of the late Constantine von Sternberg pressed by the excellent anatomical con¬ ditions that can develop within the external back to the remembrance those ancient ingress of sound varies its intensity and among the Munich conductors, to make also. The Apotheosis of Hans Sachs, the construction of theater who is said to have had an ear similar to formity of the nose, pharynx and larynx. channel are lioils and pain in the drum days when religion and art were one and the possibility of judging pitch. I remem¬ the most of the orchestra and to illuminate from the last act of “Die Meistersingcr,” 3. What arc some of the things that Mozart's. It is also stated authoritatively ber a well-known pianist who for some The patient had a splendid vocal apparatus from injury. Practically all other aural inseparable. Each player, no matter how the truly great scores of the Wagnerian showed its strength, its control of nuance later composers learned freer. Wagner! that Adelina Patti had extraordinarily weeks had been troubled as to whether or in every respect, which suggested to me difficulties begin somewhere back of the humble his position in the general scheme, dramas with the light of his genius. The and beauty, and made one wish that it were 4. Compare performance 1 Wagner’s not his pitch sense was accurate. Upon that possibly he possessed a singing voice. drum. gives all his heart and all his voice to a orchestra is a good, if not a great one, always sung as well. Hans Knapperts- From the physician's standpoint not examination I found a plug of hard wax Therefore, I questioned him as to his oc¬ works as given at Bayreuth < which is substitu by the artists of to-day for the stiff ho scarcely any ending. It just is! like hammers and they struck the keys inches, if the student’s hands are large— Ping staccato of the discarded Germ Besides the muscles of the wrists which like pile drivers. But we have completely and about six inches long. Resting the technic. This drawn-off staccato U , must be relaxed there arc two other sets abandoned that method. We now employ pasteboard on the wood at the base of comphshed by placing the hand over fi of muscles that arc given all too little a human technic which is as variable as the the keys in front of middle C, the student whims of the temperamental musician be¬ keys, straightening the finger and draw thought; yet they do so much to hinder a is requested to rest his hand on the edge flowing technic. They arc those muscles cause of its individuality and altogether of the. pasteboard just between the wrist fTheCtnd°W„nothekey’ h!tti"S ‘'"S of the legs which draw up as though en¬ appealing on account of its clarity. Where and the base of the thumb. The object 01 tne hand—no conscious effort to stri deavoring to hold the foot on; and that the old German technic was machine of this is to break the stiffened muscles of r^655 ihe key' J”st «>e doub , Of the finger does that This * set of muscles which stretch over the lower taught, machine made, and had that which do all the mischief. With the hand jaw. Relax these muscles and see how mechanical effect upon the ear, the modern elevated thjs high it is impossible to conscious effort produ s a dear rl" t°ne m contrast to the sharptdaK much more easily, restfully and effectively you can plav SCHUBERT CHOPIN MAC DOWELL • MOZART PADEREWSKI LISZT the ETUDE FEBRUARY 1928 Page 111 THE ETUDE Page 110 FEBRUARY 1928 J Melange from France there was a firm plug in the canal which virulent or the patient’s resistance is so adhered so firmly to the walls that an poor that an operation fails to stay the Translated from Recent Parisian Publications anesthetic had to be administered in order progress of the disease. The mortality is Short Articles to effect removal of this foreign body. not high, no higher than in the early-diag¬ means, the Matterhorn is properly set off Technic Is Everything! Examination disclosed a decayed wisdom nosed and promptly-operated acute appen¬ by the contrast. It looks its height by tooth. This was pulled and the pain dix, which is, I believe, only about two per Arthur Honegger, one of the famous of our instinctive comparison with promptly disappeared. cent. Personally I would have less fear of French “Six" and composer of such what jies before it in the picture, T3he ^Romance of a (Pioneer We would never 'consider for a moment undergoing a mastoid operation than of an cussed works as Pacific 231, once re- M ^ explanation is merely prefatory putting or allowing anyone else to put any¬ acute appendix removal, for drainage, in marked to a friend: “Technic, sir Qur narrating a story about Camjl]p thing in our eyes, except upon the advice of the former case, is immediate and certain, everything. Without it the musician Saint-Saens, the great French composer (Prima (Donna while in appendix cases there is always accomplish little. One always-has too . a specialist, but, since we cannot see into which recently c our own ears, we seem to take it for danger of a supervening peritonitis or in¬ little technic to say what one has to say The Artists’ Alliance of France was granted that no harm can be done. Never¬ flammation of the lining membrane of the It is a ladder tip Which one climbs Striking Pictures from the Life ofaT raveling Singer theless, it. is possible thus to destroy the entire abdominal cavity. ,im’S. having a meeting in Paris. All the officers reach one’s artistic ideal. The height drum and to lay up for ourselves a large The dressings, especially the first few heIght °f on hand and a goodly represent the ladder is constantly tic*=asmg,Amt.Jt ^ ^ --^ _ au WC1C en in the Middle of the Last Century When the Stage store of future trouble. dressings following the mastoid operation, of members, and all were enjoying are, of course, painful. But in the interval is always, alas, too short. And, mae , the meeting with evident pleasure. Saint* The Bather’s Bane there is not much distress, ordinarily, and ideal itself is not stationary: at each s ep Sa_ns was present and after a while he Was Sometimes a Coc\'Pit THERE IS a strong belief that water the temperature is not high, sleep often be¬ of advancement which one takes, t e i ea pjayec| something on the piano. Loudly gets into the ears while swimming. ing naturally indulged in without the aid becomes a- little bit higher—and thus e app|auded) he rosc from thL. piano stoo! Very often one sees people at the beach of any narcotic. Fortunately, such illness jfjjjMM —»«♦« "* from e a* and, advancing towards the president of By Hon. Tod B. Galloway stuffing the ears with cotton or adjusting has no effect upon the voice, but convales¬ a bathing cap with meticulous care “to keep cence is prolonged for at least two months, the society, presented him with a cheque ODAY, when we read of great sing- known, Anna Bishop, holds all the elements the water out.’’ Water does get into the and that is, of course, a serious matter for which he had taken from his pocket. The T The Oldest Musical Manuscript ers who after a season in New of romance. In her triumphs she was sur- ears, but not by the external route. In the singer who must sing in order to live. president started to thank the donor with fact, one cannot keep water in the canal It will be a'matter of intense interest t< true French effusiveness when, looking a! York hasten to Buenos Aires, passed only by Jenny Lind, of whom she without corking it up any more than one SELF-TEST QUESTIONS ON MR. musicians and music-lovers■s tot learn that t|,e cheque, he found that it was for only Monte Carlo, or some other distant point was a contemporary. Had the latter never to continue their triumphs, we are inter- been exploited for her American tour by can keep water in a bottle without corking VOORHEES’ ARTICLE the oldest musical manuscript■ipt oof which we $2.50! Saint-Saens noticed the crest fall- ested in and perhaps surprised at their en- the matchless master of publicity, P. T. it up. If the drum is normal, that is, if 1. What three great musicians have had have ally record has just 'been unearthed en look which came over the Rcnlleman’s ergy—even with traveling conditions as Barnum, Jenny Lind, while regarded as a there is no perforation, all one has to do peculiarly shaped ears f Memphis, Egypt. It is the dithyrambic countenance, and so In- hurriedly drew must have been the energy and ability to great singer in Europe, would probably is to turn the head to one side and let the 2. Describe the external ear channel and hymn, The Persians, and was composed by ' ’ “ from his pocket a scon id cheque and stand fatigue, discomfort and actual dangers never have been known through all gener- the Eustachian tube. Timotheus of Milet. Pylades, who was handed it to the president. This cheque On the other hand, if one feels fullness 3. What disorders of other'members can for the singer who, eighty years ago, not ations as the world’s greatest singer. Indeed, and a sensation of fluid moving in the ear, noted cithara player, have been was made out for $2500 and had been only traveled over what were then con- old critics, who have heard all the world’s cause pain in the ear? the first to sing this hymn. It is, of course, then water has tunneled up the Eustachian 4. When is it found necessary to pierce ~1 sent as a gift to the Arno d Alliance by sidered the safe and commodious routes and greatest prima donnas in their times, written on a roll of papyrus, and was tube into the drum cavity and is trapped the ear drum? the American pianist Ernest Schelling. places of sojourn, but who ventured also admit that the years as they rolled by have found in a tomb, alongside some wooden there. During deep diving, or when the 5. Describe tile sytnptoms of mastoid The president’s thanks were now very into lands practically unknown—full of produced several singers who have been mouth is opened while under the water, trouble. and leathern objects. As near as we can vjg0r0us anj continuous, and the other dangers and inconveniences of all kinds the equals of Jenny Lind. The purity of fluid easily works its way up the tube and estimate, The Persians dates from the ofr,cers of the Alliance :.l expressed to and description. private character, the generosity and mod- into the middle ear. This also happens if, His Own ^Musician . end of the fourth century, B. C.—; Saint-Saens their extreme pleasure. It is of the exciting romantic life and esty which characterized the Swedish upon coming to the surface, the nose is By Annette M. Lingelbach when Greece was almost constantly en¬ adventures of such a dauntless person that nightingale, had as "much to do with her blown forcibly. When the child begins his practice- gaged in warfare with neighboring peo¬ we write—of a singer whose very name lasting fame as her skill and charm as a Sousa and a Legacy mesticity nor success could hold this It is quite evident from the above ex¬ hour, see that all his working materials ples, such as the Persians. and reputation is unknown at the present vocalist. Anna Bishop had no one to man¬ of Music, she was married to Henry Bish¬ when the great bandmaster was wandering bird, and she eloped with Rob¬ planation that not only water and mucus are at hand, his Mozart music-book, pencil Fragmentsi idguicuia v/iof thisuus CUU14UCantique manuscriptnicuxuaui tin .T time and yet who in her day was recog- age her tours with the sounding of brass op. Her life was destined to be influenced can invade the middle ear, but disease and lesson-assignment book. Then return haveWe been known to musical archeologists m L°m ,0"; Eng,an<1' ;Vl'ars ag0' He nized in the Eastern and Western hemi- or beating of drums; she had to make her by two musicians—both great, and one a ert N. C. Bochsa, a once famous French germs as well. When germs enter the mid¬ was called upon one day hv an attorney spheres as one of the greatest artists of way against the moral ideas and standards composer and harpist, thus deserting her to your work and leave him alone. If he for s time, but until the recent dis¬ talented rascal. Henry Bishop, later Sir dle ear or tympanic cavity, they multiply plays wrong notes at first, do not interrupt and informed that a certain very rich and her time. of the Victorian age; and yet this she suc- Henry, her first husband, was one of Eng¬ husband and three small children. From under the favorable conditions of warmth covery at Memphis no one has seen the him, but if he continues this practice, rem¬ rather peculiar Irish lady intended to leave The life of Ann, or, as she was better ceeded in accomplishing. land’s greatest musicians. As a composer this on to the end of her career she was and moisture there present and an abscess hymn in its entirety. edy these mistakes before they become her will a, large sum of money. It A Singers and conductor he was easily the most dis¬ indeed a roving prima donna. results. The pus engendered fills the cav¬ Unfortunately there is no authentic fixed habits. He must learn to correct his Romantic Life tinguished figure in music in the early Vic¬ Bochsa, who now became not only her ity to overflowing, and the drum becomes means of deciphering the music so that scems tkat the lady had (or some time own mistakes. torian era. He was an original member stretched, giving rise to redness, bulging we can be sure of how it sounded. I)eci1 Precarious health. I t since hearing AS WE HAVE companion but also zealous Maestro and Perhaps you practice with him. That is of the Philharmonic Society of London, and intense pain. A physician should be several concerts by Sousa's Band she had SAID, her guide, was a remarkable character—a all to his good. But do not practice with at times its conductor, and for many years called at once, no matter what time of the The Writing tells the Story found herself very greatly improved. wjiole life was ro¬ Frenchman who, while yet a child, com¬ him every morning of the week. This will the leader at Covent Garden. day or night the pain begins. As soon as Therefore, in gratitude, she wished to leave mantic. Born in posed ballet music which was produced weaken him in the matter of individual Chirography—the science of interpret¬ he has established the diagnosis through Lt. Commander Sousa the sum of money London in 1814, of publicly. When he was but sixteen initiative and strength. He must learn to ing handwriting—is one of the “Home, Sweet Home’’ examination, he will cut (incise) the drum, lentioned lx fore. French - English years old, his opera “Trajan” was per¬ to stand upon his own feet, to study out esting sci< thus allowing pus and blood from the con¬ parents — her HE COMPOSED a wealth of music of formed before the Emperor Napoleon. He his own mistakes, to explore new mys¬ though it is one of the least exact, Hearing all this, the bandmaster was gested area to discharge into the canal. father being a all kinds and descriptions; and one became a master of the harp and may teries, and to discover the time and the naturally much surprised—and indeed he The pain is promptly relieved, and the pa¬ person’s temperament and make-up can French singing of his songs, My Pretty Jane, is still popu¬ fairly be said to have revolutionized the meaning of the melody. Unconsciously more than half suspected that someone tient often sinks into a restful sleep after thereby be pretty well determined, and so teacher—from ear¬ lar today. As a composer for the stage ant of harp playing. In 1813 he was ap¬ you give him too much of your assistance. might he playing a joke on him. However, the previous hours of suffering. Grand¬ when you take your pen in hand to write liest childhood she he wrote no less than one hundred and pointed harpist to the Emperor Napoleon Three days of your help and three of his an autographed letter from the lady her¬ mother used1 to apply a flax-seed poultice remember that you are telling tilings abou* was trained in mu¬ thirty operas, farces, ballets and adapta¬ and three years later to Louis XVIII, In own building, and he will reach his sphere or heat in some form in order to make the yourself which may be very patent to a self soon reached him, thus dissipating any sic; and from the tions; and it was in his opera, “Clari, the of musicianship. three years he had eight of his operas pro¬ abscess burst—incision was not known nor chirographer. doubts he had entertained. time of her debut Maid of Milan,” that our own John How¬ duced at the Opera Comique in Paris. He practiced in olden days—but this was dan¬ A long article :on the handwriting of At once Sousa wrote back a refusal and she was recognized ard. Payne’s immortal lyric, Home, Sweet was always composing or doing something gerous and often produced a chronic dis¬ Go Ahead! well-known musicians could be constructed lhanks—'whereupon the ladj wired back as one of the lead¬ Home, was first heard (in May, 1823) to striking—sensational. In 1816 he was charging ear for life. By Marjorie Gleyre Lachmund and made very interesting. However in tl,at -e legacy w°uld be cancelled on the ing ; of a transcription, by Bishop, of an old Si- detected in forgeries which forced him to Mastoid Trouble Not all players or teachers realize the this brief space, we would like to rem c?lld'*'on ,',at Sousa permit her to make Great Britain, tak- cilian air. flee to England where, with his playing ing at once the In two of his operas, “The Lady of the F THE amount of pus is so copious that importance of going ahead, regardless of simply how vividly the writing of Bop. l-”1 h.er solc lcgatcc- Prevailed upon by and teaching, he was immensely popular. I front rank as so- Lake” and “Guy Mannering,” his wife ap- it cannot all discharge through the drum slight errors. thoven portrays the nervous enerp t'" ”S ^r'ends> D. Commander Sousa finally He obtained the position of Professor of loist at the Phil- peared with great success. For her he opening, it readily backs over into the mas¬ Of course, when you are practicing, and disordered character of the' master u aceepted this condition : and it is believed the Harp at the Royal Academy of Music that when the money came to him, he used harmonic and composed Lot Hear the Gentle Lark, for toid cells. Here inflammation of the mu¬ every mistake should be carefully correct¬ you will look at the facsimiles of wlu»n monav <««mA «r* him he used of London. This he was obliged to resign cous membrane lining of the cells promptly ed and the correction perfected to develop of the Beethoven manuscripts you will it very largely for charitable purposes. other leading con- the express purpose of displaying the flu- on account of attacks upon his character certs in London ency, sweetness and volume of her voice which he could not deny. takes place and the pus causes pressure in¬ accuracy. But, when playing a piece as a em°St h,UrriedIy scrawled words and side of the mastoid bone, giving rise to very finished whole, the complete effect is more notes angular, ill-formed, and, withal Leonardo a Musician and throughout —her rendition of which never failed to At the time of the publication of Du the United King- produce a sensation. This song is still severe pain. Occasionally this pain will important and a mistake preferable to a eloquentanrl reminder*V" of ^“‘uvenBeethoven’s s characcharac- Those of us who have read something Maurier’s “Trilby,” Fred Lyster, a well- ter and alMexico City by a big canvas covering so that the whole A Last Tour Sweden,. Denmark and Russia giving two outfit resembled a huge melon. O THE YOUNG student of the At this point exercises which remain in hundred and fifty concerts. In St. Peters¬ P IN ALLY, escorted by an armed body- OTHING, however, Stopped the trav¬ T In addition to being armed themselves, N violin the study of the third posi¬ the position, from Wohlfahrt, Sitt and burg, Moscow and Odessa, Madame Bishop guard to protect them from brigands, eling Anna. The next year she they were accompanied by a mounted guard tion marks the ascent from that other standard writers, should be studied in was especially acclaimed. She then be¬ the party made its way to Mexico City. married Martin Schultz, a New York of eight men. The president had sent tyro stage of fiddling to the realms of order to familiarize the pupil with the new came the leading soprano of the San Carlo Here they were installed in sumptuous merchant (Sir Henry Bishop in the mean¬ instructions to the governors of the various beauty in violin playing made possible by fingerings. An excellent collection for Opera in Naples, which position she held apartments; and, as they were obliged to time having died), and with her husband states to offer the travelers all protection discarding the limitations of the first posi¬ this purpose is the book of selected studies for two years. Then the wanderlust as¬ wait three weeks for the arrival of their toured Chili and Peru. We then catch possible. Certainly this was concert tour¬ tion and soaring to desirable' heights. A in the third position by Levenson. serted itself again and Madame Bishop baggage and Bochsa’s harp, the latter who a glimpse of her singing at the Crystal ing under difficulties! For example, at judicious demonstration by the teacher of The confidence that the pupil will soon gave up this position and made her first was an astute manager saw to it that they Palace, London, in 1858-9. A fter that .she had the widest publicity, being entertained Leon the only available place in which a the possibilities of the'attendant shifting acquire in the new position will make trip to Australia. In 1847 she came to concert could be given was a cockfight returned to America and we learn nothing by the President of the Republic and the from first to third will make the' pupil him ready for that more interesting feature America, making her first appearance in arena, the place being lighted by pine of her for four years, probably on account exclusive society of the city. approach the study of the third position of position study—that of shifting between New York, at Triplers Hall. At .the out¬ of the Civil War, but in 1865-6 she again When the time arrived for Madame torches, the stage an improvised affair with with a great deal of enthusiasm and antici¬ the first and third positions. This should When this can be done with ease and set she was coldly received on account of made a world tour. Bishop to give her series of operatic con¬ a small dressing room for the singer and pation. He can easily grasp in his teach¬ be undertaken first from one finger in the with the hand held in a position to secure her desertion of Sir Henry Bishop and In going from the Sandwich Islands to certs at the great Teatro Nacional, the the piano placed on the floor of the cock¬ er’s playing that element of glissando first position to the same finger in the third. unimpeded movement from one position elopement with Bochsa; but such was her pit. So uncertain was the financial condi¬ China the vessel on which she was travel¬ best in Mexico, the city was in a furore which is so lacking in his own efforts, and, The following exercises are designed to to the other, the general rule for shifting charm of voice and manner that she speed¬ tion in Mexico at that time that Bochsa ing was wrecked and she was rescued after of excitement. It was said that the ses¬ if he is discerning, he will observe the prepare the interval in the first position should be thoroughly grasped—namely, ily became a favorite and toured the was obliged to have the local manager sign three days exposure, having lost all her sions of the Mexican Congress were pleasing tonal quality of the notes pro¬ and then shift to the same tone, utilizing shift on (he finger which was last used United States with great success. Next a contract that no soap, coppers, cigars, or wardrobe and valuable jewels the collec¬ jeopardized, because the wives of the mem¬ duced in the higher position. each finger shift, both up and down. until that finger reaches its note in the Havana lured the Madame, and thither poultry alive or dead, should be received tion of a life time. Still she went on to bers besieged their husbands for new The third position should not be taken Necessarily, in shifting, the violin must at nezv position. The note to which the finger she went to gain new laurels and many at the box office in "payment for tickets. Australia, India, and made a farewell visit dresses and seats. When, on the day of up, of course, until the student has a thor¬ all times be held firmly with the chin. moves in the new position should always old Spanish doubloons’. Everywhere the party was showered with to London. the opening performance, the artists ough grasp of the first-position; the judg¬ be kept in mind. This general rule applies While in Cuba, Mexico was suggested gold, while delegations from towns thirty reached the theater for the rehearsal prior In 1868 Madame Bishop lost her voice, ment of the teacher must decide just when Ex.4 for shifting both up and down. and, nothing loth, especially as she was to fifty miles distant would come begging to the evening concert, they were amazed and thereafter withdrew from the public to begin this study. A year or more of The following exercises lead to correct assured that the journey to Vera Cruz for concerts. At one place Madame Bishop to find it crowded with people, and they eye, living quietly in New York City where the first position is usually required in shifting principles. would occupy only fifty-six hours, the party, was presented with a gold crown composed were informed that it Was customary to she died in 1884, at the age of seventy average cases, and the ability to play consisting of the singer, her compan¬ of Mexican pesos. Many amusing inci¬ admit the seat holders free for the re¬ years. Madame Bishop is said to have Book I of the Kayser Etudes is a stand¬ Ex. 5 ion, Bochsa and his secretary, set sail in dents enlivened the trip. At Guardalajara, hearsal. This caused Bochsa to become possessed a voice of unusual brilliancy ard requirement. a wretched little steamer which, instead for instance, when requested to give a scene very wrathy, until he found that the audi¬ and compass. Her most effective operatic Let the student understand that the’ third of fifty-six hours, took three weeks to for the High Priest and Druids, from ence showered the artists with gold coins. roles were in “Tancredi," "Norma” and position is a comfortable one! The left make the trip, calling en route at Mobile, “Norma,” they were obliged to garb their In the course of this engagement Madame “La Gazza Ladra.” A contemporary says of hand is brought Well around, with the left Alabama. From this trying voyage they escort in robes of white calico cut out by Bishop gave ten performances with phe¬ her that she was a combination of wonder¬ elbow in sight; the base of the palm of the landed at Vera Cruz. At all times a veri¬ Madame Bishop and sewed .by the men nomenal Success, including the operas of ful art and dainty wonianh.1. possessing left hand should rest against the rib of table pest hole, in mid-summer when the themselves. They were instructed how to “Norma” and “Lucia,” assisted by “home a fine sense of humor. She was always the instrument. Also the intervals become cholera was raging, the place was intoler¬ enter, bearing orange branches, where to talent” such as it was. At the close of brimful of witty stories of her four trips smaller as one approaches the bridge. able. They had no trouble with the custom stand and so on. What was Bochsa’s the series Madame Bishop was urged to around the world. She was also an adept Once the correct hand position is at¬ officials, except in regard to the huge box astonishment, at the performance, when continue, but, as the theater had been en¬ at repartee. On one occasion, when she tained, the pupil should begin by sounding containing Bochsa’s harp. The ignorant they filed on the stage wearing two pistols gaged by a celebrated pianist, she promised was introduced to Christine Nilsson, then the open G string, followed by the G officials, seeing that he was a very large and a sword and bearing lances with the to return and the party set out on .their at the height of her fame, the latter said produced an octave higher with the first man, assumed that, expecting to die from Mexican colors. As an escort and military tour of Mexico. gushingly, “I am delighted to meet you, finger on the D string. The exercise, with cholera, he had brought his coffin with authorities they could not appear without for I barely remember hearing your the half-step between B and C, third and him. their weapons! Madame Bishop added to On landing they learned that the dili¬ Travelling "In State” charming voice in Stockholm, or some¬ fourth fingers, should then be given: her popularity by dressing in Mexican style where, nearly forty years ago.” “Yes. my gence ran to Mexico City only three times HpHAT COUNTRY is today far from and singing the national songs. While the Ex.l a week and that the one in waiting had being peaceful; and eighty years dear,” laughingly responded Madame trip was at the height of its success the Bishop, “Isn’t it a delight to possess such been promptly preempted by eager Mexi¬ ago—two years after the war with the dread cholera made its appearance, and cans anxious to escape from the fever- United States—travel in that land was a memory? For both of us must have instantly desolation and fright of the been children then.” This exercise should also be played on the A string, beginning with the open D, and on the E ‘string, starting with the open Is the Attitude (^hanging? A. The change in the position of the half-step to the 2nd and 3d fingers (E and By Arthur Olaf Andersen F on the A string, B and C on the E string) should be emphasized. For the G string, the following exercise should be Does your butcher write poetry? mercialism, music is beginning to assert tions take part in the musical activit masses than does any other profession. given: Does your druggist paint pictures? itself as a very powerful antidote to the of their house, thus adding sanction a They are written to cover every possible Does your coal-dealer write popular strenuous activities of our busy American dignity to the proceedings. Consider the number of orchestras, large Ex. 2 shift between the four fingers, and the shift and small, of any medium-sized city, play¬ songs ? life. There is no attempt on the part of lat is prepared in each case. The tonality is ing in large hotels, dining rooms, theaters, Does your banker sing tenor in the bank Although a business man is still occa¬ business concerns to project musical ; such that they will sound “natural” and chorus ? sionally loathe to confess a liking for tivities on the part of their employees w “movie” houses, radio stations, symphony satisfying to the student and thus easier Mine do 1 music, painting or poetry, and a longing to the thought of publicity. The’ director organizations, and opera houses. Then to play with correct intonation. These new fingerings must be memorized Each one is having the time of his life dabble in one of the fine arts, for fear a very large dry goods store, when ; consider the solo and chorus singers em¬ A more difficult procedure is the shift thoroughly; to this end further examples doing openly what he, until quite recently, that his fellow associates will think him proached m regard to using the firr ployed in these organizations, as well as from the second finger in the first position in the churches of the city. Then con¬ presenting the possible intervals of a third had either merely craved or attempted in effeminate, this attitude is gradually losing “What S0C13ty for this purpose, exclaim to the first finger in the third, and the sider the vast number of music teachers and fourth prepared and unprepared might secret to do. ground, since our Vice-President, Charles What! Use our chorus to advertise c third finger in the first to the second in the There is no question but that all these firm. Music is too wonderful to use in the public schools, in the conservatories well be studied. third. In this case, the lower finger must, G. Dawes, whose masculine traits are and in private studios. Add to these the fulfillments of artistic desires will mean widely heralded, is known to have perpe¬ an advertisement for any firm I” Ex. 3 in passing, take the tone left by the higher music publishers and their employees, the finger. A careful demonstration on the much for the aesthetic growth of our trated a melody^that is sung from coast to This answer best expresses the attitu instrument manufacturers and their large part of the teacher will help to explain this country if carried out persistently to their coast. There seems now to be no reason of the average business man towards ir army of workers, and you get a mental pic¬ shift. Following are example's of both of ultimate limit. We cannot expect every why an orthodox, stern, scowling, business side ll aPP6ai S t0 h’m as something o, side the realms of industry, somethi ture of the importance of this art and the man or woman in the country to engage man should be ashamed to express him¬ these types: quite apart from the daily grind of acta many tributary branches which lead di¬ in one of the fine arts, but we can hope self in something besides dollars and cents. it.es, welcome as a basis of friendship rectly to its maintenance. that each will feel it a part of his duty to Nearly every large mercantile concern, a break m the day’s work, a distrac i . Even though Mr. Business Man at one! himself, to his country and to those about factory, mail-order house or bank in the that is also’ a stimulus and a tonic to'c time may have been ashamed to acknowl¬ him to do something in the way of com¬ larger cities boasts of a chorus, a brass couragmg the worker and building edge an interest in music, he cannot help munity music making, whether it be sing¬ band, an orchestra, or all three. The re¬ being somewhat stirred by the enormous ROB ROY PEERY ing, playing an instrument, or simply at¬ hearsals. are religiously attended by the us morale. Music is a necessity in , sums of money involved in the manufac¬ tending the “sings” to listen and encourage employees, and the annual or semi-annual WOman a"d child! IS Ins food, his beacon of light. The r ture of musical instruments and the up- those who do participate. concerts are “sold out” to families, rela¬ Rob Roy Peery, born at Saga, Japan, in 1900, is already a lift of a melody, its surge and fl eep of the profession from all angles. He The foregoing studies should be trans¬ As men are becoming less and less tives, friends and acquaintances long be¬ well-known violinist, organist and composer. His studies have must feel that this art which is drawing posed to the other strings and, as the pupil ashamed to acknowledge an interest in fore the performance takes place. In communion and breath of freshnesses multitudes to its shrine is not a thing oi progresses, be played in faster rhythms as been pursued entirely m this country. At present he is teacher of music in these days of high-powered com¬ many instances officials of the organiza¬ “Musi P h any other medium Music gives more employment to’t weakness, but a dominating factor in the quarter and eighth notes. violin and organ at Lenoir College, Hickory, North Carolina. worlds progress. TEE ETUDE Page 115 Page Ilk FEBRUARY 1928 A Lesson on fflords the ETUDE FEBRUARY 1928 Master ‘Discs By Charles Knetzger DEPARTMENT OF Department of Reproduced Music ever be able to tell the differ- scale or key of C. The chords would A I shall never be aDie ,. - '-upd then be: ence between major, minor, diminished, t By Peter Hugh Reed and augmented chords. They are x. alike in appearance on the printed page ‘Bands and Orchestras that I find it very difficult to distinguish a (Conducted ‘Monthly By study ranks very highly. To gain any between them.” 1ark CIMaj. a Min. Cl Dim. Cl Aug. (Tl - _ - - - creditable result in band or orchestra work, The Etude herewith institutes a Department dealing with J. her destiny’’ might well be tbe ■Y„„, ffiWtto "What if the C we« «„r Victor J. Grabel there must be strict discipline maintained Master Discs and written by a specialist. All Master Discs of edu¬ vised statement of the great poet, Walt Whitman, were he living today and in these three respects. The student player cational importance will be considered regardless of makers. “.d A »P*ie». “» ">« * C K» , FAMOUS BAND TRAINER AND CONDUCTOR in attendance at one of the1 annual school must give full attention to the work for results, we shall be obliged to supply Ex. 4 being done; he must be alert and attentive the deficiency by eye-training and anal- band competitions. There has never been any musical activity in America that has to his part so as to make correct entrances ysis. If you commit to memory seven : and quickly comprehend the instructions In conducting a column for the review of musical discs, the writer equalled the amazing growth of bands in our public schools within the last five or directions of the conductor; he must believes the most important aspect to consider is the reaction that the inter¬ sgS^Sc’SîSSiBw: learn to so subordinate himself as to be¬ preter gives to the characteristic points of the music. The best releases of your difficulty will be greatly lessened. *Chicago Symphony Orchestra, the Chicago social and business life, Symphonic Productions ers by making us feel the pulsing rhythms chord. For example: “In addition to this any tone may also first school band in that state was or¬ as an adjunct to the athletic activities of Civic Opera and other of the best available f , r"lg my attendance at a larSe number //-u.mTrnvv • .. as the music builds up toward a carous- PHONY in D Minor” ing c,imax. That £ isite and frag. il. 1 be the third or fifth of a major, minor, ganized at Richland Center in 1916, while the school, rather than a distinct artistic musical attractions. It is through this observe that the conduct of members O ,ranck)' Philadelphia Symphony meiit meIod near the end after Dawn =h= I diminished, or augmented triad. To make the state association was formed in 1920, unit, and received but slight moral < study and research that he and his band jjlj*"" “~™ * "* * ‘ " *“ . . (Victor). Stokowski shows rare in- has routed the hostj cl was surel | this clear, let us use the note G first as with the result that in 1925 there were financial support from the school boards, have been able n their enviable posi- has almost invariably been above reproach 11 root,* then as third, and finally as fifth of sight by giving an orthodox reading of the never more beautifull played. An ex. C Major C Mine C Dim. C Aug. more than one hundred bands listed as they have tion. When his band returned victorious -they neat> ordf>>'' courteous, ; each of these species of triads. 1926 jt commodating. I have known members of famous Franck Symphony In this manner cellent set of discs. members. of dignity ..._I ___ __ he presents the composers own message . Strauss endeavofed to G-C-E. You will have no difficulty in master at the Michigan State Vocational flutes, oboes, bassoons, alto and bass had become a hero in his home me, at one of these meets, that his school unusual first movement with its forceful icture ^ fickle desires of ^ recognizing them if you remember that Shool at Lansing about fifteen years ago. clarinets, French horns, tympani, as well Truly, nothing succeeds like success, had had the usual amount of disorder, opening theme and also its changes from , Don j lead; thro h va°ious the C chord is formed by a combination The band was composed of boys who had as the more common ones—and are able scandal and grievances, but that during the the somber and meditative lento to the ener- episodes of enchanted beaut to an end of C-E-G. In like manner you would had no previous musical training; but, to present in an artistic manner such over¬ eight years’ existence of their band, not a The Five Coals of Study single member of it had been involved in getic allegro. Then again is this brought nf utter hopelessness. Coates catches the have for the chord of D: through an intensive course of training, tures as “Barber of Seville,” “Egmont,” rapidly coming 1 any unpleasantness. It has been my ob- out in the second movement with its song- ;rit of Ws subjective conception and Ex. 2 together with daily rehearsals, it was able “Rosamunde,” “William Tell,” “Roman p DUCATORS like mood divided between thoughtfulness ts ^ hero,s moods » to play such numbers as the Oberon Over¬ Carnival,” “Maximillian Robespierre,” as recognize that the efficient teaching of servation that the best playing bands are and gayety. In the last part it is the indifference in an unm!stakable manner. ture, the Hungarian Lustspiel, the William well as Andante con moto from Beetho¬ instrumental music has greater value than the ones in which the best discipline is splendid recording of a wonderful orches- The music . said embod Tell Overture, the Blue Danube Waltzes, ven’s “Fifth Symphony,” and Schubert’s some of the more common subjects in- maintained. Truly, discipline is one of the ra which permits this triumphant mufuc affairs of the Don The y ; D Major D Minor DDim. Aug- and many operatic selections, at the end of “B Minor (Unfinished) Symphony,” it eluded in the curriculum. It goes far to- highest functions of education. to reach an inspiring and realistic climax. * ,, , . , . , ° , ___ _ ^ wards realizing the five objectives of The playing of a wind instrument is not ■ “In each case you use the letters D-F-A, 1 n. one year. Until I had had this experience cannot but be readily recognized that they “New World Symphony” (Dvorak), *e poem which inspired the work: are exercising a highly" valuable' cultural education—discipline, health, mind train- necessarily conducive to muscle building, altered by accidentals as required. I would have believed it impossible for so Halle Orchestra (Columbia). much to be accomplished by a group of influence upon both the student body and in&> appreciation of the beautiful, earning but no exercise induces correct deep breath- This symphony is recorded by one of P_ magic realm . . . eternal “Suppose the C were sharp, would it "In each case the G remained unchanged, capacity. ing more efficiently than the correct study still be the C chord?” boys within that period. Later, in co¬ the community. the oldest and finest orchestras in Eng- ®f glorified woman . . .” that is, it suffered no chromatic altera- If we consider that discipline consists of of a wind instrument. All medical author¬ “The same letters would be used, but operation with the Music Extension divi¬ land. This accounts for the fine instru¬ If you work out similar illustra- training in obedience and efficiency and a ities are agreed that deep breathing is the we would have to call it the C sharp tions in all the keys, I am sure your sion of the Wisconsin State University, I Improvement in Instruments mental balance in the recording. The con- contain the philosophy of the Don and organized the band at Richland Center, , . proper regard for the rights of one’s asso- first consideration in the building of ductor, Hamilton Harty, reads this old suggest the mood of composition. Coates chord, for C sharp does not belong to the chord troubles will soon be at an end.” T KNOW from experience that these ciates> we shall find instrumental music healthy bodies. Upon my entrance into the naval service J- bands, when first organized, were gen¬ favorite, with its melodies suggestive of makes us feel the ending keenly—a final in 1917 as bandmaster, the work in that Negro folk-tunes, in a commendable man- burst of passion suddenly halting, suggest- erally equipped with either second-hand in¬ school was continued in a most capable struments or imported ones of inferior ner. He presents a reaction of healthy mg sorrow and disappointment. The sati- T3he Band as an Important Musical Factor Hayd.’iIn in London manner. Mr. Peter Michelsen has been quality and, since parents were not in¬ sentiment, especially in the ever popular ated hero finds no further joy in lasciv- in charge of the work for the last eight Largo which is quite often sentimentally mils adventures. Here is an expressive By Ellen S. Hofer formed regarding flutes, oboe's, bassoons, (Continued from January Etude) years and his commendable ability and in¬ French horns, bass clarinets, and so forth, misinterpreted. Under his baton the work convincingly performed more dustry is amply indicated by the fact that The complete concert band has as great uendos and stirring climaxes as the orches- sprightly Scherzo is unusually delightful, through virility than sentiment. none of these instruments were to be had. ofîs dav is antfnAy Khathif LD°ndoners had ma<*c in his workshops, as an offerii his band has won the state championship only through____ hard work, in the face a. variety of tonal color and contrast as tra. Unfortunately, we have no large en- In fact, the whole symphony is accorded h s bogranhv o tb by ^ in to the master, six pairs of socks with in 1922, 1923, 1925, 1926 and 1927—quite of many trying handicaps, that the band tbe orchestra. In fact, the band can form dowments to make possible the assembling i splendid performance. a HaycL’s serts of “TT V As S°°n design showinS the notation of six of h Suites ds, n.dyan s series of concerts beean the an unbeatable record. It is but natural that idea was sold to the students, parents and more quartets, and quartet writing is the of such bands in which adequate rehearsing enthusiasm of the British dilettanti’ ex “Tl ‘ Richland Center should be proud of the school officials. After a community has basif of orchestration. Some orchestral would be possible for the attainment of Tone Poems “MOTHER GOOSE SUITE” (Ra- hausted all means of expression On L , ^ T ,"'?rC many instanccs of artlS band that has brought such distinction to become thoroughly educated as to the value musicians will scoff at this statement, so let such finished results. Neither are there LvJ- vel) New York Symphony Or- occasion a listener snatched frn’ w a wIl° asked h,m for sitting-: lus portrt its school and community. ■ • ... - - ..... 0fjer a comparison of the instruments any bands so subsidized that they can offer linpOD UND VERKLARUNG” (R. chestra (Columbia). of the work, the bandmaster does not lack almost by force?aS a souvenir the Painted ,hree tim- d »* his fir encouragement. Now only the best grade available for the two organizations. salaries of $20,000 to $30,000 for a twenty- 1 Strauss), State Opera Orchestra, Damrosch and his well-known orchestra ™ !Rational School Band Unit American made instruments Concert Band- -i - week period, to enable them to secure the Berlin (Brunswick). are splendidly represented, in Ravel’s less snuff-box he carried that day in Us Th* f° ^ during the ^ Clarinets (1st, pocket, and had it enshrined HkJ, ” The. famous Dr. Burnet-, the oracle i HE SCHOOL band movement was inets’ ' } finest of conductors. Were it not that such The composer conducting is the feature charming suite', which is founded in part T chased, and the voices of the oboe, English Alto clarinets cious relic, in a silver coffer nr * Pr6i I,lusical criticism in England, dedicated inaugurated on a national basis in Bass clarinets endowments and subsidies existed we of this set. Therefore the performance upon some famous fairy tales. In the sec- horn, flute, and French horn are heard Basses Contra-bass clarinet With lyres and other symbols and Utffi h,m, He llad so many invitatioi 1923. The Chicago Piano Club was to be would not have any of the very excellent is thoroughly orthodox. Although one ond part a certain deliberation in the con- throughout the land. host to the Music Industries Convention Piccolo orchestras which we now have in many of of his earliest tone poems, it is also one ductor’s interpretation helps visualize inscriptions. On another occasion * f ,d[nner that' out of reSard for h A very notable example is the Joliet (II- Flutes that ye'ar and were casting about for in¬ the large centers. of his best. It is quite melodic in con- Hop-o’-My-Thumb dropping the bread- hosier, carried away by his admiration he "as obliBed to make 11 a r.U linois) Township High School Band Oboes y admiration, to accept only those from titled people teresting features for their entertainment Inglish horn English horn The first conductor of a symphonic or¬ tent and filled with smouldering and tri-, crumbs behind him as he is led off into which, under the direction of Mr. A. ~ f Bassoons umphant musical beauty. The idea of this the woods. In the “Land of Pagodas,” program. The writer offered the sugges¬ McAllister, has won the state championship Clarinets Saxophones ganization in Chicago lost all his money tion that a national band tournament, to be and died of a broken heart while making an work is that of a sick man fighting with the realistic recording of Ravel’s colorful each time it has entered (three times) and cJJ„ef“rinet Trumpets held in conjunction with the convention, death—hovering on that unknown edge, music visualizes this tale for us. In the 'She c&oo'£ager Pupil the national championship in 1926 and 1927 Trumpets effort to establish his orchestra without would be both an attractive and logical —the only years it has competed. Mr. . Trombones other than his own financial resources. At the end Death is the conqueror who “Beauty and the Beast” the utterances of By Sarah A. Hanson EuphEuphoniums presents, instead of darkness, a world the latter are most convincing. It is a feature. This suggestion met with ap¬ McAllister organized this band in 1913, the Tubas Theodore Thomas struggled for years, transfigured, heaven’s glory, the redemp- pity that Damrosch found it necessary to 't es, we have even these to contend win, ,, , proval. When it was submitted to the Band equipment consisting of twelve second-hand In case the ’cello and bass are used without financial backing, to establish his Instrument Manufacturers’ Association, ti°n. °f man- In working out this idea make a slight excision in this part. The and not seldom, either. It is not ),lc êar,ls to warn such pupils again instruments purchased at a cost of $300. there would be an addition of two other orchestra in New York—and failed, that organization appropriated $10,000 to musically Strauss has kept it a colorful, last movement—an imaginary picture of usual to find pupils who go at their 1< ! The school board was able to justify voices to the band. Moreover, the saxo- The fact that the highest artistic results moving work, free from morbidity, carry- a Fairy Garden—is given a magnificent With such intensity that it is a task to " * vitaIity as 'vcil as their own. Wfij finance the competition properly. this expenditure by the! belief that the phones comprise a full choir of voices not are not often realized in band perform- Bands from Ohio, Iowa, Michigan, In¬ band could be of assistance at the football matched by any similar group in the or- ance is not due to the band itself, but gen- ing it instead toward a glorious climax performance by Damrosch and his men comf faHUt r® aât,on' and who finally be- comn,cnding zeal. ■ which might be said to exemplify “faith.” This is music which will prove delight- diana, Missouri, Oklahoma, Illinois, Wis¬ games. All the band work v done after chestra. As regards the percussion section, erally to the lack of artistry on the part Danse Macabre (Saint-Saens) State ful to a mixed group. experiencing aUe0aS„0wh:PbaCtiCe' ’huS f ^ ^ ,eacher lcarns s,and ^ consin and Kentucky were present at this school hours—rehearsals being held ii the the band employs all the instruments uti- of conductors, insufficient rehearsals, in- causes them to stop lessonUU S0™et,mes rmly aga,nst constant application to tl meet, and such wide publicity was given it manual training room to the accompani- lized i thq orchestra. complete instrumentation, lack of players Opera Orchestra, Berlin (Odeon). Mo- '“L’Arlesienne Suites” 1 and 2 (Bizet) P lessons altogether. verge of a nervous breakdown. rike’s interpretation has exactly the right Schreker and Symphony Orchestra that it naturally resulted in the organiza¬ ment of a band saw, a planer and a cir¬ T , . _ , . of the highest type and poor arrangements. supernatural element for this tone-poem. (Odeon). Bizet’s two suites are recorded tion of state school band associations and cular saw. Lacl{ of Endowments In the final analysis, it is all due to the lack The subject, skeletons dancing in a grave- in their entirety. They are most success- plans for both state and national competi¬ There is now a bandmaster spending T IS POSSIBLE for a concert band of proper financial support which would yard after midnight led by a phantom fully reproduced and splendidly interpret- into though one strive to inc tions to be held each year. This inspired full time in the grade school, members composed of the same high quality of make it possible to overcome all these fiddler, is both weird and fascinating, ed by Schreker. He displays a true mu- under penalty „f its ’ wish it rather to remain t the organization of many more bands. graduating from this school into the high players a are found in the symphony or- handicaps. Despite this condition, it is a During the last four years the number of school band. Mr. McAllister has studied chestras t Morike stirs our visual imaginative pow- (Continued on page 149) great mass of people (as welUs the rian °"d «»interesting. Do attain the same high degree of fact that the majority of the wind instru- bands in the public schools has been with some of the best band directors and artistic and polished phrasing, delicate mentalists in our best symphonic organiza- of forgetfulness, which is again0nli ??"cd come to art «i trebled. n y a form of dreamingT”—Debi teachers and frequents the concerts of the nuances, pianissimos, finely-spun dimin- (Continued on page 145) THE ETUDE FEBRUARY 1928 Page 117 the etude Page 110 FEBRUARY 1928 i5he Teachers’ Round Table School Music Department (Conducted by Prof. Clarence G. Hamilton, M. A. Conducted Monthly by

GEORGE L. LINDSAY DIRECTOR OF MUSIC, PHILADELPHIA PUBLIC SCHOOLS ^

music study and performance is the in¬ WHY ALL THIS talk about tests tangibleness of this phase of musical and measurements? What does it ability. We have many cases in the history t. Start from a normal position, as written and slip the thumb away so matter whether or not a child is of music which show that there is an impor-' which the hand is about level and the that the note may be repeated softly by richly endowed with musical talent ? What knuckles are held naturally, a little above the left hand. Music Education and the tant intervening step or link between native zines, paste, scissors, and so forth upon if he cannot remember more than four Such conflicts occur most frequently in power and expression, alxiut which we the hand. This position is sufficient for it, the place will become a delight instead tones or if he gets off pitch when he sings The Order of Minor Scales polyphonic music, where the different have very slight information. This is the ordinary work and for soft to medium of a bugbear to pupils who will conse¬ jr if his eyes function erratically when melodic parts occasionally “bump into ’ Toest and Measurement desire or the will to do. From the frail tone. To raise the wrist throws the force quently arrive early and receive a fitting he reads music? Are these not all con¬ each other. For instance, in the following body of a Chopin there may come the virile more directly into the keys and so increases preparation for the lesson. ditions which are typical of the difficulties S:, ? Should 8all the major scales excerpt from Bach’s Fugue XIX, from music of a musical giant liecause the will the tone. Hence it is wise to raise the One of my former teachers used always teachers have had to meet during many i.» riven first, in their different Volume I of the Well-Tempered Clavi¬ is strong. Tschaikowsky, late in life, forms such as contrary and parallel wrist for greater brilliancy or sharp stac¬ to have his anteroom supplied with cur¬ years and are they not conditions which Movement morion, thirds, sixths, tenths and chord (measures 13-15), the middle part may, through his desire to lie a composer, cato. On the other hand, lowering the rent musical literature. I remember es¬ teachers will have to meet and correct so twice sounds the C which is being sus¬ overcome the handicap of not having de¬ scale? he’ introduced’beta-e0 this?11 * wrist tends to make the fingers cling more pecially, however, a scrap-book in which long as music instruction continues? It sc~ ..—tench young tained in the lower part: voted himself in his early years to the closely to the keys, hence producing a closer is, of course, pleasant if the children are By Peter W. Dykema Dupils all the different forms jf the were inserted newspaper criticisms of his study of music. minor scales (harmonic, i elodic, legato. So, “you pays your money, and public performances and his compositions, quick in music, but, whether or not they natural and mixed) and to y you takes your choice!” Ex. 2 are quick, they must be taught just the Professor of Music Education Just because a person is musical, has a have them understand the different together with other items about him and Columbia University keen ear and considerable finger dexterity, If you have read the Round Table dis¬ his associates. Such personal items are having them "learn by ear?” Since cussions, you must know that I am a firm Parents and school authorities believe together with a strong physique, there is it so hard for small pupils to always attractive and are apt also to give grasi) the differences In the various believer in as much relaxation as is pos¬ that music is something for all children differences in the so-called regular sub¬ no absolute guarantee that lie will, for ex¬ the pupils a wholesome respect for their dren what is desirable for only a portion forms I have confined my teaching sible. Now, after a key is sounded, extra to study whatever their musical equipment of them. Investigation made discloses that jects. When these facts are considered,, is ample, be a good violinist, lie may even to the harmonic minor for young teacher’s prowess. Children, and given the other forms pressure put upon it has not the slightest may be. Does not this testing and measur¬ our- present methods are wasteful, that cer¬ it not strangb that music educators have have excellent instruction and still not re¬ Will not other teachers furnish infor¬ only to pupils in their “teens or effect on the tone, since the hammer has ing involve a large amount of lost time? tain aspects of the subject could profitably been so little concerned with these ques¬ spond in proportion to his powers. Many mation as to how they provide for wait¬ fallen back from the strings. Hence any Are not many teachers wasting precious be taught to all children, and that certain tions of difference? brilliant but lazy students lane been sur¬ ing pupils or give hints as to how to keep tired in °l<.ontniry)r motion and by more pressure than is necessary to keep thought and effort in discussing those in¬ other aspects are suitable only for chil¬ All of us are bom with certain possi¬ passed by hard-working students who have thirds and sixths'? Here the bass C should be released long them interested? 4. What is the correct pronuncia¬ the key down is simply wasted energy. It evitable human weaknesses and differences dren with particular powers. We have bilities of development which we utilize to but ordinary talent. The test of native power enough to sound the sixteenth notes which tion of the word “pianist?”—J. I. L. is what Matthay calls “key-bedding,” or which everybody knew existed long before long gone on the assumption that all chil¬ a greater or less extent. Why should it and even of certain aspects of attainment are then sustained as a continuation of the pushing the key down upon its bed. Why Scales and Arpeggios the test and measurement movement was dren can be expected to acquire just about be considered fatalistic to endeavor to as¬ can, therefore, be used only to indicate what 1. I should prefer to begin the minor original C. torture the poor thing after its duty has heard of? There is so much to do that tile same items in music instruction. The certain what these possibilities are? If a may be expected rather than what can be scales before the majors have all been In general, if the same note is written I have purchased a copy of James been accomplished? So, acquire the habit Francis Cooke's Mastering the we can hardly get the work done as it is test and measurement idea applied to music child is born deaf and his organs of hear¬ definitely guaranteed. studied, so that the relations between the to be played simultaneously in two parts, of relaxing instantly after each key- Scales and Arpeggios and find it an without stopping to worry about fine dis¬ education simply means the cool and un¬ ing are missing, is it not wisdom to plan two modes may be early perceived. Start it is sounded by the. hand in which it excellent book for teaching purposes. depression. If the tone is to be staccato, tinctions between pupils. hurried examination of all the difficulties his life so that he shall succeed in spite of Harming by Scanty Assignments with C, G, D and F major, for instance; should be most prominent and omitted in Please tell me about the order in relax instantly; if it is to be sustained, which the contents of the book These and similar questions are con¬ which teachers have encountered. this handicap? If, on the other hand, he after these can be played with ease the other. should he taught. Should they be stantly being met by the comparatively T F WE KNOW what can lv expected we keep enough, but only enough, pressure on taught in the order In which they is born with normal powers, ought we to shall be in a much better position to through two or three octaves, give their appear? K. T. small group of men and women who are Discovering Points of Difference be satisfied if these are not properly relative minors: A, E, B and D. Pass the key to prevent it from rising. endeavoring to stimulate interest in apply ¬ teach than most of us now are The best As to the question of how much the fin¬ Whetting the Pupil’s TET IT BE said at the outset that no utilized? then to another group of majors, with ing to music education that scientific ap¬ teaching is that which most nearly involves gers should be raised, it has been found The book is very comprehensive, cover¬ ' one has yet solved many of these relatives. Interest proach which has been so widely utilized each pupil in proportion to the power that much of this strenuous upward pull ing all the standard forms, and should be vexing problems. We are in a very true Responding - Learning - Practicing 2. You do well to teach the young pupil e sugges- in most of the other subjects of the cur¬ which he has. We may wrong a strong may be avoided and better results obtained The following t used according to the needs of the indi¬ sense just at the beginning of a scientific the harmonic form of the minors, leaving tions which I thin >e helpful riculum. In arithmetic, in writing, in ' I ''HE STUDY of music evidently in- student by giving him too little, as well as by a judicious use of motions of the arm vidual pupils. I suggest that you alternate approach to music teaching. The idea the more complex forms and explanations reading, in spelling, in manual training, 1 volves three types of activities or harm the weak student by giving him too and hand—such as forearm rotation and (1) I always hai.. — the two subjects treated, giving a few which has probably done more than any¬ till later. a blank-book to each lesson. Then, in history, in the social studies, in fact, processes: first, responding pleasurably much. arm-weight. Finger raising, therefore, if they have to wait a few minutes scales, then a few arpeggios based upon thing else to interest teachers in the test S’. Minor scales should be practiced in in. practically every line, educators have or unpleasurably, both emotionally and in¬ We are slowly moving on to a condition may be resorted to for clearness of enunci¬ ' for another pupil, 1 have them copy contrary motion and by thirds and sixths some little bit of Information or them, then a few more scales, so that the said, “Let us not be in such a hurry to and measurement movement has been the tellectually, to the impressions which music which will allow us to determine just how only after both majors and minors have ation or for muscular exercise but should hints on practice from the Etude. pupil may alternate periods of drill on be doing something. Let us be a little realization of the unusually great varia¬ makes; second, gaming knowledge of facts heavy a load a child or group of children I have them cut out pictures of - been well grasped in their simpler forms. be used with discretion in actual perform- contracting and expanding the hands. Be¬ more sure that we are doing the right tions in musical aidowment. It is said that and principles; and third, making physical can be expected to carry. composers and players and paste in the ordinary school subjects, such as 4. The Standard Dictionary gives both them in the book, and at the end ginning, for instance, with the major thing.” Many an automobile driver has adjustments such as are necessary in vari¬ Great caution must lx- exercised in inter¬ of the term give a prize for the neat¬ reading and arithmetic and writing, there pee-an-ist and pee-an-ist, though the for¬ Someone has said that an artist is a scales of C, G, D, A and E, have the learned that driving ahead does not neces¬ ous kinds of musical performance. It is preting the results of the few music tests est, best-filled book. are differences in most schools of from one mer is more common in everyday use. person who has received sufficient instruc¬ (2) I also have a monthly party pupil memorize them through one octave, sarily get him further on his journey. If possible^ to determine quite early in chil¬ which are now available. Bearing in mind to twenty; that is to say, the best child of tion and who has been left alone a suf¬ as prescribed on page 12. He may then he neglects to consult the guide posts and dren’s lives how well endowed they are in the complex nature of the musical activity, and right'1 refreshmerits1. I vary the any one of these subjects may be twenty ficient time to assimilate it. Test any program each month and try to keep apply to these, scales the simplest arpeg¬ to ascertain in which direction he is going the second of these*processes. One may let us be wary about accepting, as a com¬ Systems of Technic apparently conflicting ideas by your own the affair informal and jolly. Since gios in the three positions, given at the and what sort of roads he is going to have, times as good as the poorest child. also ascertain, less accurately it is true my daily paper prints the account plete survey of the chitd’s possibilities and i for last October, common sense and experience. Thus will top of page 55. Then another group of he may find that at the end of several To obviate these great inequalities the of it in its social column, it is of but still with some degree of certainty’ attainments, anything that is disclosed by t of L: you build up your own individual “meth¬ great advertising value, as well as scales may be taken up, followed by their hours of driving he is further from his general educators are developing such how fully, one can fulfill the requirements a test which shows only one or two phases, od,” which in the end will give you that- a help toward keeping the children arpeggios, and so on, till all the major ultimate goal than he was when he started. schemes as the Dalton and the Winetka alert and interested. of the third type. But at present there is let us remember that any test is usually confidence in your own powers which is (3) Our city has a splendid Play¬ scales and their simple arpeggios are plans which are based on the theory that lderstand, studied very slight assurance concerning the possi¬ limited in regard to only a part of the necessary to artistic success. ground System. Every week in the learned. After the minors have been The Proof of the Pudding it is futile to attempt to keep together bilities of the first type of activity. mpil of Liszt, said, “The summer they give short, informal children who vary greatly in their ability necessary musical whole. hould he raised.” I under¬ programs. I am acquainted with similarly treated, the pupil may proceed Because of this inequality of measuring principle of relaxation as the supervisors of these playgrounds TXT’E MUSIC educators are interested in any given subject. Certainly it is a After having stated this caution, we may, both, but there seems to to more complex forms, such as the two- the various aspects of music activity it is and furnish them from time to time vv in teaching music, but that means wide variation when we think of one child before we give a brief rdsume of the tests ence in the hand position, The Same Note in Both Hands with numbers for the programs. I octave scales in parallel and contrary mo¬ not that we simply want to be going a very difficult matter to learn in any’given Doesn r. Fenyves (in the April being not twice or three times but twenty now available, emphasize some of the dis¬ Locate a high wrist and An excellent book for adult begin¬ have some of my children sing, while tion (page 15) and the two-octave arpeg¬ through the motions, holding our classes case what proportion of native' talent ners, which I am using, has a puz¬ others play for them. If I can find times as good or as poor as any other tinct values of using wisely worthy tests, Mr. La_rand elm; the nearly level one? a child who plays the violin. I teach gios which begin in the second line of and making the children go through cer¬ aptitude, or general power has been utilized And isn't Mr. Lachnnihd’s position zling feature, namely, the occurrence child in the same group. especially those which are prepared by the most natural one, especially for of the same note in both hands at one of my pupils a simple accom¬ page 55. in gmng expression to, acquiring knowl¬ once. For instance, D. first space paniment to play with him. Some¬ tain activities. It means that we wish When, however, we come to a study of someone other than the person who is giv" small hands? And isn’t relaxation In this way the pupil will master each edge of and displaying skill in music. We the main thing, anyhow? below the treble, may be written ns times, also, a pupil plays for a dance them to attain results. Many a music music endowment, some of the psycholo¬ ing the test. If a teacher prepares an a half note and may be quickly fol¬ number. In this way the pupils new form of scale or arpeggio in all keys can tell whether the song which a child But is seems to me that Guiomar become enthusiastic to play on these teacher at the end of a year of hard work gists maintain that the variation and ability examination for students whom he has Novaes, in a recent Etude, contra¬ lowed by the same note written as a before proceeding to the next. Of course, sings or the piece which he plays is in dicts Mr. Laehmund also. He said, quarter in the second space above programs. It helps them to get ac¬ has been discouraged by the meager attain¬ in music is not only much greater than in himself taught, it will necessarily be re¬ customed to a larger audier 1 the more complex forms, such as scales in ments of her pupils. Usually we attribute accordance with the printed symbols, but “As you drop a finger on the key, any other subject (some authorities state stricted to the work which he knows he follow it with a deep pressure,” and double thirds, and in sixths and in oc¬ this to the small amount of time that we she said, “Depress each k that the range is from one to two hun¬ £ '!Tte.,an0ther qUestion when we at- has giv.en to the students and will be taves (beginning on page 38) should be have, the poor music material, the in¬ deeisir- .”1 stroke' ' of the fin- dred), but also that this difference in m( rcate What has happened to the framed in language which conforms to . avoiding s ! the reserved for a considerable degree of ad¬ adequate preparation of the children, or power is evident much earlier than are the tI 3 rrU °f these activities what he has used. I am sure that we are all grateful to vancement, say the seventh or eighth the fact that we have too much work. The difficulty with all measurement of As many a substitute teacher has found “H. A.” for these interesting suggestions. It is perfectly possible that all of these 7 both Mr. Fenyves grades. out, children frequently can do correctly While all of them open up attractive pos¬ factors have exercised their influence; but certain school tasks only when the ques¬ sibilities, it seems to me that the first is there may be certain phases also which are tion is stated to them in the particular especially valuable, since it utilizes to good even more potent. EVtry °Md ln °Ur C0Untr» M kn™ how to sing, and how to play advantage that period of horesome wait¬ "To the unprofessional spectator, it Possibly we have asked our children to way to which they are accustomed. They It is a good thing to read the opinions of upon at least one musical instrument. Among these the piano is perhaps ing for a lesson to begin, during which a appears that at this moment the art of frequently have simply established a con¬ various authorities and then to assimilate learn things which it is unreasonable to What should be done In t: case? pupil often becomes nervous and music is walking in a circle, tethered to expect them to learn under the circum¬ the most practical for musical cultural purposes. Nothing should crowd nection between a certain type of stimulus them in the light of one’s own judgment A' “wiggly.” Presumably every teacher has the runes of a growing set of conventions, stances. Possibly what we have selected and a certain response, instead of having and experience. Many times apparently out the opportunity for self-expression which can come to those who play a stake in the centre of which are carved for teaching is not the most valuable. figured out the principle involved, so that conflicting ideas are only different ways of Do'uhtless the D is repeated in the bass some kind of an anteroom or hallway in The conventionalising of any art is a Possibly our methods are wasteful. Pos¬ the piano with some degree of mastery.”—Walter Damrosch. they can apply it whenever such a given viewing the same problem, and are all for harmonic reasons. So the three-note which pupils may wait before entering the fatal disease.” sibly we have tried to teach all of the chil¬ situation arises irrespective of the practicable under the proper circumstances. chords in the left hand should be kept studio for a lesson. By placing a con- —Musical News and Herald. ticular guise jn which it appears. Of Take, for instance, the question of high or consistent. 1 should play the upper part venient table in this room, with the maga¬ (Continued on page 151) THE etude Page 118 FEBRUARY 1928 FEBRUARY 1928 Page 119 THE ETUDE Facts that All Music Lovers Should Know About CLASSIC, MODERN AND CONTEMPORARY MASTER WORKS the T5erm “Loempo RED ROSES ROSES ROUGES From a new set of pieces, tnUXltdJjes fleursparlent, JE VOUS AIME Orlando Mansfield By Dr. A. by the great modern master. Grade 4. I LOVE THEE ED. POLDINI zas and other florid passages. This term LTHOUGH NOT admitting of so tions, none of which, strictly speaking, seguente" which our learned pedagogy A is sensa tempo meaning, literally “without many meanings as its English should be identical with a tempo. Yet, as and whilom lawyer interprets as meaning time,” a translation which, in the light of equivalent, Time, the Italian ex- a matter for regret, some composers have "a gradual change of time,” an interpre¬ the foregoing remarks, should be self-ex¬ pression, Tempo, is susceptible of at least thus employed it; and it was interpreted as tation perhaps more practical than literal, planatory. two interpretations. There is the interpre- synonymous with tempo lino by Danneley Further terms in this connection are tation of the expression which would limit and some other early nineteenth century tempo commodo signifying “at a convenient Amongst the lesser known and more its application to the denoting of a particu- English writers on matters musical. Bee- or easy pace,” surely a grateful term to the rarely used expressions is tempo perduto— lar kind of measure, time-signature, or thoven, in his Sonata in A flat, Op. 110, budding musical amateur, and tempo ordt- meaning lost, irregular, or unsteady time— beat: that is, tempo binario, double time; makes his meaning clear by writing L’is- nario, another expression with a double a term closely allied to tempo rubato-, also tempo tcrnario, triple' time; tempo alia tesso tempo di Ariose (in the same time as meaning. This term signifying really “in tempo reggiato, meaning regulated, ’ gov¬ breve, tempo maggiore, or tempo a cappella, the Arioso), and L’istesso Tempo della the usual time” or “at a moderate pace,” was erned or controlled time, a singularly rare a measure in which each beat is of the Fuga (in the same time as the Fugue), originally applied to “common” or 4/4 direction, equivalent to colla voce or colla value of a half note; tempo alia semibreve. But in the Variations concluding his last time in the days in which time-signatures parte and indicating that the performer’s or tempo minore, having each beat of the pianoforte sonata, Op. Ill, in C minor and denoted speed as well as measurement, or accompanist’s time is to be governed or value of a quarter note; tempo forte, a major, weJ have the direction L’istesso “So,” says Mr. Franklin Taylor, “in con-, regulated by that of the vocalist or instru¬ strong beat; tempo debole, a weak or un- tempo marking a change from 9/16 to 6/16 sequence of the notes in tempo ordinario mental solo performer, the parts of either accented beat, and so forth. But the time. Here the composer really means -}i being of full value (absolutely as well as of the latter being marked, at the corre¬ one we propose to discuss in the present time, and that the eighth note in the second relatively) the term is understood to indi¬ sponding place, ad libitum or a piacere. paper is that which would construe .the Variation should be the same length as the cate a moderate degree of speed,” and it Lastly, the word tempo is employed in term as indicating the rate of movement, dotted eighth note in the Adagio or Tema. is “in this sense that Handel employs it as conjunction with some other substantive, speed, or pace of a given musical compo- Curiously enough this is followed by a an indication for the' choruses ‘Lift Up the two denoting a distinct and readily sition. change to the unusual 12/32 time, still, in Your Heads,’ ‘Their Sound Is Gone Out’ recognized rate of movement. For in¬ The expression, a tempo, is employed reality, H time, so that the eighth note (‘Messiah’) and others.” stance, we have Tempo di Marcia, in the after an increase (accelerando) or decrease remains as before. As Sir George Grove time of a march; Tempo di Hallo, in dance (rallentando) of speed to indicate a return remarks, “Neither note (beat) nor meas- Tempo Expression time; also Tempo di Carotin, di Menuetto, come‘ e previous raterare ofoi movement.movement Byay thetoe ure changes.”changes.' FromProm this seeming welter T,rE N0W ARRIVE at a group of di Vabcr, and other self-explanatory older writers of English musical diction- of confusion the fact emerges that I’istesso W tempo expressions of which the terms, all indicating that the movement is aries, such as Thomas Busby (1811) and tempo should be used only when there is a chief characteristic is that of license or to be rendered at the speed determined by J. F. Danneley (1825), a tempo was (erro- change of time signature, and that here it liberty a deoarture from strict time and that of the particular form in conjunction neously) regarded as being synonymous should denote that the length or duration hencedhe opposite of tempo qiusto The with which the word “tempo” is introduced. with o battuta, a term possessing several of the beats remains the same although first and ZsKZaZTl.mhTnf this From this discussion one fact emerges “aearemrSnbto '"h'Tict ’bft'” ^ Value be changed' Inf tbis class is tempo rubato, a term which, trans- with considerable prominence, namely, that, lac IV; V T Way e m0St CTeCt emplo,yment °,f the iated literally, signifies “robbed” or stolen” however simple a term may be, it is enor¬ words, it was a direction to return to expression is at the point where a change time) and denotes those accelerations or mously influenced by the company in which it is found or by other terms with which lumbers HoTco^trPrrndtime(or ^n:Li7iormoveTT^ it is connected. In different languages we occur in ad libitum passages, in a red- So, if we change, during the course of musical artisan (cLdously make frn he tative or in a cadenza. a movement from 7/d to d/H t.mo . . . may venture to say that our subject pro¬ movement, from 2/4 to 6/8 time, purposes of expression and musical effect. vides us with another instance of the influ¬ Another term with which a tempo Ynte nstesso tempo where the latter We have no here which d often confused is tempo Primo, or, as ence and importance of environment Thus signature occurs, this would mean that the scribe the modus operandi or the exact the simple word, tempo, assumes an almost is often abbreviated, Tempo Imo (some- beat 6/8 time_ should____ receive the same locale of the rubato; but, in general terms, times, but rarely, written tempo primiero). length as the beat in 2/4. Accordingly, entirely different meaning and, occasionally, may say, with Mr. J. A. Fuller-Mail - a greatly increased importance, because of This expression, however designated, the beat in 2/4 time is a quarter note, and l^dTwc, ^ ■ its association with the comparatively petty should always indicate a return to the tempo that in 6/8 time a dotted quarter (not an faf^wd by a cOTreM™dTnt°rfecgenera ? in force at the beginning of the particular eighth note, be it observed), the direction that7hT Serlueth IT’ l preposition “a,” the difference Incoming still movement in course of performance or I’istesso tempo would cause the dotted quar- measures remaLfftesail* A more marked as the term becomes part of under consideration, that is, the resumption ter beat in 6/8 to be equal to the time of I'llenLLwTlH 7 T a phrase or combination such as “I’istesso of the initial rate or speed. Dr. Busby, a quarter in 2/4 time. This would make oirt of Zl rule’,be tempo" or “tempo rubato." Hence, as the . however, distinctly defines tempo primo as the music one-third quicker, as three eighth masters and shn„1d LIV °V • ,earher signification of words is altered in meaning “An expression used after a retardation or notes would have to be performed in the discretion in the^lT Tit T and importance in accordance with the acceleration of the time to signify that the time of two in the preceding part of the composers it mavT fl l • connection in which they appear, it is pro¬ first motion of the measure is resumed.” movement. Thus interpreted, the effect of ;nto anri ’ 7 , e y introduced portionately important that we should un¬ It sefems fairly evident that the learned I’istcsso tempo upon the music might in- factor of thewrfnrirf3 311 ‘"dispensable derstand the force and meaning of these ex¬ doctor regarded a tempo and tempo primo deed be very remarkable since if we hv e Performance of compositions pressions and the combinations in which as synonymous terms, an unmistakable passed from, say 2/4 to 2/2, the half note schools o/mnsir.l TT and modern they present themselves. By so doing we error but one of considerable adherence. in 2/2 time would be equal to the quarter a somewhat T"’ .• , shall be lighting “ a candle of understand¬ The tempo of a movement may suffer in 2/4, thus doubling the speed! ferent V and ent‘rely dif- ing” which shall not easily be extinguished. frequent changes during the course of a . . PP‘cation of the expression SELF TEST~ QUESTIONS ON composition, in which case the tempo before Doubling the Speed FranklinV* 1 °- C*-U°te afa‘n *rom Mr. DR. MANSFIELD’S ARTICLE the accelerando or the ritardando might r pIIE LATTER condition of doubling sage in duple 'thneVnVertell ! ^ L II hat term indicates "a return to the not be that employed at the beginning. 1 tlle speed is more usua]ly indicat^ the prevaillg rhlthl of whilh ; ™ strict beat f" Thus tempo primo would have a vastly dif- without a change of time signature or no- tripfe in dupVe timel the c a l ? (°/ 2. In what two ways may doubling of ferent meaning from that assigned to a tation, by the expression Tempo doppio, or fected without aherif the W J®"8 * speed be indicated? tempo. Amongst the equivalents to tempo Doppw movimento, both terms indicating by means of fall ™ IT TTu’ primo we may include the expressions a doubling of the sneed nr movement in in ,1. ,,aiSe accents> or accents fall- 3- In what style of composition is rubato Tempo di primo parte (time of the first part other words, a demand for a performance measle. As aT exalplelf permissible? ' or division) and Tempo del primo peszo twice as Quick as before Then we have itv at t- i r mple of this peculiar- 4. In what sense did Handel use the term tempo giusto? (time o( the lint piece or portion). Then or frclUbu, hurried or in fl Op 2”No'"' of S h" n practice, to ad libitum? ‘Banishing J^erves for the tempo guisto, exact or correct time, an ex- of Beethoven’s Pianoforte Air c r to the time of the initial measures pressionwhich Handel employed, says Dr. ata in A, Op. 12, No 2 Menuctt" S°”' Public Recital of the latter (see the 12th Variation of RaIph Dunstan, to denote “4/4 ■ time at By Eutok/T Hellier Nickelsen Mendelssohns Variations Sencuses, per- moderatei speed;” and one which Dr Minor from Weber’s Pianoforte SonZ b, L. Op. 24, and so forth. 1. Select as a recital number a piece tha haps his finest composition for the piano). Adolph Marx (1795-1866), in his UnL Another term, tempo a piacere is on,,;,,-, has been previously memorized. versal School of Music, characterizes as Confusion of Terms 2. See that it is thoroughly reviewed. “a rather strange phrase” and “a very ii notesl fr UbitUm ?nd’ like ‘he’latter, de- 3. Ask the child to play for the pup1 UT..IN all probability, the worst con- nocent mode" of 'expTessionT as ’h lays al/pallg?so marked TTV'™' of whose lesson follows. ’ fusion of term meanings occurs in exactly nothing, every composition requir- turn passatres 7 ’, athouSh all ad libi- 4. Have a preliminary student recita connection with the expression L’istesso ing to be performed in one'‘proper time.’” formed more slollvTb c°d t0 be Per“ followed by a party or some means o tempo, or, as it is more rarely written, Lo Dr. Marx also favors us with another which they occl A He COnnection entertainment for your pupils. stesso tempo. This phrase, meaning liter- tempo expression of prodigious proportions, lar to the one lal • soraewhat simi- 5. Invite the mothers of pupils to th Copyright 1928 by Theodore Presser Co. ally the same time, has several significa- namely, “Tempo assimilando al movimento amongst the direction °ften f°Und studio for a student “try-out” before th Other Music Sections in this issue on pages 91,127,159. International Copyright secured s prefixed to Caden- recital. THE ETUDE THE ETUDE FEBRUARY 1928 Page 121 PaseiZO FEBRUARY 1928 DOLORES PRELUDE Used very extensively in England; VALSE ELEGIAQUE , Striking With sm.il out!., of teohni. Just now this is one of the most played educational piano pieces in Germany. It can be made & a very popular recital piece. Grade 5. IN a MINOR ca] effort. Grade 4. WALTER NIEMANN, Op. 101, No. 1 ANTON VODORINSKI, Op. 16 Tempo di Valse lente ed un poco sostenuto M. M. J-=40-42. Lento m. M. J = 60

Fed. simile S&USS” «*PQ<*«H*ol>*******>

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A * A JL ) _milt 1 ] A A_A motto rail. _

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A modern exemplification of a classic mode. Grade 4. PRELUDE

Poco agitato ma non troppo allegro JAMES A. ROGERS

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British Copyright secured km\ - y. ■ M - " ***> .FJPBieUA R. _ , f TH£ £TUD£ THE ETUDE FEBRUARY 1928 Page 127 Very dainty, in popular style. VALSE SERENADE Also published for Violin. Grade 4. OUTSTANDING VOCAL AND INSTRUMENTAL NOVELTIES Moderato RENE DEMARET r\ f_,m™ his arms your refuge make f b.de leone r\ i , Andante sostenuto _. _ j* —=r==zt ~ 1—1 i i N t

Ye worn and wea - ry-heart-ed, Your Shep-herd bids you

_ calando molto esprcs_s. _

_come: And, cast, fTTron Him your bur-dens,J' AndJ i eachr and^ ev-’ry J i one-- Ye who have wandered,

Come to His kind arms pray - ing; Come, come, oh come- For He will stay your

heart - ed ones, Come all ye wea - ry - heart - ed ones, His arms your ref - uge make!- dm .-fi JtJ-./. «tiJ J. i i J- K. rrTJ-!

Copyright 1927 by Theodore Presser Co. ^ ^ British Copyright secured v'ther Music Sections in this issue on pages 91, 119, 159 Copyright 1904 by Theo. Presser British Copyright secured Copyright 1897 by E. Mac Lean Copyright 1928 by Theodore Preiser Co. Page 130 FEBRUARY 1928

A dignified Processional COMMUNITY GRAND MARCH ***•*!>*

British Copyright secured Fine of Trio Pag* 132 FEBRUARY 1928 H! TH££tu FEBRUARY 1928 Page 133 the etude CONTRA DANCE CONTRA DANCE SECONDO L.van BEETHOVEN Arr. by W. P. MEBO L.van BEETHOVEN Allegro molto moderato m.m.J = io8 PRIMO THE etude FEBRUARY 1928 Page 135 Page, 134 FEBRUARY 1928 nrtMTtn, In accordance with the gipsy character of CHANSON TZIGANE this piece, the style of delivery should be Educational Study K[otes on Music DEZSO LEDERj;^ somewhat exaggerated. in *5his Etude Vivace By Edgar Alden Barrell Violin

Piano

SINGING should be as natural and easy Edited for February by condition which mechanically ;nfl PART X as the trills of a canary, but with breath control, voice placement ZZ the human being there is a tendency Eminent Vocal Specialists proper focusing of tone. I„ other “ 1 F—Whistling Sound of a word, the student has to be careful to stiffen the jaw. This prevents natural¬ the loss of vocal control which not to emit the sound with a jerk; but ness; the throat muscles tighten, and a IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VOICE DEPARTMENT rr-'HIS CONSONANT requires a careful from these stimuli, while mental in ■ to let it'be smooth and gliding. For short self-consciousness takes possession of the “A VOCALIST’S MAGAZINE, COMPLETE IN ITSELF.” 1 action of the diaphragm. The ex- is in its effects purely mechanical °r'8“1' words like haste, the action of the dia¬ singer which destroys any possibility of Now, as to relieving the various defm niration is somewhat forced forward phragm is necessarily increased. H ex¬ ease or relaxation. through the rarefaction of the air produced Few people, especially women, who are which cause aphonia, one should seek? presses the state of mind: Help, haste, discover, first of all, if the inability Z ° by the lung and diaphragm. The upper victims of several generations of restricted hope, holy, hatred, happy, holiday, history. vocal bands to function properly 3 lip is slightly raised, the lower lip having Th has a whizzing character of sound waists, breathe anywhere near as nature a tendency of an upward direction, touch¬ intended they should. There iS| no doubt from long-continued strain, faulty and is non-vocal. It is produced as s. Essentials for the Singer the vocal apparatus or waste of „ 01 ing at the same time the incisors. F char¬ with timeless expiration, combined with but that many cases of lung, heart and acterises words of decision and impulse: Once the source of the trouble is dis®2 an enforced whizzing action. The tip of throat ^trouble can be traced directly to By Eva Emmet Wycoff First, forward, fighting, fame, fling, fear, false manipulation of the breathing ap¬ the remedy may be wisely applied. “ the tongue should be held by the upper A complete rest, appropriate treum favor, flush. ' and lower front teeth and the air should paratus. Correct breathing, on the other St1fln and the speaking voice 'Lifting the cheeks (the smile) towards K and c are explosive sounds. I he simple and a liberal outdoor fife will do wonfe rush to the front, passing through the space hand, may relieve severe cases of asthma, would be mellow and vibrant. The ma- the eyes gives uplift to the voice. Thus way of articulating k is by raising the to restore physical “tone" to the relax? at the side of the tongue. At the time backache and heart affection. throatir nr v°ices ,are nasa!> can the tone more easily resound in the upper lip, the lower lip gently touching the HeW WAy MlJsjc EdUcAjioH @mpAHy of sounding the consonant the tongue KANSAS CITY, MO. The strain in correct breathing is taken or vitiated chords and their nerve con^c lower row of teeth. The tip of the tongue, 505RIDGE BUILDING of th/mouth^ d°Wn ^ back r°°f °f tbe mouth> level with the nostrils. recoils. Th is mostly used in adjectives off the neck and chest and carried to the dons. A correction of tone production arched inwardly, rises towards the back of and words of Latin origin: Theory, the, waist, where it belongs. The ribs move method will then complete the cure-i the palate, which closes the epiglottis, the TINDALE Study the Vowels Eliminating Interference condition is reparable. theater, sympathy, author, theosophy, theo¬ laterally with no chest nor shoulder lift¬ explosive sound thus being created. Any ing. The lungs, being of a spongy con¬ logy, thousand. Pianologues Music Filing Cabinet T roWTTT Q r , , , t?EEL a broad and wide sensation in- If there is a pathological change in the attempt of strain in the throat is to be sistency, absorb the air, as a sponge ab¬ Needed by every Musician. V MuchtW t e tongUe' r side the mo«th, which also opens the vocal instrument (thickening, nodes in avoided. The tongue should be flexible sorbs water. Mere inhalation does not D and T—^uic\ Sounding curinfthe fSh0U'd,be spent m se' throat- Lifting the uvula or using this or flammation, ulceration) skillful treatment ai and be in the requisite front position. The nil them. They draw in the air through the hands of a specialist should be sought are gaiSd bv crnPT°US M tIlat mUsde is of no value bu‘ «*»* dis- articulation of the consonants k and c AND T BELONG to the clear con¬ UNTING DAISY PETALS . . (HumorOUS) the natural channel (the nostrils) accord¬ If, however, the cause „f voice loss is' tEAMIN’ IN DB TWILIGHT . . (Negro) enuncihtion Th, f t0ngUe in traCtillg' The kss thinks of muscles should be tender and smooth, but with an sonants. Their position in the mouth kT8.(Humorous) ing to their capacity, whether healthy or nervous inhibition” the victim must secure sep a Smilin’ .... (InsgiratlonaO diseased. be kept ores Jd V Pt1°f ^ mUSt °r their names’ the more naturaI wil1 sinR- energetic motion of the lower jaw em¬ lies quite in front. Action: First raise Send for liet of teeth This also ^ °W6r 'ng beCOme' 14 is better to remove inter¬ and retain control of his centers of inhibi- ployed. K and c are mostly used in words the upper lip, whilst the lower lip touches moat popular style throat T d keepmg an open ference which is most bkely to occur in the representing ranks and station of life: TINDALE CABINET CO. °*h" w°rds' of lhc nerve centers the front of the lower teeth. Students ELL ‘ (Humorous) A Laughing Lesson '.. . . tongue and lips, wh,ch control the impulses that stimulate King, count, counselor, captain, doctor, bar¬ 40-46 Lawrence St. whose front teeth are missing should have PERFECT LITTLE Lady (Humorous Juvenile) Flushing, New Yorl T N LAUGHING heartily one can realize protruding. "** * rekxed 3nd SOmewhat ? is advisable for the singer to ac- muscular activity. This is much more racks, corporal, keeper. them replaced; otherwise vocalizing these -*■ how the abdominal and stomach mus¬ The sense of a smile must Be r f djure a thorough musical training. Musi- easily said than done, i or here the patient Q has a contracted quality. The articu¬ consonants is an impossibility. The action must minister to himself. cles perform in singing. Observe the lation of this consonant is done by joining of the jaw should always be an energetic De Weddin- Breakfus' ^ ^ ir(Negnj) movement will not be in the chest but First relaxation must lie secured by m to k simultaneously; otherwise the action one. Do not let superfluous air escape in The Youngest in the family ’ at the waist. So, observation will show sitting loose as ashes" in a chair. Then is as in the foregone k. The lips should articulating d and t. This bad habit is (Humorous Juvenile) that breathing is centered in the low stom¬ the patient should breathe deeply several be pointed for that purpose. Q in words In full sheet music form-price, postpaid, each .35c often to be noticed in amateur singers. If The set of “Etude 1928 Collection,” $5.00. ach and must be slow and rhythmical. d™, i*,, .jSfflXXS “r“' ^ 'a' times, inhaling and exhaling the air to the gives the impression of qualifying things: t with r presents any difficulty in articu¬ Large catalogue of entertainment material on request. Healthy lungs fully expand with deep limit of lung capacity, before going out queenly, quaint, quick, equipped, equestrian, lation or diction, the student should prac¬ T. S. DENISON & CO. breathing. They develop down and back. on the stage or concert plat form. This re¬ quantity. tice on rt till smoothness and roundness is Dramatic Publishers This is what is called diaphragmatic G is much influenced by the syllables 623 S. WABASH AVE., DEPT. 73 CHICAGO lieves nerve tension first, by supplying an attained. D and t give the word a sinister breathmg. The waist muscles must work. which follow it, to make it sound soft or Why Some Singers Lose Loheir increased amount of oxygon to the system, and sad character: Terror, death, trouble, When the ribs have extended to their burning up cell poisons and relieving the hard. In articulating g the pressure of limit with an inhalation, the singer should doubt, distress, tittle, tattle, divine, dis¬ nerves of this source of irritation and the tongue is not as much as in q. The not try to go on filling by lifting the chest. Voices cipline. second, hy restoring a belter circulation glottis in g is raised through the amount The nostrils are a channel only. Smelling By Ouise Vaupel B an A p are explosive sounds which are and normalizing the caliber of the blood of volume and energy used at the time The Great Artist Singer is a process of inhaling, but we do not the sound of g is created. G is generally formed by closing firmly or loosely the inhale in that sense to live. The singer vessels. This would be particularly bene¬ lips and assuming a broad shape at the when a singer or a speaker loses teria used in words of pleasing effect: Gay, gift, must know breath or air is in the lungs ficial after all performances i„ which ter¬ same time. The moment the lips open, his voice? Is it entirely a physical fright ’ gratitude, good, glory, gold, gardens, all the time. He should get away from ror, rage or other highly emotional states games. the air collected in the mouth is forced Tito Schiea condition relieved by appropriate medical The" intimate rel f ■ ■ nave been depicted. the idea that taking a big breath before to escape thus forming the letter b singing is going to sustain the tone. measures, or is it sometimes mental? the voice and the f f- eX1St,"g between Says of A Useful Aspirate or p. The action of this must be a smooth It is the manipulation of the muscles These are questions which intimately as pointed iuh n the brain- one, in the soft b as well as in the hard p. that counts Never let the stomach mus- concern every singer or actor; yet but a Thompson in hi 7 Dr' WlIliam Hanna Artist Insomnia O IS THE natural transition between FRANTZ PROSCHOWSKPS 'The tone should sound round and give a c es fall. In singing and sustaining long F9RCED oxygenation of the blood will 14 the vowel and consonant By en¬ 1 satisfactory finish, though a slight aspira¬ “The Beginner’s Voice Book” phrases the whirling air in the mouth tr - — - - insure also against 'artist insomnia” forced expiration through the wide open called tones draws off the breath from the \JchLchk{ ™ of aphonia or loss of ^ mate^y in- and is a better soother than any narcotic. pharynx, the trachea closes. The tongue tion may be allowed to follow. B and p lungs in the same manner as the lungs voice is the inability of the vocal bands muscles be J.I f,m°tlons actm& through Foise, serenity, confidence and sureness lies quite flat as in ah. are used in descriptive words, as in pre¬ “It is a fine treatise of the human voice as draw in the air. The abdominal and stom¬ be due to meCt)i Pr°Perly- This these emoS lfeln theT ^ Pr°mpt come largely from repeated appearances Any sign of contraction of the lips cious, pretty, big, bold, bad, back, pale, well as a school of singing. The system of T,to Sc!llpa ach muscles simultaneously support this betore an audience. However, there are should be avoided. If h is in the middle blessed. voice building through the vowels together with the practical outgoing stream of air. Tone is at its sS s— rii is-is many singers who never seem to lose dread progressive and interesting musical instruction make this work best when so supported. Inhalation and of their public and who, even after years on singing the most practical that I know of. exhalation are waist muscle activities of experience, step out on the stage with “I highly recommend it to serious students and teachers, and I hope An open throat should be cultivated and ie same degree of trepidation that char- “Propaganda, van know, cannot do everything. One cannot build up Kept com,nuously, not alone when singing you will translate this work on singing into the Italian language. 0< voic^,” T™ ™ASS™SS ,ra„wini pnze their opening performance, music in a grown person or in a great number of persons simply, by intel- W ,!UC!\a rc,axed in yawn ror these people there is, in my judg¬ lectuaUsing dbotii it. It must be bred in the bone first of all, and cultivated The purity of vowels so em¬ ng), health would be better, faces would ment, only one source of relief. This is then with a minimum of self-consciousness.”—Elizabeth Rethbf.rg. phasized in this work is the the strong psychic help of psychologists foundation for the true e reflexes 0f a mental (Continued on page Xf5) Italian art of singing—Bel Canto.”

great practical results by leading teachers everywhere.

“The Beginner's 8°°^'’ side by singing ability starting with the very beginnings^ also imparts a knowledge that ^all singers should possess,^ but in

singer's physical equipment is given.

Sent Postpaid for $3.00 Published by Theodore Presser Co. 1712-1714 Chestnut St. Phila., Pa.

Please mention THE ETUDE when addressing our advertisers. Page 13S FEBRUARY 192S TER 7? 77; the etude FEBRUARY 1928 Page 189

^he Forerunners of J. S. Pack (AUSTIN ORGANS IN CONSIDERING the forerunners of in Bruges about 1480. He first studied law T5he ORGANIST’S ETUDE £J the great contrapuntist, it seems wise in Paris and not till some years had T™f„ Milpht to begin with Jean Okeghem (some- elapsed did he give up jurisprudence for where musical discrimination is keen. times spelled Okekem, Okenghem, Ocken- music. He was appointed Maestro at San Edited for February by the Eminent Organist, Teacher The location of recent important New York contracts is one the highest tributes heim). While Okeghem was not himself Marco, in Venice, and founded a cele- and Writer, Everett E. Truette ever paid, for large Austins have been an organist, he was the founder of the brated school which had several noted placed in St. James, Little Church WHEN AN ORGANIST attempts to a page of music, as the church i, » Around the Corner and St. George s. “New” or Second Netherland School of musicians among its alumni. He became select compositions which are “ap¬ IT IS THE AMBITION OF THE ETUDE TO MAKE THIS ORGAN DEPARTMENT the end of the page. Perhaps the Ptyll These things are significant and worth composition and was the teacher of Josquin a celebrated composer and is regarded as propriate" for his postludes, he is noting. They reassure the prospective “AN ORGANIST’S ETUDE, COMPLETE IN ITSELF” is excusable for playing onlv^ committee beyond any doubt. de Pres, Compere, and others. He was the creator of polychoric music, the two liable to experience great difficulty in de¬ provised postlude,” though there ’ born probably in 1430, at Termonde, East opposite organs at San Marco prompting fiehSach mote termining just what is “appropriate.” The sibility that someone might he'!8505’ Flanders, and was a chorister in the Ant- him to develop that form of art. He was denomination of the church, whether it is to remain if he were to play an au"®611 (AUSTIN ORGAN Coj werp Cathedral in 1443-1444. Some bio- also the first to develop the madrigal. He _,j imtnortaf liturgical or non-liturgical, the general j 165 Woodland St. Hartford, Conn. I graphers state that he was a pupil of died in Venice in 1562. composition. If 0ne stayed it ,v, ,activ! - character and attitude of the particular duce others to linger also. It Sf.„J8ht ® Dufai, at Cambrai, but Fetis claims that Andrea Gabrielli, a noted pupil of Wil- pipe organ congregation after the benediction, and the while to try such a plan not one* S3 Binchois was his teacher. A few years laert, was born in Venice about 1510 and composition character of the particular service for ~Appropriate “Music for times. âny later he was composer and Premier Chap- became a chorister in San Marco in 1536. which the postlude is to be selected, all guilmant organ school pellain to King Charles VII, and in 1465 Later he became the second organist, have a strong influence on the appropriate was royal Maitre de Chapelle at Paris. Claude Merulo (1533-1604) playing the As the Ruralist Sees It ness of any composition for a postlude. Dr. William C. Carl, Director Okeghem’s great reputation was made first organ. He was the most eminent or- An Original Manuscript by BACH If one considers for a moment the dif¬ Organ ‘Postludes as a composer, and he elevated the art of ganist of his time and had many distin- ferent attitudes of different congregations S °ME YEARS AGO the writer wai Teacher of Organists way back “i‘‘he country for imitative counterpoint from the early guished pupils, among whom were his immediately following the Benediction, one crude forms to the rank of a beautiful nephew, Giovanni Gabrielli (1551-1642), provise softly for a short period and grad¬ ing: “What is the purpose of the organ mer vacation. He was asked to pyJ A Distinctive School for Serious Students cannot fail to be impressed with the diffi¬ science. To him is given the credit of and Sweelink. Andrea Gabrielli died in culty of determining just which composi¬ ually lead up to the postlude with a cres¬ postlude in the service? In many cases a service ... the principal church 0 cendo. molding into an organic whole the various 1586. it is to show off the full power of the in¬ town. It was noised about that “a„! Free Fall Term tions are suitable for organ postludes. In parts of the fugue form which was Several of the shorter fugues of Bach, strument and coyer up the noise of the gamst from Boston would plav f 1' Scholarships Now Open many Congregationalist and Unitarian brought to such perfection by J. S. Bach. The Pedal in Fugue churches, Christian fellowship and socia¬ which can be commenced on mezzo-forte social conversation on topics of the day. morning service ” This announcement Z New Prospectus Ready 11 may be said that he pioneered the fugue j AN PETER SWEELINK, called, by- bility go hand in hand with devotion, and Sw. or on the Gt. Diapason increasing in One church positively refuses to allow the no draw’at all. There was only ahanT form. Among other works he composed J the poet Vondel, “The Phoenix of immediately after the Benediction the fel¬ power to the end, make appropriate and organist to play more than a half-page of ful of townspeople present Th» „ . 17 East Eleventh Street, New York a nine-fold canon, Deo Gratias, in thirty- Mus;Cj» was born in Amsterdam in 1562. lowship and sociability predominate. In dignified postludes. In those churches music after the service as it interferes thought it would he good plan ,„ £ six parts. The date of his death is vari- eariy musical training he received many Episcopal churches the service ends where most of the congregation look with the conversation of the members of a postlude as they did not have such a with a period of silent devotion in which askance at the music of the immortal Bach, the congregation who meet only once a number regularly. The instrument was ously stated as 1512-1513. from Jacob Bwyck, and from his father; Josquin de Pres, the most gifted pupil and it is SUpposed by many that he was a the members of the congregation remain it is well to select his music only occasion¬ week and wish to have a half-hour of two-manual reed-organ with pedals and a of Okeghem, was born in Conde, Hainault, pupil of Andrea Gabrielli, though some kneeling for a short period, each one leav¬ ally. Movements of the Symphonies of social intercourse without the noise of the gaudy front of painted, solid, wooden IT WAS soon after the first ing the church quietly, as inclined, without Widor and Vierne, as well as the Sonatas organ.” pipes (.) Two l„,ys were necessary to Burgundy, about 1450, and was the great- biograpbers doubt this point. As an cr¬ Kilgen Organs were built, of Gudmant, Rheinberger and Merkel, and est of the Netherland contrapuntists. Very ganist and teacber he was known far and any sociability whatsoever. Obviously, the As a contrast, there are some churches blow the bellows f r the postlude as the within the walls of an old- the compositions of Bonnet and Dupre little of his life is known today, except wide_ and he may just]y be calied the organ postlude in these two widely differ¬ where the postlude is considered a part bellows were small. A Processional March are much played now-a-days. For less that he was at one time a chorister and founder 0f the North German School of time Abbey in the year 1640, ing styles of services must necessarily be of the service—a musical ending of the was played and the choir (of young pretentious and withal more melodious later chorus-master at St. Quentin. Still that Johann Sebastian Bach of a different character to be appropriate. service so to speak—where most of the ladies) at the suggestion of the soprano -- organ playing, as most of the leading compositions, one may name: Grand later he singer in^the Sistine^Chapel ganjsts Qf Northern Germany in the next captured the pipe organ's tonal congregation remain seated until the end (who did the directing), stood “at atten¬ Choeurs in D and E-flat of Guilmant; at Rome, in the time ofc t>Pope - Sixtus.... IV. generation were his pupils. Sweelink was grandeur with his matchless of the postlude. The sociability of the tion’ all through the postlude. The few The Quiet Postlude Grand Choeurs in G and A of Salome- He died in Conde in 1521. compositions. Those were the congregation, delayed for a few moments, members of the congregation gathered at the first to employ the pedal in a real fugal Grand Choeur in G-minor of Hollins; Benedictus Ducis, one of the n:o: noted parti and be invented the organ fugue, shining days when knighthood TF AN ORGANIST is playing in an is not disturbed by the sound of the organ the rear of the church. One old farmer Grand Choeur in C of Claussmann; Grand of Josquin de Pres’ pupils, was born which was constructed on one theme with A Episcopal church in which the custom nor is the music of the postlude spoiled by with a loud voice asked one of the ladies, was in flower,— when gallant Choeurs in A-flat and B-flat of Dubois; Bruges in 1480 and became organist the addition of counter-themes, the fugue has always been'to end the service verv the voices of the congregation. In such What is he doing up there?” She re¬ men - at - arms, plumed and Processional March of ’Foote; Marche Notre Dame in Antwerp and Master of form'which was perfected by Bach. ... quietly, the only fitting music for the post¬ plied, “He is playing a postlude.” The mailed, knelt on the eve of Pontificate of Tombelle, and of Clauss¬ churches many compositions of varying VELAZCO ORGAN STUDIOS the Guild of Musicians, the latter position ajj b;s compositions he made new use of lude* is that of a quiet character, generally farmer replied: MSh<>! you don’t say so. mann; Postlude in D of Tours, in B-flal character, not necessarily all forte nor all New York’s Finest Theatre Organ School. Direction being theil'“ highestu"vW*’ honor «**+-atattainable that jntrj,^catelv contrapuntal devices and greatly battle in reverent devotion. at a slow tempo. The slow movements of W ell, I s’pose he ken i f lie wants to.” of Emil Velazco, Former Featured Organist of Para- of West, in A of Faulkes, in G of Merkel, Piano, form a suitable and pleasine ending period. He left Antwerp in 1515, and improved the polyphonic style which Two hundred and eighty- The above incident illustrates the alti¬ mount-Publix, Stanley and Rosy Theatres. Three Mendelssohn’s sonatas are especially well and Marche Solennelle of Lemaigre. of the service. There are many “Medita- Manual Theatre Organs Used. there is no record of his life after that - ...... seven years have since elapsed. tude of many people in the churches. Tkq i vogue that period. He died in Am- adapted for such conditions. Likewise: tions that are distinctly appropriate and date, though he is supposed to have died During all this time generation the slow movement of Lemmens’ Sonata seem to think that the postlude is to be 1658 Broadway New York sterdam 1621. His most prominent The Proscribed Postlude 1540. after generation of the Kilgen Pontificate; the slow movement of Oscar them S'Ve SatlSfaction t0 a!l "’ho hear tolerated solely to please the organist, for¬ pupils W' Schiedermann, Scheidt, and Wagners little Sonata in E-minor; and jyjANY YEARS AGO a “Specialist The Madrigal Developed Reinken. family has steadily carried on In some small churches every one of the getting that generally the postlude is ex¬ Andante Cantabile from Widor’s Fourth ■‘-/ Committee on Church Music” sub- A DRIAN WILLAERT, the founder of Heinrich Schiedermann the traditional craft of the Kil¬ congregation leaves the church immedi¬ pected of the organist as a part of his re¬ START A TUNING BUSINESS Symphony; the slow movement of Guil- mltted_ a report at a convention in New the Venetian School, was also a noted Hamburg in 1596. He succeeded his father gen Pipe Organ Guild to its ately after the Benediction, and it seerrs quired duties and oftentimes entails con¬ yourself, anywhere. Earn 32 to £4 an hour spare York in which we may read the follow¬ time, or 3200 to 3500 month, full time^ Requires 90 pupil of Josquin de Pres. He was born (Continued on Page 153) mants Fourth Sonata; the Andantino in useless for the organist to play more than siderable time and effort in its preparation. present perfection. Their genius G-minor of Franck; Aria in D of Bach; , As I stated at first, the appropriateness and craftsmanship have ever Nocturne in B-minor of Foote. Obviously’ of a composition for an organ postlude pay. We train you thoroughly and rapidly at home. kept pace with the facilities of Get our free booklet “Piano Tuning as a Business.'9 he Largest Organs in the World all bright and loud compositions would be A Unique -Anniversary depends largely on the character of the T3 their time and with the increas¬ out of keeping with the situation. Mack Institute, Craft on Sta., EM-7, Pittsburgh, Pa. individual service; and this is often regu¬ ing demands for optimum artistic On the other hand, if the orgariist is Few have enjoyed the ripe experience of For a full halt HE LARGEST organ in the world the grandson of Father Willis who built lated by tiie denomination of the church. T expression. playing in a large Congregational church, \Jamf,..Kendrick Pê who recently DOSt Ittl; CenrturY he had held his The organist is generally engaged to sup¬ is in the Wanamaker Store in the organ in St. George’s Hall, Liverpool, celebrated h,s golden jubilee as organist of orgLs n ’^f u the finest nicipa! Today, in many hundreds of where the social element is prominent im¬ ™ ply the organ music for the individual Philadelphia. It was first con¬ in 1851, and the organ in Royal Albert the corporation of Manchester, England, of EuropH °f largest town Halls > It Binds Your Sheet Music * great auditoriums and houses of mediately following the Benediction, all church. If he is a staunch Episcopalian structed by the Art Organ Company of Los Hall in London in 1871. The organ in the the above-named compositions would be and is playing in a Unitarian church, or ji r \ in a Book Angeles, California, for the World’s Fair Liverpool Cathedral was formally opened worship, both impressive and inaudible as postludes and naturally in¬ he is a confirmed Congregationalist and is in St. Louis, in 1905. It then consisted of in the week of October 18, 1926, by five modest, millions of music lovers appropriate. Under such conditions the plaved nr, w , , now seventy-six playing in an Episcopal church, his per¬ 5 manuals and 140 speaking stops. It was organ recitals. Three were given by Mr. are thrilled and inspired by the postlude must be somewhat loud in char¬ day C £ 0" >hii sonal preference for the ending of the later purchased by Mr. John Wanamaker, H. Goss-Custard, the organist of the richly swelling tones of Kilgen acter, not necessarily full organ all the work was the »re=r g,ProSrani the chief service may well be kept in the back¬ reconstructed and enlarged, and placed in cathedral, and one each by Dr. C. Mac- Organs.. An interesting tune, but increasing in power to full organ pherson, Dr. W. Alcock, and Mr. G. D. of Mendelssohn, which the So’,a!a ground. As long as he is engaged by that the Great Court in the Wanamaker Store. brochure will be sent on request. at the end. Cunningham. This organ consists of 5 church his duties, which are stereotyped The latest published specification of this Geo. Kilgen & Son, Inc., 4032 tf had «iyar«- Send for _ organ gives it 5 manuals, 232 speaking manuals, 168 speaking stops, 48 couplers, Chester. On the aftJ y t0 Man* by the denomination and the custom of North Union Boulevard, St. that church, should be recognized by him- stops, 34 couplers, 102 piston combina¬ 72 distinct piston combinations (10 of Let Conditions Rule programs were such mastSecTs^Xr REST RITE PORTFOLIO Louis, U. S. A. He will fare better and win greater respect When you play or sing, your sheets of music tions, 130 other accessories, and 17,954 which are duplicated by pedal studs) 25 T N MANY non-liturgical churches, a are bound, without mutilation, in abook. They pipes. I am under the impression that reversible pistons for couplers and tremu- srs and admiration if lie withholds his per¬ ca",t sllP or slide or fall off the rack. hymn is sung immediately after the Double Fugue, wiffiTte ^ sonal ideas and conforms to the customs The Rest Rite holds from : ‘ * other stops have been added recently, but lants, 6 adjustable pistons and 10,690 sermon followed by the Benediction and on a theme of eight me Wenty var The organ in Centennial Hall, Breslau, stops, 25 couplers, 3 swell pedals, a “fits” the sermon, are now-a-days omitting pressions which last forever. Those » Order from one to a dozen His brother, Min o,^ p heSter Cathedral. lor yourself, for gifts, for your Germany, was constructed in the W. Sauer “Grand Crescendo Roller,” and 12,173 the hymn entirely. A short prayer and pressions will be valuable in proportion celebrated church r, yne’ was ,Qng a V'/fdaor choir. You will be factory at Frankfort in 1914 and contains ™ ■ the medium which evokes them, tusl 1 delighted. Fill out the coupon the Benediction leads to the postlude. In 5 manuals, 187 speaking stops, 25 couplers, There are many other organs in this and His sister, Zoe Pyne Heuffer ?hiIade,Phia- the boy who devours dime novels arret p“ow, and we will forward such churches it devolves upon the organ¬ _ _Parcel Post. C.O.D. d 158 piston combinations, 25 pedal move¬ other countries which have between 100 ist not to offend good taste by “thundering greatest of living authoritif ’ ‘S °',e of the nis taste for good reading, so the c ' and his works. With the c** T Palestrina ments and 15,133 pipes. and 150 speaking stops, but they do not forth” a full organ postlude at the con¬ whose ear becomes accustomed to th,rd concert ofWh1|h ^ wnclusffin of the Sen/ICASjjEi1jô\8sE“t Washingt°n Street come under the classification of “the larg¬ clusion of the Benediction, even if the , finished his active c ■ U )l ee' Dr. pyne Wglc of typical Sunday Sch, I * ’ MB SftP»reel Post. C.O.D.Rest Rite Portf The Liverpool Cathedral Organ est.” While several of these organs have congregation have a social period imme¬ retards his appreciation of worthy elm NE of the largest organs in the many “borrowed stops” which increase the ; ter Town Hall orga^th^ ^ Manch«- music. And so the music of the Sun# O diately following. He can at least im¬ the title of City 0™= ’■ th°llgh he retains world, and the largest organ in any number of draw-stops, the actual size of Dr. James Kendrick Pyne School should be wisely chosen, ana handsome stipend. mSt’ for Iife> with a êelAddress... church, is in the Liverpool Cathedral. It an organ can be determined only by the be made a helpful minis!rationF-W^ number of distinct speaking stops. Henrv Hall. identifies you as one in touch with the higher ideals of art and life. When yon write to our a Page lJfi FEBRUARY 1928 THE ETUDu THE etude FEBRUARY 1928 Page lfl Finishing touches in ‘Piano Playing COURSE IN ORGAH £HOIR QUESTIONS ANSWERED (Continued from Page 105) By Henry S. Fry THIRTY-THIRD ANNUAL Theatre Organ Playing different meaning of the composition in- of art. There may be in their rendition Former President of the National Association of Organists, volves a quite different treatment. For techical perfection and correct phrasing, Dean of the Pennsylvania Chapter of the A. G. O. Two- and three-manual Kimball theatre unit organs for the same reason a Funeral March should but that intangible quality, style, is lack- I Ho question will be answered in THE ETUDE unless accompanied by the full name dispense with too vivid colors and empha- ing. lessons and practice. Special course for pianists changing and address of the inquirer. Only initials, or pseudonym given, will be published. size more the mourning spirit, the “deep, Every artist involuntarily infuses into summer f pipes of the shares with the latter its ceremonious, tion of his works are so divergent. One those who desire to qualify proper scale to siipplenie ’ Great Organ Music for Neighborhood Branch except to read and read and read ! Endeavi Diapason, which Is Its mission. In order courtly character. The famous Menuet of group maintains that Bach must be exe- Eight Vacation -~:ogni*e chords and progressioi h"properly the Pedal Organ with t Mozart’s “Don Juan” remains classic cuted with the greatest sobriety of color A six-weeks course, leading teaching positions. The nu¬ some leading school or college of music by securing ETUDE subscriptions. Seek out all single notes—Jus*- — recognise Manuals, whirl, type of this time-honored dance. to a Special Public School Excursions merous additional teachers nearby homes where there are music lovers and interest them in THE ETUDE. Write ds at a glance without consciously spell- eouplci Hereby and with cold austerity. No exuberance Music Teacher’s Certificate, required for the 1918-19 the Circulation Department asking for information as to how you may earn money them a letter at a time e should remark that, although the dance of feeling is allowed. They attempt t n work we would suggest the and providing thorough . A boat ride on Lake teaching season will be en itself has disappeared from the fashion- make of Bach a kind of frozen archi- Michigan. should visibly training in Methods, Sight- gaged from those attendin Studies 1l Mi. „„. affect the registers am adjustable from able dancing resorts, the music bearing the tectural structure, only bringing out his Singing, Ear-Training, Musi¬ .. A visit to the Field Mu- the 1918 Summer Session the organ bench. A C iiio pedal and a eum of Natural History. Master Studies for the Organ. Hforzando (Full Organ) same name has not lost anything of its intricate polyphonies and emphasizing the cal Literature, Conducting, Ask for details and applica Eight Little Preludes and Fugues Folk Dancing, History of (Lecture by curator.) see Organ - - eluded. charm. different themes and their imitations when¬ blank. (No obligation ever they appear. Others, on the contrary, Music, Form, Analysis, Ap¬ An automo- J^r. reading matter; “Organ-playing, Its 0 r The Festive March preciation, and Harmony. Technique and Expression.” Hull. conics of believe that Bach demands more than cold THE “POLONAISE,” although a oAre These the TSest Organ Tieces Fire Pieces for Orga .Faulkes calculation and sheer mechanical reproduc¬ Band Conducting Melodie . -*• dance, has more the nature of a fes¬ .. ..Matthews tion—that his rich, inexhaustible melodic A five-weeks course, com¬ ... Matthews tive march and is generally used as i £rer Published in oAmerica? The French Clock . . .Burnseheln , ~ - vein, wcu in iJuiaaLingpulsating iiij-uiui,rhythm, 1110his idar- prising eighty hours of in¬ troductory number preceding the other ing hartnonies offer t0 the interpreter ... struction in all phases of band where you might Q. Being an interested reader of Tiib rfanr« The polonaises of Chopin are the limited possibiiities outside of pedantic conducting, given by Victor ETunn especially of the Organ Dcpart- I am asking for a little advice. Our uggest that vou i Irate with Dt. most classic specimens of this dance, correctness. Jean Grabel, famous com¬ Longwood Sketches churchOh is about „ ---purchase „a pipe organ. Vllllam C. Carl, o Gnllmant Organ much in vogue in his native country. Liszt, poser and band conductor. 1 h.e*wo specifications enclosed have been lohool, 17 E. Eleven! t. New York City, Among the most excellent interpreters ®»“fddifferent, builders. Whir The Widor-Schwel lit i,,n of Bach's . i his admirable monography- on- Chopin,- , ’ oiof oacnBach’s s creations may beue meiumneumentioned uede Recitals and Suite for the Organ opinion, is the better been completed, describes with the most vivid colors all the pachnlann and, quite recently, the English change, if any. would you sugq e complete works. Lectures By FIRMIH SWIHMEH church seats about four hundred a pomposity, all the magnificence, of this pianist; Haro]d Samuel. edition is easier tt Seven recitals by members of a volunteer chorus choir of twr nil the Peter’s E dance, as it is performed. ----- in Poland.-- nayan— - teen voices. Since toe have had previous tinn ' also i the advantage of t Haydn (1732-1809) shows, beside unde- the Artist Faculty. Six lec¬ In the Shadow of the Old Trees (Catalog No. 23753)—65c. experience m purchasing an organ your ad Editors' suggestion.- «„ . registration —-a Fiamsts rendering fancy dances, espe- niable depth) true Viennese cheerfulness tures on practical and inspi¬ Rosebuds—Capriccietto (Catalog No. 23554)—50c. vice would be greatly appreciated. ’ so forth, which are valuable, even though cially the immortal creations by Chopin d iollitv in his we may not always agree with them. The music. rational topics. All free “ Dewdrops (Catalog No. 23555)—50c. (waltzes, mazurkas), are liable to forget A. From the standpoint of goot|R'organ- editor owns the Widor-Schweitzer edition Mozart demonstrates in his creations the Summer Session students. Sunshine—Toccata (Catalog No. 23556)—$1.00. building, ... . so far as they are completed, as well as should prefer Specification ®No. the character of these compositions which, happiest fusion of Italian charm with Ger¬ 1. though the “ingregatlon would probably some volumes of both Peter s Edition and Certificates— Personally conducted b ■efer the chii the Higgs and Bridge Edition. even if they are not written for strictly man thoroughness. His music should be scripts. 'THE question above is one we, as publishers, would not want to No" 2 ra'ther'Vhnt lSclu.?etl i",,Specification Degrees Mr. and Mrs. Leo Podo dancing purposes, must nevertheless not interpreted with exquisite grace and sen¬ . answer in deference to our contemporary publishers and other SpecificItlSn No 1 TiJ °CIave .inelimed in Summer Session courses lead 8. A journey in chartered sky, of the Faculty of th 0- / « n pie- totally ignore their saltatory origin. They timent. to Ravinia Park to attend highly valued composers for the organ. However, Mr. Swinnen’s oryan playing. Please advise often indulge in bizarre liberties of time to Teachers' Normal Certifi¬ Sherwood Music Schoo whether or not / can get such a cot cates in Piano, Voice, Violin, operatic performance. Met¬ SixweeksresidenceinParis delightful pieces have been meeting with such acclaim by organists co&mentfaenda'suggeS8?ieons?tl0n N°' 1 WltB in yew York or PhUadi Iphia. If not and rhythm which thoroughly distort the ropolitan and Chicago Grand GREAT ORGAN Unrevealed Beauties in Beethoven Organ; also to Special Public with provision for musi and audiences everywhere that we are highly gratified in being cither of these cities. please advise id nature of the music and make them un¬ l can get such a course.—U.O.D. School Music Teacher’s Cer¬ study in the Paris Branc 2- 4’ &nDiaP.aSOn.. recognizable as a dance. BEETHOVEN’S music lends utterance privileged to offer the accomplished organists of today numbers I shall appreciate your giving the add tificate; and are credited to of the Sherwood Musi of an Association where information cun Though a certain amount of “rubato” is to the deepest recesses of human feel¬ ward the Bachelor of Music so highly deserving of such a query on them. V f; Viol d’Gamba .!’.!!!! ' hod regarding pipe organ advantages of School. Itinerary include 5. 4' Mute Traverse (from No.' P I desirable in the interpretation of Chopin, ing but allows more freedom of interpreta¬ Degree. A few of the remarkable statements about these pieces are: fereiit schools and conservatories. I Paris, Cologne, Berlin, Am like to know of the places where a too much of it engenders disgust. Students tion. In fact, we see the great pianists, 6. 4' Octave (from’ No." H)..'.'. 6j notes in theate- — - - Living Accommo¬ sterdam, Hague, Brussels K C.lecser Pipe orOan Pl«Uina is Bird should therefore include in their practice like Hans von Buelow, and famous orches¬ K. C. G. dations Bruges, Ghent, Ostend, ant 7 iri t? SWELL ORGAN suggest communication, i some genuine dances, such as those by tra leaders, like Hans Richter, Arthur <• lb' Bourdon . of theater organ London. Moderate cost 5- I’ Open Diapason !>7 pipes reference Nikisch, Toscanini, and sb forth, endeav- Available at moderate rates otrauss, Waldteufel, and so forth, which, -> --> - -■ - in Sherwood Dormitory or Ask for illustrated Euro Stopped'n’nfapn son' ' (from' 73 P‘PeS "’v'm. C*V^lttl'Twh Wt., Philadelphia, of course, do not admit of swerving from oring to disclose hitherto unrevealed beau- ..7S notes Pennsylvania. in private homes inspected pean Tour booklet. Well-known Organist and Composer, -.73 notes Eastman School, Rochester, New York the strict measure. Although not in the ties in the; immortal creations of this genius, and listed by School. suite that will appeal not only to the con- 73 pipes v fluilnmnt Organ School, 17 E. 11th Street, classic style, these compositions will prove And, quite recently, the centenary of his 4' FIute^d’Amour (from No.' New York. th^Th'’ .a,so. *° theatrical 73 notes , Vermond Knauss School of Theater Organ very beneficial in developing a sane sense death (March 26, 1927) was made the oc- I brilliant in stylef °rIgma ln concePtlon 2%' Flute Twelfth (from No.'' Playing, 210 North 7th St., Allentown, I’cnn- °f rhythm. casion for a world-wide celebration. TOUR REQUEST for a catalog Reprinted from The Diapason. «1 notes sylvania. Liszt, as a pianist, was the inventor of will receive prompt attention! % S!nl',tlna, (from No. V) . .' ' 61 notes _ Chicago Musical College, 00 E. VanBuren |; YRlma (from No. 11) .... Style the so-called transcendental technic which, modem mmneu^Thôpportunity6they Director of Conservatory of Wallace 01 St Chicago, Illinois. „ r to display a sparkling technic makes Baldwin College, Berea, Ohio 8; Vox Ceie'ste. American Conservatory of Music, 571 Kin1 ptJRITY of style is so very important as td sparkling passage work and scintillat- ■49 pipes bail",n Han7n“”, Chicago,ch!ci Illinois. 8 Vox Humana .. " ' . at manyi great artists specialize ' n ing virtuosity, far surpasses everything ” JSjff “ST'ES*™?“V JSHhi The work Of recent years. It ha „ PEDAL ORGAN .61 pipes " playing' an accompaniment on 10' Bourdon .. tne interpretation of a single master and that has been attempted by pianists before Lieblich Gedeckt (f r 0 in pipes olo while' thc^sinf^^tinyingt* I No. 7) . owe their fame to a profound knowledge his time. His style is perpetuated by his °f his works. Snerffiooi) (Dnsic School notes 7ir^\eicTi?% numerous pupils, although it must be ob- js Flute (from No.'19)‘ 30 [!"!nnfAc w/Yf a. tjte 8ingCr,8 ren(ntion.~~ ° ™ io (from Nn d\ 00 no5 . - —„ . union.—x»* What influence style and tradition have served that many of those who pass ; •’* * A* MucI> depends on t (FOUNDED 1 895 BY WM. H. SHERWOOD) -gan^^roi^y^?^;;^^sed Uat «>e iri2?f-moioi'and "n'l “th‘e "quainyôfquality tone^ta/u/^ “Ron interpretation is proved by the fact pupils had only a slight association, if any, Theodore Presser Co. cheItnutst. Phila., Pa. of SSent blHng ^^0% ^SSi pl^yiifg at even gifted musicians who never had with the master. FINE ARTS BUILDING opportunity to obtain their informa- The “veiled” style of piano playing 410 S. MICHIGAN AYE., CHICAGO, ILL. ?•» rr % ■on from authentic sources are liable to which has been originated by the modern in its stead. No. 5, ‘Tlute Travers?- can ®tron& tremolo should certainly b v.«u- very sparingly used. v« a quite mistaken version of the work (Continued on page 149) FEBRUARY 1928 Page U§ TEE ETUDU Page U2 FEBRUARY 1928 TUE ETUDE .. , national anthem and one which have described offers splendid scope for • 1 0t then mastery of the violin is not both amusement and musical advance. ’s n. jJjj. Everyone, now and again, should leave SUMMY’S CORNER F r a blind person, or one who cannot all ordinary, serious work, and do some see °o read music, the sort of playing I “fiddling for fun.” YOU WONT HAVE TO URGE YOUR PUPILS TO PRAC¬ Edited by TICE THE PIANO and you will develop musical feeling, imagina¬ cessful will his memory playing be t> ONSIDERABLE experimenting has tion, a sense of drama, and the ability to EXPRESS them in C Robert Braine this is strenuous work and can scared k t5he ‘Portamento been done, in the United States and recommended as a relaxation. y e playing, IF YOU USE Europe, along the lines of changing By Julius Pokora IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VIOLIN DEPARTMENT the stringing of the cello, the idea being “Playing by Ear" The portamento, “a gradual carrying Changes of position occur most frequently to facilitate the technic and make the pro¬ “a VIOLINIST’S MAGAZINE, COMPLETE IN ITSELF. A PETER PAN PICTURE SUITE f the sound or voice from one note to with these fingerings and are most often duction of the higher tones easier. A -THE “FIDDLING FOR FUN” that T 01 ther ” is one of the most beautiful and badly done. Yet, with careful analysis and Grade 3 By LOUISE ROBYN " reader of The Etude, who has experi¬ 1 recommend can be more fairly a difficult' effects in violin playing. When diligent practice, one can learn to exe- :'s classic "Peter Pan and Wendy.” each piece mented with re-stringing the cello in the scribed as “playing by ear.” You sunnlv A collection of Ten Pieces ;nspired b^J..tvL Bar h student begins the study of the higher cute them in truly artistic fashion. ss of Peter Pan, Wendy, Tinker Bell and the same manner as the violin, only an octave decide on a tune; settle on a convenient 1 - • , -<- j-—*■> t.'me +r» The rule concerning these shifts may be LoTt2 BoysUS‘lLcK chTmcto is identified by a re >pera, and helps to coordinate consciously a lower, and who is enthusiastic in describ¬ note for beginning, and play stra; h positions he must devote musically just as the Leit Motils do in a Wagnei learning their proper execution. stated as follows: Always glide on the feeling for' dramatic values with musical expressio ing its advantages, writes to The Etude through—without a thought as to whether ^'stringing the Qello First practice the shifts in the follow- finger in use just before the shift. Thus, Like the Peter Pan story these pieces will interest as follows: you have ever seen the music or not in this exercise shift to the third position “Noting that a five-stringed cello has Usually, in fact, the tunes chosen will be on the first finger and, when the hand been developed by Prof. Vladimir Kara- bear the proper relation to the size of the with the tuning E-A-D-G, but this is such as are familiar merely because they ' POMPONETTE doubtful. Yet, even though this stringing reaches the latter position, place the sec¬ petoff, of Cornell University, and recalling instrument and length of the strings. have been heard so many times'. y ond finger on the string. At first make for Piano by THEODORA TROENDLE 5th Grade. Price. 60c. a similar development by Perin, of Indiana, Note the increasing thickness of the string¬ would seem absolutely incompatible with One great advantage of this style of Finger work in arabesque patterns alternates with a vigorous double note-=-- an even scale, in the case of a full-sized the grace note long; later make it inaudi- modern and delicately brilliant. some time ago, I am interested in know¬ ing of bow instruments, violin, viola, cello, playing is that difficult keys do not exist cello, it can well be made an interesting both '’*e by playing the next note immediately. ing if anyone has used the following plan double-bass—as their size and length of for you play everything in the key that in which the same finger is used However, do not try to do so by skipping field for experimentation. for increasing the value and ease of play¬ strings increase. A violin A string, banjo seems most convenient- -probably D or G positions. Hold the violin firmly with the position. Always glide If you want to make your piano student’s approach to music If this new stringing of the cello were ing the cello. third or guitar first could not possibly To get the most fun you should ramble chin and glide from b to d keeping the ^ . adopted, thousands of orchestral cello MORE INTELLIGENT, MORE UNDERSTANDING, give the proper tone when strung on a from one piece to another, in any order finger on the string and shifting as slowly , j ^ d(Jwnward portamento, shift *. parts would have to be arranged for the MORE MUSICALLY APPRECIATIVE E'String Added—C Discarded cello, because the vibrating portion of just as the melodies come into your mind! and as smoothly as possible, t is very im- {lu< second finger and, as it reaches the new instrument and solo parts to cello the string would be too long for its thick - portant that the hand keep moving smooth- first jti take ;t from the string to Train them in the fundamentals of music, teach them what music is all about, in “IT IS FOUND by a check of repre- works re-arranged. Many of these would +iwv nmu iintp rpaHipn when the . ~ ^ . r- “Medley" Playing ly until the new note is reached, when the let the first finger sound. The first finger -L sentative cello publications that an lose their effectiveness without the C CLARE OSBORNE REED S Every instrument has a compass which finger must stop with absolute firmness. of course, remain on the string E string (for first string) would be ap¬ string, even if the notes intended for the T WILL SUGGEST the sort of thing fills a certain portion of the musical scale This decisive stop at the end of a shift is ^Wh5lt'S"3iift proximately five hundred times as useful C string were played an octave higher. 1 which any student of two or three years’ as used in orchestral music and the new altogether essential. The downward shift The following; Constructive Harmony and Improvisation as the C string (fourth string). The C The higher notes played on the E string standing might do. Consider the notes cello would lack the four lowest tones, string is therefore removed, the G, D, and would lack the breadth and sonority of on which to begin for "Annie Laurie” (G C, D, E, F, played on the C string below A strings moved over one position and an the same notes played in the higher posi¬ on D string). This finishes on the same the open G. This would leave a gap with E string provided as first string in place tions of the cello as ordinarily strung. note, which can be made to begin the “Last nothing to fill it. TRY IT—IT WILL PAY YOU MUSICAL DIVIDENDS! of the A. This secures the same string¬ There would moreover be a break in tone Rose of Summer,” whose final G may The C string of the cello is used more ing as the violin, G-D-A-E, except that quality going from the robust A string to and is more important than our corres¬ start "Come Back to Erin.” An octave the sounds are an octave lower. Several the thin and feeble E string, thus making drop from the last note gives C on the strings have been found satisfactory for pondent seems to think. Playing the notes CLAYTON F. SUMMY CO., Publishers the scale uneven. G string, which suggests the opening for this E string, such as a violin A string, written for the C string an octave higher Chicago,r-LI__ Ills'nrvicIllinois The great composers wrote solo and Rubenstein’s “Melody in F.” This may be 429 South Wabash Avenue gut .031 inches diameter; banjo 3rd, gut would not give the proper effect in a great orchestral cello parts to their compositions followed by “Traumerei” (C on the G published .025 inches diameter, and guitar, first, There are many teachers who think we have the bes for a cello with a C string, and passages string), and the last F of this may begin steel .011 inches diameter. written for that string would have to be “The advantages of this plan of string¬ Several Advantages “Nearer my God to Thee.” “Old Folks played at pitch or lose their proper effect. ing is the facility it gives for producing at Home” can follow, then “11 Miserere,” rVF COURSE a cello strung like a vio- For the reasons stated above, it is the higher notes and also making available “Star Spangled Banner,” and Braga’s Special $1 00 Offer AUGUST GEMUNDER Si 50NS lin, E-A-D-G, would have the ad¬ doubtful if the new method of stringing For $1.50 we will send a for cello players the enormously greater “Serenata”—but I need not go further. JW Violins, Old and New vantage of admitting to its repertoire vio¬ will come into general use except as a am of Violin Strings, containing library of violin music, almost all of Everyone has his favorite melodies, and :elebrated “Intuna” E, A and D, Rtf For All Kinds of Players lin compositions (sounding an octave novelty. The same might be said of the ‘Nonpareil” pure silver G. Satis- which can be played on the cello with the point is to play through anything ify Our Catalogues are Free and will safely lower), and there would be only one clef five-stringed cello. ranteed or moneyjefanded. this stringing. I think the cello would be that inclination suggests. There is such to learn, instead of three, as is the case Players of bowed instruments are con¬ illimitable scope—grand hymns, stirring mento on 'two strings, which can be made far more widely used if strung in this with the standard cello. It is possible to sound as though it takes place on a manner. servative and will not consider any changes marches, unforgettable songs, haunting that by changing the size of the cello single string. “The sole disadvantage, of course, is in their instruments. In fact there have valses, sweet sonatas! Ip somewhat a new instrument with a com¬ Application of these principles will show the loss of the C string. But this string been no changes in the violin or the cello Of course, when you are playing simply paratively even scale could be worked out, how any portamento may be analyzed and MASTER REPRODUCTIONS has poor tone quality and is so little used since the days of Stradivarius. for enjoyment you can get right away practiced, for there is no shift that does VIOLINS and other Vega Violin Models that occasional notes which fall upon it from your normal practice surroundings; not belong to one of the three classes: $50 and Up may readily be raised an octave. Excel¬ you can play equally well leaning against an (1) The portamento using the same fin¬ of the fa lent tones are obtained from the various apple tree, or sitting astride a wall or in ger, (2) the portamento using two fin¬ E strings tried, and the necessity for pro¬ the middle of a field. You will surely gers, and (3) the portamento employing viding special necks, peg boxes, added Fiddling for Fun discover freshness like this if you are two strings. bracing and special string material, all of jaded. which would be necessary in the case of By Sid G. Hedges a five-stringed cello, completely disap¬ For Bored Pupils SCHOOL MUSIC Catalog Sent Gratis Upon Request First Venture in 75hird Position A very'helpful catalog for School and College Directors and Music Superiors. It lists numbers for Unhon Two pears. Others have, no doubt, experi¬ VIOLIN-PLAYING can be a very on and we all crowded into a barn, with 'T'HE TEACHER who finds that a pupil Part Three Part and Four Part Choruses; Music for Special Occasions, Operettas, Sight Reading Material, mented along this line, and their results stern business, and often is. One three hours to wait for the train. I man¬ 1 is getting bored can have no better (Continued from Page 113) Orchestra Collections, Writing Books, Etc. would be of interest to your readers.” does not always get enjoyment from way of stimulating interest than by cutting aged to borrow a violin and, sitting on a THEODORE PRESSER CO., 1712-1714 Chestnut Street, PHILADELPHIA, PA. reading a piece of music bristling with out all studies and regular work and let¬ used chiefly in descending scale passages. pile of hay, I wandered from one tune Radical Innovation difficulties ; yet most people learn the violin ting the pupil do this playing by ear instead. for the sake of the pleasure they hope to to another as the youngsters requested— Ex. 7 ' | ' HE ABOVE method of stringing the Incidentally, there is no way in which get. they asked for nearly every melody I had cello, described by our correspondent, pure tone can be so well developed, for no The most enjoyable times I ever had and hadn’t heard of. And we had a is interesting as a novelty but I do not glorious time. part of the attention is diverted by the with my violin were two occasions when distracting process of reading music. Ones think either it nor the five-stringed cello When a^fiddler feels gloomy and dis¬ I had no music-desk in front of me and whole care is concentrated on the business will supplant the standard cello with its heartened he needs a tonic. Some try to VIOLINS—Of Every of making the playing sound beautiful. orthodox stringing, A-D-G-C. The system get new enthusiasm by putting their in¬ I was coming back from the war. A But there are other very practical ad¬ of stringing described by our correspon¬ strument aside for a few weeks; but this dent, first string, E, second, A, third, D, couple of hundred other men were aboard, vantages. In violin-playing a great deal and we were all very bored and homesick. is a bad plan, for it does not get at the Another possible shift not yet covered fourth, G, makes an altogether different depends on ear-training, for good intona¬ is that from the fourth finger in the first A careful study of the above presenta- Then I thought of my fiddle and fetched it cause of the trouble nor turn the tempo¬ Cjrade—OLD and NEW instrument of the cello, with a compass tion rests almost entirely on aural per¬ Position to any finger in the third, or, tion and a patient application of it will up on deck. I sat on a hatch and began to rary dislike for the violin into a new beginning a fifth higher. As ordinarily keenness. w ception. And in this playing by ear, one play anything that occurred to me, and contrariwise, from any finger in the third render the pupil prepared for the more tuned the natural key of the cello is C, relies not on visual memories but alto to the! fourth finger in the first, this being advanced third position studies. while the natural key of this instrument soon the whole two hundred of us were resT,ftCis01iyLVay t0 fHieVe this desired result is to keep on playing—but to have gether on a recollection of sounds. Pro¬ Expert Repairing— Violin oAccessories would be G, just as the natural key of having a fine impromptu singsong. gress is made from one note to another by After that we did the same every eve¬ an absolute change from routine. And the violin is G. constantly judging intervals, so that it 15 ••><•• ning, and I rambled about on my fiddle A cello strung without its heavy C sort of Z m°re TTyable cha"ge than the ear-training in its most thorough form. "Great art is never out of date nor obsolete; like the moral law of string, and with an E string (first string) with tunes of every sort, until it was time sort of playmg I have mentioned. It is Sophocles, God is. great in it, and grows not old; like the moral law of not what is usually called “playing fr ' A teacher is often 'worried to kno W* R • FORD COMPANY, Inc • Successors to Gittelson as thin as above described could not pos¬ memory.- In this the fiddlerP ^ £ Jorn whether a would-be student who seems to , Kant, it is of equal awe and splendor with the stars. A line of Virgil, sibly give the massive, sonorous tone such have no ear” stands a fair chance o written by the Bay of Naples in some most private hour of meditation, all & Howard • 150 West 57th Street • New York City as is given by the cello with the usual Barn Fiddling and long at a piece of music until he ™ those long years ago, conies home to us, as though it were our very thought; play it without looking at the nnfec u making good. There is an easy way stringing. The thickness of the strings QN ANOTHER OCCASION I was upon each repetition, experience has made it more true and touching . . . remembering just how they appeared > decide. Just let him do a few weeks’ pW' of all string instruments played with the helping to look after a great crowd In beauty and strength, in beauty of music and in strength of thought, the tries to visualize the whole pafe and u ing by ear; and if at the end of that time bow in order to give the best results must of children on a picnic. But the rain came he, like Robert Louis Stevenson, can 0 great artists are all contemporaries.'’—Lionel Johnson. make out two tunes, one which is When yon write to our advertisers always meution THE ETUDE. FE&RUARY JB28 Page U6 Page-lU FEBRUARY 1928 the etui tI1E etude Band and Orchestra Department Meritorious Violin Questions Answered (Continued from Page 115).

By Robert Braine NEW MUSIC tions acquired their training and ensemble be filled by the too few orchestras, and No question will be answered in THE ETUDE unless ibanied_ by the full name the band, being more democratic, would riven, will be published. routine in bands. and address of the inquirer. Only initials, or pseudonym given, PUBLICATIONS There are now available for band use cater to a very large public which is in¬ Recent Issues in Sheet some of the complete symphonies of Bee¬ clined to feel that the orchestra is too Music and Octavo Form thoven, Haydn, Schubert, Tschaikowsky; severely classical. It is not an act of con¬ Violins. experimenting t suites of MacDowell, Greig, Massenet, El¬ descension for the band to place a stirring . S.—The Klotz family of German that is, the on gar, Debussy, Coleridge-Taylor, Sousa, military march on its program or to offer many branches, and there immense mber of genuine and iiui- helped by mov Rimsky-Korsakoff, Bach, Bizet, Glazounov. an encore to an overture or classical suite. _ _ _as scattered all over the Ippolitov-Ivanov, Strauss, Holst, Saint- After all, there is often more of musical world, 'there was a Joseph KloU, .Tr., and PIANO SOLOS Saens; rhapsodies and tone poems of Liszt. merit in a good military march than in arc labeled simply, "Joseph Klotz," with¬ Lalo, Dukas, Chabrier, Svendsen, German. some of the highly involved tone poems out stating whether it was the father or with a Conn son made them. To judge by the copy of Hosmer, Sibelius, Smetana, Respighi; over¬ of modern manufacture. the label you send, I should sny that it MOODS tures galore from Leonore No. 3 (Bee¬ Every CONN instrument tor is only an imitation. The following are copies of two genuine Klotz labels: "Joseph Four Pieces in the Early Grades thoven), Der Mcistersingcr (Wagner), to Special Talent Jêcessary For band or orchestra has exclusive Klotz in Mittenwald an der Iser. An. 1782 By EDWARD SH1PPEN BARNES Zampa (Herold), together with all man¬ Joseph Klotz, Senior in Mittenwald, ISO", Conducting features which make it easy to play. x :.‘10S.” I cannot decide definitely as to its ner and classes of music in lighter forms. With a Conn and the new simple maker without seeing the violin. THERE IS no good reason why such cities as Chicago, Los Angeles, Bos¬ instruction methods you play Adaptation of Orchestral Humbers ton, Cincinnati and St. Louis should not tunes in your first lessons! BERNHEIMER. GASTON WHILE MANY orchestral numbers are provide subsidies for the maintenance of 23915 In Slumber. 4 not to be satisfactorily transcribed Get into a band or orchestra. Choose large bands to be composed of the best pro¬ EARNSHAW. ALFRED H for the band, it true that the majority of the instrument that appeals to you most. 23960 March . curable talent and conducted by the most the standard numbers in the orchestral capable band conductors it is possible to Then a whole new world of pleasure FOURDRAIN. FELIX 23974 Promenade . 4 repertoire do lend themselves to such adap¬ secure. It does not follow that a great >and profit opens to you. tation, and some of them even gain in orchestral conductor can readily qualify Sister Susie and the FREE TRIAL; Easy Payments on FIVE CHARACTERISTIC effectiveness when performed Ity an ade¬ for the leadership of a band. Effective quate band. Though publishing firms have band conducting requires a highly- special¬ any Conn—saxophone, cornet, trump¬ violin recital. PIECES et, trombone, flute, clarinet, etc. Send For the Pianoforte done much to foster good bands in ized knowledge and training. i possible. The 1 By ELLA KETTERER America, they will need to develop ar¬ There have been a few instances of Steno’ Job coupon for free literature. Grade -M t e interested in their - 23889 Little Humii.r Song •»’" rangers with more artistic instinct, imagin¬ highly capable orchestra leaders “con¬ 23890 in a Swing. ation, sense i f color, weight and contrast descending” to conduct a band, and mak¬ SHE FINISHED HIGH SCHOOL, with beat time to music? Can you hum a 23891 Polish Dane.. tune? Could you thump out"Home, 23892 Legend. A. than lias often been shown in the past, if ing dismal failures of the attempt, due to honors! Then Business College gave 23893 Scherzino . the bands of the future are to appear to their lack of knowledge of the require¬ Sweet Home” with one finger, at the should judge th; her a '‘training” in six months and iolins made by , Schweitzer Violin. the best advantage. A later discussion will ments and possibilities of the band. This she started out to beat typewriters piano ? Then you can learn to play Hungarian mu H. C. S.—The whole matter hinges KOHLMANN. CLARENCE he devoted to this phase of hand develop- occurred despite the fact that the bands a Buescher. But e»/y with the simpli¬ whether the violin is a genuine Schweitz for a living. were composed of carefully selected players fied fingering of the Buescher Sax¬ or only an imitation. Schweitzer was Under ^hf’pahns"!*!!.'! 4’^.': Fine! But Susie was temperamental. famous Hungarian violin maker who work LACK, THEODORE While there is no standard instrumenta¬ capable of the highly artistic performance. ophone is rapidprogress assured. You at Budapest. Ilis violins are valuable, b I-a^ tbacieuse^ i M.izurka tion for the hand, it is patent that a con¬ It is becoming more and more essential Grinding drudgery might do for *’.. .’ thousands of imitations, wl don’t have to favor and fuss for cer¬ that good music be provided for the wel¬ the type of girl whose only aim is counterfeit It if y cert band, "symphony band,” if you wili, tain notes. You just open or close price with with the following combination of instru¬ fare of the general public. It can touch an early marriage. For Susie it was genuine Schu the key and blow normally. It is al¬ French Violin Via leers. ments, could perform adequately any music and enrich the lives of many more people killing. So Sister Susie "took up the further details most as easy as the "one finger solo” of the life of Nicolas Duehene, suitably arranged for it: 20 clarinets, 2 alto than arc affected by our museums and art Saxophone.” further than that he belongs t at the piano, but oh! how beautiful. clarinets. 2bass clarinets, 1 contra-bass clar¬ galleries, however worthy the latter may Now Susie was just an average girl. Paris. Softie inet, 4 flutes and piccolos, 2 oboes, 1 English he. This fact should receive more atten¬ You could never call her gifted or Use Your Credit often of surprisingly good quality, FOR 2 FULL ORCHESTRATIONS Milieu (French) means • horn, 2 bassoons, 2 alto saxophones, 2 tenor tion from our civic organizations and phil¬ Jinrildiha, Scene Japanese 1 dealers who advertise in the anthropists. In the effort to provide suit¬ talented. But within a week she was A small deposit puts any Buescher „ „ Gus A. Bmkhmt i the bow). 2. The passu saxophones 1 baritone saxophone, 1 bass Dramatic Tension l Jacobs’ Cinema 1 ctaves of which the low saxophone, 6 cornets, 2 trumpets, 5 horns, 4 able cultural recreation for the populace of playing tunes and in six months Instrumentinyour home for sixdays’ E Sketch.. No. 2).R. S. Stoughton [ trombones, 2 euphoniums, 4 tubas, 4 percus¬ our cities, the band should lie considered she could handle her Saxophone trial. Then, when you’ve tested your 20c arn ?ySdretK^Partr (or [ sion, 1 harp, with 2 ’cellos and 2 basses one of the most important factors. like a veteran. skill and you see how simple it is to ognized orchestral insts. inc. saxo¬ Itrada” at Wholesale. phones; fully cued—effective (or | 'V. F.—Autonius Stradivnrius, the gri WURM, MARY optional—making an ensemble of 70 that The great popularity and value of the Then things happened. First, a make beautiful music,you pay alittle t violin maker of all time, began to w would be comparable with the grand or- band as a civic asset is well exemplified r^himself about the^year 1660. continu little club orchestra. Next, a local each month. Easy to Play, Easy to Pay. I ur advantage i exchange your presept by the well-known Goldman Band in New YOU W ALSO RECEIVE: ten-eighths violin fot _ ... _ R_ sextette. Then some "home town” ” .. .ioiln.. __ made--by a violinuoiui muse.maker r-“r ”.nt,!1 tke year of his death, 1737. ' The time is coming when endowments York City, which is maintained by a fund Get This FREE Book leight of Hand.Norman Leigh 1 _ derstood the cot. principles of ast moIiu he made (1737) states that SONGS entertainment;—a sharp-eyed Pedago Hit Class I will be provided for the maintenance of generously subscribed by certain citizens of J.E. Moldy I •iolin making and used good 94th ypar. His labels r Sacred and Secular scout from a well-known booking Our beautiful book,"The Story of A Cornet Playing Pilgrim's Progres- .... chances the will improVe tntonius Stradi bands of these ambitious proportions for that city. Speed the day when many other Herbert L. Clarke , with use. tr, nowever, MOHR, HALCHEN office—a contract—and little Miss the Saxophone,” tells more of this Modernized instruments of the Troubadc-- " - Fisher I rr>‘*b factory- the offering of high-class concerts in our public-spirited men and women will gen¬ Musical Garbage (or the Picture.. VWiIM0 made instrument, (yoi ty it has a very A label in a violin means Susie hit the "big time” vaudeville, new world of pleasure, gives further What I Like in New Music.Del Castillo" " I harsh tone), it will like!My never he any g. as it may lie a counter large cities. It is neither our idea nor erously provide similar funds for the sup¬ The Capitol Theatre oi New York.Alamort Weller I better. 3. A aoo.l hr will help you in llions of copies of Strads w port of the finest organizations, enabling drawing down as much cash week¬ proof thatyow can learn to play. It is The Violinist.Sabin The Flutist.Powell ■ producing , but it can hardly uttered all over the worli 23799 Ninon Nanna (FF1.... wish that such hands should compete with tiling correctly worded St the concert band to assume its rightful ly as the salaries of half a dozen mailed free to anyone interested in The Saxophonist .. Barrall The Tenor w.rst the hnrsli tone of a poor violip. VIOLIN AND PIANO the symphony orchestras. There is a much The Clarinetist.Toll The Drur ire entirely correct in your theory place In our advancing musical life! stenographers. purchasing a Saxophone. No obliga¬ The Trumpet Player BocA The Dance < > extremely important to practice on MARSICK. m. p. greater demand for good music than can with a sweet, sympathetic tone be- 23946 Petite Romance i-.xpres* tion. Send "Pleasure Coupon” now. Ye*—all the above for 20c postp: You Might Be a Star, Too ew friends Jacobs’ Orches- J musicnlly. --- democratic music maga- y-threi Buescher Band Instrument Co. violin study. Y1 ou cuu, Ui c-uurne, i-ofession. Divide Any girl who can hum a tune can musicians. Send 20c Tstampl*'or^cotn) with*tiisT/tl J but am hardly expect hour or Jtonr perioc ORIGINAL learn to play a Buescher. And once COMPOSITIONS AND Why Singers Lose their Voices Walter Jacobs, Inc., 120 Boylston St., Boston, Mass. I ôialJtuflics\na Kayser III really w^! you’ve mastered this most beauti¬ If you prefer 2 band numbers instead of above music I TRANSCRIPTIONS ful of all instruments the stage door ^ check here O; if 5 piano numbers, check here □. J Stadies^nf kJ,.?™ 1_l. Sevcik,°.1? *>«Op.■ •'"sim- or Double Bass With Pianoforte (Continued from Page 136) admirable for sen e work and shifting By FABIEN SEVIT2KY is open to you. Good pay, on a year- •onto Passages. 4. Do not make mu they manifest themselves. Frequently as II. A.—Composers of violin music who you have great ta e^your profession unless 5917 Chanson Triste.... $0.40 engaged in giving actual treatments. This ’ round vacation of travel; fun; good 3918 Nocturm few as two or three will transform a plat¬ their music to be played In the most opinion of your tal stiffening oi the spiritual backbone enables times. That’s the life. tive manner possible should specifically Piny. Before vou d !ta hearing yon form coward into a serene veteran, sure of PIANO JAZZ : the kind of bowing they wish to use: advise you to go t 23920 Humoresque one to achieve a poise and confidence that, o the n himself under a barrage of even hostile Only Buescher Assures Success In case they do not understand violin Play for some good t tsical ; to one unfamiliar with the scientific prin - tic, they should get some good violinist get *>!= criticism. If you have moral, mental qr mrk it for them. Staccato passages Tire ctples underlying the work, would be ab¬ But how can you be really sure that t marked simply with dots above 1 ird r o! ] 1 t ng hn : reached solutely unthinkable. physical weakness of the knees when fac¬ vou can learn to play ? Well! Can you 1 the i_ Perhaps the most remarkable feature of ing an audience, look into this. It may r the passage s 1 be played spie- professional work. louest grades of such treatments is the rapidity with which be worth your while. FRANCK. CESAR bowing will be the most effective for Tsalm 150. given passage, but students who are w. Maa&ini Mensnpements. ing without a teacher are often at a PART SONGS to decide which to use. 2. Staccato i sages of a light, graceful, “snappy" cbarac Men’s Voices MUSIC PRINTERS such ns those in the garotte you name, your violin are the samiîs Ulements of. BLAKER, CHAS. S. First Step in Singing Band and OrchestraJ usually played with spiccato bowing. these11 vf^ Xld'lnn: ,skil««l 8eimUaato8renof rei t measurements It thc <,or' 20785 By George Chadwick Stock ENGRAVERS-LITHOGRAPUERS I Adjusting the Sound Post. whether or not a vi„l n , |,osslhle ta tel! instruments I PRINT ANYTHING IN MUSIC- BY ANY PROCESS I a written description h 20785 IS?™!0**’ LLcr The very first lesson should reveal There is no firmer or safer foundation j BUESCHER BAND I^TRUMEOTÔ.^ EJkhart Jnd WE PRINT FOR INDIVIDUALS ttclies cut iu the wood. The feet of the imitation" Night ...... 06 clearly to the beginner the way to pro¬ for artistic singing than the scale’ just I Gentlemen:—Without obligating me in any way please send me your •idgo should come opposite the inner An Sv„«h described. Whether you are to sing as an I literature. Mention instrument interested in. establishedistw REFERENCE ANY PUBLISHER I notches. ■■ Tlie sound-post is set directly - .55H?v* toZVtZ IV duce a correct musical tone, a tone free back of tne ___ ... Genuine JfaJSSS' amateur or a professional, it will pay you THEODORE PRESSER CO. °f the slightest strain of over-tension of eighth of an inch (more or less to work hard to acquire a perfectly even, of the violin can be regulated .. ,,certain -Maifffinis in th* A'y. uiry cenuini* Direct Mail Order Service to any muscle. From such a beginning will extent Ity changing the position of the scsound- which are in l onI-v four of Music Buyers grow a scale of beautiful tones, smooth in smooth scale and thus to take a long step —ZIMMERMAN8 post, placing it either closer ' towards the perfect mastery of the voice. or farther away. Violinists c a first- rj 1712-1714 Chestnut St., Phila., Pa- !ts entire range and with the different reg- When yon write t 'sters perfectly blended one into the other. —Nezc Haven Courier-Journal Please mention THE ETUDE when addressing o in tonch y Page Ufi FEBRUARY 1928 FEBRUARY 1928 Page U7

Jvne 25 To Avg vst 4 (Six Weeks) PROF. LEOPOLD AUER MASTER VIOLIN INSTRUCTOR OF THE WORLD HEE1SKEJ£ISSSHSPOOII LE0N SAMETINI VICTOR KUZDO FLORENCE HINKLE MASTER VIOLINIST AND TEACHER EMINENT VIOLIN PEDAGOG AND ASSISTANT TO PROFESSOR AUER AMERICA’S WELL-KNOWN SOPRANO RIPRARD HAGEMAN PERCY GRAINGER ALEXANDER RAAB EDWARD COLLINS MOISSAYE BOGUSLAWSKI WORLD RENOWNED PIANIST EMINENT HUNGARIAN PIANIST Mar. I toSepti RENOWNED AMERICAN PIANIST FAMOUS RUSSIAN PIANIST MAURICE ARONSON GRAHAM REED CHARLES DEMOREST EDWARD MOORE (Guest) W. OTTO MIESSNER EMINENT TEACHER WELL KNOWN COACH AND TEACHER CELEBRATED THEAIJJ ^iTcHURCH ORGANIST MUSIC CRITIC “CHICAGO TRIBUNE” NOTABLE AUTHORITY ON PUBLIC SCHOOL MUSIC PIANO SCHOOL OF EXPRESSION french PUBLIC SCHOOL MUSIC HARMONY, COMPOSITION, COUNTERPOINT, ORCHESTRATION, nar7 D.et^filer Jewell Harncd Marian D. Martin Walter David Smith Lester Alden Mabel L. Howart Leonie Rouss CLASS PIANO INSTRUCTION MUSICAL LITERATURE, CANON AND FUGUE Lillian Boguslawski GuslavDunkelberger Mabel Wrede Hunter Dorothy Mendelssohn Mrs. L. I. Taylor David W. Gavin Kathleen McCum Wesley La Violette Jane Waterman Frances Bohannon Evalie Martin Fisher Myra Seifert Johnson Kathleen Moffat Gertrude Towbin CHOIR AND CHORAL CONDUCT¬ Elina Pearl ITALIAN Franklin Madsen Nellie Moench Vera Bowen Faye Forsythe Blanche H. Jackson Laura Neel ' ~ ING Paul Breitweiser Marjorie Dwyer Jane Waterman Amedeo C. Nobili Harold B. Maryott Florence B. Johnson Mrs. Hal Holt Peel C. Gordon Wedertz ENSEMBLE PLAYING W. Otto Miessner Mary Rives Brown Gertrude M. Gahl Carrie D. Keil Lillian Powers Percy Grainger (Two Piano Music) Gordon Campbell Ruby Ginsburg Merle McCartv West HISTORY AND APPRECIATION Max Kramm Bess Resseguic Stephen B. Williams Bertha Kribhcn (Chamber Music) REPERTOIRE-INTERPRETATION CLASSES Julia Lois Caruthers Helen Greenebaum Grace Levinson Estella A. Striplin OF MUSIC Anna Ring Clauson Charles D. Hahn Gertrude Williamson Herbert Witherspoon Professor Leopold Auer Percy Grainger (Piano) Bess Clair Murray Troy Sanders Elisabeth J. Wiley Herbert Witherspoon Kenneth Cummings Myrtle Hahn SCHOOL OF DRAMATIC ART FLUTE Louise MacDowell Adelaide Sanford Giula Williams Lester Alden Clara T. Dailey Eudora B. Harbers Della T. Matthews Gaylord Sanford Justus Gclfins EDUCATIONAL PSYCHOLOGY ECONOMICS AND SOCIOLOGY PUBLIC SCHOOL MUSIC OPERA CLASSES (Repertoire and Action) VOICE Eston V. Tubbs MUSICAL APPRECIATION Aurelia Arimondi Ottley Cranston Richard Hageman Winona Lighlcap Lillian H. Polley SIGHT READING CONCERT, CHAUTAUQUA, Vittorio Arimondi Louie Collier Cranston Florence Loftus Lyman Ackley L. N. Dailey Mrs. C. M. Robertson EAR TRAINING CLARINET LYCEUM EPISCOPAL CHOIRMASTERS’ COURSE MUSIC CRITICS’ COURSE W. II. Manning Troy Sanders Arch Bailey Ernest Edwards Florence J. Madsen SAXOPHONE Mabel Lewis llowatt Betty Baker Clark E. Snell VOCAL ART AND LITERATURE Charles Demorest Edward Moore (Guest) Effie Cline Fones Minaperle Maxwell Chris Lyngby Lois Holt Brown Rose Lutiger Gannon Estelle A. Striplin HARMONIC EAR TRAINING AND TOE, BALLET, INTERPRETATIVE, Etta McCue Lucille Stevenson ACCOMPANYING CLASSES (Vocal, Violin, Opera, etc.) Mrs. Dan Brown Maude Gutzmer AUene S. Miller KEYBOARD HARMONY ! DOUBLE BASS CLASSICAL AND FOLK DANCING Sara Irene Campbell George Sutton Harold B. Maryott Richard Hageman Mabel Sharp Herdien Pauline CasHeman Morris Helen Wolverton Otto Hyiii Libushka Bartusek Gordon Campbell Charles H. Keep Jesste Waters Northrop Carl J. Waterman All orchestral ins trim named above taught by members of the Chicago Symphony Orchestra Ella Cave Elsie Kincheloe TEACHERS’ NORMAL COURSES PIANO VIOLIN VOCAL

Lois Dyson Ray Huntington Percy Grainger Professor Leopold Auer Herbert Witherspoon John McKenzie Raphael Spiro Alexander Raab Leon Sametini Mrs. John L. Eckel Blanche H. Jackson Rudolph Reiners Max Fischel Victor H. Jindra Editha Todd Maurice Aronson Max Fischel Harry H. Ryan Mary Towbin Julia Lois Caruthers Maurice Goldblatt Bertha Kribben L. Dean Sands Guy Hartle Anah Webb W. Otto Miessner Christian Lyngby Bernard Senescu CHURCH ORGAN 5tu dent CLASS VIOLIN INSTRUCTION Charles H. Demorest Henry Francis Parks C. Gordon Wedertz BAND AND ORCHESTRAL INSTRUMENTS MOVING PICTURE ORGAN COURSES FOR SUPERVISORS OF ORCHESTRA AND BAND MUSIC Charles It. Demorest Henry Francis Parks Helen Greenebaum ORCHESTRA AND BAND ENSEMBLE Raymond Dvorak J. C. McCanles VIOLONCELLO VIOLA Dorm itories Artistic and comfortable dormitorj accomodations for men and women in Jaroslav Gons »» t?- , i CHICAGO MUSICAL COLLEGE SYMPHONY ORCHESTRA Adelaide Liefield fcS^dhU,, college building. Piano furnished with each room. Prices reasonable. Make reset vations early. Percy Grainger, Director x< #= A

Prof Auer, Mr. Grainger, Mr. Raab, Mr. Boguslawski, Mr. Withersuoon Mr r n- „ ps Teachers' CertificatesandDegrees Mr Kuzdo, Mr Parks and Mr. Demorest have each consented to award Freeze Hot ?ajfeman, Mme. Hinkle, Mr. Sametini, Teachers’ Certificates and the Degrees of Bachelor of Music, Master of Music, Bachelor of Music Education, Bachelor of Oratory petitive examination, are found to possess the greatest gift for playing or sinafnn^shlp® ll?,the students who, after an open com- and Master of Oratory are conferred at the end of each summer session upon professionals, who have the required knowledge and pass satisfactory examinations. Full details in Summer Catalog. MER OR WINTER CATALOG ON REQUEST College THE THE etude FEBRUARY 1928 Page U9 Page H8 FEBRUARY 1928 OOLUMBIA gs ^tarrrtt grtjool Finishing touches in ‘Piano Playing rSUMMER CONSERVATORY of MUSIC f Continued from Page 141) White Teeth Trench school (Debussy, Ravel and others) ing to his piano playing the “Finishing One of America’s Finest Institutions T .- ; should be reserved for compositions which Touches.” have nothing to do Devoted to Education in Music ■equire a delicate treatment, as do Spin- -- Fully accredited courses leading to 44th Year ning Songs. Gondolieras, and other such CERTIFICATES, DIPLOMAS MASTER “murmuring” types of music. It owes its SELF-TEST QUESTIONS ON MR. and DEGREES for T’eacher^amd Stud"m lnt"Pret«ioii agging By Authority of the State of Illinois Piano,3Voice, Violin. Organ, Theory, Harmon'" origin to the marvelous charm of half- PIRANI’S ARTICLE concealed sounds, obtained through a vel¬ 1. State the steps in preparing the thumb Training in the following departments: a I aces made young vety, “veiled” touch, gliding, floating, as il Pimo Voice Violin. Theory, violoncello. Dept, for Children. All athletics. Horseback rldin?. for passing under the fingers. SCHOOL-] Normal Training, Public School Music, Fireproof buildings with ample grounds. Two beaiitt were, over the keyboard, skillfully com- __2. How may perfect equality of sound Chorus singing Correlated Arts. History of Music, Ensemble, Orchestra. Prof®®]01™! instantly! bining the two pedals—the piano pedal to be illustrated? June 25 to August 4, 1928 (42nd Season) bring about a very delicate shade and the 3. How may the,dr t be u ion, English and Psychology. YOU can literally transform your face, forte to create a kind of diaphanous mist. faulty rhythm? make it look years younger, lift re¬ The mastery of such points of technic 4. What is the value of visualising a Send for complete catalog laxed facial muscles, smooth out dis¬ and modes of expression as are here repre¬ composition ? COLUMBIA SCHOOL OF MUSIC Atlanta Conservatory of Music figuring wrinkles and have the joy of Box E, S09 8. Wabash Ave., Chicago seeing an unsightly double , chin and sented will contribute toward enlightening Describe briefly the prevailing mood THE foremost school OF FINE ARTS Harrison 5930 IN THF cniiTu nla hanging cheeks or jowls gently lifted the student on several hitherto obscure of Mozart’s compositions. Of Haydn’s. and held in place. All of this can be points of pianistic art and help him in giv- Of Beethovc JOSEF done at once with no trouble, pain or LHEVINNE Announcement To Teachers World Renowned PianoJVirtuoso. Repertoire Teacher’s Classes. Auditor Classes. Catalog. GEO F. LINDNER. Director inconvenience, by a wonderful little de¬ Peachtree and Broad Street*. Atlanta, Georgia vice called the FACEAID Muscle Lifter. It is helping thousands of women of "Master P>iscs Ignoring the whitest, cleanest teeth, all ages to accomplish these marvelous (Continued froth Page 114) results. The transformation seems like Pyorrhea wages war against health. It attacks the gums, and, unaware magic, but when you understand how sician’s appreciation in his reading of the her honor. The prayer of Elizabeth for COSMOPOLITAN of this fact, 4 persons out of 5 after OSCAR simple and practical it is to do these exquisite Adagictto and also the lovely Tanuhauscr’s redemption is given in its SAENGER SC5?0L MUSIC* things, you cannot help but realize that forty and thousands younger sur¬ Carillon. With appropriate vigor he con¬ entirety. Both are sung with pure vocal render to this dread disease. Internationally Famous Master of the Voice. Opera Classes. Teacher's Classes. Leschetizky technic. Systematic Train¬ DR. CARVER WILLIAMS-President the FACEAID Muscle Lifter is not Repertory Classes. ing of the Memory, Sight Reading. Ear too good to be true. ducts the familiar Farandole and ably beauty. But you needn’t fear these odds. Training. Rhythm, Melody Writing. Eminent faculty of GO Artisis. Normal training for The FACEAID Muscle Lifter is the presents the’ contrasts of the first move¬ “Boris Godounov” (Moussorgsky), Death Just be careful in your selection of Intervals, Chords, Inversions, Natural Teachers. Students Orchcsti.i. C oncert*, Lectures, a dentifrice. Use Forhan’s for the Diplomas. Degree* and Teachers’ Certificates. ’ first and only practical means that has ment. Much of this music has been used in Scene, sung by Chaliapin (Victor). HENIOT LEVY Tendencies, Where Found in Scale, been discovered to smooth the years Chaliapin’s performance of Boris, which Gums, regularly, morning and night. Transposition, Cadences, Modulation, Departments—Plano, Voice. Violin, Musk- the ballot in “Carmen;” so it will seem quite This dentifrice cleans teeth white from tired, ageing faces. Of course, there lias become internationally known, is a Analysis, Phrasing. Musical Apprecia¬ Theory. Composition. Violoncello, Orches¬ familiar to many. There is unusually good and protects them against acids tral Instruments, Public School M - are expensive operations that sometimes magnificent dramatic portrayal of a mon¬ 1 SILVIO SCIONTI tion, Terminology, Biography and Dramatic Art, etc. work the same marvels. But these sue string quality in these discs. which cause decay. And in addi¬ Brilliant pianists and eminent instructors. Repertory and Teacher’s Classes. Musical History are some of the sub¬ arch who, in a reign of terror and super¬ tion, if used in time, it helps to firm Many Free Advantages arj Scholarships uncertain and dangerous. jects taught in a “Down to Date” man¬ Piano and Violin Prius The FACEAID Muscle Lifter can be stition, is consistently haunted by the gums and keep them sound and . Arias ner. Certificates given upon satisfac¬ worn wherever you go. It is comfort¬ ghost of one whom he lias killed. Chalia¬ healthy. Pyorrhea seldom attacks ADOLF WEIDIG tory completion of the course. healthy gums. Get a tube from your Well known Authority on Theory and Composition. COSMOPOLITAN SCHOOL OF MUSIC able and invisible. No one will know you 4 4 TT OI DE LAHORE,” Promcsse de pin interprets this scene majestically with Box F, 16th Floor Kimball II.,II Bldg.. Chicago are wearing it. Only the results show. ^ mon avenir and “Jongleur de his wonderful voice, which has never druggist, 35c and 60c SEND NO MONEY Notre Dame,” Legend of the Sage, sung sounded better. It is an impressive scene Formula of R. J. Forhan, D.D.S. KARLETON HACKETT by Giuseppe Danise (Brunswick). In the —a father’s farewell to his young son. Forhan Company, New York Distinguished tocal instructor and critic. Repertory and Teacher’s Classes. e, Md. Dates upon request. :e booklet telling about t For Information and Booklets At FACEAID Muse first aria a hero sings of conquest- and The plaintive chorus, the tolling bell and Adda Eddy, 136 W.Sandusky Ave.,B Mr. and Mrs. Crosby Adams TWENTY-FIFTH love. In the second a monk sings the the beseeching cry of the son in the latter E. WARREN K. HOWE ANNUAL SUMMER CLASS legend of Jesus being hidden in the sage part are most realistically reproduced. Eminent Teacher of Voice. FACEAID, Inc. FOR TEACHERS OF PIANO bush to protect Him from Herod’s sol¬ Those who have seen Chaliapin’s por¬ ICouismlle Consmiatory of Jflusic 15 Park Place, Dept E E, New York City trayal will, upon hearing this disc, almost August 1st to the ttth, 1928 diers. Danise with splendid versatility and FREDERIC A. COWLES. DIRECTOR JACQUES GORDON MONTREAT, NORTH CAROL! a rich, warm voice interprets these two visualize him in the house of Death. Famous violin virtuoso and Concert Master Chicago Symphony Orchestra. A Nationally Accredited School of “Prince Igor” (Borodine) Dance No. 17, BROWN'S "Lohengrin” (Wagner), I i Isa's Dream, London Symphony Orchestra (Columbia). Kill The Hair Root HERBERT BUTLER MUSIC - ART - DRAMATIC ART bronchial TROCHES and “Tamihauser,” Elisabeth’s Prayer, Borodinc’s opera is most rhythmically degrees conferred sung by Elizabeth Rethbcrg (Brunswick). vital ... a story of the oriental “Tar¬ >e. Write today enclosti Eminent teacher of the violin. Promptly relieve COUGHS ulture. D. J. Mahler. 14 PIANO, VOCAL, VIOLIN, NORMAL, and THROAT TROUBLES Rethberg’s portrayals of both Elsa and tars.” This dance with its various moods Faculty of over one hundred artist teachers PUBLIC SCHOOL MUSIC and ART CONSERVATORY OF MUSIC Elizabeth are excellent ones of vocal and is indescribably beautiful. Beecham, one OF SHENANDOAH COLLEGE histrionic perfection. In the first she de¬ of the foremost conductors in England, Special Summer Courses for Supervisors of In the heart of The Shenandoah 1 -,i!< v. near Washing¬ scribes the visionary knight whom Elsa with the renowned London orchestra, gives . Public School Music-O. E. Robinson, Director ton. Full Courses in all brioche of Music. Pupi s this has seen and who later comes to vindicate an unforgettable reading. it Residence Splendii year from fifteen States. Rates n reasonable. Large School Orchestra and Band. Pi >, Tuning and Pipe Attention, Piano Teachers! Special Summer Courses in Dramatic Art, Idress. JOHN L. GRUBER, Pres Organ. 1st for Catalogue SHENANDOAH COLLEGE DtYTON, VIRGINIA METRONOMES Expression -Walton Pyre, Director Musical Education in the Home School for Theatre Organ Playing ESTABLISHED 1857 (Continued from Page 89) Frank VanDusen, Director We find, upon looking back, however, Special Summer Courses in Musical Theory PFARHTW CONSERVATORY that February need not apologize for its ; of t Arthur O. Andersen, John Palmer, Leo Sowerby * 1 BALTIMORE, MD. ljst of distinguished musicians. It has its Lectures by Eminent Educators, Recitals by Distinguished Artists share of the great names to add to its list Several communications have come to this department asking advice as to the One of the Oldest and Most Noted Music Schools in America. in other activities. The Father of Oratorio, best age to begin music lessons. This is Handel, Rossini, one of the earliest s FREE SCHOLARSHIPS , , , . , , .a most important question for the music- RECENT WORKS BY To talented and deserving students awarded after competitive examinations cessful creators of opera, ancl the beloved ai]y untrajned mother and will be fully WALTER SPRY Josef Lhevinne will award one scholarship for private and two for reper¬ Mendelssohn should be glory enough for covered in the department in the March ssistant Director Columbia School of Music, Chicago DUNNING SYSTEM01 ,mreis,ud? Published by Clayton F. Sum my Co., Chicago tory class lessons. Oscar Saenger will award one scholarship for the shortest month, not to mention the issue. Lessons in Piand-plaving, employ 111# natural principles. private lessons and five scholarships in Opera Class. The Demand for Dunning Teachers Cannot be Supplied-Why? Pamphlet 60c; AW-Petit Carnaval for piano, 50c; Apply for application blanks. MUSIC ENGRAVING Reverie for organ, 40c; Anthem-^.Awake Thou that NORMAL CLASSES AS FOLLOWS: Piano, Band, Orchestra and Octavo work. We sleepest, Easter, 15c. MRS. CARRE LOUISE DUNNING, Originator 8 West 40th St I Published by Carl Fischer, Inc., New York Superior Dormitory Accommodations. Rates of Tuition Moderate specialize in book work; also engraved titles. ^Meeting the Pupil’s Tbaste Love Song, 2 keys, 50c: IFalts.—Moonlight Alf fT" SWjfST S,’Tiffin< 0hi”' Amold School’trf Mu, it* ,s. 16 East 11th l Send your mss. for estimate. 3E25 Allie Edward Barcus, 1006 College Ave., Ft. Worth Tei By George Coulter PRFDITS w‘" ke given for summer courses taken, toward Certificates, OTTO A. C. NULSEN, 1 ° Diplomas. Degrees—granted by authority of the State of Illinois. Central Are., 1st St., Winier H.ren, Fla. 20— Jacksonrillv P.O.Box 774 124 Government PI see Cincinnati. Ohio So many teachers in giving pieces con¬ Summer Session prospectus, regular catalog and Public School Music circular Catherine Gertruda Bi’rd, 658 Collingwood Arenue. Detroit Mich It rs commonly supposed that the essen¬ mailed free on application. For detailed information address Grace A. Bryant, 201 10th Are. N.. Twin Fall. lHsh. tials for a successful musical instructor sult their own standards of taste instead of the pupil’s. They do not reflect that the M"'| A Cbr«rrCariadiCH r-'” Por,land’ <>««»" -No,n„l i ilog 104. v arc, let us say, musicianship (embracing a NEW -gas music they have grown to love had once Fla.. Natchitoches. La.; knowledge of the most modern technical no appeal for them, and they find it dif¬ Beatrice S. I AMERICAN *>aa-*.ey College, Sherman, Teaas. MUSIC .SI i'srsddx methods), a facility in explanation, tact, ficult to see any merit in the music they GiidTs'M'rS patience, personality, enthusiasm—and have outgrown. But no sudden leap can Elizabeth Grasle, Lansing Comerva^orv oMVf mir l > • m l MUSICAL LITERATURE there you are! Yet, teachers have been bring the child to his teacher’s level, and " MacDonald -13434 d££ A™!! manufactured in the conservatories and CONSERVATORY -...o^Dell Marde^n^N.^&d, S**,rpnrd/i^llOregone'*,,d' •; 6010 Belmon Ask for “Descriptive Catalog of no enthusiasm in the teacher can make Mrs. Wesley Pence Mason. 6262

“IVc are in the midst of the vital period of musical development. It means that this country is the place for the student of to-day. He can getJ everything here, more than he can get abroad. He can hear the music he needs, the unusual music, the varied and interesting music that he should hear.’'—Olga Samaroff. When you write to our advertiser., always mention THE ETUDE. It Identifies you a In touch tvlth the higher Ideals of art and life. Page 152 FEBRUARY 1928 FEBRUARY 1928 Page 158

T5he Forerunners of J. S.

NEW YORK SCHOOL of MUSIC and ARTS (Continued from Page 1.39) kSW^IIMIUIIIWl as organist of the Katherinen Kirche, and and, as previously stated, a pupil of Swee- Tjbl„lL in 1616 was sent to Amsterdam at public link. Much of the influence of Schiedcr- K|)||U bythisinstitut 5 %iUS-i

The Organ Chorale picd in thg evolution of SEVERAL FREE^AND^_ PARTIALPA FREE SCHOLARSHIPS OPEN FOR > AMUEL SCHEIDT, a famous organ- Reinken was born in Devi t-Saale, in April 27, 1623. In 16S4 he k in Am- ist of the church of St. Catl . He was organist of Moritz and Kapellmeister to Margrave --- , —.-1722, at the Tage- of of'yon to play a piece al- in Wilhelm of Brandenburg, at ninety-nine. He had considerable influence Lost from the first ” was' the first to treat the over music in general in Hamburg, on ac- of the chorale artistically, and count of his fine playing, though his per- « win- was a periect master of the organ style sonal vanity and jealousy of his brother - - - INSTITUTE OF MUSICAL ART of that day. He published numerous organists were severely criticized. The works, principal among which was Tabu- strong points in his playing were great JUILLIARD SCHOOL OF MUSIC latura Norn in three volumes. He died in manual and pedal dexterity, together with 120 Claremont Ave. New York City FRANK DAMROSCH, Dean

A school for serious students. All branches. Moderate tuition fees d SPECIAL ANNOUNCEMENT 2tf*g &Z&SX Play Quickly PROF. LEOPOLD AUER .hampered him. Excepting a slightly freer form and characteristic -expres¬ sion, he contributed nothing new, even with the exploitation of the.sonata, according to the best Czerny traditions, form, Rhcinbergcr gave us some noble works, but added little that was. VIRGIL SCHOOL OF MUSIC

A School of Individual Instruct an for the Begin: Jthacaconservatory ppifcpBg

GILBERT RAYNOLDS COMBS, I

GRANBERRY -—---- ifll effa el PIANO SCHOOL INTERNATIONAL T 149 East 61st St., New York, N. Y. For PIANISTS, ACCOMPANISTS and teachers

MUSIC STUDY SUPPLIES JBSMBBm AMERICAN INSTITUTE OF APPLIED MUSIC THEODORE PRESSER CO METROPOLITAN COLLEGE OF MUSIC “"SfflffiW ' 212 West Fifty-Ninth Street, New York City Two-Year Normal Training Course PeMBI KATE S. CHITTENDEN, Dean ETHEL FEBRUARY 1928 Page 155 Page 15Jt FEBRUARY 1928 TUB etude

Up-to-the Minute Operettas Every Performance a Success

T3he Little Queen ??? Ask Another ??? George 'Washington and His Flute By Annette M. Lingelbach 1; What 11 arpeggio? By Gladys Hodson Leach 2. What . bassoon? The little queen was a very poor mu- 3. When > Handel born? I suppose you have known about George In various museums in our country wc sjc;an_ The king knew this, the queen- 4. Who ■ te the opera, “The Magic Wasliington's hatchet ever since you can may see bone flutes, or whistles, used by fairies came to listen to her practicing, for full orchestra, the first movement of Reed- played his accompaniments on her spinet. Melody and Imaginative Playing. When¬ which is written in “sonata form.” This flute of Washington’s, which has ever the littlc queen forgot to bring out 2. A major interval is any interval, the Flute been kept at Mount Vernon, is one of the the melody so that it sang, the Fairy Mel¬ top tone of which is found in the major best of its time. It is a Meyer model, in ody folded her rainbow-colored wings scale of the lower tone. with an ivory head, very popular in that 3. Chopin was born in 1809. day and still used by some modern flute Florence Museum 4. The opera, “The Magic Flute” was t makers. This old flute needs some re¬ mann’s Melody as though it were his written bv Mozart. pairing now, but could probably be Our North American Indians had much Soldier’s March, Fairy Imaginative Play- 5. MacDowell died in 1908. pletely restored to usefulness by ai finer flutes than the Aztecs. Theirs were jng drooped her head and sighed and 6. Transposing means reading music in usually made of wood and had holes bored sighed until the room was full of the soft A COPY OF EACH WILL BE SENT ON APPROVAL one key and playing it in another. pert. in them to produce tones of different pitch, little sounds her sighs made. During some 7. The degrees of the scale are named as Our modern flutes are made on this prin- Qf the lessons the little queen cried be- OR A DESCRIPTIVE BOOKLET FREE UPON REQUEST follows: 1, tonic; 2, super-tonic; 3, sub¬ mediant; 4. sub-dominant; 5, dominant; ciple. cause of the poor way she played when Are you wondering what pieces Wash- J 'a;ry g]ow Tempo’s friends dropped in 6, sub-mediant; 7, leading tone. 8. A string quartette is a combination ington played? We shall not have much (Continued on next page) Special Selections for Mid-season Teaching difficulty in guessing what they were, as of one first violin, one second violin, one we know what pieces were popular for PIANO SOLO—GRADE I viola and one violoncello. PIANO SOLO—GRADE II the flute in his time. We still have, the Gathering Daisies—by Fitzhugli.30 9. The Italian term for growing louder Ancient ?iotes Snow Flurries—by Mattingly PIANO SOLO—GRADE III and IV flute music of his day. There were many The Ilayride—by Fitzhugh. 30 is crescendo. On the Sleigh ride—by Mattingly. Winter Memories—by Bri old English, Irish and Scottish airs, such By Marion Benson Matthews 10. Tile melody was from the second The Garden Party—by Fitzhugh...... '35 Ice-Skating—by Mattingly.. Drolleries—by Huerter. Greek as “McPherson’s Lament,” “Aid'd Robin . Rosemary—by Fox. 30 movement of Beethoven’s “Fifth Sym¬ The Toboggan-Slide—by Mattingly Arbutus—by Bliss Gray,” “The Charming Fair Efly,” and '\ote Triads at Play—by Fox. [35 phony.” Somersaults—by Blake . . Dawn—by Cadman.. i Flute “The Post Horn Waltz with Variations.” n The Merry Hikers—by Fitzhugh When the Sun Hangs Low—by Adair.’35 Twilight Prayer—by FrimV. There were a few pieces for the flute by ls » H0LE N0TE> round and - The Little Corporal—by Blake.. .30 Little Canoe—by Blake. On the Moonlight Sea -by , » / French and German composers. Pieces Fairyland Music—by Piaget. ’30 Rock Creek—by Blake.. y Smith Winter Carnival-by Loth. Up Hill and Down—by Adair. Sea-Foam—by Adair. . (Counting Aloud Jy n-ri + icln MlTFiPlTTYl from the Italian operas of Verdi, Rossini. And next in line, X DI1UMI liUDCata and Donizetti vvere frequently played. With long black stem, 1 Phe Courtyard Fountain—by Blake By Mrs. Ray Huston Seuel-Holst.. Magnolia Blossoms—by Vargas Then there were countless variations. Big HALF NOTE stands upright. Singers of the Dawn-by Hyatt.. Oh little Miss Mary FOUR HANDS Do you know what “variations” arc? SIX HANDS Roberta McDowd The history of the flute is very inter- First you must have a theme or tune; then QUARTER NOTE, In Magic Land. (Gr. I)—by Frind Had so much of trouble Pixies Dance. (Gr. I)—by Keyes.... Jack Frost. (Gr. I)—by Mattingly 50 q„ IWO PIAN°S—eight hands esting. It was one of the earliest of musi- you must play it in various ways, with Summer Holidays. (Gr. II)—by Mclntvre Merry-Makers. (Gr. I)-by Mattingly. In counting aloud; cal fnstrumehts. The- Greeks hollowed runs, trills and turns added. This style Conquerors. (Gr. II)—by Bliss. . n be, In Hanging Gardens. (Gr. Ill)—by Davies out reeds and blew across the tops of of composition was exceedingly popular ,. Marche des Aviators. (Gr. Ill)—by Le" Pre i ii i j “I’ve just got to sing it,” them to make music. Reeds of different for many years and on many instruments, Irish Dance. ((;r. IV,-by Blake.'.'.' . i .75 She told me one day, lengths were used to give variety of pitch. (Continued on next p.agc) While EIGHTH NOTE looks Any or all the above will be sent “On Sale” to the MUSIC TEACHER “Or tangled all up I Like quarter note, May get when I play.” But has a flag, you see.

Illustrated Catalog “What Shall I Use to Interest my Pupils? “IVeil, Mary Roberta,” What note is this? \ l said, “you may sing. Letter Box is FREE. Write for it! With two black flags? j Provided you count, for 10 such clubs :o encourage us This That is the main thing.” play the to De my mst year in school, and , SIXTEENTH, beyond a doubt. niiil violin. Last year I took io to go to college. I hope some Junior Local (Trinity College) musicic rexamination ders from America will write to lue. So if keeping time seems I have enjoyed the ETUDE very From your friend, Your music book THE WILLIS MUSI A wee bit hard for you eiallv tlio number devoted to i n Phyllis Holmes (Age 15). Now take, my child. is my favorite ^npospr.^1 ^ Iust sing as you count, and Albert Cottage, MneKenzic Road. C CO. Darjeeling, India. And try to pick them out. 137 West Fourth Street It may help you, too. tb'e"lctt'ers"in the Club Corner, i Cincinnati. Ohio FEBRUARY 1928 Page 157 Page 156 FEBRUARY 1928 TUB 0E ETUDE

Notable Recent PLEASANT Piano Teaching MOMENTS Junior Etude Contest AT THE Works The Junior Etude will award three Office, 1712 Chestnut St., Philadelphia, Pa„ pretty prizes each month for the best and before the tenth of February. Names of PIANO KM neatest original stories or essays and an¬ prize winners and their . contributions will Little Biographies for (flub be published in the issue 'for May. Tbhe Little Girl Who Did 7\[ot Want to Practice George Washington and swers to puzzles. Are Best Enjoyed With an BEGINNING with the Subject for story or essay this month— Put your name and age on upper left Meetings By Mary Booth Hays His Flute hand corner of paper, and address on upper Practicing Technic.” Must contain Album or Two of Melodious (Continued) pedals of the piano right hand corner of paper. If your con¬ (Age 9) not over one hundred and fifty words. No. 4—Mozart By HELEN L. CRAMM tribution takes more than one piece of pa¬ Numbers Some of these variations were well-writ Any boy or girl under fifteen years of age . a m °nf. day Jcan said> “I don’t want thing, so they went to the music room. ten and interesting; but many were based per do this on each piece. Wolfgang Amadeus Mozart'was born to take lessons, and I don’t like to prac- The fairies played so nicely that Jean [ rTHIS is one of the may compete whether a subscriber or not. Do not use typewriters. Here are Suggestions for m Salzburg, Austria, in 1756. His father tjce.” wished she could play like them. Then on very stupid themes written by would- be composers. h 1 standing element All contributions must bear name, age Competitors who do not comply with was a violinist and composer, and his “Jean, you are sleepy and cross,” an- the fairies asked Jean to play; but Jean I for piano that have been pu Average Players as Well It is hard to imagine a dignified', well- It a and address of sender written plainly, and ALL of the above conditions will not be Sister Anna was also a musician; but swered her mother, “you must take your said she couldn’t! ^_s the young pupil _ must be received at the Junior Etude as Accomplished Pianists \Volfgang was far superior to them, and, >n nap." . “Haven’t -you taken lessons, or just educated man, like Washington, wastin'. the effects and beauty that can considered. fact, ta any one of that time. He.began to Jean Kac!"been asleep only a little while, didn’t you practice?” asked the fairies, his time on foolish variations. It is easier be developed in piano playing to think that lie must have preferred to pfe through the proper use of the play the clavier when he was four years old, and what do you think she saw? Why Then Jean told how she didn’t like to pedals. The functions of the CELEBRATED COMPOSITIONS the good ojd Scotch and English songs pedals are well explained ’ ' and to compose when he was five. He there was a fairy! (Imagine how sur- practice. (Don’t you ktiow how badly Fol\'Songs Fol\'Songs BY FAMOUS COMPOSERS played in public at the age of six, started prised she was.) or the melodious opera ari she felt?) sorted^ . (Prize Winner) (Prize Winner) Every good pianist, or those ambi- to study the brgan at seven, composed The fairy said, “Jean, you don’t like to They talked awhile and then the fairies A Folk-song is one based on a legendary A folk-song is a product of nature. It delighted with the 33 compositions in his first symphony when only eight, and practice, do you?” said, “Would you like to learn to play TWO AND TWENTY LITTLE this volume. The superb description^of his first opera rwhen he was twelve. This Then'Jean said, “No” of historical event—or on some incident is a natural expression of a group of like these fairies?” STUDIES as space dres not permit we must^ be is an amazing: record and shows what The fairy then’asked, “How would you of common life—the words and music of people, in terms of tones. It was origi¬ Jean said she wished she could. which have originated among the common nally orally transmitted!; but, recently, tremendous talent he possessed. At the like to go to fairyland?” Then the fairies took her home. They On Essential Points in First Grade ever there is a piano. same time he was a perfectly natural boy jean was delighted, and away they went, Piano Teaching people and are extensively used by them. composers have made written collections Price, $1.00 were just saying good-bye when Jean The word is derived from the German of folk-songs. They are simple and purely mother respects. Soon they arrived. “Oh, how beautiful!” woke up. By HELEN L. CRAMM Price, 75 cents word—Volks-lied. melodic. CELEBRATED PIECES IN His father took him on many musical cried Jean. “What all do you do here?” Jean cried, “Oh, mother, I am always EASIER ARRANGEMENTS Egyptian "THE young student whose teacher uses Many great men and women have said The subject matter of the folk-song was teS 5 f T'17’ % 7 The fairy Smiled’ “We practice when 11 going to practiceI” and she told her mother 1 this book as a refreshing period after Those who have limited playing abil¬ zerland and Italy, for the purpose of p ay- is time, and work when it is time, and her dream. that these songs have awakened in them taken from tradition, love-stories and ity are given an opportunity to enjoy Flute instruction book to its completion or almost such emotions as has no other music. mythology. their own renditions of the master¬ °f me-tmg °lder play when * is When Jean’s next music lesson came she Who composed these ballads? Minstrels. Bards often sang the original melody. pieces of the classic composers through r?icriv0f ;hr Cf°Untri6S and hnaring A,fter vWle the fairy said, “Now told her’ w^id M^sTratice solos and ducts that help the pupil to re¬ these three to three-and-a-half-grade their music. This of course gave him a would you1 like f~ £- .- .v in view pleasantly or to become acquainted with Who were they? Poets and musicians who Some person heard it and unconsciously arrangements that adhere to the orig- of the fairies well; and before long she had a large list contrary scales, parallel scales, crossing very broad outlook on the music of that play?” sang to the accompaniment of the harp, changed it to portray his feelings and closely. of beautiful pieces which she could play 'British Museum hands, playing melodies with the right hand, emotions. So it was changed, by a group Price, $1.00 j and was- a great advantage t him Jean thought that would be the very from memory. playing repeated notes, etc. lute or lyre, to amuse the great in their as a composen Washington loved his flute and played castles. These minstrels (also known as of people through generations, until it Later he spent^ r t of his time com¬ it often. He owned a good flute and he TWELVE MELODIOUS gleemen, troubadours, trouveres and jon¬ became a part of them and became known SCHUBERT ALBUM posing and giving lessons. His principle probably played it well, lie had the means STUDIES gleurs) also sang in villages. Poetry and as folk-song, which characterized the The beautiful, entrancing melodies of Franz Schubert have perhaps a compositions include forty-nine sympho¬ to buy plenty of the best music; and we By CARL WILHELM KERN folk songs sprang up from the custom of people who sang it. greater popular appeal than the writ¬ nies, over twenty sonatas for piano, forty- believe that his simple, good taste in other dancing, accompanied by improvised song, A folk-song is formed by the subcon¬ ings of other masters of classic com¬ position. Here are 24 piano solos that two sonatas for violin, twenty-six string things extended to his choice of music. which still exists in some European coun¬ scious artistic mind of a nation. It is not the average pianist can handle giving quartettes, nearly twenty operas, besides tries. The belief in elves and fairies is the labored work of some composer, but Schubert’s best short piano composi¬ The next time you think of Washington, tions, excerpts from his orchestral many choruses, motets, masses and other think of him with his flute and not with still found in folk songs. the song of the people. In back of it is works and transcriptions of some of forms of church music. The fact of his his hatchet, as his love of music and of Sophie Borodensky (Age 14), an impulse whose driving force comes from making these tours, teaching and writing a musical instrument is more worthy of Canada. the soil itself. , Price, $1.00 all this large amount of music before he Dear Junior Etude; Dear Junior Etude his fine character than his use of an in- Wanda Larencki (Age 12), REVERIE ALBUM was thirty-five, shows what a busy man he I have to thank you for having published I have been taking piano lessons for strument of destruction. Fol\'Songs Illinois. He died in 1791. The nocturne and reverie style pre¬ He had many my letter in the June^ number of the three years and am in third grade of mu- dominates in the 23 fine melodies and friends and was considered a (Prize Winner) Puzzle (forner cinating personality. His writings a7e by” “ulc ™aeu ' W°" jhen p"2e thls summer for do- Dtie Little %UeeU Folk-songs are to music what nature is Just the album for the average pianist L Bekead a musical in¬ melodious and graceful and very polished. This has resulted in some hundreds of high school JU,ni0r ('Continued ) to life and art. In countries where music at the keyboard. Also ideal for Sun¬ TECHNIC FOR BEGINNERS is a part of the life of the people, children strument and leave an. day playing. Some of hw best operas are “The Magic copies of sheet music having been received My young brother 1 also takb^ r .heaL her .fingers sing Mr. lltudc and . Price, $1.00 Flute,” “Don Giovanni (or Don- Juan)”. from readers - the United States and a lessons. * * also taking piano Finger-brill and the Soft Playing By ANNA PRISCILLA RISHER begin the study of folk music so that in American Indian. Price, 75 cents and “The Marriage of Figaro.” few from other countries. Elf and Schumann's Child and Butterfly later years they will have a rich founda¬ CELEBRATED From your friend, Song. “Oh, it was dreadful,” said the This : book of preparatory ex- tion of beautiful melodies in their minds 2. Bekead an image and LIGHT OVERTURES I regret my inability to thank all my Giles Elmore (Age 12), correspondents individually; and I am little queen, and cried grace-note tears tudy o/ and hearts. Among the folk music of leave to study. For Piano Solo Kansas. into her handkerchief. the world, that of Scotland occupies an Splendid piano solo arrangements of taking this opportunity of doing so col- ._ iduall^ During the next few months the little important place, on account of its beauty. papef^' thr°Ugh the columns of y°ur Dear Junior Etude: 3. Bekead a blemisk and They make ^ showy, brilliant numbers t v Queen forgot:all about the voung king’s t h There is the Lowland Scottish and the leave a vehicle. Celtic Scottish music, very different in It is of interest to note that all the kind I am’Tn'fomh^Lk‘7 belt7777 of1 Kansas.7a"sas' huffyfluffy clothes:clothes init learning‘ ' all' the' things*' t they be used a: dltIon' Price, $1.00 regular character, although the Lowlanders- often people wnowho nave,have sent me music are unani- to read The Etude.EtudeT MvmnsiVSv mnl Lilt FaFai',,ry SSlow'°W TemP° tautaught«ht herher.- She mustn 4 Bekead a locality and LaT play Celtic tunes that have wandered STANDARD mously of the opinion that The Etude has takes it, and I am goinsr to take it ‘ h l ™ake her Phrases long and golden; one beginner has mastered the rudiments. across the border. Some Celtic music is leave a number. OPERA ALBUM helped them considerably in their music memorize some of my pieces • Lh T h hand must always sinS ‘he melody. She MIDDLE C AND THE NOTES so ancient that the imagination has to None of these 15 piano solo tran- 5. B eke ad kard work and ('ours sincerely, l every day, and she ABOVE AND NOTES BELOW travel back for centuries and through dif¬ all the sharp and flat scales'in major. ferent lands, following it in its wanderings leave a lubricant. Mina Hanvev, From your friend, must count- out loud. She must make up By LIDIE AVIRIT SIMMONS ce, 75 cents from Asia, through Europe to its differ¬ Bhatinda, Leah Kuykendoll (Age 8) a story about every piece, and she must Punjab, India. make the. piece tell the story. She must A VERY firsl instructor for introducing ent settlements, some of which were in The beheaded letters will Kansas. *2 the notes b RUSSIAN ALBUM play everything slowly and evenly and Austria, northwest France, Spain, Ireland give the name of a musician. the line or spar they occupy. Both clefs A very interesting compilation of 22 clearly and rharcato and from memory, i are entered froi and Scotland. numbers by Russian composers that e been introduced in a lesson Answer to November puzzle: Her hand must poise above the keys like Edward Boettner (Age 12), luc‘c space provided for the pupil to Michigan. C—ask a white butterfly. She must know all the write them a number of times and place their names beneath. Then there is a little H—arc musical terms ever written in books to Piece with words to exemplify each step keep Fairy Slow Tempo from flapping notation and give keyboard location of Honorable Mention for November staff knowledge gained and to aid in 1756-MOZART—1791 his sturdy wings in anger—“What! You Essays don't know what a berceuse is.” She must Margaret Lambert. Mabel Purchmanv John recognize every tone on the piano when FIVE LITTLE TUNES Gilbert, Josephine Dansby, Ethel Heebie, Marv Keehle. Ruth Helmnan, Ella B. Robin¬ hairy Slow- Tempo played it. She must I he following are some compositions For Five Little Fingers for Left Hand Alone son Helen Kilzer, Caroline Sippel, Elizabeth Prize winners for November puzzle: remember system is everything; to prac¬ Timmerman, Herschej B. Barker. Eleanor of his that -you can use at your club By MILDRED ADAIR Price, 60 cents Mattila, Harriet Sanderson. Mildred Morris, Edna Eichstaedt (Age 14), Illinois. PIANO PLAYERS’ meetings: ! tice her finger drills first, her scales see-, p VEN the little tots whose playing abili- Maurice Berkstein, Laurette Johnson, Roberta Lorna Dochman (Age 12), Oregon. REPERTOIRE ond, her exercises third, and her pieces ..,tles, do not exceed grades V/2 and 2 Roberts, Dorothy Brooks, Cornelia Palmquist, J piano solos giving an excellen Minuet, No. 1, in G will realize the clever composition in these Ilonis T. Johnson, Leona Llewellyn. Daisy Marian Green (Age 13), Ohio. ety of third and fourth gradi Minuet from “Don Giovanni” last, and never to play a piece fast until httle left hand alone pieces They are not Hell Winer Elizabeth Blair. Ruth Hermsen, Honorable mention for November puzzle : Bagatelle in G she knows'it'perfectly. “So many things i»wi,exceHent *ar developing left-hand work1 Georgia Morrison, Virginia Wells. Nora Sligh, Winifred Lemkau, Roberta Joht Price, 75 Cents *he aarlv grades, but they also present >n. Marguerite Ritt, Marian Shober, Helen Er Theme from Concerto in D minor to do!” exclaimed the little queen and then r**?®j effective study points in phrasing and icott, Margaret Jameson. Mildred Roramar The Violet' went to work. Pedalling for young students. Letter Box List ieorge O'Kieff, Irene Wallace. Theme from First Movement of The improvement in the little queen Letters have also been received front: THEODORE PRESSER CO. Sonata in A. was wonderful. Not only could she play, Evelyn Johnson. Pauline Keverius. Lilh.ni Oh, what do you think? 1712-1714 CHESTNUT STREET, Weinstein Elinor Grasse. Muldgitha M. I’ve learned a new tune, Rondo alia Turca from Sonata in A. memorize,-and transpose long pieces, but THEODORE PRESSER CO. Weber, Helen Louise Lehman. Ann Louise PHILADELPHIA, PA. . ... O lf-auinvfnn. Yvette Lambert, And I’m practicing hard Sonata, No. 15, in C. she could also, describe, feel, and imagine. 1712-14 Chestnut St., Philadelphia, Pa. JUNIOR MUSIC CLUB, LEWIS, KANSAS More wonderful than these, the young king For another one soon. was very proud of the little queen. Page 158 FEBRUARY ms THE ETUDE

THE etude FEBRUARY 1928 Pnge 159 Educational Study Kotes oh Music Tremendously Successful in the Junior Etude DELIGHTFUL PIECES FOR JUNIOR ETUDE READERS By Edgar Alden Barrell Tiano Instruction IVorks PRISCILLA ON WEDNESDAY

By John M. MATHILDE BILBRO Williams Another day from Priscilla’s Week. Grade 1. A little slowly *■ the instruction of piano begin¬ ners have attended the crowded lec¬ John M. William tures given by Mr. Williams in most of the leading cities from the Atlantic to the Pacific and from Canada to the Gulf of Mexico. The enthusiasm of those enrolling in his Normal Classes and the unanimous agreement that he has a vital, practical message for the piano teacher of today is unprecedented. His sane, clear, logical and suc¬ If you^Iay^his piece exactly . cessful teaching procedures call for a careful consideration of the pupil to f™ ”s' yoSVknowei>owyto,bc.a’VMozaftd ?s, Cpf£ be taught. Here are three of his widely used instructors, each of which Charles Villiers Stanford are superb for pupils of the particular age each is intended. Teachers may was horn in Dublin, Ireland, tostudy about* for'h^wao thlTt' L°r chil,lren secure any or all for examination according to our usual “On Sale” plan. in 1852. He studied with sev¬ prodigy7 tha°U ever " 1 ived'f^That "means*ThaT eve! eral of the greatest English when he was just a boy. lie could play the harp. and German teachers. For Tunes for Tiny Tots many years he was ^professor aifd°fincWTOmporition7C ' “"d lonlP°se lo"8 Winter Sports, By Adam Ctitel flu :-~T~ By JOHN M. WILLIAMS Price 75 Cents famous Royal College of Mus was knighted (made a “Sir”) Dr. Adam Ccibel is une of '-j— A VERY attractive little book in 1924. Among his writing ^ LI the foremost „,„sicia!s of .M■ Philadelphia, IVnnsvIvania Ilf -^-designed to teach the youngest forth. oratono- 1 0 n beginners the rudiments of music .This little Morris Dance is a JL - greatlytew; liked afC Go to sleep, for in a delightful, easy and practical tion and lots of fun to play. In 1 ^ Go to sleep my Ba-by Lou. Moth-er’s sew-ing now for you. By-o, By-o, Dol-ly dear. TunesA'Tiw Tols and four be sure that the left har Usc a 'w1'1 (0l,ch for the manner. The material given is such solutely even. (Jb Staccato note... The trick of as to delight child students and it The last two measures of the dance should be ) u p _ ■f- f -r- played in strict time, the rests being observed as #3 ^ how yo“pU0sha,heip!',esndUf forms an excellent preparatory grade --- but of how quickly you let to any method or instruction book. The child is led into a practical JoWttWtlli* 1 *3 1 .J I5 3 knowledge • of the rudiments,—the Gay Little Swing Song, By R. S. Morrison ^ -U bass clef, the names of the notes, Fern Green, By Helen Dallam their values, an understanding of Fern Green is a fine little -wy— idTZ aml1ofyUt,se,afhdytho1 violin composition with a {*■¥. y~t and % time, bars, measures, tied than the accompai mooth lovely melody. li- ,->4>. iCi'• notes, dotted notes, etc. These lit¬ tle studies and pieces, with their associated rhymes by Jean C. Castle very attractive and everything even to the large, clear printing ’ of the right character to beguile the child into enjoying music more as game than regarding it as a study.

sixtSTof the section in C mak< ■s, play slower). Then, in tb< first Year at the Piano play in regular time again. By JOHN M. WILLIAMS. British Copyright secured A PROGRESSIVE and Modern Begin- Y ner’s Book. Its success was immediate and is constantly on the increase. Some Jongleurs °~927‘~“Theme from sonata in a of the features are: The introduction of A delightful old-world melody. By Gaye S. Allye W. A. MOZART the bass clef from the beginning; the Grade af Andante grazioso M.M.i'=i20 hands play in the five finger position A n. A_3 „ 1 throughout the entire first part; little The interpretative artist of to-day lias ganization ; they were isolated individuals, rhymes are used to give the correct idea a high place in society and takes his place essentially rovers and vagabonds.” They of phrasing and phrasing is taught as the beside the composer rather than behind weie “the genuine bohemians of the art- basis of piano playing. Elementary scale him. This was not always the case, as world.” work and pedal work are covered with at¬ Pierre Aubrey points out in “Trouveres tractive study material. Beginners just past Occasionally, we learn from this author, the kindergarten age make rapid progress and Troubadours.” jongleurs turned troubadour and wrote with this book. It has a particular attrac¬ Says Aubrey: “Just as the modern their own verses and music. “A jongleur tion in the well arranged familiar tunes sculptor has his founder or moulder, and who became a trouvere gained promotion with pleasing, yet easy, support in the the composer lias his interpreter, so the thereby,” but usually the jongleurs ex¬ bass which reward the mastering of the isted “either as companions of some noble first essentials of the keyboard. medieval troubadour or trouvere, poet and musician alike, had his ‘Jongleur’ (or trouvere and interpreters of his works, Also published in four parts or as journeymen on his behalf, hawking (35 cents each) for class use. joglar’) whose profession was to go 5 — .7 -v . 3-—v 3 • 4_2 A—^ ii «• from town to town and from castle to their musical wares from castle to castle. K It 3 2 --. Sometime, too, the great feudal household 5i 5k 2,__ 0 rn 0 »■-! Book for What to Teach at the castle, to gain a hearing—for his own i^~y profit, of course—for the compositions of retained a jongleur who was attached to Older Beginners Very First Lessons the person of some nobleman or king.” the masters of his art.” I f- By JOHN M. WILLIAMS By JOHN M. WILLIAMS The jongleur had to learn his business, I p Price £1.00 The jongleur flourished in tile 12th and — — 11 m/ft -Tl Price 60c however, and our author quotes Lavoix in JNSTRUCTION .works that have been 1.1th centuries, for “in former times these A GOOD general course to pursue in giv saying “it is hard to believe that tliese p || 4 £ jHffcf 1 * mg first piano lessons is outlined it worthies were known by other names; artists of all sorts and conditions, who 1 i u"to 20,"of teemto *?"grown.up"'sffg” this little book. No : * later, in the 14th century, they formed a This method makes it no longer necessity r well k went the round of towns, castles and great value brotherhood and became minstrels.” houses, playing and singing, these girls, (Hence, of course, were created various 4 has all the desirj half strumpets, half musicians, who sang 1 .j.) _ 5 “guilds” of musicians). “But in the time Ks 5 and piped when they- were not turning ^ 2—v of the troubadours and trouverers the somersaults . . came straight from 5, 4. . _ h | ; | 3^———. jongleurs had no recognized status or or¬ the episcopal or monastic schools.” Catalog of the sr Co. by Mr. John M. Willi nunended by hi Send a postal for it. P TheodorePresserCo. chestnut st. Philadelphia, Pa. J oZn'^ Z/klZt pTdZ 2. j l

Other Music Sections in this issue on pages 91, 119% 12 Page 160 FEBRUARY 1928 TSE ETUDE WINTER SPORTS

An old-fashioned Dance by a famous MORRIS DANCE British composer. Grade 1$. C.V. STANFORD

Copyright 1918 by Joseph Williams Limited. Copyright 1927 by Theodore Presser Co. British Copyright secured 0E ETUDE FEBRUARY 1928 Page 168 Page 162 FEBRUARY 1928 the etude FERN GREENS Valuable New Book on Harmonys A delightful little First Position piece for Violin. Like a slow waltz. HELEN DALLAM HARMONY ANALYTICAL and APPLIED By George A. Leighton 'THE first section is sufficiently detailed to make a separate text on *■ “Theory” unnecessary. . A single voice-line is dealt with first—then two voices m combination (Simple Counterpoint. First Species) and finally four voices. The lessons are brief and, in the first half of the book, but one detail is considered at a time. The lessons have “vocabularies”—short melodic patterns admitting of conventional chord-groups. Drill is given in these “words before thev are used in the “sentences” or complete exercises. ‘ Concentration is forced on tonality by the early use of modulation, chromatic and enharmonic alterations, and the association of tones ami chords in all the keys in which they might be found. Conventional rules are presented in their proper places but all reasonable exceptions and practises found in pre-modern compositions are permitted the student. More than customary freedom is conceded in the use of consecutives, resolution of dissonances, space between and crossing of voices, melodic leaps, etc. Analysis is an integral part of the text. The entire chord materia and melodic ornamentations are presented analytically before the actual technic of their practical application is begun. An applied feature is the transcription of musical scores into four-

part ^™”tyquantity of figured basseg> melodies to be harmonized and melodic patterns gives choice and variety in exercise material. Price, $2.50 ■ SPECIAL INTRODUCTORY OFFER TO “ETUDE” READERS $2.10 Post-paid Write for our latest catalogs of TEACHING MUSIC, they are FREE 116 Boylston Street THE BOSTON MUSIC COMPANY - BOSTON, MASS.

SHEFTE RAPID COURSE ... iiAnmii nil IT A ni AVIXW A RAPID SYSTEM for those who wish to play POPULAR MUSIC in the shortest possible IN MU1MN llANU iLAllNu time and also for forming an excellent foundation for those who wish to pursue the CLASSICS.

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218 SOUTH WABASH AVENUE FORSTER MUSIC PUBLISHER, Inc. CHICAGO, ILLINOIS Page 161 FEBRUARY 1928 TEE ETUDE fllE ETUDE FEBRUARY 1928 Page 165

Music Play for Every Day National High School Chorus Concert Orchestra Folio Betty Lou Comic Opera Pianoforte Method for Young Beginners Quartet Contest <0* Publisher’s Monthly L^tt One of the best indications of the widen¬ By R. M. Stults ,,.1-ere are many progressive teachers ing scope of music’s influence in this coun- . the country who will take up At the Music Supervisors Conference in After reading the book and lyrics by Chicago in April, a Conference to be at¬ s the increase in the number of orches- A Bulletin of Interest for All Music Lovers v r 1 ^ Mlusic Bay *'«'r Every Day,” when they i organizations formed during the past Lida Larnmore l urner and^ becoming ac a«t see a copy, and after examining it tended by some 3,000 Music Supervisors few years. No doubt much of this is due quainted with the bright, /^arming plot say “Well, that is the kind of a piano from all parts of the Nation, there will ' ■’ remarkable growth of the motion that works out the niany uimoroussitu- lie a huge chorus of picked voices from fthe remarkabie growth ot tne motion frequent possibilities for beau- ■struction book for young beginners that . -i . ■ i.i i- l- . i.Ii/inp onrl frpfllipnt TV)^Sibllltl6S XOl DCclU r have been seeking and seeking without * ■» ess” And perhaps many of these - , , .. are being brought, but due credit also rhythmic beat of the clever lyrics, it is This body of three hundred trained young teachers have dreamed of trying to out- must be given to the progressive school very easy to understand how the composer, singers will represent the heights of Hne and write such an instructor, but did music supervisors whose efforts are now R. M Stults, was inspired to compose the achievement in High School choral work reanimr a rich reward excellent music he has furnished for this READING ADVERTISEMENTS ot make tl.e attempt because it was too in America. EASTER MUSIC Only the Poor House Could gigantic a proposition for an individual School orchestras, which but a year or comic opera. He not only gives suiteble feature of the Conference there with limited means and limited time to „ twn ota.ipA W!th Presser’s Popular music for each situation, solo and chorus “Let the merry church bells ring, ETUDE readers are, by the very nature of the magazine, people of Stop Him will be a contest of scores of quartets * , f. .. . , f , ;'t s0 „erfectly number, but he has filled it with melody intelligence, ambitions, good taste. They are essentially home lovers. attempt. The Theodore Presser Co., in its selected from different high schools. Orchestra Boot, and mncl itso P«tecuy ’ only from a composer Hence with tears and sighing; An enthusiastic ETUDE reader at dose contact with teachers everywhere, has Music is the flower of the home. Naturally advertisers know this The prizes for this great contest have f* L are Sd with such fluency - -R. M.- Stults,“ Frost and cold have fled from Spring, Chura Chandpur, Imphal, Manipur State, realized the need for an up-to-date in¬ Life hath conquer’d dying; been contributed by THE ETUDE 11 wlth the bem0r WCMnra liv0K: dre - - - and we are glad to say that our readers appreciate our advertisements and Assam, India, writes; structor of this character through the seeking more'advanced'material and and furthermore, no vocal difficulties are Flowers are smiling, Fields are gay, patronize them liberally. High class advertisements often prove most MUSIC MAGAZINE. They consist of to supply this demand that we have presented for amateur singer* This does “You don’t need to remind me of the Queries on teaching problems and the sug¬ ■ Sunny is the weather; profitable reading. Advertising space is too costly these days to be filled . , . 1 , ,. , . i . /-i_t r\~ nrtf mpffn that the music is such as to virtues of the Etude Music Magazine. My gestions and hints that huve been con¬ nature With our rising Lord to-day with worthless trash. The advertiser knows this. He knows that his ad¬ by Tiffany of New York and inscribed eftestra The pieces in it will be sound trifling been - - All things rise together.” only regret is that I did not know of its tained in many communications received vertisement is futile unless he can depend upon “repeat orders.” Many with the names of the winning quartets- sli htl more difficult than those in the that is most effective and satisfying, (Old Carol.) existence earlier. Only the poor house one Of young men and the other of young ^ 0,c^ro ^ but they wiU by advertisements are highly educational. The music lover, the teacher and will prevent my getting it for the rest of ^hTthisViok the child is led into find¬ and young o means demand virtuoso ability for per- On April 8th will be celebrated the the student who looks to higher levels of living will find in THE ETUDE my natural life.” ing it 'a real joy to produce music at the tain of becoming acquainted with Betty „iano and in an engaging way the little 1 his promises to lie one of the mosi {ormance Experienced arrangers Feast of the Resurrection, a season of joy advertisements of many commodities which may prove very profitable Such a spirited letter as this explains exciting events m the musical educational parinK this material and the instr Lou for possible use in the future, as well and song when voices are lifted in glad student is led along through the lesson paring this material and the instrumenta¬ investments. Business philosophers tell us that one of the reasons why why so many thousands of teachers include tion will be the same as that of the previ¬ as for the sheer pleasure of ruminating hosannas for the promise of a life to come. periods, not as forbidding test times, but through such a delightful musical play America is so extremely prosperous is that our public is educated through a bill for an Etude subscription once a ous books in the series, there being five Bright and exultant music is needed for modern advertisements and thus is able to grasp opportunities which are year in their regular statements to pupils. as actual plav time periods. The manner for self diversion. in whicli musical knowledge and playing different parts for violins, the cornets and this festal occasion and our catalog is re¬ sometimes closed to those of other nations. It is the ambition of the publishers to clarinets in B flat, saxophoneOpllOne pdrtajparts, CLL.etc. The advance of., publication cash price is plete with just the material you will want ability are developed inveigles the little tot make every issue permanently valuable During the time thatt must necessarily 50 cents, postpaid. to use. Why not have your choir give a into a keen enjoyment of the game of and always indispensable. elapse while this book is being prepared cantata? We have a number which are mastering the little pieces up to whicli Eclectic Plano Studies effective while not especially difficult; “The “Music Play for Every Day” works and for publication a splendid opportunity is Advance of Publication Offers—February, 1928 afforded leaders to obtain complete sets Compiled by Louis G. Heinze King of Glory,” by Morrison, “Alleluia,” Easter Glory the imaginative mind of the child is Compiled by L by Stults, “Dawn of the Kingdom,” by thrilled with the charming illustrations for their organizations at the low advance -pjie response of our music teacher Paragraphs on These Forthcoming Publications will be found under These Notes. A Church Cantata for Solos, Chorus of publication’ prices. These are 15 cents trons to the announcement of the forth- Wolcoiff, “Greatest Love,” by Petrie and These Works are in the course of Preparation and Ordered Copies will be and Organ that arc found in profusion throughout “Victory Divine,” by Marks. the “playtimes" into which “Music Play for the instrument parts and 30 cents tor coming publication of this book proves delivered when ready. By R. M. Stults the piano accompaniment. •’ • J-A *— —-Lo Then we have some excellent anthems, for Everv Day” is divided. Everyone that there is a constant demand for works many of them gems of the finest type, Gbum of Cross-Hand Pieces—Piano.30c. Little Study Pieces in the Classic Forms We have in preparation a new Easter having anything to do with this work, of this kind. The modern teacher realizes cantata for Church use by the very popu¬ Little Study Pieces in the the value of interpolating appropriate which will add just that touch of the y Lou—Operetta—St r Young Play- including the staff of experienced music Easter Spirit to the church services. Some lar composer, Robert M. Stults. This educators, experts in child instruction, the Classic Forms etudes in the regular course of study. of the anthems are scored for treble voices work will be ready in ample time to be artist, the proof readers and the mechan¬ Indeed, it was the steadily increasing use only and others for male voices only. By Concert Orchestra Folio—Parts, Each .. Music Play for Every Day—Pia rehearsed for the coming Easter season. ical production department members By Fannt Reed Hammond of Mr. Heinze’s previously published com¬ including some of these, variety can be ob¬ The Same—Piano Accompaniment. Method for Young Beginners... It is in Mr. Stults’ usual melodic vein, worked in close contact with each other, There is a very definite tendency in pilations of studies from the foremost Night in Palestine, A—Opera—W authorities that decided his course in col- tained in the musical numbers. Regular Edition. but it is particularly brilliant and tri¬ resulting in a perfect understanding of these days towards a study of the Classics. Special numbers for the pipe organ are The Same—DeLuxe Edition_ umphal in character. The chorus work is what was to lie achieved and the result Music has become an educational asset and lecting this new set. Eclect ic Piano as such, it must have a definite foundation. Studies is a little further advanced than cataloged as well as vocal solo and duet Eclectic Pian New Easter Service—Clark. highly effective but it is not difficult to is tremendously satisfying. Piano Dialogs—Four Hands—Crami When this foundation is built along classic The Progressing Piano Player. Price 80 numbers and directors will do well to send at the Piano—Williams—in sing and there are fine numbers for all This is the last offer of this epochal now for Easter On Sale material. Do not for Class Teaching, Each,.2 of the soloists. The organ part is very work in advance of publication and the lines, it makes future success a certaipty. cents and may be used to follow that forget the young people of the Sunday ratory Exercises in Double Stopp solid but not difficult to play. The text extremely low advance of publication cash This little book of original pieces by Mrs. excellent work. The first book in the iolin—O. Sevcik, OP. 9. is taken from the Gospel according to St. Ilammond is intended to pave the way series is entitled The Piano Beginner and Schools. We have prepared some excellent ty-five Primary Pieces—Wright . price gives every teacher an opportunity Easter Services for them and await the op¬ Matthew, together with some verses from to become acquainted with it. The ad¬ for a study of the easier classic models, the price of it, too, is 80 cents. While portunity of sending samples to you. Our well known hymns. vance of publication cash price is 30 cents, These pieces may be taken up in the Eclectic Piano Studies is in course of folder, “Easter Music,” will be sent gratis The special introductory price for a but no orders will be filled at this price second grade. Each number has an expla- preparation it may be obtained at the very upon request. Plan Now for Summer assurance such as to make classes excep¬ nation of the form that is used together low price of 35 cents, postpaid, tionally attractive to the members. sample copy in advance of publication is after the hook appears from the printers 35 cents per copy, postpaid. with some historic data. This book will Teaching Do not let this Summer come upon you and the binders. Melodious Study Album for A Night in Palestine be very much liked. Each year there are teachers who dis¬ and find you without plans for assuring The special introductory price in ad¬ Young Players a successful teaching Summer. Moods from Nature One does not have to be biased in favor cover for the first time that they can hold New Easter Service for vance of publication is 35 cents per copy, By A. Sartorio of the Jewish people to observe that they the interest of their pupils through the Four Sketches for the Pianoforte postpaid. Sunday Schools This book is very nearly ready, and we are most generously represented among the Summer months and by means of special Studies in Musicianship By Gordon Balch Nevin anticipate that it will be off the press patrons of The Arts and great numbers classes can gain the interest of new pupils By F. A. Clark Mr. Gordon Balch Nevin, well known Beginner’s Method for before our next issue. It is an excellent of Jewish men and women have attained and develop them into the best kind of Select Studies fob the Pianoforte We have in preparation a new Easter organist and composer, is a member of the study book for young players who are enduring fame through their contributions prospects for the next regular teaching By Stephen Heller the Saxophone Service for Sunday Schools which will be famous Nevin Family, being the son of starting in at second grade work. It is in the arts of music, drama and painting. season. In Foub Books ready in ample time for use during the Mr. George B. Nevin, the veteran com¬ Although the saxophone is not looked particularly useful in that it gives plenty The judges who awarded the prize in Teachers should plan carefully and well Edited by Isidor Philipp poser. In his new work. Moods from tlic Sesqiii Centennial competition to Jacob coming season. The author of this new upon as an instrument that is difficult to of work for either hand and also from the for such special Summer classes and defi¬ Probably no writers of studies ever Nature. Mr. Nevin has produced a set of First Year at the Piano Weinberg for his Jewish folk opera, “A service is Mr. F. A. Clark, who has pro¬ play, a good foundational training is fact that it introduces much rhythmic nitely decide to foster such classes year knew the pianoforte better than Czerny very artistic pianoforte pieces in modern Night in Palestine,” passed expert and duced so many successful services in the In Four Parts for necessary if one- hopes to master it. variety, keeping away from the more con- after year. The teacher who makes care¬ and Heller. The studies of Czerny, how¬ past. Mr. Clark has a gift for melody style. While these pieces are modern in Class Teaching Teachers of the saxophone will be glad to ventional lines. Mr. Sartorio is very suc- master judgment favorably upon another ful plans for the first Summer classes ever Jewish contribution in the domain of ever, are largely technical and superficial writing of the popular type. His Sunday harmonic treatment, they are nevertheless, By John M. Williams know this book. Prepared by eminent cessful in his studies for the pianoforte attempted is bound to enjoy gratifying as to musicianship, whereas, the studies of School numbers almost sing themselves and very definitely melodious and character¬ inT ne a teacher of piano authorities it will prove equally helpful in and. this is one of his best books. None musical art. results, but an even greater measure of Heller, although valuable technically, tend carry one right along. This will prove to istic and herein lies their charm. In point There ought notthrough be the coming Sum- private teaching, class lessons or for the of the studies are purely technical, but This opera will have a particular appeal success will attend these special classes, to Jewish folk, holding high the ideals of more toward the development of musician- be one of Mr. Clark’s very best services. of difficulty they lie in about the fifth .. ® _„ 4-^ .-Jf Viol-*-* ctuHpnf Tt erivp.s5 fillfull directions dl have interesting melodic and musical as they become practically a recognized ship and an intimate knowledge of the Tuneful, brilliant and original. grade. They will be published in a hand¬ content. the present day struggles of the young of community affair year after year. sfss asssaw* a s*—* j* s their race doing actual pioneer work in a expressive resources of the pianoforte. The special introductory price for a some volume, each piece being illustrated The special introductory price in ad¬ There can be classes especially for There have been few hooks more popular by a photograph taken by the composer vance of publication is 30 cents per copy, start toward re-establishing the Jewish young piano beginners, classes in musical sample copy in advance of publication is impnt in nroviding instruction with- beginners’ book, than the Opus 45, Opus 46 and Opus 47 himself. investment in p S cllijd has any Copies may be ordered now, for delivery postpaid. people in the lands of their fathers. history for children, classes in musical his¬ 5 cents per copy, postpaid. However, real art becomes something of Stephen Heller. But the works of The special introductory price in ad¬ out any assuran authorities when the work appears from the press, at tory for students and music lovers of all Heller comprise an entire literature in vance of publication is 50 cents per copy, Piano Voluntaries that knows no bounds of creed or race ages and classes in harmony and com¬ be many7 years hence the very reasonable price of 40 cents, themselves. Monsieur Isidor Philipp, who postpaid. A Collection for Church and and the accomplished and sincere student position. Keyboard Adventures for before i will he part of the general edu- postpaid, of music will enjoy the modern musical was a pupil of Heller and who knows his Sunday Use The Theodore Presser Co. will be glad rational system of the country to start all eloquence of this opera, coupled with the works intimately, has selected from all of the Pianoforte Book of Part Songs for Boys First Folk Songs It is surprising to find how much the to send descriptive folders covering works them, material for four books of studies children toward a real musical apprecia- utilization of Jewish folk songs in the By A. Louis Scarmolin with Changing Voices ion through classes in piano teaching. /iolin With Piano Accompanimi piano is used in certain church services music of “A Night in Palestine.” that can be used for classes as mentioned all carefully graded. He has selected onlv and at religious meetings. For these pur¬ above and by acting now, the teacher the best and most attractive. All four Nowadays, the pianoforte beginner Already in several of the larger cities, By Mabel Madison Watson The Theodore Presser Co., which always starts right off with both clefs and begins We have been somewhat delayed in the Aireaii) ,have been,__ nfiimiTK,utilizing the poses it is rapidly supplanting the cabinet will have ample time to become thoroughly volumes are now in preparation and we music supervisors ^ UBUallE„ .__*_,e implies, the thematic r organ._ -_Although there is much music has been under Gentile management is acquainted with the book that is to be to study upward and downward from Preparation of this book owing to the fact 3 published can commend them enthusiastically to all that the author has decided to make it “First Year at . ^hiThas tcrial of this little work is taken from suftable to be used as voluntaries un me extremely gratified to have the oppor¬ utilized in the instruction of the classes. teachers and students. Middle C. He no longer stays on the tunity of participating in the publication white keys for any considerable period, almost twice as large as originally planned. Itl d for this immensely various folk songs and familiar tunes. pjan0, it is necessary to collate it from Most certainly, a thorough acquaintance The special introductory price in ad¬ resulted in a denJ_4.wii^frtr Jn parts that Miss Watson, whose Bel Canto Violin various sources. We have already pub- ctf this opera. It will be issued entirely with the method or text book to be used hence, he must have abundant material to So that it will now contain ten numbers, upon a subscription basis for the first edi¬ vance of publication will be 60 cents each t’liese are ail new and most attractive n class1 1 instruc-?_x_ Met.liod e of tVipthe most freouenlfrequently1 used1 ]jshed t / successful books contain- will enable the teacher to proceed with an supplement the work of the modern in¬ will make it easier for u iu elementary violin instruction, has gath- jng material of this nature; namely, Tran- tion and each copy of the first edition postpaid for any of the four volumes ’ struction book. The little studies entitled, Pieces. They are either in two, three or will be numbered and autographed by the Keyboard Adventures. are intended to four parts, but of course if necessary, any composer. The subscription for the regu¬ ■ them may be sung in unison. All are the class pupils in _ , .,,, tilc most melodies and arranged them for tiny tots; ,,resent we .have a new book in prepara- help out in developing a .sense of what point that even the P- convenjent to a number of them are to be played on the tiorlj p^ino Voluntaries. We are making lar edition is $5.00 a copy. The subscrip¬ may be termed keyboard geography, jn limited vocal compass, suited to chang¬ tion for the De Luxe edition, which is Genius is mainly an ing voices, but they are exceedingly tune¬ limited income wn , .ration. Any open strings. The piano accompaniment excellent progress with this book and we these studies are particularly interesting „,w . give the child a mu. , and jn ad_ so written that occasionally a second hope to have it ready soon. All of the bound in leather, stamped in gold and and students will find their working out ful and of such a character that they will with gold edges is $10.00 a copy. affair of energy ’ appeal very strongly to those by whom part may be puremise^ g < ^ cach v;0]in may participate, giving the teacher uurnbers have been selected very carefully a positive pleasure. Their use will prove be sung, vance of publication l Qr another pupil an opportunity to play and they will be found just right for the Anyone desiring further details about very beneficial. n is intended that they shall be sung. this opera is invited to request a folder Lhe texts also are very bright and original. part is 20 ceitts. 57^dj the work along and thus lend encouragement to the pUrp0se. -Maurice Arnold. Fhe special introductory price in ad¬ editorial work to ao wjll not be young player. • The special introductory price in ad- that will be sent to anyone interested. Hie book will be ready in a very short vance of publication is 30 cents per copy, into four parts, tn blication as The special introductory price in advance of publication is 50 cents per copy, postpaid. time. intinued on advance of publication J pubUcation is 60 cents a copy, - The special introductory price in ad- long as is usual with < Continued on Page it Vfmce of publication is 30 cents per copy, Postpaid. publications. ETUDE FEBRUARY 1928 Page 167 1'0

Page 166 FEBRUARY 1928 THE ETUDE World of Music (Continued from Page 87) Album of Cross-Hand Pieces Valuable Gifts Given for New Answers to for the Pianoforte Etude Music Magazine SMETANA’S “BARTERED BRIDE”.has ha its one thousandth performance in Prague. An Cross-hand playing has always proven Subscriptions (dan You êll? nTT W snlendSroveyrmirn °n 'heSe Sh°reS’ eXCept by !t A Fact that Staggers an attractive feature in piuno technic pro¬ ^5he /inners in SO,000 Singers You can secure many attractive and use¬ (SEE PAGE 87. THIS ISSUE vided it Is not overdone. In this depart¬ ful articles of standard merchandise with¬ ment may be included also certain pass¬ out one penny cash outlay, if you will ages in which the hands alternate. Our AWARDS have been made in the famous Atwater Kent 1 Schubert. The poem is from bring THE ETUDE MUSIC MAGA¬ NINETY MILLION PEOPLE, or nearly one- One’s Imagination! new volume of cross-hand pieces will con¬ Foundation Contest. The two winners who will each ' Shakespeare’s “Two Gentle¬ tenth of the one billion inhabitants of the globe, ZINE to the attention of your musical are estimated to receive some form of radio pro¬ tain representative numbers, chiefly by receive $5,000.00 in cash and two years’ free scholar¬ friends. Below is a partial list of rewards men of Verona.” modern and contemporary writers unci it gram every day. This is based on the report that ships in leading American schools of music are: offered. Drop us a post card for large 2 “The Pipe of Desire,’ by about eighteen million sets are now in use. Two will be uniform in style and point of diffi¬ hundred million sets would be necessary to serve illustrated circular showing other gifts. ‘ Frederick S. Converse, on culty with the various albums in our series Wilbur Evans—Philadelphia, Pa. the entire world population, on the basis of five A TOWERING STACK of compilations devoted to special tech¬ SANDWICH PLATE—Fine English March 18, 1910. nical purposes. As in the case of the Agnes Davis—Denver, Colo. China, daintily decorated in rose, at¬ 3. When the beauty of the others, this new volume will contain actual tractive detachable silver plated handle. ' music is expressed as much Eleven Miles Up in the Air Only three new subscriptions. THE “PELfiAS ET MELISANDE” of De¬ pieces, not studies, and the cross-hand One significant fact is that Wilbur through the perfection of its bussy had its first performance in Holland, when element will predominate. Evans, who studied for two years at the Wilbur Evans SALT AND PEPPER SHAKERS—of form as through its emotion¬ it was produced by the Wagner Society of The special Introductory price in ad¬ Colonial design, Period Plate. Three Amsterdam, on November 10th last. Would be Formed if One Pile vance of publication is 30 cents per copy, Curtis Institute in Philadelphia, under Horatio Connell, new subscriptions. al content. postpaid. was trained by the identical exercises employed by Mr. BONBON DISH—this reward would de¬ 4. The Opera and the Oratorio. Were Made of All Copies Sold of Connell in making his now famous book, “Master Vocal 5. Largo for Grave), Adagio “TANNHAUSER OVERTURE” won first Concertinos No. l and No. 2 light the most fastidious. It is designed place in a “request vote” on the Edison Hour, Exercises.” The wonderful success of Mr. Evans, his voice in Period Plate, finished with gold lin¬ (or Lento), Andante, Mod- Violin and Piano with von Suppe’s “Poet and Peasant Overture” that was heard with surprise and delight in millions of ing. Only one new subscription. erato, Allegretto, Allegro and in second and Schubert’s “Marche Militaire” in By F. Seitz third favor. Of composers, Beethoven was first The World's Outstanding homes, his extraordinary finish, will bring to Mr. Connell’s SUGAR BOWL AND CREAM Presto. choice, with Schubert, Victor Herbert and Wag¬ As a means of introducing the student PITCHER—of Georgian Period Plate, e II, of England, book a prestige which makes it highly important for all 6. King Geoi ner following in order. Four thousand listeners Musical Educational Work to the larger compositions in the classic lined with gold; five new subscriptions. irmance of the submitted an opinion, of whom thirty asked for style, the two Concertinos by Frederic vocal teachers and singers to investigate this remarkable jazz, while one hundred and thirty-five condemned ASH TRAY AND MATCH HOLDER— in London, in Seitz have long been recognized as stand¬ Horatio Connell book at once. Price, $1.00, postpaid. “Messiah” heavily nickeled with colored glass lining. 1743. ard material. We are about to add to the Only two new subscriptions. Presser Collection the Concertino No. 1 in 7. Schumann's Two Grenadiers. THE D, Opus 15, and the Concertino No. 2 in G, CIGARETTE BOX—this box is made of 8. Turn over f the page) quickly. Opus 13. These compositions are also . Book of Indoor Marches for Preparatory Exercises in hammered polished brass witli ccdur lin¬ ing. Will hold SO cigarettes and keep 9. Lillian Nordica. known as Pupils’ or Students’ Concertos. the Pianoforte 10. From its inventor, Adolphe Standard Graded The No. 2 Concerto may be played all Double Stopping them in perfect condition. Only two This is • M_ “Amici della Mus: First Position while the No. f Concerto is th™S \S no,t. to be ’\compilation hastUy For the Violin new subscriptions. Sax. for a Sonata for Violin and Piano, or i chiefly in the Third Position. When well togfh,e.r of ?*lst‘ng mater!al that Trio. The Competition closes April 30,_ By O. Sevcik, Opus 9 ELECTRIC FLASHLIGHT—this exceed¬ and particulars may be bad from Amici .played . they. make> very attractive__ and ingly useful and indispensable article is WATCH FOR THESE TESTS OF YOUR STORE Musics, V’-i |-=-- *-ri: 30, Palermo,- Sicily. Course of Studies showy numbers for the Student Recital. of indoor marching. The compilers and editors are searching through the tremend- To the number of excellent Sevcik a necessity throughout the house; safe, OP KNOWLEDGE, APPEARING IN EACH The editing on these two compositions will studies which have published from sure and reliable. Full nickel finish. ISSUE OP “THE ETUDE MUSIC MAGAZINE.” For the Pianoforte be done in the same careful, painstaking to time, we are about to add another; the Only two new subscriptions. THE WALTER DAMROSCH FELLOWSHIP manner which has been a feature of our where a march, as originally presented by Preparatory Exercises in Double Stopping LADIES’ MEMORANDUM PAD—ftn- of One Thousand Dollars per year arid an addi¬ recent additions to the Presser Collection. tional one thousand dollars for traveling expenses, ORIGINALLY COMPILED BY Tim s^cial0?ntrodiIctor1yenricc*for*C'th'n tons’ and°Uthent0depardtsaVromea for ‘he Violin’ Opus 9. This OpusTs a ished in brown leather; something to for the American Academy ôf Rome, ^ts art- Concerto is 35 cenGnerconvo/fio dlaracter satisfactory for indoor marches *°“derfully effective method for securing slip in the handbag. You will wonder W. S. B. MATHEWS AhlD THEODORE PRESSER citizens of the United States are eligible. All for both postDafd ^ in other sections> special arrangements are tbat. mueb s°uSht «^r asset in violin how you ever did without It. Only one ’ P°8tPaK1' being made or the composition is satis- Paying—absolute purity of tone in double subscription, Aural Tests rurp0îclrTmaybbeihadet\ARjsL1Sfeue^ factorily ended with the parts that can stopping. Many of the studies by Sevcik sey, 101 Park Avenue, New York City. Why Have So Many Copies of “The be utilized. This means that there will be become almost indispensable and By Dorothy Bushell no waste material in the book. Some of Jh®se Studies Double Stopping surely Standard Graded Course” been sold? the numbers represented are entirely crea- |jelon& to that group. The editing will be It is probable that many teachers give AN INTERNATIONAL CONTEST for a tions or adaptations for indoor marching. ône by Otto Meyer, who has edited a •Hymn of Peace” is announced, under the patron- Why Is Its Popularity Continuous aural tests only when the student is pre¬ rgc of leading musicians, churchmen and states- Anyone who has had the* experience of number of the other well known Sevcik paring for a particular examination. This tnen of France. Details may be had by address- (T and Ever-Increasing? learning that all marches are not suitable works published in the Presser Collection, e Presser means a period of intensive work for botli in„ Kmile Caen Dhurner, 7 Place Saint-Michel, for pacing, drills, calisthenics or figure The special introductory price in ad- Personnel teacher and pupil during the time immedi¬ Introducing o work within limited size halls or rooms -e of publication is■ 35— c i copy. Thousands of Teachers Know Why. will appreciate this new volume, which is ately preceding the test. patrons to toe postpaid. Introducing our offered this month for the last time in patrons to the Aural training should form a regular Every Teacher Giving Piano Instruction highly • trained THE PADEREWSKI PRIZES of one tho members o/ our advance of publication. The very fact highly trained part of every lesson irrespective of im¬ sand dollars for the best orchestral work a Should Know the Valuable Answers that this has proved to be one of the most Piano Dialogs members of our pending examinations. her' hmUusic,e\faTlSeHelnbbornPTomp°oser , popular piano collections that we have staff who serve A method that the writer has used with To These Interesting Questions. had in advance of publication for quite By Helen L. Cbamm them daily. one born abroad of American parents, are aga: some time, has been one of the reasons good results is to sing over the new pas¬ open for competition. The competition closi Mr. Eugene J. Porter Is a young sages which occur in a fresh composition March 1, 1928. Further information from Mr This, the original of graded course of study for the piano gives vital material man who came with the Theodore why our Editorial Department has been Four hand pieces which consist merely Elizabeth C-Allen, 296 Huntmgdon Avenue, Be for use in teaching the piano, arranged in logical, progressive order for prac¬ Presser Co„ in February, 1028. The taking unusual pains with its preparation. of a raelody in one Part with_ Many thousands of dollars a the pupil is studying. For example, in¬ tical and successful instruction from the very beginnings to the highest degrees position he is filling as assistant The advance of publication cash price Panlmer>t in the other, although some- spent yearly by the ... - stead of saying “Next bar, A-CS, left to the circulation manager of The is 30 cents a copy, postpaid. tlmes necessary, have not the educational Presser Co., in producing helpful i Etude was created for a two fold catalogs. illustrated. descriptive hand, A-E, right hand,” when the student e foundation of this ‘ 'Standard purpose. First of all, to relieve n value of duets in which the parts are and classified catalogs and folders hesitates, try singing the' melody of the HARVARD STUDENTS are offered a prize i the circulation manager who is a PLAYTIME Book slightly independent with something for that prove of great value to teach¬ the excellent study material through ; abundant, clear and sufficient i 1 “usy executive, as well as a planner ers and active music workers. passage instead of playing it or naming morerSvokes.a T^tmpeS tions and notes and furthermore the t cher is helped tc f big advertising campaigns and By Mildred Adair aacb Player to do. Miss Cramm’s new Then there are countless letter¬ the notes. pupil through the use of the attract!' | secondly, to insure the circulation lr “^mbridge, purposes that are suggested department in future years having This little book will .he found very use- the vert ™ay be used as heads. office forms, bills, order | Whatever the interval may be from the an individual able to carry the de- ful to supplement any modern instruction h J50'* f f l,ets for young blanks, statements, etc., that at the teacher’s discretion. partment along in the absence of book or method. It starts right out from ml • f ,about e thrust excessive overhead | nave a true “ear;’’ but the method here Philadelphia High School, one of “! vance of publication is 30 cents per copy, costs upon our patrons. A very helpful booklet “Guide to New Teachers on Teaching the Pianoforte " the great educational institutions Offers Withdrawn suggested will go a long ways towards the telling how to use "The Standard Graded Course" and listing many popular of Philadelphia's school system and postpaid. We do no printing ourseb cultivation of quick sight-reading and ac- im Memorial Fou-'1-”"’’ mis is op he is now a student in the evening There are two works that cannot be con¬ r volume of printing is si classes at the Wharton School of Twenty-Five Primary Pieces for tinued any longer at the low advance of - require so gigantic a pi__ curate judgment of intervals. tile University of Pennsylvania. publication cash price, because they are establishment that it would in- Here he is supplementing the busi¬ the Pianoforte volve us in many problems " ~ ness knowledge he is gathering in now on the market ready for delivery. than the proper conduct of i THEODORE PRESSER CO. the study of advertising, mer¬ By N. Louise Weight - l- nut an Anthem amKBook. , by business to do our own pi chandising and business corres¬ Mr McLaughlin came wi_ ___ Besides theology, music is the only art VIRGINIA COMPOSERS a 12-1714 CHESTNUT ST. PHILADELPHIA, 1 pondence. This will prove to be one of the. best Kdward ShJppen Barnes, this being * Tbeo1 - - .n the Fa„ hooks to use after any short instruction Kenerous compilation of anthems to be capable of affording peace and joy of the Everything in Music Publications In introducing this eapahle and ! °f 1923. equipped h ability and inia student compose s q{ fifty do, efficient young man, we also are book or introductory method. These 8ung 111 There is a great value in experience to take „„ __ etfri like that induced by the study of the giving our patrons an insight into Twenty-Five Primary Pieces may be re- "unlor ch°ir work and with such a eollec- "0 how holds, because of 15 years s«ence of divinity. The proof of this is L, ArTs^g, by in In grouping all the millions of copies of "The Standard the way in which the future of this of experience in the printing and ic Gubs. Aheh3 nS. „A«iraI overture of ®°r'L“r tifZu - ood humor and willingness. in u °thcr arts> Proclaiming the IVord JrfaasSrS&SSEe The special introductory price in ad- famish^’exceUent11veMcle’/or Til TT >. the Psalms and /iyw»w.”-rMARTiN ^"S.rd'P" 35 .»a «ert.«reClVhe Luther. * Page 168 FEBRUARY 11)28 THE ETUI)

qA %?al oAsset to oAny (Hhfltrmaaftr 0 (iwii? ’ r-An TUC iv*r*MTl-J OP APR TI. 192ft School, Church or Community- MORNING SERVICE EVENING SERVICE

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No. 2.Mendelssohn Take advantage of these special offers of really fine magazines combined designed for use in connection with instrumental study as well af with Magnificat and Nunc Dimittis in with THE ETUDE at 10% to 25% less than regular subscription price. lessons in voice culture or in the development of reading ability with chorus B-flat .Stanford or choir members. Festival Te Deum. The home without magazines is just as incomplete as the music ANTHEMS ANTHEMS Music Teachers, Chorus Directors, Choir Leaders or Accomplished Active (a) Rejoice and Be Glad.Berwald room or studio--- without THE ETUDE. Here is your opportunity Music Workers seeking a plan of instruction for sight singing classes or (b) As It Began to Dawn.... Vincent (b) Now is Christ Risen.. F. A. 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POSTLUDE POSTLUDE Organ: Minuet from Symphony in The teacher seeking greater fields of endeavor will find immense possibilities Organ: Hosanna .Wachs ETUDE MUSIC MAGAZINE.... E-flat .Mozart-Barnes Piano: Menuet from String Quar- WOMAN’S HOME COMPANION. in organizing classes for instruction in accordance with this method. Piano: Cujus Animam.. . .Rossini-Kuhe CHILDREN MUSIC MAGAZINE. CHESTNUT ST. ETUDE MUSIC MAGAZINE.*2.0U’ Theodore Presser Co. Phila., Pa. CHRISTIAN HERALD (52 Issues) 2.00 : Album Leaf. .Meyer-Olbersleben ANTHEMS ETUDE MUSIC MAGAZINE.$|-00'] (a) All Thy Works Shall Praise Thee .Baines (b) Saviour, Like a Shepherd Lead ETUDE MUSIC MAGAZINE.$2.00' .MS°p“nney MAGAZINE. JUNIOR HOME MAGAZINE .... 2.50 _ OFFERTORY collier"su;natl.",weekly . God s Love .Tackson (A. solo) ETUDE MUSIC MAGAZINE.$2.00' ETUDE muuiu MAGAZINE. 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The Heave e the Glory of God • Lehre, MODERN PRISCILLA' ’ ’ ’ (S.* solo)' ETUDE MUSIC MAGAZINE^ “Great Masters as Students—Grieg” POSTLUDE AMERICAN BOY ’ POSTLUDE Organ: Evening Pastorale.Lemare ETUDE MUSIC MAGAZINE.$2:00 By HERBERT WESTERBY Piano: Procession of the Sirdar ■ Arthur^Foote Ippolitoff-Ivanofl Eminent English Musical Critic and Writer ST. NICHOLAS PRELUDE ETUDE MUSIC MAGAZINE.$2.uu" PRELUDE A AI Oir HACA7IWF 3 flfl “Rimsky-Korsakoff as a Teacher” Ave Maria ...Schubert-Marcosson ElUlit muuiv THE dance magazine. (Violin, with Organ or Piano Accpt.) Organ: Berceuse .Barrel Piano: Song Without Words. REVIEW OF REVIEWS. By One of His former pupils. BORIS LEVENSON. Op. 102, No. 6.Mendelssohr ANTHEMS ETUDE MUSIC MAGAZINE. FARM AND FIRESIDE..... ANTHEMS etude music- “Fairies in Music” $ o (a) D>, ’Tis Night.Waghorn. golden book (b) The Lord is My Shepherd A Charming Review of the Very Delightful Works of Master Composers an. OFFERTORY George Nevir DO NOT INCLUDE CANADIAN OR FOREIGN POSTAGE Search Me, O God. Marks By GRACE OVERMYER (Duet for B. and A.) OFFERTORY '.tLCTORIAL,REVIEW-) TO ANY CLUB Thou’rt Like Unto a Flower.Rubinstein " LADIES HOME JOURNAL POSTLUDE (Violin) 'SATURDAY EVENING POST LISTED •S .COUNTRYrmulTRV GENTLEMAN Organ: Grand Chorus in F...Sheppard POSTLUDE “THE ETUDE never disappoints,” writes one friend; “There nano. Morceau Characteristique Organ: March of the Flowers. .Harker Piano: Serenata .Rheinbergei With Remittance Direct to is always a good slice of real meat in the sandwich.” end Orders Witn -- ^ _ T E MUSIC MAGAZINE. Theodore^ Presser Co. The Journal of the Musical Home Everywhere Write to us for prices on any CHURCH MUSIC magazines not listed. 1712 CHESTNUT ST., PHIA., PA. H Theodore Presser Co., 1712-14 Chestnut St^PhiladTlphia, Pa. Beauty - Bone-Size

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