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

10-1-1919 Volume 37, Number 10 (October 1919) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 37, Number 10 (October 1919)." , (1919). https://digitalcommons.gardner-webb.edu/etude/662

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PRICE 20 CENTS OCTOBER 191Q $ i.75 AYEAR OCTOBER 1919 Rage 609 THE ETUDE On December 1st the Price of THE ETUDE will Advance to $2.00 a Year ft Page Devoted - •

RENEWAL.-No receipt is sent for renewals. On to the most SPAULDING ALBUM Subscription Price, $1.75 per year in United PRESSER’S MUSICAL MAGAZINE the wrapper ef the next issue sent you will be States, Alaska, Cuba, Porto Rico, Mexico, Hawaii, printed the date on which your HptiSn Philippines, Panama, Guam, Tutuila, and the City FOR THE PIANOFORTE of Shanghai. In Canada, $2.00 per year. In Eng¬ land and Colonies. 10 Shillings: in France, 12 Francs: Liberal premiums and cash deductions are allowed for Price $1.00 in Germany, 10 Marks. All other countries, $2.47 Recent music collection of intermediate grade. Spauld- psr year. ing's work is so well known that it needs t._ ._ Single copy. Price 20 cents. Tumfy MANUSCRIPTS.—Manuscripts should be addressed to THE ETUDE. Write on one side of the ,h?eta“enlsy(;lic^°3' duction here, and the many lovers of his music will REMITTANCES should^be made by post-offic^ mex- welcome the opportunity1 to possess so many of his Although* every1possible' care is” tak’en'"tChe^pubh«hers^ar^not Publications successes all in the one Volume. A MONTHLY JOURNAL FOR THE MUSICIAN, THE THE PROGRESSIVE MUSICIAN IS COMPOSITIONS FOR THE PIANOFORTE ouae ^ ADVERTISING RATES wiU be sent on^pplicanom DISCONTINUANCES—Owing to the educational MUSIC STUDENT, AND ALL MUSIC LOVERS. character of THE ETUDE a major ity^ of it spreaders HERE GIVEN A RESUME OF THE FAVORITE COMPOSITION! BY WOMEN COMPOSERS Edited by James Francis Cooke NOTEWORTHY MUSIC WORKS PUB¬ lishlrs are pleased tl extend'eredi t covering a Twelve frilowi^luaefreCedinK dlt' 0i “*Ue t0 in,Ur' ,n,ert,0“ FOR THE PIANOFORTE Price, $1.25 Months’subscription beyond expiration of the paid- Vnl YVXVil No 10 OCTOBER 1919 LISHED DURING PAST MONTHS By Carl Bohm Price, 75 ceijls Women composers have made wonderful strides up period. Those of our subscribers not wishing to Entered as second-class matter Jan. 16, 1884, at the P. O. at THEODORE PRESSER CO., Publishers, in the domain of art. There is a delicacy, a refine¬ avail themselves of this convenience of remitting Philadelphia, Pa., under the Act of March 3. 1879. 1712 Chestnut Street, Philadelphia, Pa. BY THE Bohm’s music supplies the kind of material later will Dlease sind a notice for diacontinuance. Copyright, 1919, by Theodore Presser Co. is invaluable in teaching pupils who demand ment, and a* tenderness displayed in the compositions dies. Many of Bohm’s compositions contain of women composers. This album contains some of Theodore Presser Company the best. representative compositions of successful PHILADELPHIA, PA. does so near the folk song type that they neces^at have become extremely popular. There are twenty- women composers. four brilliant and popular gems in this album that have been carefully edited and revised. They are CELEBRATED COMPOSITIONS chiefly of intermediate grade to moderately ad¬ The World of Music vanced. BY FAMOUS COMPOSERS Price, $1.00 Teaching Works for ALBUM OF DESCRIPTIVE PIECES This collection is the result of careful selection Ernest Bloch, the Swiss composer, cent novelties in tlie musical world. This with the aim to incorporate in one volume such com- was the winner of the $1,000 prize for the society gives special instruction in the vari¬ Elementary Instruction Price, $1.25 rsity, : .' will r cations best piano and violin sonata, awarded by Mrs. positiohs as every good pianist delights in. The best Frederic S. Coolidge. ous forms of Folk Dances, including Country tlie $1,500 annual scholarship for study KeanwhUe,thBrHr«stctPIfi»B*«ninstrumental pieces furnish excellent recrea¬ the hands of the faculty before February 1st l.ondnn, Knglu PAUL WACHS’ ALBUM Prelude, Rachmaninoff; Polish Dance, Scharwenka; of next year. lie valiant_ . littlelittl republic_ _ tion material for little olayers and singers. This Traumerei, Schumann; Reverie, Schutt; Simple the standards for church n_,__ work is the latest of Miss Cramm’s popular books serve the characteristic modes intact against I artists to participate, and so great "for little pianists. For the Pianoforte Price, $1.25 Aveu, Thome;. Chant Saris Paroles, Tschaikowsky, the incursion of the unworthy and trivial. panv numbers forty, all opera singers and was the disorganization of the productive New York has had for some years, at Co¬ actors. It is managed by the Japanese com¬ powers of their war-torn country, that their All lovers of good drawing-room music will be lumbia University, a well-endowed cha clothes had to he made in America and Eng¬ delighted with this excellent collection. It has been the Opera, which has been placed at their poser, Koscak Yamada. land. Austria so systematically swept the LITTLE TUNES FOR LITTLE PEOPLE disposal by the French government. The or¬ laud clear of all it possessed that the Czecho¬ prepared with the greatest care and contains nine¬ chestra will also visit Belgium, by the invi¬ Riclmrd Epstein, tlie noted pianist teen compositions carefully chosen from the best slovaks must build up from the very ground FOR THE PIANOFORTE I Vocal I tation of King Albert. After a tour of Eng¬ i riot rnlkei rell-Ivii, and accompanist, died at I.ennox Hill their vanished industries. Under these trying and most popular numbers of Wachs. They are land the orchestra will proceed to Italy, play¬ Hospital on August 1st. He was born iu circumstances, the artistic success of the By Francesco B. DeLeone Price, 75 cents ing at all the large cities. Mr. Walter Dam- vho formerly was the prima Vienna, 1800, and studied mus' chiefly of intermediate grade (Grades III-V). rosch is the conductor of the orchestra. H ?L*d ofNII*°lich Opera ^Company, died^ at festival was tremendously to the credit of all This new work consists of a set of a dozen studies, Wachs is one of the foremost French salon com¬ STANDARD SONG TREASURY concerned. As an index of elean-ent char¬ each of which has a characteristic title, all of these dehut iu the part of Elsa in Lohengrin, at acter and ability, a critic in The Violinist posers, and this collection is, indeed, a notable one in A Collection of Songs Price, 75 Cents Jolm William Taylor, one of tlie best the Academy of Music, taking the part at a "The same thoroughness characterized being so tuneful as to be considered a real piece. music publications. hell founders in the world, died moment's notice as substitute for another ward divorced. His admirable work as an s their sartorial preparations, They cannot fail to interest the student. The Studies This is a fine collection of songs chiefly for the recently■cently in London, England,_r.nj a singer. She sang in oratorio, under Leopold accompanist led him to specialize in that middle voice, both sacred and secular, and is printed xty-five. In addition Dainrosch, and became a member of the branch, and he toured extensively as accom¬ are graded and carry the student through the keys, itricate and delicate pi- panist for Fremstad, Julia Culp, Elena Ger- major and minor, and lead up gradually to the Third from special large plates. It consists largely of the American Opera Company. Later she toured Hnggirro Leoncavallo, the com¬ ig, lie conducted experiment both here and in England. She married Ed- harrif, Elman and Kreisler. He was vir- poser of "II 1’uKTliacci," “Zaza,'’ and Grade, but start in the Second Grade. 1 Violin 1 works of modern writers, but includes some selec- under control its —ard,de Komlosy, " ' " ' ' other well-known operas, is dead at Rome, tions from the standard writers. The songs are this, he Invented special thereafter lived ' abroad, in the cessful solo w’ork, besides teaching and also In the (list year of his age. He will be mostly of the intermediate grade. It is just the book lis methods of tuning it is .-jerica, editing various piano compositions. These known best by the virile and dramatic Pro¬ BIRTHDAY JEWELS COMPREHENSIVE VIOLIN METHOD for general use. itil her dentil. editions are ranked as standard. logue to Pagliacei, which has been sung and enjoyed by many audiences, both in opera VOCAL OR INSTRUMENTAL By Mr. and Mrs. Frank T. Benjamin Price, $1.25 and recital. Although he wrote other operas, By Geo. L. Spaulding Price, 75 cents this one was the only one that “arrived.” . The one method among all violin instructors which John and Denison Taylor, of Loughborough. Leoncavallo was one of the early composers An attractive new volume of little pianopieces with is really adapted for “self-instruction.” A complete | Biography [ _ of what we know as the “Young Italian” verses which may be sung ad. lib. The verses are system of diagrams and pictures shows the exact ' pleasing and of the type that appeals to the juvenile. position of each finger on each string in all the As the title of the book indicates, there is a little scales. A book which does something toward light¬ MUSIC MASTERS, OLD AND NEW piece for each month of the year with verse for the ening so pleasantly the labor of routine instruction. By James Francis Cooke Price $1.25 appropriate birthstone. The numbers are easy„ - Besides the usual scales and exercises, the book con- play, very melodious, and similar in style and gi This collection of unique biographies is one that to those in Mr. Spaulding’s successful book, Ti l be iW1- W'th dellght by al!- The romances of and Rhymes. - charm ofnDjhn music f""f itself, *]? b,tS)are 'all !| leincluded human in the most‘he fascinating manner. Best of all, the work tak« in composers about whom very little is published in Piano—Four Hands “d >b°« tt&S MUSIC LOVERS’ DUET BOOK Price, 75 Cents PRESSER’S STANDARD An album of twenty-six four-hand pieces. This ORCHESTRA BOOK 1 Organ [ collection is one of the best obtainable for general use in ensemble practice, sight-reading practice and Price of each part, 25 cents recreation pjaying. The duets are both original Piano Accompaniment, 50 cents AMERICAN ORGANIST four-hand pieces and transcriptions from classic, A collection of fourteen gems that every averaee Price, $2.00 modern and contemporary writers. Thev are largely orchestra organization should possess. The orches¬ of intermediate grade and well balanced’throughout. comnosersCtl°All0f.i,Or8an ^positions by American trations are exceedingly well made and are of easv e ‘be numbers are chieflv of inter¬ Includes excellent numbers by popular writers such or intermediate difficulty throughout There are as Sousa, Holst, Stults, Morrison, Lindsay and others. wealth nfmi*7 a."d. C0Ver Pract>ca'ly all styles. A stirring marches, pleasing waltzes, and reveries that Pieces, Voluntaries and Recital A few classics by Mozart, Schubert, Gluck, etc., are will be well accepted wherever used. Each Dart ic a also included. separately bound book. be found in venient oblong shape.

An Opportunity to Ascertain the Real Worth of the I Publications of the Theodore Presser Company To afford a better opportunity of judging the genuine value of the books listed on this page I we will gladly send any of them for examination. To further assist in the selection of music > we have catalogs covering every classification. We will gladly send any of these gratis’ { THEODORE PRESSER COMPANY

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Furnishes Complete rMOCiurnes MOZART, W. A. Sonatas, 2 vol... each j REED ORGAN PLAYER. Collection of -1*"1* of imitators, still the one universally used Selected Work. (I. Phillip) “ Sonatas, Complete. . ;. , BACH, J. S. Eight Short Preludes and Fugues.. 75 course of piano study, combining and suggest¬ “ Album of Favorite Compositions...... CLASSIC AND MODERN GEMS for Reed Orgso 1 25 or Pipe Organ. ing everything essential for acquiring a perfect LANDON^C. W. prgmMnWiet^..^.--”— > 50 knowledge of, as well as finished skill in, piano NEW AND MODERN SONATINA ALBUM 1 PARLOR and SCHOOL MARCHES . • ] STAINER, Dr. J. The Organ 1 CRAMM. H. M. New PIANO PLAYER’S REPERTOIRE OF POPULAR STANDARD ORGANIST. Pipe Organ Piece. Little Pianist., PIECES. 39 Popular Pieces. “CP Reed Organ Method, Paper , , • . 1 25 WHITING,GEO. E. 24 Progressive Studies lor the For children. To l POPULAR HOME ALBUM. 46 Pieces. “ School el Reed Organ Playing, 4 vole., 4 grades, ^ ^ Pipe Organ. To follow the elementary slag. POPULAR PARLOR ALBUM “ The Beginner’s Pip. Organ Book. A standard POPULAR RECITAL REPERTOIRE. 31 Pieces OREM,"' W. The Organ Player-Pipe Organ ^ a 8 Streabbog. ROGERS, J. H. Toy Shop Sketches ...... PARLOW, E. First and Second Grade Study Piec DUTTON, THEODORA. The Fust! ROWE, DANIEL. Tone Stories for Boys^.^d Girl. EASY DANCE ALBUM PERRY, E.B. Lyric Studies. ENGELMANN, H. 24 Pieces for Sm kindenCarten'work. Lively and pleasing. “ Album of Easy Pieces. 26 most SALON ALBUM. Favoriie Parlor Pieces . MUSICAL THEORY, REFERENCE PHILLIP, I. Exer SCHOOL AND HOME MARCHES. SCHUBERT, F. Impromptus. Moment. Musicals. BOOKS, GENERAL MUSICAL LITERATURE 1 School of Technic. An exhaustive compen¬ FlKM rARLUR .. dium of modern technic. I FIRST RECITAL PIECES 1 The New Gradus ad Parnassum, in eight OREM.P. W. Harmony Book books: ——- ™NSTHE CLASSICS BALTZELL, W. J. History ol Moaic. '• The plainest and most e Book I, Left Hand Technic; Book II. Right Adopted by kading^schoo^ cjdkgtjj'Ud book ever issued. Adapted for Hand Technic; Book III. Hands Together; teaching, especially suited for Book IV. Arpeggios; Book V, Double Notes; SONATA ALBUM, Vol. I, 15 Son; PERRY. Descriptive Analyses of Book VI, Octaves and Chords; Book VII, BENDER G.C. Business Manual iorMosicTeacher. The Trill; Book VIII, Various Difficulties; . “ Stories oi Standard Teachn Each. •* Children’s Rhymes from A to Z CLARKE, H. A. Harmony, A Text-Book^.--- :e, Anecdote and Educa- The contributions of Isidor Phillip, of GRIEG, ED. First Peer Gynt Suite, Op. 4 without which students the Paris Conservatory, to the literature andconfprehensively the facts and rules of the of pianoforte study occupy a front place •' Tunes and Rhymes (with words). “ Youthful Diversions (with word.)...... ■■•••• “''Key^o'Harmony, A Text-Book. t widely us “ Well-known Fables Set to Music (with words) CLARKE, H. A. Counterpoint, Strict and Free.. HAINUbL, u. r. twelve rieces for ill.a Pianofo[uiniww STANDARD ADVANCED PIECES. 28 Pieces.... “ Pronouncing Dictionary. HARTMANN, A. Fifty-one Old Hungarian Melodies STANDARD BRILLIANT ALBUM 27 Pieces .. " Student’s Pocket Dictionary. . PISCHNA. Sixty Progressive Exercises. Playable versions of old folk melodies ar- STANDARD FIRST PIANO PIECES. 72 Pieces.. COOKE, j. F. Standard Fiistory of Music PLAIDY, L. Technical Exercises. 1 STANDARD OPERA^ALBUM-... ~ arrangej'in' A first History for Students at all ages. 40 SKINNER. O.R. First Year in Th«y. PRESSER, THEO. First Studies in Octave Playing HAYDPL J.7 Sonatas, Vol. I. “ Sonatas, Vol. II. SCHMITT. H. Pedal, of the Piano. _ “ Selected Octave Studies. Equal develop¬ HEINS, CARL. Album o! Pianoforte Pieces. STREATF1ELD. Lite Stories oi Great Compos ment of both hands, flexibility and strength. TAPPER. First Studies in Music Biography. HUDSON. Musical Poem, for Children STANDARD PARLOR ALBUM. 41 Pieces^. A History of Music for Children. Dire RANSOM, E. Through the Major Keys. “ Musical Picture Book. STANDARD STUDENT’S CLASSIC ALBUM. KERN, C. W. Mississippi^ River Sketchy _ Personal conferences on technic, interpret, ROGERS, J. H. Octave Velocity. Short, interest- SUNDAY PIANO MU?cICespt.cially u3c)ui for ,hc sion and style with our most distinguished vi ELSON. L. C. Mistakes and Disputed Points in " Double Note Velocity. 1 KRMMANN!VC.rWCenRTe-Note Recreations. Tec Music and Music Teaching. SARTORIO, A. 12 Instructive Pieces in Melody excellent little teaching pieces. . GROVE’S DICTIONARY OF MUSIC AND MUSI- Playing and Expression, Op. 368. 1 KUHLAU. F. Sonatinas . CIANS. 5 vols., 4,000 pages 1 “ 10 Melodious Studies in Velocity, Op. 380. LEFT HAND RECREATION ALBUM HEACOX, ARTHUR E. Ear Training. Delightful melodies, richly harmonized... 1 LICHNER, H. Sonatinas, Ops. 4. 49, 66 “ Melody and Velocity, Op. 872. 1 LISZT, F. Album of Celehraled Work. “ Ten Melodious Studies for Advancing Players, “ Consolations and Love Dreams . Op. 876. TEACHERS’ SPECIALTIES Melodious Second Grade Studies. Op. 901 - -. 1 us Studies Op. 90 VOCAL METHODS AND STUDIES BILLS OR RECEIPTS. Package of 100. W SIEBER. F... _ementary Exercises, 36 8-Measure BLANK BILLS. Large size (50)...... GREENE^ H. W. ^ Standard Graded Course of ^ Studies, Op. 92, Soprano 50 BLANK MUSIC BOOKS. 6 staves, 32 pages STANDARD LESSON KtCUKU . “ Op. 93, Mezzo-Soprano 8 staves, 32 pages. STUDENT’S HARMONY TABLET...... MARCHESI, S. 20 Elementary and Progressive “ Op. 94, Alto.. 8 staves, 40 pages. TIME CARDS. Lesson and Practice Record. Vocalises for Medium Voice, Op. 15. 8 staves, 64 pages. . Package of 25. MYER, EDMUND J. Vocal Instructor. A practical VACCAI, N. Practical Italian Vocal Method. BLANK MUSIC PAPER. Ur, .14 or 16 staves, guide to artistic methods VIEHL, G. Graded Studies in Sight Singing. and Vocal, size 11x14 inches, per quire METRONOMES beautiful. Each. REDDALE, F. The School Singer. For normal Ortavo size. 7 111 inches. 10 or 12 staves. FRANKLIN. F. A. Operatic SeU SCHNECKER, P. A. Melodious Studies in Style classes; includes a large collection of songs private work. MAELZEL, METRONOME. Without Bell De- “ Selected Cla«.ica. and Mechanism. To develop especially for all purposes tachable Door, American.... * HOHMANN, C. H. Practical Violin School, Ger¬ fluency, continuity and good style. ROOT, F. W. Methodical Sight Singing. The WHELPTON, G. Vocal Studies for Soprano and With Bell. Detachable Door, American.... . man and Engliah Teat, complete. SCHULZ, F. A. Scales and Chords. “ Student's Manual of Sight Singing. Clear, Without Bell, Attached Door, American. KAYSER, H. E. Elementary and' Progreasi.e SCHWALM, R. Daily Exercises. MUSIC TEACHER’S°DESk TABLET. Pad of 100 20 With Bell, Attached Door, American. Studies, Op. 20. 3 Books, each. LIEURANCE, THURLOW. Indian Melodies. SPAULDING, G. L. Etudes Melodiques. For students just beginning third grade. PLEYFL, I. J. Petit Duos for Two Violins, Op. 8 •* Guide for Male Voic Tcatalogs That Are Classified Guides f I ECONOMICAL MAIL-ORDER MUSIC BUYING ja Of musical works, including Singer’s Hand Book, Piano Study pu.de Hand D Theo. Presser Co. “On Sale” Plan I and third gr t. Each if Rook for Violin Music, Hand Book for Pipe and Reed Organ, Choir and Choru ( guarantees satisfaction. Any of the Presser publications (works listed here or amplify ai The Theodore Presser Company cheerfully opens accounts with responsi¬ I Hand Book, Hand Book for 4, 6, 8 and 12 Hands. Catalog of JuYende M^l | special rhythmical any of our book or sheet music publications) will be sent for examination upon ble individuals, grants liberal discounts to the profession and offers many 1 Publications. Thematic Catalogs and complete Catalogs of Vocal and Instnj j STREABBOG, L. Twelve Melodic Studies, Op. 63 I other advantages, such as the “On Sale” Plan, to the Mail-Order music buyer. request. You may specify special items that you would care to examine. Send “ Etudes Progressives, Op. 61 Twelve Easy and Melodious Studies, Op. 64 . 1 mental Music will be sent to you on request, without obligating you to buy. j your order now, no preliminary correspondence is necessary. Tell us your needs MacFARREN, WALTER. Compreh VOGT, J. 24 Octave Studies, Op. 145. 1 Our Octavo Catalog is extensive and comprehensive, continually greasing , (name a few pieces or studies of style desired) and let us send you a package of and Arpeggio M WIECK, F. Piano Studies form will be sent gratis upon request I with many notable accessions. We publish anthems, choruses and part^songs^ ] material to select from. You pay only for what you use and return the re¬ I Til styTes. and in all degrees of difficulty. We atm to ass,st in every way possible mainder. The same large discount allowed as though the music was purchased ^ selected graded list of pieces in shee\ m the busy organist and choral director. outright. Music not used is returned to us but once a year. Settlements are to be made at least once a year, preferably in June or July. THEO. PRESSER COMPANY, mKydhousuesic Philadelphia, Pa. On December « - ~,ee o, W THE ETUDE VOL. XXXVII, No. 10 Single Copies 20 Cents OCTOBER, 1919 ARE you) satisfied with your out¬ look in the profession—don’t ypu feel that you could estab¬ Upward Music lish yourself', in a position of greater Rachmaninoff The progress of the reformatory and.prison systems dur¬ responsibility1 and incidentally enjoy This Is the first issue of The Etude which has ever been ing the last century has been one of the encouraging signs of a better financial future if you spent human development From the crudest kind of cruel discipline a little time bn brushing up your own knowledge? / in the management of miscreants, we have advanced toward the An ounce' of proof is worth a pound cannot even focus upon men and things nearby. , r__ scientific study of the psychological and physiological phases of promise. Making claims is easy— "making good" is the real test of That we have now residing in America a grea ^ of the offender and the offence, so that, at the present time, merit. Many readers of The Etude one who in future years will stand out on the pages of history the man behind bars to-day is treated as one of the unfortunate —teachers and students, have been as stood his great predecessors-is in itself an honor we should freaks of nature, who by means of certain methods may or may People with years of experience back of them; greatly benefited by our courses— people with that cultivated taste for the best; people others have Seen our announcement in this publication for years, but not be restored to society as a worthy member. The record of as yet have no direct personal knowledge of the who love good music, and insist on having none n0t 'fToTtince Rubinstein visited America has any European many “men who have come back” is a glorious wave, washing other, invariably turn to the Jesse French & Sons composer-pianist of the stature of Sergei Rachmamnoff been away much of the pessimism of the criminal systems of other Piano when it is the ideal instrument they want. Sherwood Piano Lessons with us. Simple, sincere, earnest, intense, granite in strength Vi: We picture but one of our many artistic designs. You vet fern-like in delicacy, the works of Rachmaninoff rank with dayS'ln a recent issue of Musical America there was an excellent have your choice of a large number in all the fancy woods. for the great music of all time. Representing, as he does, the genius article upon the results of music in the work of the Kansas Liberal allowance on your old piano. Easy terms, if of Russia, he brings a message to America to which ?ur future State Reformatory. It was reported that the majority of the desired. Call and try this beautiful piano MacDowells will eagerly listen. Indeed, his own admiration for men became more trustworthy after being trained in chorus For Free catalogs of all styles with full particulars write Students and Teachers the genius of MacDowell is very warm and sincere. the makers: singing. In prisons all over the country music is being intro¬ The Etude takes pardonable pride m presenting in this They contain complete, explicit instruction on every phase of duced more and more. • JESSE FRENCH & SONS PIANO CO. piano playing and teaching. No stone has been left unturned to make issue Rachmaninoff’s views upon important musical problems, Many of the men who are now incarcerated have lost their "A name well known since 1875" this absolutely perfect. It would surprise you to know that Sherwood and a composition by the master hitherto unpublished. liberty not because of innate wickedness, but because society has 1904-R Ave., New Castle, Ind., U. S. A. devoted to each lesson enough time to earn at least $100.00 in teach¬ ing. It is possible for you to get all this time and energy and devo¬ failed to understand them or has offered them an environment tion to the art for almost nothing, compared to what it cost. The A Magnificent Gift which has ensnared them in crime. Thus there are thousands lessons are illustrated- with life-like photographs of Sherwood at the Augustus D. Juilliard, whose name was known only to a piano. They are given with weekly examination papers. To be a of cases of so-called criminals who are really notlnng more than successful teacher one must be able to give, not only the proper in¬ circle of friends and business connections a few months ago, has undeveloped human beings—people who have never grown up, struction, but to ask the right questions at the right time, which will sprung into fame by the surprising bequest m his will ot develop the students’ use of the knowledge imparted. The Sherwood and who have no more control over their doings than little clul Course is available to every teacher throughout the country. No amounts reported to be from $5,000,000.00 to $20’000’0(j,(?-0" dren. Thus a man may be thirty-five years of age, but when need to give up your present classes and leave home for private all to be devoted to musical culture in America. Mr. Juilhard measured by the famous Binet tests he may have the mind and instruction. was born at Canton, Ohio, seventy years ago, of French par¬ development of the child of ten or twelve. Music seems to have entage. He died on April 25th last. His wealth came from a peculiar effect in bringing many of these cases under the Harmony his activities in the textile commission business. He was not a control of those who* are working to help them. It is certainly musician himself, but was a director and boxholder of the a simpler remedy than the rawhide or the irons and is likely to A knowledge of Harmony is necessary for every student and Metropolitan Opera Company of New York. It is said that he be far more effective when intelligently used. The whole subject teacher. You can study the Harmony Course prepared especially rarely missed a performance. For many years he had been for us by Adolph Rosenbecker, former Soloist and Conductor, pupil is so vast that it offers unexampled fields for exploration. It is assisting young artists. Undoubtedly much of the money will 900 VOLUMES of Richter, and Dr. Daniel Protheroe, Eminent Composer, Choral Con¬ hardly likely that very much that is definite will be determined ductor and Teacher. You will receive the personal instruction of go fo/the assistance of projects at the Metropolitan Opera in the scientific administration of music in penal institutions tor Herbert J. Wrightson, Theorist and Composer. You need Harmony House in New York. The following extract from the will de¬ A PERFECT PRODUCT OF AMERICAN SKILL and this is your chance to study the subject thoroughly. another half century. Meanwhile, however, the men and women, notes the limits of the bequest. The administration of the gift from whom society is temporarily protecting itself, should have is provided for along lines of great simplicity and elasticity. music as often as is practicable. Its adoption by leading representative American in¬ Harmony Teaches You to “To aid all worthy students of music in securing complete stitutions is based, however, not on the ground of 1. Analyze Music, thus enabling 4. Detect Wrong Notes and faulty and adequate musical education either at appropriate institu¬ allegiance to things American, but by reason of its you to determine the key of any progressions in printed music or Technic To-Day and Yesterday composition and its various har- during the performance of a com- tions now in existence or hereafter to he created, or from ap¬ achievement of the highest standards of editing, en¬ monic progressions. position. Tausig, according to the say-so of the editor of his propriate instructors in this country or abroad; to arrange for graving, printing and binding. 2. Transpose at sight more easily 5. Memorize Rapidly, one of the Studies, Heinrich Ehlert, had very strict ideas upon certain ^n°J5p,anIme.nts, eh you may be very greatest benefits derived from and to give, without profit to it, musical entertainments, con¬ EDITION WOOD is primarily the Teachers’ Edition called upon to play. the study of Harmony. phases of pianoforte study and technic. certs, and recitals of a character appropriate for the education —planned for teachers, built up to meet the require¬ As near as we can get to it from written records, 1 ausig andn'ndH ariangenarrr?nSi Zemusic^,^fl0 fIforeS ^bandsC07ectl andX any6' Substitutereason the other ones n< and entertainment of the general public in the musical arts, and ments of teachers. The best evidence that the efforts orchestras. inconvenient to play. used to insist upon holding the elbows tightly to the sides while to aid the Metropolitan Opera Company, m the city of hew of its publishers have been in the right direction is the practicing his finger exercises. Whether he actually did this or York, for the purpose of assisting it in the production of large number of teachers now using it—a number con¬ not we cannot really tell, but this report was probably ancestor stantly and rapidly increasing. Unprecedented Special Offer! to the practice of some teachers of other days in which a book Will you take advantage of our offer of 6 lessons which we offer °P The Etude cannot answer questions about this phi¬ The high position it now occupies has been attained was held pressed up to the side of the body by the elbow while to Etude readers without charge or obligation on their part? We lanthropy, as we have none of the details. Address inqumes to only by virtue of consistently giving the Teaching will send you 6 lessons from the Normal Piano or Harmony Course the student played. the Juilhard Foundation, c/o Metropolitan Opera House, N. i • Profession the maximum of practical value. or 6 lessons selected from some other subject, if you prefer We Anyone who tries this for any length of time will acquire a have courses in Piano (one for students and one for teachers)’ Har¬ An American Edition for America’s most discrimi¬ mony, Voice Choral Conducting, Public School MusTc Wolin Corne How Music Saved a King stiffness resulting in pain in the muscles, which must surely nating musical public. lead to unnatural strain and injury. Indeed, we have the testi¬ write'now fo^Tt0 Inn Cours* you are interested in and One of the fascinating little bits of mediaeval romance is mony of teachers who tried it and became so muscle-bound that and you will benefit much. g °" t0 us- The cost is nothing the tale of Blondel, the minstrel to Richard I. After the King Send for Catalog of Contents of EDITION WOOD their progress was impeded. was captured by his enemies, he apparently dropped out ot Now the pendulum has swung the other way, and we have existence. Blondel then set out upon a tour as a wandering “relaxation” ad nauseam, often resulting in a kind of jelly-fish Zbe S3, f. LCloob Music Co. minstrel, and while passing a castle where the King happened technic, weak and ineffective. Of course, the sensible pianist University Extension Conservatory to be imprisoned, he sang one of the airs which the King knew. and teacher seeks the happy mean, in which the principles of Clarence Eddy, Dean The King was thus able to attract the attention of Blondel and Also at London “relaxation” are properly applied. 61 6104 Siegel-Myers Bldg. Chicago, III. make his whereabouts known. -I i v?EuUT Please mention THE ETUDE when addressing our advertisers. gp ' ^ ^ W'$ *■ • ;; - -- ' ~~~ ~ -- embark uponthegoldenseasofAmericanconcerttourto forward theirEuropeanpressnotices.Nowcomesone,Podol biographical referencebooks),whoofferscriticalopinionsfrom sky byname(asyetunrecordedinanyofourcontempoy as mightappearinTheLondonTimes,lePetitJournal,or Shanghai, Tokyo,Yokohama,Kobe,Nagasaki,Saratov, criticisms arewritteninthesamespiritandintelligentaspect to receiveanarticleuponthe“TrancendentalismofErieSatie.^ New YorkPost.Wewouldnotbesurprisednowifwewere Samara, Irkutsk,Vladivostok,etc.Sofaraswecanseethe by thegrandLlamaofThibet.Surely,“theworlddomove. pianists, speakingindependentlyofeachother,gavetheChopin sition—the piecetheylikedtoplaybestofall.Probablya Opus 35—thegreatSonatainBflatastheirfavoritecompo¬ seems tobeafashionoftherecitalhallthatgivesvoguetor similar inquiryto-daymightbringaresponse,ihere than fashion. 35 issomethingthatsurvivesfashion,foritclassicallygreater few yearstoacertainsetofpianopieces,buttheChopinOpus the magicprestowhichendswork,makesthismasterpiece of themostlikedallChopincompositions,beautiful that, althoughstudentslovetodabblewithit,onlythemature vanced technic,itsinterpretativeresponsibilitiesaresogreat first movement,theScherzo,withitsintensedramaticforceand artist whohasspentyearsinfathomingitsartisticpossibilities consummate!v interesting.Demandingtheresourcesofanad¬ ever succeedsingivingasatisfyingperformance. to thinkisthemostimportantofEnglishmusicalpublica¬ tions, celebratesitsseventy-fifthbirthdaythisyear—surelya extremely modesteditorialnotingthatthepaperhasnaturally proud andvenerableage.Intheanniversaryissuethereisan point outthatTheMusicalTimesanditspublishers(Novello type—that is,thebetterclassofchoralmusicforpeople. inclined moretowardthefieldofchoralmusicpopular Perhaps itmaybeallowableforanAmericancontemporaryto in GreatBritainthananyothersimilarfactor..Therecanbe and Company,Ltd.)havedonemoretoadvancechoralmusic no questionthattheimpetusgivenbyTonicSolFanota¬ Musical Timesliasleftnothingundonetodevelopthebest,with tion anditspromotersalsohadmoststimulatingeffects,butThe the resultthatChoralSingingamongEnglish-speakingpeople Birthday congratulationstoTheMusicalTimes! is possiblymorepopularthanamonganyotherpeople.Hearty participated. Hewasconductingtransporttrainsto thefront . moments. who wentintothedecisive battleatChateauThierry,reports and comingbackinanautomobilehepassedacontinuous pro¬ front justbeforethefirstbattlesinwhichAmerican troops teresting storyofthewayinwhichourmenwent up tothe song wasoneoftheirgreatest inspirationsatthelastcrucial so manyfailedtoreturn. Albert N.Hoxic,whoatthePhila¬ cession ofourmenonthewaytobattlelines.He reports that thereturningfighters havetoldhimtimeandagainthat delphia NavyYardtrained twoofthecompaniesMarines time, whendeathhoveredovertheNoMan’sLandfrom which to singformonthspastbyournation’ssongdirectors. Who hours heoccupiedinpassingthem.Themenhadbeen taught that theysangalmostincessantlyduringthewholeof theseven can tellwhatthesingingmeanttothosemenatthat thrilling It hasbeenthecustomforyearspianistsaboutto In aninquiryconductedsomeyearsago,anumberofgreat While thefamousMarchefunebrefromthissonataisone The MusicalTimesofLondon,whichmanyBritisherslike An Americancaptain,returnedfromFrance,tellsan in¬ “Acclaimed bytheOrient” A BirthdayCelebration Seven HoursofMusic Chopin Opus35 -— - ers wil\ij°y-1,1thefirstPackagcofmanuscriptsreceived widely-adn\red composerwhoseworkshavebeenplayedby from Ge\-inysincepeacecamewerethecompositionsofa thousands (J[Etudereaders.Oneofthemanuscriptsbore flattering label holding thepagetolight,originaltitle,whichwith translation wehavegivenwas German peopleweremisledforyearsintothinkingtheycould to supportanaristocracy., conquer theworld,whiletheircitizenswerebeingslaughtered poser livedintheoccupiedterritory,hehasevidentlyseenone the RhinearedestinedtofindthatAmericans,whowere of thereasonswhy. little armyofdollarhunters”northeterriblebeaststhattheir looked uponwithfriendship,areneither“thecontemptible forced byaltogetherunexpectedandunwantedcircumstances into thegreatwaragainstanenemywhomtheyhadalways new Democracyinthatspiritofbignessandfairnesswhichwe arc beginningtoseeagreatlight.Letuswelcomeitandthe all liketocall“American.” comic papershaveledthemtobelieveweare.Evidentlythey brutal prize-fightrecentlyheldbetweentwocontendersforthe because musicatitsbestappealstothehighersideinman. away fromthebrutaltowardthosethingswhichareennobling, empty distinctionofchampionshipsluggerandamercenary reward. permit. cause. ButtheToledodisgracewasnothingofthatkind— the goodofhumanityfoughtbravelyandunselfishlyforanoble not eventhegood-naturedsparringwhichlawsofOhio proved anythingbutthebigmoney-makingschemewhichits promoters hadlookedfor.Theauditorium,erectedtohold enormously. ing toreports.Toledospeculatorswhoinvestedheavily lost you couldtorepudiatethecoarseandbloodyslugging match, to sustainthehighidealsofAmericanmanhood,youwho didall name ofyourcity,youwhosentBrandWhitlockinto the world why notgoalittlefurtherandpurgeyourcommunity ofallthe 100,000, had77,000emptyseatsonthedayoffight, accord¬ Festival onamagnificentscale,inwhichmusicmayplay agreat ill effectsofthedisgustingevent?Whynotorganize aPeace part, andsummonthecountrytoattend?Itcould bedone, wnrlrprs best. Ihishasagreatnote ofencouragementinitformusic sake, andlookingtoward elevating thingsfor'thesakeof fiasco. and thefairnameofyourcitywouldbecleansed recent ■ AmerikanischerMarsch jkre isanamusingofficeincidentwhichmanyofourread¬ This larjielwaspastedonandonecouldreadilyseeby The incidentisonlyoneofthousandsindicatinghowthe The Victorysomehowdidn’thappenandsincethecom¬ The warisoverandthecitizensofnewRepublicacross Musicians liketothinkthatthetendencyinmankindis Men whowentintotheworldwartosacrificetheirallfor It is,therefore,interestingtonotethedismalfiascoof Although itwasthemostadvertisedthinginAmerica, Now, youdecentfolkofToledo,wholovethe good The worldisturningslowly frombrutalityforbrutality’s l AMERIKANISCHERMARSCH / (PrussianVictoryMarch) \ PreusischenSiegesmarsch Aus Deutschland’sGrossemFest (To Germany’sGreatFestalDay) _ (Hohenzollerns totheFront) Hohenzollern AllenVoran An EncouragingFailure . f •achieved suchsuccessashasMr.Rachmaninoff.InRussia THE ETUDE he isequallyfamedasaconductor.Aithoughb:estn Rubinstein in,America,hasanyRussianpianist-composer a moredeeplyseriousvein.Acomprehensivebiographyot most renownedofthehyingRussiancomposerswortsin through hisfamousPreludeinCtfMinor,heiseay the linkbetweenmusicofmanygreatest European mastersandthefolkmusicoflands their birthisaclose—amostintimateassociation. the spiritofmelodiescommontonativepeoplethat pieces), butthattheyhavebecomesosaturatedwith themes bodilyandtransplantingthemtotheirown Not thatthemastersmakeapracticeoftakingfolk native fruitorwine. all theircompositionsthereafterproducedhaveaflavor, works (althoughthisoccursrepeatedlyinmanymaster¬ as readilydistinguishedthecharacteristictasteof operatic composition,“LeCoqd’Or”(TheGolden song spirit,andisdistinctlyRussian—Russiannoth¬ indeed, workedcarefullytopreservetheRussianfolk ing else.Rimsky-Korsakoff,whomIknewverywell Cock). ItisstronglyflavoredwiththeRussianfolk there aremanyRussiansuggestionsinhismusic.Tschai- have beenimbuedwiththespiritofRussianpeasant modernists, allofthelatter-dayRussiancomposers song flavorinit.Indeed,withtheexceptionofafew • poser.Ifheisunabletomakemelodieswhichcom¬ song. Rubinstein,itistrue,-hadadecidedlyGerman complexion inmuchofhiswork,but,nevertheless, kovsky, who,Iunderstand,isthoughtbysomecritics used Russianthemesfreelyandadheredtothenational methods andmodels,morethannativeRussianmodes, in AmericatohavefollowedGermanorcontinental flavor asmuchhisperiodwouldpermit. Russians tointroduceRussianthemes.Tschaikovsky of anoaktreewhichlaidthefoundationforgreater said abouthimthathewastobecomparedtheseeds strength «tocome. of allthatmelodyisthesupremerulerinworld music, sinceaperfectlyconceivedmelodyimpliesand music. Melodyismusic—theintegralfoundationofall develops itsownnaturalharmonictreatment.Schopen¬ “Music—that is,Melody—andwordsthereto—ah,that hauer hasphrasedthisideawonderfullywhenhesaid: ■with hisstudiesinmusicalcomposition.Itisforthis is thewholeworld!”Melodicinventivenessis,in [Editor’s Note.—Notsincethedaysoftriu“P^^ highest senseoftheterm,vitalgoalcom- mand therighttoendurehehaslittlereasonproceed respective countries.Rimsky-Korsakoff,Dvorak,Grieg, reason thatthegreatcomposersofpasthaveshown “It musthequitecleartoAmericanmusiciansthat and others,haveturnedtothemasthenaturalsprings such intimaterespectforthepeasantmelodiesoftheir hatred foranythingfaintlyresemblingamelody!They of inspiration. ignoring everyruleofsanemusicalconstruction,they clamor for“color”and“atmosphere,”and,bydintof Take suchaworkasRimsky-Korsakoff’sbestknown enduring. secure effortsasformlessfog,andhardlymore ists. Ihavelittleregardfor those whodivorcethem¬ their nativeland,anditisprobably becauseofthisthat cord’s sake.TheRussianFuturists haveturnedtheir selves fromMelodyandHarmony, forthesake.of they areforced,stilted,not natural intheirmusical backs uponthesimplesongsof thecommonpeopleof reveling inakindoforgynoise anddiscordfordis¬ expression. This istruenotonlyoftheRussian Futur¬ ists, butofthe Futuristsofalmostalllands. They Glinka isgiventhereputationofbeingfirst Composers ofexperiencetakeintoconsiderationfirst The Futurists,ontheotherhand,openlystatetheir By theword“modern”IdonotrefertoFutur¬ Music’s LinkwithFolkMusicofthePast Melody Supreme National andRadicalImpressionsintheMusicof An InterviewSecuredExpresslyforTheEtudewiththeEminentRussianComposer, for themerelytrivia1T*5" To himmusicistrulylinkedwiththeeternalsoulothu Fs%xcCeUedmglyK simple"Whollysincereanddeeplyhiearnest. have madethemselvesoutcasts,menwithoutacountry, inanity. Thoughnotwantinginhumor,hefindslittleti in thehopethattheymightbecomeinternational. To-day andYesterday Pianist, Conductor,SergeiRachmaninoff by ignoringthefolkmusicofanyland,butafusion acquire amusicalVolapukorEsperantoitwillbenot But inthishopetheyreasonamiss;forifweever of thecommonmusicallanguagesallnationsinto vidual expression,butbythecomingtogetherof one tongue;notbyanapotheosisofeccentricindi¬ music oftheplainpeopleeveryland,as‘thevoice of manywaters”fromthesevenseasgreat . tions,willnotendure.Futurism isakindoffungus music ofMoussorgskyiscontinuallyimbuedwiththe folk themethemostisRimsky-Korsakoff,although Russian spirit.Borodin,Moussorgskyandmany hand, Scriabinisquiteun-Russian.Hisearlycompo¬ others, arecharacteristicallyRussian.Ontheother beautiful. Hislatercompositions,however,belong sitions areChopinesque,manyofthemexquisitely to amusical“Noman’sland,”and,whiletheyhave have notenhancedhisreputefortruemusicalconstruc¬ added notablytohisreputationforeccentricitythey pudence to.pointtoMoussorgsky asacomposerwhose tiveness. Someshortsightedcriticshavehadtheim¬ lovely melodiesofrareand exquisiteoriginality, works havebutfewmelodies, whereasheaboundsin although heemployedsomewhat elaboratemeansof bringing themout.Itismy earnestbeliefthatthe works oftheFuturists,with afewpossibleexcep- growth, withlittle solidity,towithstandthe testof ■cular Rachmaninoff;likeallmenofrealgreatness, “nticated bvthecomposer,anditisaccurateinevery ?i"s elsewherefiThisissuebiographyhasbeen n.^oi™ musterwrittenbvaleadingRussiancritic, eeedingly simple,^wholly^sincCTe.^ni^deeply^ir The composerwhohasdoubtlessemployedRussian i finecommentaryuponthe with1Cmcr enPthnsSsttcwScome’e^ryw^erc”Timblowing Etude designedtohonorourdistinguishedRussianguest, interview wassecuredespeciallyforthisissueofIhe time. Itisnotbecausetheadherentsofthisschool sense oftheword.] written aboutalegend.It poser repudiatedthestorythatfamousPreludewas it isinterestingtonotethatduringtheinterviewtnecom¬ are modern,inthecommonacceptanceofword, nately islittleknowninAmerica)arewonderfully works ofsuchacomposerasMedtner(whounfortu¬ of thistrulygreatcomposer.Russiaisbeginningto Futurist abouthismusic.IndeedMedtnerdeteststhe fresh andmodern,yetthereisnosuggestionofthe immortals. Strauss,Schoenberg,Regerandothers Futurists. Americamustlearnmoreabouttheworks have beenwidelyheraldedinAmerica—whyMedtner realize thathehasalreadytakenaplaceamongour make itquitenaturallyacollectionofdiversepeoples— boundless. Theimmensedimensionsofthecountry has beenignoredIamatalosstounderstand. ple inotherpartsoftheland.Theyhavediverselan¬ many ofthemtotallyandabsolutelydifferentfrompeo¬ the CaucasusandCrimea,forexample,arehardly guages anddifferentfolksongs.Thepeasantmusicof Oriental settingswithwonderfuleffect. this, andhehasusedtheminsomeofhisworkswith Russian atall.TheyareOriental.Borodinrecognized are thoseofMiddleRussia,theregionVolga. miles, not’allofthisisdistinctivelySlavic.Thereason Although Russiahasaterritoryofeightmillionsquare overrun bymanydifferentraces—Goths,Huns,Avars, impression inaway,butneverwhollyeradicatingthe Bulgarians, MagyarsandKhazars—allleavingtheir today, andissocharacteristicofthesignificantmusic for thisisthat,intimespast,thecountryhasbeen strong SlavonicmoldwhichmarkstheRussiaof of thegreatRussianmasters. countries whicharetherichestinfolksongnatu¬ prised tolearnthatSpain,whichhassomuchwonder¬ rally theonestodevelopgreatestmusic.Iamsur¬ international renown.But,ontheotherhand,consider the remarkableliterarymasterpiecesthatSpainhas produced fromthetimeofCervantesdownto ful folkmusic,hasdevelopedsofewcomposersof population, hasproduced,inmusic,menlikeGrieg, tries, suchasScandinavia,withacomparativelysparse present day.Onthecontrary,alittlegroupofcoun¬ Svendsen andSinding. Church hasmadeaprofoundimpressionuponRussian music. Thisisnotexactlytrue.Thecomposersforthe melodies foruseintheirreligiousmusic.Onthewhole, Church, however,haveresortedtocollectionsofancient I thinkthattheinfluenceofChurchisoveresti¬ mated intheconsiderationofourmusic.Iamsome¬ times askedwhetherIfeelthatthemomentouschange to affectthefutureofRussianmusic.Fortime in regimeRussianaffairsatthepresenttimeislikely being theunrestofconditionscertainlyimpedesall The varietyoffolksongmaterialinRussiaisalmost creative work.ItwilltakeRussiasometimetostagger out fromtheconfusionresultingworldwar. I amfirmlyconvinced,however,thatRussia’smusical moment toaidthedevelopment ofmusicalexpression bered thatmostofthegreatmodem musiciansofRus¬ future islimitless.TheCzars didlittlethatwasof in Russia.Thismaybeunderstood, whenitisremem¬ Probably thebestknownandmostusedfolksongs earn theirlivingthroughother occupations.Thelate sia wereforcedtomakeanavocation ofmusic,andto little ornointerest inthegreatmusicalachievements Czar Nicholaswasrarelyseen ataconcert,andhehad It has,forsometime,beenmyimpressionthatthose There seemstobeanimpressionthattheRussian Russian MusicofYesterdayandTo-morrow Variety ofMaterialinRussia OCTOBER 1919Page615 t programmusicinany --! ■ ' " '7 THE ETUDE » , - .■ . y

Page 616 OCTOBER 1919 A Few Teaching Hints of his country. Indeed, his musical status may be estimated by the fact that his chief musical pleasure By Joseph George Jacobson Appreciations of Rachmaninoff from Famous Musici^s in America was found in the band of Ballalaika players conducted a greater contribution-towards the progress of Art than the de¬ by Andreieff. This organization of well-drilled native Many pupils] even fairly well advanced, seem to have Harold Bauer tached genius who, no matter how powerful his personality players was creditable, buf as‘circumscribed in its held exceptional trouble in remembering the hngenng c* the Sergei Rachmaninoff once said to me that he loved every¬ seems to be suspended, as it were, in space without any relation as might be an American mandolin or banjo club com- scales, especially when playing both hands together.. to what has preceded him or what is liable to follow. I suppose pared with one of your great Symphony Orchestras The following rules as a gmde have helped to over thing that Tschaikowsky had ever written. / doubt if any sing e The American composer, it seems to me, should md come the most stubborn cases: . phrase could better illustrate the character the tendencies, the that it is all reducible to the same question that we have all been his outlet in music of a cosmopolitan type, rather than Take the scales as they follow in the circle of the modesty and generosity of the distinguished composer whoJm thinking so much about during the war, the question of evolution seek to evolve a purely national type. America is young, fifths, making the enharmonic changes at F sharp to endeared himself to all of us from the moment of his arrival on versus revolution. . ,. but as time goes on it will gradually acquire its own folk G flat, and arrange them into two groups. The first I thank you again for this opportunity of saluting so dis¬ songs, and until this comes about the natural expression one from C to E, inclusive, and the other from B to 1, of its music will be as many-tongued as the sum ot theSeWe0fert that this is a man whose personality bears an alto¬ tinguished a visitor. inclusive. Let us now watch only for the notes on the various nationalities who are finding a home here. gether satisfying relation to the music which we have so Ion which the fourth finger of either hand falls, the thirds Percy Grainger I recently attended a concert—a very successful one- admired, and our gratification is the keener for ^eas^ thf given by Mr. Josef Hofman, whose program was en¬ will take care of themselves. disillusioning experience has taught us that an artist does no I consider the presence of Rachmaninoff in America to be tirely of American composers. The compositions were In the first group C, G, D, A and E, remember that a great stimulus to the musical life of the country, for this great the fourth fingers will always fall on the notes which invariably seem worthy of his art very creditable, but—I did not hear American music. I believe Rachmaninoff to be intolerant of one thing alone. musician, exquisite pianist, as well as significant composer, is one It was French music, German music, Italian music, just are on either side of the tonic; that is, the note which bears the name of the scale. For example^ m the Insincerity. Were he less of a magnificent musician than he is of the most finely balanced artists of our era. as surely as if it had been made in those countries. _ From a compose/s standpoint it seems to me that he repre¬ There is a strong national characteristic in America, scale of C the notes on either side of C are B and L>, had he attained success in only a few instances instead of having 1 sents the somewhat rare case of a creative mind that is thoroughly . a characteristic born of her broad Democracy, the gath¬ consequently the fourth finger of the left hand will be written masterpieces in every branch of musical art-he would | M ering together of many nations, a cosmopolitan note on D and of the right hand on B. In the scale of E still afford a noble example of all Ins colleagues m his unswerv original and personal without being particularly modern. 7 his which your composers must catch and write into your the two notes are D sharp and F sharp, therefore the ing and uncompromising devotion to an ideal. very absence of the experimental and the iconoclastic from his music.' How it will be done, or when, or where, no left fourth will be on F sharp and the right fourth on * It is with the greatest pleasure that I send through the works lends them a certain quality of the inevitability and natu¬ one knows. I am convinced, however, that the plan of D sharp. _ columns of The Etude my warm personal Sitings and the ralness” that makes their appeal singularly wide and immediate. taking Indian themes, and Negro themes, is scarcely In the second group remember that the fourth finger As a performer, Rachmaninoff seems to me to present one of the right hand falls on A sharp or its enharmonic, expression of my respectful admiration to the man and me likely to produce the great, distinctive American music, of the greatest pianistic delights imaginable. To hear him inter¬ unless, indeed, these themes are developed by Indian which is B flat in all scales, always the same tone, al- musician. pret one of his own beautiful concertos is an object ^ssontn composers and Negro composers. The highest quality • though a different note. In the left hand remember Felix Borowski “how to play with an orchestra.” The magic unfolding of the in all art is sincerity. that the first finger that will have to pass over the thumb must be the fourth, except in the scale of r It gives me great pleasure to set down words of admiration musical form under his hands, the magnificent e$ortlJsJraJdJ for the art of Rachmaninoff. Among the living masters‘. of MacDowell Popular in Russia sharp and F. Therefore the note of the right hand eur of his tone, the flexibility of his phrasing, the superb vigor on which the fourth falls is always the same, while the musical composition there are but few who possess as h*Jos~ of his rhythmic delivery-all these diversified qualities and attain¬ MacDowell is, as yet, the only American composer note on which the fourth of the left hand falls is sesses so high an ideal combined with so generous a measure of known to any extent in Russia, and some of his com¬ ments combine to produce a unique impression of complete musi¬ different. For example: In B major the fourth of the Zspiration In these days abundant technic is one of the qmlir positions are very popular there, as they deserve to be. cal mastery, as restful as it is imposing, as emotional as it is right hand is on A sharp, the left of F sharp, because He had a beautiful melodic sense, and he treated his 7es of Ttistic striving that are taken for granted; yet the technic the first finger to cross over the thumb must be the euphonius. material in a very musicianly manner. On the other The Etude notes with deep regret the death of Mr. of Mr. Rachmaninoff is worthy of more than ::" . sitions. : : stein ? failed to understand the music of the “Great OCTOBER 1919 Page 619 THE ETUDE THE ETUDE Page 618 OCTOBER 1911

*». » America, “CS Prelude” has been known for years wherever music is heard, in Beethoven—Iconoclast, Democrat, Genius Next season 1 am gorng^WP ™heTBells;’ which is for large Rachmanmoffs n™ s^“ J’tenor and baritone solo voices: The orchestra chojusmdsopran«{ tWf work now and By the Noted Critic and Author HENRY T. FINCK W(M Msec/ as f/»

the older natir- There~ Josef Stransky Sergei Rachmaninoff is a giant among the composers of our time. to play them so often, to the neglect of the much more He belongs to the class of Debussy, Richard Strauss and Ravel. Reading George Henschel’s “Musings and Memo¬ inspired earlier sonatas. It is not often that a thorough¬ Singers, players and composers, as well as teachers ries” the other day, I was struck by the evidence pre¬ going Beethovenite frankly confesses to shortcomings and students, can learn almost as much from the life sented in it of Brahms’ modesty, or, rather, humility. in the works of his idol, but Wasielewski, in the sec¬ of great masters as from their works. There are excep¬ Speaking of Bach, Mozart, and Beethoven, Je ond volume of his excellent Beethoven Biography tions but Beethoven was not one of them. Brief ret “What I cannot understand is how people erence to some of his traits will show that, while there can be vain. As much as we men, who walk upright, (p. 273), apologizes for many things in the last sonatas, were foibles and eccentricities which others should are above the creeping things of the earth, so these op 109, 110 and 111, as being explicable by the fact New Thoughts on Memorizing Music avoid, his attitude toward music and musicians and the gods are above us. If it were not so ludicrous it would that at the time when they were written the masters world in general served as a good example to all. be loathsome to me to hear colleagues of mine praise attention was so absorbed by his great Mass that the By CLIFFORD MARSHALL, F.R.C.O., (Late Entertainment Officer XIth, D. H. Q., B. E. F.) Particularly praiseworthy was his pride in being a me to my face in such an exaggerated manner. sonatas suffered in consequence. “One thing is clear, musician and a thinker. One day, when his brother He knew his place in the history of music better the biographer adds, “compositions for piano alone no Sight Johann sent up his card with the word ’and-propne- than did his adulators. Posterity, he once said, would longer interested him as in former days.” He decided trouble and will amply repay the amount of work spent tor” after his name, the composer sent down his own The following suggestions are written with the This is a very useful faculty and consists in being place him on a level with Cherubim. That, no doubt, (in 1823, a year after the creation of op. Ill) not to upon it. Here are some advanced ear tests: card, on which he had written “brain-proprietor intention of helping the keyboard player, be he ama¬ was over-modest. Cherubini is now prac ically forgot¬ write any more piano pieces except to order. * Ex. i. Get a friend to play two or three tunes on able to imagine a picture of the actual printed page. On another occasion he made up his mind to sell teur or professional, in acquiring the somewhat difficult ten whereas, of Brahms’ things some will live. nounced the piano as “an unsatisfactory the pianoforte, short phrases of single notes, and put If it is easy to see in your mind’s eye something beauti¬ the ring he had received from the King of Prussia fo tC Such humility was foreign Beethoven, nor would elides) instrument;” once he referred to i a art of memorizing music. them to paper, afterwards comparing with the original ful which you have witnessed during a visit somewhere, the dedication of the ninth symphony. Karl Holz tried How often one has seen attempts to play without melody. The key and time may be announced before¬ it have been in place, for he knew he was a king- "clavicembalo miserable.” such as the country or an art exhibition, and. describe to prevent this, begging him to remember that it came more than that, in fact; for how many kings ar® COpy by pianists of really good technic and then hand in the first few attempts. Contemporary critics did not hesitate to point out it to your friends, surely a printed page of music should from a king; but “I, too, am a king, was Beethovens remembered after death. At.the same t. me, he knew the fatal stop somewhere about the middle of the Ex. 3. Similarly, try unknown passages in two or flaws in his works, real or imaginary. Particularly the not offer much difficulty. While proceeding somewhat perfectly well he was not infallible. He was not like “Leipzig oxen,” as he called them, had a habit of piece with the lame excuse, “I have forgotten. But three parts. PrHePtwaT7arrahead of his time in being fully con¬ Ex. 3 For four-part work there is ample variety in similarly on the lines of hearing, we must be careful the foolish Beethovenites of our day, who would have speaking disrespectfully of him. “But let them talk when this subject is closely inquired into it is found vinced, as we all are now, that being of the aristoc¬ the modern hymn tune or chant, first writing the mel¬ not to confuse the two faculties, but for the present us think everything he wrote was perfect. \\ hen he wrote to one of his publishers. “They will certainly that the remembering of say six good pieces is not such racy of genius is a prouder distinction than belonging ody and bass and afterwards adding the inner parts. shall aim at independence. Katharina Tibbini complimented him on being the only not make anyone immortal by their chatter, no more an extraordinary feat after all; and if one can mem¬ This will be found rather difficult at first, but be deter¬ Ex. i. Play two or three bars over at a time, con¬ to the- aristocracy of birth, which the great w master who had never composed anything that was than they can take away immortality from anyone for orize six, why not sixty? It only requires a little extra mined to master it and you will succeed. centrating your whole attention on the appearance of dealth such a deadly blow. , T insignificant or weak, he exclaimed: The devil, you Whenever I use the German Whos Who. I am whom Apollo has decreed it.” thought and work, for by an intelligent use of the say! Many of the things I have written I would be Critical attacks on the style and structure of his the music. Then close the eyes and imagine you can struck by its characteristic difference from the Who s faculties the proper methods can be applied and much Application works only excited his hilarity. Thus Seyfried relates. still see the printed page. Specialize on difficult parts Who?” published here and in England. It is a g glad to destroy if I could.” time saved, instead of the usual roundabout mere repe¬ Apply the principal of ear training to your selected In his letters he repeatedly confessed that he had to “When he came across criticisms accusing hi™ of mak¬ and so assist the touch faculty, as it is not expected that volume, rather stupidly called “Wer 1st s, an^ tition, which, while being greatly fatiguing to the piece for study. Here is an exercise which is most write “potboilers” to earn the money he needed to gam ing blunders in musical grammar he laughed loudly you should remember the whole piece in this way. almost entirely with the names of absolute nobles player, is neither reliable nor interesting. useful in bringing this faculty into play:— and, rubbing his hands gleefully, exclaimed : Yes, yes 1 Ex. 2. For developing your “mental picture” powers, who happen (or happened, we may say now) to belong time enough for his masterworks. One of these pot¬ Ex. I. Play two or three bars over at a time; then They put their heads together and open wide th Method practice reading descriptive poetry, imaging for your¬ to the so-called “nobility” of the empire ; whereas he boilers, by his own confession, was the pianoforte so¬ close the eyes and imagine that you can still hear what nata op. 106; it was written, as he’ said to Ries, almost mouths because they have not seen anything like it in To succeed really, it is necessary first of all to develop has just been played. Work through the whole piece self the scenes that are described. names in the American and English Whos Whos. are those of persons who have distinguished themselves for the "sake"of the bread-I have got as far as that.” the text books on harmony.” independently each of the following five faculties, in this way several times until you can at last hear It will thus be noticed that in sight we have an imagi¬ Hereby hangs a tale. I have often been abused Concerning the professional pianists of his day he namely, Touch, Hearing, Analysis, Sight and Emotion, the whole from beginning to end without playing a native faculty as contrasted with the mechanical fac¬ in one way or another. . r wrote: “Many of them are my deadly enemies. In Beethoven’s day, in Austria, as well as m Ger¬ because I refused to worship tlje last sonatas of Bee¬ and, as the initial letters of each of these words make single note. Later, when the faculty of analysis has ulty—Touch. But if the latter fails, the will can at Why his enemies? Because mediocrity hates genius. many, the aristocracy of birth held complete sway. thoven and because I frequently advise the pianists not the key-word “Thase,” we shall deal with them in that been developed, your ear will accustom itself to recog¬ once flash on the screen of the mind a reproduction Paderewski has had many deadly enemies. Apart from “Mankind begins with the baron” was the insolent and order. First of all, grasp the importance of the indi¬ nizing different chords. Always listen acutely, whether that one can see no particular reason why pianists of the actual print and so save the situation so far as asinine maxim that prevailed. What Beethoven thought vidual training of the faculties, then when they are you are playing yourself or someone is playing for you. should have been hostile to Beethoyem He did not touch and sight are concerned. of it we have already seen by implication. He treated properly developed they will help one another; the idea play often in public, and when he did he played on y Analysis the Viennese aristocrats of the highest rank as his being that, instead of, say, relying solely upon touch his own compositions. These, surely, the others could as is customary, four other faculties are called upon equals in every possible way, and refused to kow-tow This is a. most interesting study and demands a good Having dealt with touch, hearing, analysis and sight, not have been expected to play as well as he did to carry you safely through the various complexities knowledge of constructive harmony. It is also a great we shall now discuss the last quality in memorization, Their inferiority was, to be sure, revealed painfully of your piece without copy. Of course, the working help to the memory, unlocking, as it were, the; door of ^He^did not like to give music lessons because they namely, emotion. This faculty gives to your interpreta¬ when it came to improvisations. In this he was, in e of each faculty may not always be continuous; but the the composer’s mind and bringing into view the real interfered with his creative work; but he did give tion its life and soul, for without it your playing will words of Tomaschek, “a giant among pianists. linking up of the five will cause the necessary over¬ meaning of the piece. Should the student not know some and even if the pupils happened to belong to be dull, mechanical, and lacking in color. Have you ever In Beethovens day all the pianists were expected to lapping and so make your interpretation safe We harmony, it is his duty to place himself in the hands members of the imperial family that did not_ induce noticed the effect of good music upon the feelings? Of improvise in public on themes chosen not by. but or -Vdd say then “train the faculties independently; use of a reliable teacher of that subject. Assuming, how¬ him to treat them with more deference than others. He course .you have, and as an exercise for yourself write refused to submit to the artificialities of court eti¬ them. There is record, for instance, of an occasion tively.” ever, that you are already acquainted with modern har¬ when Beethoven and one of his rivals, Woelffl, sat side Touch mony, try and apply its principles by analyzing the down in single words as many of the emotions you can quette even when giving lessons in the house of Brine remember to have experienced. Here are two, joy and Rudolph, the youngest son of Emperor Leopold II, by side at two pianos and in turn improvised on themes nis is purely mechanical and cannot in itself be more complex chordal progressions in your piece, find¬ sorrow, and there are many more. You are not asked and when the courtiers molested him with their at proposed by one to the other. It was agreed that it trolled by the will; therefore, touch must be looked ing out the “whys” and the “wherefores;” or, in other wason such occasions that Beethoven was at his best words, getting behind the composer’s brain. Music to tabulate your emotions on your music, but to feel tempts to make him follow the prescribed rules ot on as a means to an end and not the end itself, as is Mozart’s historic remark: “Keep your eyes on him. differs so much that it is impossible to lay down any them deeply and remember them. Even if all the other conduct he appealed personally to the Prince, who often supposed. In this faculty, which in most faculties should fail, the fact of being “carried away“ He will some dav make the world talk about him, ayers is the strongest, two things are necessary, hard and fast rules as to how to proceed, but one might far from being displeased, smiled and told the masters say that if the musical texture is “harmonic” or chordal, as it were by the music will probably save your per¬ of ceremony to let Beethoven have his own way. was made after he had heard him improvise. amely, good fingering and good technic. formance. Good books, good pictures, good plays, the “He appears to most advantage in improvisation Ev I Mark out the fingering of all difficult pas¬ it Tnust be viewed vertically—that is, from the base to Ferdinand Ries relates how, on one occasion, Bee¬ beauties of nature and the enjoyment of chamber and wrote a contemporary critic, “and it is, indeed, marve - sages’ to’ ensure correct repeated actions of the fingers, the highest harmony note ; but if the texture is “contra¬ thoven rebuked some ill-bred aristocrats. It was at a orchestral music cannot be too strongly emphasized ous to see how easily and logically he will extemporize as repetition begets habit and habit in time becomes puntal”—that is, a combination of independent melodies musical gathering in the home of Count Browne heard at the same time—observe horizontally and in the development of the emotional faculty. Beethoven was playing some of his four-hand marches on any given theme, not merely by varying the figures subconsc ou ^ arg making tone, decide upon the onwards and do not worry so much about the harmony. Having developed your faculties on the foregoing with Ries, when the Count P. began to talk loudly (as many virtuosi do with much success and—bluster), lines select a repertoire which is well within your pow¬ but by a real development of the idea. ± correct positions and movements of the hands and arms, Thus the faculty of analysis does not only consist in with a young lady in the door to the adjoining room. dividing a piece into its component parts in accordance ers and decide how much time you can give daily to After several attempts to restore silence had been Probably one reason why improvising went out of and always play the same way, as you are thus record¬ fashion was that it so easily lent itself to exploitation ing “touch sensations” to be drawn upon in your future with the laws of form, but also necessitates the music memorization. Proceed in the order of the Keyword made in vain, Beethoven suddenly got up and ex- being shorn of its ornamentation and reduced to a “Thase”—(Touch, Hearing, Analysis, Sight, Emotion) ■ claimed : “For such pigs I refuse to play.” All attempts by humbugs. There is a story of a boy prodigy, who, in interpretations. ... the midst of his “improvisation, cried out rn tones ot Touch is a good servant but a bad master; so we fundamental skeleton structure, so that the intellect —and play as far as you can on one faculty alone. to make him go back to the piano failed. . t as already indicated, place too much reliance may have a basis to work upon. Your knowledge of Then combine sight and touch and see how far you Would that all musicians who are similarly insulted* anguish, “Papa, I have forgotten the rest. There are not many pianists to-day to whose im¬ upon it. By all means develop it, but only as part of harmony should be such that you can do this at sight can go. Afterwards try hearing and analysis. Then had Beethoven’s courage. Some, to be sure, could not by the eye, though it is surprising what can be done when you have accustomed your mind to both inde¬ afford to follow his example. Nor need anyone use his promptu playing one would care to listen. a\ e * Of^late years, the importance of ear tests and after a little practice with pen and paper. While recog¬ pendence and combination of the faculties, link up the unparliamentary language. . heard one, however, who is practically blind, an musical dictation has become duly recognized as a nizing that analysis is the most important faculty in four and add the fifth, emotion, and if the results prove Liszt’s way was more polite, but quite as effective very clever in this way. He will take any theme, or a -ccessitv for every musician’s equipment. You may not memorizing do not lose sight of the fact that musical beneficial the writer will feel more than gratified ir He was playing for the court in the Russian capital group of four notes given him, and develop it m the Assess that rare gift of “absolute pitch,” but you can composition is not a science of cold facts and, figures, having but touched the fringe of a very interesting when the Czar began to talk loudly. Liszt stopped manner of a Bach fugue, a Chopin nocturne^ Mozart nevertheless train your ear to a high degree of percep¬ but a real language of its own, demanding high quali¬ though not very often discussed, subject.—Musica abruptly, and when asked why he did not proceed he sonata, a Strauss waltz and so on. His riamfris Fred ties of invention, imagination and emotion. Opinion. tion Like everything else it only requires a little answered: “Etiquette demands that when the Emperor BEETHOVEN INSPIRED BY THE COUNTESS VON BRUNSWICK. Melius. speaks others must be silent. OCTOBER 1919 FWe 621

THE ETUDE the etude ' ■ ! ,.C' y "A Tage 620 OCTOBER 1919 Psychology and the Child Beethoven used the pedals much more frequently than An Englishman, J. Russell, who visited Vienna a fs preserved in his printed works. I have known By Maso Brevoort _ 5TT century ago, wrote regarding Beethoven s P Paderewski to be violently assailed for doing what “See how well you can^lay this at sight, Verna,” the lions - “He soon forgot his surroundings, and for about Beethoven himself did, according to this unimpeach¬ teacher said to the little student of six years The half an hour lost himself in an improvisation able testimony- And there is equally good testimony | « 1 ' 1 IS IS He reveled rather in bold, stormy moods than »n so to the fact that Beethoven, in playing his own works, child scrambled up to her place at the piano.and^began “The Art Spiritual” and gentle ones. The muscles o his face swelled, his made free use of .the fluctuating pace which is stupidly the piece with the utmost sangfroid. Ihe bass was X composed of simple triads, of which the lower member A Fine, Reflective Article Upon the Possibilities of the Tonal Art veins were distended, his eyes rolled wildly, his mouth called tempo rubato. . , trembled convulsively, and he had the appearance of Possibly this addiction to fluctuating tempo accounts was held through the measure by the little finger- T"« an enchanter mastered by the spirit he had himself for the extraordinary fact that Beethoven, as attested seemed to give the small player no concern. She did By PROFESSOR OSCAR BERINGER by Ries, could never learn how to dance in time. it without a word from the teacher, showing that she C°One Is reminded, on reading this, of an account given However, the Viennese, among whom _ he lived, do understood the matter. _ in The Etude some years ago by Adele Hippms of a The teacher was well pleased that Verna s mother dance in a fluctuating, undulating fashion, especially TauTplaidy, Reinecke and others. For many years he has been redded as one o) J memorable occasion when she and another pupi _ in the Strauss waltzes, as I know from personal ob¬ should see how easily she read at sight, and permitted pupils ’is Miss Katharine Goodson. Righteousness. And the Greeks were incontrovertibly Rubinstein were permitted to hear him improvise. servation. Ries refers to Beethoven’s failure as a herself a smile of satisfaction as the small, elastic "He grew excited, heated, hair fell over his forehead, dancer as simply one detail of his general awkward- fingers took their way serenely over each difficulty as not be said to he highly cuRivaled The most fashion before starting on the principles of teaching music “tfusiliTtiie nearest at hand, the most orderly, the he and the piano seemed to make but one. dhen ap¬ wardness and lack of grace "in everything he did it presented itself. , able pieces were; The Maiden’s Prayer WarbUng’sM peared an exquisite melody, accompanied by chords in He seldom took anything in hand without letting it The mother looked over Verna’s shoulder at the notes. it is essential to and define what Dawn, Warblings at Eve, and apparently at any other most delicate and the most perfect o aH bpdffy pleas¬ the bass and strengthened by the surging of powerful fall or breaking it. Repeatedly he dropped his ink- “That’s quite hard for her, isn’t it, Miss S.. she time of the day that took the composer’s fancy. ures. It is also one which is equally helpful to an arpeggios over the entire instrument. He increased stand into his piano. No piece of furniture was safe commented, sotto voce, , , ,. . , Thank heaven, that phase is finally past. the ages of man; helpful from the nurses song to her the difficulties, he stormed like full orchestra, the piano in his presence. “How he ever learned to shave him¬ Before the teacher could answer, the child s hands Music in England since then has gone up by leaps infant; to the music, unheard by others, which | almost gave way under his hands. The impression was self is hard to understand, even if we take no account began to falter and stumble—her brow wrinkled— often haunts the deathbed of pure and mno«nt spirits. The power of sound is, in very deed, wonderful . Even overwhelming, my nerves were so wrought up that 1 of the frequent cuts on his cheeks.” “I can’t do this,” she complained, dropping her hands anThe0UlSh century dictionaries define music « fol¬ on a somewhat mechanical instrument like the piano¬ felt stifled. I glanced at my neighbor—she had left Strange that there are so few traces of this awk¬ into her lap. „ lows : Bailey (1759), “Science which «nside» tbenum the room weeping. We all had a feeling of involuntary Miss S. laughed. “Why of course you can, Verna ber, time and tune of sounds in order to make delight forte what marvelous effects are possible 1 wardness in his music! From this point of view it tian era that the word music was limited to its Ptemm terror, as if in the presence of some elementary power does not mirror the man. It does, however, mirror The little girl wriggled uneasily. No,, I can t—it s ful harmony,” Ogilvie (same period), A^r WJ» Let us take only a few examples, and tho« by om of nature. Yes, Rubinstein was, • in truth, awe- the passionate outbursts of “temperament from which too hard. I can’t hold those notes down.” L r,»ing, although Plato 1* ^ “ “ ,h“ -:on of sounds so modulated as to please the e composer only, but he the greatest of all, Beethoven inspiring/’ . all of his friends suffered, followed by the soothing, “But you have been doing it right along, Verna, in combination of simultaneous sounds in accordance If you please, we will commence in grief and end in An amusing anecdote is related regarding the last occa¬ S Music, like everything else, was of ^ conciliatory notes peculiar to him. _ Miss S. told her. „ . . , j. _i ’had its very marked ups and downs, tne jollity: ' sion when Beethoven played for friends. The eminent It is said of Brahms that once, at a reception, he said But Verna shook her head. ‘I cant do it, she said 0rDrrjo°hnson, who hated music, is very brief: “The Nos. I. Funeral March from Sonata, Opera e6. publisher Schlesinger visited Vienna and gave a great Greeks held music in very high repute. Plato, m before leaving: “If there iS anyone here whom I have ” speaking of the education of boys, which he ec ence of harmonical sounds.” II. Slow Movement from Sonata, Ops. 1U, dinner. Beethoven was one of the guests and was of not offended I beg his pardon.” Beethpven often btThfs was practically the end of that lesson, for the Jean Jacques Rousseau (born 1712, France) defines course, invited to improvise. After repeatedly refus¬ supposes to be eSded a. the age of .sixtee»,dt»ite this No. 3. m offended his best friends, but when the ebullition was child was unable or unwilling to try the piece again. music as “the art to combine sounds to make them III. Rondo from Sonata, Ops. 90. ing, he finally consented on condition that Castelli, who over he wrote them abject letters of apology. Repeated trials at successive lessons showed that that agreeable to the ear.” IV. Finale from Sonata, Ops. 28. hadn’t the remotest idea of how to play the piano, Like Brahms, Handel and Chopin, Beethoven never particular piece must temporarily be laid aside, if not V. Scherzo from Sonata, Ops. 31, No. J. should give him a theme. Castelli walked up to the married, but he greatly admired beautiful women, and entirely shelved, so far as Verna was concerned. Otlier VI. Posthumous Rondo, “Rage given vent to on instrument, touched with his first finger four keys down then three years’ practice in executive music. All liter¬ was always falling in love. His infatuation, however, compositions she managed to struggle through, but the the lost Threepenny bit.” the scale and the same up again. “That’s enough, ex¬ appearance of this one seemed to be the signal for a ary studies to stop, that they may learn music com- claimed Beethoven, laughing. Then he sat down and, never lasted long—seven months, in one case, being the limit, according to Ries. Yet there is nothing peculiar timidity not to be overcome. to the delight of the guests, improvised a whole hour It was so valuable a study, however, that Miss b. 1 Ruskin’s comments on this are interesting. He says. I think it is now proved up to the hilt that music is superficial or ephemeral about his love music, except on those four notes, which were interwoven into every¬ decided that she must find some means to induce •Understanding this much, we cannow^^ the most spiritual of all the arts. That being so, it thing he played. in his songs, in whic4 he was rarely at his best. Verna to learn it. Not by force, though, for this follows that true artistic playing can be ^“ghi o,'y_ This was in 1825, two years before his death, tie Of his love of nature, the Pastoral Symphony is the would be time wasted. by a process based on psychological principles. Natu had stopped playing in public in 1814. His whole eloquent witness, teaching the lesson that, with the One day when Verpa was getting her hat and coat the body healthy, musical exercise is necessary to keep rally, Physical training is also necessary to make the career as a virtuoso covered only nineteen years. Truth exception of love for woman, there, is no source of on after a lesson, Miss S. glanced over the last page the soul healthy, and that the proper nourishment of muscles and nerves respond to all the mamfoM to tell, he was never particularly interested in the life musical inspiration equal to it. Ncate related that he of the hated composition, and then, putting it out of the intellect and passions can no more take place w Ab¬ nical requirements that occur in pianoforte composi¬ of a virtuoso. According to Ries and Julia Guicei- had “never met a man who so rejoiced in nature, who sight, played the coda softly, bringing out the melody out music than the proper functions of the stomach and tions But the main object of this technical training ciardi, he did not enjoy playing his own things in pub- so hugely enjoyed, flowers and clouds, as Beethoven with a sweet, singing tone. the blood without exercise.” must always be kept in sight, which is to lie—probably because he did not care to take the time did. Nature was his food as it were; it was the ele¬ Verna, who was a truly musical child, came over Music in the Dark Ages Not for the mere purpose of showing off the dexterity for acquiring an impeccable technic. Czerny, indeed, ment he lived in. When taking his walks in a meadow and stood beside her. “I like that,” she observed. After the downfall of Greece music seems to have of fingers, hands and arms. _ _ ..... expressly states that the reason why Beethoven pre¬ near Vienna he would sit down on some inviting green “Do you?” Miss S returned, and played it through As music is a spiritual art, it is self-evident that it is ferred improvising to playing his printed works was paled through a Slough of Despond. It » "gj only possible to attain real musical results in teaching for a bench, and give himself up to his musings. In on™ more. “You may learn it, if you wish.” the XVIth century that it becomes of really- great that he could thus avoid passages that he had not had by appealing both to the mental and spiritual side of the his note book he once wrote: “It is as if every tree To this proposition the child eagerly assented. cational importance again, notably so in England. In time to practice. spoke to me, Holy, holy! In the forest there is en¬ Miss S. therefore copied the coda out, and at the the time of Henry VIII it flourished considerably and The same pupil and friend of the great composer PUNow,nas no two human beings are precisely alike, chantment—who could express all this? next lesson Verna played it with pleasure and quite still more so in Queen Elizabeth’s reign. • also makes the extremely important statement that either mentally or physically, it must manifestlybethe accurately. The Queen herself was supposed to be an accotn So at each succeeding lesson the young student plished player, both on the lute andvirgmalfspnet. duty of the teacher to search for and find out the char¬ acter of each individual pupil, and to vary his method played over a few phrases of the piece copied by the That she took a great interest in music « proved by according to the requirements of each ^dividual case. teacher, getting gradually nearer the first page, bristling James Melville. He was ambassador in l«4 «°n “Joiners” in Music In most of the books on pedagogics the differences with the phantom difficulties that had come into being Mary Stuart to Elizabeth. After his Presen™ “ By E. H. P. at her mother’s suggestion. the latter the Queen’s first question was naturally about of mentality are broadly divided into four groups, It chanced that part of the first theme was repeated Mary’s style of dress, the color of her hair, herfigur^ under the heading of “Temperaments.’ She was a stenographer, but gave her evenings to the on the last page. The teacher approached it with some A. The Sanguine, whose feelings are easily influ¬ There is a certain type of men, not perhaps exces¬ etc., but the next was, “Does she play well on the lute study of music. Her, teacher predicted great things for trepidation. But Verna, absorbed in the fascination enced; inclined to act on the spur of the moment. He sively numerous, but enough so to have acquired a her, but in course of a few months she joined three dif¬ of reading the manuscript, failed to recognize it. is essentially an optimist, capable of enthusiasm for a distinctive appellation, who join one secret fraternal “"siljamel’ diplomatic answer was, “For a Queen, ferent clubs, began going to .frequent dances and other When the child had finished, Miss S. smiled. time, which, however, is apt to evaporate after a while. organization after another, without limit, not so much entertainments, and presently complained of ‘ no time to “Well done, Verna,” she commended. “I have These are his good points. His weak ones are careless¬ because they desire any real or fancied benefit, but At that period music was considered an e^ntial practice.” In "course of a couple of months more she something to tell you.” ness unreliability and want of stability in his studies. because they have an inordinate curiosity in regard to part of the education of the upper classes. The lute flatted out entirely and abandoned her long-cherished B ’ The Choleric has some of the same characteristics the various initiation ceremonies. These individuals Verna listened, with round eyes fixed on the teacher. and virginal were the instruments most favored by as the former; is easily influenced, acts promptly; his are a source of quiet amusement to their acquaintances, wish of becoming a good pianist. “You thought this was a piano lesson, didn’t you?” ladies, hence the name given to the latter Ujstrum ^ It was a favorite saying of Napoleon that if one resolutions are not so ephemeral, but are more deter¬ who bestow upon them the name of “joiners,” or Miss S. asked, still smiling. Gentlemen confined their studies almost entirely wanted to make an omelet he must break some eggs. mined and more lasting. His failings are an inclina¬ rather, as it is colloquially pronounced, jiners. Verna nodded vigorously. vocal music. A gentleman who could not take Part a Oscar Beringer. If the music student only realized the force of this “Well, it wasn’t. It was a lesson in courage,” Miss S. tion to kick over the traces, to rebel against authority, This same characteristic finds expression in the con¬ sight in a canon or madrigal was considered to have No, this smiling face is not that of the idominatable Lloyd George, proverb he would ruthlessly cut out-whatever unnec¬ said, with an air of mystery. She put the abandoned combined with a tendency to over-impetuosity. duct of not a few music pupils, to the great annoy¬ neglected part of his education. Shakespeare s plays much as it resembles the British Premier. essary outside engagements interfere wth his prac¬ piece of music on the rack, opened it at the first page, C. The Phlegmatic. Is difficult to influence, either ance of all earnest teachers, and is by no means lim¬ also prove how popular music was m his day. 1 quote tice. At the Leip-ic Conservatory during the writer s for good or evil. He takes a “deevil of a lot” of rous¬ ited to the male sex. Sometimes it takes the form of and laid the manuscript copy beside it. here two instances: “The man that hath no music in student days there was a custom so strong as to You see, by these definitions, that the only object of ing, but has the advantage of deliberating before form- flitting from one teacher to another, taking only a les¬ Verna’s puzzled look changed — comprehension himself, nor is not moved with concord of sweet sounds, amount to an unwritten law, that the morning hours music at that time was to ‘“tickle the ear with pleas- ing a conclusion. Having done so, he rather obstinately son or two from each; sometimes interrupting one dawned in her eyes—little dimples began to come at is fit for treasons, stratagems and spoils. and the latter part of the afternoon were sacred to the corners of her rosy mouth. Caliban, in “The Tempest,” was a true musiclan’ .ing sounds.” . . . . adheres to it. His nature is heavy and self-centered. branch of music, scarcely more than well begun, to practice and study. One student calling on another take up another; sometimes dabbling in one legitimate She flashed a glance of triumph at Miss S. except when drunk. Even then he liked howling Things are very different now. Music is, at last, D. The Melancholy. Is also slow of resolve and slow during these hours was apt to be received with very “I did do it!” she declared. “catches.” There are only two plays of Shakespeare s coming into its kingdom. It is now not only being in action. Is the very antithesis of the Sanguine, but orchestral instrument after another without pursuing scant courtesy—sometimes even to be forcibly pushed And seizing the psychological moment before it had in which music is not mentioned in some form or other. recognized as an art, but as the greatest, the most his impressions are deeper and more lasting. He is a anv far enough to acquire technic and tone; some¬ out of the door, if he lingered too long. The noon times pasting time over various semi-toy instruments time to escape, Miss S. made the child play the piece With the Puritan revolution Merne England seems divine and the most universal of all the arts. pessimist. He is reliable and serious in all the work hour (which often extended to a generous length, how¬ which happen to be the passing fad; again-and per¬ again—this time from the printed page. to have come to a sad end, and music, except for hymns Unlike painting or sculpture, music does not depend he undertakes. His faults are moroseness, want ot ever) and the evening, were the times given to social haps most frequently of all-allowing one s outside Here was the end of that particular difficulty. To and psalms, was very much taboo. Then, instead of sociability and unhealthy self-introspection. intercourse, These were students whose whole time on outward vision, but is evolved from the inner con¬ avocations to multiply to. such an extent that one no avoid a repetition of the mishap, Miss S. had an earnest being a part of a gentleman’s education, music was, These temperamental divisions are only a broad out¬ was given to the pursuit of music, but in the case of sciousness, and portrays our emotions, our passions, longer has proper time for practice. This last is par¬ according to Lord Chesterfield (born 1694) in is line. Of course, innumerable mixtures of the above, one who is at work or at school during the greater talk with Verna’s mother, which served to show the our every feeling, from the most heartfelt grief to the ticularly the case with pupils who begin after they “Letters to His Son,” fit only for mountebanks and as well as many other characteristics, occur m different part of the day it is necessary for him to be equally - latter her part in developing the little girl’s courage most delirious joy. There is no great occasion in life are grown up, and it is a more serious obstacle than individuals. , jealous of the time he plans to devote to music, be and confidence. vagabonds. , , in which music does not play a part. Ruskin. in Time stiff fingers or any other well-recognized drawback. Even in my own early musical experience, dating trom Now, although it may be impossible to change it evening, early morning, or what you will. Otherwise Other mothers might take the hint and choose their and Tide,” says that among the Greeks music was so The writer has in mind a certain very bright pupil, 1859 (I happened to begin my musical • career as an entirely the character of a pupil’s temperament, yet it he can never hope to excel. comments with care when,the subject of them happens connected with their system of ethics and of '"te]lec: who, although she was over twenty when she began infant prodigy), music was still in a very deplorable can be influenced to a very great extent, especially in This article is not written for the teachers—the mat¬ to be the child student embarking upon the difficult tual training that with them it was also the boa ot the study of the piano, showed such talent that during state as regards the general public, whose taste could ter is not in their hands, but in those of the pupils. art of the piano. For psychology has proved beyond the first three months she made almost as much prog¬ Are you a musical "jiner?” I hope notl question the power of the spoken word for good or ill- ress as the ordinary young child does in two years. OCTOBER 1919 Page 623

THE ETUDE THE ETUDE

Page 622 OCTOBER 1919 Musical Monkeys and the Piano Touch to earn a livelihood. They take up their task the case of the very young. It is the duty of the teacher ° ^ „ °at reluctance and dislike, and become utterly to foster all the good points and to eradicate, or ? anj thoroughly disenchanted human beings. By Frederic W. Burry least modify, the bad ones. , This could^ot occur if they felt the great importance The teaching must be methodical, but the method of he“ new vocation. Surely it is most interest,ng to must be elastic, so that it can be modified to apply to wafeh and foster the gradual dawning of intelligence Much of the so-called modern musical educational An Authentic Biography of Rachmaninoff the different characteristics of each individual pupil. on any subject in the mind of a young child, and the practice is a kind of musical monkeyism a type of And, most important of all, the teacher must thor¬ realization that you hold the key and are helping in the S ion Thus it is that we find students imitating or oughly realize the importance of his task. He pos¬ opening of the gates of knowledge ought to produce monkeying some of the most absurd and erroneous Especially Translated from the Russian of I. Korzuchin sesses to some extent the responsibility of the making Sine in you of pride and elevation, not depression. things with a view of getting what they believe to be a or the marring of the character of a young pupil and I grant that some very dull minds are hard nuts to can influence him not only musically but morally. crack but use your nutcrackers vigorously, and you 80DtvMUBispham tells a good story of a young tenor By KURT SCHINDLER I say, woe to the teacher who enters the profession will at last generally come to some kind of a kernel in Italy who was making his debut in an opera house_ for the mere purpose of earning his bread and butter; In conclusion, I do not think I can do better than to The stage manager was teaching him the traditions of who anxiously watches the clock to see when his so- quote the words of the Emeritus, Professor Niecks of a celebrated role. He said: “Here you walk right to the This Biography Has Been Read by the Great Composer In Person, and Is. Therefore, Accurate called “drudgery” will come to an end. Edinborough. He says, in one of his articles: It is back of the stage, wait a moment and then come down Aye, and there are hundreds of this stamp of teacher , o-reat subiect. In the limited time the discussion and sing ‘Bravo.’ ” “But why do I do that, inquired work of the young composer did not meet with pro¬ going about. They are a curse to the art, and do an could not be otherwise than slight. Still I believe the independent American? “Ah!” said the stage man¬ was invited by his new master to live with him in his nounced success, and—what was worse—it seemed to incalculable amount of damage to music. that even so slight a discussion cannot but have con¬ ager, “You do that because the great Rubini always Rachmaninoff is now 45 years of age. He was born So many students enter one of our schools of music vinced you of the importance of psychology for the on the 20th of March, 1873, on the estate of h.s mother the young author that it had been an actual failure. with the idea of becoming great public performers, sang the role in this way.” . °Titer on, during the season of 1885-86, Siloti recom¬ This mishap produced a strong impression upon the teacher. And it must have convinced him, too, of The young man was not satisfied until he had found called “Oneig,” in the province of Novgorod, that is mended his cousin to Liszt, who consented to accept but, alas! their talent is not sufficient to fulfill their sensitive spiritual organization of the composer, who another thing, of the nobleness of the art of teaching. out why the great Rubini sang the role in such a to sav in the heart of the real Russia, where he spent young Rachmaninoff among his pupils from the begin - hopes. They then are compelled to take to teaching in in respect of hypersensitiveness and lack of conhdence manner. Finally he found an old Italian singer, and his childhood, until he reached' his ninth year. Thus ning of the autumn of 1886. This plan, however came in his own powers, resembled two other great prede¬ The Studio Problem asked him, “Is it true than Rubini always used to walk Rachmaninoff comes exactly from the same part of to naught, since Lisztz died during the summer of that to the back of the stage and stay there for a moment Russia as Rimsky-Korsakoff, and one can say with cer¬ cessors, Glinka and Tchaikovsky. (A Dialogue) year, and Rachmaninoff went on with his studies with It is known that Glinka spoke of himself as of a before going down to sing his final ‘Bravura . Yes, tainty that in his case, as in that of the older master Zvieriev. In 1887 Siloti received a call as professor “mimosa,” which closes her leaves at every touch; By Wilbur Follet Unger yes 1” replied the old Italian singer. ‘ But why did he the fact that he spent his childhood in the seclusion of of the Moscow Conservatory; Rachmaninoff entered such was the temperament of Tchaikovsky, and such money, and my name is growing all the time? I tried do it? Why did he go to the back of the stage at such country life, in the midst of the typical Russian land- his master class, and under his cousin he finished h s Two music teachers (whom we will designate as A is Rachmaninoff’s, too. After having shown so many your way, once, and the waiting for trolley cars and a point?” “Ah!” said the old Italian, “he always went scape-with its simple but irresistible charm-has given studies with brilliant success in the spring of 1891 and “B”) met one evening at a club to which they both promising signs of creative genius, there came now a to the back of the stage to speet” (spit). the formation of the composer’s character its decisive His pianistic accomplishments, however, did not satisfy belonged. The following dialogue ensued: all that sort Of thing disgusted me. pause of almost three years, during the course ot Many of the capers that one sees in the studio and direction. the young musician, who possessed, besides his unusual A. —By the way, have you settled in a studio yet, B —Well, possibly I save more in doctor’s bills than which his physical forces failed him to such extent on the concert stage are based upon traditions quite as A Significant Ancestry talents as reproductive virtuoso, rich sources of crea¬ or do you still persist in calling at your pupils’ homes? you make in extra pupils—who knows? Then, again, that the young composer was forced to have recourse my friend, I save myself from getting into a rut by senseless. tive force; for this reason, while working on his pian¬ B. —Oh! I still “go the rounds.” And, do you know, The son of rich parents, belonging to the stock of to medical help. I doubt if you could ever convince me that I could always having a change of scene. You cannot deny the Fashions change. Some piano students will recol¬ the old Russian nobility, Rachmaninoff was at first istic development, he made serious studies in musical lect the hard, high, brittle finger stroke which, at times, Conducting Opera better myself by having a studio!” benefit of that? destined to enter into the most aristocratic school of theory with S. I. Taneieff and A. Arensky. Of course, in spite of the interruption of his crea¬ A.—Probably not better yourself, but how about bet¬ A—No, but I also spare myself lots of disagree¬ would cause serious damage to the old-fashioned Russia. But fate decided differently; the financial con¬ Having graduated from the conservatoiy as a pian¬ tive period, his artistic life was very much occupied; tering your pupils? Don’t you think, that you owe it to able weather, too! And it always strikes a business fragile piano’s “insides.” Indeed, it was sometimes ditions of his parents took a sudden turn for the worse ist young Rachmaninoff remained there for one year either he appeared as pianist in concerts, or, still more your pupils to let them have the advantage of a studio man as more systematic and business-like to have quite necessary to acquire this hammer-like percussion, and it became necessary to give up the idea to place the more and delivered there for the final examination imitating the mechanism of the instrument, for while often, he conducted orchestral concerts, an activity for to come to? pupils come to a well-furnished studio. You can count child in this very expensive, aristocratic school. As it his opera Aleko, which was successfully frforl"ed “ B—Why? What do you mean— ‘advantaget in on a certain schedule, and it trains the pupils to punc¬ inside the piano was frail enough, the keys and their was this turned out to the boy’s advantage, because he April, 1893, on the stage of the Grand theatre of which he also appeared to be singularly gifted. In this what way? I think it’s their advantage that I go out tuality and promptness. If they are late, they are the action were strong, hard, heavy, virile. already showed with absolute certainty very unusual Moscow. , direction Rachmaninoff, as did many other fading Russian musicians, received considerable help and push to them! losers. Then the other extreme, in vogue for awhile—the musical gifts. This musical talent was not a surprise This success gave wings to the young composer, who from the well-known Moscow Maecenas, S. V. Ma- A. —On the contrary, I should say it was a decided B—Well, as to that, I’ve often had to wait myself caressing, pressure, organ touch-playing merely with to his family, because his grandfather, a Russian noble¬ now devoted himself passionately to composition advantage for the pupil to sit in a cozy studio filled for pupils at their own homes! Sometimes they lag the weight of the finger—did not seem to fill up all man of the grand style, had been a great lover of music During the summer of 1893, in the quiet seclusion of montoff, who at that time (1896) supported his own opera company in Moscow. Rachmaninoff was engaged with a fine collection of music, musical pictures on the on the way home from school. But then I come in requirements, and various positions of the hand have -more than that, a remarkable pianist. He had been country life, he finished many compositions; six songs, by him for the post of third conductor, and in this walls, reference books in the book case, and all that contact with people—1 mean adults, not always children been advised—level, curved, raised high, held low, a pupil of Field, and through all his life he had made the first Suite for two pianos, a violin-piece and an position he acquired the routine so indispensable for sort of thing, you know. to talk to. strike from the shoulder, strike from the elbow, strike very^ serious musical studies. Though the prevailing orchestral phantasy, The Rock, also a choral work for B —Well, that’s all right, old fellow; but how many A. —Ah! I’m glad you said that. For it’s a point from the wrist, strike from the knuckles. Relax, hold customs in the time of the grandfather Prevented him church, called, The Prayers of, the Ever Watchful even the most highly gifted musicians. Besides this, Rachmaninoff found here the important chance to pupils appreciate all that, tell me? How many ever stop against your argument. I’m thankful that I do not tense, move the hand, keep it still, bend it, straighten it from taking up music professionally he had often Mother of God. This latter composition has never to look at a picture or a book? How many can tell —and the varieties of touch, all coming from authori¬ become closely acquainted with the small group of have to see parents with every pupil! When I formerly appeared in various charity concerts. been published, although it has been performed m Bach from Brahms by their pictures? And, beside, tried going out, as I told you, it was my unhappy tative sources, have bewildered the willing student. About the playing of Rachmaninoff s grandfather we Moscow; all the' other before-mentioned works, how¬ highly talented artists of different types, whom Ma- many of the better class of pupils have these same experience to be “nailed” by the mother of almost Is there a correct touch? have the testimony of Rachmaninoff s cousin, A. 1. ever, enjoy a well-merited and widespread reputation. montoff used to assemble around him; especially with Th. I. Shaliapine, who at the time -was only beginning things at their own homes. every pupil and questioned as to “how is Bessie getting The mistake lies in considering the body as merely Siloti, the famous pianist, one of Liszt’s favonte pup , A—True, but then how about the piano? I offer along,” etc., and you have to commit yourself with an a material machine. The art of music lifts us into and a prominent figure in the present-day musical life, Tchaikovsky’s Death his career.' my pupils a fine grand piano of the best known make, Rachmaninoff, who, of course, as a musician was awful lie to keep in the mother’s good graces, for she a very different realm. It is because mind is the one of Russia. According to this authoritative witness with a beautiful action, and always kept in good tune. In the fall of 1893, Rachmaninoff received a very would never understand nor appreciate sympathet¬ real "thing, because the body is a vehicle, shrine, taber¬ Rachmaninoffs grandfather played the piano better incomparably superior to Shaliapine, became so much Gan you say as much for conditions in your pupils auspicious engagement to conduct his opera f]fko ically any criticism of her darling child, such as you nacle of a soul—is the objective expression of this interested and charmed by the brilliant dazzling ta.ent than either Siloti or Rachmaninoff could ever dream Kieff, when unexpectedly on the 20th of October the homes ? could with impunity give direct to the pupil. No, sir! soul—that touch is a spiritual question. of the young singer, that he gave freely of his time B. —Ah! there are two points in my favor! First, of playing. Of course this expression should be taken tragically sudden death of P. I. Tchaikovsky occurred. deliver me from going to the pupils’ homes! Unfold the right attitude, overcome self-conscious¬ and interest in order to further Shaliapine s musical I do not have the expense or bother of keeping a piano "cum grano salis ” but it shows the profound impression This was a heavy blow for all musical Russia, B. —But, my dear fellow! Isn’t it wise to let the ness, and the artist’s touch takes care of itself. Siloti had received from his grand-uncle. Thanks to development. „ in good order, and, secondly, each of my pupils is and especially to our young composer, for Tchaikov¬ After finishing his operatic season with Mamontott, parents see you and get in touch with your method One easily imitates. Habits grow very quickly. the musical traditions already existing in his fami y accustomed to the intimacy of his or her own house, in order to co-operate with you the better ? sky represented to him not only the national pride and Rachmaninoff went to London (1897) , where he ap¬ and used to the peculiar action of the piano at home. I once knew a young man who imitated in the wrong by the example of this grandfather, Rachmaninoff did A.—I can tell them all I want by letter or over the ideal, but was personally dear and near to him. Ever peared successfully in all his capacities: as pianist, Whereas, one of your pupils who is used to a light, direction. Seeing his musical friend hold his arm in not have to overcome many obstacles m order to fol w since young Rachmaninoff’s arrival in Moscow, Tchai¬ phone. And once in a while I make it a point to call composer and conductor (performing his orchestral flimsy action piano, comes to play on your ideal instru¬ a certain crooked position at the piano, he thought this kovsky had been exceedingly interested in the boy s on them, socially, when I have the time, see? Then it phantasy, The Rock). ment, and thinks it a hard action,—and vice versa with was the correct thing to do, and so he tried to do hlSTo0AnnanOrnadtskaia, a pupil of the Petrograd con¬ is not keeping some other pupil waiting. No, old boy; growing talent and had followed his development with With the beginning of the twentieth century, the another pupil. Now you have taken the initiative in likewise; he did not know that his friend’s arm was servatory, belongs the honor of having been the: first I tell you, a studio gives a teacher a certain dignity and ardent sympathy. , _ , wounds received by Rachmaninoff through the failure this discussion so far; let me say something. somewhat deformed—born that way. teacher of the boy Rachmaninoff; she was so success¬ prestige in the profession and with his clientele. Else Especially touching was this interest of Tchaikov¬ of his first symphony, began to heal, and he gradually A.—Surely; go ahead! , . ful in her efforts that when he, at the age of 9 ye , why do all the leading teachers have studios? And As a general rule, I think the partially relaxed sky in regard to Rachmaninoff’s operatic first attempt, set to work again on compositions. In 1901 he wrote B —Well then, do you remember how often you ve entered the Petrograd conservatory he immediately here are a couple more points: Wherever you go, you pendant forearm, fairly low wrist, with curved hand, Aleko, the stage rehearsals of which he attended, to¬ his well-known song, Fate (included m op. 26 and complained’ of your health? How “run down” you drew upon him universal attention, and became at o"=e are obliged to cart around a small music store with striking with the tips of the fingers represent a good gether ’with the young composer, helping in every published 1906); his second piano-concert, op. 18; ana always are? Look at me! I’m out all day-getting the pride and hope of that institution. Special atten¬ you. I have mine in my studio to lay my hands on position for most technical purposes. Not the tip-top possible way by his advice to contribute to its success the second suite for two pianos, op. 17. . fresh air between each and every lesson. You sit still tips of the fingers—surely not the nails! tion was paid to his piano tuition, which he received at its first performance. It was his special desire to and suffer with nervousness, sleeplessness, loss of appe¬ whenever needed. When you give recitals, you are at from Prof. Vladimir Demiansky, a well-known and In 1902 there followed.: The ’cello-sonata, op. 2U; the expense of hiring a hall, while I can give as many They say Rubinstein used to play with his fingers have his one-act opera, Iolanthe, which he was then the choral cantata, Springtime, op. 21; twelve songs, tite and all that! You say you haven’t time for exer¬ highly respected teacher, and later, for a short period, recitals in my studio as I care to. But you must flat. just finishing, performed together with Aleko on the cise^_give up your studio and go out to lessons, as op. 22, and piano variations on a theme of Chopin. excuse me now, old man; I haven’t been feeling very Now general rules have many exceptions. It stands from Cross. same evening. . , Finally, in 1903, he wrote the universally known 1 en well, and I’m off to see my doctor. Good night; I’ve to reason that there must be more movement, more Under the immediate impression of the heavy Be¬ 1 a—I concede that as the best point in your favor. Not a Prodigy Preludes for Piano. spreading of the fingers, more exertion of the biceps reavement—both artistic and personal—through the But if I did go out, I could not possibly give as many enjoyed our little talk very much. His own musical faculties, his excellent teachers, B.—Wait a moment, and I’ll take you around in my and triceps even, for some passages than there would death of Tchaikovsky, Rachmaninoff composed, his Operatic Works lessons in the day as I do now. Just at present, I can and, above all, the general love and admiration which be for others. Relaxation is a good word to remem¬ Trio Elegiaque, which was successfully performed in give'forty-five lessons a week, and am making good new auto that I use to call at my pupils. surrounded the lad might have easily turned him into In the autumn of 1903, Rachmaninoff, who always ber, as long as one does not interpret it to mean flabbi¬ January, 1894. . • . had a special fondness for the genius of Pushkin, a child-prodigy. Fortunately, however, his healthy The creative power of Rachmaninoff continued to Less Nervousness Now ness. For there must be a certain degree of physical created, in the course of three or four weeks, his opera. tenseness to give character to the tone. Let there be and richly gifted nature prevented 1s1u^h((^^evel?,pm!”t,’ assert itself, and the above-mentioned compositions and the career of the boy, then called The pride and The Miser Knight (after a dramatic scene of Push¬ By Q. A. Bowers alternations, periods, waves, rhythm—positive and were followed by a series of piano-pieces of 10, and an adornment of the conservatory,” took its normal way kin’s)—in 1904 followed another opera, Francesca da orchestra capriccio on gipsy-themes of 12, which re¬ experience he was taught by a man who was a negative. One minimizes tiredness this way. In Rimini, which, like the afore-mentioned, shows a splen- Teachers are commenting upon the fact that pupils covering long intervals, jumping from one chord to towards the heights of art. . ceived considerable approval from N. A. Rimsky- nowadays do not seem to be so nervous as formerly graduate of Stuttgart, and who could play a Chopin In 1885, A. I. Siloti, who had just finished his musical . did combination of his mature style and rare master- Valse as though it were carved out of the keyboard another, do it gracefully—describe semi-circles—the Korsakoff. Possibly this is because the younger pupils are required education under Liszt, visited Petrograd. When he In the summer of 1895 his first symphony was com¬ with a hammer and cold chisel. Six months of such longer the distance, the higher the arc. Yes, the whole S Both these operas were performed in 1905, first in to get more exercise in the course of their public school heard his young cousin play, he advised him to develop posed, and was performed in January, 1896, at one instruction brought on hand strain so severe that a arm should play—the whole body. Of which the ten Moscow and later in Petrograd, and met with consid¬ his musical talents still further and for this reason to of the Russian Symphony concerts given under the nervous condition of the fingers and arms developed, digits are extremities only. erable success, not as much, however, as they might W Another reason is also probable. Twenty-five years take up residence in Moscow, in order to study with auspices of the publisher Belaieff. Unfortunately, ow¬ from which the writer has not yet entirely recovered All is one. And a good touch is the result of a Nicolai Sergeievitch Zvieriev, professor of the Moscow ago the teacher who did not teach his pupils to play ing to its unskilful rendition, this first large symphonic have deserved. with high knuckle joints and a hand as stiff and hard after the lapse of two decades. Present day methods harmonious blending of both instrument and per¬ Conservatory. Rachmaninoff took this advice, and as a garden rake was a rarity. In the writers own make such offenses impossible. former. OCTOBER 1919 Pag* 626

THE ETUDE THE ETUDE

Page 62Jf OCTOBER 1919 The “I Can’t” Pupil friend Seriabine, impelled Rachmaninoff thus to honor Secret of Success of Great Musicians Another short interruption of his creative activity his memory by performing and spreading the knowledge By EUGENIO di PIRANI should be chronicled; it occurred during the season ot of his work all over Russia. . , • .t,... By Zarah E. Prable 1904-05, when he was invited to become first conductor As to Rachmaninoff’s creative activities during these of the Moscow Imperial Grand Opera; this position last years, we must mention Vesper-Service, per¬ We all have them—those “I can’t” pupils. But how Edvard Grieg gave him an opportunity to lead the masterworks of formed many times with extraordinary success by the do we handle them? Do we keep on hammering in many composers. n SoTcow Synodal Choir, and finally in 1916; a complete musical facts and mechanics, hoping against hope that In 1906, Rachmaninoff took up his residence in Dres¬ revision of his First Piano Concerto (wntten durmg h.s some day the pupil’s attitude will change or that some den, devoting most of his time to pian.st.c concert Tschaikovsky (August) and to Berltoz (September). younger years), a new set of songs and etudes for of the ideas will sink in, and that the pupil will advance activities, in which domain he gradually attained a in spite of his or her attitude—or—do we try to get world-wide reputation. „ P'The tragical events, which happened in Russia in 1917, In the same time Rachmaninoff made many European forced the composer to leave his native land in Decem¬ to the root of the real trouble? appearances as a composer. Especially should be men¬ I am afraid that many of us teachers get into a wegian in ms music, uc-uaa , , . .. ber, 1917, and take up his residence in the Scandinavian member. They are going to perform some new songs Instead, he has succeeded in compelling the admiration tioned a performance in Paris, of his Springtime nice little rut of presentation of facts, musical ideas, How is it that we love the work of art the more of Hugo Wolf.” Cantata, with Shaliapine as soloist, under the leadership and methods. It is so much easier for us! And we for¬ if we love also the artist, not only as an artist, but as of the whole world. . , M „ C°Ast areal Russian and a great-hearted man, Rachman¬ “Did you say that you must go and applaud. But! One has named Grieg the “Chopin of the North, of Chevillard (1906). . inoff feels deeply the woes and misfortunes that have get the personal equation of the “I cant pupil- it well as a man? Love is a beautiful statue, a splendid are you sure that you will like them?” as, like Chopin, he has not ventured upon the. larger During the season of 1906-07 Rachmaninoff wrote befallen his homeland. But if there is sadness in his is so much easier for us to say, like the cross-stitch picture, an imposing musical creation, and if we happen “No,” he said; “but that is immaterial, as every| forms of composition-symphony, opera, oratono-but his Second Symphony, op. 27; and his first Piano- exile during these times of stress, there is also a hope¬ motto, “There is no such word as ‘can’t,’ or You to know that the author was a bad character it leaves Sonata, op. 28; and during 1907-1908 the Symphonic ful side to it Rachmaninoff is at the present moment can do it if you only think so,” and dismiss it at in us a bitterness and a disgust which prevent us from member is bound to applaud.’ ^ he was much more versatile than Chopin in that he Poem, “The Island of Death,” op. 29. These three that, and go on trying to pour ideas and methods “Even if it does not please him?” _ did not limit himself to one instrument, but wrote as one of the first-if not the very first-representatives enjoying his work. works belong to the best known among his composi- “Most assuredly; you know it is Verems SachtT of Russian musical art, and owing to the particularly upon, not into, stubborn heads. ,; ■ , We go through the same experience in life. . A sym¬ well for voice, violin, violoncello, chamber music and What is the remedy to be used in such cases? I rich organization of his talent, he embodies within him pathetic personality invests a man’s doings with more (for the society’s sake). orchestra. With Chopin he has in common the ex¬ tl0The season of 1908-09 finds Rachmaninoff again in have had some rather startling results through m" No wonder that Austria has gone to pieces! quisite charm and loveliness of his melodies, appealing all the possibilities of musical manifestation as an merit than he sometimes really possesses. We are Russia, where he was offered the post of vice-president original composer, as a virtuoso of the first rank, and vestigating along “applied psychology” lines, What is even inclined to give him credit for things which, in more to the heart than to the brain of the music lover. of the Imperial Russian Music Society. Thanks to this the primal cause of that “I can’t-ing” frame of mmd ? Grieg’s Original Bent as a remarkable conductor. truth, have little value, if any. Some poor fellow has In a letter to Henry T. Finck, the excellent biogra¬ position, which he occupied for three years, he had to Exiled as he is by the force of circumstances from Is it stubbornness? Not one case in one hundred, ! Grieg was one of the few modern composers who did work considerably on the question of developing the to suffer his whole life under this bias for the mere sur¬ pher of Grieg, the subject of it writes: “If there is Russia, where he had reached his fullest artistic devel¬ am certain in stating. Is it dislike of music? Yes, in not follow in the footsteps of German music, although general musical education in Russia. The obligations face of things. He may be skillful, proficient in his line, in my music anything of lasting value it will live, if. opment, Rachmaninoff must be considered at the present some extreme cases, where fond and over-anxious he received his education in Germany. He strove .to of this position—together with his manifold activities— but his unlucky personality is in his way. He is awk¬ not it will perish. That is my belief, for I am con¬ moment as a plenipotentiary ambassador extraordinary parents try to force a talent which never has nor never emancipate himself from its influence and sought in¬ absorbed so much of his time that for a certain length ward, shy, has no savoir-faire, no charm of manner vinced that truth will prevail ultimately.” This com¬ from Russian musical art to the civilized world with a will exist. Is it bashfulness? or nervousness? Many, spiration from the folk songs of his own land. In this of time we find again an interruption of his productiv- Nobody wishes to hear from him, nobody will pletely relying on his own merit only forms one of the mission to remind the world what it owes to humbled many times, it is just that. But there is usually a endeavor, of course, there lurks a danger. Even if ity. acknowledge his merits. If one happens to speak of most sympathetic traits of the artist and the man, who, and (at present) unhappy Russia! He is the veritable much more subtle cause lying behind that bashful¬ refined, “national” composers are liable to become too During the summer of 1909 his third Piano-Concerto him somebody changes the subject of conversation when as Grieg himself observed, are indissolubly wadded high-priest of Russian musical art. ness” which is just an euphonious word for extreme popular, or even vulgar. Their work sometimes seems was composed, and in 1911 a series of songs, op. 32 To all that we have said about the quality of Rach¬ he is mentioned—yawns—is blind and indifferent to his one to the other. _ . In 1912 Rachmaninoff succeeded in tearing himself self-consciousness. Now, what causes that self-con¬ to appeal only to the narrow circle of their fellow- maninoff as a composer, let us add that he is the proto- productions. On the contrary, let a lovely, graceful Grieg’s mother, Gesine Hagerup, was a good pianist. away from his activities and devoting himself again to sciousness? Is it physical defect of some sort. Yes, countrymen, since only they are able to understand the type of the conscientious artist who puts the highest smiling girl, all dressed in white, trip to the piano and She was his first teacher, and at home he breathed the larger forms of composition; it was then that the that is often the cause. I shall speak of two cases which meaning and to enjoy the spirit of their national lan¬ demands upon himself, and that he is able to combine play a piece even in a mediocre manner, and we all from early childhood a musical atmosphere. She third Symphony, op. 35, appeared. This Symphony, the deep emotionalism of his creative thought with the are a little unusual. One was a case of both adenoids guage. It is like with national culinary specialties played often for the family, and once a week she which bears the subtitle “The Bells” (after Edgar Allan applaud heartily, we shake hands with her, we tell her filigree delicacy and the finishing touch of the most and tonsils. The proper operation restored normal which enthuse only the gourmands of their own land. invited friends to a musical soiree. The mother had Poe, translated by Balmont), shows the fullest devel¬ nice things—pour flattery into her ears, only to cause physical and mental balance, and a freedom in the Italians have “spaghetti,” which, however, it must be set her mind on making her boy a musician. She was opment of his orchestral style in large dimensions. In minute detail-work. her to smile a little more. We fairly bask in her sun¬ Rachmaninoff has never been a child-prodigy, but all use of the throat and nasal cavities never before ex¬ owned, has acquired a somewhat international reputa¬ the same year the second Piano-Sonata was composed. shine of success. , " ,. very severe with him and did not allow him to lose the more certain, all the more direct, has been his perienced by that pupil. The bug-bear of “I can’t” auto- tion; Spaniards have “Olla Podrida;” Germans, Rachmaninoff made several concert tours in these Of course, in many cases, we see only the artistic his time in dreamy improvisations. When Ole Bull, development. To every one who will take the trouble “sauerkraut;” Russians, “caviar,” and so on; but one and the following years; in 1909 he visited the United work before us, without knowing anything about the the famous violinist, returned from his triumphal con¬ to analyze the content and the technique of his compo¬ finds often that the same dish which makes the joy States, in 1911 Holland, and in the beginning of 1914 author, but then his creation is permeated with some cert tour in America, in 1858, he heard the then 15- sitions it will be clear beyond doubt that he is now in Tone Deafness a Mental Defect of the local glutton leaves people of other lands per¬ he made a general tour through Europe. Between invisible, impalpable fluid, which, according to the year-old Grieg and advised his mother to send him to the full bloom of his creative forces, and that he has fectly indifferent. The same with music. Many na¬ times Rachmaninoff was conductor of the Moscow The second was more difficult to reach. It was a Leipsic to study and become a musician. The Leipsic still many precious works to give to a world which nature of the author, makes it sympathetic or repulsive tional heroes are considered nobodies out of their own Symphony concerts (1912-1913). When the big war case of “tone deafness”—the inability to distinguish needs them so much. We can also feel assured that conservatory gloried at this time in many famous started, Rachmaninoff made a prolonged tournee the difference between tones less than a minor third land. . the diversity of his gifts will not interfere with the tC>So it is with Edvard Grieg. We love his music the teachers and especially Moscheles, the great player of through all Russia, giving concerts for the wounded Grieg is an exception, for, although essentially Nor- development of the particular branches of his activity, apart. A competent examination revealed that the more because we love the man. Let us speak of both. Beethoven, imparted to Grieg his enthusiasm soldiers and victims of the war. In 1915 he undertook although it almost seems impossible to say how he physical ears were perfect and normal. So I decided Everyone is conquered by the fascination of for that master, while Hauptmann and Rei- another concert tournee through Russia, but this time that the tone deafness was a mental defect which could necke were his teachers in composition. Under for another reason, the untimely death of his intimate could still further develop as a pianist. Grieg’s music. It has a special, indefinable be corrected. I experimented about three months be¬ flavor, like the fragrance of roses. Ito har¬ these circumstances the originality of Grieg’s fore I accidentally stumbled upon the fact that my pupil monies, its melodies are profoundly original, music is the more to be admired, as the severe was intensely interested in machinery of all sorts. When typical of this composer. One can recognize training in the conservatory was likely to suf¬ he learned that an expert machinist can tell by the Grieg after a few measures. It may be that, focate his individuality. These studies were Let the Parents Know slighest differences in sound whether all is well or not like the industrious bee, Grieg has extracted carried to such excess that they induced in with the machinery, he became alert and eager to try this wondrous flavor from the white, still Grieg a serious pulmonary trouble and left By Phaye Olene Prouse to overcome his tone deafness, and succeeded in finally bloom of his beloved Norwegian fiords and— him but one lung with which to breathe. distinguishing even quarter tones! So that “I cant” again like the bee—he has elaborated the prec¬ After Leipsic, Copenhagen was chosen as a disappeared in the light of a real interest. musical center and here he came under the When I have a small class, I find it a very satisfac¬ reason, finally left, and the child began with me. She ious essence through his genius, and converted had taken less than twenty-four lessons, but had been Another case was one of pure auto-suggestion on influence of Niels Gade, the Danish composer, tory plan to go to the homes of the younger pupils. it into the most delicious and enjoyable work playing quite difficult music, in both clefs. I soon dis¬ the part of the family of the girl involved. Such re¬ and still more of Richard Nor dr oak, a highly Give lessons in an open room, where the mother and of art. . covered she had been playing some way or other, not marks as “You’ll never be a great singer,” “Think you’re the father happen to be, that they may both see and Unlike other masters, Grieg’s creations did gifted Norwegian musician, with whom he knowing her bass lines and spaces. The mother, in the some Melba, don’t you?” and “What’s the matter, are hear how you instruct. They see the pupil gets full not need to be imposed upon the music world started the “Eutherpe” society, which had as nearby room immediately saw what I saw, and she won¬ you sick?” when the girl was practicing scales, etc., time, strict attention, is required to count aloud, and through high pressure methods, through in¬ its aim the production of works of northern dered how in the world Ruby had made any headway. from the well-meaning family, “to keep her frqm be¬ thus the parents know who is to blame for an unpre¬ timidation, through frightfulness, as the mili¬ composers. It is due mostly to his association Hence, she was put back—but the parent of the child coming conceited,” according to their ideas, crushed her pared lesson. The young pupil comes up with a much tary caste in Germany used to impose its with this congenial friend that in the forked understood. sensitive soul. These crude jokes were nothing short better lesson and fewer false excuses. “kultur” upon weak nations. He had not, like road of his career Grieg chose the path which For a teacher not wholly dependent upon teaching The teacher, a thorough, attentive instructor, per¬ of cruelty, to this type of girl, who needed encourage¬ haps, had taught Ruby all this, but the child failed to Wagner, Richard Strauss, Hugo Wolf, a pow¬ led Mm to fame. for a living, I find it a good plan to take fewer pupils ment, commendation, and sympathetic interest in her Nina Hagerup, his cousin, inspired him to grasp the idea. Had the mother been present at the erful artillery of critics, influential persons, and spend a little more time in going from home to work to keep up her moral courage. It took some time, lessons no doubt she would have been able to follow clever writers, well-organized societies, to his well-known impassioned song: “I Love home to give lessons. _ , and considerable tact, to make the family see my ideas Thee.” As with other composers, love sug¬ I took a little girl who previously went to a teacher s up the teacher’s instruction and help the child to master shoot at the stubborn who would not consent upon the subject in the proper light. But when they gested to him his most beautiful ideas. After studio for her piano lessons. The teacher, for some the bass clef. to be converted to admiration and adoration did, the Teaction was well worth the struggle. And of the new idols. Grieg’s music came to. its three years of courtship Grieg married his be¬ even after that, I had to re-establish in that poor child world quite of itself and without compulsion. loved, who was an accomplished singer, and a confidence in her own ability, before results became One listens to it and feels pure, unalloyed settled in Christiana as an organist, teacher, manifest. pleasure. Nobody needs put the pistol to your composer and conductor. A concert of his How to Administer Rewards This is not the only case I have traced back to head—nobody threatens to kill you if you own compositions which he gave with the help misunderstanding and nullifying suggestions from dare to say that you do not like it. of Lady Halid, the famous violinist, better By H. W. Moodey family sources. In fact, I found that evil to lie at the That reminds me of an amusing episode. I known under her previous name Normann- root of many “I can’t” problems. was invited in Vienna to a dinner given by a Neruda, had a great success, owing largely to These few remarks may give you a hint as to where the fact that the public began to consider From the ideal standpoint rewards should come ulus of a regular reward system. The isolated re¬ high dignitary. Near me at table was seated om the consciousness of work well performed. In ward at the end of each week. Thousands of teachers to look for the source of the disturbance, when you a monocled and much-decorated gentleman, Grieg as a champion of Norwegian music. For her words the rewards should be in the work done use a star system, a red star for progress, four or five have to deal with one of those “I can’t” pupils. with whom we soon engaged in a lively dis¬ eight years he conducted the Philharmonic ,d not separate from it. Efficiency experts, however, red stars lead to a silver star, five silver stars to a cussion on modern music. At once, in the Society, and wrote in that time his two violin . d that a well-regulated system of rewards is often gold star, and five gold stars to a book or pin or middle of the conversation, he looked at his sonatas, his pianoforte concerto, his “Peer- One of Bach’s greatest fugues came into the hands xy effective, especially with workers down m the some other prize. Coupled with competition in a class, watch and said: “I am very sorry to have to Gynt incidental music to Ibsen's play of the of a musician by the grace of pure accident. He went tellectual scale. , , a regular system such as this often produces wonder¬ Ent T must p same name. This, his most widely known com- Every practical teacher knows that children respond ful results. The pupils, however, should always be to a little grocery to make a purchase, and the clerk markably to rewards, but few understand the ad- made to understand that all rewards are merely wrapped up his parcel in a sheet of music paper, which intage of keeping them constantly under the stim¬ records of work accomplished. proved later to be a Bach fugue. OCTOBER 1919 Page 627 THE ETUDE THE ETUDE Page 626 OCTOBER 1919 the Duke presented Grieg with a badge ofone of his Storm.” Among the smaller pianoforte pieces, position, first produced in 1876, in Christiania, con¬ “Norwegian Bridal Procession;” among the laigcr tributed largely to his world-wide fame and made him the Pianoforte Concerto in A min., three sonatas for able, with an assured future, to move freely from coun¬ violin and pianoforte Apart from Peer Gynt, the try to country, making his works known by public per¬ suite, “From Holberg Time,” for orchestra. was present, saved the somewhat awkward situation formances. He lived afterwards in Norway and m Grieg did not often indulge in interminable devel¬ 188S he built himself a house “Troldhaugen,” on the with great tact. She came to the rescue and, smiling, opments like other composers, who, in the words of said' “Dear Mr. Grieg, let me show you how such a west coast of Norway. In 1888, during a visit to Eng¬ Schumann, “squeeze the last drop out of their themes A New Method of Piano Practice land with his wife, he played at the Philharmonic badge should be worn,” and fastened the decoration and spoil the good ideas by tiresome thematic treat¬ Society, his pianoforte concerto, and Mme. Grieg in¬ with her own hands on the lapel of his coat. By PERLEE V. JERVIS ment.” His harmonies never strike the listener as Grieg possessed a sense of humor. At the close of terpreted his most beautiful songs. being grotesque, even though he made use of chords a function at a hotel, a certain Danish composer, Mr Jervis, famous as Dr. William Mason's best-known living exponent, writes us that he beleives that this is the best Grieg and Dreyfus that some years ago must have appeared extremely notable for his plagiarism, was unable to find his over¬ In 1889, although invited, he would not visit France; ’1 article he has ever written. It will answer hundreds of questions of progressive students. coat and went about loudly complaining thereof. He indeed, his refusal to do so made him many enemies in ^Opinions of Grieg’s music of course vary. German came to Grieg, exclaiming that some one must have that country. The “Affaire Dreyfuss” so rankled in his critics have belittled him. Grieg used to comp am of the outer part of the upper arm, a little nearer the stolen it. “After all,” said Grieg, “that would only other muscles not necessary to the performance of any mind that he expressed himself in no mild terms on the their attitude, saying that they tried him in the Wagner “Dear Mr. Jervis: elbow than the shoulder. Place the left hand upon be a just retaliation—for you steal from us all. action should be in a condition of repose. It may be the upper right arm at this point, and then, resting the subject. “I am indignant,” he wrote to Colonne, the box and in the Brahms box and that because he could "In a recent article you said the essentials said further, that when an acting muscle has performed On an excursion a party of Norse-American tourists tips of the fingers of the right hand lightly upon a French conductor, “at the contempt for justice shown not fit either of them he was condemned. “Why can¬ of intelligent practice.were-. ‘Know what you its work contraction should instantly cease and the recognized the composer and began to chant his praises table, give a slight push, the impulse coming from the in your country and therefore am unable to enter into not they put me into a box by myself?’ Remecke have to do. Know how to do it. Do it.’ I muscle return to its normal condition of rest. This in extravagant terms. Grieg was at first pleased, but a upper arm, followed by an instantaneous relaxation artistic relations with the French public.” Grieg went kept his famous pianoforte concerto for weeks and would appreciate it very much if you would is all there is to the often misundersood question of little further acquaintance revealed the fact that the of all the muscles of the hand and arm. If this be to the length of allowing his refusal to be inserted in tell me ‘How to do it.’ An article on the finally returned it without a word of comment. Bar¬ relaxation. _ . . properly done, the contraction of the triceps may be the French papers, a move which had unpleasant results tourists were under the influence of strong drink. In subject would be helpful to many teachers like Good exercises for securing facility m relaxing are rel the German composer, half-brother of Clara distinctly felt by the left hand. Now rest any finger a sad tone he exclaimed: “It is ever thus; whenever myself who cannot get in touch with teach¬ the following: Raise the hand back on the wrist eight years later when he appeared in Paris to conduct Schumann, asked once one of his pupils what she had upon a piano key and produce a piano tone by a push some of his works, as his opponents hissed, blew whis¬ I receive ovations it is always from the drunken.” ers in a large city. „ joint, hold it poised for a few seconds, then suddenly brought with her. She replied that it was a piece H. H. K.” of this kind, taking care that the impulse is quick and tles and threatened to create a public disturbance. One day at Bergen Grieg went out fishing in a small relax the muscles when the hand will drop of its own of Grieg. „■ , . , boat with his friend, Frents Beyer. After a while a that the muscular contraction disappears instantly, This trait is a proof of the loftiness and sincerity of “What did you say—by Grieg? But, my dear girl, An answer to my correspondent’s question would weight and hang loosely at the wrist. With the hand musical theme suddenly came into his head. He took leaving everything elastic and quiet.” Keeping in mind Grieg’s character. Even knowing that it would militate necessitate an exhaustive treatment of pianp technic thus hanging, shake the arm up and down; if the what has been said in regard to key speed, apply this Grieg is not music!” a piece of paper from his pocket, quietly jotted it down against his success, he did not hesitate to give expression The pupil was a Norwegian and this was more than that would be impossible in a single article. Only a muscles are loose the hand will swing freely—flop triceps action to the triad, varying the quickness of the and put the paper on the bench at his side. A moment to the voice of his conscience (in this case the fully consideration of a few vital principles can, therefore, on the wrist joint. Next, while seated, with the arm muscular impulse till any degree of power can easily be she could endure. . ,. w later a gust of wind blew it overboard. Grieg did not resting in the lap, raise the forearm about a foot, keep disinterested sympathy toward an unjustly condemned “What!” she cried, “Grieg not music? Adieu, Herr be attempted. When these principles are thoroughly produced. The triceps is the key to the whole situa¬ see it, but Beyer saw it and picked it up. Being him¬ assimilated and their application _ to playing becomes it poised for an instant, then quickly relax and allow officer of a nation completely strange to him) and was Professor,” and with that she swept from the room tion in modern technic, as there is hardly a passage of it to drop loosely and of its own weight into the lap. ready to take the consequences. self musical he read the melody and, after putting the sub-conscious, you have all there is to piano technic. any kind that does not call for its cooperation in a like an offended goddess. Now extend the entire arm in front of the body on The French themselves could not help at the end paper in his pocket, whistled it. Grieg turned and From the time when Columbus stood the egg on greater or lesser degree. On the other hand Americans extolled him to the a line with the shoulder, hold it poised as be- admiring his uprightness, and in 1890 Grieg was made a asked- “What was that?” Beyer answered noncha¬ end, to the present day, many supposedly impossible The player who examines his movements carefully heavens Mr. Finck said that he would not give in fore then relax, when the arm will fall heavily into member of the French Academy of Fine Arts. Three lantly: “Only an idea I just got,” whereupon Grieg things have become comparatively easy when one will be surprised to find that many of them are unneces¬ exchange “Solvejg’s Cradlesong” for all the songs of knows how to do them. The world says: “Such a the lap. Finally: While standing, with the arms years later he was one of five composers whom Cam¬ retorted: “The devil you say! 1 just got the same idea sary—“waste motion,” to use a mechanical term. Brahms, Hugo Wolf and Richard Strauss put together hanging loosely from the shoulders, raise the latter myself.” thing cannot be done ;” then comes a man who does it, When these waste movements are eliminated, quite a bridge honored by the presentation of the honorary Perhaps the golden mean is the right one. Nleeks, as high as possible, relax and allow them to drop He did not care to enter into scientific discussions on and, when it is seen how easy it is, presently every percentage of technical difficulty disappears. How this degree of Music Doctor, the others being Boito, Bruch, who is of German birth, but became afterwards one back to their normal position. Now go to the acoustic problems. Somebody asking him about his one does it. Puck’s promise to “put a girdle round unnecessary motion can be minimized will be shown Saint-Saens and Tschaikowsky. of the most renowned English music critics, says of about the earth in forty minutes” long seemed the poet’s piano, allow the hands to hang loosely at the wrist, opinion on overtones, he answered that he was not Grieg’s playing charmed by its refinement and taste. Grieg: “Wherein lies the secret of Grieg’s more than with the fingers about six inches above the keys. later on. dream. Morse discovers the telegraph, Field lays the The accurate, automatic measurement of distances on He rendered his own compositions in an unapproach¬ transient success? It lies in the poetic nature of the competent enough to discuss the matter. Keeping this loose condition, lower the arms till the Atlantic cable, and electricity flashes around the globe the keyboard is necessary to certainty in skips and able manner. As a conductor he also knew how to man, a nature that derives its character from his individ¬ Grieg was so used to being belittled that once, his finger tips touch the keys. Continue to lower the arms in half the time set by Shakespeare’s fairy. Fifty jumps. It is a sort of sixth sense that is possessed by get remarkable effects out of his players, and his ren¬ attention being called to the praise bestowed upon him till the hands are brought into playing position, the ual constitution in the first place and only in the sec¬ years ago one who asserted that he could talk in an the blind to a remarkable degree. That it can be cul¬ derings were full of delicacy and grace. He was by Dr. Riemann, the German music historian, he re¬ fingers resting lightly on the keys which must not be ond place from the inspiration yielded by his country ordinary tone of voice and be heard one hundred tivated is proved by the fact that all good organists severely critical in all that he did and would take end¬ replied: “It cannot possibly be true that I am praised depressed in the least. Lower the arms still further and people. In short, what of his music will live, will miles away would have been deemed a lunatic. Bell pedal without looking at their feet, and thousands of less pains over everything, every detail, never ceasing by him. It reminds me of old Hauptmann in Leipsic. till the wrists are below the level of the keys, then live, thanks to Grieg the poet, not to Grieg the Nor- discovers the telephone, and we converse with a students of typewriting learn the “touch system” in to worry until his task was accomplished entirely to his who, on hearing the ‘Meistersinger Vorspiel,’ exclaimed sway gently up and down a number of times. If the wegian. . friend on the other side of the continent as easily as which the keys are covered by a screen. A preliminary at one place, ‘Stop, that must be wrong, for it sounds condition of looseness is maintained the keys will satisfaction and he could see no further scope for Liszt’s words of encouragement remained witn nim if he were in the same room with us. To-day a elever exercise in distance measurement, which also carries remain level, any contraction of the opposing muscles alteration or improvement. “Thus is it that master all his life. Grieg said: “When bitterness and disap¬ correct.’ ” boy can construct a telephone that will work better with it a study in lateral arm movements, is the fol¬ being at once shown by the depression of the keys. works are made,” writes Markham Lee. “Genius is pointment are in store for me, the remembrance of his Resuming we find in Grieg: than Bell’s first model. The foolishness of “Darius In the piano playing of to-day tone is produced lowing : patience,” said Isaac Newton, and Charles Dickens said: words will have a wonderful power to uphold me.” 1. Unflinching uprightness even at the risk of jeop¬ Green and his flying machine” is familiar to many largely by releasing the weight of the arm. When “My imagination alone would never have served me Grieg died September 4, 1908, in the Bergen hospital ardizing his own career. schoolboys of the past generation. To-day, the great¬ est war in history has just been won, largely by the more power is required than can be obtained by re¬ as it has, but for the habit of commonplace, humble, and he left the greatest part of his fortune (about 2. Emancipation from the shackles of the old German aid of the aeroplane. Jules Verne s TWENTY leased weight, a muscular impulse gives this weight patient daily toiling, drudging attention.” This trait $75,000) to musical and dramatic institutions of that school. of Grieg and, as a matter of fact, of everyone who THOUSAND LEAGUES UNDER THE SEA, an impetus. Perfect control of arm weight minimizes city thus evidencing his love of his country to the 3. Severe self-criticism and accuracy in the smallest technical difficulties and is the mechanical basis of all has accomplished great things, should not be over¬ which has delighted many a boy, becomes an accom- very end. details. expression. Power, or loudness of tone depends upon looked by young musicians who are eager to take lished fact in the submarine. All these things are easy Some Anecdotes 4. Poetical elaboration of the Norwegian national key speed; the more slowly the key moves down the great masters as their model. when someone discovers how to do them. Count very slowly four in the measure and practice At a time when Grieg concertised in several German folk songs. softer the tone; the greater the velocity of key descent The most popular of all Grieg’s songs are “I Love in this way: At count one play the triad staccato, towns he was invited by the reigning duke of a smaller 5. Noble poetic nature. Many Methods Bewilder the louder the tone. This law should be borne in Thee,” two songs for Solvejgs (Peer Gynt), “A Swan, raising the hand back on the wrist joint, where it is A TRULY GREAT ARTIST! mind in all the explanations that follow. To produce state to visit him. In the course of the conversation Great advances have been made in the technic of to be held; at count two—by a lateral movement of the “Margaret Cradle Song” and the dramatic “Autumn a tone by released weight, practice this' exercise: Shape piano playing, as artists and thoughtful investigators arm—carry the hand to the triad an octave above; at the hand for the triad C—E—G, the finger tips rest¬ have discovered the “how.” When Chopin published count three play this triad with the same wrist stac¬ ing lightly upon the surface of these keys. Now relax his monumental Etudes one of the great pian¬ cato; at count four carry the hand back to the first Don’t Sit Too Close ists of that day asserted that there were not two the muscles and release just enough arm weight to depress the keys; a soft tone will be the result. Ex¬ position. Practice the left hand an octave lower. This players in the world who could overcome their tech¬ lateral movement is one of the most important playing periment by releasing more weight at each repetition By Nana Tucker nical difficulties. To-day they are in the repertoire of movements and the one that is most neglected. Be till the full weight of the arm from the shoulder is car¬ every concert pianist and are well played by many careful to separate the up and down movement from the ried on the finger tips, thus varying the power from amateurs. Piano technic, which, for years, was a lateral; do not try to combine them; see that there Do you point during the lesson? Are you one of find his wings—and the rapture of poise and flight. The “hard life” of the piano teacher is that or pianissimo to mezzo forte. hodge-podge of illogical and inconsistent theories, has is no unnecessary contraction in carrying the arm from those painstaking teachers who “keep the place for Have you not sat and watched the little one hopping not, just as we make it. We say to the little beginner at As soon as he can produce a tone by released weight been established upon a basis of scientific principles side to side. When this exercise can be played accu¬ the young pupil with the pencil? But who does tins about, then trying the new-found wings, while you her first lesson, “Now, you approach something beauti¬ the pupil should be shown that a legato is accom¬ as teachers and players have discovered the how. rately, practice with the eyes closed till perfect cer¬ at home for the practice? And if the child can get on listened to the mother overhead, calling out in dis¬ ful ; happy times are coming to you. There will never plished by transferring this weight from one finger Of the making of methods there has been no end. tainty is secured. It will not be necessary to practice there, why not at the lesson? If she is dependent on tressed voice, restless and uneasy until he can take be a time when you come to your lesson as to a thing to the next, just as in walking the weight of the body Many of these have contradicted each other and have other intervals; they may be studied as they appear in Lu when with you, how does she get on without you? care of himself? But he has had his lesson, and now you do not care for. Only beauty and joy are in this is transferred from one foot to the other. We may he must do his own flying. befogged the question of technic till the student or It is the careful, conscientious teacher who some¬ study; and it is all play—we do not work the piano, we then practice this exercise: With the second finger pieces. Don’t sit so close to the lesson that the composer and teacher has become hopelessly bewildered. Each of How to enable the pupil to carry the foregoing prin¬ times overdoes in her best efforts. Hovering over the play it; and the farther we go, the more beauty and these methods has its own series of exercises through resting lightly on C, release enough weight to produce pupil, controlling her very thought as well as directing his idea are crowded away. The musical idea—that is a soft tone; now rest the third finger on D, relax as ciples into his practice and playing at all times is a what the pupil must be urged to get. And sometimes the more joy are ours—the happier becomes the which the pupil must wade. Often in despair he cries: problem that has interested the writer for a number her fingers, the teacher unconsciously does for her what playing.” “Is there no escape from this interminable grind? before, and at the same instant let the second finger she should do for herself. Are you that one? Then the teacher can help most from the farthest distance stop holding its key. If this be properly done, the of years. After much thought and long experiment he To teach the child in this fashion we must put our¬ Can’t I learn to play without all this torture?” The vou are helping too much. You are doing the playing, across the room. In our overzeal we may be in danger light weight of the arm which is being supported by has devised a method of practice by means of which selves in the proper attitude of mind. Successful purpose of this article is to render first aid to these and keeping the child from relying on herself. You are of forgetting that teacher means, in its best sense, only the second finger will be passed on to the third, and these principles can be carried on concurrently and sufferers. yourself, hindering the very thing that you are striving helper. No zeal can be too earnest in teaching the how teaching is in first adjusting ourselves, and then, by without any confusion. It has yielded remarkable Underlying the piano technic of to-day are four C will rise as D descends, thus producing a perfect to develop. That psychological something’ which of playing, but after full pieparation there comes the mental suggestion, leading the child along with us up to legato. Practice with all fingers. Be careful not to results in his own study and has been wonderfully place where it is as well to move aside and make way a certain point, after which the teacher-mind directs great principles: RELAXATION, CONTROL OF successful with pupils. It may be called group rtudy makes of playing music, can be transmitted only psy¬ ARM WEIGHT, ECONOMY OF MOVEMENT and do anything to the keys; simply let the released weight for the composer. When the pupil comes to regard the from a distance. It is so largely psychological, that the or practice of hand positions. Before describing it a chologically. You teach the pupil the notes; you tell MEASUREMENT OF DISTANCE. The most vital carry them down. No finger action is necessary if the her hove the musical idea is to be executed; you illus¬ composer as a person, and the composition a "some¬ understanding of it is what determines whether teach- word of explanation is necessary. All piano passages of these—because upon it all the others depend—is finger relaxation is properly timed. trate it But beyond this she must go herself The thing” that the composer is saying, the piece assumes mg is to be drudgery or not. If you have not yet are made up of hand positions or groups of notes that Relaxation. In spite of the fact that so much has For adding the muscular impulse necessary for pro¬ mother bird when time has come for the birdling to life, and the imagined presence inspires the player to gotten beyond the stage we all go through when trying can be played without shifting the hand, either by put¬ been written upon the subject, it is surprising to find ducing all degrees of power up to the loudest fortis¬ flv does not go with him. After (we can imagine) catch and grasp his meaning. From the moment this to be conscientious and faithful, we must be absorbed simo, there is nothing simpler or better than the exercise ting the thumb under, or by crossing other fingers over is so, it is easy and delightful sailing for both pupil and that to many teachers relaxation means flabbiness, or full Instructions, she pushes him from the nest, and for the triceps found in Mason’s Touch and Technic. the thumb. The scale of C is a simple example, being teacher. p”d, ^°V.®nng- Remember—“the play is the thing.” what James G. Huneker calls “dishrag relaxation.” Sih whatever anxious calls and cries, leaves him to Push back your chair, and DON’T SIT TOO CLOSE. made up of two alternating hand positions. The first A muscle, in order to act at all, must contract, but all It is thus described by him: “The triceps is located upon OCTOBER 1919 Page 629

the etude THE ETUDE

Page 628 OCTOBER 1919 While the efficiency of a tool undoubtedly depends largely upon the skill of the workmen, yet the most position covers the keys C, D, E, then by a shift of inexperienced teacher who thoroughly tests this method the hand the second position is taken on the keys F, of practice, will attain results that will amply com¬ G, A, B. This shift of positions in a scale is accom¬ pensate for the study involved. Incidentally he may plished by putting the thumb under on F, and, by a movement of the arm, carrying the hand over to the get right upon the solution of some technical problems. next position, using the thumb as a pivot. As a prelim¬ inary exercise, practice the hand positions of the scale Many passages may be grouped and practiced hands The Minor Opera Composers in this way: together, this from the Etude m D flat of Liszt, is a good example: Minor poets, minor prophets, minor 'Mors, all come in for their share of exploitation, but little is said Position of Feet Diplomas and Certificates of the minor composer of grand and romantic opera Four Questions Position at Piano, t •■I would. like to Myt0piano the side of the pedals. I was The really great opera composers are suiprisingly flat ou the floor by i feet on the pedals, whether few. The following list of composers whose works value of giving dip number of years connected taught to place hot hold the stage of the very large opera houses in Ml ehing this to my Ipupils from their first lesson. parts of the world may be said to be fairly representa¬ taught**successfully for*several years. Am I there¬ at peuaiuug.pedalling.’—H. —aa. B. , - Play the notes together as written, producing the tone course, shonId ^ technical exer- tive of the really great opera composers: Beethoven, fore qualified to give a certificate? M. C. There is no object in placing the feet on the pedals by a slight impulse from the triceps followed by an Bellini, Bizet, Boito, Charpentier, Donizetti Gluck, unless they are to be used. A careless pupil would be instantaneous relaxation of all the muscles and a C01"" Inasmuch as the bulk of the students in the educa¬ Gounod, Leoncavallo, Massenet, Meyerbeer, Mozart, apt to allow the weight of the foot to bear down plete cessation of weight the instant the tone is heard. 1 Why should one try to play loudly when using the tional world look forward to their sheepskins there Puccini,'Rossini, Ponchielli, Thomas, Verdi, Wagner, the damper pedal, and thereby confusion of sound If this be properly done the keys will bound up with the soft pedal? Only intoxicated people try to drive o must be some value to them. This value may be ficti¬ Weber, Mascagni, Puccini, Debussy. A scant list of might “Psult.P If the pedal is to be used the foot fingers still resting on them and a soft staccato will tious to the extent that there can be no guarantee as less than two score men who are presently surviving on rSightPand leftside of STa Gmnd should be ready for action. If it is not to be used for result. The application of different degrees of energy to a person’s intrinsic ability. It is often said that the operatic stage. Mention is not made here of the any considerable time, it is just as well on the floor will give various degrees of power. Relaxation and SZ? Jita. three „ire«. In deposing the toft merit will win out in the end, and that a person defect¬ The eighth notes with the stems turned downward more recent successes of men who have arrived only You are right in that you tram your pupil s foot to controlled arm weight have thus been provided for. are played with the left hand; those with stems run¬ ive in ability can not succeed, even with the indorse¬ find placement on the pedal from the time he is being Now, with the fingers resting lightly upon the surface of during the most recent years. ning upward, with the right. There are those who will feel that there should be ? r ris- s ment of a diploma. In spite of this most peoplejd° taught how to use it. The soft pedal is rarel7 us^’ the keys, shift to the next hand position by using a The passages would be grouped and played thus. value the “outward sign,’’ and it is often of great help and it would prove very tiresome to keep the left foot lateral movement of the arm, keeping the fingers added to this more or less arbitrary choice the names of in getting started. Meanwhile, most people place a always parallel with the keys, and the muscles of the such men as Offenbach, Balfe, Moussorgsky, Dukas, Lan- on it constantly. wrong interpretation upon diplomas. They are no arm in a loose condition. Thus waste motion will be donai, Delibes, Goldmark, Ricci Brothers, Samt-Saens, A Beginning Teacher eliminated and distance accurately measured. Wolf-Ferrari, Laparra, Humperdinck, Montemezzi, Flo- guarantees of capacity. They simply state, in more: or tow, Boito, Giordano, Borodin, and others—notably less formal language, that a person has completed a theory^but 'desire advicel\ibout>.- thirds quickly impresses the notes upon the mind. Practicing Softly 3. Every pupil should have a repertoire, well mem¬ Always be careful to use the proper fingering and to tic in Japanese music: with stems up in the first two measures? nractice as directed in the preliminary exercise. Notes 4. Subconscious playing. In rapid playing the hand “I have been taught to teach begnnersto “2 Does the right hand continue to play this orized, which is kept constantly in practice. This softly, and various articles ^eber advises her part during the next five measures, also playing the active list cannot be very large, of course, but with standing alone as in the above example, should always automatically adjusts itself to a group of notes which melody ? be practiced with a lateral arm movement, never by the fingers play, without any more conscious thought fuVp^dto%yS^uderfe»en ttiej have a very “3. In t-’"""’”" advancement in ability certain pieces can be dropped than one gives in reading to the separate letters that loud tone. Which is correct? —K. A. the notes out and replaced with fresher ones. No special effort reaching out with the finger; always keep the hand C. R. S. in five-finger position when possible. compose a word. As these groups of notes are nearly The muscles in the hands of any beginner spe¬ should be made to memorize etudes, except certain 1. The right hand plays the notes you mention.. always hand positions, it will be seen how this method cially a child, are undeveloped and weak. With chil selected ones of Heller, which are more attractive than Grouping Complicated Passages of practice develops subconscious playing. Incidentally dren this development is a question of yean,, or m 2. The right continues the accompaniment notes with many pieces. All technical work should be done from The grouping of complicated pasages may, at first, the pupil gets an idea of the harmonic and melodic Japanese scale. Whole melodies are built out of this mo other words, until the natural growth of the body is the melody, nicely differentiating the two. Play the memory. . .. puzzle the novice, but the process will be clear if it is construction of a composition, and also acquires facility tive. The Japanese have no harmonies (chords). The; ready for stronger conditions. A great deal of harm horn notes with full round tone, and the accompaniment 4. Nothing more than a good, thorough teaching in reading groups, that is very helpful in sight playing. remembered that the thumb is never to be put under, have a kind of rude counterpoint in which the 7ths an can be done to children’s hands by forcing the mus¬ very softly. along standard lines. Piano study in a conservatory The reader may ask if this method of practice would or the fingers crossed over the thumb. In grouping any especially the 3ds are rarely used. Their ears are mor cles to greater feats of strength than they are ready 3. In measures 26 to 32 the right hand plays the does not differ from that with a private teacher. If not tend to destroy a good legato and make a “sticky” passage always keep the five-finger hand position, hold sensitive than ours, for they have “quarter” tone: for Your own good common sense will settle this accompaniment notes with very light staccato touch, your pupil is well taught he is ready to enter a con¬ touch. On the contrary, the writer has found that even That is, they distinguish at least two semitones betwee servatory at any point in his work, whether he be the fingers parallel with the keys, and avoid any twist¬ question for you. Let loudness with any pupil be pro¬ at the same time preserving the’legato in the melody, with beginners he can establish a legato very quickly. a whole tone. If a Japanese hears Western music, o advanced or not. Conservatories take elementary ing at the wrist...... portional to the amount of strength he a his using the so-called portamento also where it is indi¬ All the examples given have been for the right hand The reason for this is that a legato depends upon native music performed by Western instruments, h fingers. Also do not try to develop the strength of pupils just as you do. relaxation, economy of motion, control of weight, and cated. but left hand passages should be grouped and practiced says that the music has no shading, that it is to children’s fingers beyond their years. in exactly the same manner, as, for instance, this from properly timed key release, all of which enter into the cold, too formal and artificial, that it is uninterestin group practice. the Gnomenreigen, by Liszt. and out of tune. THE ETUDE

Page 680 OCTOBER 1919 Twelve Vital Points to Remember with firstly, because of their benefit to the harmonic Transposing Five-Finger Exercises sensibilities! and, secondly, because they afford so many When Practicing of the best finger positions. _ . . . By Theo. J. Hutton As regards methods of practice in the junior grade, By Viva Harrison all the exercises for the day may be taken successive y in any one key; but it is better in the senior grade o The benefit of a five-finger exercise is more than Concentration doubled by transposing it throughout the major ana take each exercise through all the keys according to Pick out the particular spot you have determined minor keys. The average student, however, is unable the table, without stopping. to master the process until reaching the third grade— The exercises in contrary motion are the most useful to improve. Keep your mind on that spot without deviation until you are convinced that you have im¬ at least without a disproportionate expenditure ot time. for action training, but it will be better to use those in proved it. If you try to think of two things a once, But as soon as the scales and key signatures have similar motion until the method of transposition has been comprehended the student can be given co - you are lost. Remember that if your attention is di¬ mand of six transpositions with the greatest ease. been mastered. luted instead, of concentrated, your results will be Name the following key-signatures to be prefixed i diluted. turn to the exercise called for, and the student is a Left-Hand Accuracy Relaxation once enabled to play in several keys from the same Don’t waste any energy through unnecessary ten¬ printed notes: sion If your muscles are, tensed and you try to By C. Sherman work with tightened muscles, your practice is bound to be laborious. It may seem a bold assertion, but one often finds Optimism vaudeville pianists with left-hand technic and accu¬ Don’t keep saying to yourself, “I’ll never be able to racy which would put to shame that of the average play that passsage,” say, “Hundreds of others have teacher. Possibly the reason is that it is a kind of mastered it. I will.” Optimism always pays. act in itself to startle the audience by left-hand solos. These key-signatures may be merely listed at the Schumann’s famous remark, “by the basses one Accuracy head of the page or written on scraps of paper to recognizes a musician,” does not apply to composers be attached in turn to the exercises. only. The pianist who has a left hand that limps pa¬ If you allow yourself to bp careless in the reading of notes, use awkward fingering, or abuse the pedal, The benefit of this practice to the 1st, 4th and 5th thetically is hardly likely to attain any very high posi- your music will be a complete disorderly jumble of digits will be apparent in less than a week, as will tion in the musical world. We know of one teacher tones. Accuracy is most essential, if you would be the gain in the delicacy of touch (power and con¬ who had her pupils play the scales, keeping the left a clean, clear player. trol). In many cases the young student will be found hand going continuously and inserting the right hand to take pleasure and interest in the exercises, always only with every alternate octave. She claimed that a valuable consideration. Time-Keeping this produced surprising independence with the left For the next step in teaching two means are avail¬ Be your own time-keeper, having a mental com¬ hand, and it really seemed to do so. able—a brief formula and a written table. ihe prehension of the rhythm, metre, signature and char¬ formula is composed of three directions and repeat. acter of the movement, as determined by the number (o) Five notes of a major scale. of beats in a bar. As Shakespeare has said, “Keep (6) Five notes of a minor scale (explaining to time. How sour sweet music is, when time is broke, those who do not know the minor scales to lower the and no proportion kept.” third not a semitone). Rachmaninoff’s “Fragments” (c) The lowest note of above and four notes or the major scale a semitone higher. The Etude has the honor to present here¬ Alertness (а) Five notes of this new major scale. with for the first time a new composition Train the mind to act quickly and grasp an idea at (б) Continue as above until octave has been trav¬ of the Russian master Rachmaninoff. once. Allow yourself a limited time to accomplish Distinctive in style, indisputably Russian ersed. the desired result. Always read several measures in The formula from another angle: in its atmosphere, as modern as the latest advance, as the attention precedes the fingers. (a) Take C as major keynote. works of Debussy or Ravel, and yet as logi¬ cal in its harmonies as it is characteristic of (,b) Take C as minor keynote. Industry (c) Take C as leading note to the keys a semi¬ Rachmaninoff. Form the habit of practicing a certain amount at a tone higher. Something refreshingly different always (a) Take the major keynote a semitone higher, adds zest to the recital program. All of certain hour each day, as we are all creatures of habit. Rachmaninoff’s works, like those of Chopin Work is the quickest route to reach the goal. As John Ct Her^ is the tabulation which many will find use¬ and Schumann, which seemed so exotic Sebastian Bach has said, “I am what I am, because ful even after the formula has been comprehended: and iconoclastic when they were first heard, I was industrious; whoever is equally sedulous will be have the element of earnestness and sin¬ equally successful.” Five of C major. cerity which distinguishes all “permanent Memory “ C minor. music. “Fragments” is not especially dif¬ Visualize as you practice, so that in the end you will C and Four “ Db major. ficult and will amply repay study. Five “ Db “ know it from memory, after having mastered it theo¬ “ C# minor. retically and mechanically. Cultivate the habit of C# and Four “ D major. playing without your notes and adding to your reper¬ Five “ D toire daily. “ D minor. “Point At It” Pedal “ Eb major. D and Four Hearing the tone mentally and having the foot in " Eb “ Five sympathy with it is very necessary. Practice with the " Eb minor, By E. H. P. “ E major. pedal alone, and then with the notes and all the Dlf and Four shadings possible. Five “ E Robert Louis Stevenson somewhere quaintly remarks “ E minor. that though children have eyes they are not particularly Self-Reliance E and Four “ F major. good at seeing, but use them for bye-ends of their own. Cultivate self-reliance, depending upon your ability, Five F The piano teacher who has young pupils to deal resources and judgment. Imitation leaves no food for “ F minor. with will be ready to admit that there is more of truth the intellect and checks development. F and Four “ Gb major. than jest in this remark: half of what passes for stu¬ Five “ F# “ pidity or inattention is merely the difficulty a child “ F# minor. has in keeping his place on the page. Often the most Interpretation FS and Four “ G major. painstaking and lucid explanations on the part of the Always aim to express the author’s meaning, which Five “ G teacher go for nothing, simply because while he is conveys a message to the audience if properly under¬ “ G minor. talking about one place the child’s eyes have uncon¬ stood by the player. Make your music speak and G and Four “ Ab major. sciously wandered to another. It is a great help, in reveal its artistic import. Five “ Ab “ such cases, to have the pupil point to the place on the “ Ab minor. page and even to hold his own finger on the spot while “ A major. Tone Production G# and Four the teacher explains. Strive to produce a round, mellow, sonorous one. Five " A In extreme cases, where a child seems to be unable “ A minor. Touch is the means, and should be acquired for artis¬ to concentrate his attention on some particular notes “ Bb major. tic piano playing. A and Four in question, if the teacher will take a blank card in Five “ “ Bb “ each hand and cover the notes to the right and left “ Bb minor. so as to leave only the necessary ones exposed the “Our opinion of a piece of music easily changes when A# and Four difficulty will be overcome. “ B Five “ It should be scarcely necessary to add that when we hear it repeated, and it may do so still more when “ B minor. either of these devices is resorted to, it should be in we have the score before our eyes and can study it. “ C major. B and Four “ a good-natured and matter-of-fact manner, without • . ■ . Do not believe every word you see against a “ C Five “ any spirit of impatience. The child should not be work because it is printed; rather form your opinion.of allowed to feel that it is a sort of desperate measure, the work heard, thus making it possible for you to criti¬ The use of those sets ased upon the leading note reserved for extreme stupidity. of each new key should in no account be dispensed cise even the criticism.”—Felix Weingartner. TEE ETUde Page 632 OCTOBER 1919 MELODIE^^ erafc4

A splendid example of the modern treatment of the singing tone against an tla or SERGEI RACI OCTOBER 1919 Bage 635 THE ETITDE OCTOBER 1919 Page 637 the etude THE ETUDE p,rKe ms OCTOBER 1919

PRELUDE SERGEI RACHMANINOFF, Op.3,No.2 , ftf sonoritymakeitespecially suitable for a four hand^rrange- I’rohuhly the most popular of all R?°hmaninofrst »ojg»o|itioM. «» .n. lit it shnilM hp n aved in a claneine manner liKe tne cmmiug

Q- U Jr- dim. cresc.

pyright 1919 by Theo.Presser Co. Pa ge 641 OCTOBER 1919 THE ETUDE THE ETUDE

Page 640 OCTOBER 1919 SECONDO

8 8 f T 8 8 8 8—-^8 the PASSING parade MARCH W.M. FELTON SECONDO

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Copyright 1919 byTheo.Presser Co, OCTOBER 1919 6J>3

THE ETUDE

THE ETUDE wants to share with its readers some of the very ^tereJ^ng p^uical discussions of ^SS^SSSSs —a W«s topics and shall print them now and then. Compensation Hold Fast to Music Professor Berger Retaliates y for Teachers

Berber's article c°ll22 ^pfend “Play-ing ing up pencil ^and paper to aere to underhand from Memory.” JHNNIE MATURO, Ohio. GRACE E. MERRILL, Colorado. The Establishment of Muscular Habits By Thomas B. Empire dence of the wrist. They must not compel the wrist muscles to tense with them. , . , Practice at the piano is, of necessity, limited. ^All The next time you pick up anything^begmnmg, of the other time in the day we are It will hriw.. ti r=>»«r- course with light and non-friable artieles-try^ the ing muscular habits of some kind o tjie mus. “Mason” method on it. Apply this method to every¬ he helpful to the student to findout wheth^ ^ ^ thing you do with the hands-typewntmg dusting cular action we «se m daily motio^s^ ^ ^ antagonistic peri«x *°,,ke j°;a' Whether it’is antagonistic "ftheTnagazine and to keep^^Fin^rs^werT made sortfng the laundry-any muscular activity. And thus we are trying to cultivate, you will achieve the muscular habits for piano P V S the "^things t AndnupTn in much less time than in the ordinary way-of using “wh„ we play a Coed a. *« to grasp things A P playing. But-and tensed for a moment, instantly relaxes W OCTOBER 1919 Page 6^5 THE ETUDE THE ETUDE Page 6U OCTOBER 1919 ffinmawick

Triumphant

The Ultona The Tone Amplifier

The Ultona The Tone Amplifier That Plays All Records Perfect Tones That Enriches Tone Quality The Ultona — a scientific Brunswick That Emanate From An Instrument The Tone Amplifier is part of the Brunswick Method creation—is as universal in its possibilities of Artistic Reproduction. This feature is revolution¬ as it is simple in its structure. of Grace and Beauty ary and solves an old problem in acoustics. It is oval shaped, moulded of rare holly wood and It plays all records truer, finer and built entirely of wood, like a fine violin. It is very richer. Phonograph design and tone reproduction did not reach the climax until The Brunswick and its method unlike the “horn” in other instruments which cling It is not a makeshift contrivance nor a to old methods and attempt a compromise by com¬ so-called combination attachment, but in¬ of scientific sound reproduction came into being. Ex¬ bining wood and metal. volves a genuine fundamental principle of perimentation, as everybody knows, was based on By this method of projecting sound, the waves sound. improving the records. In fact, old phonographs are unrestricted and allowed to burst into full With but a slight turn of the hand it gained their reputation from records. rounded tones that are rich, mellow and, above all, presents the proper needle and diaphragm natural. to any make record. With the Ultona The Brunswick is a laboratory and not a factory Somewhere near you is a Brunswick Dealer. Go one’s choice of records is unlimited. Every product. Behind and actually built into it, is all the there today! If you are undecided which make of artist, every band, every selection, whether ingenuity known to the phonograph world. It yot instrument to buy—one demonstration on this re¬ American or foreign, may be played at its only embodies every worthwhile feature of other markable phonograph will help you to a speedy con¬ best on the Brunswick. makes, but has avoided their troublesome complica¬ clusion—you’ll order it. tions. The Brunswick restores what was formerly the lost element in phonographic sound interpretation. Its advent into the world of fine music is indeed triumphal The Brunswick-Balke-Collender Co —coming not as just another phonograph added to The Brunswick-Balke-Collender Co 623-633 South Wabash Avenue, Chicago those already on the market, but as a revelation. 623-633 South Wabash Avenue, Chicago

General Offices: CHICAGO and NEW YORK manufacturers—--Manufacturers—Established 1845 Branch Houses Principal Cities of United States, Mexico and Canada Canadian Distributors: Musical Merchandise Sales Co., Excelsior Life Bldg., Toronto THE ETUDE OCTOBER 1919 Page 647 THE ETUDE Page 6^6 OCTOBER 1919 SONG OF AaFLUTE M EDOUARD BEAUFILS AIR DE FLUTE tod b. galloway English words by HALL JOHNSON Simnlv

Bv MENTOR CROSSE j

Published in two volumes- ^ceof Se,e"t1'' JURE IN RESULTS

EASY TO LEARN t raclical 5££ j “„e„°T.^ 's'A s.i*

ing Blend-ing to - geth - er their thx'ob-bing Sad-ly andplain-tive-ly sob - bing, . Voice of a brook-let _ - dm D'un ruis-seau so -nore qui fmt- Me-lan- co-lique,douxet ten - dre, Tra-cethar-mo-nieux me -

Published by ! The House Devoted to the Progress of American Music

What is your mys-ti - cal me.. - * ™*£ 1 t 3* ^ THE JOHN CHURCH COMPANY NEW YORK Sous Its e-toiles ce seul bruit-■ Uue ■> 39 West 32nd Street CINCINNATI 109-111 West Fourth Street

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Thousands of Music Purchasers Have Been Satisfactorily Obtaining Large

Tk7nd Small Retirements By Mail Order from the Theodore Presser ,, , , „, , . ' r0'w Voice of a flute in the glo&m-ifg. Em-blemofhope for to - mot - row flty de flute dans la nuit- Ce chant loin-tain qui me pour - sut J J Jli? Company for the Past Thirty-five Years __

--— .even rsxdt.OC, SENT CRAT.S ON MQ0EST-ujS^j^^ ^^^PRESSER COMPANY, 1710-1712-lTlTchestnut St., PHILADEL

- advertisers. Please mention THE ETUDE when addressing o Copyright 1919 byTheo.Presser Co. OCTOBER 1919 Page 649 THE ETUDE the etude Page 648 OCTOBER 1919 pa, tempo

Words by IN FAIR ARCADY g.romilli ROMILLI A tuneful teaching or encore song for medium voice rit. e dim. \ nflanle espressivo

Where the swlet hy - a - cinths grow _ vvav in fair -A.r - ca dy^ Still there are mem - o - nes sweet._ There bv the old ap - pie tree^ Now that I’m far fr°®^ jr I ca - dy, There in the fields of tair ax *’

Tu ver stream, In days of the long there where we met by the so fel The tread of her damt

^ .n’- A ^ ° and she’ll spe?k no° mo^e Ah &

Copyright 1919 by Theo.Presser Co. Copyright 1919 by Theo.Presser Co. British Copyright secured the etude THE ETUDE Page 650 OCTOBER 1919 SERENITY

YEARNINGS o WALTER ROLFE SONG WITHOUT WORDS

Expressive end songJike:_to be pl.yed with full rich tone. Graded. Slowly-with tender sadness M.M.J=72-

British Copyright secured Copyright 1919 by Theo.Presser Co, THE ETUDE OCTOBER 1919 CORAL ISLE IDYL A charming drawing-room piece, with varied effects. Grade 4. THURLOW LIEURANCE

In modern French style, with the true waltz swing. Grade 4.

British Copyright secured Copyright 1919 by Theo.Presser Co. OCTOBER 1919 Page 655 THE ETUDE Pa ire 654 OCTOBER 1919 PROCESSIONAL FROM NOCTURNE IN G MINOR expanded into a very attractive study piece; The famous theme from Chopin’s Nocturne, sometimes known as the Chorus of Monks, affording special opportunity for practice in pedalling, Grade F. CHOPIN, Op. 37, No. 1 llfc-

SERENADE TO CHIQUITA L. STRICKLAND In the Spanish style, to be played rather lazily, in free time. Grade 2A

Piu animato m.m. J = 144 OCTOBER 1910 Page 657 THE etc be THE :ETUDE W. TALBERT SLUMBER SONG Arr. for violin and piano by Page 656 OCTOBER 1919 ARTHUR HARTMANN THOU’RT LIKE UNTO FLOWER ARUBINSTEIN Andantiiio con inoto ^ .

Effective ,i0„» « be-- “ “"4 ‘te* m”y be P,‘y ^HUB HART« VIOLIN

******* SURSUM CORDA ration! SgRiSMl? , ... GRAND CHORUS ROLAND HIGGLE • UH „p Pee*!* bri»gb« out .bo full eap-ei.y of any o,E«„. Allegro M.M.J=108

I OCTOBER 1919 Page 659 TEE etude

More Income for Music Teachers A Timely Letter

The following letter is in line with the campaign of “The Etude” to help music teachers to increase their incomes at this time when the general cost of everything has gone up. Music teachers often live very retiring and unselfish lives, devoting themselves to their art, and little thinking of the practical side of things. Some do not know how to go about making a straightforward approach to the subject, and a letter modeled after the following, but adjusted to local and personal conditions, may be effective. First of all, remember, how¬ ever, that the “increase” is much more readily attainable if you have made yourself more and more worthy of an increase.

Dear Mrs. Wallace: As the season is opening I have bee'n looking over my records for this year and comparing them with present living demands. I appreciate the patronage of my friends very thoroughly, indeed, and am anxious to do A Qrand in a little home everything possible to show this in service. We are all trying to meet the matter of higher living costs fairly, and the general belief that prices will The WONDER OF IT 1 So richly toned and sonorous, go down as they did after the Civil and after most every other war so graceful and classic, ennobling and beautifying its sur¬ in history, is encouraging. Meanwhile, the burden has fallen very heavily roundings. Yet so compact, taking no more room than an upright—and unlike an upright, fitting tastefully m the upon all professional people, who have made practically no advance during centre or anywhere in the room. Thus the little home with the war. I am sure that the slight additional amount that I am asking per its grand, proudly matches the most palatial of residences. lesson will hot seem excessive to you. I know that you do not want to This is the magic of the have me work unddr conditions that must keep my mind from the impor¬ tant subject to which I have devoted my life—musical education—-which I have placed at your service. ICH-S’BACH ft is always a pleasure to hear from you in any matter pertaining to the lessons which I am constantly striving to make more and more (Srandette interesting. Very cordially, The Grandette is the equal of any of the Kranich and •Bach grands in the excellence and perfection of work¬ manship, the superlative action and the beautiful musical soul, the delight of artists for nearly half a century. KRANICH & BACH Tell the Pupil the Whole Truth 215 So. Wabash Ave., Chicago, Ill. By Alam P. Meeker

Nothing is gained by the teacher who —but I do know that I did spare many fails to tell the pupil his shortcomings parents useless expenditures. They soon in exact terms. A teacher from the far found out that I had a higher ideal than West recently said to the writer: chasing the nearest penny.” “I realized, first of all, in my com¬ The teacher who retains a pupil “who munity that I must build up the con¬ hasn’t a chance in a hundred” of profit¬ |the art ©f the pihn© fidence of my community in one thing, ing from the lessons, has a liability and that was, they could always count on which should be discharged as soon as L’ART DU CLAVIER me for a square deal. For that reason possible. Jeremy Taylor, the great I BY I made it a point not to take any pupils English philosopher-clergyman hit the THEODORE LACK nail on the head when he said: I whom I thought did not promise to | OPUS 289 show good results with the right teach¬ “Most people prefer a prosperous ing. I may have turned aside a genius, error to an adverse truth.” 1 A New Work by a Leading French Composer and Virtuoso as Verdi was turned aside by the au¬ Nevertheless it always pays to tell the thorities of the conservatory, who re¬ pupil the whole truth, even though it fused him admittance for lack of talent means losing one pupil. THIS work is a modem system of technic for piano playing. There are one hundred special exercises in mechanism of medium difficulty. They cover all the various points of technic in the modem manner and are divided in¬ A to seventeen series as follows: Diatonic Scales, H. T. Finck’s Inspiring Articles Chromatic Scales. Arpeggios, Holding Notes, Double Modern Notes, Repeated Notes, Cross Hands, Passages “The Etude” takes pleasure in announcing that it has arranged Divided between the Hands, Trills, On the Black with the noted New York critic, Henry T. Finck, author of numerous Work Keys, Embellishments, Staccato, Octaves, Uneven successful books, for a series of articles of the type “that every music Groups, Right Hand Alone, Left Hand Alone and Chords. Throughout it is an excellent set of studies lover wants to read.” The first appears in this issue. The other titles and furnishes just the material needed for daily are: practice. “Lessons from Beethoven’s Life.” “Musical Genius Everywhere.” Cheerfully Sent for Examination to Responsible Teachers “If at First You Don’t Succeed.” “Don’t Be Too Awfully Dignified.” THEODORE PRESSER CO., PHILADELPHIA, PA. “Should Musical Critics Be Abolished?” We have the manuscripts of this entire series already in hand, and we can assure our readers that these are among the most interest¬ ing, entertaining and instructive articles Mr. Finck has yet written. He makes you think, but it is the kind of thinking that is profitable in every way. „ These articles alone will make forthcoming issues of The Etude “worth looking for." This is only one of many features we have in store for you.

Please mention THE ETUDE when addressing advertisers. OCTOBER 1919 Page #61 THE ETUDE the ETUDE as a\ modifying the vowel-color by the (labio-dental) Page 660 OCTOBER 1919 v as in veil, van, volume, tone-color. E has tWo sounds: f as in fail, fan, follow. ^ as in be, see, even, mete. (linguo-palatal) : _ / as in bed, led. . g as in goal, girl, gutter, This second sound is borrowed it be¬ k as in kill, king, keen. pfgiJI ing really the initial prime of long o (lingual) (j) eh The various sounds of e in¬ z as in seal, zany, zounds, pgggjlpg Department for Voice and Vocal Teachers cluded in Webster’s or other Dictionaries s as in seal, sod, sounds. fi ,'v^ are subject to the rules regarding fusion (liquid-labial) IVERS & POND Edited for October by LOUIS ARTHUR RUSSELL ]:■ {:S:, '-k (see above), or as borrowed sounds. l as in loll, load, lure, love, I has two sounds: m (nasal-liquid) labial, as in man, /or ro*r Most S.e« Voices.”—SHAKESPEARE h_’ ji as in die, ivy, light, quite. main, made, male, sum. ? as in ill, it, bit, mid. n (nasal-liquid) lingual, as in name, PIANOS Other sounds of this vowel are bor¬ none, net, night. rowed or close sounds due to fusion. ng (nasal-liquid) lingual-paratal, as in O has three sounds: sing, ring, singer. o1 (long o) as in go, oh, gold, obey. h (aspirate) as in ha {ah), hole, hate, The Vocalist in the Americanization Plans o2 in cod, fodder, content. r as in roll, room, rear, reel. This is the 'short o, practically a*-ah in SIMPLE CONSONANTS WITH COMPOUND, common usage, and in prolonged tone By Louis Arthur Russell SONANT WITH COGNATE SURD the ah sound is correct. purpose of this article. A few axioms os (a less-used and less-known form; j as in jail, jew, jingle. would include a symbol, or a stated com¬ spirit, American institutions and Ameri¬ may have place here, however. w as in weal, well. It is a hopeful sign .of the times that bination of prime symbols, for each and as in shone, wholly. . can aspirations through the knowledge 1. The lips in speech are mobile and This is practically the long o, without y as in yon, yew. the people of our country are so deeply every sound in the language; but we and use of our language, as spoken and free, but are not shaped for vowels, i. c„ zh as in rouge. interested in the plans looking toward have in our alphabet and our orthog the vanish. printed, and thus to open to them the not rounded for O, side-spread for E, OO has two sounds: the Americanizing of the foreign-born raphy many symbols which vary in dh as in then, these. vast treasure house of Anglo-Saxon lit¬ opened wide for Ah, etc. ool as in spoon, cool, fool, boot. in the United States. It is a wise policy sound; and some sounds for which we ch as in chew, child. erature—the mental and spiritual record 2. Vowel “shapes,” if we may use the 001 is the forward dark vowel with the which is being adopted to make the study have no symbols, so that we are obliged wh as in wheel, when, while. of our race from its dim beginning. term, are controlled by the tongue and vanish in the diphthong eu. of our native language an important and to make the spelling of many words a yh as in hew. The organizing of a “Pure Speech inner tissue of the mouth. first item in the work. The Americans matter of memory alone, as words or syl¬ oo2 as in wood, food, wool. League of America” is progressing satis¬ 3. The vowels are the singing or sus¬ A mute oo, lacking the vanish, having sh as in rush, shut. as a class are none too proud, of their lables often contradict in their sound the factorily and already is spreading tained sounds of speech, we may say, the th as in thin, think. language, and the people of Continental normal sound of the symbols which ex¬ an abrupt ending (ooh). texture of the word or syllable. Europe are not given to complimenting through the States; and it is hoped that press them. This is perplexing enough U has two sounds: IRREGULARITIES, BORROWED SOUNDS AND the plans to interest the patriotic socie¬ 4. The Consonants are the outlines or us upon our Anglo-Saxon tongue or our to us of American birth, but is doubly u1 as in duty, mule, use. EQUIVALENTS ties, the churches and other public or¬ the shaping elements of words or syl¬ use of it. But we have cause for much difficult for a foreign-born student of A diphthongal vowel, ee-oo (or ih-oo) ganizations will soon bear fruit. _ The kw, qu as in awkward, quite, quest. pride in the language which has been the lables. with glide. , ... our language. 5. Diphthongs and diphthongal vowels c as s or k, as in ceiling, cell, cedar, vehicle for the expressing of the genius public schools are already enlisted in the m2 {uh) as in but, flutter, budding, work in many centers, and a general are of two-vowel sounds, one of which is call, candy, cancer. of Shakespeare, Shelley, Keats and Poe, Anglo-Saxon Phonetic Values usher. . , cu as k, as in circuit, biscuit, and the wisdom of Bacon, Emerson and campaign for pure American Anglo- prolonged for the “substance” of the syl¬ U has many equivalents in oo and oo Saxon speech among native and foreign- However, the first duty in the study g as j, as in rouge. \ the lesser lights of poetry and philoso¬ of phonetic values in our language is the lable. and in digraphs. born here is sure to be an active fact 6. A knowledge and correct sense of * as z or ks, as in Xerxes, Xenophon, < phy. We should all realize and endeavor mastery of the regular normal sounds THE DIPHTHONGS during the coming season. We of the the initial sound and the vanish is essen¬ to “show forth” the beauty, strength and and their symbols and the spelling (or- (1) ei (digraph) as in height. The vocal profession are, of course, most tial in the full analysis of the phonic tch, as in watch, patch, thatch, expressional variety of our Anglo-Saxon thography) of words which are in the same as the vowel (diphthongal) i or its ph and phr as f or fr, as in physique, vitally interested, and upon us, in large values of diphthongs. language, which is as free as any of the regular class. At the outset we must ap¬ equivalents as in eye, isle, sight. The measure, falls the responsibility of mak¬ 7. The vanish sounds are OO and E Phrygian. modern languages from harsh sounding preciate the fact that our language is sustained sound is ah, and the vanish ing perfect the didactic process through (somber and bright). gu as in guano. elements, and with its greater number largely diphthongal in its sounds and j which the desired result may be reached. 8. The smallest, most brilliant of in¬ e1 (oh-e). . tw as in twine, twitter; dw, as in and variety of vowel sounds it has in it symbols. Most of our so-called simple (2) oi as in coil, boil, with equivalents Foreigners of even slight education itials (primes) is ih (as in it, did, pit, dwindle, dwarf. more elements of beauty than any other vowels are of a diphthongal nature, and as in boy, annoy. The sustained sound mp, mpt, mpd as in jump, limp, jumped, of the languages, let us say, of Europe. have no difficulty in mastering the gram¬ etc.). This is the “animal squeak” of mar and the syntax of the English lan¬ this calls for special analysis of our is o, the vanish ex {o-e). The o is exempt. . c/rand We of the vocal professions especially our language. The deepest and darkest guage; but it is rare to find a continental vowel sounds as to their complex char¬ mute, with the glide to fuse it with e. nt, nd, nk as in ant, and, pink, punk. should master our language and set it of our primes is Uh (as in cut, rut, European who masters the phonic dif¬ acter. fudge, etc.). This is the “animal grunt” Should never be rendered by aw. ng, nch as in sing, sung, lunch, lynch, forth in all of our ministrations in its To master thoroughly the scale of (3) ou as in thou, thousand, or equiva¬ ficulties of English speech after gram¬ of our language. The most complete and bench. SMALL GRAND de LUXE fullness of rich vowels, its great variety vowel sounds, we must train our sense lents as in now, down. The sustained mar-school age. fullest in resonance of our vowels is AH ngs, mps as in songs, mumps, of expressive shades of consonantal of hearing to an acute appreciation of element is ah (a“), and the vanish oo. sk, st as in sky, sty, ask, aster. (as in father). Among American makers’ offerings of small beauty and its endless wealth of words. initial and secondary sounds in vowels (4) eu as in Europe, Eugene, euphony, English a Complex Language 9. The use of UH for secondary syl¬ Double Consonants as bl, br, cl, cr, dr, There is no primary vowel sound in or diphthongs. Many Europeans cannot with equivalents as in dew, new, duty, grands of highest class, the “Princess” stands out lables is forbidden when the vowel of the fl, fr, gl, gr {hi, hr), Id, It, Im, pi, pr, si, other languages (speaking particularly of the modern languages of Continental realize this, and they often stoutly deny tune. The sustained element is oo, and rt tr, wr—in words like blood, brood, syllable is other than U. The common conspicuously. It is the last word in design, con¬ the languages of Europe) not to be The English language is the simplest their existence, but in their mastery lies the initial is ih, or, in broader forms, e. clear’ cream, drift, flight, glad, groom, use of UH for all classes of secondary heard in our own native tongue, and to of all languages in its syntax, and by one one of the secrets of pure speech in our old, colt, helm, place, price, sleek, art, struction and musical quality. All the broad vowel syllables is one of the vulgarisms THE DIPHTHONGAL VOWELS this must be added the fact that we have of ordinary culture in Latin, Greek or language. of our abused language; thus, eter-nwty trial, wring, etc. , experience of IVERS & POND Grand Piano more vowel and consonant sounds than Europe, our “grammar” is easily con¬ The variety of sounds represented by The full code, with special table ot (for eternity), heavimly (for heavenly), e—ih-e (close distinction, not de¬ any other of them. This wealth of quered. But Anglo-Saxon speech is a one symbol is also a perplexing problem equivalents, etc., is given in the Manual, thuh instead of theh for “the” (mute). manded). building is summed up in the “Princess.” As the sounds in our language is, of course, due complex study in its phonetics and or¬ for the adult student of our language. which also defines the various character¬ thography. Britains and Americans 10. Abrupt and extreme change of i=ah-e. to its composite nature, and we must How, for instance, shall we explain the istics of consonants, their mechanical demand exceeds our production, we urge immedi¬ readily master the pronunciation of mouth shape in passing from a dark u=e-oo or ih-oo, with glide. acknowledge the debt the language owes five sounds of A, our first letter symbol? action, place of making, their service in Italian, Spanish or German, or even of vowel to a bright vowel, as 0 to A in A reference to the table of small and ate inquiry where holiday delivery is desired. to Greek, Latin, Saxon, Oriental and later the form of words, and an analysis of the the more subtle French, for they offer “go after” or “go in,” etc.; or to the large vowel-sounds, with placement, will French sources, all of which languages A New Code of Diacritics various members of the speech organism, have served to enrich our great lexicon. but few phonetic problems that are quite contrary, from a bright vowel to a dark determine the placement of all these When you take up the matter of a new piano, you will All foreigners find it difficult to re¬ all too elaborate a discourse for this It is self-evident that we who profess an new to the Anglo-Saxon; but the Euro¬ vowel, as E to O in “he opened,” I sounds. want a grand. Why not start now by letting us mail you a member our secondary vowel sounds, art whose distinguishing medium of ex¬ pean has profound difficulty in mastering opened," “be useful,” etc., cause the in¬ Many of these vowel sounds are inter¬ especially the second and fifth sound of arThe study of' Anglo-Saxon Phonetics catalogue showing the Princess and all our grands, uprights pression is the voice in combination with our illogical orthography and very many jection of Y, as Iy opened, Hey opened, changeable in our orthography, and the A; the third sound of O; the difference is just complex enough to be delightful, and players? language, should make special study of of the great variety of speech-sounds our etc., also a vulgarism; both processes are League issues a table of equivalents and it unfolds the great strength and language, and especially of our own language includes. between the second sound of U and OO, showing these interchanging relations, or, while the diphthongs present many prob¬ in error. beauty of our native tongue, while it Wherever in the United States we have no dealer, we native tongue, and that we should be liv¬ In the matter of vowel sounds we have as we often say, “borrowed vowel lems for the ear and eye to solve. Of proves to us the necessity for a greater ship from factory on approval. Liberal allowance for old ing examples of our own language at its practically twice the number as com¬ sounds;” thus, for instance, a as in day, the consonants and the consonantal The Complete Code of Vowel Sounds respect and closer attention to our speech pianos in exchange. Attractive easy payment plans. very purest and best. pared with the languages of Europe, ey as in prey, or ei as in skein, eight, digraphs, J, V, W, Y and Th are the We classify vowel-sounds by numbers here in America; furthermore, the suc¬ This is a prime obligation of all vocal¬ while the varying character of sounds etc. The mastery of these equivalents is most perplexing. The great dictionaries as diacritical signs, as in the following cessful results of the movement to ists, all teachers, preachers, orators, act¬ of our consonantal digraphs makes our essential for a complete understanding and many of the great phoneticians are table: Americanize the alien element here de- ors, etc., for we who publicly use our language almost impossible to the adult of our language. much at fault for the lack of a clear and THE VOWELS pends upon the efficiency of the instruc¬ voices are the living active forces mak¬ student. Every American vocalist shohld The final syllables, ion, ial, etc., are all universal system of diacritical symbols, tors and the completeness of the process. ing for popular habit in speech use, and know the full scale of sounds of our A has five sounds: codified in the League’s Manual, and the and the League has adopted a rational our “example” should be worthy of its language, vowels, diphthongs, consonants, a1 (long a) as in date, pray, dame, item is important and essential. No halfway theories or practice will code of numerals as diacritics (replacing bring satisfactory results. If we are to great influence. digraphs and trigraphs. a2 as in cat, bad, lad, sad. Consonants the hierglyphoids now in general use), teach the language, we must do it with If we who are known as vocalists and Numerous as our language sounds and a® as in far, barber, father, The consonants in their first analysis and is hoping for its general acceptance. extreme thoroughness and with a real preceptors of vocalists have a true con¬ symbols are,. conflicting and contradic¬ a1 as in law, lawyer, almost. I give below, codified when possible in devotion to our beautiful tongue and ception of our responsibilities, we will tory as they often are, as to their appear¬ o' (initial prime) as in alone, asleep, pairs, sonants with cognate surds. Some Working Axioms with a determination to conquer its dif¬ at once conclude that we are the mission¬ ance and their sound, yet they are all prelate, preface. . . sonants with cognate surds ficulties and not simply to master its ed in this field, and as .true Americans subject to a perfectly reasonable system Not to enter too deeply into the sub¬ This o' is the long o1 initial but with¬ (labial) out the vanish. All closer distinctions, commonplaces. we will join heartily in the general of analysis, if we will study the phonic ject ef Phonic Diction here, I will state, b as in bed, bale, bill. The great burden falls on the profes¬ movement which is growing through scale closely. I will except in this state¬ as briefly as possible, the code of the such as in Webster’s Tables, are classi¬ P as in pad, pail, pie. sional vocalist. Will we all do a share, the land to Americanize the foreign-born ment the orthography, which in many League, not including the closer analysis fied under the head of “fusion,” as m (lingual) first by gaining personal proficiency, then resident here, especially the illiterate of instances is so irregular as to play havoc of vowel color, their position or shape care, dare, etc. , d as in did, dull, damp, by imparting it to all within our reach? the class, by giving them the means to with all rules. in the mouth, consonantal placement, The controversy as to os in am, at, ask, t as in tell, tall, tend. when addressing 01 study American manners, American A logical alphabet and orthography shape, etc., all of which would exceed the appear, etc., we settle by placing them OCTOBER 1919 Page 66S TEE etude THE ETUDE Page 662 OCTOBER 1919 A Misunderstanding Remove the Film Question and Answer Department By D. A. Clippinger i^aUl Hokott | From Your Teeth— THE ETUDE is pleased to announce that this important Department ulill that can result in right expression. hereafter be conducted by the well-known French-American Musician Then Look at Them From time to time there appear When we correct faults we do it by sub¬ iscriminating travel¬ music journals statements which lead stituting right ideas, for wrong ones, D ARTHUR DE GUICHARD All Statements Approved by High Dental Authorities believe that those who the 3 other way. ers will find the Wolcott fault can be corrected | H * tddress. No questions will be answered when very much to their liking; the Always send your full t understood. The idea obtains 1 been neglected. will deny this. . excellent appointments, the Only your inltl one writes about tone concept, indirect Make your questions short and to i The reason so many people sing badly faultless service and the unriv¬ if Interest control, etc., that he recognizes nothing tronomic markings, etc., not likely to is because they have not the right idea alled cuisine. And, over all, JTtSP’TiscnumH* SetUDB 11 not be considered. else. Speaking as one who has for many of singing. The same may be said ot .j the psychology there is an atmosphere of re¬ example: The last and lowest bass note is B, years been interested and the signature of five sharps also indi¬ o correct, for myself, finement and homelike dignity. of singing, I wish t~ \fow many of each, and what are the different cates B, then that key is the key of B major. at least, this erroneous impression. who believe that singing is psy- When they are not the same, it will he found that this last and lowest bass note is a minor Wevve express thisu„ thing--s we call—- voice ch^ 0lo«ic and the so-calleds0_called scienuncscientific *%) How many different ways are theretof third below that Indicated by the key-signa¬ telling what key a study or a piece is in, and ture ; then the piece is in the minor of that THIRTY-FIRST ST., by FIFTH AVE. j What are they? . bass note. For example : The last and lowest this perfectly’ we must have the right*■* with the<• pupil’s understandingre ecclesiastical.. It clings to the teeth, gets into crevices and stays. That It will Take One Minute to :he seventh and eighth degrees. (See Id) Yes, they are not! The question is so is why teeth brushed twice daily still discolor and decay. ence, and manufacturing facili¬ , . strange that, until it is explained and the Repair it by Using The of minor scale, also of jnauirer states what prompted it, no other That film is what discolors—not the teeth. It is the basis ties can make it. Re: Vocal Practice Away from the Piano five toi half-tones occurring be- ansWer can be given. Multum-in-Parvo Binding Tape e second and third and between the of tartar. It holds food substance which ferments and Its tone is purely that of the 0—I have heard that much ot the so if the singer be a novice at the in- fifth and sixth degrees. (See No. 2.) This Q. Please explain what the term “Pedal il•-—. practice should a. without strument ; leaning over in the effort to scale is not obsolete : it ib much used in the Pointv means, and how it affects the perform¬ forms acid. It holds the acid in contact with the teeth to Concert Grand, having great use of an accoiaccompanying _ . i -1 this? music of the Roman Catholic Church. ance of any piece of music.—A. P. fc. power and sympathetic qualities. Do you recommend see the music, play and sing it, usually The old composers evidently felt the need A. This term is the English rendering for cause decay. Transparent Adhesive Mending Tissue of a half-tone between the seventh and _ , „ , , . „ an awkward and strained position, quite the French “point d’orgue” a sign of pro¬ Millions of germs breed in it. They, with tartar, are the Practicing Voice Culture at the piano to the singer’s required “pose” eiclitli degrees, as in the major, for they Dealers in Principal Cities If your music dealer does not carry it, send to altered this form (No. 2) so that the half¬ longation, thus ^. When placed over a Viote chief cause of pyorrhea. So, despite the tooth brush, all has only one excuse, i. e., the necessity ■> _ tones occurred between the second and third or rest, these are prolonged to suit the will or of the student because of imperfect of buoyant freedom Theo. Pregser Co., Philadelphia, Pa. and between the seventh and eighth degrees, taste of the interpreter. When it is placed these troubles have been constantly increasing. musicianship. TTnrd-Studies through which the as at No. This scale may be found in the over a bar-stroke, it indicates a silence not Emerson Piano Co. compositions of J. S. Bach, Handel and their otherwise defined. Dental science has found a way to combat that film. The The study of elaborate vocalizes and voice is exercised for development in Multum-in-Par contemporaries. It is frequently found in concertos near the Philadelphia, end of a movement or of the composition, to way is now embodied in a dentifrice called Pepsodent. It of songs may call for pianoforte accom- freedom, purity of tone, assurance and However, the vogue of this form of minor Mass. scale did not last long, owing to the am¬ allow the solo performer to insert a more does what nothing else has done. That is the tooth paste Boston paniment as a final item in the prepara- delicacy of touch, fluency, rangeand biguity of the descending form; for, upon or less extended cadenza to exhibit his vir-. PARKER’S examit will be seen that it has all tuositv. When so employed, this sign is we ask you to try—use a ten-day tube at our cost and see tion of the composition, but the ability power, should all be of so s mple a HAIR BALSAM the appearance and sound of a major until placed regularly over the. chord of^the^second to read the vocal melody without instru- nature (musically) as to be readily mem- A toilet preparation of merit. the final third be reached. Therefore, in f the t the results for yourself. Helps to eradicate dandruff. order to destroy the ambiguity, a composite An Excellent Violin Number mental aid should be a part-a vital part onzed and used anywhere the student For Restoring Color and form nns adopted, consisting of No. 3 for -of the student’s accomplishments. The may find himself alone and with time at ascending and of No. 2 for descending, as at not inouuiaLu. ., , , Tambourine Ballet by F. P. Atherton As defined by Stainer, it is a long sus¬ You Do Not End the Film PRICE 60 CENTS keynote of the “piece” in hand may be command for practice. Our complete, un¬ tained note, generally the dominant, on which gotten from a tuning fork or by the divided attention is required for the Nevertheless, evidently jn the endeavor to imitation, subject and answer (simply 01 by Your present methods remove food debris, but they do not PlanopRce thSwiU plSbSth performe? and hSarer. touching of a key of the pianoforte; the most effective practice of the voice, D. A. CLIPPINGER •ep to a progression of live tones, and two augmentation and diminution), or even the ilf-tones. a very beautiful progression had stretto itself, are constructed. It is not al¬ end the film. So teeth discolor and tartar forms. Wherever THEO. PRESSER CO. Philadelphia, Pa. learner should then he able to read the Vocalizes with elaborate accompaniments AUTHOR OF ways found as an essential part of a fugue; »en passed by, namely, that of No. 5. This a vast number of fugues, especially the film is, decay may follow. melody without assistance. But, unfor- are not a necessary part of a vocalist s The Head Voice & Other Problems, Price $1.00 is hi-011 arrived at by taking the oldest pianoforte, are— without.—:tl ^ iu " tunately, the great majority of our sing- development, and the modern methods of irm (No. 2) and augmenting the seventh fugues with accompaniment,___ and in fugues The use of Pepsodent applies pepsin to the film. The film Systematic Voice Training ?gree, thus having three half-tones (between always be introduced TINDALE MUSIC CABINETS ers are not musicians, nor will they voice culture are generally discarding for the organ, it can and 3, o and 6 and 7-and 8), while be- with fine effect. ,, . is albuminous and pepsin is the digestant of albumin. The trouble themselves to become musicians; the use of the old-fashioned elaborate veen the sixth and seventh there is an aug- Frederick Corder, in Grove’s Dictionary of Just what you ented second (or three half-tones). Music (consult the latter under pedal object is to dissolve the film, then to constantly combat it. they are content to move along in their vocalizes, or songs without words, sub- Thus there is one form of major scale ex- point”), says truly that “in a true pedal the have been wanting studies with the aid of the pianoforte, stituting exercises of direct purpose m ressed in fifteen different keys and four harmony must be independent of the sus¬ Pepsin long seemed impossible. 11 must be activated, and upon which they depend personally or developing tone, breath control, fluency >rms of minor scale. tained note and occasionally alien to it.’ Will keep your mus YOU, TOO, CAN HAVE the usual agent is an acid harmful to the teeth. But dental with the aid of an accompanist, “drum- and musicianship synthetically developed BEAUTIFUL in order, free froi Q. What is a Oracovienne?—E. N. science has now discovered a harmless activating method. ming” the melody into their memories and easily “carried” in the memory for EYEBROWS A The Cracovienne is a Polish dance, And that has made the constant use of active pepsin possible. damage and where you which takes its name from the city in ancient through the ear. practice away from the pianoforte or and LASHES Poland, where it originated (Cracovie. or can easily find it. Var¬ Aside from the fact that the singer other distracting “aids.” Cracow). This city is in Galicia, in Austnan- Clinical tests under able authorities have proved the re¬ ious sizes, holding 200 Poland—eventually Poland without the “Aus¬ sults beyond question. Leading dentists all over America should be a musician and a vocal music The practice of repertory is another 23 li tria ” It was the former residence of the to 1200 pieces or more. reader, there are other vital reasons for matter. If the singer must play his own , Ancient Minor Scale kings of Poland. The dance, like so many now urge the use of Pepsodent. It is keeping millions of othir Polish, Hungarian and Czech dances, Oak or Mahogany. the practice of the voice away from the accompaniments, or his own melody, he [SBafaSSrup&K is characterized by the frequent accenting of teeth white, safe and clean. Send for Catalog I pianoforte. should not sing as he learns the piano- lied nightly, will i the weak beats and the repeated use of syn- __jlate and promote growth copntion. Chopin has. treated the Craco- Now we ask you to prove it. TINDALE CABINET CO., 8 East 34th St.. N«« 1 Pirst—The student who hires an ac- forte part, but devote himself to the in- >?m,foTShd‘anhdeaiu" -Wrolmvinlrl in his OD. 14. companist for his practice hour or im- strument alone until he is quite free with poses on his family or friends to “pound it. He may, as he plays, learn the melody Q. What a „ the recognised dancest Were out” his melodies while he sings, de¬ he is to sing, and then away from the .. old dances that were recognized instrument, practice the vocal part; but he old masters t—I. S. prives himself of culture in independ¬ Of course, I know what you mean; but, 3 anywhere i! ence ; he loses valuable time through the he should never practice his voice as he , why Mr. I. S., do you so arouse my bump house. Metal tank y fact that he can practice only when he struggles with the pianoforte part, a of comicality 1 Those “old dances” were gallons of water is (xmeealedlbe-| modern ones in the time of the old masters hind French plate mirror con-II has help at stated intermittent periods, voice-cramping process sure to allow therefore they were not old dances recognized The New-Day Dentifrice etc., and—still more important—he is wrong habits of voice production to in- by them. But, passorts; you mean wett The i,L| known modern dances are: The MazurKa obliged to divide his attention, which ject themselves. and the Polonaise, both of Polish origin; the A Scientific Product—Sold by Druggists Everywhere water drafnsjSo hoUow pUd-Jt must be directed to the instrument upon A properly planned system of voice Schottische and the Reel, both Scotch, the Polka, of Bohemian origin; Sl®1fiEw“!teAa&e ^bowltoTmpt^WaSS which he depends as well as to his voice, study includes no requirement for piano- Quickstep, the Galop: the Valse or Waltz, in one to three minutes. "" motion: the Tarantella, natured alcohol burner. Ask which should have his- full attention. If forte accompaniment until the study of Send this Coupon for J Ten-Day Tube Free new catalog and price. the singer plays the accompaniment or repertory is begun. Then the student Howe Sanitary Mfg. Co- a 10-Day Tube I THE PEPSODENT CO., Dept. 724 1051 6th St., Detroit, M*eT». the melody, the attention is still more should make sure that the instrumental Ank about Ro-San Indoor Olo positively divided and the distraction accompanist in no way distracts his Chaconne, the Canarie, the Calata, tne Note how clean the teeth feel I 1104 S. Wabash Ave., Chicago, Ill. apd Bolling Bath Tuba. ZeHum after using. Mark the absence of 1 more harmful. attention from his voice, which always (b) Two. a. ajjBy an examination------of the Mail 10-Day Tube of Pepsodent to _Second—While an accomplished singer requires his very best consideration. As prevailing harmonicnic structure. 2. By a ra^id the _ j pnee«mP77'' pi Brandon. the slimy film. See how teeth ■ a”rdaIiidS the Pavane the Passamezzo. the mgaSon', whiten—how they glisten—as the I _ CLASS PINS—RINGS may be able to sing as well seated or a final word of advice in the matter 1 glance at the last chord of the piece key-signature. For those who do not -- fixed film disappears. . Name. « »TT^ MEDALS Any* Letter# standing, the proper position for vocal will urge the inquirer and all other vocal stand harmony, the best way to find the Key formed the old Suite Form, although Suites Do this and then decide between | Plate, 75c Solid Gold, *1.50 practice is standing or freely moving students to begin at once and with de- is to look at the last and lowest note in tne were llso''made^p “of °th • V:* .1 i and his good taste must be the final accompaniment. These works would arbiter. My point is that if a legitimate GRAND never have been heard at all in their effect is secured it is no trick: it only be¬ original form. It should be remembered, comes so when it is employed for the sake too, that, after all, the literature for the of “showing off”—an altogether con¬ The quality of its tone Department for Organists and Choirmasters organ is extremely limited, and when a temptible thing. Broadly it may be stated man has to play frequently in the same that no device which secures the com¬ enraptures the heart as its town, if all arrangements were to be Practical Helps from Eminent Specialists poser’s intention can rightly be regarded beauty of construction de¬ eschewed he would be hard pressed for a as a trick. An instance of what I mean repertoire. On the other hand, if an was rather strikingly illustrated the other lights the eye. ■<5Sfc sub- and super-octaves are not employed Great Organ uncoupled (!), variety in small, Austin Organs are sounding phrase may mean; in short, as cleverly with the fire-iron. The presump¬ the treatment of the Pedal (there are NILES BRYANT SCHOOL OF PIANO TUNING primarily to add to the ensemble in forte 1207 fine Arts Institute BATTLE CREEK, MICHIGAN By Harvey B. Gaul equally massive and solid one for whom the chances of ultimate tion is, indeed, that the time spent in at¬ players who never spare us the boom of taining and perfecting herself in this passages, but are of enormous help in salvation are of the smallest. It is to cor¬ the 16-ft. all through a program), variety you ever transcribe a Chopin “Polon- in build. difficult art would prove to be so much orchestral transcriptions; that I have One would think, in reading the or¬ rect that impression (formed, it is to be of style, key, speed, strength of tone, etc. naise”? The midelary is quite as bril¬ time robbed from the adequate perform¬ never yet heard an argument in favor of ganists’ journals, that the chief end of feared, by a course of regular non-attend¬ It is only by taking most careful thought liant on the organ as on the piano. ance of those duties which she had un¬ the barbarous old pump-handle swell as man was to make up organ recitals. ance of concert recitals) that this article of all these considerations that a pro¬ If the service is a jubilee service, Some- dertaken to discharge. opposed to the balanced swell which Countless articles are written on how to Austin Organ Co. is written. gram “comes out” well. Although it does person’s “Everything for a Soft Stop” destructive criticism is, of course, the could be regarded as at all convincing; prepare recital programs, but one never not exactly come within the scope of this does not make a very jubilant opening Woodland St. Hartford, Conn. easiest thing in the world to accomplish, and that on logical grounds, if you in¬ says a word about organ music for Sun¬ Lack of Understanding article, it may perhaps be permissible to number. Try Silver’s “Jubilate Deo,” and therefore I venture to indicate the clude the orchestral oboe, orchestral flute, day. Yet ninety-nine organists play only As a proof of this lack of sympathy lines upon which a man with concert ex¬ etc., why bar the timpani? The argument protest here against the growing practice the church organ, and the other one per or Kinder’s “Jubilate,” or Elgar’s “Sur- with, and even understanding of, the posi¬ perience and sympathy would probably that instruments of percussion are capa¬ on the part of our church organist cent, do all the recitals. sum Corda.” tion, let us first consider what happens have worked had he been called in to ble of being put to vulgar use really does brethren of trespassing upon our pre¬ Unless the church has a printed serv¬ If it is a Communion service, Beel- Guilmant when a concert appointment is to be advise: (1) To arrange and play a clas¬ not apply, for there are players who use serves by introducing much light music ice list, the average organist does not man’s “Priere du Notre Dame,” from made. The authorities of the town or the “Suite Gothique,” or Arthur Hart¬ sical overture; (2) to submit beforehand, the piccolo vulgarly, and yet one finds the into their churches. Much of this music choose his material until Saturday night, city concerned call in the services of three piccolo stop included even in the staidest man’s composition of the same name, are say, thirty programs with analytical notes should surely never be heard within the and he has often been known to put it Organ School or four of the heads of the profession- specification. worth looking up. Then there is Guile- on the pieces; (3) to play three or four four walls of a place of worship; it is off till five minutes before eleven on DR. WILLIAM C. CARL, Director men whose names command universal re¬ of those pieces, the choice to lie with the Sunday morning. Some of them do not mant and a Saint Saens “Communion,” avowedly secular. 100 Graduates Holding Positions spect as having attained fame in some one even make that much preparation; they each of which is better than Batiste’s adjudicators, and their selection to have On Programs Here one is treading on highly contro¬ Six Free Scholarships or more branches of the art, not neces¬ been notified to each candidate, say, “just improvise.” This has the same vir¬ threadbare “Communion.” For the final versial ground, but before coming to sarily in organ-playing. These eminent tweny-four hours before the test took It has been already stated that no con¬ tue that the corduroy road possessed— piece try Bossi’s “Hora Mystica,” or his Fall Term October 7th gentlemen proceed to draw up a scheme place. Thus the candidate would be cert program can be considered com¬ grips with the subject let me make good you are glad when it comes to an end. “Eucharistic March.” In the effort to CATALOG READY under which the competition shall be held pletely good unless what is known as one broad argument if I can. An old and be consistent, one need not play the tested in precisely those points on which The chief result of not choosing one’s New Address : 17 EAST Eleventh St. and the award made. Here is a scheme his work would subsequently be judged in pure organ music be fully represented. valued friend, a church organist and a organ music carefully is that one gets service as the cinema organists play the NEW YORK which was actually adopted to decide the public—viz., the wideness and variety of This point should be insisted on because, purist in every sense, condemned ar¬ into the habit of playing only things movies. If your missionary from Tur¬ question of an important appointment his repertoire, his skill in performance, his if the polyphonic style be totally missing, rangements root and branch in the course that can be read at sight. And to play key happens to be present this Sunday, which fell vacant a short time ago: a player loses an opportunity of securing power of drawing up an interesting, well- of a recent conversation. I asked him only what can be read at sight is not you need not try to register “Turkey” what is the great desideratum in pro¬ (1) To arrange and play a classical contrasted program, and his skill in writ¬ what music he used on the frequent occa¬ worth playing at all. Most people are by playing something Oriental on the gram-building, viz., variety; and this oboe stop, with a tomtom in the pedal. overture; ing analytically. sions of marriages and deaths among his not brilliant sight readers. For exam¬ (2) To play two or three pieces of the If, then, the point may be regarded as quite apart from artistic considerations. By the same token It is not desirable to congregation; he was bound to admit ple the first piece we pick up is “Every¬ candidate’s own choice; established that there is need for a fuller But here is precisely where a concert man’s Melody” in E Flat. The right register politics when your alderman ad¬ that “O rest in the Lord,” the two funeral (3) To improvise upon a given theme; appreciation of the concert-player’s posi¬ program has the advantage over a hand melody is typically “everyman’s,” dresses the Brotherhood by playing the wedding marches, and the usual music (4) To read a passage of music at tion on the part of the church organist, church recital program—that a far wider Moller Pipe Organs and the left foot, left hand accompani¬ “Hail, Hail, the Gang’s All Here,” or trotted out on these occasions were every sight; and let us proceed to examine what are pre¬ field is open to the player from the very Twenty-five Hundred in use. The highest grade ment is anyone’s arpeggio chord. For “I’ve Got Mine, Boys.” There are (5) To read from vocal score. cisely his aims and objects. nature of the circumstances under which one of them arrangements. So that the instruments.^ Gold Medah a^d Diplomas at Six the afterpiece, we snatch Gounod’s times when consistency ceases to be a It is difficult to speak with respect of a the music is heard. There is much ex¬ principle has long been admitted, and has “Marche Romaine” because it won’t tax cellent light music for the organ which indeed been carried into practice, even our pedal technique—and there we are! If you are an organ student, do not be scheme which, while admirable as a test The Ideal Organ M. P. MOLLER Hagerstown, Maryland can and should be played in concert halls, among church organists. Upon what log¬ Prelude and Postlude all done, so we afraid to play the smaller prelude- of fitness to hold a church appointment, Without entering too closely into de¬ is quite unsuitable in the case of the con¬ and it seems to me to be every bit as in¬ ical grounds, therefore, can the objection can close up the console and call it a fugues or chorales on Sunday. Some tails, it may be stated broadly that an in¬ STUDY HARMONY of them are most appropriate and grate¬ cert-player. Its defects are twofold— artistic to confine oneself to any one to arrangements rest—as such? The art day. It is very easy, very slovenly, and strument of some sixty speaking stops, and COMPOSITION ful to hear. You say your congregation those of omission and those of commis¬ style in a concert hall as it is for a of the modern builder has made possible by MAIL - -- it is also very dangerous. provided that tonal balance and color be does not care for Bach. It is not in the sion. Let us place them side by side and church player to introduce light, secular a fairly adequate presentment of many We are often called upon to arrange well thought out, should be sufficiently patriotic services, and commemorative work, but in the execution that the see how they look. The scheme applies music into a church program. My quar¬ great masterpieces which could not even no sort of test of a man’s repertoire, its large for all practical requirements. Es¬ rel would be just as sharp with a man services. Why not lay aside Handel’s trouble lies. After all, you do not have have been attempted on the organ twenty to play only what the congregation likes. variety and extent (a most important sential points are that there should be who gave a program consisting entirely “Largo,” and Batiste’s “Offertoire in D years ago. Upon what grounds should Your pastor, if he is a sincere one, does point), but insists on skill in improvising plenty of diapason tone (the characteris¬ of orchestral arrangements and “pretties” Minor,” and substitute Sinding’s “War the player refuse to follow where the Rhapsody,” Tschaikowsky’s “March not always preach the sermons the peo¬ (which is quite unessential). It makes tic organ tone), because: (1) The instru¬ as with one who fed his audience on a builder leads? Let it not be thought that Slav,” Dubois’ “March Heroique du ple want. He preaches what he thinks no inquiry as to a candidate’s power of ment will in all likelihood be required for diet of Bach and Rheinberger undiluted. Strong, Healthy drawing up an interesting program hav¬ the contention is that an arrangement can Jeanne d’ Arc,” or Bonnet’s “Foers- will help them. Play the same way. use in combination with an orchestra on Not long ago I was present at a church // * Eyet. If they Tire, Itch, ing due regard to variety of tone- and by anything but, in fact, an arrangement; Tor Smart or Bum, if Sore, ters,” or Nevin’s “In Memoriam,” or Some organists take the dogdays for occasions; and (2) the ideal concert pro¬ organ opening, and listened to four Bach key-color, but it demands proficiency in the very word implies compromise. But \/., r-./r C Irritated, Inflamed or Schubert’s “March Militaire.” There choosing their organ music for the year gram (of which more later) must always fugues in succession: a fifth was set reading at sight (which a concert-player I do most emphatically contend that in TOUR LY to Granulated, use Murine are many other things to play at a patri¬ to come. As soon as “Summer is a- down to follow, but I joined the stream ought never to have to do). It concerns include specimens of the best polyphonic the many towns and cities where the op¬ often. Soothes, Refreshes. Safe for otic service besides our own variations cummin’ in” they make up their lists for music, which is by no means the property of disappointed parishioners flowing Infant or Adult. At all Druggists. Write for the year. Other organists choose their itself not at all with the question of a portunity of hearing an orchestra occurs Free Eye Book. Marine Eye Remedy Co., Chicago on the “Star Spangled Banner.” Look man’s ability to write intelligent, gram¬ only of the church player, and which de¬ westward. Turning to questions of key very seldom the city organ can become a through the publishers’ catalogues. Did material a month in advance and begin mands diapason tone. contrast, here is another example of how Please mention THE ETUDE when addressing matical, and illuminating notes on his great educational medium if used intelli- our advertisers. THE ETUDE ‘ OCTOBER 1919 Page 667 the ETUDE

World of Music

A prodigious production of “Aida” took place on the Sheepshead Bay Speedway. ok, Mass., in the New York. Forty thousand people are esti¬ third year of his age. He had given, mated to have been in the audience. Georgio Addition to his other charities, 350 organs Polacco conducted. The score was magnifi¬ ln churches schools and colleges. In his cently rendered by a fine cast, supported by .„ in New York city Mr. Carnegie had an augmented orchestra. The principals were „ ereat organ of special constructioi—fj-- Marie Rappold, Miss Van Gordon, Miss Tif¬ an* orchestral attachment he could fany, Stracclari and Salazar. The perform¬ manipulate himself. This .._ $17,000. ance was arranged by Fortune Gallo and Before the war the rnegie Foundation set Andres de Seaurola for the benefit of the vic¬ m >f $125--- tims of the earthquake in Florence, Italy, Aftl VamongmotherVlhe installation of very large sum was realized. Nadine Face Powder pipe-organso-ans iin churches and schools. It is 1’arnegle that we are indebted for the “Tlie Etude” ra ■nt ion* a of Tschaikovsky to this country some iroprietary instit columns, |„0 to lead in person some of his works ./ performed by our leading orchestras. Wieule1

irin»' il»<* image of Paderewski, the imis pinnist. and premier of Poland, has creating aSSlngSFSl demand for works of Negro com¬ »ntly issued by the Polish government. posers ; of placing music profession, gener¬ ally, on a more profitable basis: support of the itinerant artist and orchestra: ways and means of establishing a Scholarship Fund. Tlie Annual Iowa Eisteddfod will be held at Albia, Iowa, on Thanksgiving Day, 1919. A silver cup will he given to the die ceremonies in schools, choral societv which wins the most prizes and the contribution of through the day. Dr. Daniel Protheroe will nt to the great composer. be the adjudicator.

Enthusiastic Letters from ETUDE Readers A SUCCESSFUL SEQUEL TO THE “BEGINNER’S BOOK”

The pier in The American Organist are The Violinist’s Popular noderate difficulty, finely adopted of the best publications 1 BtfitTune : of the busy organist.—Mb. I seen, as it contains pieces m THE STUDENT’S BOOK to^the'1 nee as well as the advanced pupil. It should have a great future.—Henky Wobmsbachee, School of the Pianoforte I wish to state that, of all the different Cleveland, Ohio. music companies I have had dealings with, I prefer the THEODORE PRESSER COM¬ I can heartily recommend The American By THEO. PRESSER PRICE, $1.00 PANY_C Tlior.tvs. Ark. Organist.—Gial Ycnkee, Winchester, Ind. thank vou for your care in select- a splendid I .tended to follow THE BEGINNER’S BOOK or any other me.' X have had no reason to the selections to jmur^judg- first instructor, this volume has met with a flattering reception. It bridges the gap between the instruction book and the \ or the conventional series of studies and exercises. THEO. PRESSER CO. Philadelphia, Pa.

igggfcISIS TEACHING PIECES By mrs. a. m. virgil ATTRACTIVE, INSTRUCTIVE—FINE FOR RECITALS 150 for GRADES 1 to 6, ON SELECTION. GRADED CATALOG. VIRGIL PIANO CONSERVATORY, 11 W. 68th St., NEW YORK

MUSICENGRAVers

Dangdon's collection of Organ Melodies Is Ti bnkk, Texas. splendidly printed and arranged. Each num- --Largest*^ bpr is a gem of melody for the pipe organ Y'our splendid premiums received in good condition. 1 am convinced that yon give Music Printers i value in all that you sent out, printed or otherwise.—Edith Eaton Northwat. Illinois. West of New York ANY PUBLISHER nr Child’s I am much pleased \ OUR REFERENCE The hooks Minor Studies. Exercise y fascinating and helpful Rolling, and I intend t Rayneb, Dalheim fc Co: .—Mbs. W. It. Bond, teaching. I am charmec of the rhythms.—Willi a Please mention THE ETUDE when addressing our advertisers.

1 OCTOBER 1919 Page 669 THE ETUDE the ETUDE point of the bow describes the are of a just as soon as flexibility and control are Page 668 OCTOBER 1919 circle as the hand moves from right to assured, however, this help should be dis¬ left; this, of course, is not as it should continued. be. 'To overcome this difficulty see to it With a short stroke of the bow, the that when the hand begins to move, at bending of the thumb should be gradual the extreme right position, the thumb is and continuous; with the full bow, how¬ unbent; as the hand advances to the left, ever, the thumb will remain in the same Department for Violinists gradually bend the thumb so that when form as at the commencement of the - the extreme left position is attained the stroke, until the stroke has been almost Edited by ROBERT BRAINE thumb forms an angle of almost forty- completed, when the thumb will bend (if five degrees; thus the pencil will be found the bow is near the point) or be straight¬ Complete Musical Outfits 4 ..//■ All Would Play First Violin W' Could Get No Orchsstra Toother.’ to travel in a straight line, as it should. ened (if near the frog) with a rather sud¬ After some assurance is acquired, the ex¬ den movement, thus giving to the bowing, ^ On Trial ' ercise should be practiced rhythmically, as well as to the tone produced, that cov¬ J Accent in Violin Playing ten to The Etude to know whether the as suggested in number one; but consider¬ eted elasticity and fluency of effect which The complexity of many violin studies Yoatmfov SFZ's, fp’s, etc., as well as the accents bow should be lifted from the string just able patience and careful attention will is one of the delightful features in the Accent is to music what emphasis is to and pieces, where frojn the nature of the created by syncopation. before executing an SFZ note or chord be required before any considerable speed playing of an artistic ’cellist. reading, and i s as much neglected in the one passage, it is impossible in all cases to A correct management of the bow, ana or any strongly accented note, which is should be attempted. Incidentally and quite by the way, the Convenient Monthly Payments as in the other. The school boy drones give the down bow to the accented note, the application of down and up strokes required to be played with great force. After sufficient confidence in the muscu¬ use of the French terms “tire” and After trial return outfit at our expense if you wish. If you decide to bay in monotone: “Thekingmustbeobeyed.” makes it necessary for the violin student you may pay the low direct price in small monthly amounts. on the proper notes to produce the best This depends much on the character of lar control of the hand, wrist and fore¬ “pousse,” draw and push, is recommended Wurlitzer for 60 years has meant highest quality. The great actor declaims: “The king to master the art of bowing in all its effects in accentuation are of the utmost the passage being played, and how forci¬ arm is acquired, the results thus far in preference to the meaningless terms MUST be obeyed,” and the sentence phases, so that he is prepared to make an Send this Coupon /'7h7B7d7hw»r«tzerco. importance in violin playing. As every bly the note is designed by the composer attained should be applied to the instru¬ (to the ’cellist) up and down—“auf” and takes on new significance. Everyone accented note at any given point of the violinsts knows, the down bow is natur¬ to be played. In the case of a note or ment. The use of a piece of twine or “unter” as applied in the German termi¬ knows the remarkable effects of proper bow-stroke and either in the up or down ally stronger than the up bow, so the nology; though these terms may seem a e. AveffchSS. ✓ emphasis in declamation, when wrought chord marked SFZ, and with FFF, it thread, attached to the string peg and general rule follows that the down bow makes the best effect to lift the bow and suspending the bow at the proper posi¬ little strange at first, they are certainly by a master reader. In music the proper In violin music which is well and intel¬ /,Vam.- is given to the first note in the measure, play it with a blow at the frog, with a far more characteristic of the process, observance of natural and special accents ligently bowed, it will be found that the tion on the strings, is recommended in and to all other notes as far as possible, hammered effect. A similar effect can and to the ’cello student who has never is equally important, and has much to do down bow comes on the first note in the the early stages of practice, to obviate the which have a natural or special accent. be produced by a blow of the bow at the played violin—or even, if he has—the with the remarkable effect produced by measure, and on the accented notes, for possibility of muscular or nervous ten¬ While this is the general rule, there are tip, although care must be observed that sion due to the task of preventing the French usage is much less likely to be master artists. . many exceptions, since it is not always the greater part of the time, and this In drawing and painting wonderful the bow strikes the string near enough bow from slipping down over the bridge; confusing. practicable to give the down bow to the gives great assistance to playing with the effects are produced by light and shade, the tip to avoid the stuttering effect likely accented note. For this reason the violin proper accent. The very fact that the “The Violin Price Problem” and the proper accenting of tjie right notes to be caused if it strikes further up. In A Pamphlet for Violin Students and Advanced Players student should not fail to give much down bow is naturally heavier and more MUSICAL AMERICA has an equally wonderful effect in violin quieter accents, lifting the bow may not A Cylindrical Violin We are ready to mail copies of this pamphlet, one of study to exercises designed for the pur¬ energetic than the up, is the genesis of the the best in our series of Educational Pamphlets, to any playing. Nothing is so tame and insipid be necessary. Men have spent their lives experimenting beginner or advanced player who will ask for it. It will The leading International Musical pose of learning to accent the up stroke well-known fact that violin students who Tjik U. S. Patent Office has just Weekly Newspaper Devoted to as monotone. A single glance at a duck The powerful assistance which the with varnishes and oils of all kinds in aid greatly in arriving at the solution of the ever impor¬ such as the following in Kreutzer (2d observe the correct rules of bowing, play granted a patent for a violin with a tant question of obtaining the best violin for the price one the Musical activities of the world. pond is sufficient, but we can watch the with much better accent and rhythm than proper application of the best rules of hopes of discovering the method of var¬ Etude): cylindrical body, for which the inventor We specialize in student instruments, the prices rang¬ ever changing waves of the ocean for students of the piano or wind instru¬ bowing give’s to the execution of violin nishing pursued by the Cremona makers, Profusely Illustrated music, both as regards up and down claims many advantages. It is astonish¬ ing from the cheapest that are possible for instruments of hours without losing interest. ments for instance, who have no such ing what a great number of changes have and the composition of the varnish they some worth up to the neighborhood of $1 10.00-at Subscription Price; for One Year: In music we have two kinds of accents natural tendency to help them create the stroke, and the best portion of the bow used. Much experimenting has also been which price we have outfitted many professional players. to use in playing any given passage, been made in the construction of the VIOLINS from $15.00 to $110.00 Domestic . . $3.00 to observe, the natural pulse or accent of accents at the proper points. violin, and yet none of them seem to done along the line of constructing the BOWS “ 3.50 " 15.00 each measure, and special accents, by makes it of the greatest importance for CASES « 5.50 “ 14.00 Canada . . 4.00 In syncopation, which is a displacement get into general use, for the construction back and belly so that they gave certain which the composer wishes to achieve the violin student to make himself the Foreign . . 5.00 of the natural points of accent, the vio¬ of the violin as used at the present day tones when struck, before the violin special effects. In all kinds of time there master of bowing. In his studies he linist will often be assisted by giving the remains just as it left the hands of Sfra- was put together, it being the opinion of is an ever-recurring accent at the begin¬ should use editions of exercises, etudes In this exercise the up strokes are down bow to the accented note as in the divarius and the other Cremona masters. many that this was the real secret of the ning of each bar, and in some kinds of and pieces which are correctly bowed HUSU5T BEWUNDER §2 SONS played with a very heavy accent. following: Many inventors have spent their lives preeminence of the Cremona tone. Much Experts in Violins 141 W. 42nd St., New York time a secondary natural accent later in by good violinists. An enormous amount Exercises in martele bowing, in which trying to improve on the construction of has also been tried in graduating the top Tte MUSIC TRADES the bar. Thus in common time we have each note, both with up and down bow, of violin music, principally consisting of and back of the violin to various thick¬ the violins of Cremona. Violins have The Leading Weekly Paper devoted the principal accent on the first beat, is strongly accented, are very useful in solo pieces, and first violin parts to or¬ nesses. Bridges of every conceivable and a secondary accent on the third beat; chestral compositions, is in existence, been made of every kind of wood, and to every branch of the Musical In¬ learning to accent on the up stroke. _ The kind of wood or other material, and of dustries. Contains all the News. in six-eight time the principal and sec¬ which is either not bowed at all, or else even other material has been tried. The OUR “SPECIAL” sixth etude in Kreutzer is admirably plan of making the back and belly, either many different shapes have been tried. Is Constructive and Educational. ondary accents come on the first and This passage can of course be played is incorrectly marked. Much of this fSCp 10 Tested Lengths, adapted for this purpose, as follows: one or both, of ribs or a number of Instead of a bridge of two feet, we fourth beats of the bar respectively, by giving a strongly accented up bow to music is marked by composers, piano £<3*” Silk Violin E, forfcisJ Profusely Illustrated pieces of wood glued together, has been have had bridges with three and four etc., etc. These accents must be con¬ the accented note, but it gains very much players, etc., who know little of the prin¬ IT IS A VALUABLE ASSET TO THE tried, with the idea of making them feet. One genius conceived the idea of Send for Violin and Cello Catalogue stantly observed, if we would achieve the in vigor by the use of the down bow at ciples of bowing. Students should mas¬ DEALER IN THE RETAILING OF more elastic, and consequently more son¬ fitting up a violin with a horn like those MUSICIANS SUPPLY CO. MUSICAL INSTRUMENTS proper rhythm, and avoid monotony the heel. ter the principles of bowing so that they often seen on a phonograph, the idea be¬ In .addition we must observe the_ special orous. Violins have been made with an 60 Lagrange St., Boston, Mass. Quite a few violin students have writ¬ can play such music correctly. ing to increase the volume of tone given Subscription Price; for One Year: accents, those marked by accent signs >, additional sounding board occupying a position inside the violin, midway be¬ out by the violin. A complete descrip¬ Domestic . . $3.00 How to Acquire Free Wrist Action in Violoncello Bowing How Long tween the belly and back. All sorts of tion of all the changes and improve¬ Canada . . 4.00 changes in the shape have been made, ments attempted in the construction of There is one class of questions fre¬ roll for violin study with the idea of By G. F. Schwartz Foreign . . 5.00 from the famous “box fiddle” of Savart, the violin would fill a large volume. In quently asked by people who write for graduating, that they cannot nsure that UNE ot tne loremost essentials m me First: Extend the right hand and fore¬ to violins twice the thickness of the or¬ spite of all, however, none of these information to the Violin Department, they will be able to, do so in any fixed production of an artistic tone in ’cello arm upon a table or desk (smooth top), dinary instrument. The wood going into changes in construction have become per¬ and that is the “How long?” type of number of years. Such pupils are in¬ playing is the free or unrestrained em¬ relax the muscles, but with a conscious the violin has been baked, or soaked m manent; violinists look on them as question. One will ask “how long” he formed that they will be graduated when ployment of the muscles of the right effort—not a mere wiggle—move the various oils or chemical substances, with The should be kept in the first position, an¬ they are ready and not before. Many “freaks,” and will have none of them. Piano 6 Organ wrist. With a large per cent of less ad¬ hand, from the wrist, sidewise as far as the hope of improving the tone. other “how long” it will take to mas¬ never do succeed in graduating. The violin as it left the hands of Stradi- vanced ’cello students, and especially it Will go easily, counting 1, 2, 3, 4, 1, 2. Then we have had violins fitted up ter the seven positions of the violin, a In regard to certain departments of varius is considered the last word in among those'who have had “only a few etc., one count to each movement; later with two bass bars, or from two to four Purchaser’s Guide third “how long” it takes to acquire the violin technic, such as position work, the violin making, and the world’s best mak¬ lessons,” a stiff or faulty wrist action is make two movements (one to left and sound-posts, placed in different positions vibrato, a fourth “how long” strings vibrato, double stopping, the staccato ers have done little more since his time, For 1919 bowing, etc., some students seem to have very common. This condition is very one to right) to each count, and still later inside the violin. Sound-posts have been should be kept , on the violin without than try to copy his workmanship and The Twenty-third Annual Edition likely due, in most cases, to the fact that three movements to each count. This is made of all sorts of materials. Experi¬ changing, a fifth “how long” a bow will a special talent for technique of one kind that of the other Cremona masters as Now Ready. Contains complete and not for another. For instance, one a mistaken idea seems to exist as to how especially useful, as it alternately brings ments have been made with hollow sound- go without re-hairing, a sixth “how long ’ closely as possible. authenitf list and grading of Pianos it will take him to work,up enough tech¬ student will learn the vibrato from in¬ a free wrist action is acquired. a slight emphasis on a right and a left posts, even glass tubing having been tried. and Organs manufactured in the nic to get an engagement in a symphony stinct, because Fis artistic nature craves Contrary to what appears to be a very movement of the hand, and thus gives a United States. Also some account orchestra. One even asked, in good sober it. It never even has to be taught to general presupposition, the free wrist is more equal development of muscles, and of the leading Phonograph and Talking Machine Manufacturers, faith, how long he would have to practice him. Another pupil will try for years not the result of chance—not a knack hit should, therefore, be practiced more ex¬ VIOLIN STRINGS to acquire it and never succeed in doing upon by some sort of accident—nor even tensively than the even rhythmic arrange¬ Used by the leading artists of the Philadelphia Orchestra Music Roll Makers, Supply Houses, before he could play as well as Elman & Musical Merchandise Concerns. a sleight of hand performance, accom¬ ment. A metronome will be useful, Solo and Orchestra players who understand good and Heifetz! it really well. strings are using The Etude Brand Violin 8tringa. Per- In regard to “how long” strings, bow plished by some secret process. It is though not indispensable, in this work. L. W.—Machinery has frequently been em¬ Most of these inquirers fail to give any M. H. R.—It well varnished, the varnish cn ployed in making the various parts of the Price 25 cents per copy hair, etc., will last, that depends on their rather the outcome of a careful training The movements should, of course, not be a violin dries perfectly, and the violin seems violin, especially the neck, scroll, trimmings, data by which thp editor can even give as if coated with a thin layer of glass or an approximate guess at an answer. quality in the first place, how long they of muscles in the free and accurate exe¬ carried beyond the-fatigue point; in fact, etc. Machinery Is also often used in shaping amber. If the varnish remains sticky and and graduating the hack and belly, and with Ktude “G” String! \ length .20 net They neglect to state how many hours a have been used, and how they have been cution of certain mechanical movements, repeated short periods of exercise are the violin is used while in this condition, the considerable success. Of course, machine- Bundle Lots (SO iissorted Strings).4.2» net made fiddles are not to be compared with day they practice or what their stage of used. An artist with a supple wrist will which sooner or later become almost, if far more desirable. At first the hand rosin dust made in playing adheres to tne not quite, automatic. To be sure, some sticky varnished surface, making unsightly 'pedal Offer advancement is. naturally wear a string much less than should be allowed to lie flat; afterwards patches and spoiling the appearance of the THEO. PRESSER CO. - Philadelphia, Pa. persons acquire free control of the wrist A few minutes’ reflection ought to con¬ an inexperienced player, sawing away it should be arched so that the end ot violin. In time these patches of rosin, caught R. M.—Flaving with a mute will not injure with less apparent effort than others— and held by sticky varnish, also act as a your violin. 2. Back numbers of The Eti'de _o The MUSIC vince any one that it is impossible to on it by main strength, with a stiff wrist, the middle finger is in contact with the \DES end one copy of the 1919 just as some young children learn to walk damper on the tone of the violin. The violin can be procured as far hack as two years. answer the great majority of such ques¬ heavy arm and excessively perspiring thumb. cannot give forth its best tone while the For price, write to the publisher. le of The PIANO &ORGAN Sfi.00 and run more easily and quickly thar Second: Let the forearm lie across the varnish is still sticky. 2. In case a violin RCHASER’S GUIDE . . ° tions with even approximate correctness. fingers. Strings should be renewed as fi. W. .1.—Without having heard your son others—but the task can be facilitated anc corner of a table or desk in such a way has been badly varnished, the only thing to play it would lie somewhat difficult to map In the case of violin playing the per¬ soon as the tone is no longer good, and do is to have the varnish carefully removed sonal equation—the talent of the player hastened somewhat by a course of physi¬ that while the forearm is supporting the out a course of study which would be best for THE MUSICAL AMERICA CO. bow hair when the hair no longer “bites” and the violin revarnlshed by a skillful Violin him. However, you might get the following _counts for everything. Some people cal training for that part of the anatom; ' hand is free to move without support or works: Hermann Violin School, Vols. I and THE MUSIC TRADES CO. the string as it should. are born violinists. They make as much employed in the task. interference. Hold a pencil, as a bow IT- Knvser Studies, Op. 20, Books II and There is a vast number of questions V. N. M.—You had better And out whether III ; Mazas Brilliant Etudes: Dancla. Six SOI Fifth Avenue, New York progress in a year as others in four The plan which is here devised suggest i would be held, between thumb and fingers, your violin is a genuine Strad. before trying I.ittle Fantasias : Dancla, Fifty Daily Exer¬ years. Recognizing this fact the better which can be answered successfully in a method of training which, if conscien - and make the sidewise movements aS to sell it. There are millions of Imitation cises. There Is no doubt much yet to study • instruments in existence hearing labels just class of conservatories of music and col¬ the Violin Department, but not questions tiously followed out, will aid very mate - exercise number one. Notice now tha like that nn. Please mention THE ETUDE when addressing our advertisers. leges of music inform students who en¬ of the type of the above. rially in attaining the desired results. the end of the pencil corresponding to the OCTOBER 1919 Page 671 THE etude THE ETUDE Junior Etude Competition Honorable Mention Page 670 OCTOBER 1919 The Junior Etude will award three Jessie O’Quinn, Edward Tiernan, Car¬ Used More Extensively pretty prizes each month for the neatest rie Shamberger, Helen A. Dunbar, Ruth and best original stories or essays and Place, Genevieve Bruchner, Edith Adler, Than Any Other Elementary Instructor answers to musical puzzles. Donna Perry, Ruth Foote, Louise Cordy, Subject for story or essay this month, Bernadine Gunther, Alice Marian An- “What Is Music?” It must contain not drassy, Annilaura Peck, Elizabeth Muir, THE BEGINNER’S BOOK Kelsey Hudleson, Stanley Yashansky, more than 150 words. Write on one side W SCHOOL OF THE PIANOFORTE - VOLUME ONE Robert Hennesy, Lucile McKeegan, Can¬ of the paper only. Any boy or girl under ess By THEODORE PRESSER fifteen years of age may compete. dace McLean. All contributions must bear name, age If You Have Never Used This Work and address of sender, and must be sent Puzzle to Junior Etude, 1712 Chestnut Street, Order a Copy Now for Examination Philadelphia, Pa., before the twentieth of By Philip Tapperman October. . and be convinced of the real worth of this elementary piano■ in.tr»c- The names of the prize winners and (When all the beheadings have been tor that has had an unprecedented success The first grade up , their contributions will be published in made, the initial letters of the remaining but not including, the scales is the scope of this work. the December issue. words will spell the name of a well- PRICE, $1.00 , „. known composer born in 1771.) THEODORE PRESSER CO. PHILADELPHIA, PA. MY FAVORITE COMPOSITION Example: Behead a musical wind in¬ strument and have a musical stringed in¬ (Prize Winner.) strument. <.aniiiiiiHHtaiiiiiuiitiiiaHlHMWMamtilWBUEam|,ii,t,iiraim.win. I used to wonder if I would ever Answer: Flute—lute. have a favorite composition, as they all 1. Behead a durable blackwood and “Jubilee Singing” seemed so pretty, each with its own story leave resembling wood. Letters from Junior Etude Readers in China to tell, but after all one cannot get along 2. Behead a banquet aqd leave the ! Harmony Book for Beginners | October You have probably heard about the without a favorite piece. My favorite Did you ever know that the Junior Dear Junior Etude: singing festival in honor of peace that is Orient. Here we are beginning another season, is “Bubbling Spring,” and it is, indeed, a I | AN .mmediatT-] By PRESTON WARE OREM I adm«a«xfoR“| j Etude has many friends in far-away Since the introduction of European to be held all over America on the 11th 3. Behead a shelf and leave a border. and it will be a good one, too; for we beautiful composition. China? Some° of these -friendsi musjc we are all learning to sing, and of November, at 11 A. M. 4. Behead a belt and leave a snare. I 1 SUCCESS ] Price $L25 !-| are going to work harder on music this 5. Behead keen and leave a musical year than ever before. have written about their music, and their the studyo, of the violin interests us as Have you all got something patriotic letters are very interesting. Just think much “I chatter over stony ways instrument. Just think! This time last year we did as the piano. In nearly all the ready to sing at that time and join in In little sharps and trebles, 1 Brief, Simple, Vital, Practical, New and Distinctive j how hard it must be to study music in 6. Behead a lid and leave above. not know what might happen, and we high schools music is taught and at our the “great big sing?” If you are to have I bubble into eddying bays Chinese! A sister in the Missionary Col¬ 7. Behead to keep from and leave null. 1 Lays a strong foundation for future musicianship by giving the main | worked hard on Red Cross and all kinds last commencement we played Mozart s a holiday so much the better. Probably 1 babble on the pebbles.” lege sends these to The Etude : 8. Behead to rent by written contract I essentials of the subject in such simple, understandable and mteresung manner that of war work. Minuet. Our little orchestra consisted of you are practicing some things now in and leave repose, | It will prove invaluable in the class or for self-help work._| Now, this year we will celebrate peace Dear Junior Etude : two pianos, six violins, three tambour¬ school, but every music class or club This is the way in which Tennyson de¬ ought to get together too, if possible, so 9. Behead knots and leave small saddle- by practicing with a will and in a spirit Chinese music is not written like Euro¬ ines, three cymbals, four castanets, a tri¬ scribes it, and "in truth he describes it practice hard between now and then. horses. of thankfulness that it is all over. pean music. We use the Chinese characters angle and a harmonium, and we were all perfectly. When I play that composition Read this letter (rom JOHN PHILIP SOUSA, Famous Composer and Conductor: Remember the date, eleventh month, ■■y ' One of my favorite tunes is Chinese girls playing, and enjoyed it I seem to be far away by a tiny spring The system adopted in your Harmony Book is admirably ^ted [or the I iZ» Dal Kieng, which means eleventh day, eleventh hour! And re¬ overgrown with moss that chatters and Prize Winners student who requires an instruct.cn book that“ V*"’ text b^k I ' V “Passionate outburst,” and very much. member the place, EVERYWHERE! J Chinese Music and Nature Susan Tsang, bubbles and babbles. It tells me its story, Prize winners in the “Musical tempera¬ ■*“* ^ I have learnt it by heart. I *5 Sr"ken arpeggio or intervals under certain vance of pubbcation is 20 cents per copy, information. The special introductory price in ad¬ on the first of July—this in addition to is something to say. should not receive as much attention as conditions The studies are quite inter- postpaid, increases already in effect. Twice in suc¬ If the package is made up of special ma¬ snouiu tmnil who shows more esting and are of medium difficulty. vance of publication Is 20 cents per copy, postpaid. cession there has been a jump in the cost terial that will still be of value and of use facility “With one hand than witli the other They will be found interesting to almost part Songs for Men’s Voices NEW WORKS. Opening the New of white paper—one in August and one in during the current year, it would only be has not received the proper education, any pupil. . • , By W. Berwald Advance of Publication Offers— Teaching Season September, an expense to make returns and obtain Standard Elementary Album Special There is no side-stepping these realities. The hands, above all things, should be The special introductory price in ad- JThis new collection.. .. of part songs for another package for the current season; For the Pianoforte The Theodore Presser Company is bet¬ We want to assist our friends in their fight in other words, two transportation charges e n’il in cultivation. The same thing also vance of publication is 25 cents per copy, men’s voices, by William Berwald, con¬ October, 1919 ter equipped to-day to take care of the holds true with the various fingers. There postpaid, This new album will contain some of Advanced Study Pieces.35 on the high cost of living, but we are fac¬ can be saved by not malting the returns tains both sacred and secular numbers, Brahms’ Hungarian Dances Four Hands, educational musical needs of teachers, ing a condition—not a theory. No other nbw. To those patrons we would say is no reason why a pupil should be only all especially composed or arranged f—for the best new teaching pieces that we have Vol. : schools, colleges, convents and conserva¬ alternative is possible but an increase in that we are perfectly willing that these able to play a trill with two fingers, name- Child’s Own Book of this book. Mr. Berwald's skill as ever published. It will contain more and Brahms’ Waltzes, Op. 39. tories of music than it has been at any The Etude’s price. packages should be kept another season, ly the second and Ihird. He should be Qreat Musicians—Verdi writer of part songs is well known. Some better pieces than will be found in any i_i_ 4,. xirifli n.nv twn finfffirfi. We David Bispham’s Album of Songs. time during the memorable previous five We are making this announcement in the exact condition to he arranged by ) trill with any two fingers. We similar volume.. All of the pieces will lie Difficult Four-Hand Album. in the first and second grades and all the years. This refers not only to our own time, so that all of our old friends who correspondence, the general conditions highly recommend this work for bring-ng -„ - Favorite Old-Time Tunes, V & P. about this much neglected feature in piano long for things to do. He loves anything popular writers of teaching pieces will be Finger Gymnastics, Philipp. publications and a general music stock of have been with us for so long may have being that a payment he made at the -teams*: an opportunity to take advantage of the technic he makes himself. The home-made boat, represented. The pieces will lie in all First Studies for the Violin, Hoffman, all publishers, but also to organization. present time to cover the value of what men’s chorus. Op. 25. Book One. old $1.75 rate. This opportunity ends at has been used during the last season. We The special introductory price in ad- the home-made doll’s dress, mean a great The special introductory price in ad¬ styles. This album will be printed from It is also going to be possible, in the very deal more to the little one than Four Octave Keyboard Chart . midnight on the 30th day of November. will then be glad to enter your “on sale” vance of publication is 25 cents per copy, n vance of publication is 80 cents per copy, special large plates. Introductory Polyphonic Studies. near future, to take care of all orders for The Child’s Own Book idea is that of hav¬ The special introductory price in ad¬ There can be no concessions to old package as though it was sent this season postpaid. postpaid. Left Hand Studies, Sartorio . imported music that for a long time has ing the child cut out and paste in pic¬ vance of publication is 30 cents per copy, Musical Theory and Writing Book. friends after that date. If your subscrip¬ and expect returns and settlement at the been very difficult for us to obtain, and tion will expire in the next few months, tures in a book with blank places pro- T ,. „ . r- postpaid. New Anthem Book. end of the current season in June, 1920. Finger Gymnastics vided in the text for that purpose. The New Indian Song Collection New Indian Song Collection, Lieurance. then only with great delay. We are hear¬ renew it now and save money. If your The remittance, however, must be made By I. Philipp pictures come on a big sheet. Then the By Thurlow Lieurance Nursery Tales Eetold, Four Hands, ing from England and France in almost subscription is in arrears, this is your op¬ promptly, the amount of it to be arrived Brahms’ Hungarian Dances Spaulding . This volume is now very nearly ready. child binds his own book with a colored rphis new coueetion of songs, Songs of the usual normal time of four weeks. portunity to pay your old subscription and at by correspondence and positive mathe¬ I’he plates are made and the edition will for Four Hands Old Khymes with New Tunes, Hamer. . your new subscription at the old rate of thread. Meanwhile the little one has been thl) American Red Men, will contain some Part Songs for Men’s Voices. A prosperous season seems to be on the matics. Supplementary packages to that soon be off the press. This is a thor¬ This will be the last month in which this $1.75 per year. reading and studying the life of a great 0]p iyjr. I.ieurance’s more recent successes, -—- Pedal Book, Blose. way, judging from the numerous and stock will he gladly sent, large or small, oughly distinctive technical volume. We composer.^ Ten bookbooks~ now comprising the including the enormously popular By the popular four hand volume postpaid. The forth- son„s for this book, several of which wiU are retained here in their original form, Certainty, Sartorio . standard or otherwise, about ten to four¬ and finger exercises we have ever seen. coming book deals with Yerdi. Send be suns by many of the leading artists, although they can be obtained for eight Twenty-five Melodies for Eye, Ear and discount, etc., will continue to be as lib¬ most useful little books you can possibly teen pieces each month of piano or vocal Hand, Bilbro . eral and as lenient as in the past. There have in your studio. It is absolutely free The special introductory price in a - twelve cents (advance price) and this will The book will be handsomely illustrated hands, twojplanos four hands, ^and also or both, is sent subject to return. A vance of publication is 50 cents per copy, ))e mai]ed to you on publication. w;th some introductory text by Mr. Lieu- *-for solo. They are about in the fourtli Verdi, Child’s Own Book, by Tapper. . has been, of course, owing to the most for the asking. It contains a memorandum postal card will bring these packages book, a lesson schedule, a calendar, a postpaid. ranee. grade und the two parts are of equal abnormal manufacturing conditions, great monthly, a postal card will stop them. difficulty. They make excellent recital changes in prices and discounts, We place for pupils’ addresses, a place for This system is our Monthly New Music Advanced Study Pieces Standard American Album The special introducbjry jirfee jn ad- Imported Music lists of pieces, a place for keeping pupils’ Advanced Stuciy rieccs , . . , . vance of publication is 50 cents per copy, numbers. The commercial communications are have been late in raising our prices and on Sale. The same conditions, except that For the Pianoforte . This is another volume printed from t id Our special introductory price m ad¬ records, a pronouncing dictionary of a fewer number of packages are sent per¬ now established between the United States we have raised not even sufficiently to famous musicians (600 names) and, most This is a very usable volume printed the special large plates, consisting ot 1 vance of publication is 40 cents per copy, tain to pipe organ and octavo church and the warring nations, ineluding Austria take care of the actual additional cost important of all, printed lists of the most on the special large plates. It contains pieces which have appeared from time to Album postpaid. music. and Germany. Communications for Russia which has been placed on us by the manu¬ useful, medium, and easy teaching pieces pieces which combine real musical value time in The Etude. It is not to be con- leacnmg song AUlUin can be handled through Germany. We facturing interests with whom we come for piano solo and for four-hand. A with certain technical and educational founded with our American Composers This allium is one of the new numbers Favorite Old-Time Tunes will be prepared to handle the most needed features These are pieces which are good Album. The album now under consider- in our Standard Collection, the volume in contact. postal request will bring it to you. Nursery Tales Retold For Violin and Piano music of these nations in the early fall. Our terms remain as liberal as hereto¬ (Four-hand pieces for the Pianoforte) to hear' and profitable to study. The ation is by American writers entirely, but being printed from our special large Our order was sent early in August, but moderately advanced player will find this the pieces are specially selected for their plates. It will contain a large number This collection consists chiefly of jigs, fore. Our rates of discount on our own just when the music will arrive is un¬ Musical Theory By Geo. L. Spaulding volume just right to be used in conjunc- teaching and recital value with the inter- of short and moderately easy songs, such reels and other old dances and also a few publications have changed so little as .. rnmimsers mediate wades nredominatine. An un- songs as would be used by teachers m of the traditional old songs. They are all known. Naturally we will all make an and Writing Book We take great pleasure in announcing a tion with a v Technical woi-k! Composers mediate grades predominating. An un- songs as would be used by effort to keep down the use of this music would hardly be worth mentioning. Our presented and the usually large number of pieces will be in- their work or by students tor study arranged in an easy, playable and thor¬ By Carl Venth new book of easy duets from the pen of of all periods to a minimum. Still there are certain own prices on sheet music have not been Mr. Geo. L. Spaulding. This volume is .... of moderate length. eluded. l’ecreation. The songs are chiefly adapted oughly effective manner. Every violinist works which cannot be ignored. All the touched. On books our retail prices have We have In press an elementary theory similar in style and grade to Mr. Spauld¬ The special introductory price in ad¬ The special introductory price in ad¬ for medium voices. All are melodious and should have a book of this type at hand, singable. Composers of all schools are music of a non-copyright nature or of a been advanced about 20 per cent, and all book which is of a practical and simple ing’s other successful books. You and I vance of publication is 35 cents per copy, vance of publication is 50 cents per copy, since there is a great demand for all nature. The study of harmony combined represented in this collection, but the ma¬ of these dances as well as the traditional reprinted nature can be obtained in this other rates in proportion. Our rates of and Just We Two. There is an ad lib. postpaid. postpaid. with a writing book is a modern feature. jority of pieces are by American writers. country, and should receive the first at¬ discount on publications of other Ameri¬ text by Jessica Moore. In this clever col¬ songs. . tention. The editions of these classical The work begins with an introduction to The special introductory price in ad¬ The special introductory price m ad¬ can publishers have been raised only In lection of pieces some of the old nursery Pedal Studies Old Rhymes with New Tunes works issued by American publishers is the musical elements, after which comes rhymes are retold in modern guise with vance of publication is 40 cents per copy, vance of publication is 20 cents per copy, fully equal to those of the German or accordance with the actual raise in cost the writing of the scales and intervals. By Dr. J. M. Blose Six Piano Pieces postpaid. postpaid. some very clever, characteristic music. This work is about ready for pubbca¬ Austrian publishers and there is no neces¬ to us. The intervals are given a very exhaustive This music is entirely original, none of By George F. Hamer If the “on sale” package which has been study because it has been the experience tion and will be delivered to our read¬ sity for importing them. We have been the old tunes being employed. The book ers very soon. This work will fill a niche „„ -continuingB the- specialr- intro-—- -First , Studies for. the. Violin David Bispham’s sent to any teacher or school Is not en¬ of practical harmony teachers that if able to get along without them for sev¬ Is sure to prove a favorite with the young in musical education which has not as yet ductory offer during the current month In the T irst FOSltlOtl Album of Songs eral years and there is no reason why our tirely satisfactory, having been made up a thorough knowledge of the intervals student. been fully covered. It can be taken up 0n this clever collection of teaching py Richard Hoffman, Op. 25, The problem of selecting songs of high musical world should not use American under the stress of the busiest time of is obtained the rest of harmony comes The special introductory price in ad¬ reprints instead of the foreign copies. very naturally. The great trouble with ’ v pupils in the second year of study. It pieces. These pieces are in characteristic pKQQK i j■ CUUCttUUUOleducational JH«UU»importance WUV.V and yet.J''"- songs-O- the year, tell us our shortcomings and let vance of publication is 30 cents per copy, . contains1 . - some very interesting__ovo ma- style and they a liocpirl nnnii snm#» nr t,WUIV x We will he prepared to furnish music us remedy them. A supplementary pack¬ harmony students is that they do not get postpaid. S Though6 the . This standard volume will be added to of ™t artishc interest, taj* -Ived that we had before the war, but the prices a thorough knowledge of the Intervals. terial which in the greater part is entirely the popular old rhymes, although 1 age is always at the disposal of every one new and with each lesson there are copious musical matter is entirely new and orig- the Presser Coueetion lt^is one oi^ X”man of wide culture, a grad- will be somewhat altered. This book is one that the average pupil of our patrons. A package for some spe¬ can work. It gives just such a knowledge Pictures from Holiday Land * - *»? art? ts tef SE?*f St S&M SUtrtSTS: afford College, .)«. long. cial need, of music even not of our own the pedal. The systematic study of the ans are renewed after November 1st, vance of publication is 50 cents per copy, mental paintings of great beauty. Slater ipy at once. Each song has been c feel that their interests are ours. With has the gift of making tuneful teaching For the Pianoforte usual styles of bowing. lich consequently makes a tremendous postpaid. The special introductory price in ad- fully edited and phrased by Mr. Bispham id upon our office force, it is worth even great expense and loss to ourselves pieces, that have a vein of originality, Introductory__ Polyphonic This volume is very nearly ready, but mce of publication is 25 cents per copy, and in many cases there are origupd mething to us to have you send in your we never make any change with regard to and are nevertheless thoroughly practical. Studies for the Pianoforte we are continuing the speciai introductory vance of translations. The advance of pubbcation newnl this month instead of next month. prices until there is no other course to Twenty-Five Melodies for Take any one of the twelve two-page This is a niche in the technical piano- offer during the current month, The postpaid, price is 50 cents. r handling your order before the rush pursue. We also at all times strive to Eye, Ear and Hand Training pieces in this collection, and the exper¬ forte that is bv no means overdone. In contents have been selected with great give the best service. War conditions ienced teacher will soon note the con¬ Waltzes for the Pianoforte irts we receive it when we are not espe- By Mathilde Bilbro fact more attention should be paid to their care and a number of pieces have been dly busy. We will, therefore, make made it impossible for ns to give the serv¬ venient “lay of the hand” that seems to playing. It not only develops intelli- specially arranged for this volume. A By J. Brahms, Op. 39 This is an excellent studv hook for all fit the fingering in such a way that there »se unusual inducements to old friends ice that we would have liked to have given. gently but also technically. The constant- number of original pieces will lie incor- For interesting and modern work we Valuable Suggestions Jo renew during October, instead of We ask toleration for the past, of the purposes implied in its title. It are few, if any, stumbling blocks. They ly reiterated advice to study Bach is only porated in the book, which will not be “play right off” and do not put obstacles recommend these sixteen waltzes of liting until later. Send us 15 cents ad- Every order will receive attention the is intended to aid especially in the study another way to Polyphonic study. These found jn any 0ther collection. Among the Brahms. Every one is a gem, and each For Modernizing and day it enters here. Our new publications in the way of the cjiild in the second and ional, making a total of $1.90 ($2.15 in of notation and very good in learning the studies can be taken up with second composers represented are Cui, Dvorak, one has a charm of its own. The difficulty Strengthening the Teacher’s Work nada), and we will send you your choice are worthy of the investigation of everv third grade. The new book is a com¬ leger lines and staff positions. It is also third year study. They will be more im¬ Grieg, Moszkowski, Raff, Gottschalk, js not great and they are very easily along will be found in the the following musical albums: teacher. We will gladly send any or all intended to teach what is known as “Key¬ panion book to the composer’s successful portant than Kunz’s Canons, as they aim of them on inspection. Prices may be Pictures from Fairyland and Pi lures Tschaikowsky and others. the third to fifth grade. CAREFULLY SELECTED LIST of Operatic Selections. For Violin and board Geography,” or the position of the to make work interesting. The special introductory price in ad¬ high but business is exceedingly active. The special int’-oductory price in ad¬ the most used works in musical education from Storyland. These books are priced The special introductory price in ad¬ vance of publication is 20 cents per copy, on pages 610 and 611 of this issue. No one speaks of anything but prosperity, hand upon the keyboard, and the cultiva¬ at 75c. each, but if you will order the new vance of publication is 50 cents per copy, Just We Two. Geo. L. Spaulding. vance of publication is 40 cents per copy, postpaid. Little Home Player. Piano or Organ. so we say to the teacher, charge a proper, tion of a musical ear. book, Pictures from Holiday Land, In ad¬ postpaid. Standard Brilliant Album. reasonable rate of tuition and be prepared The special introductory price in ad¬ vance, you may take advantage of the Beginners’ Book for the Pianoforte. to take care of the best business and pro¬ vance of publication is 30 cents per copy, special advance price of 40 cents, post¬ ON DECEMBER 1st THE PRICE OF THE ETUDE WILL ADVANCE TO $2.00 A YEAR postpaid. ieo. Presser. fessional year ever. paid. i THE ETUDE OCTOBER 1919 Page 675 THE etude Page 67k OCTOBER 1919 8-inch self-sharpening shears, 4'/2-mch Some Peculiar Pianos Purchase Your Favorite buttonhole scissors, and -D/o-meh em¬ Magazine Now broidery scissors. Finely tempered with clean cutting edges; nickel plated. Mitasn© By Roland Casimini Prices to Advance Cake Knife. Sterling silver handle; Something You Need INDIANA Food prices are affected from time to THE MOST RECENT PUBLICATIONS OF THE latest thread design. Few pianists, even in their wildest time by political and economic conditions. Your own subscription free, for three THEODORE PRESSER CO. flights of imagination, could dream of But magazine prices depend on two others at full price. Can Be Earned in things—postage rates and paper costs. all the strange modifications to which Ladles Hand Bag. Black Crepe grain, OFFFR1NG SUGGESTIONS FOR THE TEACHER, THE PIANIST, Your Spare Time There is no other alternative but a price morean lined, 6 inches deep by 6 inches . their responsive instrument has been increase to protect ourselves against loss. THE SINGER THE ORGANIST AND THE VIOLINIST wide. Includes mirror and change purse. subjected in the past. Some of these Therefore, the price of The Etude will Great Pianists on the Art of Piano advance on December 1st to ©2.0U. transformations are so bizarre as to The prices given below are smashing suggest that their conception must have 1 'Musical Kindergarten Method. Batcliel- ANY OF THESE NUMBERS GLADLY SENT FOR EXAMINATION bargains. Although magazine prices are lor-Landon. ,, . r ,, been the result of a violent attack of jumping everywhere we are able through Standard History of Music. J. I. PIANO—FOUR HANDS delirium, tremens. fortunate arrangements with other pub¬ PIANO SOLOS lishers which extend through the month BRAHMS, 1. The first records of the making of up¬ of October, to offer these wonderful bar¬ 16426 Hungarian Dance, No. 7 6 right pianos are to be found about the gains. These prices are good only 'till CUI, CESAR 16514 Orientale, Op. 50, No. 9. 4 year 1810, and the proportions of these November 1st—not one day longer, llns were anywhere from that of a tiny Shera¬ is more than an opportunity. It is your DVORAK, A. Special Notices Homeward Bound 16395 Slavic Dance, Op. 46, No. 1....5 ton escritoire to that of a church organ. last opportunity to get your favorite 16495 In the Ro.e Carden FELTON, W. M. A certain manufacturer swore that he magazine at an unheard of price. I-ow BEETHOVEN, L. V 16414 Passing Parade, The 2# postage rates are gone forever. V ou must ANNOUNCEMENTS 16427 Three Favorite Th gottschalk, l. m. would make the most beautiful piano act now, or never. If you delay you must 16356 Marche De Nuit. 5 ever designed. To be sure he succeeded spend more money for your reading mat¬ lebierre, o. CLARK, MARY GAIL 16364 Galop Brillante. S'A in making a most magnificent instru¬ ter. There is no half way—no noddle 1 WANTED and FOR SALE 1 RENK, L. ment. The bottom part resembled very ground. Act quick and you save money. Rate 10c per word | E LEONE, FRANCESCO B. 16437 Grande Marche Nuptiale 3Ja Delay and you must pay increased rates. n Old Fashioned Dance 3 SMITH, WALTER WALLACE much that of an ordinary upright, but Remember these offers expire on November FOR SALE—$75 worth of 300 Dit. Wood DE ROCHEV1LLE, GEORGES 16369 The Ameriean Step 3H from the top emerged a colossal golden Seh. copyright teaching pieces All clean, 16401 I TSCHAIKOWSKY, P. 1st. We will not accept a single order at lyre of striking beauty and design. these prices after that. DRDLA, FRANZ ^;rSerSBap^WaK Other uprights of somewhat the same Mass. 16393 Souvenir. THE ETUDE .. $15a)$1.80 ELLIS, JOSEPH TWO PIANOS—FOUR HANDS design, but with enclosed strings, had Woman's World ...•w \T. H VRP FOR SALE—An excellent instru- the appearance of being concert grands merit. Lyon and Healy make. Will sell for DVO&AK, ANT. .$2.25 ‘ $450. Worth considerable more. Address stuck; up on end. 16367 Little Neighbors 16362 Fantasie. THE ETUDE . W. E. N., care of The Etude. MUSIC To-day's Housewife- :: *!S1$2.25 16480 iThW” Dr”ps The Old-fashioned Square Piano BARGAIN SALE—Unused music for small VOCAL SOLOS HE Conservatory occupies a beautiful building de¬ $2.75 J °5Sj$2.75 16424 Moonlight Dream Waltz to The Etude at £1.75 each. nineteenth century versatility that would hopes of the founders have been realized is shown by the $3.25 J 50c_ LAWSON, PAUL 16389 Helena. 2 STRICKLAND, LILY undoubtedly have been of tremendous | announcements | • fact that the department has had a growth which has 16388 As Pants The Hert service to some of our busy modern never been equaled by any other Conservatory of Music. WOOLER, HARRY SIMPSON Spare Time Rewards 16385 Cuckoo Song. teachers combined in itself a concealed The Conservatory is located so near Chicago that All of us have spare time. The MANUSCRIPT^ prepared for publication. dressing table, complete with a large it must compete with the best work done there, so that problem is not to find time to do things, 16482 Gliding Swans ^ T/vSf Gingrich. STSSSST 16515 On the Terrace . mirror and an infinity of drawers; a hid¬ Valparaiso students have every advantage that they it is to find ways of turning our spare Chicago. time into profit. We have a great many 16410 Under the Lattice LIEURANCE, THURLOW den writing desk, with place for pens, could possibly have in the city and at an expense not MUSIC COMPOSED-Send words. Manu¬ MOTER, CARL 16383 By The Waters Of Minnetonka useful rewards to give to Etuhe friends ink, etc.; and a profusion of secret com¬ one-fifth as great. _ _ who will use their spare time to introduce scripts corrected. Harmony, correspondence ; Nov. ROCKWELL, GEO. NOYES lessons. Dr. Wooler, Buffalo, N. i. OEHMLER, LEO 16422 Calvary. partments, not to mention quite an Expert instruction is given in PIANO, vOICE, The Etude to their acquaintances. Some 16353 Maids of Poland 3> ample bookcase. A musician of moderate of these rewards are listed below, others VIOLIN, THEORY, ETC., including the following RITTER, IRENE MARSCHAND means would hardly need any other are shown on the inside back cover. A 16394 Among the Flowers. 4 courses: pieces of furniture beyond this, as it premium catalog contains a more com¬ 16377 Summer Breezes 4 COLBORN, ARTHUR G. Preparatory; Teacher’s Certificate; Graduate; Post- plete list. This will be sent to you upon Czecho -Slovakia RINGUET, LEON could be used in case of necessity as a 16357 Fireside Tale, Op. 107. 3 16413 Sortie. Graduate (or Gold Medal course); Public School Music. application. KRAFT, EDWIN ARTHUR four-post bed or a dining table, and a ROCKWELL, GEO. NOYES 16375 Entr’ Acte Gavotte Special features of the courses are the Department For ONE Subscription A Novel Special Issue 16345 Meditation. 4 16376 Minuet, from the Opera “Manon coquettish teacher could easily do up 16346 Menuet Rococo. 4 of Opera, Chorus, University Band and Orchestra, Lec¬ Operatic Four Hand Album. 16390 Serenade Badine. her hair for the next lesson or perform of The Etude ROLFE, WALTER ROCKWELL, GEO. NOYES tures and Recitals. These advantages are open to all Students’ Popular Dance Album. 16415 Beginning to Play. 1 her toilet without leaving the piano; or 16366 Daddy’s Birthday Waltz. 1 e Solenelle. Standard First Pieces. HE mtion is so new we hardly else she could snatch a few moments be¬ registered students free of charge. Knitting Needles, amber; fourteen-inch, T ROMILLI, G. S1DDALL, LOUISE The low cost of all courses has not been brought size four and one-half, and ten inch, size know how to spell it, yet be¬ 16411 Souvenir D’Amonr. 3; tween lessons for her personal corre¬ hind it are centuries of tradi¬ SCHMOLL, A. spondence, and in case of some indis¬ about by sacrificing a high grade of instruction, but by fiVBon Bon Dish; quadruple silver plated. tions and accomplishments which creet intrusion, gingerly slide a surrepti¬ applying business principles to the Interior gold lined. Size 7 inches. This have had vast importance in the 16459 BEETHOVEN, L. V. tious billet-doux into a convenient se¬ Cost of Living is a really attractive dish. 16458 16373 Menuet from Septet Op. 20.3 development of World History. 16462 Building ofoi the Ship. 1 cret drawer. so that the most satisfactory accommodations for board For TWO Subscriptions 16454 Daisy ChaiChains CLARK, SCOTSON When the Czecho-Slovak soldiers 16452 HrHaymaking. To close, just a few words about the and room may be had at 360.00 per quarter of 12 weeks. \sh Trays. Round dark wood base landed in San. Francisco, after their Little House , the Tree, The. queerest contraption that a depraved with crystal top. This ash tray will make 16463 New Battalion, The. 16486 Meditation... For Free Catalog Address battles and privations in Siberia, 16457 Raining. 16487 Olfertoire.... imagination ever conceived. This was an excellent gift to the man who smokes 16453 Swinging. HAYDN, J. an ordinary square piano fitted with two Fountain Pen. Who has not felt the they all came ashore singing. Music 16460 Topsy-Turvy. I'A Henry Kinsey Brown, President, Box E, University Hall, need of a fountain pen? T1 s , cn an in the wonderful land of Dvorak, 16455 Under the Eaves. pedals, one to sustain the tone, the other Valparaiso, Ind. unusual one. It is «les,gned es,.ema ly for SPAULDING, CEO. L. n D. Minor. served to work the lever that raised the Smetana, and others of distinctive 16371 Menuet from Divetimento in D. . 3 ladies, having two gold bands which give lid and then let it fall suddenly with a it a very pleasing appearance. I he pen genius, is one of the vital things ROCKWELL, GEO. NOYES , Students may Enter Now in life. It is for this reason that 16396 Humoresque. 3 •®U loud crash to imitate the firing of a can¬ is 14-karat gold. STOUGHTON, R. S. , non. The young lady who was fortunate Manicure Brush. Bristles made ot tine “The Etude” has planned a wel¬ 16430 There Were Shepherds. * horse hair, twisted in metal so that they come to our new sister republic TOLHURST, HENRY , « enough to possess this instrument made cannot come out. Washing in boiling 16408 Country Dances. 3 ‘‘ quite a reputation for herself by playing with a special Czecho-Slovak issue water will not injure it. battle pieces to the accompaniment of Songs Without Words. Mendelssohn. which will appear next month ORDER BY CATALOG NUMBER AND MENTION PRESSER PUBLICATION heavy artillery. The effect on unsus¬ I REX ARLINGTON, Director Concert Album. Liszt. (November) with a fine portrait pecting auditors must have been fulmi¬ Mozart Sonatas, in two volumes. Either of Dvorak on the cover and many, nating, not to mention the fact that, as rAurepe Offered- VIOLIN, PIANO, VOICE, HARMONY, HISTORY OF MUSIC, PUBLIC volume. many interesting articles and courses \jnerea. SCHOOL MUSIC, LANGUAGES. EXPRESSION and DRAMATIC ART Modern Drawing Room Pieces. THEODORE PRESSER COMPANY it required quite a little exertion to work pieces of music relating to this Teacher* Practical Work Applicable t For THREE Subscriptions the pedal, she must have acquired an ab¬ BOARDING FACILITIES EXCELLENT—NO BETTEK ANYWHEI new-old country. 1710-1712-1714 CHESTNUT STREET :: PHILADELPHIA, PA- Combination Scissors Set. Useful and normal development of the flexor mus¬ Address, Box 512 - - - HUNTINGTON, INDIANA durable set of three pieces, consisting of cles of the lower leg. addressing Please mention THE ETUDE when addressing our advertisers. the ETUDE OCTOBER 1919 Page 677 Sensing Rhythm with the Eyes One Way and Colleges By George Gilbert By J. Lilian Vandevere Every pupil finds certain rhythms, turns, ruler and let the pupil grasp the mathe¬ MICHIGAN and CALIFORNIA trills, etc., that are hard to grasp; cer¬ matical elements of the problem, as ex¬ listener, “and you are to make out the tain measures that are “stumbled over” pressed in simple lines made by holes in She was such a problem—Helen, of program all yourself, like thig. Detroit institute of musical art 1 each time a given piece is played. Why the paper of the roll. Then, placing the the ten summers! If one kept her at a A leaf from the pad was made into a not make use of the roll of a player-piano roll.on the piano, play it, pointing out point till perfection was reached me little folder. . “Strongest Faculty in the Middle West” to help in such cases if a player-piano that measure, turn or trill, as it passes effect on child and teacher was utter over the track-board. Do this several “Put the composer’s name opposite the GUY BEVIER WILLIAMS, President is available? Select a piece that has been fIRGIL PIANO CONSERVATORY weariness of soul. If half finished work title of each number, and make a nice included in the list of some maker of times. Then play the hard part by hand was accepted, where were one’s stand¬ little cover page, with your name and the A School which offers every advantage player-pianos and that has measures, and then by roll several times. Invite the ards? Truly, it was a matter for the date, just like the printed programs we trills, turns, etc., like to those in the piece pupil to play it, first by roll, then by (28th Season) night watches and the melancholy after¬ had last spring.” incidental to a broad musical education. that is causing your pupil worry. Per¬ hand. Or, draw the measure, trill or noons. Most important of all, she should “May I say ‘Recital by Helen Bent- haps the very piece the pupil fumbles turn on a slip of paper, using simple, have a far larger repertoire to show for Fifty artist teachers. Highest standards. VIRGIL METHOD OF TECHNIC ley’ ?” over may be procured in a music roll. straight lines to represent the notes, say the time and money already invested m Artistic environment. Greatest of all teaching methods “Certainly, and I’d say, ‘At the studio: Do not place the roll on the player- a two-inch line for a half-note, an inch her musical training; but the mention of of her teacher, Miss Agnes Waite.’ ” | ; For Catalog Address piano at first, but unroll it and, finding line for a quarter-note, a half-inch for an review pieces brought forth tolerant RESULTS TELL “May mother come?” H. B. MANVILLE, Business Manager the measure in question or the turn or eighth, a quarter-inch line for a sixteenth shrugs, or downright impatience. Then, Superior Instruction in Piano, Harmony, Theory, “It would be lovely to have her.” 1117-1119 WOODWARD AVENUE - DETROIT, MICHIGAN trill, point out to the pupil how it appears and for the notes of a trill or turn little in one of those rare moments which pre- “And Charlotte? She’s my best friend dots. Public Performance as cut on the roll—the length of the serve sanity and keep one’s mental grip, in school, and she's never taken lessons— notes, their relation, in regard to length, By using such methods, it is quite pos¬ Foundational and Advanced Courses the idea came. . - may I invite her?” to each other. Measure them with a sible to make a pupil “hear with his eyes.” TEACHERS’ CERTIFICATES DIPLOMAS “We’re not finished!” said Helen at the “Of course, and I have a friend who next lesson, when the study book was ES COURSE OF MUSIC STUDY «■-- »~s. Address will visit me that day, and I believe she. BURROW closed ten minutes early. will enjoy listening, too.” Kindergarten and j Primary—Correspondence or Personal Instruction Sing for America! 11 W. 68th St., New York “Of course not,” answered Miss Waite MRS. A. M. VIRGIL The steady grey eyes looked a question Happy Pupils—Satisfied Parents—Prosperous Teachers. Classes are doubled by use of this method By Geo. Chadwick Stock “but we’ve something else to do” and into the dancing brown ones, and met the Enthusiastic letters from tet she picked up her pad and pencil. “Tell also descriptive literature setu hon °sppiicsu°onrBto KATHARINE BURROWES answering flash of determination and wil¬ Singers of America! These are stren¬ American singer stands ready to help un¬ me the names of the last eight pieces Dept. D. 246 HIGHLANE) AVE., H. P„ - ... DETROIT, MICH. x thf American Institute of Applied Music lingness that they longed to see. uous times in which we live, and do not stintedly in the special field of musical you’ve studied.” “I’ll work every minute 1 can spare forget that you and I, as loyal Ameri¬ performance for which he is qualified. ^ Extraordinary Engagement of E. ROBERT After a bit of thinking, Helen recalled from school, and I’ll make Daddy bring cans, have a very definite part to play Singers! we should make it our business SCHMITZ of Paris for Seven Master Class in Modern the titles, and they were jotted down. home a big sheet of paper for the pro¬ Michigan State Normal College in the reconstruction days which are now to encourage the performance of what¬ French Piano Music, October 14th to November 4th. “Now check off the six you like best,” gram !” Public School Music Conservatory of Music upon us. Every real American will ful¬ ever is good in American song composi¬ 34th Year, October 1st, 1919 " and she handed over the list. On the eventful afternoon a properly rPHERE is a constantly growing .demand for fill to the uttermost his obligations of tion. We should also encourage in every KATE S. CHITTENDEN, Dean M I' D™0' Oor_Secy, All alert, Helen chose her favorites, impressed Charlotte sat by Helen’s 1 women teachers of public school music, Ypsilanti, Michigan Send for Special Circular. 212 W. 59th St., New York City citizenship, immensely intensified by possible way the use of the English and as she finished Miss Waite turned to mother in the window-seat. Miss Waite s Courses in singing, piano, organ, violin social and industrial problems that are language in song and speech. Think the study book. friend joined them, and Helen, of the and theory. of far deeper significance and importance what it would mean for millions of “Choose two of these between No. 20 type whom an audience inspires, did work Courses for training supervisors and than any that the human mind has here¬ American singers to act in a concerted that was unwontedly careful and brilliant. teachers of public school music. and No. 30,” and the child, eager-eyed in The Detroit Conservatory of Music tofore had to grapple with. way toward this end! Think what a tre¬ INSTITUTE OF MUSICAL ART her decision, forgot that she “hated “You don’t know how Helen's father Graduation leads to a life certificate OFr\c THEtuc CITYpity OF NEW YORK valid in most states of the union. Keep your mind fixed itpon this fact; mendous stimulus it would prove to enjoyed hearing her prepare for this aft¬ American composers and the undreamed Special PREPARATORY CENTERS in different parts of studies!” Total living expenses need not exceed that you and I are living in a new era. When the study numbers had been ernoon,” said Mrs. Bentley, as she was five dollars per week. Tuition and fees It is the Era of Service, The man or results to be obtained in the present great the city for children between seven and twelve years of age. leaving. “Helen played several of her the city o 120 CLAREMONT AVENUE added, Miss Waite spoke impressively. sufficient teaching experience, music study, exceptionally low. Write for catalog. woman who fails to realize this—who does Americanization movement. FRANK DAMROSCH, Director new york city “Now, I’ll tell you why I let you choose numbers for Charlotte’s mother this, college or university work. Dir. CONSERVATORY OF MUSIC, not find time to put his shoulder to the Such nation-wide service will help in these things. Next time you’re not to week, and if you will telephone her about The Special Features of the Course are: BOX 9, YPSILANTI, MICHIGAN. wheel of national growth moving to¬ an incalculable degree to promote a lik¬ hours and details she would like to start Sight rending; ear training and dictation; wards an ideal democracy—might better ing for some of the finer things of life. play a lesson for me—you’re to give me a •jnethods; song interpretation; harmony; chorus recital instead.” Charlotte in music.” conducting: psychology; practice teaching; etc. be dead. It will increase loyalty, it will inspire The NaCond Conservatory o^Music^of America^^l^^a^iwn.’o'^’M' ' “Well,” said Miss Waite, when they had A volume of excited comment threat¬ may Ee^terV/w!"' Oon"n,atory' St'“ient‘ >oi professional Music, singing especially, has played a love of some of the choicest American (JEANNETTE M. THURBER, Founder & Pres.) Ad. Sec., 126-128 W. 79th St„ N. Y. ened to pour forth, but, checking it, she gone, “six pieces memorized, an excited prominent and useful part in the great traditions. It will help in every State child, pleased parents and a new pupil! of I icture Playing went on. ... world war. Now that peace has come, in the Union to maintain national ideals. “All these numbers are to be played As a last resort and a delicate discipline, Detroit Conservatory of Music music has a much greater part to play Vocal music is the quintessence of =Ithaca Conservatory of Music= without music”—a grieved look from the I think it worked rather well 1” JAMES H. BELL, Sec. Box 7 in helping to bring back the human mind pure democracy. It makes a universal 1013 Woodward Ave., Detroit, Michigan. Crane Normal Institute of Music P. O. Box 582. LOS ANGELES, Califon into new and better channels of thinking appeal, for the reason that it is a univer¬ Training School for Supervisors of Music and planning. Our government and all sal force. both sexes harmony tiful, commodious^ buildings, concert taU and Keep Fit men and women engaged in educational Music is the most democratic of all the affairs have encouraged and will con¬ arts used by man, because it does not de¬ practice-teac"h\ng?rJGradurate5hold important posi- able terms. Catalog. tinue to encourage in every possible way pend upon anything exterior .to itself. It The Registrar, 1 De Witt Park, Ithaca, N. Y. By Thomas B. Empire Professional Directory 53 MAIN ST., POTSDAM, NEW YORK all kinds of legitimate music activities. is felt and understood by everybody, of EASTERN and systematic exercise the wise body Vocal music particularly is becoming an every race and every condition, and so It doesn’t matter what you are doing CONSERVATORY becomes a great unifying principle work¬ gets down to work, and out of the food increasingly important factor in our na¬ PIANO FOR TEACHERS AND —singing, playing the piano or violin, tional life. ing among the discordant and antagonis¬ INTERNATIONAL ^autSionalAageEncy consumed makes muscle tissue, and puts BEECHWOOD S AMERICAN riAINC/ ADVANCED PUPILS only going in for a business career, or dig¬ There is no question hut that every tic elements that make up human life. MRS. BABCOCK OPEN FOR FIVE MORE PUPILS ging a ditch—you will do it better and a firm coating of it all over the body. Win for appointment Katharine M. Arnold, D /OFFERS Teaching Positions, Col- more easily, to say nothing of the suc- And the mind, too, partakes of the quality combs ARNOLD1 LESCHETIZKY METHOD taught by leges, Conservatories, Schools. cess-and-money side of it, if you keep of this new tissue. Nature begins to “ Grand! ” ALBERT WINSTON, Steinway Hall, New York i SYSTEM. Improved Mt Also Church and Concert Engagements your machine in good running order. discard the fatty values in the food, and BROWN“ Four and half years under personal direction of instead takes the muscle-forming part of DUNNING I By Helen Maguire CARNEGIE HALL, NEW YORK Prof. Theodore Leschetizku This body of ours is a funny sort of wise machine, that we are just begin¬ it, and builds the body up in the new E A D D I °PERA SCHOOL. Voice training for Church, It’s quite some time since we ceased to and the “lambrequins” and the “every- ning to find out about. idea. r AD n I city8 Keep fit. Exercise. Even walking is give “grand concerts,” or “grand enter¬ thing-puttied-vases. After that they If we sit still and take no exercise of better than nothing, though exercises CINCINNATI .' tainments,” or “grand productions.” gave us the “quarter-grand.” Skidmore School Arts all the food we eat goes to fat—plain, A Professional and Vocational College for Women GRANBERRYls for the whole body are better. But as HAWTHORNE Dickens, perhaps, did as much as any¬ Fancy anything being one-quarter uncompromising fat! And you really Fine and Applied Arts, Home Economics, Pianists :: Accompanists soon as Nature sees that you are bound COLUMBIA" one to show us the ridiculousness of the grand! To be wholly grand is one Music, Physical Education, Secretarial, can’t do much work on fat. After you “grand scale” on which we boasted of thing, hut to be only one-fourth grand General Studies, Athletics Teachers’ Training Courses to improve the body tissues and get the Non-Sectarian Catalog Summer Session have played the part of the fatted calf best out of your machine she will start KRIENS DAHM-PETERSENSf™ doing everything. But “the grand is as who should say, “ a little-large” in¬ SARATOGA SPRINGS, N. Y. Booklet CARNEGIE HALL, NEW YORK for long enough, the quality of fat gets in to help you. Keep fit. You will be piano” we still have with us, one of the strument, or a “humbly-majestic piano.” into your mind itself—you become a fat¬ a better pianist, singer, workman, busi¬ last remnants of our early American How make the two go together? head. And the main characteristic of ness man, ditch digger, for it—and it s MOULTON; DETROIT vaingloriousness. When you think of the Really it would almost be better to How to get in touch with prospective pupils is the most important a fathead is that he cannot think clearly not such a bore, if you go at it in the musical and charming names of the Old stick to the good plain carpenters’ problem‘that confronts every music teacher and every music school. or forcefully. But if one, instead of sit¬ right way. NEW YORK -SKI KNOX World instruments, the Harpsichord, names, and call it, as the children do, Success depends upon the solution. ting still and eating, will take regular Keep fit. And, again, keep fit. • the Clavecin, the Clavichord and the “the three-cornered-piano.” rest, it makes you long to find a fitting It is noticeable that the manufacturers RAPISARDALS Marlowe s&i-ssp and dignified name for our beautiful of the various phonographs earnestly try ANNA M. NORMAL TEACHER American instrument. to give their instruments names which NEW YORK SCHOOL OF MUSIC AND ARTS Our first instruments would seem to are at once descriptive, which designate, ROGERSrSsSS TOMLINSON ES have been named by the carpenters who and which sound well. I do not say that Opposite Central Park, cor. 95th St., New York City :: RALFE LEECH STERNER, Director built them; first we had “the square,” they all succeed, but the attempt to do so inw York Citv’s most beautiful and home-like School devoted to Music and the Allied Arts with UNSURPASSED BEAUTY VIRGIL and then came “the upright,” good, hon¬ is evident. [New lorKuuy Qp SCENE FACING CENTRAL PARK WESTERN- est carpentry terms; but the “grand” It must he that there is a name for our was quite the most American of all. And lovely “grand” without going back to rviehrated faculty including Arthur Friedheim, Ralfe Leech Sterner, Aloys Kremer, Harold A. Fix, Clarance de Vaux Royer, Eugene Salvatore, Guiseppi Melfi, when the makers began to modify the the length of its very first and certainly Frank Howard Warner, S. Reid Spencer, Mable Rivers Schuler, Mme. Clara Lopez, Helen Wolverton and others. SOUTHERN CONSERVATORY OF MUS term, and gave us “the parlor-grand,” it descriptive name—“e-clavi-cembalo-con- Gilmore Ward Bryant, Dir. Eet’d 18! nnRMITORIES in school buildings and proper chaperonage with many social and recreation advantages, open the entire year, pupils may BRYANT forte-piano.” What shall this be? DORMITORIES INe%ter any day. PUBLIC CONCERTS EVERY WEEK. TERMS, INCLUDING TUITION, board, practicing, etc., on application. All Degrees Conferred. Durham, N. CONVERSE COLLEGE-,; certainly “went with” the “whatnots” tix I E.n. «i SEND FOR BOOKLET AND TEACHERS’ BIOGRAPHIES Please mention THE ETUDE when addressing our advertisers. § MEHL1N PIANO USED EXCLUSIVELY S Please mention THE ETUDE when addressing our advertisers. OCTOBER 1919 Page 679 THE ETUDE the etude Page 678 OCTOBER 1919 The Organist of the Lodge Room =*3= By Ben Venuto eastern and middle west The various rituals and ceremonies of March Romaine. Among MacDowell’s Schools and CoWe^cs fraternal orders are greatly enhanced in compositions there is a March of a pecu¬ if-* u t r' a beauty and impressiveness by the intro¬ liarly mysterious character which fits in duction of appropriate music. This fact admirably with a certain type of cere¬ is so keenly appreciated that the mem¬ monies, as does also Gottschalk’s March bership of a really competent musician is de Nuit. We sincerely trust, however, IjP I ^JZtf/ hailed as a great acquisition and hopes that no one will blindly limit himself to are entertained that he will add a new the few pieces we happen to name, but and valuable feature to the future activ¬ will search eagerly and intelligently the ities of the organization. In some cases whole literature of the best music for that CONSEKv^IORiyMuSIC Chicago Musical College this hope is realized, but too often even which will suit his particular need. ' Hillp “ ““ K*JBf Dr p ZIEGFELD. President Emeritus the best musicians are awkward and help¬ PHILADELPHIA FELIX BOROWSKI, President 54th Year less under their new responsibilities and “Savoir Faire” 35th YEAR OPENED SEPTEMBER 15th fall short of realizing the true possibilities One should avoid glaring anachron¬ fished faculty, original and scientific methods, individual instruction, high ideals, breadth of culture- and1 moderate——----ibined cost. with efficient th' The Leading and Largest College of Music and Dramatic Art m America of the occasion. The reason is not far to isms. In case it is impossible to supply COMBS CONSERVATORY affords opportunities complete seek; they are, from the very nature of music actually characteristic of the idea mUSAH Branches. Normal Training Course for Teach. the case, unfamiliar with the ritual, and typified in the ceremonies, then one Complete Pupils- Symphony Orchestr-- °-■’ wrihhUni^lm.!tySofPPennsyivZiTa0 FALL TERM OPENED SEPTEMBER^ 15 they have either no precedent whatever should use an unfamiliar piece which at - ^ nn i i • s-i— f^llr»^A7ir>cy noted artists I A SCHOOL OF INDIVIDUAL INSTRUCTION Faculty of More than 100 Teachers including the following noted artists to go by, or that of some amateur mus¬ least has no incongruous associations. ician of very limited skill. Sousa’s Stars and Stripes Forever is a A SCHOOL OF PUBLIC PERFORMANCE VIOLIN (Four Pupils’ Recitals a Week) VOCAL LEON SAMETINI The subject is a difficult one to treat in fine march, but would hardly be expected PIANO ADOLF MUHLMANN Faculty: Gilbert Rayaold. Combs,Piano; Hugh A. Clarke, Mus. Doe. Theory; Herman Sandby Violoncello; Nelson RUDOLPH REUTER MAX FISCHEL print, because the ritual of most such on the day which celebrated the comple¬ A Chesnutt, Voice; Russell King Miller, Organ; William Ge.ger, Mus. Bac., Violm, and 75 ass.stant teachers. ALEXANDER RAAB MAURICE GOLDBLATT orders is secret, which prevents the giving HAROLD MICKWITZ EDOARDO' SACERDOTE LOUISE FERRARIS tion of the Great Pyramid of Egypt, and THE SCHRADIECK VIOLIN SCHOOL BURTON THATCHER RAY HUNTINGTON of such concrete examples as might be EDWARD COLLINS MABEL SHARP HERDIEN it would rather jar one’s sensibilities to Organized, developed, and for 22 years conducted under the personal d ction of Henry Schra- KARL RECKZEH dieck, the world’s greatest violin teacher. ROSE LUTIGER GANNON ORGAN most helpful. In spite of this limitation, hear Hot Time in the Old Town To- B, the school is con- MAURICE ARONSON JOHN B. MILLER Under William Geiger. Mus. Bac.. for LOUIS VICTOR SAAR ERIC DeLAMARTER however, we hope to be able to suggest Night, when an early Christian martyr ducted along the identical hi- LOUIS VICTOR SAAR sre personally trained by Schradieck HARRY DETWEILER GENEVRA JOHNSTONE-BISHOP some ideas of value. is supposed to be on his way to a fiery All the assistant teachers UNARONSON ELIASTPT T A S RRF.DTNBREDIN ... Most such organizations as we have in death. This may seem a totally unneces¬ dormitories for women HARMONY, COMPOSITION, C0UNTERP0[NT^CAN0N^ and ^fugue mind make provision for an “organist” sary warning, but as a matter of fact the In addition to delightful, homelike surroundings in a musical and inspirational atmosphere, the ’jisssr b*kto» and pay him a certain fee for his services, Jormiro™ nunils have advantages not afforded elsewhere: Daily Supervised Practice, Daily FELIX BOROWSKl" """LOUIS VICTOR SAAR HAROLD write has several times heard some al¬ Classes in TecLic. Musical Science, Theory Concentration and Memory Training. Physical Culture. REPERTOIRE classes although at the present time the piano is most equally crude choice of music on Vocal and Instrumental Ensemble and Public Performance. TEACHERS’ NORMAL COURSES more often the instrument actually in use, the part of lodge organists, though the FIVE SPACIOUS BUILDINGS EDWARDRUDOLPH COLLINSREUTER,on AN °sAMSAMETINI ETIm except with some wealthy bodies in the particular examples given are entirely A School of Inspiration, Enthusiasm, Loyalty and Success. ONOVAN expression aim larger cities which are fortunate enough MINNA MAE LEWIS (Expres: imaginary. Illustrated Year Book Free SCHOOL OF OPERA to own a good pipe organ. Of course, the Offices, Studios and Dormitories PUBLIC SCHOOL MUSIC ADOLF MUHLMANN EDOARDO SACERDOTE GILBERT RAYN0LDS COMBS, Broad and Reed Stre HAROLD B. MARYOTT ' choice of music will differ considerably Two Types of Ceremony and of Music according to the instrument provided— TOF BALLET INTERPRETIVE AND CLASSICAL DANCING most of the pieces suggested in this arti¬ This leads us to a brief discussion of .nnnnninnnnniwmtBQQBBocoQQMi ANDREAS PAVLliY,PAVLEY, MAihMAE bSTEBBINS 1 tLiDD 1 IN O Klii&is,REED, GLADYS* w *PRICE. All Orchestral nstrumenta aug cle are for the piano. If one is to use a the character of initiation and degree ceremonies in general, which will not be -HaTn Philadelphia reed organ, one should not attempt to play PITTSBURGH piano music on it, but should provide out of place here, as it has a very im¬ Musical Academy -iFREE SCHOLARSHIPS AND PRIZES'- himself with some collections of special portant bearing on the character of the MUSICAL INSTITUTE, me. 60th season began Sept. 8. A few vacancies for ad¬ music used. Many “degree” ceremonies vanced pupils under eminent artist-teachers. Theory, _ , •• . Sent 1 : Annlication blank on request. Mason & Hamlin Grand Piano, presented for competition in the PostG reed organ music, such as may be had College Degrees for Music Students are intended to represent some important with University of Pittsburgh from any first-class publishing house, and event in the early history of the order 4259 FIFTH AVENUE search diligently for such pieces as are in question. Whether the events are ac¬ ore wonu-icHun..vv- most suitable for the required purpose. prizes will be competed for in Orchestra Hall, Chicago, uciuxc - tual historical facts or merely myths or We will now take up some of the vari¬ dormitory accommodations5 fables is not important for our present 1 CINCINNATI CONSERVATORY of MUSIC established isot! 620 ous phases of the subject. :o Blackstone Hotel SOUTH MICHIGAN AVENUE purpose, but the representation is either 52ND YEAR CLARA BAUR, Foundress one or the other of two sorts: either it Conducted according to methods of^ most Marches for “Perambulation” is symbolic, and consists of a series of However much they may differ in more or less fanciful proceedings of a SHORT ceremonial nature, which are afterward Elocution—MUSIC—Languages character, nearly all lodge ceremonies Faculty of International Reputation explained to the candidate, or it is acted Pedagogical Music Course embody some form of march about the Exceptional advantages for post-graduate and repertoire like a drama, with due attention to real¬ work. Department of Opera. Ideal location and residence ByEFFA ELLIS PERF1ELD AMERICAN , hall. This may be for certain officers, for 1 department with superior equipment. Public School Music the candidates with their conductors, or in ism in the acting, costumes and scenery. ® rare cases for the whole membership pres¬ Sometimes both methods are in use in 631For catalogue and Information, address ^ ^ There is a constantly growing demand for Men and Women teachers of Public the same organization, and one or the EUGENE YSAYE Season 1918-19 School Music and many responsible and lucrative positions are open g CONSERVATORY ent; it may be marching of a military this'course as supervisors or departmental teachers. These positions pay good salaries Chicago’s Foremost School of character, of a solemn and sedate char¬ other is used, according to the conven¬ acter, or of a jovial character; in general, ience and discretion of the officers. One Unde^fciluWmbflnSfhrf Must offers an excellent training for these place, and assists their may compare it to the difference between graduates to secure positions through the School employment agency.^ mav he credited by slow marches (but not too funereal in sen¬ DANA’S MUSICAL INSTITUTE MUSIC timent) are the most called for. The a picture and a conventionalized design— WARREN, OHIO sufficient teaching experience, music study, College c position. Orchestral Instruments, School of Opera, $25.00 Cash—$35.00 in Paymer Modernt Language?, Dramatic Art, Expres^on. musician should be keenly alert and sensi¬ a “heart” in heraldry or on a valentine rVMeTo/seand applied Psychology Practice Teaching, Or- THE SCHOOL OF DAILY INSTRUCTION IN ALL Address: ELLA ELLIS PERF1ELD MUSIC SCHOOL, INC. is a far different looking thing from a Is3SS ' in Harmony, Sight Reading and Ear Training. Toe and Ball tive to the particular sentiment of the BRANCHES OF MUSIC ial Train¬ occasion and should try to catch the step picture of the heart in a work on anat¬ NINETEENTH SEASON ing School supplies teachers for colleges.^ Lyceui omy. To return to the point—if the cere¬ Address LYNN B. DANA, President Desk E, WARREN, OHIO „ the follower of those marching, in order neither to New Midyear Class Starts January 5 (' Deg?ccT.'nDormtimryraccomm

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