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

11-1-1943 Volume 61, Number 11 (November 1943) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 61, Number 11 (November 1943)." , (1943). https://digitalcommons.gardner-webb.edu/etude/222

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BUY WAR BONDS AND STAMPS FOR VICTORY ISIDOR PHILIPP, dis- tinguished French pian- ist and teacher of many outstanding pianists, in- cluding Guiomar No- vaes, Maurice Dumesnil, Henri Deering, Emma beginners Boyer, and Stell An- dersen, celebrated his piano eightieth birthday FOR young September 2. M. Philipp, who was compelled to flee his native keyboard town Paris on ten minutes’ notice, has been in New York since May 1941, where he has By Louise Robyn been teaching and lecturing. He also PATH tales has visited cities in the Middle West. A PLEASURE technic book covers a new field in the child's early This of HERE, THERE. AND EVERYWHERE supplies a link that coordinates THE GRIFFITH MUSIC FOUNDATION PIANO book one training, for it TO THE held its fifth an- fingers, and enables the child Newark, New Jersey, CHILP) eves ears and IN THE MUSICAL WORLD PRE SCHOOL Robyn within a sur- nual institute on October 2. The theme (FOR THE Louise to read notes fluently By actually the Build- Perry period. The book is not an for discussion was “Music in Josephine Hovey prisingly short By principles Good-Will.” Edwin Hughes, presi- COMPANY will “The Old Maid and the Thief” by Gian- its material and have ing of THE experiment— Carlo Menotti; and “Third Symphony” the for many years. Be- dent of the National Music Council; season of its own in 1943, be- study book for tested and proven have no This fascinating been by Roy Harris. ts as a r< P » note-names are Primrose, violist; Cesare Sodero difficulty of securing an the piano sw with MIDDLE C the William cause of the student of g # ginning est which per- Wallenstein of the Metro- singers and actors. whecetn the child with the story-element and Lothar adequate number of book t e c introduced ITALO MONTEMEZZI’S J U building up and Roy Har- been the gen- technic, ability, note-name. The politan Opera Association; Gallo, who had selection by rote the musi<>teading each note with its own Fortune - Gradually sonifies new opera, “L’lncan- ft es it eq various phases of of the Chicago Musical Col- has resigned, played, finger dexterity ““ prin- avoids the use of counting be- ris, composer, led the Musicology eral director since 1941, until reading and powers. Each pedagogic plan tesimo,” had its world “l^/’^nced ; Dean of the young student is a ma- "one-" system employed the conference. lege, recently was appointed and no announcement has yet been made A11 0f the a feature cause of the premiere on radio when 1into o dement, are welded ittle melo- school, according to an announcement successor. Plans are being formu- playing a the book More than seventy-five of a in story torm^ ks SLtt^r^ry throughout. presented by NBC on is presented interest. OF TEXAS, in con- Ganz, president. Dr. Rosen- six to ten weeks terial child creates in this unique book. THE UNIVERSITY by Rudolph lated to give a season of tha PP ^ ^ imagination and dies are included Saturday afternoon, Oc- abounds in dlustranons the child's war program, is editor of Music News brochure that appeals to nection with its all-out wald is managing of opera in the fall of 1944. 75 cent* of the Na- tober 9. This is the third '» Price, 75 cents Price, inaugurating a ten-month cultural fare Magazine and vice-president .sw— CONCERT season of radio opera to be given rr3»SS of almost continuous weekly recitals, tional Composers Clinic. THE PROMENADE teaching. pre-school piano has been a first hearing by NBC. shows, lectures, and exhibits for the London, which closed recently, Montemezzi, has Ttalo Montemezzi Price, $1.00 November are given of the most remarkably successful who cents current school year. During AMERICAN MUSICAL WORKS one Price, 75 an- have been more been in this country CLASSICS AND a Fine Arts Festival will be sponsored by a prominent place in the programs on record. The concerts FIRST ever before; since 1939, makes his home in California, the three departments in the College of nounced for the new season by the Bos- generously supported than HARMONY variety in the and he personally selected the artists FOUNDATION Fine Arts. A series of organ recitals will ton Symphony Orchestra, Serge Kous- there has been unusual that works the composers repre- who sang his new work. They were the the house harmony YEAR BOOK TO FOLLOW be given also in November by four of sevitzky, conductor. Three major programs; and robyn-hanks (A 2ND the highly interesting, internationally celebrated baritone, Alex- the AND FAMOUS the leading artists in this field. In De- are listed for first performance— sented have revealed JACK BUILT "FOLK SONGS Barber; enjoyable musical ideas. ander Sved, whom Montemezzi heard at book one cember all departments of fine arts will “Second Symphony” of Samuel if not always PLAYING IN PICTURES") Strings” by Dale, Thomas F. Dun- La Scala in , and the two radio (READING AND and Howard Hanks assist the University Opera Company in the “Fifth Symphony for Alec Rowley, B. J. By Louise Robyn symphony and Lennox Berk- stars, Vivian della Chiesa, soprano, and 4 OCTAVES) Bacon Mason the performance of “The Bartered Bride.” William Schuman; and a new hill, Eugene Goossens, hi By Mary con- of any age^ in w"j™ A the possibility of some of the composers whose Mario Berini, tenor. The opera was course, for students instruction. Other highlights throughout the college by Roy Harris; with ley were Hovey Perry A junior alike Each classic ducted by the composer. Josephine su.table torj^e of the mtt hearing . By and ear-training. It is book xhc naturc year will be concerts by the University others to be announced later. works were given a mony is in simpli- 5 a Cate ' Orchestra, several produc- This is fied form with Symphony THE BROOKLYN MUSIC TEACHERS °^ a i^ EDU- THE LOS ANGELES PHILHARMONIC splendid lessons N^thaT ^ 'stud^of^armony that tions by the Department of Drama, and THE TROY (NEW YORK) PIANO orl^^^aturethe ni y colleague verses director, GUILD, organized only a year ago, held a for the Preparation f Howard Hanks, a reports a successful rec- ORCHESTRA, under its new book complete Mr cot respond to a number of recitals by outstanding- CATORS GUILD ^ Wallenstein, will present through- most successful convention on Septem- helping lit- .1 Chicago- of Richard Crooks, tenor; ord of accomplishment since its organiza- Alfred the spirit artists such as 25. two days were filled children season at least twenty-four com- ber 24 and The tle music and Primrose, violist. tion in 1941. With Herman J. Rosenthal out the 75 cents the and William lectures and demonstrations by of primary Price. positions for the first time. Among these with accord with as vice-president, it has been active in grade ages Symphony” by Paul Creston; some of the leading figures in music its rhythm. comes a story of piano teaching profession are “First to FROM STOCKHOLM elevating the which to learn “A Free Song” by William Schuman; pedagogy. The new organization, of The early how one Peder Morseth “who for years of the community and has sponsored read music PICTURES Samuel Barber; “The Carl Tollefsen is president, was fostered AND FAMOUS lays a foundation local church” lectures by outstanding “Second Essay” by —— notation and FOLK SONGS study of this material had led the singing in a concerts and — is being sponsored by the Brooklyn beginners in music. Freedoms” by Russell Bennett; and which for piano appreciation of the best group of eleven Norwegians artists in their field. Four piano keyboard that for inspired a Institute of Arts and Sciences, and their to olav on the and portion of the book is means of note, key, The second to face a Nazi firing squad with unflinch- hev read By & CUT-OUT CARDS harmony presented aim is “to raise the standard of teach- very clear the rela- COLOR C^tT Toted m elementary ing courage. As they stood linked hand ~ chans it makes INCLUDES cut-out of music in its finger on the of games and etitionA ing, further the cause of the notes through the use the little village of Selbu, o nf the oosition Bacon Mason in . hand in phases, exploit Brooklyn com- U There are By Mary book is a secon y . various he keys of the piano. cards. This outside of Trondheim, awaiting their Z accompany- pjano successful FoliSog posers and musicians, encourage young needst of author's very amateur musical organiza- anv charming illustrations book designed to meet the to the used execution, Morseth read a prayer and PRIZES OF $1000 EACH are to music given by showing A method Nota or it may be TWO Full talent, and in countless other ways make little pieces and eleven years of age. Famous Pmures, tions within the specified dates.” in- fne'die attractive Winners from seven to and led the group in singing the hymn, be given for string quartet compositions, interval skips transpos,- first-grade keyboard then from Mrs. Ada music center on a par with graphically the various keyboard harmony, to follow any good formation may be secured Brooklyn a ve®y fion rhythm, scales, Establishes God, Our Help in Ages Past; following by the Chamber Music Guild, Inc., of Its handling in a most background. 0 Holding Miller, Chairman, War Service any large city in this country or in Eu- • ’ presented in a unique manner. TB= musical form are harmony with throug IL - tion and creative n the shots rang out. YVashington, D. C., in conjunction of rhythm drills and of transposition and which Commitee of the National Federation rope." Bravo, and good luck! values through best Division of the Radio sell admir- unique *• for ear,ra.mn^ the RCA Victor 28 Everett Avenue, Provi- suggested "buy and and mony° work. Excellent Music Clubs, a to classics America. One of the prizes teaching of note values selection of LANSING HATFIELD, Corporation of dence, Rhode Island. NATHAN- ably Covers the .eacheO d.,ee„.« and .he « Contains a wide DR. ROBERT

Editorial

folios favorite piano ! V^ovenyer ©®©»S®® o nied . . by ffiOfflSfi® ffi CHRISTMAS 1 1 A MERRY published “In came Mrs. Fezziwig, one vast substantial smile’ Verse and Story “u^ullphia, pa. in Song, PRESSES co *' I pia™ THEODORE Charles Dickens sixteen easy | Y A beautiful collection of Leopold B C 5tm ° per- stapf "A CHRISTMAS CAROL” the most popular ^'. and pictures APV1S0RY of tor ies poetry HND W. Rovenger. Also Season. CoMuffy sorrOKMl. throughou ^illustrated . to be jm fhis music lovers a' ZTJJZ™ and ces aan excel- JSkS’S explained. relatively short time collection, makes it be scientifically A the "best." This for smiles. Someone may studen ^ S. fry HANKSGIVING is the season the young music . Dr Henry the force lent gift to | Berkley Gehrkens idea what electricity is. Although Harold W . Guy Ma« Howard Taft a ago, few had any Gest Dr. clifford Pagc called the late President William Douty Elizabeth gigantic manner, its operation was little gfSiSSE is those who had been used in a ' Fort of smiles.” Perhaps that why SACRED Edna P RESSER- T “symphony the electronic theory rr~„, .v THEODORE It the discovery of ISSi great singing festival, he understood. was REFLECTIONS I -BOUNDED 1111 knew him loved him. Once, at a Thompson which solved the age-old puzzle. Sir Joseph John editor, “If we didn’t have music and laughter, Piano Solo said to your Physics at Cambridge Univei- for rulers of the (Professor of Experimental just wouldn’t amount to much.” If all the Leopold W. 1943 life England from 1884 to 1908) discovered electrons, By flouemU, echo President Taft right now, peace sity, Contents for world, bar none, could particles of Rovenger CENTS which are nothing more than fabulously minute PRICE 23 be very near. Let’s all make a genuine effoit! nutcracker LXI, No. U would electric dust which seem to of VOLUME 697 A choice collection smiles bear a world s Music and and be- SUITE. forty-one of the exist between atoms se OF MUSIC. most beloved religious WORLD curious analogy. Both are Tschaikowsky 699 tween molecules, which are lections. editorial are per- Arranged by spontaneous, both of atoms. You are and Symphonies of Smiles groups Rovenger Carefully edited irresistible, Leopold W. with vasive, both are with the ever-popular fingered for players RE doubtless familiar charming and ot AND CUI.TU Dr. This limited amount MUSIC radiant, both are intelligently brou only a and the l, >703 both are the physics work is here 3^ The Musician old experiment in rs technic. 1 in Singing Id • the level of young P'°V* \ Color '* Zfe are essen- to V . Of Chorie* restorative, both h ° ^ Importance ‘ „oser . JnroJ 706 in which a glass which cir- Com . laboratory difficulties cleverly The j pianistic performers are appeal to the of the Don.( | an d Will the Music tials to happiness and con- with young performer is filled to the brim adult player alike. .5 tentment. •••*" c THE water and then a teaspoonful IN HOM^m '' 708 - MUSIC Records 1 , a" ZZ&'BXt s? .r 5 on AlfredV.mii*' 0 °'U During the past year many in recitals alcohol is poured into the used with good effect of significant prophecies OFFER of the glass. It does not overflow CHRISTMAS Dr, Co 710 dreamers, who MUSIC AND STUDY of hopeful because the alcohol runs in Campbell Aye. endeavored to find ways 738 So. ; have between the molecules of the Illi«» is - £MSgCtafilr vi&r* = gj alleviate his Chicago, to help man RIIRANK.INC . water. Well, change the pic- Music woes through developing a with i» the fe* — “V .^.WCrlJ^Si VS ture to a vessel filled r . r.U-y 7.9 atti- for Symphonic A- healthy, happy mental pour &°nd as'a'Medium molecules, and you can fulfilled as • • been Tempered Scale • • tude, have almost equal quantity The Trafil o/the in an * - scientific Music' '. demonstrable, without making Reading Delight! Th^Child Who^Hates" of electrons Aid and A op .- truths. The results are aston- A Teaching it run over. instance, stom- ishing. For At this moment you are MUSIC . _ , 725 to the HISTORY and Contemporary Selections Lev- Brown ach ulcers, according millions of STANDARD Classic Felton 726 surrounded by Spanish Balcony William M On a <•’ 727 of Ameri- Sehumann Op No. 24 findings of a group which are even Valse Pathetique Robert 2 728 electrons, MUSIC op ). NO. OF Little Harvest Song Frederic Chop!", can physicians of the highest through your body Bach 730 passing and Enlarged Edition i.in found to Latest Revised ink Grew <31 standing, have been incalculable numbers. In- podeaka 732 in Trail In’. : FRANCIS COOKE Homeward Montrose 734 originate, not in the stomach, By JAMES , finitely smaller than any but in the brain. They are the The Toy Sailboat (Piano Duet) DR. LEE DE FOREST atom of any other element, Instrumental Compositions Lindsay results of hate, worry, three-electrode radio tube has made him l ocal and George LeR"h end Whose invention ol the can be put into motion 1 3* they ... Klemm race who is (Medium Voice! .. u : history ol the human The author, m^sirslbjects^has drawn Processional G 740 grief, and one of the greatest figures in the VoiceVoicei* Kinder anger, anxiety, thority and a from teach- Prayer for a Home (Low( Low R/:lj> light, power, heat, 8'“^; ..TLneriencee e"““ gathered <42 to produce reservoirs • M. Cox on his rich acquaintance with Twilight Musing (Organ) . riaren. travel, ana a? negative mental atti- research, f P interest Lightly (Violin and Piano > other itself, as in ing. posipossible11 the Trip and even music music folk to make world-noted n ment of Players 713 >d.c.ous scope^and Delightful Pieces for Young MiMe Dunlap tudes. “But,” says the reader, content, P" ta le. i of a ic el f.told 744 Novachord. Headings • ,n Kerr Hammond • case of the Chapter In V ^ Lucita . >ert No the subjects this book. impart a use- ; uncontrollable.” the many fulmls^itsfulfills its mission^mission to with Words* Arnold <« with many people are few of this book successfully Little Yellow Bird (Piano Hup “these conditions this volume knoyn 745 and amplifications have in muis „ Scher electronic innovations covered ful knowledge of epoch-making Broomstick Parade Willie if your Because Jser$ t0 the true, but you must realize that Was and Puppets That is often because 3" become so closely identified with music, and Xt^olyphonHr the Month Mfli€f and your whole futuie now Technic of ...... , rttoTl Guyc toxic, your whole body Music t W nh Leseon op v thoughts are may WhaTEarlyTn^a^Gave^o Prelude T. Chopin, Op. 28, No they help in making clear our point in this editorial, we a V Gest 764 perilously poisoned. Th e n Lived at MM Fli-abeth life may be character- ^° Wbo dwelling a moment upon some ; for s 0 M^iio® THE JUNIOR ETUDE music as passing- be pardoned Same Time Mankind has thought of smiles and the Violin and a long to readers may members, 'bach chapter is just enough istics of their nature with which some of our to Class MISCELLANEOUS .. 702 music affects the lesson ass.gnmen superficialities. Smiles affect the face and a Story nd colored Music Pcrice with electrons, “j X°*a A Bull Market in Pianos s P 7g familiar. all are literally saturated Greatest includes ‘"7 soul, not be We Sebastian Bach, the are also great teaching aids. It The Etude Musical Quiz Br.nr»i40« literally saturate the body and I Johann Slap of ears. Both, however, phonetically gives the pronun- philhP* an atom was con- over ">00 illustrations and Avoiding Stilted Diction F but we know little about them. Formerly names and words of foreign origin. Jlggler physiological results of limit- on f hundreds of Don’t Be a Sound Post producing psychological and S over 100 sublets are indexed, matter. No one Nearly 900 names and well Bruckner’s Advice ,ola* Dow'lf IS, the smallest conceivable particle of permanently valuable reference r) the emotions so defi- sidered making this a superb, Voice Questions Answered less importance. Music, which affects composers and vital music data. molecule. Water is composed of volumt on important Ten Tips for Beginning Organist- ...HotVgBZ of the as yet has seen an atom or a of Wagner 1 is one of the inexplicable benizens Notographs Dr Hr nitely and directly, As water flows ovei of Organ and Choir Questions Answered . atoms and molecules (groups of atoms). the Age 1.50 . Rob< . par- ^Schumann and Cloth Bound—Price, $ Questions Answered Marshall 760 all to regain a personal equilibrium, Robert Violin P^^S!r Creator in helping electrons to Teach Your Child Absolute Pitch n is created. If atoms of water or How M Ander*> 762 works a mill wheel, power Making the Organ Talk i in these days of dreadful strain. How music l ticularly i 68 it pours Blending the Registers Herbert w'ere visible, as in the case of falling sand when still great enigma. Some day Letters from Etude Friends to accomplish this result is a Page 752) under (Continued on of the Pkiia i ^French Composers Entered at iteond-claii mailer Janaary IS. I8S4. at the P. O. at GreS ' . S. the Preuer < 1 Co- Act of March }, 1879. Copyttyht, 1 94), hy TheeSrt and Its Com- Theodore Presser The ^Modern Art-song and Great Britain. Virtuosos of the Piano Publications Recen! Great Everything In Music $2.50 a year in U. S. A. and Poisc*sior», Arrf r 1,1 Rica, Cuba. Dominican Gua?? - ' Early Twentieth Republic, Ecuador, El Salvador. 699 1712 CHESTNUT ST., PHILA. (1), PA. Paraguay, Republic of Honduras. Spain. Pena and UflfiiV Musical Lights foundland, $2.75 a year. All countries. year. Smelt copv. * 1943 Newer American orher $5.50 a NOVEMBER,

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and would not sing. Once i.-wtriiunosed”in sp Music and Culture always sing at a conCert arranged had to ^ she ^ Prussia (Emperor William I) ' W f01 appeared the king asked her what and Culture When she next app Music ^ so m she repiied: “Your had your Majesty.” Somewhat pessi- Tchmateclim ’ r0yal former director d Uo Gatti-Casazza, SeSpoStan opera, remarked "For ex. Sthe the winter climate is most Color in Singing if S New York, and generally damp; this Tameablechangeable, peculiar,p Musician throats and nerves of the The remedy-nor this there is no for Interview with artistS but for An U th fonhe most famous of English tenors was Cold of0 6 (1818-1900). Reeves °ot Tohn Sims Reeves otriciS Common thC n CkarL Ok the fourteen. He made his debut and wa fn organist at ® In 1846 he made his debut Renowned American Baritone haritone in 1839. aS Milan. His voice was Com- "* at La Scala in Fought lie Most aS a When nearly eighty he Artists Have e pfnuisite beaufv. Famous crowds flocked concert favorite and HEYLBUT watwas stmstill a SECURED EXPRESSLY FOR THE ETUDE BY ROSE accredited the amazing preserva- t0hea that he absolutely b^ voice to the fact W-2>. slightest cold or if he had the ScUehUrntr, refused to sing WJMmar result was that he disap- U, rThroat The and audiences were obliged to God’s heard a lot about ‘learning how to breathe,’ of pointed” many times from the consciousness of being close lessons progressed and noth- build up reserves of physical and course, and as my 40 green earth, susceptible to d-aughts, future ing was said about this prodigious problem, I ‘musicians who are spiritual tone that are drawn upon in her throat For JOHN CHARLES THOMAS told that I a sprayed “ In a compartment of a vocal problem is im- grew worried. Mrs. Blackman me of renown is important. work. Just now, my chief rratrr- arttst MUSICIAN besides oth quickly therefore taining, to pa nt window is opened. The this in all serious- breathed naturally and that she was had is hot—and a proving my golf swing. I say which^comp els the train It cough interfere with my habits. I have cold ^esult^n a momenta occupants may have a golf technic every day, partly unwilling to St stop tor next day one of the to John Charles Thomas the ness. I work at my portant public app STdlired rheumatism in ACCORDING since learned to be doubly thankful for such * that a cold violinist feels it and partly because I know it ffhis coubucough”), a Z\ essence of good singing is color. Just as because I like loss. °*e something ( his guidance. Breathing should not be made a very great symptoms, some acted hU rlght hand as a stimulus to my singing. wise distidistreessssing spray the artist secures his effects by blending will serve lasted, with its third an ‘problem’; where no definite obstacles show them- which dollars . SSK™ while a — projects over varnish or a the paints on his palette, so the singer weeks cost her y o like a player is Good Teacher Plus Good Student selves, the singer should be unhampered. He may six sniffle T oboe — varying the color of to it a m of shellac over the meaning of music by strengthen and en- used to refer * or - coat perfectly well and upon which all ar- use exercises, of course, to She and tQ the both artist and singer use “The basic vocal technic to the vocal cords. his tones. Further, capacity, but he should be free the teacher, be the amazed and is generally thought to large his breath kly income may must is working methods: before they are ready tistic projection rests rf0 0S The results similar from ‘methods’ that change natural breathing chestral relatively no less scornful at the depend upon a good teacher. Actually, this is co d may be benefi- to work in color they must know the nature and moderate,f ™f^a have been truth is into an unnatural problem. quite W ognized that colds weakness of the they con- only half true. The other half of the ge:nerahy reco^rec according the effect of the various pigments; and breath a calamity. It is cial, for mankind. student. The one who “The use, as well as the taking, of the of rest of only after the foundations of that it depends on the the morning pa- centrate on color life we are not „rt the comPl. nation to his to detect whether he is should be natural. In ordinary a joTto the Perhaps It was solidly laid. To the artist, this learns must be alert in an pers Madame Tet- their craft are breathing adjustments; whether we them result consensus fortune to well taught. No teacher can do the job conscious of is a general with good foundation means line and form; to the singer being staggering. There g razzini sang walk, run, play games, or go uphill, our breath- which is g are been sitting alone. The student is responsible for more than and have it means sound, basic vocal production. among her usual pure itself to our needs without our ‘doing’ of opinion virus (or of the out day-to-day instructions; he must ing adjusts voice. In a corner “While the singer is still a student it is diffi- carrying the result o beautiful him. anything about it. Similarly, natural breathing directly is so minute make sure that the teacher’s methods help vi es *®which method, compartment cult for him to realize that the business of vocal collection of several Such a high places—have adjusts itself to long or short phrases of song. fln^ was out of so com- A number of singers—some in through the should which production which occupies his attention naturally and it Passey al- however, as fifteen My best advice is to do the thing that ", It is merely told me they have had as many attempted the draught. pletely, is not really singing at all. secret of not be feel secure. It is pos- study the feeling of it afterwards. The singing is made; the teachers and still don’t ttie hands the material from which acquired ‘sing- £»“£ elceptin a person might have the good breathing (not some sort of SS Body it is reared. Neither does sible, of course, that help ^o prevent medical ex- foundation upon which is palliatives and {rom of a hands of fifteen er’s breathing,’ but good natural breathing) Susceptibility the number of new songs or arias sheer bad luck to fall into the condit> singing mean entire thoracic cavity, of the grave through pert. another but it isn’t that it must inflate the bv contact and eternal strug- means but one thing: the validity charlatans, one right after — virus is «P r ead musicians, An one learns. It and sides as well as the The , All expanding the back colds. .“^tor 1 the cough significance probable. Out of fifteen established vocal teach- t p f as gle exists between with which one is able to project the the ah'. The mo* instrumentalists his business! In chest. “““S^nn^ered. ma» -opener naturally, involves a number of ers, at least one would know singers, are window of music. This, During the well as fault is generally the pupil’s. cold' germs, and win- things, ranging from simple rules of health to such a case, the in Resonance “'‘fflanS’ea large 1001room «h permanently afraid musicians The Problem spray where ” If you are After two or three bad breaks, he should be alert ev' y mu- philosophies of interpretation. “germs axe colds. dow-shutter vital point in basic production is cold season tem is of catching for himself what his difficulties are and “The second ^ is to of all, the singer should be in robust to know al- that “First is to get the tone U, and There is nearly sicians— fails to solve them. He resonance. The problem here toCceSIn ea«ng who do health and should take active and constant steps why continued study “outt^7o',d«”'of order, aud«e ways a draught at say. those into the mask and to guard against any guttural t t of auto-intoxi- should be able to check up on himself. resulting draughts to keep that way. If some singers—especially drinking and of some part of the not like produc- intonation. Once acquired, guttural tone is the hQst t0 miUi0ns they “This is all the more true since basic e t ^ who do opera singers peter out early, it is because quivers cation, you bec™ “aches operatic stage and and others — natural. own hardest to get rid of, and brings on the inflamed eyes, of coaching, singing, eat- tion habits should be entirely My hall. the gem get into a set routine imperfect production symptoms are in the concert not care, one needs to be taught to and quavers that mark distressing he ing, and sleeping, without giving the body proper theory is that no over,0 ™andauu ah ^ are frequent- draught habits. Resonance in the mask permits of tone ^all ™ » romedv for a cold is Colds uine breathe. He should be taught to correct any im- they think that ‘health’ means over- least tins care. Perhaps voice free. Another ad- ly caught in roes." At natural breathing, and he should control, and keeps the the absence of symptoms. It doesn’t, of course; pediments to heated, unventi- should actions vantage of mask resonance is that it permits of struggle is be made aware of what his muscular th the basis of good health is body tone. And it teach- there, we 1 lated halls or by correctly. checking up on production habits—also on . are, howevei, alleviated are when he breathes afcver.fpwI There this tone, precisely, that is so necessary to pub- and sensations it yon have Hans von -opener ing. If the student does not feel vibratory reso- at once rooms. window But the correct breathing is there naturally . . . ^ lic work. The singer who stirs his audience con- one of once object- taking nance in his mask, he may be sure that know in case Billow musicians is confused by ‘methods.’ As far as musician should SHE HAD A COLD veys an atmosphere of vitality, and this vitality unless he 'every playing in an PATTI NEVER SANG A NOTE WHEN sea two things is the matter—either he is not profit- war conditions ed to the draughty technical breathing is concerned, the difference between t at hand. Today most iamous prima donna demands as much care as any sheerly m overheated room This picture oi the world's this: the ing from his teacher’s guidance, or his teacher compartm is the professional and the amateur is tlm^umber^^pHysicmns^for^clvil- soprano was taken in the role ol Juliet, irom Gounod * in a department of singing. The singer’s diet im- that hall- is poor one. In either case, he has only him- hare^reitac^ on the ground time. concert what he is doing while the latter a iamous opera. Patti was twenty-tour at this or a portant. I cannot tell young singers what to eat former knows pianist— sus- self to blame if he does nothing about it. tor the treat- he was a . tual exactly the same thing without being measures p , ac and what to avoid; those are matters that each may do wttliaWiroved'emergency Slight “After I had worked a year with Mrs. Black- not a palm. nortant. Sup~ able to analyze or control it. I never had any their first stages. isi* must decide for himself according to the colds in body to coincold mu y’s6 person teacher was ment of changes in apparelI. may helpneip totu avoidavuiu uauiagcdamage, ceptibility of the body daday' breathing. I was, how- man, she left Peabody and the new his But I can tell you instruction whatever in frofrom - needs of his body metabolism. unless an artist has to pose a musician returns home ri Fermin, my only other instructor. Mr. resulting from draughts— art-j r fortunate in my teachers, of Mr. Adelin Various Treatments same s that the object of diet should be vigorous health, ever, singularly graceful swimming motions round work in a very tired state. The bad Fermin based his vocal approach on color and enabled me to circle “with I have had only two. My first teacher was musicians has the mo and not fashions of slimness. Another important whom Association with central rock” as scantily dressed as are the tation which on going out In at gave me the greatest help in forming my own revealing how man, the ^ody prefer outdoor a woman; Mrs. Blanche Sylvania Blackman, of incidents a co thing is exercise. Personally, I of the in- »*> now gives him • approach. People don’t think enough Rhinetime daughters.aaugnters. no effect on him. stom- as the Peabody Conservatory. When I came to her, to combat colds. because so exercise that can be cultivated as a hobby unvp sought Patti never sang a note when she may once be less resistant in very little herent color of tones, words, syllables, vowels Tetrazzini, was suf- Madame at ^ positive mental I hadn’t even a full scale, and I knew singer, Luisa streng well as a health precaution. The of the differ- famous his • , speak of the natural colors The about the had a cold. Neither did she sing when she was ach trouble has depleted in about anything. She placed my voice and taught not to cold and was worried ^ reactions that result from the hearty enjoyment fering from a sii con * scales. The trick here is to determine the concert, doubtfulkiuuuincAx ofcx the,.,v conditionwnwm.. of her voice. She simply some draughty corner, he may > n a full, even scale. I had ent for the evening’s -tis” good game like golf (my own hobby) and me how to encompass H Hnn ofOf her vovoice ’ — n of a condition ocxxvx even — have a good spray! It wentwent, toijkj beducu anda Hex said thereuxxvxt wasw ao “no“r one in.’ Man- flammation of the throat or Caruso unu ji 701 Enrico tilTlp » e agers came, besought, and entreated, but she was "FORWARD MARCH WITH MUSIC throat well m no time. NOVEMBER, 1943 will make your "FORWARD MARCH PITH If rc/r i ”

Music and Culture ORRECT POSTURE is as important as any to EtudeL.1UUK MusicaliVluaiLui Quizi requisite of a good pianist. It is impossible my^camp^^into town Thehe from I C to render fine playing without it. Posture traveled time, and establish- setting confess, erLee has a definite psychological effect in and Culture one of the it, I Chartej / Music sing ^ * begin key of D-flat,D-flatf ageousous ing confidence, comfort, and ease. It should sang it in the adadvant;antage ga in the mind. because that key to camp, and intelligent listener Ij returned CONSISTENT of gives climax. When leas- he Natural posture is the best posture. It to infuse: the A-flat at the (withthep almost as much about music different vowels and me^w . knows the totold , today coordination of mental color of basing friend of mmemine ‘ruinedruined freedom of motion and Importance of interpretation, by musical had musician. Responsible for The . x average needed color, in song fnendsb ^ T as the and physical faculties. The posture which en- preta- that possesses the bluntness of inter all this musical information sounds on the one ing my dissemination of the particular pianistic the vowel Thinking, naturafly. * the the ables one to accomplish one s self on a given the song. Thinking angng it in commentators, excellent in- desired color. By basing done. Y ^J ovp radio and its moment with the greatest sim- I: had that problem of the tone on Ah then, tion, I asked what that schools, and the increased Sing a _ our public vowel I mean this: ^ duction in plicity and economy is the one to be encouraged. into Ee and thei wrong key!’ he end wants articles on music. the Ah in mind, glide exalted of fine books and How of keeping back with that argued dumber One must be comfortable to be in command Piano Posture into Oh and come type of song ^°™ and we remember? Count two points for come back to Ah; glide ;ed d0 you of performance. Numerous playing- Ah. Your of C?’ I then, every detail and come back to the key since answer. Fair: 50. Better than aver- to • glide into Ou ^^Cnvfnced; correct set posture. It is a variant Ah g In the en listener dh problems deny one about it. , a or sound, Ah-ah-ee c Unless 70. Excellent: 80 higher. the £eS>e wm that song o age 60. Good: and it changes for every pupil. Encourage same thing lth I have sung y even recognize ou-ah-ah. Now do the h the daughter of which will bring a maximum of results ^ Each absolute pitch, will feel Wagner married position Oh; with ^ has inctively he 1 basic vowel; with keys-but ir with a minimum of effort. Matthay says, “Good WacflaU ^^nd^abasesound as a base the different or wrong. Hans von Bulow Qeor see, uses one vowel is bht A. exercise vou color of the key J Meyerbeer posture is the resultant but not the assurance r sets the b of the others. Each whether B. Giacomo without’ excluding any singing mean in the forces we use.” vowel sounds ecause music and Franz Liszt of correct balance for giving those other B C. the pattern II of Bavaria Muscular energy used in piano playing is not one sang. Now iet me D. King Ludwig basic color of the first fingers alone, but flows from the produced by the in Jersey. After being graduated with of my songs is of Scotch descent. He was born New this works. In one of the following famous overtures Mr. George MacNabb show you how 2 Which all parts of the body. It is important, therefore, awarded a post-graduate scholarship. good, some ill. opera? from the Music Department ot Syracuse University, he was line, ‘Some days are written to precede an honors there is the was not that all parts of the body be placed so as to leading symphony orchestras the o in some awarded a Juittiard Fellowship. He has appeared with many (spoken) sound of “Coriolanus” Harsh Later he was The normal A. cause no obstruction to this flow of energy. For some years he has been a member ot this artic r in Pianos and has won enthusiastic praise from eminent critics. an uh. In P Market “Marriage of Figaro” faulty, cramped posi- approximates A Bull B. tone may easily be due to Music of the University ot Rochester.— Editor’s Note. basic Ah. The^’resultresult the piano faculty at the Eastman School ot wish to color with a ^ Forza del Destlno" involves movement, ever I conscious of C. “La tion. Since piano playing hearers are not piano. It is probably en Aullde’’ is that while my LOOK at your D. "Iphigenie and movement always means change of position, AKE A yea. ago much as it was a general and for the pur- tS AS these oratories is not by Handel. basic posture rules are S u UP 3. One of “market” is going P-^’ pose of orientation only. Correct or natural pos- saw-mill. T and the clever “Messiah” A. fvioncrVi thev were written “Time” the following better circula- to basic In a recent issue of ture means balance, coordination, both are probably look well.” voweT sounds are as vital B. “Saul” without greatly arched knuckles, and “Correct tion, more careful and concentrated listening, best pianistic hand position is the one are to the sep^a ar e PP Steinway or a “Elijah” often exaggerated. What we really want is not The proLtion as they firmly: “I want a C. tone slid one womfn and finer playing results. which is also most natural and comfortable to good way to Practice D. “Jephtha” sheer muscular strength but an equalization of ot enunciation. A shape of the study vowel (your bes m 0 power. Leschetizky the particular hand. The actual Sing a tone on a slammed the lid on n''*^” composer and pianist who spent A Variety of Ideas strength, energy, and flowing ti-iPin is this- \Vhen WPB changRanged 4 The Irish and fingers varies with each individual gloom-wrapped industry who was forerun- developed some of the finest pianists of his day, hand tion last July, the life in Russia and Some of the early masters had very dogmatic varies. • his plane parte, de w much of particular method. and with each passage, but the key never quickly to making plywood considered the although he disclaimed any over That mar Chopin— ideas on posture. Because they inflexible rules. en the piano market. ner of needs of each Hence the folly of laying down the . eye on studied the particular grace note at , But it kept one of power and tone, they He wisely sort of tiny session wfihDuke William Walton fingers the sole source positions and finger ac- Oh-oh-oh- hotter than a jump A. supplied the solution accordingly. Re- For variations of hand sound, Ah-ah-ah-ah-ahm. ket is now insisted upon a quiet, inactive hand. Moscheles pupil and S will tne piano supply is close B. William Byrd look to the great virtuosi and you will find exercise prepares Ellington. The new said, “Sit at the piano un- tions . . and on on This like an with a glass of water garding posture he instruments have soared ^ Henry Purcell demanded passages played approaches with beautiful results tion; prices of used C. like a good horseman, and many different balanced on the wrist; Clementi used coins on constrained and erect series of arpeggios. D. John Field every case. Mme. Tina Lerner, contrary to all upward yield to the movements of arms and as far as in are buying every piano they the wrist and the back of the hand; Dussek In New York, dealers stringed instruments is not movements teaching she had had, played with flat hand and 50 to 100 . of these necessary, as the rider yields to the fingers on. They are paying 5 Which urged inclining the body a little to the left be- can get their this list supposedly fingers, claiming it was the only way she could they sell its proper order in the horse.” He was urging pliability and adapt- than a year ago. After reconditioning, placed in cause of the difficulty of giving power and action of of attack. more smallest first. play; and she excelled in the performance the initial .neat to fabulous. according to size— ability. likely to slip after at profits ranging from arranged to the left hand; and Kalkbrenner sat a little of new sim- Mozart, Scarlatti, and the early composers. At where showrooms have been bare Violin Basic body posture directions are few and In Detroit A. to the right of the middle of the keyboard to her students not to Tone Production instruments hardly worth at the same spot in front of the same time she begged Enunciation and pianos for weeks, tone-tired B. Viola the same effect on the right side. Ap- ple. Sit insistently $150- accomplish of her. Her success is no reason are now snatched from dealers for keyboard with the elbows on a attempt imitation “ $40 a year ago C. Violoncello played well in spite of their the middle of the Th of used parently these men however, and as teachers Chicago, the market is boiling. Prices the keyboard. This elbow level to allow the grotesque, ^Zt^To^BeTS^e In D. Viola da gamba because of them, and they may general level with tV£ stocks of the popular theories, if not strive for normal, natural hand posture uprights have doubled to $235, with the size, shape, and muscular con- we must *. at a certain non-transposing unconsciously used modern approaches. varies SSa^iSr (small uprights) have dwindled to the of the following Is a have strength before we can allow deviations. in all<£«£££languages, new spinets 6. Which ditions of the student. Lean slightly forward in and must learn to sing them, selling Even Leschetizky insisted upon arched knuckles since he singer point where some stores are rationing instrument? the French, or German the chair. The length of the arms decides while the Italian, month. Dealers are scouring attics and for great muscular development of hands and Hand Posture only one a A. Trumpet chair and the player from the of his own tongue stray instruments, are be attained distance of the makes chief use haunting auctions to pick up fingers. This muscular strength can posture, is for the thanJ^/merethe mer B. English horn keyboard, but the keyboard Hand posture, like body involves more by carloads, sight unseen, to Western manv languages selling them purpose of orientation, because position changes them. It involves a thor- C. Flute must be reached comfor- business of learning and Southern buyers. moves beyond the range of language are D. Clarinet tably. Avoid rounding and as soon as the hand of the color of each In Los Angeles and San Francisco, new pianos ough knowledge keys. Normal posture cannot be on tone to sell used instru- stooping of the shoulders. five adjacent that color may have also rationed. Some dealers refuse opera by Boito is and of the effect 7. The famous it should be nasal lan- them. One dealer has 450 rented leaning forward should retained while playing, although English, for instance, is a ments, will only rent Damnation of Faust’ Any Deduction. A. “The than is necessary. It takes long German is gut- pianos now out, a waiting list of 50 names and a tidy come from the waist. It is varied no more French, a chest language; B. “Mephlstophdles" guage' singer’s without the risk of selling himself out rest training to attain control, strength, and flexi- the . Once the steady income Spinnrade important that the feet Italian in D. “Gretchen am matter how natural, every hand needs good order, he should have of business. on the floor at all times. bility. No production is in prices, Amerleans-Oiw said, basic’ All new pianos are under strict ceiling but operas are by a certain amount of training. As Paderewski adjusting to the individualities 8. All of these Dangling of the feet is cer- no difficulty in regulations on used ones are vague as a begin- theme. genius, he must first be a the inexperienced OPA does not deal with an American tainly not conducive to any “Before one becomes a languages; but piano must not be sold of the different ner’s fingers. Roughly, a used drudge.” The entire playing apparatus from these adjustments with is it? kind of concentration. Har- must watch more than it would have brought in March 1942. student of for Herbert shoulder to finger tips is a leverage system, and the guttural nature A. “Natoma” (Victor > old Bauer says, “Test this by alertness so that But there is a loophole: if a dealer has no basis for n Uer careful Country ( out of position the entire system does not force his tones B. “The Man Without a studying on a mantle with if one part is German text, let us say, comparison, he must abide by what his nearest com- a Even will be out. petitor charges. Thus conservative, well-established Damrosch) the feet dangling.” is the Hanson) Physical variations and shortcomings in stu- that good enunciation houses with a long sales record are neatly tied. But C. “Merry Mount” < Howard small children can usually d'ldis my°belief of simple, I always base dealers gaily hop through the loophole, often (Deems floor with the feet dents inhibit the easy attainment artistic interpretation. small D. “The King’s Henchman" reach the first step to position and ac- the song- used pianos for more than they brought new. ^’ of direct, natural, workable hand approach on the poem of sell Igor ®tra if they sit near the edge my own are the bulging 9. The composition with which '^, with are: stiff the text of which Feeding the boom pay envelopes aS chair, and if this is not tion. A few problems to be coped never sing a song individual s y the indeed I me. which have given thousands of Americans the chance deviated from his natural, muscle-bound conditions (which are re- seem moving and (or) beautiful to possible a footstool should fingers, does not to satisfy the musical urge they have always had. A. “The History of a Soldier" exercise) hyper-exten- song and give it used. The chair height is sponsive to massage and , set the mood for a be The words WPB’s piano ban was mainly laid down to force the B. “Apollon Musagete” (commonly called double-jointed- music emphasizes and enhance decided by what is natural sion of joints its color The highly skilled piano craftsmen into war work. The of hand and singing makes mood and C. “Petrouchka” for balance and coordina- ness), weak knuckles, malformation mood and color. The shift has been unprofitable, from the management Nightingale (» it is important D. The Song of the said, “If your joints, and flabby hands. to life. That is why view. Payrolls have risen sharply, but earnings are tion. Chopin color come simple, gen- keys; that is why playing looks well it prob- Basic hand position directions are songs in their original down. Recently Rudolph Wurlitzer Co., biggest U. S. to sing the Fingers should be curved (this operatic anas (to suit maker of pianos, reported a net profit of ANSWER oiou ably also will sound well; or eral, and sensible. the transposing of $1.63 per the 11" 1 . that they touch the keys with singer) invariably ruins share for the last fiscal year, way under the $2.48 of o~9g ® - -a GEORGE MacNABB if you do it well, it will also is normal) so range needs of a a—6 a-*a—8 a— This fact was 1941. Only cheer for manufacturers: the pinoqs^ as a whole. thousands Pub biou aqa uadMiaq paoiqd aq 3-I ni effect of the scene ^ 703 one of my of new piano players should make for the ’ ( buiMP MUSIC me after greatest ’ FORWARD MARCH WITH to fr . E forcibly brought home — (uqossiapuajv 0— NOVEMBER, 1943 in California at the market in their history at war’s end. own performances. I was f — .

value. Then the singer Culture to notes of equal must Music and n pa accented syllables to avoid awk- particularly whe apply power on when lifted, and gsage Music and Culture ward diction. filled to ensure Keeping the lungs well vocal student should practice pronouncing nail hints should be firm and nower, the their tips. The till they sound when the u troublesome words well- and never broken in, even low; and dragging for the vertical *j training unaffected. playing widespread be 0 ome by rounded, clear, and finger is less curved, as in keys, which may keep- , and by weakness pianisti- andana arti tion Broken finger tips is a finger actionon ’ he chords. alert distance above t for the American Composer skill can be attained a normal Opportunities cally and no technical ing the fingers at early with especially in the with ’weak fingers. The wrist should be level keys^in ^perfect line, Post Jiggler from the body, Don’t he a Sound the keys and slightly outward stages of study. Too must constantly vary from this when in motion. these errors A Conference with but will All ^ weak fingers phi(tipi will inhibit finger action, Weaknesses and^and Lf B. hioh or too low a wrist be guarded against. fin_ 1 of power from attentio • tension, and hinder the flow be given special J ®. _ cause must Ks s0 professional moderately high th® C VIOLINISTS, both and shoulder to finger tips. A ger is Proverbially any , which connect they » firmness in the to tendonst g ldonf amateur, have told how moved the d a clman is desirable, and weakness is due WaUiM arch knuckle called i e s CUL musc of tta m» in their fiddles and improved essential. This is the main source Mer musdesw,® sound posts Mus. Doc. arch is the .onrth ^ M hand and should be likened to and fifth nngeis. tone. in the third . strength of the ^resu^,result, the . sloping toward fourth finger. As chance m moving about that the girders in a bridge. The hand Mbit the lift of the. They take quite a fingers is with the idea in mind finger makes for weakness. The lift of this fingei piece of wood the little striving for forc harmless ARVEY thumb held deveiopment of the spot that will give their violin SECURED EXPRESSLY FOR THE ETUDE BY VERSA be well separated and the remedy is in the they may hit a should The enable thi that the tip slightly inward. enough to Stradivarius! Without sense or away from the hand with of stroke, using strength the tone of a fine table muscular energy ana to present hand posture first at a to resist the endeavor to prove the successful ap- It is wise fourth finger to reason they the table. shoulder and also theory, full arm from elbow resting on from the of their supposed new-found with power flowing plication that have confronted of these Cadman Is unusually well qualified to speak on the problems resistance or the meeting that, at each new twist of the Charles Wakefield overcome key seeming to think for the combined life spans of himself Action can be attained native composers at various times during our nation's history, Finger Position and Strength of any finger much nearer to realizing their century and a hah. In addition, he two forces. post they are that and his great-grandfather (also a composer) amount to almost a Extianeous fame also as a for its own activity. would stop to consider, they a serious composer who ranks with the best; and he has gained fingers must be carefully trained only through goal’ If only they is recognized as The dangerous Everyone popular and lasting, some of them as fresh and appealing today Every mo- mechanical^ devices are that they are doing incalculable writer o songs which have been both control, and independence. would know 1881 at Johnstown, Pennsylvania. strength, ruining his hand when first written. Dr. Cadman was born December 24, story of Schumann with the constant push- as they were the results must be accom- knows the to their instrument Anna Priscilla Risher, and Emil Pour; and i« Austria with tion needs study and strengthen the harm He studied in Pittsburgh with Edwin Walker, supple playing by attempting to small but important part. become music reviewer for the Pittsburgh gradually. We want quick, free and for ing around of this Luigi von Kunits, a violinist-composer. In 1908 Dr. Cadman plished of a mechanical study with the aid instrument; and much the East Liberty Presbyterian Church. In 1909 he started the intensive actions, and articulation. Too much fourth finler The violin is a sensitive Dispatch and organist for movements, wide renown. In 1910 he established his residence a body would of American Indian music for which he has since won lift causes tension; too low apparatus. , the heart of the human height in finger as moving ever since. Dr. Cadman is also well known os a concert sole source of powei in Southern Californio, where he has lived then diop. Despite the fact that the its ways, so the moving first lift and tenor of . finger means it must upset the even particularly as an interpreter of his own compositions Editor's Note. fingers, this is no argu- artist, to conserve en- is not contained in the heart of the violin disturbs This is excess motion. We need of the sound post or finger strength, since consume it needlessly. ment against developing ergy in piano playing, not it greatly. emit, and transmit this power. down arm movements back of fin- fingers control, not to imply that all sound posts in Avoid up and carefully to do This is case when the Therefore, they must be trained but to assert ger action. This is invariably the violins are in their proper places, use of arm weight often trained to proper articulation. their work. Stress on the be adjusted by a competent fingers are not indi- that they should Faltering, neglect of the fingers and their action is finger action only. leads to to give the tone quality desired thus: I was able to play Mills’ Rastus on Parade! My Finger developed. violin maker able In the key of G they would appear tone capacity. They must be highly ol movements interfere with proper vidual lf the violin possesses the first professional engagement came at the age sluggish finger from your instrument, certi- advisable first to present hand and Ex.2 velocity, clarity, and rhythmic It is This done, it should nevei HE AMERICAN COMPOSER of today en- fourteen, when the Ladies’ Aid Society in Du- production, Objections necessary requisites. only when the posture and finger action at a table. problems and prejudices —^— The Stars and Stripes- gained acci- 4 to play tude. Precision can be be touched, unless it has been dislocated counters many quesne engaged me procedure is unmusical, that it de- in America fingers make decided movements. are that this only by a violin maker in T with which yesterday’s composer Forever (with emphasis on the “Forever”) for a dentally, and then finger, and that the ear always keep its place at the velops only lift of the bothered. Take my great-grandfather, drill. was all fun, but it wasn’t long The thumb must whom you have faith. was not flag This with the same controls the striking of the key. At the He was a pioneer to thin! side of the hand and must move alone of the post position, the Samuel Wakefield, for instance. before I began to study seriously and indispensable. With every shifting All of those early American composers were as do the other fingers. same time some table work is often opposition, no problems. He future in terms of professional freedom and promptness vibration changes. The violin can composer and had no at a definitely of my student to ovei- focal point of singularly fortunate in that they were not is in the joint which Key resistance is too much for a way. Possibly his work was sim- Its main source of action of tone if the position made his own did musicianship. time keep never have a settled quality loss for hearings in their own country, nor wrist, as the main source of come in the beginning and at the same plified by virtue of the facts that he was one of held the position oi hinges it to the not permanently settled. The sharp unfavorable com- At seventeen I proudly and action. Table work of the post is Church they have the worry about of the other four fingers is in the hand a semblance of posture into the first hymnologists of the Protestant United Presbyterian Church in action of ill-fitting sound post cut grooves composers that came later. organist in the profitable and it can be edges an filled parisons with foreign joint. The importance of the thumb can- done with discretion is by in America and that the writing of hymns Pennsylvania. As I look back upon knuckle the top and back, doing irreparable damage great-grandfather, there came many mem- Homestead, increases our ability to entertaining and appealing. There must need. But even during his lifetime he After piano not be overestimated. It made connections where the a recognized but who those days now I can realize how much my and con- thinning out those vital the bers of my own family who were musical, grasp objects, and is one of the pia- always be a conscious effort to employ felt that church music was degenerating. In helped me in my composing. hold and top and back. Many patches musicians. My grandfather and organ training principal actions in a natural way. sound post meets the “The Minstrel were not professional nist’s chief technical difficulties and trol muscles and violins preface to one of his hymnbooks, I also took a few voice lessons in order to learn of sound post of firm old music-lover; all my mother’s brothers and action is in the region the spoke of this and was a sources of strength. Correct thumb who of Zion,” published in 1835, he to write effectively for the voice. Not once traced to the amateur tinkerer, were musical. Though my father was a how brilliance in velocity are directly for dignified hymns. This he en- sisters necessary for delicacy or until of the need in after I started to learn music did I give up the works holes and grooves into the instrument clerk, his two sisters were musical. Nellie sang in scales and arpeggios. It must deavored to remedy. Another of his books was composer. This went on through- passages and be cor- violin and piano, while idea of being a in co- it is so badly mangled that a post cannot the choir and played independently of the hand and yet Stilted Diction “The Harp of Zion.” out teens, and very soon I began to experience work Avoiding been placed over in . My mother, too, sang in my its two axes, rectly fitted until a patch has born on March 4, Mabel sang operation with it, and must move on Grandfather Wakefield was everything that is the lot of the native composer This definitely affects the the choir. Often I was told that I was almost born perpendicular, with smoothness the scarred parts. 1799. He lived to be ninety-six and was a Wes- horizontal and by (jeorcje Brou/nion fiftj mother today. instrument as much as in a choir loft! It was this courageous equal the other fingers in market value of an leyan theologian, a Methodist circuit rider. The music of deKoven and facility. It must reverses, took in sewing Still excited over hearing the percent. Mountains who, when the family met agility, precision, endurance, and ac- first pipe organ west of the Allegheny turned first to the writing of strength, the have in our house for the first and , I NE’S everyday diction is apt to become heard is, “Why does composing so that we might fingers must act with the same alert- A question frequently was built by him. In addition to nineteen I wrote two, “The King of curacy. All days that would enable me to take operettas. At are slovenly so that when it is corrected, it violin sound so dull, particularly on damp inventing what was time a piano ness and promptness when finger movements hymns, he is credited with Molola” and “Cubanita” (the background being con- lessons. This happened when I was fourteen and half notes, slow tempo, O sounds a little exaggerated. For instance, The violin is less sensitive to atmospheric “Buckwheat” system of notation, the apart, as in whole and ' nicknamed 1897 struggle of the island for independence) far r momentous event in my life. Even today the in rapid succes- better is so often pronounced betta, that when ditions than one’s eardrums. More than fifty P® sight-reading in vogue in singing it was a or when the movements follow a system of the com- These I promptly took to New York. There I violin I remember every tiny detail relating to thirty-second and sixty-fourth notes one corrects himself and pronounces it better, he cent of the dullness or brightness of your schools of the United States. Each note was fifty-cents-a-night hotel on sion as in that time I had been stayed at a small second syllable awkwardly and con- re, ing of the piano! For up to Fingers must take the same defi- makes the prominent. can be directly traced to the expansion shaped to stand for a degree of the scale: do, for a week while an agent tried in fast tempo. chords and tunes on the parlor organ. East 23rd Street rapid playing This awkwardness is easy to overcome when dry days, for Western Pennsyl- picking out start in all tempi, although in traction of the eardrums on wet or mi, fa, sol, la, si, do. He did to place them with such producers as Savage and nite ul the Jean Mannes Piano System by physically im- one realizes where the fault lies. The key to any of y° the New England hym- I was taught the action may be mentally and stands to reason that the membranes vania what certain of Dillingham. I was thrilled with the thought of changes a lady in town. After twelve lessons I composed This can be mastered only in slow situation is power, which in singing means ears are more sensitive to atmospheric nologists had done for their particular section composer in a great metropolis, perceptible. Reverie which my aunts and uncles being a coming execu- volume. A singer, or a speaker, simply old an a simple , practice and playing, and perfect finger must have than a piece of wood, no matter how of the country. breathlessly waiting to hear my works. To my praised. all of these principles. power or he cannot lower his voice for the un- thought! Here is an example of Buckwheat notes as they against me tion depends upon seasoned it may be. So pause for came because I dismay, the doors were firmly closed certan The quick desire to compose common weakness is that of the accented syllables, with the result that the the tone you less on would appear in the key of C: personal kindness of the musical The most of your violin pleases performance of deKoven’s “Robin despite the joint. Mental should-be-unaccented syllables, that * had attended a yielding or breaking of the nail being equal in days, be sure, before you jiggle that post, directors. They all told me, however, that they at the Alvin Theatre in Pittsburgh when I suiest remedy. power, sound stilted. This is ar Hood” concentration on this fault is the not wholly true of is not the condition of your ears on those P Ex.l found many good tunes in the pieces. Many years was fourteen. It inspired me and made me want struck should be an exercise for over- the spoken word, since accent in language im- the instih “Cubanita” and it became “The Every key ticular days, rather than any fault of music. Those were the days of later I salvaged demanded rock-like for- plies duration of sound rather than ns to write thrilling coming it. Leschetizky intensity, ment. But if still unconvinced and Belle of Havana,” for high school use. you feel the Sousa marches and popular pieces such as It was one of the few and a weak voice may save itself by w of the nail joint. accelerating satisfied, man At that time I was ( Continued on Page 720) mation take the violin to a competent the Zenda Waltz. How proud I was when, at last. ever laid down. Other unaccented syllables. But in songs, care J mi fa sol la si do absolute principles he accented and can be trusted to give the best possible do re straightening of the fingers concomitant, unaccented syllables 705 weaknesses include are often set its proper adjustment. MARCH WITH MUSIC’’ NOVEMBER, 1943 "FORWARD "FORWARD " 704 MARCH WITH MUSIC ” ;

ELEMANN: DON QUICHOTTE SUITE (Overture Music in the Home Thereafter, the Cossacks had him baptized. were for String Orchestra and Harpsichord) Europe’s chief defenders against regarded as the T Arthur Fiedler’s Sinfonietta with Erwin / In 1582 the Cossacks, under Music and Culture nagan hordes. our Brodky at the harpsichord, direction of Arthur Yermak, overpowered renowned Ataman the Fiedler. Victor set DM-945. won for the Czar the land Tartar Siber and now Telemann, a contemporary of Handel and In time, however, the known as Siberia. Cossacks Bach, ranked high as a composer in his time. He Music, Ancient and Modern, their freedom and their were deprived of land was one of the most versatile and prolific com- of unjust oppression, turned Cossacks and in defiance to posers who ever lived, but unfortunately not one Peter the Great, however, realizing Original Don brigandage. of the most critical. One suspects that in his day The liberty-loving ardor of these the power and Don he wrote music for social functions, music of an them into a military unit Master Records tribesmen, welded for external order which did not ask for great con- on Cossacks served imperial defense. The as officers centration. The present work, a sort of suite in- during World War and, the Revolu- it might have been composed of the Don in the first time, suggests that the Music in General Wrangel’s White Army. occasion. Those familiar with the and tion, fought for such an the Soviets, we With the victory of became Strauss tone poem on the “Don Quichotte” story our history, we hj ^eter ^JJucjh l^eecl homeless. Throughout Cossacks must not approach this suite with that work in j our music as well An Interview with have been known for as for mind, for Telemann is not as deeply concerned fight; the Russian our ability to ride and proverb, with programmatic realism as Strauss; moreover, let us die with music, is said to superficial manner. It is ’If we must die, he writes in a purely origin. humor of this music that en- aro be of Cossack the vivacity and recording is good, that is all that any- are decried by many as not the sort of material ^ f[ "Our songs are not written; they are born. gages our attention; the fluency of the writing Since the Cossacks does. one can ask. recognizable as a concerto, no less an authority The Original Don live and grow, Just as man But the and the fact that one can enjoy the music apart Founder and Conductor of They says work for a period Dai-keong Lee: Prelude and Hula; The National than the late Sir Donald Tovey the can songs do not die. They rest of years from its program. Symphony Orchestra, Hans Kindler conductor. hardly be regarded as anything else < see Tovey’s and come back in new forms. Today a ’new’ Telemann evidently conceived the music in story of “Don Victor disc 11-8452. “Essays in Musical Analysis, Vol. IV”) . The com- WEST may be easily recognized by a man of fun; he did not take the Qui- ETUDE BY STEPHEN song all agree that despite the EXPRESSLY FOR THE he Thus, his final section evi- In selecting to glorify a dance pattern of his poser’s biographers SECURED seventy as one of the melodies knew as a chotte” too seriously. TENOR native country, Mr. Lee tawdry program, the music of this concerto is ASSISTED BY WASSILJ ELUSTIKOEF, The people of the Don make their songs dences restlessness for child. has shown that such “one of the greatest achievements that Weber the stuff of their lives. Today our people the Don’s “repose.” from material can be distin- ever effected.” tire land of as this are mostly farmers, working our Such music guished. His Hula bears Beethoven: Sonata in C-sharp minor, Opus 27, No. the harvest is gath- to be performed music, and out- flat steppe country. When needs of the Cossack little relationship to 2 (Moonlight) ; played by Rudolf Serkin. Columbia Jaroff’s the significance farm alert, incisive twelve years, Serge make the ered, the men load it on great wagons and in an or the PAST some of the technical points that the sentimental tunes set 237. group has ranked as lines often twenty miles distant. The manner, and this Fied- Original Don Cossack unique. drive it home, finest play- color, singing of his group turned out for popular Serkin, who is one of the ensemble that, for all its vigor, of the heavy trucks is slow and the ler and his ensemble Fan organization movement reti- consumption. What he ers rfow before the public, seems strangely was in no sense more the man who drives the contrive to do. It is mu- originality, and excellence, trip lasts for hours. And winter, does is very similar to cent and unimaginative in his solo playing. Un- musical organization. Last aloud all the way home. That is, sic of entertainment, than a strictly horses thinks what Dvorak did for questionably in disagreement with the romantic new significance sings traditional and even though its however, events gave the group he thinks in song. Perhaps he a gallan are the Slavonic Dance, nonsense which has been promulgated in connec- scene of the most his mood; perhaps he expresses humor and sparkle The Donets Basin, air that suits and Brahms for the tion with the sobriquet to this sonata, he plays of war, is the home of which he repeats of an external order, its fighting in the history his thoughts in simple words spirit Hungarian. Mr. Lee, a it in a wholly pedantic manner. It has been said Don Cossack giants. The tune that fits them comes appeal is not neces- SeseThirty-two over and over until a edu- that the pianist’s to this music is often of aggres- The young Hawaiian, approach Russia’s heroic resistance Then he has a song of his own. sarily short lived. animating and to his mind. cated musically in the determined by the acceptance or dismissal of the of their music. Their songs about a single word. He recording is good. sion is the spirit He may weave a melody States and now dedication of the work to the Countess Giuletta entertan- in United convey more than mere notices nail in a ; Beethoven: Symphony their singing watches his horse and a serving in the Army, Guicciardi, for whom Beethoven had a tender essence of every- C major (Jena) : The they reflect the pulsing enough for a song! The word for nail is menf winter that is knows the value of at- feeling, and various unauthentic stories of how mind with “Russia’s first Janssen Symphony of thing that comes to gvosdik (gwos-dik). He begins to sing the mosphere and orches- the composer wrote the work. this same winter Los Angeles, conducted 1942-43.” Oddly enough, it with turns of of syllable ( gvo-o-o ), elaborating His Pre- Cossacks are Janssen. tral sonorities. How many times this work has been recorded, an event of which the Don ahead of him; by Werner marked melody until he sees his house lude is effectively and we could not say. Of all previous performances, their heritage; most of Victor set DM-946. as proud as they are of brings his song to a close and adds citizenship. then he persuasively contrived, our favorites remain those made by Petri and received their American last Let it be said at the the group the final -sdik. The entire process may albeit with reminis- Bachaus. Petri treats the music wholly from the sung. beginning that Mr. for hours, and only one word has been cences of Ravel (of the classicist’s viewpoint, and his first movement has Happy Accident Janssen does as much A Continued on Page 758) begin- “Such spontaneous ( “Daphis and Chloe been criticized as being rigid; but the uniformity Original Don Cossack group had its as anyone we have ever The Suite No. 2”), and of of his playing there does not suggest rigidity to About twenty-four vitalize this nings in a happy accident. SERGE JAROFF heard to regiment was sta- performance. Delius. For listeners us. Indeed, there is just cause to believe that years ago, a crack Cossack music in As was cus- who do not always re- Petri’s conception and execution of this sonata tioned in a lonely camp in Turkey. The orchestra he em- ROSE BAMPTON with “Cossack songs are the songs quire formal patterns, stems from and carries cut the intentions of his in the old Russian army, the men ploys is a good one, al- tomary this music will un- famous teacher Busoni. were chosen to take part m of the people. When you hear though evidently not the finest voices evident group in the them, you hear more than mel- to the eight- doubtedly appeal. Kindler plays it with Mr. Serkin plays the opening movement at a the religious services. Among the large, since the scoring conforms Jaroff, and rhythm; you hear the as the relish and with plenty of lush effects including lugubrious pace, and in failing to differentiate Turkish camp was young Lieutenant Serge ody eenth century. Despite Beethoven’s name rubati, which is controversial to the fulfillment between the upper and lower voices, he makes Gun Corps. Lieutenant Jaroff very soul of the Cossacks, voicing author of the work, one finds it difficult to accept of the Machine the the famous the joys and sorrows of a thousand great master of the composer’s rhythmic intentions in the music take on a funereal character. His best was a gifted musician. Fresh from this as an authentic work by the he had Cossacks, as you per- were dis- Hula; but then music like this does not command playing is to be found in the last movement, but Senodal School (for conductors), where years. The of Bonn. The parts of this symphony men are the direct two orthodox treatment. The recording is effective in here again he does not achieve the tonal coloring distinguished himself, Jaroff heard the haps know, descend- covered in 1909 at the University of Jena. On decided that ants of a tribe of giants which Beethoven its sonorities and orchestral coloring. which Petri and Bachaus bring to their perform- singing the regimental mass and sections of the work the name Louis superb the of Weber: Concertstiick in F minor. Opus 79; played ances. The recording is tonally good. here was material to be welded into a galloped across Urals early was inscribed, so it was decided by a number Cossack ninth century by Robert Casadesus and symphony orchestra, Mulet: Toccata (Thou Art the Rock), and Vierne: vocal instrument. Within two years, the in the to the region German scholars that the symphony was by group was the Don. the Dr. conducted by Eugene Bigot. Columbia set X-59. Scherzo from Symphony No. 2 for organ; played by choir had won fame. In 1921 the around When Rus- Beethoven. And no less an authority than Orthodox This set was originally released in April, 1936. Virgil Fox on the organ of the Chapel of Girard chosen as the official choir of the sian state was formed, these Hugo Riemann seems to have thought it was and Time has not diminished the value of the record- College, Philadelphia. Victor disc 11-8467. Cathedral of St. in ’s capital, tribesmen refused to give up their probably genuine, though an early work. A num- world freedom ing or the performance. The essential qualities, Mr. Fox’s display of technical showmanship has before long, music-lovers from all over the —indeed, the word ‘Cos- ber of authorities and writers have since sug- sake clarity and vitality needed to make a perform- been brilliantly recorded by Victor. Whether or made their way to the great church for the sack’ (or Kazak) means ‘free gested that Beethoven’s grandfather, Louis, wrote with man.’ These fierce ance of this romantic work a success, are happily not the diffuseness of tone in the recording is of the singing. An impresario, who came horsemen the work, but the published score attributes it to stumbled (those of the achieved by Mr. Casadesus and Mr. Bigot. Al- due to an empty chapel, the organist, or the the eager tourists, decided that he had Upper Don blond the great Beethoven. It is claimed the music was oiiginal a and blue-eyed, those of though the operatic characteristics of the score recording, we cannot say. However, we have upon what is perhaps the most the lower composed between the years 1787 and 1790, ten Jaroff heard both pieces played with more clarity. cappella choir in the world, and urged Mr. area black-haired and swarthy) years before the recognized “First Symphony” of The 1923 the Original were feared from Toccata permits the recording engineers to to enter the concert field. Since Turkey to the composer. As far as we know, no sketch books five thousand Sweden. In achieve an usually impressive crescendo. Organ have given over 1552, Ivan the Ter- of the composer exist showing material for this RECORDS recording is by no means perfect as yet, concerts in four continents, and in more cities rible sought their aid in the reli- work. The work is not dull, and Janssen certainly but there reference gious are evidences in the ( Continued on Page than they can keep track of without war against the Kazan does give it a vital and expressive performance. 756) Tartars; it to tour-books. was the Cossacks who WITH MUSIC" 707 In the following conference Mr. Jaroff traces captured the Tartar Khan and CHORUS NOVEMBER, 1943 "FORW'ARD MARCH SERGE JAROFF THE DON COSSACK 706 "FORWARD MARCH WITH MUSIC But Mr. told us. Biggs and his organ are Music in the Home baroque scheduled to Music in the Home be heard for some time. If the Musical Knight of instrumental series concerts is If you, are one of those whose conception of a interrupted, Mr. Biggs says he SAYS, “Variety is knight carries you back to the tales of King Ar- F, AS COWPER seriously thinking of repeating the dashing gentlemen is the spice of life,” the new thur’s Round Table and his previous all-Bach recitals I broadcasts contain much of dolled up in “five stone” garments of steel, peer- The Etude which he has given before on the exciting interest. The popularity ing through bonnets which, to the perverse of air. Both Mr. Biggs and the Variety Co- look like kind of of the program featuring E. A youthful imagination, some lumbia Broadcasting Company Power Biggs, the Arthur Fiedler kitchen utensil, you may find it difficult to pic- deserve great credit for the qual- Sinfonietta, and other artists, ture Sir in this group. The ity of these Sunday morning heard Sunday mornings over the knights of King Arthur’s day were occupied with Music Lover’s Bookshelf programs, since there has been Network (9:15 to 9:45. war, not for gain, of course, but in defense of Columbia Broadcasts over-glorification of the Master no music honor, or necessary, for EWT) is such that listeners on some fair lady’s when , presented or any playing down to the West Coast get out of bed to the King. popular musical taste. To cham- Any book here tune-in at 6:15 A.M. Mr. Biggs Alas, some of their twentieth century successors ber music fans, these programs reviewed may has many letters from his West have been travesties upon British bravery, valor, be secured from i are an oasis in radio. Is it any "HE ETUDE MUSIC Coast admirers, which only goes and chivalry. The present war, however, has MAGAZINE at the wonder that West Coast listeners orice given plus to show that an unusual musical shown that the spirit of knighthood is more far up early to hear them? postage. program will attract, no matter get reaching than ever in Albion. That England is the time of the broadcast. The quite as much a democracy as our own country concerts scheduled to begin Oc- There is more than a sugges- orc^an is evidenced by the fact that many of the most czCuicIsaLf on the Columbia Broad- tion of an anachronism in the tober 9 virile of English baronets are not descendants of were broadcast of the baroque organ casting System cancelled famous title families but of tradesmen and those middle and some of the instrumental en- suddenly in the of Sep- fortifying strains from the “common people” who Lj B. Wereditli Cad,man sembles which have been heard tember. The cancellation an- are often the most valuable and unusual of men. lately on these programs. In the nouncement followed breaking down of negotia- Sir Thomas Beecham is one of the most repre- a virtual board of directors first place the organ used by Mr. Biggs is tions between the orchestra's sentative of the modern British knights, who with in his eyes that were the proper indulgence of “Of course these pathetic revelations of mental upon which of Musicians, copy of the instrument at Weimar, and Local 77, American Federation broad culture, native practical bent, and a spirit the manly Englishman, he would probably have singularity and oafish manners, which in most and built Bach himself played. Although designed concerning the projected broadcasts which had of adventure has made himself a distinguished expressed his approval. But music never. other countries would procure the early retire- Harrison of the in modern times by G. Donald been planned as a 26-week, hour-long series of figure of which his nation may well be proud. His “On a later occasion, another legal luminary in ment of their authors, are hailed with delight by Boston, the Aeolian-Skinner Organ Company of Saturday afternoon programs. Last June the Co- autobiography, “A Mingled Chime,” is somewhat the course of a hearing heard my counsel refer that section of the press and public which still nevertheless adheres structure of the instrument lumbia Broadcasting System announced the sign- more sedate than we had expected from one who, to the musical profession, whereupon he inter- clings to the conviction that knocking little balls of Bach’s time, even faithfully to the organ voices ing of an exclusive three-year contract with the perhaps unjustly, had won a reputation for polated this stupendous comment: ‘What’s that? into holes or hitting other little balls about a typical of the period to the low wind pressure Philadelphia Orchestra Association calling for ascerbic effervescence. He tells, modestly and You don’t call music a profession, do you?’ A green field is almost the only acceptable evidence Mr. Bigg? con- when organs were hand pumped. payment of substantial, yearly amounts to the factually, just what he has been able to accom- third instance where a young man I knew hap- of virility in a great nation.” German master of the tradi- tends that if the great association. Exactly what has caused the break- plish as a conductor. Trained in the best On the whole, Sir Thomas’ work is a valuable walk into the Germanic and Oxford eighteenth century could down on the projected plans is not given out by tions of the English public school at record, not merely of his personal achievement at Harvard where the organ is housed, he Fed- University, he does not hesitate to comment upon in development Museum CBS. but it is rumored that the American but of the trend of the times the completely at home at the keyboard of English education thus: “Something like fourteen the would feel eration of Musicians demanded fees in excess of of musical art through the symphony and Probably the noted composer spent in the instrument. upon originally. and fifteen years out of a lifetime are opera. In forty years he has lost and made for- the those agreed would receive a major jolt upon finding that one unvaried groove of instruction. To my way field of music and has been one of If California and Utah listeners arise early in tunes in the instrument played without being pumped by of thinking this is excessive and prompts the feel- energetic in the the morning to hear a program like the Biggs the most gifted, active, and men But the old familiar stops, the old familiar ing that the average Englishman remains in tute- hand. feature from the Germanic Museum at Harvard, arts. pedals, and many other points of the instrument’s lage far too long.” Then he adds: “I have fre- folks in the East stay up on Friday nights until structure and sound would assuredly make Bach quently wondered why so many of my countrymen Mingled Chime” midnight to take in the broadcast of Eileen Far- “A feel at home. carry on even into middle life the appearance as By Sir Thomas Beecham rell and Howard Barlow, which occurs from 11:30 newspaper recently pointed out One Boston MARIA KURENKO young soprano well as the mentality of the schoolboy, an un- Pages: 330 E. to midnight, EWT. This gifted “it would please rather than surprise separates them that vocal recitals changing immaturity which Price: $3.50 it continues to supply one of the best Biggs if the announcer should say that other nations, Power unique in sharply from the males of most Publishers: G. P. Putnam’s Sons radiocasts’ each on the airways, and her programs are was who and if the cause of it is not to be traced to the their mating of old favorites and unfamiliar airs. Sunday on a nation-wide network. For the pro- combination of instruments with the organ. absorption in a monotonous scheme of work and endeavored These days musical listeners are often tom be- Six Beethoven Quartets grams of organ music of Bach have Among such works have been a “Concerto for play, which to judge by results must proceed at an atmosphere tween tuning-in on a worth-while concert or a to capture the authentic feeling and Organ and Orchestra,” by Howard Hanson of the incredibly slow rate of progress.” With the upsurge of interest in chamber mu- of topics interesting to every man in a their period of composition as “nearly as hands Eastman School of Music; a similar work by Roy program of programs Sir Thomas has been in touch with America sic playing, the new and brief analytic work, play” them. rapidly changing world. A new series of may design, build, and Harris; a “Prelude and Allegro” for organ and ever since 1893, when as a boy he visited the “Beethoven’s Last Quartets” (The Musical Pil- picture, the things on post-war issues, called For This We Fight, The exceptions to the perfect orchestra by Walter Piston of Harvard; and Leo United States with his millionaire father and grim series), will attract much attention. spellbound if he could sponsored by the National Broadcasting System that would leave Bach Sowerby’s “Poem for Violin and Organ.” The un- made his exciting acquaintance with ice cream These quartets, written during Beethoven’s the spirit mount the stairs (heard Saturdays from 7:00 to 7:30 P.M. EWT), either in the flesh or in usual quality and character of these Sunday soda. still thinks that the Chicago Exposition years of isolation from the world of sound, rep- to He pointed out by Mr. Biggs. is just such series. idea behind this is to the organ loft, are morning programs cannot be outlined in a short a The of that year was the most momentous and beau- resent the composer’s remarkable power of pene- electric blowers,” he says, offer the whole American people an opportunity “Bach never had the space; one would have to enumerate all the pro- tiful of all. tration. Beethoven in these works was not writ- of which modern organists to discuss that affect every one “or the electric action grams which Mr. Biggs and his associates have the questions created standards ing for the public which surrounded him, but for con- Sir Thomas’ labors have new did he have the ability automatically devised. There us. In the programs, outstanding Americans enjoy, nor have been works by classical com- for musical achievement in Britain. His way has a public yet unborn. Because of this the quartets registrations during the course of experience. They also to change stop posers which have long lain dormant, such as the tribute facts, background, been an obstacle race over conventions, and great even today have a modernity which is remark- performing a composition.” So, despite the ana- “Concerto” by the answer offer suggestions. Every- English composer, the Rev- questions and credit is his. The Englishman of the old school, able. They were all composed after the comple- in the broadcast of this programs, to chronistic suggestion erend William Felton, who was born in 1713. one is urged to participate in these who was unable to value music properly, did not tion of the “Ninth Symphony” and were com- playing over the airwaves of mod- want to baroque organ Mr. Biggs’ idea to give a series of chamber send in questions—the things they would hesitate to state himself emphatically. The vast missioned by the wealthy Russian amateur vio- is nothing occurring out of the speak- SIR THOMAS BEECHAM ern radio, there music concerts for organ and small ensemble was ask if it were possible for them to meet the business interests in which he had been brought loncellist, Prince Galitzin, who failed to pay for these broadcasts. Nor is the organ presentation proper time in realized through the aid of that notable patroness ers in the street. For This Wc Fight is a up were reviewed by the Court of Chancery in the work until after Beethoven’s death, when 1 limited to the performance of eighteenth-century of chamber music, Mrs. Elizabeth of of the Air, h his Sprague Cool- NBC’s Inter-American University England. In commenting upon this he wrote: “It pened to be a party to a suit and it was men- the heirs compelled him to make good bar- it has the ability to sound modern music idge, who made it and the music; possible to obtain the support cooperation with the 20th Century Fund, was disclosed that I had spent a considerable tioned that he was studying to be a musician, the gain. Beethoven evidently had depended upon the as well. of Arthur Fiedler Peace. equally and his Sinfonietta. The Music Commission to Study the Organization of amount of money in the cause of music, and the arbiter of equity raised his eyebrows, shifted his income from these, his last works, and suffered morning broadcasts, which since Department of Septem- These Sunday Harvard, headed by Mr. Piston, Nine broadcasts have been given during wise judge’s instant comment was, ‘What is the wig, and snorted, ‘Why doesn’t he go into some because it was not forthcoming. July have been presenting works has also “Post-wai the first part of lent its support to the project. ber and October, and suen subjects as good of that?’ It was nothing to his childlike honest trade?’ for organ and orchestra, various choral groups, Just how long the series “Tomorrows “Beethoven’s Last Quartets” will continue is not Jobs.” “What Future for Farmers?” intelligence that through the use of this sum, soloistg, have not confined and instrumental Transportation,” “New Plans for Education. wisely or unwisely, a goodly part of the wartime By Roger Fiske to the promulgation of classi- themselves entirely “Better Homes—and Cheaper,” have been dis- music of the country had been kept alive. Had Pages: 77 composers. At Mr. Biggs’ behest, several have cal cussed. Noted men from every walk of life the objects of my outlay been a group of racing BOOKS Price: 85 cents composers have written works which RADIO t Publisher: Oxford University Press American spoken on these broadcasts. During November stables, a shooting box, and a steam yacht, things been broadcast, featuring the organ or a have following subjects are (Continued on Page 7 NOVEMBER, 1943 ^"FORWARD MARCH WITH MUSIC” 709 708 "FORWARD MARCH WITH MUSIC' THE ETUDE 34 6 — —

Music and Study

Study Music and it just right meant endless repetitions, and we have heard groups of singing soldiers play around with a song for an hour or more. Trill Tabs—Fourteen Points Our own Marines charged at Chateau-Thierry O MANY Round Tablers have writ- Round Table singing—probably yelling Hail, Hail, the Gang’s that I have All Here, likewise a favorite with the Canadians. ten for help in trilling Teacher’s for you to The Tommy also liked the American John Brown’s S devised the following The Fighting Man use as a trill tester: Body. All this must have been a bit discouraging hand and el- 1. trill position of to the professional song writers who were busy What the privilege of guiding the musical des- most comfortable for me? bow is tinies of a child who (1) has a quick manufacturing songs dealing with all the timely fingers make the best trill Monthly 2. Which Conducted mind, (2) is talented. (3) is very sensi- topics the boys should have been singing about. combination for me? (4) reads music fluently and well, No one, least of all a professional songwriter, are my fingers tive, 3. When I trill rapidly and His Music (5) can play fast accurately, (6) is evi- can tell just what the fighting is going to the key-tops always? man in contact with to work at her music. dently willing go for. He seldom, if ever, turns to the tunes that (Why hold your fingers in the air when Again I exhort Round Tablers not to such a position prevents swift repeti- are fashioned for him by song-smiths who, a lose any sleep over such talented young- tion?) well-thumbed thesaurus in one hand and a . , sters, for time almost always proves that facilitate long trills am X careful rhyming dictionary in the other, have studded 4. To Doc. difficulties which of finger Mus. the problems and loom by Cjustav emm to trill with proper balance their lyrics with such sure-fire words as “free” Q at the moment are only swing? Pianist up mightily stroke and rotational Noted normal development (to rhyme with “libertee”), “right,” “fight,” and in impulse phases in the of all 5. In long trills do I persist Music Educator young children. I’ll wager that in a year’s so on. The fighting man seems to shy away from accents? (Three trills, four trills, six and time Mrs. H. P. won't even remember HE SOLDIERS of the First World War were have a working repertory of familiar war songs. these songs, as well as those of the maudlin, trills, or eight trills.) conscientiously what that vexatious problem of 1943 definitely singing soldiers. If you do not be- Hinky Dinky was, of course, the prime favorite. drippy sort. In most cases, he divides his singing 6. In trill practice do I about! impulse-rebound groups? That was all T lieve it, go to the library shelves groaning There must be a thousand verses. (Tommy al- between well-constructed melodies he has loved work in disgrace in three, four, or Is there any having the signed his versions it “Hinky, since strongly rhythmic, is, do I play one, two, under collections of vocal favorites with every ways by making and known boyhood and on the rack before you as you eight rapid trills with my arm rebound- music branch of the service. The definitive collection panky” or “Hinky slightly bawdy afterward to rest there Grades play? What’s music for anyhow but to ing to my lap pieces in . in songs that are not North Caroi ina. of war songs drawn from the 1914-18 period has pinky”) We’re again? be read? If a pupil prefers it that way, an instant before playing kind of poking fun at entirely upon the not appeared as yet—and it probably never will. the Army Now was above in both 1 Depends difference does It make? On the 7. Do I practice all trills plan what quality of tone you The field is too vast and the categories too many. fashioned out of a the soldier himself. phrases and the other hand, It is our sacred duty to directions? viz; experiment is to good, sensible love and feel their After one has collected the songs the soldiers bugle call and the to use. A and make our children Bepart- with downness Different Conditions Ext Correspondents with this begin a short phrase music so intensely that they will play it actually sang, one is confronted by the favorites last line packed a are requested to limit. then turn abou ment it with upness; enough in spite of wallop that the sing- In the last war Hundred and Fifty Wo) os. finish clearly and leisurely of the civilians back home (the treacly sort hav- to One upness and end it with and begin it with any tendency toward excessive speed. To ing to do with “buddies” and “out there”), not ers never missed. there was much treatment seems to fit downness. Which this end I would give your girl plenty of to mention the trumped-up, pseudo-military Over There, There’s singing. The men her fingers think. the phrase? pure technic to make tunes the civilians thought the soldiers sang. a Long, Long Trail, seemed to like to get of a long, slow Within the extent Also assign lyric pieces with beautiful together and shout small and large (Soldiers, let it be explained, is a generic term Tipperary, Keep the R.H. 2-4, L.H. 2-4 phrase you must plan effective projection de- (b) in thirds with themes, whose out favorites. lot curves culminating at covering all branches of the service although, Home Fires Burning, A thus: arm (elbow-tip) pends upon long, slow, rhythmic swings. I practice all ordinary trill com- then more curves in all truth, it was the soldier, per se, who really K-K-K-Katy, The of years have come 8. Do the top of the phrase; arc too much tempted to let 2-4; 3-4; Es-5 Teachers binations, viz; 1-2; 1-3; 2-3; beautifully. did most of the singing.) Old Gray Mare, between, but across to finish it off facile or spectacular students play only “lazy man’s trill,’’ 3-5; 4-5; also the matter at all. Until recently, this staggering of Madelon, The Grass- them we can still 2. Doesn’t rapid, brilliant, display pieces instead of mass war 1 -3-2-3, thus— better” to play the 3. If it “feels “insinuating” slow, songful compositions songs had been snoring peacefully under a heavy hopper Song, the hear jam-packed “detached” while the pedal takes ringing chords into their repertoire as enrly in the game mantle of dust. A quarter of a century is a long Pay Roll Song, the auditoriums okay. the legato, it is quite girl on L.H care of as jiossible. So why not try yovr time and this is a busy world. Let the dead Past various Coast Artil- with the thrilling way to play 4. Yours is an exceUent arrangements of etc. a few of those good bury its dead! But on a Sunday morning, eight- lery songs, Li’l Liza sound of several (C) in broken octaves thus; phrase. which the “classic" excerpts and themes with Fur, thousand singing simply een days before the Christmas of 1941, some- Jane, Smiles, 5. The term “BUnd Flying” is this all publishers’ lists abound? Perhaps voices in Ex. chil- thing happened that woke up not only Honolulu Fur Away and on joining practice these on all combinations S.H. a fancy title invented for use with to Do I all she needs to bring her down find or is but the entire world and, along with it, those and on and on. The with the band we of keys; all white, all black, black and dren. When you want them to earth. slumbering list were conducting. We white? play anything on the piano without look- war songs. They started tumbling is endless. 1-3, is my etc. out of the attics of memories of fortyish folks In addition, there were rather proud of 9. In brilliant trills with ing at the keyboard. Boogie-Woogie loose? 6. bet it is! who welcomed them like old friends, not to be were those with the being “the youngest elbow tip You of Boogie- I have followed the Battle play each finger of the trill pieces; Coronach, Edgar Bar- the bandmaster in the 10. Can I 7. Chord Woogie which has been raging on compared with the newly coined upstarts on last ironic touch: Your repetition, with the I stm separately in swift ratt; Lento, CyrU Scott; The Sunken Round Table page for some time. week’s Hit Parade. Boy is on the Coal service” and our Boogie-Woogie. 0 other finger depressed? Cathedral, Debussy; Relaxation, Alec don’t know much about or other, Pile Now, I Don’t crack outfit of over remember always that a trill asking for it Somehow getting around a piano or a 14. Do I Templeton; In Deep Woods, and To an my ’teen-age pupils nre of put them ott guitar or “getting to Get Well, I fifty professional is not simply a regular alternation persistently that I cannot a harmonica—or just around” Want Ex. Old White Pine, from “New England name emotional ex- longer. Could you give me the men missed few two or more tones, but an much some —and singing these old songs does something to Ain’t Got Weary Yet. Idyls,” MacDowell; To the Sea, from a ” method or trill can of a good "Boogie pression? In other words, that a with these both singer and listener, especially if they are Not to mention that towns along the “Wandering Iceberg” and A.D. 1620, from "swing" material I might use a “shiver,” or an “Acme” Photo be a thrill, an ecstasy, D. W.. Iowa veterans of the last war. For one thing, it bucks little gem boasting Eastern Seaboard in “Sea Pieces,” MacDowell; Polonaise in students?— L. NIPPONESE SWAN SONG electric shock? the “die- them up. It seems to give them a perspective the longest title in those days. The con- C minor, Chopin; Organ Prelude in E It’s high time now for even Boogie- that captivity, This picture was taken in New Guinea. On a banjo con- certs were fun, but minor, Bach-Beard; Minuet from “So- hards" to admit; il> that the terrific tempo of current events has “pop” song Phrasing and Other Matters structed from a wrecked lap Zero, 1st Lieut. Walter E. Moore etc. nata in E minor,” Grieg. been with us for a long greatly endangered. Bawling out Pack Up Your Would You Rather the real thrill came Woogie has of Baker, Oregon, plays Home on the Range, with loud vocal 1. What is the best way to approach ex- every evidence of Troubles in Your Old Kit Bag and (yell) Smile! be a Colonel With in the evenings while and gives accompaniment. The tuning screws of the banjo are made and leave a phrase? tha first note Memorizing Problem indefinitely; (2) Smile! when the men would 2. When the arm drops on the A tending its visit Smile! makes taxes r tires, and their long an Eagle on Your from Jap 25 caliber cartridges, also captured in New Guinea. I practice “classic” trills below 11. Do of a phrase should the wrist sink of vitality or dynamism string of Pri- gradually fill the swell I have a nine-year-old girl who reads has plenty bogies seem a little less frightening. Shoulder, or a in crescendo, diminuendo, normal playing position? not have s music rapidly and accurately, but I am It, or it would It wooden, hastily built 3. In legato chord passages should all recommend sort of gives the singer a background, a feel- vate With a Chicken - concerned because when she memorizes a frora _— ) and so on; also with when possible, be played legato with abuse it has taken at our li notes, vived the ing that all this before he Your Knee? auditorium piece she plays too fast. She says. “The a has happened and on the hands, regardless of whether the pedal boogie-woogietsts as well as sixteenth -note ac- faster I play the more accurate it is," and hands, can see it through again. One of the strange things about the most re- permanent camp and drown out the band, sing- left-hand eighth and is used? admirable believe it or not, it’s true! She memorizes boogies; (3) that it offers • 4. Is the following the best way to teach Anyone who weathered the first cataclysm is cent war to end wars was the fact that the sol- ing the songs we all liked. companiment? almost everything she plays, as this? but likes to technical training, _ practice, starting a trill such examples rhythmical and all soldiers of World 12. Do I often have the piece in front of her even if she amazed to find how many of the old songs he diers persisted in singing a number of songs that From reports, the War people, in their rapidly (no accent) that doesn’t need to that many young so softly and so see the notes. Is that a sign knows and readily, with little help from were not tailored for the occasion but, in many secondo are not doing so much singing. There will really how a to tell which note begins of not being sure of herself? She is very natical zeal for B.-W it is difficult someone else in to cases, were written decades earlier. The two favo- are a number of reasons for this. For one thing, talented, very sensitive, and has a quick working at it. the crowd, they come back trill? etc. blood and tears" the mind. I don't like to have her instance, Annie fell on us so suddenly that, in getting ready alternating play fast, force them him. And how they come back! “Do you remem- rites with the British, for were war 13. Do I practice trills with giving that skimming wild horses couldn’t impression. ?” Home. They for to beat back the enemy, there hasn’t been so with R.H. 3, ber the one about. . . and “Here’s one we Laurie and Home, Sweet made hands (a) in single tones —Mrs. HP.. Minnesota. tice Bach or Beethoven. * earn .” that’s what the boys time for singing. grim seriousness seems Skimming—what a welcome ask, who is used to sing. . . Some of them aren’t entirely good harmonizing and much A L.H. 3 thus: indicate slight downward word! Al- Finally, may I or (The arrows « ctl ready we have too many plodders, anyhow, the te respectable but, if the crowd is mixed, it is pos- Doughboy, Tommy, and Poilu—liked. It was fun to mark today’s soldier. He has a job to do and and upward movements of the wrist.) grum- play the piano ic it is, ‘ Ex. 5. Please explain the term “Blind Flying.” blers, gripers, and shirkers Whatever else sible to dub in a few reasonably satisfactory to pick out a good alto line and hold on to the he’s doing it. R.H but not the youngster? begs 6. In playing wide keyboard skips is it enough student skimmers! So, as I have said be fun. so if the substitutes. They have the bite of the very end where the tenors would join in, higher, What’s more, music is being provided the good policy to find the white keys in their should may not a many times him- before in these give it to chords. To get soldiers of in ( Continued on Page 755) relation to the two and three -group black columns for B.-W. why not ^ original but they’ll do. Every leader should with some effective barber-shop today Mrs. H. P. ought the keys? to thank her lucky daily if you can combine pupil, having studied 7. A Rachmaninoff's stars (and probably does!) that Page 157 ) 711 she has ( Continued on NOVEMBER, 1943 "FORWARD MARCH WITH MUSIC" "FORWARD MARCH " ETUDE 710 WITH MUSIC THE —

HILE in many respects Music and Study the fields of singing Music and Study Wand speaking are quite diverse, in the aspects of pho- method that can produce a netics, articulation, enuncia- beautiful result either in sing- tion, pronunciation, and good ing or in speaking is to that diction they own common extent correct. The basic prin- ground. The anatomical and ciples in such result, from Hollywood? physiological mechanisms em- methods that would seem di- to Try ployed in either case are alike. \erse, are quite identical, al- So You Want Both deal with words, phrases, The Voice Teacher though not always understood and sentiments originating as as such. The difference in suc- ideas or emotions in the same cessful methods is largely with that A Conference human mind. Furthermore, of the approach. The teacher quite the identical principles should read books on the sub- of technic or method govern and the Speaking Voice ject of song in relation to cJ-CeMner Cjeorcf£ the right development of the speech, such as: “Resonance Distinguished Composer nnd Arranger singer and the speaker. If in Singing and Speaking,” by there are any variations ap- Thomas Fillebrown; “Caruso’s parent in this common ground Method of Voice Production,” THE ETUDE BY MYLES FELLOW ES these are slight, and have to Lij Qohn WJ. 2), (JSriu^n by P. Mario Marafioti; “The SECURED EXPRESSLY FOR deal with the main basic dif- Singing of the Future,” by ferences, that singing uses David Ffrangcon-Davies; “Vo- pitches more sustained and cal Exercises on Tone Plac- - equipment is such that he can furnish ihemes, found in wider ranges. Final- ing and Enunciation,” by J. making unnecessary the constant na and thus adjust, bridge over cut spots, and stand ly, there is a common cause to Michael Diack; “Song Studies,” “regular” opera. His suggest, rative interruptions of at presented ready to do practically anything all in action improve the voices of the by J. Michael Diack; “The work, “The Nightingale and the Rose,” Chiesa on less than five minutes' notice. For those who youths and adults of America, Voice in Speech,” by Clara national audience with Vivian della to a and would spare themselves a situation that we think is quite badly in need tential mediums of social communication. In- Kathleen Rogers; “English Diction in Song and notable acclaim, aim at Hollywood in the leading part, received in the process of getting there, I cannot of attention. In view of the possibilities for im- stance the person who reads aloud to himself or Speech,” by Clara Kathleen Rogers. for its heralding pain both for its musical value and sufficiently emphasize the fact that picture work provement, few can deny that it is poor business moves his lips while reading. We may go further Methods of advertising suggested are circulars, of a new musical form. for 'green' novices, regardless of their to attempt to kill a bad bird with two stones. and assert that the words spoken by other indi- talks to organizations, and success from pupils. in approaching is no place “The most important question, viduals potential talents. If you are a private teacher of singing, not held in a parallel procedure enter the ears of The mailing lists of the teacher of song and how to get into it. Most motion picture music, is by rules and regulations necessitating differentia- at least some auditors, reach the brain structures speech contemplate every individual who must that there are opportunities in musicians know Background Music and Songs tions of function, you have, we believe, every right and then contact the speech processes somewhat employ his speaking voice in any way to help find but wonder how to reach them. the film industry, to consider the training of the speaking voice a as we have just described. The point we make is his sustenance, and whose income will permit the element of perseverance in- “Hollywood music falls into two categories— There is a certain legitimate field of activity, for the very rea- that pathology in the voice of the speaker, such affording of lessons. songs. Songs are gen- good We mention specifically certain element of luck. But the background music and volved, and a son that you have something useful to contribute. as nasality or throatiness, can to a certain degree lawyers, clergymen, salesmen, saleswomen, sales to a words-and-music team whose GEORGE LESSNER is more than ordinarily solid mu- erally assigned chief requisite True, there is always danger of going so far afield produce an unpleasant reaction in the person of managers, private secretaries, public school thousands of applicants for past performances prove their ability to turn out sicianship. Of the that the teaching spreads thinly over too wide an the hearer and thus succeedingly minimize the teachers, college and university professors, and only those are con- hits; and since this work occurs In entirely musi- sound-track, not musical work in pictures, area of subject matter. For example, ordinarily effect on the mind of a probably excellent thought- any other speakers who broadcast over the INCE THE ADVENT of the leeway. Not radio, sidered who can demonstrate a one hundred per cal shows, the composer has more much more than fifteen years ago, an en- the coaching of dramatics would not be deemed content which the speaker meant to convey for or otherwise address audiences. Young people of of musical science, or- only is the music more important than it is in a career has cent competent mastery project for teacher of singing except, a purposed result. Most people own an innate good family and social S tirely new form of musical a major a connections often are found chestration, composition, types, and forms. It is non-musical, but a song that is good enough to to composers, orchestrators, and ar- perhaps, in the special aspect of tone production. sense of beauty, and poor quality in a speaking solicitous about the quality of their speaking. beckoned promise a hit rating may take Sound films require music, Should this danger of over-extension threaten voice cannot possibly find classification under the Singing teachers have been known to cure, by rangers. precedence over preliminary and those who have the knack of the individual who desires to be a “builder” in term “beautiful.” ordinary voice work, such defects as the un- plans and find itself the core if have insufficient pic- providing it can find interesting both departments of phonation, he can, he We space to draw a word changed “falsetto” voice carried over into ma- about which much of the pro- ture and lucrative employment in a field chooses, find abridgement in other directions in of what can happen when the voice of the turity, as well as stuttering and stammering. Seek duction music is centered. Back- speaker has been trained so young that its full possibilities view of the larger opportunities for service to the to a rich and rare qual- out such. But you are wise to do so only with a ground music the obbligato have scarcely been explored. In the average community in developing voices either to ity. Histories and biographies are available to physician’s approval. In talks before organiza- which accompanies dramatic or following conference, George Less- sing or to speak. prove that in more than one instance great ca- tions like civic clubs you will be helped by the use emotional scenes in non-musi- rers have been the fruitage, in in ner tells exactly what is needed to whole or part, of a blackboard on which you can make diagrams cals—is a very different matter. All in the Same Boat get to Hollywood and stay there. enjoyed by men born to speak well, or who to explain your principles. If you keep to a state- As an obbligato, it is necessarily through Mr. Lessner is in a position to know. What are the utilities involved in this service to painstaking effort have developed them- ment of principles both in circulars and talks, you secondary place in For the past seven years, he has relegated to the community? Already we have suggested that selves. Read, for example, the life of a classic will avoid creating opposition in any who in ad- over- been doing distinguished work in the picture and may not the general run of voices in America can stand case, that of Demosthenes. Fewer profit-giving vance of their getting help from you are not dra- the studios of Universal Pictures, shadow straight visual and attention with a view to their improvement. We ventures can be imagined than investment of aware of their vocal sinning. If you can succeed the RKO-Radio, and 20th Century- matic values. A song may be take it that the standards at this time may be money with an able technician who knows how in developing to a marked degree any persons of musical; Fox, composing background music, center of a scene in a too low. But, very seriously, the question of a good to improve speech. prominence in the community, they will advertise no orchestrating, arranging, and gath- background music may do speaking voice is not one of mere cultural, aca- “How to go about it” is the next problem we you among their associates. Group classes may be ering first-hand data on what is more than underscore or en- demic, or social interest. The subject should be shall attempt to solve. arranged for those not well able to pay for private what. A native of Budapest, Mr. hance dramatic values in a viewed even more from the standpoint of real The first step to be taken by the voice teacher lessons. Lessner studied at the Royal Acad- straight drama. This means that practical utility. We deal here with a necessity. An contemplating work with pupils in speech is that The following exercises assume that the pupil emy of Music of that city under the composer must focus two excellent speaking production has money value. of preparation. Of the fourteen or fifteen princi- in speech has not before had instruction and is Dohnanyi, Kodaly, and Siklos. He goals: he must make his back- For the lack of it sermons can fail, cases be lost pal methods of singing taught within the last “raw” material. To simplify matters, bear in mind began composing at the age of ground music as effective as he in the courtroom, and big deals fall through. The three centuries, according to compilations made two “waves” of tone, one operating through the this writer, one is seven, and four years later heard can within the scope of its func- trouble underlying the meager perception of this by the approach from speech, regions located above the iwo palates and the so or, better stated, the liaison between song and other extending from the his compositions publicly per- tion—but he may not make it fact is that most people seem to be quite in the larynx to the lips. These sixteen he had a suc- call same fix with respect to much training of their speech. 1 To understand and to employ this par- two “waves” in isolation give inadequate tone. formed. At good that it threatens to opera to his credit. hap- voices in speech, and therefore not very many ticular method by no means intends that the Their proper combination tends to make for com- cessful one-act attention to itself! It once America he has suffer voice teacher who is also to stress speaking must plete and beautiful tone. Since coming to pened that a background score from excessive competition. give any other worked in Hollywood and, in addi- JACKIE COOPER notice Perhaps we should try to explain why a pleas- up favorite major procedure. Any AND BONITA GRANVILLE was too good—it drew Projects and Exercises tion, has had major symphonic away ant speaking voice has money value. The science Stars of RKO Radio Pictures' musical fboth critical and public) i See “The Oldest Authentic Voice Method,” by the author, "Syncopation" I. works played by the Los Angeles, re- known as sociology seems to teach that there found on pages 367-368 of The Etude, June, 1938. Project To free the soft palate and give sen- from the picture itself. The the Indianapolis, the CBS and the are individuals, not a few, whose unexpressed sation of the back head, or naso-pharynx. suit that that particular Lessner most definitely was NBC Symphony Orchestras. Recently Mr. not a field in which an untried as- thoughts affset the organs of speech so that the Exercise: Near a pitch like Middle-C of the composer had a difficult time finding another from the National Broadcast- fledgeling can hope to gain words related to their mental ideas are uttered, piano (men an octave lower) firmly articulate won a commission experience. The signment! Company to write an opera for radio, in nature of the work and the be though inaudibly, through the thus stimulated VOICE ' i^ee.” Repeat several times. But do not over- ing emergencies that “The composer music must up for the lack can arise in performing of background sociologist, are po- practice this syllable or (.Continued which music alone should make it are such that a S speech processes. Words, to the on Page 748) man a competent orchestrator, able to handle scor visual effects, emphasizing dramatic action stands no chance at all unless ’^f. of his musical for any size orchestra < Continued on Page "FORWARD MARCH WITH MUSIC” NOVEMBER , 1943 713 'FORWARD MARCH WITH 712 MUSIC’ THE ETUDE , —

MERICAN MUSIC LOVERS need to cultivate Music and Study Music and Study Z\ a concept of style,” said one of our fore- <* most orchestra conductors recently, in addressing a convention. All that matters is music and the styles of interpretation appropriate for various kinds of music. Style has come to be associated, wrongly, with individual performers, conductors, instru- ments, or groups, rather than with the composers whose music is at stake. Crooners drool over mili- The Modern Organ tary music; conductors distort and romanticize Bach; dance-band “maestros” flatten out the classics into vulgar “hits,” and all these crimes against taste are condoned by saying, “That’s his (the performer’s) style!” Now this tendency, has in the Music World reached the world of organs and organists. This article, therefore, raises three questions regarding style in organ building and organ play- ing: First, what is this distinction now made between “classical” and “romantic” organs? Sec- mcirren Sb. MIL ond, what is the historical relationship between organ and orchestra? And finally, can we not in this palace? , -i t u_ Sonata that he wrote to the per or apply the same criteria to the organ that are Does the picture of Haydn conducting in the Esterhazy Palace give meaning applied to other musical instruments? These cri- lo present fhe first of a series of articles upon the modern organ by Dr. Warren teria embrace the power to interpret all styles of The Etude is pleased music, and the adaptability for mingling with Dwight Allen, famous organist, musicologist, and teacher, Professor of Music and Education, and Chairman of Stanford University California. Dr. Allen was born at San Jose in 1885, and studied OUTH IS HOURLY clamoring for a new other instruments and voices in ensembles, for of Division of Music , Bill of Rights. It calls for a fascinating in- a purpose. at Stanford University, the University of California, as well as in Berlin and Paris. He received the degree Y terest in all its undertakings which seems to of Ph.D. from Columbia University . Editor's Note. throw prismatic lights upon the gay hours of I. "Classical" and "Romantic" Organs childhood and the happy “teen” years. Much ink has been used to explain the differ- Miss Carlton handed Jane a new piece. “For the ences between “classical” and “romantic” music. next lesson,” she directed, “you may start prac- Yet music is not worthy of the name unless it is on fundamentals and heavy basses. The romantic Power Biggs or Carl Weinrich plays old music on glanced ticing on the first page.” Reluctantly Jane both “classical” and “romantic”; that is, unless it organ is at the other extreme. Not content to be the classical organ, we hear the clarity of singing in Color at the title: Adagio from “String Quartet G and inimitable voices, the exquisite curves of well-phrased mel- Glamour has what we call “classical” form, together with an organ, it attempts to imitate the minor,” by Haydn. Stuffing the music indifferently “romantic” expressiveness. When an unimagina- orchestra, with shimmering “strings,” sobbing vox ody, the accents made by long tones preceded by into her brief case, she walked listlessly out of tive composer or performer gives us music accord- humanas, bubbling French horns, flutes of all short ones which seem softer, and all these are the room. trumpets, highly expressive. To play Bach expressively ing to “classical rules” made by pedants, the kinds (hooty, tooty, and cutey) ; trom- course not. An Can you blame her? No, of Study result may be as correct as a skeleton, but it bones, tubas, celestas, harps, and all the utensils without pumping a swell pedal is an art which tone so matter-of-fact and Music assignment given in a in will be just as dead. When a very emotional per- of the orchestral battery and the endless variety every organ student should aim to cultivate. Un- devoid of inspirational value will not arouse am- son makes thrilling crescendos and diminuendos of gadgets in the sound-effect room. fortunately, however, the purely classical organ, bition. How could Miss Carlton have stimulated with breast- heaving vibratos lus- under the hands of the average organist, would this delightful classic? By helping Jane interest in to organize Class and Club Programs that Stimulate Interest ciously harmonized, the effects be nothing but a box of shrill whistles. Even Biggs composition before ow to get into the spirit of the may be very “romantic”; but un- and Weinrich cannot play modern music on it. of technical asking her to start the drudgery less it all hangs together with Old polyphonic music is fine on a classical organ, String Quartet, and mastery. The words Adagio, melodic line and rhythmical bal- because all the voices keep moving. Music in image in Jane’s Haydn, did not create any mental ance, the result is not music. chordal harmony is monotonous,' and the solo- mind. But they could easily be made to do so. Itj ^JJelen Ofipliant ligated Every work of art must be self- accompaniment style is well-nigh impossible. Most of Haydn’s quartets were written while he contained in form, but at the im- Artistic Restraint Needed was Musician to the Court of Esterhazy. An same time productive of emo- to Jane the aginative teacher would describe tional effect. On the other hand, the romantic organ usually candle-lighted music room in the rococo palace can be played with artistic restraint. By not using where musicians under Haydn’s direction played Fundamental Differences certain portions of the organ and by selecting aristocratic audiences dressed in periwigs and to Today this problem is manifest stops judiciously, a skillful organist can play some color to the dull you will have to dig deeply into the piece to dis- curiosity. the number. The Bees' Lullaby, by satin finery. Doesn’t that add Take in organ building and organ old music much more effectively than would have quartet? cover for yourself the tonal message. You will find Frances Terry, in the July, 1938, Etude. What a words Adagio, and playing as never before. On one been possible on Bach’s organs. The master’s like of the ways a teacher can much of this color background in “Music Masters novel title! Start conversation with questions Let us consider some hand, we have “classical” organs, poetic choral preludes often seem to cry out for assignments. Old and New,” as well as in carefully outlined bee baby?” "Have add glamour to these: “Have you ever seen a modeled after the instrument the colors and dynamic variation of the modern composer programs. Audiences always like pro- Soon interest wifi you ever heard a bee’s lullaby?” built by Harrison for the Ger- organ, which Bach could not command in the Biographical and Interpretative Approach grams devoted to the works of one distinctive to practice his rise and the child will be ready manic Museum at Harvard Uni- instruments of his day. And the romantic organ It is helpful to tell the pupil something about master and appreciate biographical notes. part of this descriptive duet. versity; on the other hand, we at its best is necessary for the colorful organ the life of the composer. Not a long, biographical Hearing an entire composition before something practice Correlating an assignment with have the “romantic” organ of the music of modern times, the masterpieces of lecture consisting of unimportant dates and sta- is begun on sections stimulates the aural increases appetite familiar, such as a current happening, radio and movie theater. Franck, Vierne, Karg-Elert, Leo Sowerby, Seth tistics, but interesting human information which in the same way that seeing a tempting town dish its attractiveness. For example, if a near-by The purely “classical” organ, Bingham, and many others. The “classical” organ bears upon the composition to be studied. If his- makes us wish to eat the food. If you will play a about the is preparing for a celebration, talk like that of Bach, has all of its rules out all this music. Nevertheless, the roman- torical or interpretative notes of this kind are piece for a pupil or let him listen Festive. to a victrola anticipated event. Then assign A Village pipes exposed. No dynamic varia- tic organ is usually a sad affair. It moans and printed on the edition of the composition being record, or call his attention to a forthcoming is coming radio by Frederick Williams. When the circus tion is possible as long as the groans, sobs out melodies which were originally used, try to end your remarks with a question, the broadcast, his musical being will long Kern- to recreate to town, give The Cloion, by Carl Wilhelm organist plays on the same sets intended to be cheerful, and with tremolos work- answer of which can be learned by reading the the lovely rhythms and harmonies rela that delight Some music teachers make no effort to of pipes. The purely “romantic” WARREN D. ALLEN ing at top speed in every swell box, the poor lis- editorial comments. Unless you awaken the curi- his ears. The general impression gained in educators. this their instruction to that of other organ, on the contrary, is en- tener is kept in a continual dither. In many osity of the pupil in this manner, she may not way will give him a goal toward which drama ic he can Through this indifference they miss a closed in its entirety, with no pipes visible at all. To say that the classical organ is incapable of churches the art of serene worship has been lost, bother to read the printed matter. If you do not work with zest. cmf opportunity, since by collaborating they The box walls which surround the pipes are of expression or that the romantic organ is incapa- thanks to the yammer-yammer of continuously the circumstances under which a piece was know them. T of formal beauty would be wrong, or only emotional stops, alternating with the muddy Other Interesting have vivid backgrounds staged for heavy construction. When the swell shades are ble created, tell outstanding facts about the com- Methods of Approach among music teacher talk to her friends closed the tone is and when open, a grand partially true. When a sensitive artist like E. lugubriousness of too much 16-ft. tone and sub- briefly should pppp, poser’s life, and discuss the character- Rhythmic introductions are effective. cm If you the public school instructors, and ask pupils a fortissimo “raises the roof.” octave couplers. On purely romantic organs the his style found in the music under first ask istics of a pupil to tap the rhythm on a 1 is tambourin their school in social stu The tones of the classical organ are bright, bright clarity of old polyphonic music as im- or work. When a class examination. tom-tom as you play the piece, it will muS color be easier is busy the clear, and silvery. The color is “pure organ tone,” possible as is modern on the purely classical important composers present more of a and with a project on Holland, Less more enjoyable for him to learn to some organ. play the teacher may find advantageous to assign with no attempt to imitate other instruments, but ORGAN problem, because it is difficult and often impossi- selection. it Helen- with emphasis on the upper partials rather than To understand this ( Continued on Page 750) about them. In such cases, such piece as Little Dutch Dance, by ble to find anything Discussion about a piece will frequently 7W excite Cramm. (Continued on Page NOVEMBER, 1943 "FORWARD MARCH WITH MUSIC" 713 714 "FORWARD MARCH WITH MUSIC" THE ETUDE — ! —

to go deeper into the study of iitera ture. But it is only through ERIOUS band musicians are endeavoring, Music and Study careful possible, to increase the dig- Music and Study research in the field of choral in every way iitera medium, to widen the scope ture that this “talented S nity of their musician" literature of the symphonic band movement, will find his true salvation and and Your editor is most pleased to present the first i n of this type of ensemble turn, the musical salvation so that the programs of two articles by the eminent young choral Show of his value with of or for, compare in musical those conductor, Dr, Maynard Klein. The work of Dr. Music students; however well the may choir type of symphonic organization. It was Klein at Newcomb College and Tulane Univer- may sing, the important any other question to sity, New Orleans, Louisiana, is nationally rec- this purpose that the following experimen- be raised should always be, “What with ognized, not only for outstanding performances did the symphonic band tal work was carried on in The Band as a Medium for sing?” And then but also for the excellent repertoire contributed they the question and in the classes in brass and woodwind ensem- to the field of choral literature. “How did they sing?” When the of Musical Art of the Juilliard In this article Dr. Klein discusses program ble at the Institute choral director possesses this some- building and its effect upon the music education School of Music. thing called musical background, choral field. Next month our author will present he The basic hypothesis worked upon was the list of materials for high school and college be sure that both questions a may will Symphonic Accompaniment idea that a combination of instruments could choral groups . Editor's Note. receive favorable answers. There is be found, within the limits of the symphonic no substitute for a truly musical pro- band, which could directly represent the string presented solely for music interest. gram choir of the orchestra. Obviously the clarinet PHENOMENAL GROWTH of choral sing- should he go about getting this intangible he How section suggested itself here, as this valuable ing in our schools and colleges is common background? It is not to be had from a publisher’s ridtmann choir is already basic in the modern symphonic T knowledge. The few choral organizations of catalog! The music catalog is a most important the the band in which it carries much of body of recent decades have multiplied to the extent that choral director only Technician, Fifth Grade device for the when he has orchestral strings. school has its glee club or chorus. The sufficient every now the musical background to use it in the In support of the conviction that the clarinet pioneers of music education and those who are choral teacher should proper way. The begin by section in itself could serve as a complete wind active in this development are worthy of the admitting the fact that he know but an inkling orchestra, corresponding to the string orchestra, for without their foresight and highest tribute, of the great amount of literature that is available, was the success which had been achieved by unwavering interest in the attainment of an ideal, should begin a systematic in the and then he program using this section as a complete choir Arthur Christmann was born in of a long line of musicians, his father having been this growth would not be possible. It is not at all of historical research and study of materials that classes in woodwind ensemble at the Institute member of the New York Symphony and New York Philharmonic Orchestras. His musical education began uncommon that choral singing should flourish in with piano the age of five, and later he studied at the Institute of Musical Art and at the Juilliard are so easily procured at this time Study of social of Musical Art. In these classes a clarinet en- the at a country like ours, a nation where unbounded Graduate School, taking his B.S. and A.M. degrees at Columbia University. At the Juilliard Graduate as well as musical history, study of the allied arts, semble had been developed which played music School he held a Fellowship in the Conducting Class under the late Albert Stoessel, and from the Insti- youth and enthusiasm make it possible to accom- and reading of the literary masterpieces should written for string orchestra, and in most cases tute of Musical Art he received his Artist's Diploma, as well as the annual Morris Loeb prize of one plish the apparently impossible. In music educa- be the point of departure for ai. appreciation of played it directly from the original string parts. thousand dollars for excellence in scholarship. life, tion, as in all other phases of American Since 1934 he has been on the faculty of the Institute of Musical Art of the Juilliard School of Music, the values of great choral music It may seem dis- Depending on the original key, the B-flat instru- success has been secure because there is no con- where he teaches clarinet, brass and woodwind ensemble, and is conductor of the symphonic band. He couraging at first; for the teacher will suddenly ment players read either just as written, thereby cession made to failure or defeat. has played first clarinet with many orchestras in and about New York, including ten seasons with the become aware that he knows so little of the great transposing the concert key of the piece down Chautauqua Symphony Orchestra and ten with the Worcester Music Festival Orchestra. In addition, he Now that we have accomplished this apparent from which he is to choose in building the one whole tone, or transposed themselves, thus has found time to direct several choruses and community orchestras in New York City. At present Mr. of choral groups in music success in the organization Christmann is on leave of absence from his regular duties for military service, serving as solo clarinetist repertoire for his students. This, however, should placing the piece in its correct concert key. our schools and colleges, let us analyze the aims in the U.S.M.A. Band at West Point . Editor's Note. not be the time for despair; it i the redeeming and objectives that have been the motivating The Clarinet Ensemble realization that makes growth possible. He will in most cases. The following statement may force clarinet ensemble, as it was set up in these proper perspective for a cue to hum- The it is our opinion that in then gain a seem a bit strong, but B-flat clarinets, bass clari- that he classes, consisted of lofty values of choral singing- bleness before the great. It is only then many instances the clarinet. The first violin, ns and nets, and a contrabass diminished to student and conductor will be able to worship great art a religion, have been violin, and viola parts were taken by begin to be second thus banishing all hope of realizing only then that his love of beauty will exploitation, B-flat soprano clarinets; the violoncello and bass richer life that would be appar- felt by the students. This Is no shallow thing, the subtle cues to clarinets and contrabass clarinet, parts by bass to insure sufficient practice in it. The viola part, Slight the religious study of the great music such as the presentation of a program before a A Drawback ent through respectively. The alto clarinet was not used, MAYNARD KLEIN of an on the other hand, is quite another story and that is our cultural heritage. The choral director civic group; it is, rather, the unleashing B-flat soprano clarinets for the viola there is reason why an organization Using than although no requires special treatment. If the piece was to .must project his thinking beyond a mere concert inner drive to express something greater might part has but one slight drawback. It will be noted which ordinarily uses one or two of these in the original key, the B-flat players be realized. self, possible through the be rendered program if any of these values are to lutely necessary that he should be a thorough, an expression made of that the clarinet lacks the lowest two semitones not add them to the viola line. The ensemble transposing their parts one tone higher, schools have placed the choral practical musician, and that his working knowl- minds of great masters. own Too many of our to render cer- of the viola, C and C-sharp, concert. It was clarinets just described was able then the viola part could be read as if it were in the same category with its athletic edge of harmony, counterpoint, analysis, and How will the choral director know when he has notes occurred very groups tain string orchestra pieces with genuine dis- found, however, that these in bass clef for the B-flat clarinet, with the proper teams; in other words, making their purpose that sight-singing is beyond reproach. He should pos- found music that will call for the best that is infrequently, and when they did it was always tinction. Naturally the pieces played in this way correction for accidentals, of course. Actually the of excelling in their locality, to the educational sess all the attributes that make possible prac- him and his students? Only through sincere study possible to make a slight alteration or adapta- had to be selected with great care, for it is player reads bass clef the soprano B-flat There is no doubt that tical He may on detriment of the students. musical production. His knowledge of the and an uncompromising love of an ideal. knowl- tion which never destroyed the integrity of the obvious to anyone who has the slightest clarinet exactly as if he had a bass clarinet in competition for excellence will do much to moti- many problems of voice production and say, that I like”—but If should ever choral “Good music is the music that not all pieces composition. this problem become edge of orchestral instruments his hands; that is, the middle line C of the viola, vate the development of any music group (the training should be unquestioned. (The various he his ability in for instance, in solo for the viola should try sincerely to evaluate written for string orchestra would be suitable acute, as, a contests and festivals have proved this point), successful methods of organizing choral selecting have faith in impaired any change of groups at the moment. He should for this direct adaptation. The balance was sur- which would be by

be considered as inciden- are dealt it as -r.y. - but competition should with in detail in any number of books his judgment, never deem ~-j was fingered like <„ register or notes, it would indeed be a time when but he should prisingly good, even though it was necessary to j<> appreciation of the master- that are easily accessible plane tal to the study and to the choral aspirant, i final, higher the use of E-flat alto clarinets in this for his taste will develop to a rely on two bass clarinets and a contrabass to some pieces of choral literature, past and present. If he is sure that he possesses this practical mu- as thoughtful study progresses. B-flat soprano section would prove a great boon. A few B-flat balance the rather large choir of bass clarinet, with the thumb and first sicianship, and if he has also a pleasing back- on the E-flat also help, approach With the relative attainment of a musical in the small clarinets with the low key would The Point of Departure clarinets. In rehearsal rooms and two fingers of the left hand. It was found advis- and a love of people, he is ready to works or a few clarinets in the section, especially go to the ground and an urge to sing and teach the recital hall of the Institute this bass was per- A the point of departure for able, therefore, to place on the viola part those What then should be basis of the whole problem—musical background. that have property of the if one or all happened to have the low E-flat become the artistic fectly adequate. Later, in the large concert hall were already the most fluent in the choral teacher in school and college? The It is right here that the trouble or- students who begins, for the choral director, the whole problem of choral to am- and would completely cover the range of the of the Juilliard School, it was necessary their reading of the bass clef. In cases where answer is MUSIC! This answer can be meaning- apparently talented person described above will ganization must manner different this ensemble, viola. In this case the players having the A clari- be treated in a plify the bass somewhat. With the B-flat soprano clarinets were reading their ful only to those teachers who have a genuine and find it very simple to approach an gW nets could change to them just for this passage easy success from usual. He will no longer say. “I have a supplemented by a piano playing the cembalo interest in good music and an apprecia- without doing the own parts exactly at the pitch written, thus impartial things , that we hold important club; Instea “Concerto and immediately thereafter change back to their what music should I get for them?” part, public performances of the transposing the piece one tone lower in concert tion of our cultural heritage. To realize its import, as the greater aim of the choral music B-flat instruments. program of our he will say, “There great fund of Grosso in of the “Christmas is such a G” by Handel, and key, it was found most advisable to write out the the person who would direct choral music should schools. He will present good “shows” ge that seem that must be given that we must Concerto” Corelli were given at the school. Out of all this clarinet ensemble work grew desire to seek out the best a hearing by viola part; otherwise the student who could not have an insatiable effective at the moment—he will get an singers the idea of experimenting with symphonic ac- immedi- together ' gather In class, out and played, been produced by the old mas- and sin : He Will then other works were tried read viola clef would be forced to read it as literature that has ate response from the choir by selecting ve for practical public performance. music to express something greater than themse many with a high degree of success. companiments should have, as well, a sincere and that is “catchy” treble clef, transpose one tone higher and an ters, and and falls in line with the prepai The first accompaniment attempted was that of de- through the music rather than merely to The viola line was the one which, as may well the proper correction for honest approach to the music of our own modern mands of entertainment. Arriving octave lower and make so easily at this them or to be imagined, greatest difficulty. It a concerto for a wind instrument, the “Horn sensitive to its correla- for a concert, a trip to a contest, caused the accidentals, a process which would be just a little production. He should be type of success, he is sure to deem it unnecessary them with that^ was amazing to note how quickly the entire Concerto in E-flat,” Kochel No. 417, of Mozart. the other arts, and conscious of the a key or some other trinket too complicated to be comfortable for anybody tion with r Here, in addition to the string orchestra basis, no bearing on education. These section of clarinets improved in the transposition place it held in the scheme of life at the time of sound music concerned true a have Mozart has scored for the traditional two horns phies should have a place only after the of the violin parts. As a matter of fact, we its composition. BAND, and two oboes. These could well have been ren- ORCHESTRA is realized. gathei become convinced that if the director grades It would be dangerous for anyone to feel that For example, he will then group because the work properly and proceeds slowly, carefully, dered in their original instrumentation, but it the mere reading and study of the great master- of singers to sing madrigals, not and ORCHESTRA and o BAND was decided, so far as the performance was CHORUS is the he and with infinite patience, this group method m pieces would be sufficient. The choral teacher “fad” at the moment, but because Edited by William D. Revelli Edited to take place in the large Juilliard concert hall, by i i I is and i him transposition It W a m D. Re these works to an excellent way to teach should be competent in many ways. is abso- veil I in relation to their meaning the whole Po-9e scheme of ( Continued on NOVEMBER. 1943 "FORWARD MARCH WITH MUSIC” 717 716 "FORWARD MARCH WITH MUSIC’ the ETUDE ;

more comfortable which is always in flat are any passages whic kev especially if there in the small ensemble there ODAY it is realized, as never before, that Music and Study Study However i However, is so Music and for the clarinets. much five years of a child’s especially high more of the transparency of chamber the first life are of these high passages that music that there are too many of l T extreme importance to his later develop- any passagework muddled because of the had best be avoided p res " particular concerto signature of too ment, that the influences and environment sur- work at the ence in the many sharps of this treatment. In our ( 01 during this period tend to degree, so purposes will stand out in ugly rounding him form to build up the intensity-scheme one Juilliard School flats) nakedness. Institute of Musical Art of the habits, reactions, and thought-processes which flute the • to speak. In accordance with this idea, a upper lines Closely related to consideration of Music we always kept the three key remain, with more or less modification, through- parts, to play with of of the style of writing for was added to each of the oboe were often tried that the original pure clarinet tone. Experiments out mature life. The first year of music study the oboe and thicken the sound slightly, and the strings. The conductor will do well to stay however. One of these was awav relationship to a child’s later musical horns. As the at rehearsals, in bears de- trombones were used instead of as noted from any concerto which there is a addition of flutes to the upper line, predomi- velopment—a fact which some teachers and far in E-flat and did not lie very nance of writing which is strictly First Year horn parts were (mrnfohla Kilt. t.llP dftVlC6 The nk/virA ffVio vncnl f idiomatic for into to too many parents take little account. This high in range, it was easy for the trombones strings and which cannot possibly be public performance. made to perception is one of the original was never used at a lack of main reasons why play their parts by reading from the requisite “come off well” on woodwind instruments. In concert accompaniment, a prime This so many children—estimated as high as fifty per music, playing as if the horn parts were category also includes passages horn doing the accompani- which, in range studying before they It Can be Made Interesting for the Young Student (In is that the instruments cent—give up have passed How in bass clef and transposing up one octave. lie well outside the effective upper the soloist. This should be limits of the elementary stages. very likely ment do not cover the the light of future experience it is the clarinet. An occasional passage may especially remembered when dealing with indeed be A witty Frenchman once said that a child’s that this building up of the intensity-scheme changed in some minor way to wind instruments, suit the wood- are its parents. The idea and the less transparent timbres of first enemies may at would scarcely have been necessary, wind instruments, or even be transposed and in this type of adaptation the conductor to a first seem fantastic, but nevertheless it calls for wind parts of the original would probably have this by Jdctrold )3edlcey rendering the ac- lower octave, but privilege certainly thought; in the field of music, in- would never be forgiven if, in should some and espe- been even more effective in their original not be abused. companiment on wind instruments, he “snowed cially of violin study, there is more than a grain strumentation.) would favor Closely related to this question is that of truth in it—-though the parents are certainly arranged and under” the soloist. This requirement the of The Mozart “Concerto” thus whole general style of the a small but competent ensemble. At a subse- piece selected. The motivated by the best of intentions. No doctor, off quite effectively at the concert, adapted came method of adaptation which is performance of the Bach “D-minor Piano the subject of no school, is considered too good for Jimmy; if have an excellent recording taken dur- quent and we this article is not at all suited to Concerto,” only the very best clarinetists in the the more bril- he wants to play the violin, however, his fond his music study which at home be quite them this performance. There were a few places — may Kreislers or Heifetzes, the teacher should ing liant, modern concertos. If these were used, and only two players were are to be played parents are likely to think that any teacher is different from it is at his lessons. insist where the highest clarinet voice, with the bril- school what Such that from two to four months—depending it would be far better to for first placed on each of the upper three parts. The make arrangements for good enough the year or two—the chief was the case with twelve-year-old Mary. She was on the quickness liant clarity of that instrument in certain and natural ability of the child full band. Its brilliancy kept in proportion. These selected play- the and resources are considerations usually being that the teacher live very talented and loved her lessons but she registers, tended to obscure the more sober bass was — —be spent on preliminary training in the rudi- his highly developed embouchure con- needed here. As a matter of fact, full band ac- nearby and that price be low enough. Most hated to practice. her mother seriously middle register of the solo instrument, but this ers had such One day ments of music, and on elementary ear-training. occasion demanded, they could companiments for solos and concertos are emphatically it must be said that this is a mis- reminded her that her was not so noticeable or serious a fault that it trol that, when noth- lessons were quite an ex- This will make the task of the violin teacher that the most delicate ing new. Those who have heard the taken idea: if the could not have been easily corrected at subse- render a tone so soft concert pense and that it was much easier, and the early violinistic difficulties soloist could be distinctly work of the United . States Military child shows a musical practice quent performances by a little more attention to nuances of the piano Academy her duty to of the pupils much lighter—for he will be able Band at West Point will recall with instinct and a desire balance, and by a reduction of the number of heard. There is no reason why, if the conductor pleasure the well so that she could to give his mind to playing the violin without, many excellent symphonic band to study, the best players on the upper part. is sufficiently demanding, an ensemble consist- transcriptions get the most benefit at the same time, having to learn notes and available teacher is ing largely of competent clarinets cannot render of concertos which have been made for the dis- from them. “Oh dear,” intervals. none too good. This For the Larger Concert Hall one of the softest sound textures conceivable, tinguished artists who have appeared with his said Mary, “I do wish This preliminary work should be done at the does not necessarily The significant adjustment which performance for the instrument is noted for its ability to do organization by its able director, Captain Francis I had money of my piano. The child may be taught to recognize the mean the highest- necessary addi- this, and many instrumentation treatises bear E. Resta. This technique of direct adaptation own to pay for the les- notes on the keyboard, and to play and sing them in a large concert hall made was priced teacher tion to the bass line, which was found to be eloquent testimony to this characteristic. At no of the accompaniment is far better suited to the sons—then I wouldn’t before being shown their pictures on the staff. rather, it means one insufficient when carried by the two bass clari- point in the Bach “D-minor Piano Concerto” did older concerti, in which the strings form the need to practice!” Furthermore, he should learn the difference be- who has a gift, inher- nets and contrabass clarinets alone. A tuba was the soloist have to force his tone in order to main, if not the only, body of accompaniment, tween a whole tone and a half tone; he should ent or acquired, for Responsibilities added to the 16’ bass and a baritone to the regu- “come through,” and at no time did the ensemble in which the woodwinds are used conservatively, become familiar, by ear and on the staff, with all arousing the interest of the Teacher lar 8' bass. Later, however, the baritone was cover him. if at all, and in which there is no heavy brass, intervals up to the octave; and, by no means and inspiring the mu- replaced by a baritone saxophone. Strangely In the case of our work and experiments in Such composers as Bach, Handel, Mozart, Haydn, So much for the re- least important, he should know the relative sical imagination of enough, although it would have been difficult to this field all these accompaniments were played and their contemporaries are best for this sponsibilities of the values of the various note-signs and rests, and children. It may be a foresee this, the baritone did not blend too well directly from the original orchestra parts, the treatment. parents. Let us look at the elementary rhythmic combinations—such as young woman but a with the reeds, although the tuba served its pur- players themselves transposing, although this is Finally, many will object to the monotony of those of the teacher, 2/4, 3/4 and 4/4. year or two out of pose admirably. Its broad but unobtrusive tone only a secondary feature of the idea. True, our color which is inevitable with such a small se- and examine the The means by which these essentials can be the conservatory, or gave the ensemble just that breadth and sym- students derived from the experience great bene- lection of wind instruments. The validity of this means by which he taught are many and various; each teacher will it may be an elderly phonic richness which it lacked. fit in reading and in transposition practice, but criticism cannot be denied, and the only answer may best carry them have his favorite approach. What is important, man with years of ex- out. however, is In later performances and experiments it was the chief value and the important thing was possible is that this combination has practically that the teacher avoid committing perience behind him. Certainly, the basic himself to the use of any one method every child found that almost any bass instrument with a that we were enabled, with a minimum of the same relationship to the symphonic band as ; Whoever it is, the par- responsibility of the has a pronounced blending and unobtrusive tone could be used change, to present some of the great master- the string orchestra has to the full orchestra. individuality, and the teacher ents must seek out teacher is to develop must be ready to modify his to reenforce the bass and contrabass line. At pieces of earlier concerto literature on a sym- Lacking all of the contrast of the full orchestra, approach accord- this teacher care- bassoons contrabass viols by to the best of his abil- ing to the needs of each pupil. In other words, various times and were phonic band program. Using only the instru- the string choir still possesses a milder beauty ful inquiry, asking ad- all served the purpose splendidly. ity the child’s innate he must have method, but not one particular added, and ments which seemed desirable, and not feeling and a charm of its own, achieves some va- and vice of those who are The chief requirement is that the bass line be it necessary to musical gifts, and method. This applies not only to instruction in employ all the brass and percus- riety within itself. The same may be said for our familiar with the mu- gradually engender a the rudiments of music, but also instru- built up in volume so that it has parity with sion of the modern band, we were able to pro- wind-accompanying ensemble. Lacking the va- to the sical life of the town. the upper lines, and that it have sufficient heavi- duce a consistent love and understand- mental teaching which comes later. texture which at least simu- riety of the full band and even the flexibility and enrich entire Once the teacher is ing of music. How this ness and breadth to the structure. lated the steady body of string tone which was transparency the play- of the string orchestra, selected, the parents The Game Element The mere presence in the ensemble of an instru- so basic in all of these early may best be done concertos. The di- ing of an ensemble such as this, if clean, in- should co-operate With children, ment of the 16' pitch is some guarantee that the rector who would like to try this have must vary with the very young the teaching of ele- sort of thing telligent, sensitive, and eloquent, will still STEP with him as fully as THE FIRST temperament and mentary solfege should be into sort latter requirement will not be entirely over- for himself, but who does not feel that of made some his play- much to recommend it, even to serious lovers in our possible, giving him This is a baby picture of Robert Virovai. the Hungarian training of each of a game, for this is the easiest way to hold a looked, but it was found case that the ers are up to the transposition involved, extending can music who will see in it one device for violin virtuoso. Born March 10, 1921 in Daruvar, Jugoslavia, presence of one tuba, and probably of not more easily all the information he teacher, and with child’s attention; however, as soon as interest has provide transposed copies for them and the In ad- scope of symphonic band literature. needs regarding the he made his American debut at the age of seventeen with than one, was a sine qua non. still do less work than if every individual pu- been awakened, the game element should be he were to make a com- dition, that this the New York Philharmonic. Note that in the accompanying one must not overlook the fact child’s likes dis- Carrying out the same principle, theoretically plete arrangement of the and pil. Much has been gradually eliminated and the genuine musical work. This is especially simple would article Mr. Berkley advocates teaching the third position first and direct technique of adaptation likes, traits of char- it would be possible to add other instruments to true if he takes advantage written on the sub- values substituted. As early as possible the pupil of one of the nu- actually more concertos make available many acter, outside inter- ject; justice should be encouraged think of musical the other lines if desired, provided always that merous, excellent, modern processes band to do to to signs of music re- for all types of instruments on symphonic no one line become over-prominent and that no ests, and so on. They should carry out so far as it within the limits of a single article is obviously for what they actually are, and not merely in production for duplicating identical parts. woul programs, a circumstance which, in itself, is instrument with a strident or over-reedy tone be in their power any suggestions he may make impossible. However, a few interesting points terms of something else. Notes, at first, may be add immeasurably of these pro- added. Such instruments will stand out individ- some Umitations to the variety regarding help with the child’s home practicing. can be discussed and some suggestions made. birds perched on telegraph wires, but very soon grams. ually will never blend. Saxophones, E-flat During the first year, parents and teacher should Notwithstanding the opposition likely to be they must be recognized as signs which repre- and There aie, of course, many limitations out in thi With all discussed, see B-flat tenor, could, for instance, be used type of these limitations just each other fairly frequently for the purpose met with from parents who wish their children sent actual living sounds. The use of similes is, alto and adaptation. In the first place, on only feeling is that to be said of to reenforce the second violin and viola lines; limited number of there is still much solving the problems which will inevitably to start immediately on the path that will make of course, of the utmost value through the whole concertos are practical s for thi the positive availability of tn' arise is grave danger here, since every sym- treatment. side. The ease and on both sides. This will bring about a mu- course of teaching, but the simile should be re- but there They must be in certain keys On th type of accompaniment place within t tual phonic band leader knows how few saxophones whole, only works in simple should understanding and confidence which will ferred to the music, and not vice versa. flat keys, and per range practice sufficient quality fit of our better band organizations a make the tasks of both teacher and parent much Another essential in good teaching is that each are played with blending to haps the very simplest sharp keys, VIOLIN ought to b method concer easier. into a symphonic ensemble at all. Flutes can considered. In this of expanding the scope of the Moreover, the teacher will want to be kept new term be explained clearly as it comes into use. restriction the small ensembl par Edited by Harold Berkley program. In addition, which the well informed as to the pupil’s attitude towards For instance, the pupil should be told that major form a very good addition to the first violin line, is not much worse off than the the training entire banc ticipating e 751 players or ( Continued on PM November, "FORWARD MARCH MUSIC” 718 "FORWARD MARCH WITH ” 1943 WITH 719 MUSIC the etude ;

ing work. If the teacher has within him roduce a ple 1 "8 some Music and Study rarely if ever P „. enthusiasm of the Study bowing will bowingin thing of the gardener and Music and the teaching of^ o th~ quality. Unfortunately, explorer he will always enjoy teaching, and his after the first; f is often neglected, pupils will enjoy studying with him. quarter tones. This was evidently in deference to technic, J Furthermore interests of left-hand means greater, and minor means smaller, that in the there he will have the satisfaction of knowing the afore-mentioned natural drop of the voice care were taken with it, that of the pity, for if more the love and understanding its the major scale is so named because v through him 0f and quavering about the lower tone. Inci- more satisfied and interested mu interval between the first and third notes; would be is being brought to many who will dentally, they named these strings not according greater sic later pass in- students. . To accomplish and the minor scale because of the smaller important it on to others. this is surely to pitch, but according to the way the lyre was material a teacher uses is an the terval between these notes. The mark of a successful life in music. held with the tone lowest in pitch farthest away. studen , determining the attitude of a time comes to begin lessons on the factor in Thus the lowest note became the highest, and When the wide acquaintance The Trail should, therefore, have a violin, the teacher must decide for himself a he vice versa, to the confusion of good Bishop material that is available, revolution- with the teaching question which may seem somewhat same se Ambrose. a good plan to use the ary: Should this pupil be started in the first is by no means The diatonic form was like our white notes child who is sen- on books for all young pupils. A position—or the third? of the piano: the descending Dorian diatonic Mode self-conscious—the two qualities of- Opportunities for difficulty most children sitive and the All teachers know the make quite Tempered running E-D-CB; A-G-FE, with two half-steps at at first of the hand ten go together—may find in attaining a correct shaping going the end of each tetrachord. Our ascending major if he finds he is not difficulty greatly increased slow progress, and in the first position, a (possibly American Composer mode reverses this: C-D-EF; G-A-BC. From the his book as rapidly as another child has short arms and fingers. It is, through if the the same Dorian Mode, the Greeks finally devised a two- less sensitive) pupil is progressing in indeed, a highly unnatural shape for the hand octave scale as of A-Minor. This they called the subconscious self-defense, to book, he is likely, in ( Continued from Page 705) and arm to take, and both have to be gradually ur S. “Perfect System” and from it all their modes were trained to it. Discussing the problem some years derived, as the church modes were later. It had wise to avoid using the same group of students who were teach- teacher would be ago with a my pupils disheartened and completely discouraged by the no half-steps, but a later Dorian Mode descending book for both pupils. Competition between ing beginners, I suggested that they start all refusals and I turned to song and ballad from D instead of E, demanded B-flat: teacher, but there writing a D-C- position. This is often a great asset to the short-armed pupils in the third with the help of the poetess, Nellie BqA; G-F-E-D. This, ascending, became the first liability. Richmond results were so imme- are times when it becomes a they did, and favorable Eberhart, then living in Homestead, Pennsyl- HE PATH of the tempered scale is a long, Most primitive scales run downward. So do cul- of the four Ambrosian Modes, the others begin- diate that the question arose whether it would It Suggested Material vania. At the time I was teaching nearby at long trail. winds out pf the mists of tivated scales, and we now know, after long cen- ning on E, F, G. all beginners in the third not be advisable to start seventy-five cents a lesson! Collaboration T antiquity and enters Europe from the turies of misunderstanding, that the ancient If Pythagoras taught purposes, the best violin method with us to derive tetrachords position. Experience has proved that many dolor- For general her was most fortunate for me; it marked de- Middle East. It passes through the glory that was Greek modes were sung descending. Bishop by measuring string-lengths, Claudius Ptolemy probably that of Nicholas Laoureux. It presents a When can be avoided if this is done. is ous hours cidedly favorable turn in my musical life Greece and the grandeur that was Rome. It is Ambrose of Milan tried to revive first described in full the bugle-tones problem in the simplest manner; the and it them in the or “scale far as I know, there is not in print a book each new So has continued until the present. Our joint lost in the twilight zone of the Dark Ages, emerges fourth Christian century, he of nature” revealed in the harmonics of instructions are clearly expressed; it is work had them ascending. a single of third-position exercises suitable for the pupil verbal takes up the biggest part of my total output. again in the Middle Ages, widens out in the The resultant misunderstanding lasted until string. If the whole string is tuned to C, the har- the well graded, and the exercises and studies per- who is just beginning to play. However, with Renaissance, and finally becomes a broad the technical point high- within the last half century, or less. monic series is as follows: and a little thought, no fectly designed to develop aid of manuscript paper A Modest Beginning way after Bach demonstrated its worth with his consideration. The photographs in The discovery and tempering of scale steps has teacher should have difficulty in producing exer- that is under We first sold a short evangeli tic hymn to a “Forty-eight Preludes and Fugues for the Well- been the province of instruments, not voices. The pupils. The the first volume indicate a rather old-fashioned cises sufficient for the needs of his Tempered Clavichord.” trumpet violin and bow, and may Philadelphia publisher of church music. The may have revealed the common chord; preliminary open-string exercises can be studied method of holding the 12 3 456 788 10 11 12 modest payment we received — $2.50 — would A tempered scale is any ladder of notes which but the measurement of the steps by mathe- teacher intends to well be removed before the pupil begins to use from the violin method the modifies the The numbers reveal both the order of First Vio- scarcely appeal to a composer today. At that time “chord of nature,” the bugle tones. matical calculation is derived from the harp: the impor- while studying these the pupil should the book. For little children, the “Very use, and diatonic scale has two small steps or semi- of strings, tance of the notes and their ratios in string- Peery, Maia Bang’s “Violin it meant more than money. It meant a real begin- Our behavior short or long, thick or thin, be encouraged to rest his left hand at the shoulder lin Book” by Rob Roy tones in among the whole tones, but if tuned true various tensions. lengths. If No. 1 is the whole string, No. 2 Method,” and the “Violin Method” by Ann Hath- ning. Almost immediately came a bigger oppor- at Thick strings are heavier and of the violin. This angle of the' arm and hand represents musical setting of Mrs. Eberhart’s to nature the whole tones vary in width. The vibrate more slowly than thin ones. one-half; No. 3 is two-thirds; No. 4 is the shaping neces- away can be strongly recommended. The “Graded tunity when my brings about fairly naturally three-fourths; and so on. The string-lengths vary piano The Tryst was sold for ten dollars. During that chromatic scale has twelve half-steps, but these, Thousands of scholars have contributed to the sary for the third position. Violin Lessons” by Louis Bostelmann have too, are uneven unless equalized or “tempered.” forming and tempering of the scale, but four inversely. Nowadays we reckon in pulsations. accompaniments from the beginning—which is year and the next we sold about lifteen songs for There are other temperings than ours. There are names give us the turning points of its history: These vary conversely, doubling in the octave, First Position After Third interesting for the child and a spur to his similar amounts, most of them of the ballad type Arabian, Persian, and scales more .remote which Pythagoras, the Greek (582 B.C.) Claudius and the ratios are 1, 1:2, 2:3, and so on. position may begin as musicianship. which was so much in demand at the time. We ; Practice in the first We are not here concerned suited our talents to the needs of the current have smaller steps and more of them; scales with Ptolemy, the Alexandrian (second century) with mathematics, as the student is able to play (in the third As soon as the pupil has progressed sufficient- soon wider steps, however, but with the musical facts revealed ambitious and fewer carefully graded by Gioseffe Zarlino (1517-1590) ; and Johann Sebas- by all four strings with ly, he should be given a book of specialized market. Youth and Old Age was the position) quarter-notes on Claudius Ptolemy. “60 bought by the mathematical calculation; and some, such as the tian Bach (1685-1750). Namely, that if a scale is a nicely rounded hand; also—this is important studies. The Studies” by Wohlfahrt are, of title of my first piano piece. It was five-toned pentatonic, which are but roughhewn. Pythagoras made himself a monochord, a one- formed in steps derived from the “scale of Na- slowly, with his first, second, course, well known and invaluable, but many Theodore Presser Company and honored by John —when he can play, ture,” arrange- Hubert Parry says that, while the pentatonic is stringed harp with a movable bridge. He found its intervals are not in accord with ours. and third fingers while holding the fourth finger pupils find them dry and uninteresting. Should Philip Sousa when he played it in band universally found, its steps differ somewhat in that half the string-length, pitched, say at E, We measure intervals in scale-steps, as unisons, lower string. The value of this exer- this be the case, the teacher may well substitute ment at the old Pittsburgh Exposition at which on the next seconds, thirds, fourths. “28 many width in every region where it prevails. produced the octave of the whole; two-thirds We modify these into cise lies in the fact that it train's the hand to the Melodious Studies” by Josephine Trott, his band played every fall. Although I sold The trail of the tempered scale reveals an age- produced a perfect fourth, E-A, and three- major, minor, augmented, or diminished, by the the extra turning necessary in the first position. for they contain much valuable material and compositions, the years from 1903 to 1907 were many old conflict between voices and instruments; be- quarters gave a perfect fifth, E-B. Beyond that addition or subtraction of half-steps. But Mother To start with, the transition from the third po- some of the studies are well adapted to the de- filled with the usual rejection slips from tween the human tendency to sing from a high he did not go, because of a comma or “gap,” a Nature admits narrower intervals than the half- sition to the first should be made with the velopment of bowing technic. other songs and piano pieces I sent out to Eastern and tone down and the overtones of nature which little quirk in the scale of nature that may be step : small or large whole steps or even small or fourth finger, so that the note arrived at may Books of elementary pieces are legion, and a publishers. I was alternately discouraged rise up from a root or “fundamental.” better explained after we have met Claudius large half-steps. The notes in brackets are flatter be tested at the unison; or with the third finger, postcard to any music publishing house will bring encouraged. Mercifully, At Dawning and From the win Ptolemy. The Comma of Pythagoras is what than ours, and the other intervals are crowded when it may be tested at the octave. catalogs from which the teacher can make an Land of the Sky-Blue Water came along to A Long Misunderstanding causes the need for the tempering of the scale. or expanded accordingly. For present purposes One of the best means of encouraging a child’s ample selection. Mention should be made, how- public approval (over three decades) and there this applies particularly to the perfect fifth be- ever, the The voice is a glider. It soars or dives between This Greek, however, bequeathed a pretty prob- interest in violin playing is to make him aware of “Folk and Master Melodies” by Wes- were few rejection slips from then on. high tones tween Nos. 4 and 6, as we shall see presently. ley Sontag, for and low, with no fixed ceiling and no lem to his disciples. If two-thirds of a string- of his tone. Practically all violinists—even young for they are excellently graded and While earlier songs had been sold outright permanent Nature is not concerned every piece is landing place. It has no “keynote” of produce a perfect fourth, and three-fourths a with scale making. ones—find tone the most personally interesting of genuine musical worth. The lat- cash, the arrangement made with the Oliver Dit- its own from Every root-tone at any pitch its ter point is a which the “steps” of the common perfect fifth, what will the difference between produces own element of their playing, and the teacher who of great importance in developing son Company concerning At Dawning marked chord arise, as from a bugle, requiring smaller two-thirds three-fourths, or one-twelfth, harmonics regardless of all others. Thus, if No. 1 interest in his pupils is not a pupil’s love of music, for a foi and can develop this child often has in- departure for us. We sold the song to them steps between. A scale is a graded howl, and the produce? Call it a “tone.” Can you make an even is F-sharp, then No. 5 would be A-sharp, but it dropping out for lack of in- stinctively good taste and if lkely to find them quickly detects the fifteen dollars, but then I asked whether, story of the tempered scale tells how it became scale of such whole tones between the octave? would not be in accord with the B-flat derived centive. The imperative need for good intonation cheap or meretricious. McCormack to could persuade Bond and John graded. from as root. Hence the need for student, of course, Ensemble playing You cannot. Our own whole-tone scale is possible C “tempering” must always be kept before the is another ready means of do regular royalty the song, they would give us the The voice so that one black key will do for trained to realize that a awakening interest, and also wobbles and quavers in modula- only if the scale is tempered. Even then, the scale both A-sharp but he must also be should be introduced as contract. never had cause They agreed. We have tions and inflections of undetermined pitch, only has no perfect fourth or perfect fifth. The vital and B-flat. note which is played in tune with a poor tone early as possible. An excellent ensemble a book for to regret our little song became deal, for the mechanically approximated by our semitones and E-AB-E is omitted. The Greeks eventually figured This brings us back to the Comma of Pytha- is just as much a failure as a note played out beginners the duets start with the open written strings “hit.” Sometimes it seems that I have quarter goras. tone. For this reason, the —is Louis Bostelmann’s tones. Intuitively, the voice drops about a out of these notes two descending tetrachords of When a tuner tunes your piano, he goes of tune with a good “Graded Ensemble.” be good o perhaps too much, and that it would fourth, as from C to G, at the end of a sentence. four notes each, with E-B, and A-E as the end round the cycle of twelve fifths: Gb-Db, Db-Ab, teacher should strive to develop and improve tone Teaching beginners can be, 11 and often is, a buy shelve the up some of the compositions and In his “Evolution of the Art of Music,” Parry notes of each. For the middle strings they worked Ab-Eb, and so on till he comes to B-F# If he tuned as soon as a steady bow can be drawn. For the drudgery and a chore; on the e^ other hand, it can gran On the other hand, most composers are shows how the voice three of tuning called genera: the chro- in pure fifths, the final F-sharp would be one same reason, he should make it his business to be a series of interesting wavered and quavered about out ways explorations. The oc- by no ma Fate no more than a few real “hits,” this lower tone in fluctuations, as wide as a whole matic, enharmonic, and diatonic. The first two quarter of a semitone sharper than the original use the best tone at his command whenever he casional dull pupil who cannot learn is extreme- how many other sell fairly tone pupil: a child’s ear is very ly trying, compositions above it, or in narrow waves only faintly matter little. The chromatic crowded two half- G-flat. That difference is what is meant by the demonstrates for the there are, however, ‘ few youngsters artists. who are performed frequently by fine suggested by A-flat fluctuations steps immediately above the lower notes of the Comma of Pythagoras. A Comma is simply a sensitive, and the influence of the teacher’s tone really want to study who are and F-sharp. Its so unmusical that Eberhart fortunate to ha rose profound effect. The development of nothing can be and I count ourselves above the C, also, perhaps up to E. Out of tetrachords, the notes B and A, making E-C2- separation, a “gap.” can have a made of them. And finding the had at least four songs, the two just that grew good tone carries with it the necessity for a right approach to such the pentatonic scale, running down: C-B; A-Fj-F-E. The enharmonic dropped the To avoid the Comma, he tunes each of the a each budding individuality tioned as well I Hear a E, D, C, A, sensitive and relaxed bow technic, for clumsy that comes for lessons as My Desire and G. sharps, and split the C and F each into two twelve fifths one-twelfth ( Continued on Page 760) is, or should be, fascinat- Page 74 at Eve. ( Continued on NOVEMBER, 720 "FORWARD MARCH 1943 "FORWARD MARCH WITH MUSIC" 721 WITH MUSIC the etude ; —

exact give the title, opus number publisher of your composition, and Music and Study Music and Study as i1 usually give a better answer °an if i c a“ the questionable passage see in its co Fortunately the t answer to this About the C Clef tion is obvious. The thirty-second comes after the ™te triplet. It is Q. Would you please tell me about the realh, 3 different clefs? I was taught only two clefs matter of three against four, Answers not t and I would like to know about the others. The and three. Simply Child Questions against play the Who “Hates” thin? Music —N. M. R. second note after the triplet, and see t A. You are probably thinking in terms the first it that note • of each group organ, I will Information Service of playing the piano or so A Music the right hand is played with the fir« tell you at once that in playing keyboard note of each group in the left hand ONFRONTED by a child who dislikes music, instruments you need to know only the The phrasing in the first the average music lover is perplexed, example in baf- F and G clefs. However, there is also a slight by dicates shortening of the C fled, and a little exasperated at so unnatur- the C clef, which is used in the case of Conducted six' teenth note, but not abruptly. condition. Too many times such certain orchestral instruments and The al a children are excerpt is second played like the with the feeling still found in first shrugged aside that nothing- which is to be much old that the except dotted sixteenth note church music. This clef marks Middle C, is can be done for them. We have, too, the child Mendelssohn’s mother saw that his practice the not separated from the following child to try to produce beautiful effects; thirty- likes music but who has no period was not neglected, just as the G clef marks the G above other who inclination to and his father was then to see his weakness and assign second. In words, play this second specific re- and the clef marks the F below. The himself in learning it. He hates equally watchful that F excerpt legato. apply to prac- the talented Felix should medial studies, such as scales for evenness and difference is that it is not a fixed clef Mus. Doc. tice. What can be done for such apply himself diligently. children, and Albert Spalding, the dis- certain studies for tone. The child has an aim other but is on dif- like the two found is it a condition which occurs rather frequently? tinguished American violinist, tribute Emeritus pays to his that makes sense to him. He isn’t doing exer- ferent lines at different times—at least Professor It comes as a surprise, perhaps, that many of mother s fidelity in seeing that all the fascinat- Music Born of Struggle cises as one takes bad medicine, because it is it appears so. Actually the C clef is al- berlin College for the great masters disliked music at first. We know ing summer sports did not demoralize his prac- sure ways on the same line (Middle C) and to be good for him in a general way. Freedom ticing. He tells frankly that Beethoven hated music until he was about that, had it not been for One girl who played beautifully it is the number of lines above or below music Editor, Webster's New was asked Q. Our Music Club, in discussing various eleven years old. His father, quick to see that her, he would have been drawn away from his this line that yaries, Thus, if the range about her practicing during her school years. International Dictionary subjects for study for 11143-44 has thought regular practice chords. Her the child had talent, drove him to his practice which was building his technic. Did her mother of the voice or instrument is mainly tonic and subdominant broken that “Music Bom of Struggles for Free- have to make her practice? “No, pieces still show faulty intonation to which most in order that he might earn money from playing. above C, the three or four lines above dom" might be a enlightening as well I always rather liked to practice,” she said she is oblivious. for study. Seeking the Reason as timely theme Would you be so The one thing that would have made life the Middle C line will be retained, thus: especially when toler- thoughtfully. “Of course I was taking I am so discouraged, kind as to list numbers that come to your of a fine I should able playing tunes of his own As we face the child dislikes more experienced teachers tell me mind ns having been composed In — —was also for- who music it is teacher whose rates Ex. 2 times of were so high that I felt I Ex.l send her home, that I am just taking her struggle or stress or in commemoration of bidden. When his father heard him improvising useful to know first why he dislikes it. may think We must practice.” Back of that girl’s playing stood or thus: But if the money. She is so eager, and I still them? L. C. — on his violin, he told him roughly to “scrape be sure there is a reason. For the natural . re- it can be done. Will you help me?—F G. L. a wise mother who presented a challenge in the A. It is hard to draw up a satisfactory to the notes” or take his punishment. sponse to music is one of eager anticipation. A. I wish I could encourage you to form of the best available instruction, and it was list of music such as you arc asking for. range of the voice or instrument is Yet we recall how miraculously Beethoven Somewhere that child has had a disappointing continue your efforts, but my experience one of the wisest investments she could have In times of stress few composers turn experience largely below Middle C, then these has taught me that children of the type changed when he went to Neefe for lessons. This in music. made. higher lines are omitted and several their hands to describing in music the good musician taught We should never say you describe do better on the piano than him to love music, to love in that child’s presence A boy said that his practice period was routine lines below Middle C are used, thus: immediate events of the day. Such de- on the violin, so my advice is that you working- at it, and he encouraged Beethoven to that he dislikes music, any more than we would and that he never scriptive music as has been written has thought much about it. He urge your pupil to change to piano. It is compose. No matter where we find excellence in call attention to the fact that he lisps or that “hated to stop” all too often been done by second-rate after he was started. He men- possible, of course, that I may be wrong, a musician we find in that life a friend who held his feet are not mates. To be unable to appreci- tioned composers, and Is scarcely worth serious that his mother never expected him to but your method of attack is so peda- him to his best efforts. ate a great art shows serious lack. good composers have We know that Bizet as a The art is give up all other interests, but that his gogically correct, and the results espe- study. And when music — not on trial, but are. the problem, the results have boy did not care for music but that he learned we We should be earnestly studies were done just as his If this is still not clear to you, proceed cially her failure to recognize faulty attempted other subjects. frequently been disappointing. On the to love it through his study, making remarkable concerned about such deficiency and eager to as follows: (1) take a pencil and draw intonation—are apparently so meager, clef hand, relationship of commem- progress. Even Chopin at first showed an aversion correct the unfortunate situation. Teacher Must be Interesting an eleven -line staff; (2) place a C that it does not seem to me wise to con- other the line; (3) erase the top orative music to actual events is often to the piano, until lessons with an excellent Why do we want the child to study music? on the middle tinue to have such a child try to master One of the signs of a good music teacher is lines the bottom three lines farfetched. teacher cured of this. Isn't ic because we know it will three and so difficult an instrument as the violin. him lift the whole the ability to interest and to educate the pupil. and you have the clef on the third line But I hope you may be able to get level of his inner life? Many If the child isn’t interested perhaps a change of a five-line staff; (4) now restore all some help from the following list. The conclude that unless the child to Play Ornaments or of teacher is needed. At times personality factors lines they were at first; (5) How listed works eleven as No question will be answered in THP. ETUDE musical value of a few of the loves to practice he is not as well as efficiency are the cause. Some teach- erase the top two and the bottom four Graces unless accom banied by the full name may be open to question, as also may be and address of the inquirer. Only initials, fitted to learn music. This does ers deal better clef to least with one type than another. lines, and presto! —the seems Q. 1. When a chord appears thus or pseudonym given, the appropriateness of others. But at will be published. not follow. Many things in line. ac- for Whatever the reason, when interest disappears, have moved to the second But Ex. 1 this may serve as a starting point music are learned, not because give thought tually it has remained on Middle C all you. to the teacher, if the child is do- it the lines that they are so much fun to ing his part. Likewise the time, and was one correct way to render ornaments. the teacher does well to rather than the clef. Because Orchestral do, but because they are so prune out the changed The examples you give might be played pupils who are making no progress clef seems to change its position, Beethoven important. Professor Mursell the C one way by one artist and another way and to keep a waiting list of pupils who -will jus- and“Coriolanus it is often referred to as the “movable by the Overtures to "Egmom says: “We do not have the tify next one. ” the time and effort expended on them. They clef.” is the grace note played with the four "Symphony No. 3 ' Ei oica) child learn to read and multi- can avoid giving the child the feeling that his notes in the bass only, or with the lower “Symphony No. 5 (V Symphony)” seven notes of the chord? ply because these subjects are practice annoys others. Many children are “Vittoria Overture" (also called the sen- 2. In longer passages of grace notes, in Question About as Czerny so interesting, but because sitive on this point, dreading to practice for fear Change from Violin to Piano Chopin, would the first three or four notes “Battle Symphony") Q. Will you please explain without them he of a group of grace notes be played with the playing — cannot pos- their efforts will bother others. Q. In teaching violin beginners, I ask and counting of the Schelling “A Victory Ball” the bass, following excerpts, sibly sing their simple or familiar tunes both — 7” be an effective member Leopold Auer said that, in spite them to from “Czemy-Germer Vol. I," Part Shostakovich “Symphony No. of the wealth before playing them. Most children ready II, of civilized society.” Ex. 2 No. 2? Does the thirty-second note come Sibelius—“Finlandia" Necessary of good advice on the subject, too many students to begin a stringed instrument can do this. with the last note of the triplet or after — and elements in music are in eleven-year-old Tschaikowsky ‘T812 Overture,” the do not know how to practice. He believed it im- However, I now have an it? Is this treated as a two-against-three girl who cannot sing a single note in time. rhythmical Marche same class. He points out fur- portant to keep reminding problem; and how do you play Slav them that bad prac- sing any Her voice is lovely; but she cannot the sixteenth note with the ther that interest is dot above it at alone not tice is worse than no practice, since it fixes mis- familiar song such as America and in tim- the end of the slur?— Vocal F. C. a reliable guide, as we may takes. Many children ing her violin, she cannot tell which of wGuiu would gain new zest in two tones is higher. chord? Sr. A Handel—Dettingen Te Deum be interested in any whim of practicing if they were taught — St. H. P. * r- " ~ to discard “play- At first, I gave her the kind of drill . 3 Cf 3 di an f Monteverdi—II combattimento the moment. “We cannot be ing through” assignments. For given to defective singers in first grade; A. I am sorry that I cannot answer yy each repetition Mff credi e Clorinda but I never succeeded in getting her to either of your questions educated without being inter- that child should havo some aim. Intensive, by Yes or No Grenadiers match any single tone with her voice, and Schumann—The Tivo ested,” he continues, “but quality-practice because the grace notes could yr.-ii ~ we brings ten times the results. disliked the singing. Because I wished be played ft ~j—I— she -- Instrumental either of the ! ! can be interested without be- Let him her lesson to be pleasant, I abandoned this two ways you mention and ? — see that expression is not something * 0 Quartet” -«*- 35 Haydn “The Emperor as an impractical approach to violin. still be correct. If i educated.” you have any definite aus w ing that is painted on after the study of the com- Now, I’m trying to give her listening les- Schumann—Faschingsschwank piece in mind and will copy the measure B Making the study and prac- position is sons, simple ear training, and tone memory complete. Let him observe the marks and send it to me, I shall be glad work; but it is slow! Am I on the right to give Opera tice of these worth-while skills of expression from the first, let him try in each track? In listening, she can now recog- you my opinion. Grace notes are some- — interesting to the pupil is a repetition to make the music beautiful. Professor nize like phrases and different phrases, times played before the beat Beethoven “Fidelio” and some- vital aim. It is done by and can sometimes pick out Do Mi Sol. Bellini— Puritani” con- Mursell says that the child should see music times on it. In the days of Bach, Mozart, “II u Since she is learning to play Do Mi Sol and “LePr°P Meyerbeer—“Les Huguenots”; necting the study to the “not as a mechanical problem but as a musical Do Fa La in her first key, I have given and Beethoven they were usually played child’s present activities. Mod- opportunity.” her ear training drills on these until she on the beat, although That “the accursed thing in music even then there A. I have not “FCtiO- been able , can name any note I play. to find tl —“Boris Godounow ern teachers distrust “going educati n is not the pupil’s was a difference of opinion as to how composition Moussorgsky immediate failure For accurate intonation, I have stressed from which you they should be rendered. Today quot wantchina” NO AGE TOO YOUNG through” certain books or to achieve all he hoped for or all we could wish finger placement; and after eight months grace Czerny wrote almost 1000 composition — Tell” notes are probably played Rossini “William Every little one opportunity to hear the best music courses. They prefer to teach in his performance. ( she can play her first one-octave major before the so this is like merits an Continued on Page 756) looking for the proverbi Vespers” scale in tune (and with nice tone) ; also its beat more often than it. Verdi—“The Sicilian on There is no needle in a haystack. After this various co plea National anthems of NOVEMBER, 1943 "FORWARD MARCH WITH MUSIC” 723 722 "FORWARD MARCH WITH MUSIC’ the etude —

Music and Study ON A SPANISH BALCONY of the tango Much of the charm type of composition rests in a strict observance of the rhythm of the first half of the measure. If played with care- the notes, less time values of the character of the piece is lost. Also observe the staccato marks very strictly. Grade 3. Music and the Battle of Life

than ever. As a result of its * WOMAN who read one of my stepped- Us Courage up music activity, the British articles called “Wake Up Sing- Why Music Gives Broad- casting Company reports, *"ing,” in the American Magazine, “A great revival of interest in music”; “ wrote me that a song saved her from a re- turn to the classics”; and suicide. Her husband had been killed “a greater realization of the suddenly, leaving her with four small richness of the na- tional heritage in children to support. “There were L ^t)oron sdnlrun music and its in- nate suitability to the days,” she wrote, “when the ache in rank and file British people.” my heart seemed more than I could of the bear. I longed to go to sleep and never Why does music give us courage? So many people now are employing music to fortify them- wake up. On one of these days th's The reasons are physiological and selves against the vast number of tribulations brought feeling was so strong that I feared I psychological. It has been found to about by world conditions that a survey of its application might give in to it. In desperation quicken and steady the pulse beat, to in special cases is of real present interest . Eoitor s Note. I turned on the radio. Someone was induce deeper and more rhythmical singing My Creed. It brought back a breathing, to influence the internal flood of memories. I had sung it in glands. Psychologically, it substi- school when fourteen years old and always liked and arrows” of life. England especially was made tutes hope for discouragement and depression. it. The song did something to me. I sang it fre- aware of this in wartime. When the war started, But one of the chief reasons is that composers quently after that, sometimes having to choke England banned all military bands, feeling that invariably put courage into their music. Search back sobs to do it. But it helped me, probably the men were needed to carry guns. The idea still through the works of the great composers and more than anything else I did, and gave me persists that music is incidental and not a life you find few that reflect a negative, pessimistic strength and courage to go on.” element, such as sunshine and fresh air. But the attitude toward life, comparable to the writings Innumerable inci- lack of music was felt of Nietzsche and Schopenhauer in literature. dents of the power of in wartime England. It True, most of the classic composers were none music could be given. was found necessary to too happy. They had their share of money recall We that in the bolster morale—which troubles and poor health. One thinks especially last war, Nurse Edith is basically faith, hope, of Beethoven, Schumann, Chopin, Rachmaninoff. Cavell faced a firing and courage. As a re- But their works do not give over unresignedly squad without flinch- sult, over one hundred to suffering and despair -rather they show a ing. She had prepared bands were triumph reinstated, of the spirit over the flesh. . herself to meet this or- and England began to deal by prayer and song. encourage music mak- Music and Courage Her favorite hymn. ing. Beethoven is an especially good example. For Abide With Me. was on During the sky-blitz twenty-five years of his life he was afflicted with her lips till the end. In in England, the or- deafness, which is about the worst calamity that the Battle of the Wil- ganized Flying Music can befall a musician. Beethoven tried many cures derness the lines of a Squads gave emergency in vain. He once wrote to a friend, "I must live brigade of the Ninth concerts for people like who an exile . . if I approach near to people, Army were breaking in lost their homes. Music a hot terror seizes me, a fear that I may be sub- riot until a Union sol- was installed in war jected to the danger of having condition dier my started singing The factories. The British observed.” And again later on, “hope—I must Battle Hymn of the Re- Broadcasting Company wholly abandon.” How could man who had public. Soon the entire a concentrated on uplift abandoned hope write hopeful music? And yet regiment joined. The music, putting on pro- Beethoven did his greatest work during the years lines stiffened and held. grams day and night. of his deafness. He never heard a note of the More incidents could be Such artists as Myra “Ninth Symphony,” Joy. added; that of surviv- closing with its Ode to Hess gave frequent con- Still, one ors clinging always gets a great lift out of this work. to a sink- certs in London. The It is a complete the ing seaplane and sing- triumph of the soul over city was undergoing a body. ing to keep up their bombing during one of Handel strength until rescued; wrote “The Messiah” when his right these concerts, but the side of the small boy who was paralyzed and his money gone. Creditors people who packed the were whistles while passing hounding him, threatening to put him in P’CturP hn hail Arf'-hrtftheff snowed no inclina- jail. Did dis- the graveyard at night. Courtesy of RCA-Victor he give in to doubt, despair, and tion to seek safer quar- No doubt, you recall RACHMANINOFF'S LAST PORTRAIT couragement? If he had, our pulses would never ters and the concert some from your own ex- have quickened to one of the most hopeful epics continued as usual. perience. Probably the A in all music literature, the Hallelujah Chorus. man was buried in the In the short Chopin greatest gift that the priceless heritage of music cellar of span of his forty years, his home and pinned under a beam was has to offer is courage. Phonograph almost never free from the scourge of tuber- music kept up his spirits until Music gives they culosis, He was physi- us hope to replace hopelessness. I dug him out. Children were slight and frail, a weakling trained to sing on cally. am reminded of the famous picture of that name; their Yet his music is not tinctured with any way to and from safety shelters sitting and panic taint of a girl atop a stricken world, strumming a was thus often averted. weakness. Jt is mostly up-curve, tpeming with vim, e harp and bending low to catch its feeble notes. In fact, England affirmative in its declaration that lif has set the world a Without music, hope would indeed be strikin- is good. gone from example of the ability of its people to “take it” the world. In the bomb shelters of London, human and Rachmaninoff would into per- to the music program must go occasionally fall beings tiny much of the iods of from tots to very aged men and credit. Instead of utter discouragement, induced largely by getting along with less women found music invaluable. music anemia from years. in wartime, as was at first which he suffered for many thought expedient This Music also gives us fortitude to face the “stings England has found induced extreme lassitude leading to disin- it necessary to have British secured more clination to 754) Copyright 1943 by Theodore Presser Co. Copyright work. At ( Continued on Page 724 ' "FORWARD MARCH WITH MUSIC” November 1943 72S THE ETUDE — • f —^ ^; — —

CODA

LITTLE HARVEST SONG that Schumann said this merry little piece from his “Album for the Young”'was to be played “with joyous feeling!’ In the middle sectionCin the full measure ol the thirteenth composition) the acciaccatura note D is generally played with the bass, as though you were playing a chord, reading from the lowest note up wards- A, Cl, D, E (tied). The C$ is then played as rapidly as possible. Grade 3. ROBERT SCHUMANN, Op. 68, No.24 Joyfully m M J-ioo ^ , JU.

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1 2

NOVEMBER 1243 727 9

NOCTURNE IN E FLAT This, the most popular in The Etude twenty-seven years ago, alt hough it was composition of Chopins, is reprinted by request. It last appeared first print that it partakes more of the nature ed in this magazine fifty-five years ago. It differsquite radically from the other Chopin Nocturnes in of a sentimental salon piece. It has, however, a excessive employment of tempo rubato. The Etude suggests t hat a delightful dreamy loveliness which is often abused by wav - Rachmaninoff (V. - 6781), and strive of studying this work is to secure, if possible, the.Victor records by Paderewski (V. 7416) and by through them to make an individual interpretation embodying your own ideas. Grade 5.

FREDERIC CHOPIN, Op. No Andante M.M. J^=120 ; 2

THE ETUDE HOMEWARD TRAIL Grade 3*.

*

Copyright 730 1943 by Theodore Presser Co. British Copyright secured theetudv NOVEMBER 1943 731 TO THE SURGING SEA — . — —

SOLDIERS ON PARADE SOLDIERS ON PARADE Hugh, Arnold SECONDO LEWELLYN LLOYD Hugh Arnold PRIMO LEWELLYN LLOYD Montrose Arr’ by Arr. by Geoffrey Geoffre allegretto e leggiero M. = Poco allegretto e leggiero m. m. J = 120 Y Montrose Poco M. J 120 3 a 5 4 5 - 3 r 2 3 II. II. -- i* jjjn '*1 E= = =: • iF * A—#r—>— * %% SEES S t ttt tt j i f-ifij n < f We are sol-diers brave and strong;Were nev-er,nev-er a - fraid. Left, right, left we march a-long;We’re sol-diers on pa- rade. > >= 1-3— > »— t^u 1 — j \ m^ 4— c C EEH—£— £ -J — •j 1— — -*—£ —C J 9 J £=L1U — £ 5 3 — -o- f J J m

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’^Lis-ten to our cheer-y song; We whis-tle as we tramp a -long. (Whistle)

• # G- e£

THE TOY SAILBOAT

Copyright 1940 by Theodore Presser Co. 734 British Copyright secured 733 THE ETUDE NOVEMBER 1943 — : PROCESSIONAL cresc. ?n,n Solo or Unison Chorus f A stirring, patriotic hymn, the words of which were suggested by Kipling’s “Recessional.” The author and composer, t h e Jate Rudyard Dr.GeorgeL. - r i Lindsay, ingnni nff-- it -TP r i was'Director of Music of for m p r the Public School System of Philadelphia. The work is dedicated to “Education Freedom” and the Educational £ V WeWe. of the landslan which Thou hast blessed,Grant us Thylightfrom sun to sun. God of free peo-ples .make us strong, Through Policies Commission of the National Education Association. and Music by GEORGE LE strong, hold Words ROY LINDSAY Weak soulsand fast th e pace, Ne’er Free-do m’s law to dcs - pots yield. God of free peo-ples, make us strong,Through Allegro maestoso m.m. J=96 - . . J- JU j e 3 » EH gas |»f r

cresc.

4d-^; 1 i- * 1 f-f— j-• - 9- cresc:. EZ=j 7 J Trr/ M M —M — A M m a "XI J j "L_c

1. God of free peo - pies, guide our land In paths of right, hu - mil - i - ty. ways of truth to right all wrong;Through ways of truth to right all wrong. * 3. March-liig fretn. eoun • try - side, and' town We sail the seas to dis - taut lands, A I I i

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& 1 l 18l lV t 511111(1 lead - ig£ 22 ° *° faith’s high des ti - ny. God of free peo-ples, make us strong, Through Cru s^ ei^ nU V' free-don^sf i" crown, £ ip To save theworldfrom ty- rant’s hands. God of 1 ’ jus-tice, faith, hone, love. Send 5.Then in the day of vie- to-ry, Let us keep faith with those, who died, 7 r | • 2 s - tL iff ~M ~ J 0 kb—

0 0 *. . 0 P ?} S ^ * » u #* t £ 3 i ‘ S m fff f H~t * i 0 0 a = A ^ rit.poco f 0 0 0 f f 5? £ f* 9 • iP I - 4 24- • • . J. i y 8 7 * 3 - p • ways of truth to right all wrong,Through 4 ways of truth to right all A i us wroim Thypow-er from a - bove, Send us Thypow-er from a ^g boye And lift the Torch of Lib - er - ty,They- giv-ing all-have glo - ri-fied. God of free peo-ples, hear our pray’r, Grant

wh T!, “ hi d,eil° •* -« hearts,Thy light to share ^ .r mine us pure hearts,Thy light to share, Grant us pure a tempo ^ andTmart,shop, home, andfield, A

Copyright 1943 by Theodore Presser Co. V -o- 736 British Copyright secured 737 THE ETUDE November 19 13 Elizabeth Evelyn Moore PRAYER FOR A HOME A.s. C.A.P. gus™^«m Fervently and with devotion ^

Lord, make our Jit-tJe liousea home, A place where peo-ple like to come, A place where ehil-dren Jiketo

Vtf Slightlv faster

friends, jVnd iamp-Jight glow when day-light ends. If troub-Jes come, astroub-les

Make this the place to see them through; Give us not fam - ine, nor yet

Copyright MCMXIIII by Oliver Ditson Company 738 International Copyright secured THE ETUDE 739 NOVEMBER 1943 3 \ #

TWILIGHT MUSING M. M. J =46 Pull Tremolo 8' / Sw: Strings Hammond Organ Registration.

' Prepare 5 Gt: Chimes i) (10) 00-4612-000 ' Ped: Soft 16' and Sw. to Ped. 00-4310- ) (11) 431 RALPH KINDER

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Ped. 41 Copyright 1939 by Theodore Presser Co 740 British Copyright secured THK MURK —: ^ — —. ^

TRIP LIGHTLY LUCITA SPANISH DOLL DANCE

Grade 2|.

Moderato (with strong accent) M. M. J =80 DOROTHY MILLER DUNLAP " 4 3 , 3 3 1 1 3 X. — FP 1 * * ^ | \ ™f ^ > l - ====^: r ^ 4- -TP r LaP,— P—J— - —2— V =r —^ US 3 5 3 1 3 5 5 5 3 i f-

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Copyright 1938 by Theodore Presser Co 742 British Copyright ..secured Copyright 1939 by Theodore Presser Co. 743 NOVEMBER 1943 — — — — — — —" i—

.4 Grade 1 . LITTLE YELLOW BIRD ROBERT :-i Moderato m. m.J = 96 NOLAN KERR - yfeh-s i t =%=g=£=s=^ 3F~J > -» -Y : ~V^ —: V $ ^ — —5—£ ^ 33=f_ ^ —4— ~a ~s #• 2. ^ 2 es A f 3=3=1-TO T & —r~ 1

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i Grade_2. PUPPETS Giocoso M.M. WILLIAM SCFIER

Copyright 1943 by Theodore Presser Co.

British Copyright secured Grade 2. BROOMSTICK PARADE Moderato m. m. J - iso L.H. over R.H. HUGH ARNOLD

\ 4 3 a tempo 3

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1 2 5 744 British Copyright secured 1'HE ETUDE —;

m m , ."1 n ~ PRELUDE page. The Technic nf the With lesson by Dr. Guy Maier on opposite m Month -

cv Conducted by (juy Hjtticr

Prelude in A Minor, Dp. BB, No. 2 ' l)if fdredet CLPin. effective trick to ERE’S an play that the piece is a bitter pill of power- your musical friends, espe- ful on concentration. Regarding it un- those pride H cially who them- emotionally, the pianist finds it an selves on their ability to recognize effective study in dissonances, a fas- the “style” of any great composer the cinating example of the piece “with- moment they hear one of his com- out a key”—its tonality remains positions . . . Play this strange prelude vague to the end—a curious exhibit to them without offering a hint con- in melodic expansion and contrac- cerning its origin. Then let them tion, and a good stretching exercise guess who wrote it. After a long for the left hand. Small hands pause, someone will hazard “Proko- tackling the piece will probably have fleff” or “Stravinsky.” Someone else to divide the left hand part into two will offer “Rachmaninoff” or “Scria- hands wherever practicable, some- bine.” After much hemming and what like this: hawing they will finally confess themselves stumped. Then it’s great fun seeing them squirm when you say “Chopin!” Yes, for Chopin this second prelude is an astonishing and baffling piece. It has obfuscated every one of those "romantic” commentators on Chopin’s At best it is almost impossible to music (led of course by the redoubt- play this left hand strictly legato; so able Huneker) who for a hundred to avoid tenseness I advise bringing years have gone into transports of the damper pedal to the rescue when-

despair over it. They call it “shudder- ever necessary. C( some and sinister,” “desperate and Note particularly the Alla Breve

exasperating,” and claim that in it •§ meter. With two gentle “swings” in are concentrated Chopin’s “mor- every measure, Chopin eliminates bidity,” his “aversion to life,” all his the deadly, dragging, four-four tempo “anti-pathetic qualities.” They find which, persisted in, ruins the con- A healthy, happyfamily ... afiner home in a better world . . in it also a “self-induced hypnosis” tinuity of the piece. Play the melody and a “mental and emotional with exaggerated emphasis and with a chance to own and enjoy the good thingsfree America again

atrophy.” . They even go so far as to large, free arm movement. Each time will produce . . things like our Hammond Organ.” brand the immortal Frederic a “true it appears it must ring forth like a lycanthrope,” which, if you must deep fateful pronouncement of im- know, is a demented man who pending doom. This bell-like sonority Perhaps you haven’t met the Hammond Organ . . . haven’t imagines himself to be a wolf—in can be much enhanced by careful touched its keys and heard it respond with a glorious out- fact a werewolf! Poor Chopin! “echo” treatment of the repeated pouring of rich, satisfying chords . . . haven’t made the One of the most famous “Chopin- melody tones in Measures 6, 11, 18, zees”—could it have been Vladimir and 21. The clouded, distantly jangl- thrilling discovery that all the beautiful music you’ve al- de Pachmann? —described the mood ing effect of the left hand is achieved ways dreamed of playing is right there at your fingertips. of the prelude as “arriving home to by an occasional long-held damper Some day you will and that day can be soon. your bleak, empty house after the pedal, as indicated. — funeral of your wife and ten chil- Dragging the tempo is avoided by a True, we will not make Ham- ANOTHER HAMMOND INSTRUMENT dren.” gentle, full-arm stress of the left mond Organs again till victory So, we are told, of depths and dregs hand on first and third beats of the m of despair ends our war work. But mean- there is no end in this measure. . . . Hold the vitality of the modest little composition. But whether tone right through to the dominant while most Hammond dealers have or not Chopin intended tp portray all seventh chord in the second to last the set one aside so you can hear and shattering tragedy read into it measure. Then roll the final A minor by the romantics, the fact remains chord slowly, heavily, and ominously. play it any time you like ... so you can find out for yourself why The Solovox attaches to your piano, is played with the right hand. Gives thousands of families have chosen you brilliant instrumental effects Bruckner’s Advice the Hammond as the ideal mu- violin, trumpet, flute, trombone and many more — blending with your conge 13erg bu 2)r. Cj sical instrument for the home. left-hand piano accompaniment. Many very great musicians when they have attempted to teach others have had great difficulty in devising methods of study. Free — Writeforyour subscription to hammond times, monthly magazine about organ Even Rimsky-Korsakoff had to write his own book on harmony music for the home. Hammond Instrument Co., 2929 North Western Avenue, Chicago before he was able to teach the subject to his satisfaction. When closed one of his classes in composition at the have taught you how HAMMOND ORGAN Conservatory, he said, “Gentlemen, I it is to be done. I, myself, do it differently.” MORE THAN 1000 HAMM0N0 ORGANS ARE DOING WAR DUTY WITH THE ARMY, NAVY AND MARINE CORPS'

the etude November, 1943 "FORWARD MARCH WITH MUSIC” 747 —

more potent. Audiences are not too “wan," add to them Opportunities for the sen* the American Composer interested in analyzing what they produced by “ articulating ah ( want it to have the Continued from Page 720) hear; they simply ing meanwhile of the back . Great singing careers as music. necessary appeal associated with the other &S MUSIC SERVICE Strangely enough, it „525 was this very still have the things regular hours for regions. can begin at home! same to contend Now I have no The particularized Publications Vuict: l)l!E!iT]H\!i success as a song- writer which did th the with. By that I mean that almost composing. I feel that a composer has can with 0at the beginner - ,. v BAND METHOD. Simple, practical and thorough. most to hold me back when I en- every American composer still that te “Kb 73c has a duty to his correspondents and throatiness. Read poetry 14 Books deavored to secure the and Sh T° —Teacher’s Manual. $1.50. performances to fight to get his better works be- courtesy of a per- Newest manner of procedure. he owes them the peare aloud, employing FAY STRING METHOD, of larger works. The first the ~ each 7oc major work fore the public. Foreign conductors, take care of of 4 Books sonal reply, so I try to emotion, the acc. $1.50. I attempted was an American physiological PYJ —Manuai including Piano t yLuverJ L, DR. Indian though rapidly becoming more toler- mail myself. n BOOK, Gilbert & Sullivan favorites. NICHOLAS DDUTY opera business and personal of which begins at the cavOY BAND in three acts, dianhrf° •_ «“* 35c a pioneer effort. ant, are still not inclined 35 Books too to give This sometimes occupies so much Or speak score. 7oc. This was as though Complete “Daoma,” as yet unpro- us more you BAND LIBRARY, 17 numbers, each complete than sporadic hearings. The time as to interfere with all creative Italian, who £e^ SAVOY duced, employs an score 73f though an aria from it has open thrn*! with situation is improving, for score . $1. many con- urge. But if I plan well I find plenty and an expansive Double numbers with won a prize. Mrs. vowel, March of Dignity by Cross. Eberhart and I ductors are adopting the ” such worf FESTAL PROCESSION, healthy of time for creative work, though I as “Italia Mavliew babe. For band and orchestra. No question will be answered in THE worked on it “Sardinia,” Air hv ETUDE unless accompanied by the full name for six years. The story -BoS^S Scarlatti. Arr. by A. H. Branden- plan of presenting at least D I BALLO. one Amer- never have any set rules. Sometimes a Ur TEMPO and address of the inquirer. Only initials, or pseudonym was furnished tate ° f the thr 3 Clarinets. given, will be published. by Francis La Flesche, ican °at appear burg. For work on every program. I also I start work the morning, and f L !i l COPIES. Also FREE PHONO- the Omaha in to be that of tending Send for FREE Indian ethnologist. It con- boldly toward cE? RECORD CATALOG XX make the statement that our sometimes after my office work is GRAPH tains many genuine American probably Nature’s provision Indian fine American conductors could do for keen tunes, finished. Once in a while I work into ing out foreign SERVICE PRESS some to be sung just as we re- substances MUSIC more to American music. from Charts of tlio Resonance Chambers ceived the night, though I consider night lungs, especially 1166 Sixth Avenue N.Y.C. 19 Christmas Songs for a Concert them from their during the Q. In The Etude for October 1940. Jussi primitive It is hours , Preceding true that they have done a great physically o a Midnight Mass sources. work wearing for creative sleep.) We must Bjoerling made the statement that to facilitate deal, expand the Q. I have been asked to sing a Christmas yet I think they too should in- artists. wall the proper resonating of the breath, the student Because I work both at the piano and of the mouth song in a concert preceding a Midnight Mass I was a successful song “tube” slightly should study charts that show exactly how the sist upon playing j ust in one native work on away from it. Usually I a EUGENE FEUCHTINGER a Catholic Church. My range is from Mid- writer, a few unkind get ideas at we inflate the inner air passes into the chambers of resonance. critics began to every concert. tube of an auto dle-C to A two octaves above, and my sweet- A policy of this sort, the piano even for symphonic works, Please tell me where I can find such charts. say that I was incapable mobile. This is necessary est tones are from Middle-C to F above. Please of doing consistently if the STUDIOS 2. In singing a succession of fast, staccato followed, would react in sound suggest and sketch them on from four to several songs which are not too diffi- other forms of music. This natural- issuing through the mouth notes should one take a short breath before their favor as well as in ours. “wave” h cult. I have heard that singing in Latin is ly worked eight staves, later scoring from those to contact each note?—R. J. against me when the these walls to secure preferred, but that English is permissible. As for the concert halls, that Exclusive teachers of the famous opera most sketches with a board on my lap, adequate A. Many singing books contain charts which —P. D. V. was submitted for production. degree of mellowness Feuchtinger scientific method American and European (adopted- which of purport to show the shape of the bones and Daoma” outdoors when the weather permits. offsets the A. There are many beautiful songs usually was definitely turned down. brittle quality of the VOICE DEVELOPMENT cavities of the head and face. You might look American) artists are still not very head included in the ritual of the Catholic Church, The For example, I did all the scoring of entirely different and proven scientific at the plates in Proschowski’s "Singing School.'* formal reason given was “wave” so that the An such as that enterprising two inclusive of voice instruction. Our teachers Ave Maria, especially the setting by about putting new my first method are However, if you are really serious in your de- racial subjects symphony. “Pennsylvania” quali.ies specially trained to handle the most difficult Bach-Gounod, Veni Creator settings were not acceptable, of tone combined sire to thoroughly understand by several American things will be voice problems Write for FREE large chart of this subject, bor- composers, Columbia Records Presents into their pro- (conceived and put first and Panis Angelicus in Cesar though American subjects were wel- down on the heard in their correct vocal mechanism and information about this row a human skull from a medical school, and grams. Either proportion-a wonderful method. Your voice questions Franck’s lovely setting. It might be unwise to through indifference Island an- study it for an hour or two. Examine its struc- come. of St. Croix in the Virgin Is- proportion swered without obligation. Address Main sing any songs in the that is probably carefully. concert preceding the The Queena Mario or lethargy or mathe- Studio in Chicago. ture Put your fingers into the vari- lack of courage they lands, West Indies) Midnight Mass without consulting the rector at the MacDowell matical and which ous cavities and also touch the delicate, bony pass them by and- should be the goal EUGENE FEUCHTINGER STUDIOS of the church, who would be pleased, feel A New Era “cannot seem to Colony. At structures in and about the nose. You will see we Begins times I worked in the of every singer From Coast to Coast sure, to give you advice School of Singing find,” and speaker for yourself and help. as they say “good who II how marvelously it has been At the enough quiet studio on a table Studio 64 E. Lake St C .icafo 1, III. time of the last World War away from aspires to maximum beauty formed by nature for the purposes of resonance. American things.” That is of pro- A uric recorded home-study course there was a a ridic- any piano, or else out in By this method you will learn more about the The Singer Who Tires Easily patriotic revival the little duction. . . during ulous statement, by Queeua Mario . one of our for there are plenty fenced-in resonance of the bones and cavities in an hour, Q. I am fifteen, have studied the which yard piano for great . . years Metro- people suddenly became con- under a pine tree than teachers . for a of splendid Project V. To secure the you will by looking at charts for months. some time and I have started studying French. scious American things pub- on the Colony full, or- politan star note on the staffofthe of the American composer grounds. 2. When singing fast, staccato passages it is Some day I want to become a good singer. and lished and waiting ganic tone. Juilliard Graduate School of Music. wanted to to be bought and CAN YOU SING? quite impossible to take a breath before each Should I start now? hear more of his music. Are you interested m a career, either in radio, on the tone. will not have time used. If, as they Exercise: Say You enough. The 2. After I sing People who sometimes declare, "kee”-“nee”-“wan”- stage, with an orchestra, or as a concert or grand opera for a while I am all tired out formerly had ignored star? Then by all nu-ans scud today for complete informa- staccato is produced by closing and opening and out Are you perhaps one of the great sing- there “ah,” * of breath. What is the cause? are no orchestrations each time allowing tion on how you can receive the famous Norman Kllhg him, were available The Voice Teacher the mind has helped the glottis rapidly.' Do not use too strong a now anxious to court him. and training which to success such stars as Barry 3. Has olive oil and cod liver oil anything ers of tomorrow? Must you study at heme so that these to attend Wood, Ethel Shutta, buddy Moreno, Horace He hit and many pressure of breath. The quick but gentle mo- American songs, ballads, specifically to > Many of these, however, the anatomi- others. No matter v re yon live or how little you can to do with the voice? today—for financial reasons or because promptly the afford, litis same method of training is available to you. tions of the breathing muscles can be easily and art-songs can Speaking Voice cal region 4. I to . . . fe school be Don’t delay . sung peculiarly Wi today for full . . go every forgot him after more over aroused by each details sent felt by placing the hand upon the upper abdo- day except Saturday good teachers are not accessible? the war was over to von free and withoul obligation. and I the radio in ( Continued phonetic. NORMAN KLING, Fine Arts Bldg., work on Saturday and Sunday. There- place of the usual arias from Page 713) ("Ah,” as explained, must Dept. 31. Chicago S. III. men. and returned to praising fore, as I study piano and French, I have little exclusively from foreign not For you, as well as for those who wish the operas, why cannot be too much mentally particular- time to take a singing lesson every week. Would music of foreigners. the tone will Some Songs by Handel to About this begin to be heard as all supplement the voice classes they are publishers and radio stations ized in the back Q. When may I use the following arias in it be right to take one every two weeks, time Mr. Gatti-Casazza have that coming mouth in disassocia- now attending, Queena Mario, collab- of the Metro- orchestrations from a paper placed church: Rejoice Greatly O Daughter of Zion or should I wait?—H. S. in made? They do it tion from the other politan Opera House for over a regions.) Now from “The Messiah” and O Had I Jubal’s Lyre oration with Columbia Records, presents asked A. Walter comb through which we speak A. As we have pointed out so often in these other compositions. pause. During this from “Joshua”? Kramer if he knew of any or sing. pause think of all columns, only an unusually strong and well- a unique home-study course. American Music Results 2. Send me, please, a list of German-English teachers (those who teach in the anatomical regions iiy GUARANTEED! developed girl is able to stand intensive sing- opera they could Project as four com- We build, strengthen the vocal organs— songs high voice. V. G. produce. Mr. Kramer n. To cause the sacred for — ing lessons at your age. You This is a complete course for young public schools as well front head partments not with singing lessons—but by sound, sci- should start study- as those who or rooms whose charac- entifically correct silent and vocal evercises, wired me and, fortunately, section of the the songs you mention are from ora- ing if you can, but you and your teacher should aspire to Mrs. Eber- teach privately) head “wave” to vi- and absolutely guarantee comn'ete satisfaction A. Both singers who concert, opera, have also an im- teristic sounds in with results. Write for Voice Book. FREE. Sent to no during church serv- be willing to take things easy for a year or two. hart and I had just brate. their full sum ™e der 17 torios and so may be sung radio, picture It completed what portant "? Years old unless signed by parent. or motion work. con- part to play. If phonated PER.-ECr VOICE INSTITUTE, ices. In spite of its coloratura character. Rejoice 2 and 3. The fact that you have been recom- was intended to be American Exercise: together as one unit or Sluiio 5833, ti L Lake &, CHICAGO sists of a comprehensive hook of instruc- a chamber opera. With some strength Greatly from “The Messiah” is distinctly re- mended to take olive oil and cod-liver oil seems money is to be spent on lessons, of totality give This was, in a sense, con- articulation a correlated, coordi- ligious in feeling. It is usually sung around the to indicate that you are rather slender and not tions and two albums of Columbia rec- an echo from certs, buying say “kee”-“nee” sheet music for study or nated, organic Christmas holidays, but there is no reason why very robust. Naturally you tire easily when you ords—all in a handsome slip case. The the past, for in our first tone that is complete, LEARN “ice-break- use the "SWING" MUSIC at other seasons. O Had I sing and soon get “out of breath.” It seems to purposes, let it be same pitch em- Quick it could not be sung ing” song, spent, in large adequate, perfectly balanced, and course to players of all instruments—make your records provide the type of invaluable The Tryst (which was P oyed in the previous own arrangements of “hot’' breaks, choruses, obbligatos, Jubal’s Lyre is another song that requires a us that you should consult your family physi- measure, on American exercise. Con- embellishments, figurations, blue notes, whole tones, etc. direction by Madame Mario herself which based on an Indian music. Let our beautiful. Now with clear enuncia- clear coloratura soprano voice to do it justice. cian, and have him explain carefully just how and Western f6el much MODERN DANCE ARRANCINC live you would receive in her children grow up with a full vibration tion Many famous singers use it in concert because you should to gain weight, strength and studio . . . and idea) the knowl- in the n? say “ah” or “oh” or “ay”— Duets, trios, quartettes and ensembles —special choruses maiden’s name was Shane- front head. modulating of its beauty and its brilliant, rather showy, endurance, so that you may go on successfully also eliminate the need for edge of their own heritage. Nasality, “snuf- with to other keys—suspensions—anticipations a piano, by wis. When we fling, the intention of fulfilling these —organ points—color effects—swingy backgrounds character. Even though it is taken from an ora- with your chosen work. He should also indi- wrote our opera we and over-brittleness Write touay. providing accompaniments. During the past ten years are met torio, it is not distinctly religious. If you wish cate for you a diet rich in vitamins. decided to com- by requirements. Success means the ELMER B. FUCHS name the heroine greater ooc to consult 4. outlined a difficult Shane- posers emphasis on ,335 East 19th SI. to use it in church it would be wise You have tremendously in America have become the mouth realization Brooklyn 26. N. V. A famous singer herself, Mme. Mario wis. It was an auspicious a lncIudin of the two “waves” in cor- the minister to find out if it fits in with his schedule for a young girl, and if you are not name, for little e a slightly numbers among the more aware of their surround- lowered rect sermon. careful your health may give way under it. famous artists who to our immense surprise, the jaw that owns proportion. If you succeed, you Metro- ings and no tightness. 2. list of sacred songs with both German It is all right to be ambitious, but you must be have studied with her: Helen Jepson, have been trying hard to are A politan accepted the ready to proceed with words, would be too long to publish reasonable as well. Can you not find someone opera. It was bring a T° empl0y the and English words Nadine Conner. Edward Kane, John refreshing aspect to front phrases, suggest Alleluia by Hummel, in your town to aid you, either a person or an pioduced in 1918 with our mouthTnmouth in th'the sentences, and the several here. We would Baker, and Natalie Bodanya. the American mouth Now you , music. Among the “wave.” Miriam’s Song of Triumph by Reinecke, My institution V Certainly one lesson every two cast on more modern qualities of speech interpre- too, can study under Mme. which I had insisted. C S used in Heart ever Faithful by Bach, Sighing. Weeping weeks is better than none, but not nearly as Mario—and at The writers there is ne wlth th Schools—Colleges a tendency to avoid « month tation and Maria’s Wiegenlied as two lessons each week. You are very a fraction of what such a course audience gave it a fine reception ctosed i™ ,l”“ such as the oral, normal, and by the same composer, good would and native characteristics brave, and we wish you every good luck. and to write in orotund trained by Max Reger. cost in the studio! critics were enthusiastic. There were qualities. When the SCHOOL what may be termed a universal car more than a score of of the teacher has become ac- OF There are curtain calls. style. I have always COLLEGE MUSIC 6 courses— for 6 types of held, even when Ernst Bacon, Dean, About 1914 customed to the characteristic Spartausburg, 8. C. voice . . . two I wrote my first cham- I tone types of soprano; mezzo- advocated the use of American of ber music: a “Trio in Exercise: each region, he is then able to soprano or contralto; two types of tenor; D Major.” I folk material as the Repeat the exercise only true Amer- J St hear out- and baritone. Send for complete claim that the third movement, given with “lah” - any such characteristic HARCUM JUNIOR COLLEGE informa- in ican music (a theory “L” " ?, ,? I do not now y Iee - stand its Department of Music tion, with the coupon below! in which I used idealized “loh” - “looh” Thi* or, what is harder, detect ragtime, hold) that it Director , is best not to write too * BRYN was the first inclusion vowel absence or diminished functioning. MAVVR, PENNSYLVANIA of such consciously in that idiom. By that is Catalogue sent Columbia rhythms into I In other words, maximum voice upon request. RecordingCorp., Dept. E-3, Bridgeport, Conn. American chamber mean that composers the Aristocrat should express - The Kindly send me, at no cost to music. From then on I wrote 5SS?£f analogous to the cooperative action myself, full a great themselves Department of Music sincerely in an idiom best of KNOX information regarding the Queena Mario deal of chamber the cylinders of an automobile. Galesburg, Illinois and orchestral suited to .Tames MacC. Weddell, Chairman School of Sniffing home-study their particular talents. If COLLEGE of Mouth Washes course de- music. And one or more cylinders are inactive Catalogue sent upon request. if any jsr. signed for the following type of voice: American spirit permeates ’ mouth or You ask whether conditions “wave.” only partly active, the burden have their work, let it come SopranoD ContraltoO Tenor llaritoneQ unconsciously falls on so that CONSERVATOR! changed for the American composer ASS° the other cylinders OF MUSIC and not consciously. Ciating Wad* In that way the sensa- SHENANDOAH E. Miller. Pre Name ; since I the tion^fiund f speed, ease, and are not fully began to write. I find that I idea of power Courses leading universal appeal may tho t? ^ thoroughly with Lavoris diluted halt with become the !>n< 1 mouth and throat Address realized. And, to n - M “s. Ed. degrees. Ka T qTMPT E TEST—Rinse PhonetfcsTive^s as we attend reasonnw" a V , ... _ i - iTTot/.r Wnto flio nmnnnt nf strinev mnttpr pyitpIIpH n th ( Va, - I heart of the Shenandi 748 C^fee^! .“ey, " , : City "FORWARD ( Continued on Page 763) Dayton. Virginia. state MARCH WITH MUSIC” THE ETUDE November, 1943 "FORWARD MARCH WITH MUSIC” 749 . “ s . 21I231I1 — ,

porter, or of a “filler-in.” The cri- holographs Fhe Modern of Organ in the Music World terion for “beautiful” organ-tone and for effective playing was for cen- (Continued jrom Page Wagner Orgm arid 715 ) turies, therefore, the ability of or- Operas Choir Dijestidris gans and organists to be “good problem and the mixers.” silly extremes to which we gan, in attempting vainly to com- So„eN«abUCha,„ go, . historical we must look at the n0f 0 i This important fact is aMslrett 6 Wagner s -Answered classical and romantic weII h fo otten in church' Imagination ly HENHY S. FRY, MllS. EoC. orchestra. and millions ^ *** have'Shave lost 2sightS 1 fi°Sof its ^ es where the a cappella choir gets as seen real virtues by Ex-Dean of the Pennsylvania II. Organ and Orchestra and potentialities. Mu- Chapter of the A. G. O. along without the organ, and where Harvey Peake React on sical snobs, on one hand, extol the Each Other the congregation gets by without classical No questions wm be answered organ, saying, as one did in THE ETUDE unless accompanied by the full Bach’s classical organ singing. A few churches naT e address was incap- maintain of the inquirer. Only initials, or - recently, , ? . pseudonym given, will be pub “Thank goodness, there isn’t ts able of e . Naturally, in dynamic expression the folk-spirit by having fairness to all friends and advertisers, can express because one thing in orchestral we no opinions his my organ which the as to the relative qualities orchestra also was like instruments with choir, (ry Katklean -fitmout of various instruments. that. public will like.” organ, and ^na+ticsulied luf Walter, (lalfe. The concerto On the other hand, grosso of the early ignorant congregation. As a rule the last three Teachers have told us how grateful they were Musikanten and emotional In ever increasing numbers, Rolfe transcrip- eighteenth century do for the Armour pieces. Written so that pupils was for two not welcome the orchestra, and playing them, and based on sound tions are becoming standard for the better debauchees who find no expression will enjoy groups of players practice, it is no wonder that her teachers; proof indeed, of Century's belief that comparable to very few architects have teaching Q. In a recent issue of The Etude I two unless made any saw a of Organists headquarters, Room 3405, Inter- Walter Rolfe is the ideal simplifier of music. dynamics are exaggerated, works gain in popularity every year. Here is a question manuals on concerning the construction of an or- an organ. The place for it in the listing of Kathleen Armour's numbers national Building, Rockefeller Center, 630 Fifth Without discernible loss of fluency, feeling, and dynamic make the organ gallery. partial gan. Can you give me an organ a sobbing mon- at a estimate of how much Avenue, New York musical values, this superb musician brings the effects were in opposition, The available in Century Edition 15c copy. such City. Examinations are echo ef- strosity. war is changing this, however. construction would cost? Is it possible to greatest music to those who are not yet skilled Auld Lang Syne 0—2 usually held in May. fects, and tuttis. 3467 add stops, pedals, and an additional enough to play the original versions. On one hand, men and 3148 Babette, C— manual to The same strange women in an old parlor organ, The orchestral extremes are 3462 Camptown Races (Foster) C— blown by foot treadles? Q. Enclosed 3213 Amaryllis, C—2 King Louis XIII crescendo and the service all Carry Me Back to Old Virginny G Can you find specification of unit organ the found in the over the world are 3468 — give me an estimate as to the cost of 3382 Andante Cantabile Tschaikowsky modern orchestra Darting In and Out C— 1 to which I have access. I am unable to have an organ swell-box were —on 3155 a used two-manual organ? 3383 Andantino, F—2 Lamare invented about learning to sing with 3175 Dark Eyes Dm— Would it be wise to organ 3356 Heller one hand the neo-classical, and welcome take teacher, so when the organ did not re- Avalanche, Op. 45, C—2 the same “mechan- 3469 Dixie (Emmett) C— piano lessons followed by organ lessons, 3538 Blue Butterflies, G—2 Doro time. So, when the whatever Ladies spond properly I just supposed it was my fault. orches- istic” accompaniments they can 3463 Goodnight F— or begin with the organ 3357 Butterfly, The, Op. 81, No. 4, C—2.. Merkel orchestra of Stravinsky Rose Time at once? I cannot read The organist tra came to be and his 3154 In B-flat— of the church has quit playing 3179 Chicadee (Symphony No. 8), F—2. Beethoven a much more get, from an Jingle Bells G music, but can play a few hymns on the sensa- kind; on the other ocarina to a military 3470 — parlor hymns on the organ for congregational singing 3358 Christmas Eve, Op. 43, G—2 Heins tive hand, the sob- 3145 Little Dutch Dance F— organ by ear. 3216 Elegie, Em 2 Massenet medium, in the late band How long will it take to learn to as she says she cannot — eighteenth bing or dance orchestra. 3146 Luise G— get any volume. I notice 3388 Finlandia, G—3 Sibelius dance orchestras and On the play the organ?—J. J. G. century, the masters, wailing 3147 Marietta C— that if I do not press the pedal note just an in- 3386 Fuer Elise, Am—2 Beethoven such as Haydn other hand, here at 3156 Moonlight Waltz C— 3545 La Fontaine Bohm crooners that imitate home many an or- A. stant before pressing the manual keys that the and Mozart, the old movie 3471 By Bonnie Lies Over the Ocean C— The cost of construction of an organ 3363 La Zingana (Mazurka), An;—5 Bohm found it much ganist pedal will more ex- organ, and director 3150 Nannette F— would note not sound. Also if I am playing 3364 Le Secret (Inter. Piz. ), F 2 Gautier and vice versa. Hard, may find it ad- depend on the specification, builder se- — citing than uncom- 3464 Oh Susanna (Foster) C— on the full Great 3176 March Militaire, C—3 Schubert the organ. One easy visable lected, and so forth. It might organ and do not take the les- promising dissonance to bring in a violoncello or 3465 Old Folks at Home (Foster) C— be possible to 3220 Merry Widow Waltz, F—2 Lehar son in in modern mu- 3466 Polly Wolly Doodle make the additions stops off I cannot receive satisfaction on Swell 3221 Military Polonaise, music history is to clarinet, Lohengrin F— you indicate, but we would G—2 Chopin associate sic is or even a sax, 3151 Roaming Up and Down C— organ or vice versa. I received a surprise while 3547 Pas Des Fleurs, (Naila), 2 Delibes a reaction against to replace not recommend the idea as a practical one. As- G— the early 1700’s the lush, 3153 Shepherd’s Lullaby. The C— 3548 Poem, C—2 Fibich with the organs, rich the tenor suming that you are interested experimenting to see whether I could play 3366 sweetness of who was drafted last week. 3144 Singing in the Glen C— in two-manual Polish Dance, Op. 3, Dm—3 Schwarenka choruses, late nineteenth- Soldiers All hymns on the manuals without pedals. I could 3180 Prayer, A, (Symphony and non-dynamic All 3157 C— 1 and pedal used reed organs, we are sending No. 2), G—2. Beethoven orches- century signs point, also, 3472 Star Spangled Banner G 3222 Prelude (Cifm), Am 2 Rachmaninoff romanticism. to a great re- — you by mail a list of not receive satisfaction with full organ, and — tras of This roman- 3192 Two Guitars F— persons having such in- 3395 Priests’ March, F—3 Mendelssohn Bach and Handel; the vival of upon releasing a few the stops played louder late ticism came to a climax congregational singing. The 3152 Wandering Minstrel, The C— struments for sale. You might communicate of 3223 Rondo Capriccioso, C—3 Mendelssohn 1700’s with in Tschai- with only Bourdon 16 Quintadena and Stopped 3368 Rose Fay, (Mazurka), C 2 Heins the singers and organ with them, making inquiry as to price, condi- * — sing- kowsky’s and the A Modern Piano Method for Beginners 3369 Rustic Dance, C—2 Howell last symphonic organist must then tion of instrument, Flute stops on. Also while playing with Pedal ing orchestras of movement. 3196 Part I— and so forth. We recommend 3224 Second Mazurka, G—3 Godard Gluck. Haydn, The be ready to and full Great, upon placing my hands on Swell 3552 Finale of his “Sixth support that singing Learning the Lotters on the Keyboard your acquiring the necessary technic and read- Sonata Pathetique, (Exe. ),Dm— 3. Beethoven and Mozart (Pathetique)' and received 3398 Tales from Vienna Woods, G 2 Strauss (usually without 3197 Part II — ing ability by piano study, manual a lighter volume without any — organ) Symphony” thereby perform previous to organ 3225 To Spring, F—3 Grieg is a wail the main function Notes, Bars, Measures, Time Signatures stops on the Swell manual. I took stops on Gluck of despair study. off 3400 Valse, Op. 64, No. 2, Am 3 Chopin and Haydn wrote for 3198 Part Ill- — no organ which which they the Great and could receive tones. In playing 3193 Waltz in A -flat. Op. 39. No. 15, —2. Brahms has been are needed. It’s Wri ting Exercises, Five Finger Exercises music, Mozart transcribed very high 3327 Waltz of the Flowers, F—2 Tschaikowsky wrote organ solos t e 3199 Part IV—The Time an arrangement of America I have chords for only successfully for ™ that the or an 2/4 Signature Q. We are considering changing the position 3372 Witches Dance, Am—3 MacDowell the , S romantic .. , condescended 3200 Part introducing both hands quarter length with passages in for a mechanical organ ,_ V— the 8th Note of the organ console — instrument. to Meet and electrifying the action. The above is but a partial listing of Century’s The Adagio lamentoso the People.” the pedal of eighth notes, and unless I play the In the nineteenth is a great fav- Ask your dealer for Century music. If he It is also possible that we may rebuild the transcriptions by Walter Rolfe. We shall be happy century, the orite still cannot supply you, send your order direct instrument hand parts as eighth notes with a rest in be- to send you our complete catalogue listing over with pessimistic somewhat. The enclosed plan has 3600 organ came back music lov- to us. Our complete catalogue, listing over tween, the pedal notes will not sound. Will you numbers at 15c a copy. It's free on request. in a bic/ way er been submitted, but no estimate of the cost has Ask your dealer for Century music. If he cannot 10 take their 3600 numbers, is FREE on request. please registration the ® pleasures been send me a for organ supply you, send your order direct to us. Everything got bigger. The orchestra 7? sadly; made. Will you please state whether you and the gloom of consider the proposed number, My Faith Looks Up to Thee, and for “grew” such music is heard CENTURY MUSIC PUBLISHING CO. changes advisable, and CENTURY MUSIC enormously, reinforced by what the approximate Carillon du Soir by Buddy?—G. M. S. PUBLISHING CO. the m our “popular” 254 West 40th Street New York, N. Y. cost should be?—A. G. M. brass music as it never 254 West 40th Street New York. N. Y. band, and the organ did like- A. We are not surprised that the organist was in the Gay Ten Tips for A. As a rule, we do not approve of electri- wise. Organs ’Nineties. Beginning of the church cannot get volume from the in- blown by machinery had fying an old action and suggest that you con- The romantic organ strument when we examine the specification big pipes up to is practically sider a new organ, using satisfactory pipes, 64-foot length, and the you send. There is no Open Diapason included, ATTENTION only one we hear Elizabeth PLAY A DEAGAN MARIMBA case work and so forth, from your present in- heavy reeds. The on the radio the instrument being a three-stop unit organ became to today. Organists strument. We make th^. following suggestions MARIMBISTS — XYLOPHONISTS While the music Stopped Flute, Dulciana and Salicional. There the for our Easy to master . . . Four Chrjstmas Carols average concert-goer what the Aims on the revised specification you send: in the !S no longer organ is no remedy for this condition in the specifica- Arranged for Four Mallets, including “Silent 16' - music, Great organ a soft stop (Dulciana ’ symphony but that always popular . . or Gem- orchestra is today. Band tion enclosed. We suggest that you write the Night,” “O Little Town of Bethlehem. “The First of the world’s finest shorn) instead of one of the two 8' Open Dia- Noel” and “O Come All Ye Faithful.” Arranged concerts orchestras, the Wary richly satisfying. builders of the organ, stating the other condi- were common, but very few h 2)eJeyo pasons suggested, which could also be borrowed by an Experienced Instructor. radio stations seem tions you name. It may be that you are getting Price for Four Carols—50c Postpaid people to be getting Write Dept. as a soft 16' stop in the Pedal department. We heard symphony orchestras. E. the effects of the duplexing, and are not real- EVAN A. HALLMAN on with ST. old sob-boxes C suggest retaining the Octave Quint. The Great 1052 SPRUCE READING, PA. that it, the pedal William T. Best (1826-1897) were J. C. izing and that you have Crescendo and his thrown G CALM DEAGAN, INC., CHICAGO organ would be more flexible if enclosed. In out of the movies ; -d ‘‘remem-remem- in operation. The pedal stops with the excep- disciples, such as years ago. h . the Swell organ we suggest including a Mixture Edwin H. Lemare, The electronic tion of the 16' appear in the manuals; conse- organ is used, and a bright Cornopean. In the Pedal organ we not for J^= if the in use, unless quently, drawn on manuals suggest the borrowing of the Great organ ARE YOU A MEMBER? different notes are played, the pedals will Gamba (to provide a stop of that color for the S WM. S. HAYNES COMPANY simply duplicate the notes played by the hands. All Organists are invited pedals) and the borrowing from the Great or- 1 of=s-r S me ° f We suggest the following registration for My the super-romantic. the foll gan of the soft 16' stop if included as we sug- to become members of the LatelyMt "Sr? «wing "tips Flutes of Distinction Faith Looks Up to Thee arrangement by teste^h %!?***& sr&srzs gest. The addition of the couplers included in ssss Thompson, which we presume is the arrange- These '» spine-chill- STERLING the specification indicates the necessity for transcriptions are unneces- ing help SILVER—GOLD—PLATINUM ment you desire to register: Since you have no AMERICAN GUILD effects on horror larger wind supply, as the original specification sary now, but they programs, that Chimes you can treat the first part as the solo performed a great combination Catalog on request couplers. re- of poise arnfm” , includes only three You might service then. using the Oboe stop for that purpose (syn- OF ORGANISTS I myself never heard "• 18 the *08 quest prices from the builders. ' ha“ Massachusetts Avenue, Boston, Mass. thetic stop in your organ) playing the accom- No examination is required for the M aic°' matl‘ of th mem- music of “Tristan and Isolde” “S paniment on the Great 4' Flute. For the next bership as Colleagues. Colleagues are un- t£E£ SSi Q. When should the organist of a church be- til section use Swell Stopped Flute for the right- my twenties, when the prelude; at the time the service eligible to take the Associate Examina- Lemare played gin to play hand part, with accompaniment on the Great The begin or before that time and tions. Associates are eligible for the Prelude and Love-Death is scheduled to Dulciana. For the Chimes passage on the sec- at an poS t the service may be- r as 'J“iy brought to a close so that Choirmaster and Fellowship Examina- organists’ fzzs £ a musical * aiQs ror- Tristan ond page play the notes on the Swell organ (or convention in Asburv Park getting Be at £? s. z: have a bell that ~ C IMPROVE YOUR PLAYING gin at the appointed time? We omit them). For the Duddy Carillon du Soir tions. must see866 sSKrrChatleast New Jersey- t0 ifc that fifteen previous to the service. I But that gave a greater’ minutes bPfnL ^ tolls for five minutes suggest the following registration: the 1944 «es befSj ^ Pianists we EXAMINATIONS Send show- TheaShfhaT S? 1t0 — for free booklet prelude is part of the service thrill restored Start ‘ ing feel that the opening then than the best “ , that ing. Play how you may greatly improve your “Chimes” section at the can be played May 3 (Choirmaster) phonograph classi h A quarter If * l played after the bell stops raFL”d romantic h°ur technic, accuracy, memorizing, sight- and should be on the Swell Stopped Flute. The second section record of an elements are sh°uW reading Asso- May 25 and 26 (Associate and Fellow) orchestra gives now. h fth ample time Vo t be nuunnioii ~ and playing thru mental ringing. What are the requirements for now l C r

uon - musical attractions of Ps H^e r v and no ‘ eral harmonicas. All these zrsssxtszr- r* r 'more legitimate proportions help to he has pencil, a a paper, «iiuand a.a ouupstot,- ^uinuiiicu wiiii not x i unusual ior accredited hvnnnt “ ^ Radio, Today Yesterday ^Jnvictus, contains of the and explain why there isn’t so much watch. The Perhaps six reels which two scenes needing music of music and sound to employ S y music lnin theirtw seances..f in toe last war. Do not, have been indicatedindicate to him .the effect tracks,tracks already xc-.T „ T° most stirring lines in the English Radio plays such a vitally impor- singing as —the pro- perfectly timed, He did begin to write and the tant role is get the idea from what has ducer which must work language. in our lives today that it /however, F determines where music be combined .1 d e shall into one wasPC fVinthe «Ox. Complete “Second Piano hard mentioned above that the sol- PRICE -SPEED DRILLS E&SI ^'.&u c ,l I 5Dc come in; while the composer may unit. Concerto I am the master of my fate to believe that during the last been dedicated to Dr. Dahl. lost his tongue. suggest suitable scenes, But there is I am the captain my soul. war, radio, as we know it, did not dier of today has Published By he does not no anemia of JfnHinS music COfDPPnY Kansas City, mo. The about this piece. It is full exist. Today, soldier his Far from it! Soldiers of free coun- have final say about it—and his first Final Stage Henley did live, and his poem has the can keep of richness and are glee task is to mark down “Since vitality. Huhn. own portable radio at the side of his tries will always sing. There the exact length the dubbing is the been set to music by Bruno final the camps with good of these scenes, in stage, it comes to mind then cot or listen to amplified programs clubs at most of — seconds. The-**- requires extreme care. ' I get it out every now and The that , Buy More Bonds and for Victory n of all at the helm, and camp War Stamps romantic scene s ey’ who sorts in the auditoriums. musicians may need six seconds °und engineers and wrote when I feel life is not worth camp the musical that ins™-; , ,, that of suitable music; staff run Invictus On his own radio, he can dial for the song-fests are regular features. Every the cowboy scene through - two or three re- Unconauerrri\ living. It always bucks me up. only few. have ay programs encouragement is given toe soldier’s to mention a You years from now, we shall look back ™ need ten; storm ^enes, hearsals, to make certain 3erculosis of composers of good music that he has . that the the I sometimes wonder how heard these others the foot and^ always interest in singing. As for the songs and many on to this war (which, incidentally, still 3 ° - c ctly liked still continue ’ ands on In back ™ tlmed sound everything faced and can - tracks are was are able to write music when air (toe songs of the last war, with ground music,r fadedf done tom save^ to enjoy. your bar- themselves, toe prime favorites, as has no name) and have its memo- ^ a scene that lt Imagine lying in runs into m and out at " he had ..... dare exactly , the an- tn in» tf * 5 with a crisis in how they be those no radio to help, had to come up toe ries flood around us as we hear this minutes of music is Propriate JuSt as rack cot in 1917 hear- in the last war, seem to considered long. seconds of time to he Was banner of and 1918 and fit the in? Lp V°°L to hope and raii the have been hard way) but, in most cases, they song. Maybe it will come from Tin- “Then the composer goes visual film, to g0lng ing toe Philadelphia Orchestra and the boys have known and away men enough rehearsal about on l think S Z Z ttotorv ovefdesntorP ^len some time. aren’t the songs the boys are sing- Pan Alley, but we have a deep-seated with his time notations, and turns have been had to ther f°0t became the New York Philharmonic-Sym- singing for indicate no pos! hi- S still fall back and always out suitable ei \He ?be ing. They — suspicion that it won’t. Maybe some thematic types of exact- sible slip-ups, the Sged to be ' phony and comparing the interpreta- final take is ff. T taken to „ ? , nf Ms music Hard will Annie Laurie, Old ly the mbur h dedieatodmost ofh.srnu^ Tin-Pan Alley Works —on The Gray inspired Yank in a lonely spot in desired length. When the -and all the various ®? S where lived the tions of such men as Arturo Toscanini musk and famous t Mare, The Grasshopper Song, Hail, themes are the g °ry f God the opportunists in far-off Australia will dream up a done, the producer sound tracks Joseph Lister ' and Eugene mention To be sure may are fitted to - Lister ?. is Ormandy, to toe filrrf nined ex- T hiu^ music hour Hail, the Gang’s All Here, and other timely set of words to some such old often the leasons ’ 1 believe - why ’went to work an wish to hear them, approving, After that, the ,/ enflamed foot only two. Such a fabulous prediction, Tin Pan Alley public is readv6ady to and told d vocal vets. Like war, these songs, t0 the palc S° timelCSS charged first bombs fell on and favorite as, say, Pop, Goes the condemning, or suggesting altera- young man ’ 50 voiced to the soldier of the last war, or so after the , whose falc l drawing^ Inon of “patri- a handful of others, are eternal, Weasel. If it’s the right song, it will tions in effect, as his taste inclines. vitality. Bach was would have seemed the mouthings of Pearl Harbor. A number himself; ^ rushed through, In addition to the songs mentioned flash around the world by and with By this time, some of the precious power greater than a shell-shocked victim! otic songs” were me genius three as Me right power in which Did It Before and above and their various counter- the speed of radio. Nothing can weeks has gone by. For this right time. tf[ of the spirit Also, collections of fine records are among them We We kno^oJcllrTe, place at parts, there will undoubtedly emerge stop it. reason, ^ ^ Me and eternal, in It Again, Remember Pearl the toomanvl^ hope spring often most competent com- ripe and the ° many mstajinstancesces available to the soldier, and We Can Do place beinghemr, } °t Me time being * Otficr Jap, a song that the future will definitely Meanwhile, our fighting men are poser may often vacant and vn there is no death, record You’re a Sap, Mister lack the sheer phy- never know <0 no fear, concerts are given frequently. Harbor of the numbers fiU But ha associate with this war. At toe mo- singing and listening to the music sical time necessary of ZttTn ™ shall this power, A Something ( But We’re to complete his failed because ^ composers, tapping recent article of ours in The Etude They Started the place and mu ' ment, no one knows what it is. Maybe they love and need, the music which own orchestrations. In that time were ^ overcome the world in their drew End It') Back the Red, White case, five not a chatty letter, seeking fur- Gonna Sy'Z*them™’ have been singing it for months; all free fighting men must on hearing ther Nobody’s Gonna Push Us we have to ~Ralph Vaughan And that is why we, information, from a complete mid Blue 754 Williams and Keep ’em Flying, maybe it is still unwritten. Some carry them to victory. forward music, can do the same. stranger, a private with the U. S. A. Off the Earth, MARCH WITH MUSIC” etude "FORWARD MARCH WITH MUSIC” 755 the November, 1945 made an immediate work of art, and at The Child which the group the performs Who “Hates” Music response. We were eager to have the rose to a height of exp^ession E choir and a special orchestra present could not possibly be reached by sino The Band as a Medium for ( Continued from. Page 723) the cantata “Dona Nobis Pacem” by ing “just another number.” As th the great contemporary English com- last bars of the work were sung the Symphonic WHERE SHALL I GO TO STUDY? poser, R. Vaughan Williams. This is same students Accompaniment The accursed 'thing who were skeptical in music educa- Then try to see of that he isn’t called not a work that a choir will swallow its value at the first tion is the musically unambitious rehearsal went from play the next time. A regular (Continued from Page 718) performance.” whole at first rehearsal, but rather the honest tears of gratitude time for in’beinsr practice and for his lesson only if the The child one that will be received a part of greatness. A Private Teachers (Western) Private Teachers (New York city) needs to participate in will usually avoid petition was this. Friends will director has an unshakable belief in signed by much music with others. three hundred campers He will come at convenient times. Don’t to students are sure to derive from the students love the musical treatise on War and repeat the performance, and faculty, and it brought H. FREDERICK DAVIS MARGARET HENKE and benefit by games that really overstrain so great was on practice. To do so only fine art of accompaniment, with its to the band concerts Physiologist teach Peace that is so ably set by the mod- the hold which it had many who Teacher of Many Successful Singers Voice music. He will work hard to on their hearts produces tension and hampers ’ problems of minute balance, prog- would All . ern master. The first rehearsal was Could there be many not otherwise have attended. Branches of Singing Taught. Beginners Acceptec Teacher of the "Bel-Canto Art of Singing make a good showing in any stronger Studio: 606 City, those ress. The child should have relaxed argu counting of measures, and Templeton Bldg Salt Lake Utah Overstrained, defective voice's adjusted. not a success, but as time for the ment for accurate Those of us who are interested in monthly recitals for choral directors Phone 3-0316 (or 4-5746) for appointment 4-2388 pupils and but thoughtful practice to uphold ensemble, is of inestimable 610 Riverside Drive—New York—EDgecombe as his aim. performance near, the general promoting the development Write for Free Circular friends. One teacher drew group the ideals of the very best of the who had only If the child is to like in their the very insight music study began to feel the effect of value. Finally, into symphonic band movement a few pupils occasionally a great field of endeavor. and who LUCIA O'BRIEN LIVERETTE planned he must be given the satisfaction of literature which, to the minority have a a the welfare of wind instru- musical tea in which the pupils success. VOICE ALBERTO JONAS See that his music is simple of band players, would otherwise al- ments at heart, played for know how much it Celebrated Spanish Piano Virtuoso each other. Pleasant so- enough to be Graduate of Samoiloff's Teacher’s Course well done, yet give him ways remain foreign territory, is in means Reasonable terms. Teacher of many famous pianists cial times were to enlist the sympathy and enjoyed and the some material that Phone NO 2-1030 EX 1141 19 WEST 85TH ST., N. Y. C. Tel. Endicott 2-8920 throws down a itself of no small importance. The interest of serious pupils musicians, and 616 N. Normandie Angeles, Calif. had opportunities to gain con- challenge Ave. Los On Thursdays in Philadelphia, Studio 407, that he is eager to meet. presence of works of this type this on purpose alone would 1714 St. Tel. Victor 1577 or Locust 9409 fidence before small groups, then justify Chestnut From the first his music must be in- programs tended to dignify the publishing EDNA GUNNAR PETERSON Not connected with any Conservatory. larger groups. band these results and passing teresting and worth while to him. Music, Ancient and Modern, work in Symphonic Band in the eyes on to others an account of this Appeal to the child’s imagination Let him hear in- good music. We play or all the school personnel, both 229 So. Harvard Blvd. Los Angeles, Calif. to give meaning of teresting experimentation. EDITH SYRENE LISTER to his playing. He sing because we have heard music on Master Records FE. 2597 AUTHENTIC VOICE PRODUCTION can hear the raindrop on the pane, which is so beautiful that we long LAZAR S. SAMOILOFF 405 Carnegie Hall, New York City the robin in the cherry tree, to Voice teacher of famous singers Collaborator and Associate Teacher with the lateW. the imitate it. The artist has made it ( Continued from Page 707) Warren Shaw and Endorsed by Dr. Floyd S. Muckey elves on the stair as painted in From rudiments to professional engagements the approach a high mark, but rather Beginners accepted. Special teachers' courses Wednesday: Troup Music Studio, Lancaster, Pa. music. Encourage that. Thursday: 309 Presser Bldg., Philadelphia, Pa. Let him ex- than being discouraged we are stimu- Dr. Samoiloff will teach all summer at his Studios. press some of his ideas Write for catalogue—Special rates for the to keep be- lated to try to reach present disc that duration. the same goal. advances have been not shaken by the (FRANK) (ERNESTO) fore him continually the conception fact that she Use your knowledge as you en- made in the reproduction of a large seems 610 So. Van Ness Ave., Los Angeles, Cal. LA FORGE-BERUMEN STUDIOS of music as an inner temperamentally and histri- experience deavor to share your love of organ. The Teacher’s Round Table music, onically unsuited to ELIZABETH SIMPSON Voice—Piano given outer expression in the role of Among those who have studied with Mr. La Forge beautiful and watch the change. The Don Cossacks On the Attack; are: child A series Donna Anna. Aufhor of "Basic Fianoforto Technique" Marian Anderson, Lawrence Tibbett, Richard Crooks, sound. The passionate inten- (Continued from Page 710) who hated music will of teacher Teachers. of Artists. and Mme. Matzenauer. become one Russian folk, army, and other sity of the of Coach Young Be sure that he character quite evades Pupils Prepared for Concert Work. Class Courses MOO Park Ave., Corner 89th St., New York is ready to learn. who, regardless of the songs, sung degree of his by the Don Cossack her, in Technique, Pianistic Interpretation, Normal Tel. Atwater 9-7470 Then proceed from and in both airs there is more the known to the skill, feels a warm, Chorus, Methods for Piano Teachers. personal re- conducted by Serge Jaroff. than excellent unknown. a suggestion that the some discipline without his If teachers will adopt a liberal atti- 609 Sutter St., San Francisco; If he comes in tired from sponse to the beauty tessitura in music and Columbia set M-542. Webster St., Berkeley, Cal. is difficult for knowing it! And don't forget it, boogie- tude toward boogie-woogie, I am sure it 2833 RICHARD McCLANAHAN play, or called from play, take a little the singer. All of which who sees it with new eyes as the The songs in this Representative TOBIAS MATTHAY album are mostly may be to woogie can give discipline a-plenty. Wise will pay dividends in the end, and in time to interest him in his music. due the fact that Miss Private lessons, class lessons in Fundamentals friend of a lifetime. boisterous • (Mid-w es+) and rowdy; the sort of teachers have long recognized this fact. more ways than one. Private Teachers Lecture-demonstrations for teachers Bampton lifted her voiee from a things Take 806 Steinway Bldg., New York City an army group would sing. a simple B.W. bass, for instance; The best book I know is “Beginners’ mezzo to a soprano. However, since Some of the songs were sung by Boogie-Woogie,” by Bernard Whitefield, DR. FRANCIS L. YORK the this is the only record in the domes- an authority in this field. is Advance Piano Interpretation and the Theory work Don Cossacks when they fought The book W. J. RESZKE in tic catalogs, independent of the com- required for the degrees of Mus. Bach., and Mus. the White Army by no means elementary (Grade III and Mas. of the ; some plete Voice Instruction operatic sets, with these arias Sit down, play it fast, evenly, inci- IV) but it is very clearly written, well DETROIT CONSERVATORY OF MUSIC are sung 2122 Bethgate Avenue, New York City by the Armies of Russia to- Detroit, Mich. on it, and since Miss sively, in ‘perpetual motion” style, graded, and chock full of very amusing- Music or Show day. Bampton’s mu- Tel. Sedgwick 3-4042 The present Chorus sings su- sicianship is starting on the first, fourth, and fifth music. I enjoy playing it myself! And if MONDAY: Trenton, N. J. perbly admirable, the disc will Private Teachers (New York City) WEDNESDAY: Perth with a wide range Amboy, N. J. THURSDAY: Allentown, Pa. of tonal no doubt be welcomed by many. degrees of the scale, then add to it all you want some good “swing” transcrip- ( Continued from Page 716) coloring and some impressive, al- A Song sorts of rhythmic gymnastics inter- tions of old favorites (Grade III and though Program: Miranda (Hage- FREDERIC FREEMANTEL obviously theatrical, effects. spersed with leaps, octaves, repeated IV) get “Swing Out,” by Stanford King man) ; Serenade (Carpenter) Bal- Voice Instruction ; A EDWARD E. TREUMANN The baritone and bass tones, and so on in the right hand, and What he does to Pop! Goes the Weasel, musical expression. sections of lynure of 24 study lessons, This love or art crowd and attain the best Ballad; The Lozv-Backed Car; Author home Concert Pianist—Artist-Teacher effect pos- the chorus are you'll get plenty of discipline! How can Three Blind Mice, Old Black Joe, and "The Fundamental Principals of Voice Production and is contagious it particularly impres- Recommended by Emil Von Sauer, Moritz Moszkowski and will not be long sible at the The Little Irish Girl (Lohr) Kitty Singing"; also "High Tones and How to Sing Them" moment. We should like sive. ; one fail to improve in accuracy, endur- others is nobody’s business! These two and Josef Hofmann. before his students West catch the spark to record experiences Me Love, Will You Marry Me?; Mah ance, Studios: 205 57th Street Studio, Carnegie Hall, Suite 837, 57th St. at 7th Ave. we have had in The title brilliance, and rhythmic verve? books ought to hold you and your stu- Phone that will carry of the album is drawn New York City Circle 7-5420 Tel. Columbus 5-4357 New York City them on to a true following the Lindy Lou (Strickland) Witness Aren’t for while. plan suggested in the ; and those enough virtues for you? dents a Summer Master Class—June to Sept.—Apply now. from two songs used by the appreciation of the beautiful. article. At Don Cos- 'Negro spiritual) James MARIA CARRERAS Newcomb College, New Or- sacks ; sung by when they were part Pianist leans, Louisiana, of the Melton with Robert piano. Renowned one-third of the en- White Army. Hill at the "INTERPRETATIVE AUTHORITY" Music for the Joy of It A certain amount of CRYSTAL WATERS rollment of seven hundred students Victor set 947. — N. Y. Herald-Tribune this type of singing Teacher of The redeeming feature of appeals, but a Teacher of successful concertising pianists. Voice following participate in the glee club. In Melton, who began his career in Buy More War Bonds and Stamps for Victory the long program, unless Accepts talented students. Radio, Screen, Concert the plan outlined above is that the combined very cleverly radio, colleges of is now a member of Metro- 169 E. 78th St., New York City Tel. Bu 8-0311 Tulane Univer- varied, is apt the Opera, Pedagogy element of “show” is to pall. The still sufficiently sity, over present politan St. five hundred students par- program Opera Company. His singing 405 E. 54th New York City present for has variety, but Tel. Vo. 5-1362 all the best purposes of ticipate in the not suffi- is manly and one MRS. HENRY HADLEY (Inez Barbour) choral groups. They cient, to our way straightforward; sound music education. Music does sing for of thinking, for a Soprano the love of singing good mu- feels he sings because he enjoys it. Masterpieces o( Piano Music not exist in hearing ’ However the true sense of the . the fact Authority on the Art of Singing, Oratorio, Concert, Private teachers in the larger cities will find word sic—no academic credit is offered wu In songs which permit him to be MSCs Piano for that the has been termed the library of Recital and general repertoire. Will accept a limited until it is given performance; words of all the songs this column quite effective in advertising their the participation, no regular are cheerful he is subtlety volume. The more than number of tolented students. trips are given may at his best, for Music in one courses to the thousands of Etude readers cycle of composer, performer, prove helpful in THE HENRY HADLEY and taken, and no keys given. sustain- is not one of suits. 200 selections by great composers con- STUDIO The stu- ing interest this singer’s long 15 W. 67th Street New York City who plan to pursue advanced study with an listener for others. ^ must be complete if any com- If we tained in its 536 pages, comprise 53 dents just love music. The were His diction is his By Appointment Only. Sus. 7-0100 established teacher away from home. glee club asked to select admirable and Sacred position is to be of value as music. trip one disc from the Classic, 75 Modern. 38 Light, 25 will soon be forgotten, the key avoidance of sentimental stress laud- 1 Operatic Compositions. This vol- This performance, however, will " unhesitatin§ty and 29 be will loose its sparkle, and select able; thus old constant enjoy- the hours disTdisc 7401-M,vToiT his singing of the ume is truly a source of one of different caliber; it will containing two be of credit will be smiled at; folk- favorite MASTERPIECES 1 ment and entertainment to the pianist but the songs—A Sailor’s Mah Lindy Lou is accom- raised to a higher level of expression love of Song, ln the Vil- in good music. great music will grow and be lage plished with a freshness and a nat- OF -who delights in and the favorite music counter or sent which singers, director, and audi- a guide to Caucasian song Lez- For sale at your a richer life. uralness which seldom receipt of price. Money re- mth itS are all too POSTPAID upon ence alike experience the Unusual or meet with your ap- making of At the National Music San-like funded if volume does not Camp, Inter- effefts’ heard. Admirers of the tenor will un- Illustrated beauty beyond their mean, mm music proval (NOT SOLD IN -). individual lochen, Michigan, sent upon a high school choir questionably be delighted with his folder with contents cheerfully powers. Mozart: Do n Ciovanni-Or of eighty-five members recently sai chi first request. en- I onore recorded song recital, more Tilt There is and Non mi dir re LARGEST COUETTION no doubt that , be „, many who joyed singing works ido , PUBLISHING CO., INC. of Palestrina, sung typical of the final group of a concert « STANWM) PIANO MUSIC (WINNING MUMIL read by Rose 1140 Broadway, New York, N. Y. these lines will feel that this is Pergolesi, Bampton with MORE THAN TWOHUNDRH) Bach, Handel, and many the hall recital pro- CLASSIC which send post- Victor Symphony than of a regular Enclosed find $ for an idealistic philosophy, that it Orchestra MroufHoroiAnc aw sackp awranros : may other more modern masters con- paid Masterpieces of Piano Music. with sin- ducted gram. However, undoubtedly the olotn by Wilfred ( ) work with a certain select Pelletier ) Paper group, but cere conviction of expression. Victorvictor ( There disc 11-8466. choice of material has been made that ' as a general rule it would be were also works of a Name more popular Our with an eye to appealing to the much better merely to follow the and admiration for Miss current demand presented, to Bampton’s majority Street sterling qualities of his hearers rather than :i as a musician State_ are the few. 5 aper City & 756 "FORWARD Editron—$2.00 Cloth Edition—S3.00 El 1-43 MARCH WITH MUSIC” ,1 f 4 II'S/T THE ETUDE VOI/F,TAD7-r> rr/iniFion VT U M MUSIC” ;

bass, and contra-bass. This The Original tone. Don Cossacks and the permits of wonderful varieties of own system of choral practice Dur the American people through our range, of course, and enables our ing the busy concert season we haw frequent contacts with schools and Music of the chorus to offer selections that little time for more than Don male three Z where, after our con- universities 1 Russian would normally call for the highest four rehearsals a month. During and then back again th6 the local glee clubs come to “T ( Continued, certs, into English from Page 706) There is no ‘trick’ summer months, however, as an exercise in female voices. we ra lan- p visit us, to ask about our work, to guage as about the legitimate use of the fal- tice hard, both in program well as in patriotism), we outpourings are important as they buildinr compare notes about their own sing- feel a re- choral with no instrumental accom- almost any true tenor and in vocal technic. For special thrill in bringing setto. Although six summei for us. the flect the Cossack’s innate need of ing, and to sing These Amer- songs of our paniment of any sort. Next, we use it, falsetto is weeks we practice eight liberty-loving voice can encompass hours a groups are really Cossack expressing himself in song; but they a group dav ican college re- ancestors to of classics, including best attempted by an organ which —four in the morning our new home. Our tra- represent and four in in musical insight only a small part of our choruses from markable and ditions are different, the great Russian is very light and lyric by nature. Its the afternoon. It is then certainly; but music. We have songs that new ability. During the past months, built around operas and songs of our great mas- programs vocal we meet on common ground every use must be based on perfect voice are developed. I choose in the office of life—traditional work ters. the too, we have been singing for Red nature In third place, then, come the placement and depends entirely songs, distribute the of the ideals we venerate. songs, love music to the for songs, dancing songs; folk and soldier Cross rallies and army and navy And that these songs that repre- upon head resonance. One often various choirs of voices, ideals may be clari- most characteristic of all, and g0 Now that many of our group fied battle sent the life of our people. posts. through music is These are hears it said that frequent use of through the selections a hopeful step songs. with the en- been admitted to Some of them are gay and the songs that the have American toward world understanding.” peasant sings at falsetto ‘ruins’ the voice. This is not tire chorus, indicating the hearty and some are reflective effects to and the ‘khorovod’ (village festival) so. In our group there are lyric tenors be attained. Next comes the brooding—just as life itself is—but songs work of the earth, the rivers, the with the all reflect who have taken the falsetto part for separate vocal groups. the innate strength and fox-ests; songs of When woi'k and of love; twenty-three still each of the vigor of the years and are choirs has sung Cossacks and their and traditional ballads its that the min- ‘going strong.’ The danger of the part five or six steppe country. In addition times, we close the to the strels intone in the ‘izba’ (peasant people’s falsetto is—like everything else in music and work without own songs, we have a mag- hut) at night. notes. By Ten Tips for Beginning Organists vocal work—its forcing or abuse. No that time the nificent tradition of religious music, ultimate effect has one without a perfect command of been understood ponderous and full of sincere fervor. A Different System by the men, they ( Continued from Page 750) Russia’s head resonance should attempt it. know their own parts, and church music lay dormant “Our Russian system can con- of singing is centrate and obscure for over a on the music without look- hundred somewhat different from that of any Humming for Resonance years; ing at the notes. Then pedaling does go wrong, stop it un- 6. Keep then it was reshaped into its other country. we begin the your registration simple. Even professional art- “Our traditional preference present form by for long task of polishing and til you have yourself in hand; then Try not to shift hands on men like Gretchani- singing makes use of the cleaning! your man- national humming is an excellent thing for your pedal volume. Ordinarily, noff, Tschaikowsky, Rachmaninoff, “It is most heartening to note the reduce uals or change several stops on dif- characteristics that may be found in the development of resonance. Even wonderful releasing the pedal couplers will pro- ferent Kastalsky, Chesnokoff, and Schve- the development of taste in manuals at once until you singing of the people. We make singers doff. Professor who make no use of this at American audiences. duce the desired effect. become adept enough Schvedoff has set much use of wordless When we first to do so with- singing, or all in their normal work might public down and arranged many do sang here, some dozen years ago, 3. Play in easier music than out focusing your whole attention tradi- humming. Also, we accept the use the of well to practice it, in moderation, tional airs for the special use of audiences seemed to regard us you have studied. Work up to the on it. our the falsetto as a legitimate part of as a for its value in placing the voice limit of your technic group. our sort of ‘show’ and demanded only only after long 7. Don’t repeat numbers too often. vocal ensembles. In our own forward. The “We vary our own programs secret of humming, as gay, humorous songs and and repeated practice and at least Mark the date of performance on to work we have six parts, or voice dances. AMERICAN a resonance exercise, is CONSERVATORY include to feel the Today there is a year’s expei-ience. Don’t play your each piece before examples of all the various choirs, instead of an equal demand for you put it away, or the conventional vibration of the tone types of national in the lips and our serious most difficult numbers on special oc- keep a file of programs music. Usually we four (although some of national music. Church as a check OF MUSIC—CHICAGO our arrange- in the mask. If Offers all branches begin with church music which, this vibration is not litanies, which are casions. The combination of the two on yourself. courses in of music and dramatic art in ments call for twelve parts) often long and Faculty of 135 artist teachers ; fal- clearly felt (as a buzzing tickling), all orthodox services, is entirely difficult, are as popular as will almost certainly make you nerv- 8. Use Bach sparingly in the aver- Member of National Association of Schools of Music setto, first tenor, second tenor, the folk Send for a free bari- the voice is incorrectly resonated. ous and nervousness catalog—Address: John R. Hattstaedt, President, 583 Kimball Building, Chicago songs. Also, we have gotten to know — and good or- age small church. Chorales, chorale gan playing are common enemies. preludes, aria movements, or num- Never forget that the average con- bers from instrumental suites are \| gregation is always more impressed safer choices than the big preludes, / \ enwoo by a good melody, tasteful registra- fugues, and toccatos. J / \ tion, and a judicious sprinkling of 9. Try to keep your embarrass- CONSERVATORY OF MUSIC the old favorites through the year’s ment under control. you make / \ When Division of Lindenwood College programs than by fast pedaling and a mistake (and you will—always / for Women. Thorough prepara- CONSERVATORY \ tion for careers in music under three or four-part counterpoint. when you least expect or want it), a distinguished faculty. B.M. / OF MUSIC degree, certificate and diploma 4. \ Check carefully the numbers, don’t let it weaken the rest of your in piano, voice, violin, organ, / 77tn ANNIVERSARY YEAR harp, other instruments, pub- tunes, and verses of hymns. (Sad ex- forget it and on. one \ playing— go No A complete school of music, dramatic lic school music, theory, har- mony, history and perience taught the / art and dancing. Courses lead to degrees. appreciation me importance will blame you for making a mis- of music. Well-equipped Special students may enter at any time, stu- of this.) Practice hymns before the take, but you may be blamed if you / dios, beautiful buildings on SECOND SEMESTER * 138 acres near St. Louis with service. Keep an eye or an ear on make the same one twice! One way its frequent concerts, operas, / Opens January 24 \ other musical attractions. For your verses so is catalog and view you will not wake up to cut down on mistakes to be Write for catalog book, write Harry Morehouse Gage, all of a sudden wondering whether faithful to your practice time. Re- 2650 Highland Ave. Cincinnati, Ohio. Pres. \ Box 1243 St. Charles, Mo. you have finished or have one more member that your private work is WHAT PROGRESS ARE YOU MAKING? EQUIP verse to play. Add 4’ and 2’ Flute just as important as your public play- YOURSELF FOR A BETTER POSITION This is Your stops (reeds are not so for con- attaining professional poise A proof of Opportunity—Mail the Coupon Today good ing in DETROIT INSTITUTE Your musical quality is knowledge your position and in- important for one inter- — gregational singing) all alertness. So—don’t skimp! If ested in further and play and OF MUSICAL ART feSTSISig come today are the musical training. — result of the training you Our courses offer Uf R IT Since 1914 has prepared SHIRLEY GANDELL, M.A., Oxford EXTENSION CONSERVATORY, Dept. A-364 parts semi-staccato if practice on an organ free ambitious young you is?| ! cX the congrega- you can » University, England, President. have given your natural the same high quality of • 525 E. 53rd Street, people for careers in music, dancing, dra- ability. Additional training preparation which Chicago, Illinois. 40th year. Accredited. has tion begins to make the matic art. All instruments, voice, theory, Offers courses will developed to drag or to flat. Re- of charge you ought in all branches of Music. Certificates, open up new fields, new and trained many Please send me catalog, composition, sacred music, conducting, opportunities, greater successful musicians sample lessons and full information cam- diplomas and degrees. Desirable board- and regarding course member that sudden changes of vol- most of the opportunity. panology, radio technique. Accredited. Di- ing income and teachers in the I have marked accommodations. Located in down- higher standing in the musical past. with an X below. plomas and degrees. Faculty of world. ume during best tempo the 70. Catalog. town musical center. Piano, or between verses of 10. Find the for A. C. Jackson, Bus. Mgr., 52 Putnam Ave., Detroit, Mich. Box E, 306 S. Wabash NATIONAL HOME STUDY Teacher’s Normal Course Voice Ave., Chicago. This valuable COUNCIL hymns it. training, through our Extension Piano, Student’s confuse a congregation and service as a whole and adhere to The Council is an Association Course Choral Conducting Courses, may of which we are a make be taken at home with no interfer- Z3 Public School Mus. Clarinet it timid. Never forget that the organist (that’s member. It includes the outstanding — Beginner's Cj M1LLIKIN CONSERVATORY OF MUSIC ence with your regular correspondence Public Band Arranging 5. work just by devoting to schools School Mus.—Advanced Dance Attend two or three services at you!) and the minister are the ones DECATUR, ILLINOIS BALDWIN-WALLACE in the United States with self-study the many minutes headquarters at Advanced Composition 0 Violin your whole each day that ordi- Washington, new church before you start who set the mood for the Offers thoro training in music. Courses leading to CONSERVATORY OF MUSIC D. C. Members are Cuitar narily go to waste. admitted only after D ^ ar Training & Sight Singing 0 Playing. Bachelor of Music Degree. Diploma and Certifi- BEREA, The progressive musician, as rigid Make of service. Don’t be afraid to put OHIO (suburb of Cleveland) examination of the training Mandolin a complete outline church cate in piano, Voice, Violin, Organ, Public School busy as he may courses offered History of Music 0 Affiliated with a first class Liberal Arts College. be, realizes the value of such study the procedure than you are paid for Music Methods and Music Kindergarten Methods We are the on'y school 0 Saxophone with all cues (spoken, in more time Four and five year courses leading to degrees. Faculty and finds the giving instruction 3 Harmony of Artist Teachers. Send for catalogue time for it. Well paid positions in Piano Accordion Played, your pastor Bulletin sent free upon request or informa- are music by the 0 or sung) or make suggestions to tion to: Home-Study Method, Q Cornet , no matter how available to those who are ready which includes —Trumpet Reed Organ W. ST. CLARE, MINTURN, Director ALBERT for them . in Its 0 nvial they out those significant RIEMENSCHNEIDER, Dean, Berea, Ohio curriculum all the courses Advanced Cornet may seem. Underline all for smoothing necessary to obtain 0 Banjo the Degree of musical portions, which will make the service can Bachelor of Music ^ame even if they are details YOU do it too! It's up to YOU! Adult or juvenile only reverent A D.ploma Is chords for the responses. Put you play one of quiet, buy war bonds and STAMPS FOR Your Key to Success! Street No l VICTORY e sheet on the rack with your mu- beauty. Concentrate on these sug- CltY sic and and keep State follow it each time until you gestions one at a time, Are you teaching have nd that (I’m still working the University now? If so, how many pupils you are no longer watch- adding to them. Ext E IV 5 I 0 N Cl > ng it. Long before p land* ‘ 9.) you • (Such and Jnstitutr of • 6, C[Wre ^onAervator Do you hold a Teacher’s Certificate? ! an outline is particu- hard on 4, ^5)b (T)uatr 1 5 2 5 ar y nature, your con- EAST 5 3 R D STREET Have you earn helpful if your first church all ten are second (DE PT. A - 3 6 studied Harmony? Would you like to Confers Bachelor of Music Degree, Master 4 ) CHICAGO. as an that the new of Music Degree, Artist Diploma ILL. elaborate liturgy as have the gregation will be saying the Degree of Bachelor of Music? — WARD LEWIS, Dean of the Faculty 1 411 the best one they’ve ever ’ Episcopal> and Catholic organist is Beryl Rubinstein, Director (on leave of absence) 3411 Euclid Ave., Cleveland O. faiths 'FORWARD ) had! MARCH WITH MUSIC’ THE ETUDE WITH MUSIC” November, 1943 "FORWARD MARCH 759 )

He did it hu- ative or an enema is of effects of damp feet. assistance in The Trail of the was sincere checking a cold at its JUILHARD SCHOOL OF MUSIC' Tempered Scale morously, but there onset. This counsel in his words. When they means a detoxication of the Making the Organ Talk bodv ERNEST HUTCHESON, President came to Philadelphia Caruso imme- which consequently will be ( Continued from Page 721) more rubbers for able to overcome diately bought a pair of the cold. An ap- by 1 1 barvin s4ndt INSTITUTE OF MUSICAL ART Madame Alda. Caruso himself, how- propriate diet includes fruit and enon of a semitone flat. The final outcome its GEORGE A. WEDGE, Dean tiously, forming a very ill-tempered ever, abused his throat juices, especially the continually citrus fruits of this “tempering” is a scale of chromatic scale. An even-tempered cig- (lemons, oranges, EXPRESSION “He surely ing by smoking interminable strong grapefruit) HE the fourth stanza, his Individual vocal and instrumental instruction. Classes in Theory, Com- twelve evenly spaced half steps. and a eye will Our scale was suggested by it talk!” sometimes Bartolo arettes. minimum of meat and fish. can make notice only the figures position, and all chromatic scale One written above branches of music education. is so tuned that the Rames, a Spanish monk, referring to a in 1482, but It is frequently possible to check well-known specialist in T is used in mu- the tenor line. internal Courses leading to diploma B. S. and M. S. degrees in instru- same piano key will do for either B- the consequent and distortion of the the progress of a cold when its first medicine follows this sician who produces sensational re- However, mere flat or A-sharp; or that treatment- phrasing in the mental, singing, and public school music departments. Middle C may pure-tone scale forbade its use. instrument. The clever The symptoms appear. Heat is the best The patient is put on a diet of sults on his usual sense will not make also be B~ or even D double-flat. noth- the organ even-tempered scale had to wait the ing but orange however, can make his in- talk. Catalog on request. medicine—whether it be applied ex- juice for three days. organist, Each phrase must be divided With the coming of the keyboard further revival of Greek learning and ternally This is taken talk in a different and into Room 122, 120 Claremont Avenue, New York by means of a hot bath, a at two-hour intervals strument words and each word into syl- instruments, and the encroachment the full bloom of the Renaissance. in six or literal sense. of Roman or Turkish bath, hot com- eight-ounce quantities. almost lables. The words can be separated harmony upon counterpoint, the The real hero The of the battle over the presses around neck and chest, hot- tall drinking glass listening to the playing of cer- from need of tempering holds about six In each other by continuing the became impera- tempered scale was Gioseffe Zarlino, water bottles, electric pad, and stay- ounces. In addition to this tain excellent (not famous) organists legato in two parts, Philadelphia Conservatory tive, even though the church author- who preceded the pa- probably the BOSTON Monteverde as organ- ing in bed; or tient is that when they play UNIVERSITY ities whether internally directed to take ion an I have noticed tenor and bass, and releasing the of Music frowned. ist of St. Mark’s, empty . Opera was promoted by hot drinks such as tea stomach) a the organ seems to form not Accidentals crept laxative on the first two hymns other parts between the words. Syl- COLLEGE OF MUSIC 216 South 20th Street into our music coming, and keyboard instruments Maria Ezerman Drake or lemonade. The usual common tea days of the orange-fast only the music but also the words of lables within • Thorough preparation for careers in chiefly to enable the church diet. The the words can be “pro- Managing Director modes to demanded their own chamber music. music. B.Mus. or Diploma in Voice, Piano, or a medicinal tea may be given. treatment is hymn. An analysis of such re- nounced” produce better harmony, prescribed to detoxify the by playing the melody Organ, Violin, Cello, Brass, Wood-wind Faculty headed by especially Zarlino revived the thesis of Claudius Perspiration may be induced in this the body and increase sults shows that this effect is pro- semi-staccato and Percussion instruments. B.Mus. in Olga Samaroff, Mas. D. for a final cadence, or “Amen” pro- Ptolemy, the alkaline and the other parts and from it evolved new Composition, Church Music, Musicology. Courses leading to Degree? gression, way, but the actual goal is. warming condition. The normal duced by skillful phrasing and by legato. It must be understood B.Mus. as we use a G-sharp in the ideas, including the need state of the that and M.Mus.Ed. in Public School for an even- up the body. phrase. Music. A.M. through Graduate School. dominant chord preceding Generally, in these mucous linings of the throat dividing and subdividing each this semi-staccato is used between, the final tempered scale. A terrific storm arose and Chorus, Glee Club, Orchestra, Band. Fac- days, physicians put the patient to nose are, however, While this, perhaps, is done uncon- not within, ulty of /--minor. between the new slightly acid. the syllables. It should distinguished musicians includ- OVERDRIVE SCHOOL OF MUSIC & ARTS harmonists and the bed at ing many Boston Symphony Orchestra once if there is evidence of The inhalation of vapors sciously by some organists, it is a not be used on each note of a syl- old modalists. The harmonists won, of camo- members and the Stradivarius String Drive Modes fever, and keep Quartet. 84 Riverside and Scales but him there until the mile tea through nose and mouth skill which can be attained or im- lable or vowel which is sustained Cultural opportunities of Bos- even then the tempered scale was ton. Attractive dormitories. Catalog. New York City fever is gone. Many singers, includ- brings relief proved by deliberate attention to over several different A scale is not a mode. It is an ar- modified into and sometimes assists melody notes. a compromise mean- ing Alfred H. Meyer, Dean FREDERICK G. KOEHLER, Director rangement of Anna Case, have found that in a cure. Others certain rules. Such a syllable should be rendered 53 Blagden scale-steps from which tone scale suggested benefit by the in- Street Boston, Mass. Dormitories by Mersenne, a colds modes are formed. Our are the result of dietary in- halation of weak acids. First of all the organist must give extremely legato, with a distinct diatonic scale French scientist. Music, of course, was Workers in Catalogue on request Special Summer Session discretions which fill has two half -steps in it, and the body with vinegar factories and careful attention to the punctuation break at the end to separate it from our ma- still chiefly vocal, and the war-gas plants A Revealing New Book in Two Parts mean-tone toxin. Once, jor and minor modes put when she was in the seem to suffer little from of the text so that each period, semi- the next syllable. them into scale had a minimum tempering, so colds. To PARAGON OF RHYTHMIC COUNTING COLL US,C different best of health, she had bad -®!i. °L- places in each of their tetra- as nearly to preserve a attack diminish the swelling of the mucous colon, and comma is respected by a It is acknowledged that the meth- FOR ALL RHYTHMS COMBS the pure-tone of Complete musical education. Preparatory chords: C-D-EF; laryngitis as a result of eating normal, legato children. Teachers’ training G-A-BC in the ma- scale while permitting modulation membranes in nose and throat dur- break in the move- ods described actually are not rules PARAGON OF HARMONIZING department lor plum pudding. applied to courses leading to diplomas and degrees. jor; A-BC-D; She tells us that, ing In it 1925 St., Philadelphia, Pa. EF-G-A in the relative into a few neighboring keys. not a cold there are many drugs ment of tone. general can be but are merely suggestions and Chestnut until FOUR KINDS OF HARMONIZATIONS minor. Accidentals permit she had taken glass after glass which are said that at the end of a sentence rearrang- The freedom of the keys, administered directly to therefore can be ignored with a light Send for explanatory circular twelve of hot ing the position of the water and thoroughly washed complete break legato is half-steps so major and twelve minor, was not those parts by . In the case a in the heart whenever it seems good to do EFFA ELLIS PERFIELD ™ the poison East 86th St. (Park Ave.) York City as to transform major out of her system, could of made by releasing all notes of the New flKiene XTKeadre modes into established until Bach a sore throat, and no so. Under certain conditions it might f Singers coached for professional Stage, Screen. Radio, proved the ar- physician ^ minor or vice she sing again. Acting, Musical Comedy and Opera. Broadway also versa. By degrees all tistic value of available, relief chord, so that a distinct attack can desirable to play every chord Summer Stock Theatre Appearances assured. Many gradu- the even-tempered may be obtained be summer course open- It is true ates outstanding stars. Spring, and twelve of the church that freeing the ings. write Sec’y Schubert. 17R0 Broadway. M. _V. _ modes were scale with his “Forty-eight Preludes system through certain lozenges, slowly dis- be made on the first chord in the staccato, and on the other hand a thus whittled down from the infection by to two, major and and Fugues.” He opened up immense taking a lax- solved in the mouth. next sentence. At a comma or semi- continuous legato might be prefer- minor, both better suited for har- fields of unexplored harmony. colon a partial break is made by con- able in other cases. By way of excep- mony. Thus the old trail of the tempered scale tinuing the legato in one voice, prob- tion to the suggestions given it will Holiday-time Entertainment Material The church, however, would not broadened into a great highway down ably the bass, and making a break in be noticed that in the playing of willingly sacrifice the pure-tone scale, which we have all the other voices. traveled ever since How to Teach Your Child chorales it is customary to hold the natural to voices. But five black Absolute Pitch SANTA’S SURPRISE A JOLLY CHRISTMAS keys the genius of Sebastian Bach In the case of a familiar hymn the in each line of a stanza crept was last chord By Gertrude McRae Price, 75c By Charles H. Gabriel Price, 40c onto the keyboard surrepti- first recognized. organist will be able to watch for the and to make a distinct break before A fine feature in which children from 5 to 14 Even primary tots may help in this veritable years of age may participate. There are 2 parts children’s jubilee with marches or drills, dialog, by Cither 'I Ilarihall punctuation while playing; but if the beginning the next line, regardless for grown-ups. 2 acts and 5 scenes with lots to solos and choruses. entertain the audience as everything ends^up in hymn is unfamiliar, and especially if of whether or not there is any punc- a party for Santa, with some penguins and THE WAIFS’ CHRISTMAS This article is published Eskimos joining in the party. Time, 1 hour. as it was have the F. Price, 40c a very poor ear. My husband, a words are not printed within the tuation mark at this point. In By Geo. Root presented to us as An inspiring Christmas message is found in a carefully ob- professional staff, THE CROSSPATCH FAIRIES musician, who has a it is helpful to employ a system some cases this may seem ridiculous this enjoyable entertainment embracing young The served musical By Norwood Dale Price, 60c folk of all ages. Musician and the Common Cold human experience of good of sense of pitch, does not have marking such as the one illus- of the words, spirit effective an obviously painstaking from the standpoint Gets the holiday “across” in an mother and absolute pitch. trated. manner. The music is bright and melodious, yet JUDGE SANTA CLAUS Our two children, a In this example no marks are considered in good taste for simple enough for easy performance. A nice (Continued teacher. The Etude has but it is By Geo. F. Root Price, 40c from Page 700) had no op- boy and girl, length introducing Mother Goose and a aged four and five, used for the first stanza because it the chorale the Fairyland characters with, of course,. Mr. An unusually pretty and effective Christmas portunity to test the reason that in and the students men- both Mrs. Santa Claus. operetta for children, easily prepared for pres- have absolute pitch. Evidently is printed entation. Its popularity continues year after tioned. where the organist can music is not so decidedly subordinate Cold temperature alone A relative pitch sense can SANTA CLAUS’ year. does not you washed your head?” of it was not inherited, as some think it the hymn Melba course be readily to the words as it is in cause colds. Amelita Galli-Curci taught, and it is not CHRISTMAS PARTY SANTA CLAUS’ MISTAKE said nodded. “Certainly,” she generally is. Is it acquired, or is it said. “I inconceivable gospel song. By Geo. F. Root Price, 40c that she did not believe that absolute pitch and By C. E. Le Massena in worrying washed it two days ago.” Marchesi innate? that suc- Teaches the beautiful lesson of charity and yet might be conclusion might be Price, 60c is brimful of humorous situations. Three solo about colds. little developed by training Our A cold weather shook her finger It is singing parts, all girls. vehemently at her Editorial recognized by educators that playing demands a A sparkling, entertain- may easily Note. cessful hymn which irritate the throat, yet it student. almost all ing operetta in “A singer never washes her small children have the from seven to IN SANTA CLAUS LAND sympathy for the words of the hymn. children seemed useless to her to take too head,” ability to fifteen years of age By Gertrude M. Rohrer Price, 60c she said. “She cleans it with learn to speak a foreign may have a part. The A FTER READING attain this by the Quite a favorite one-act Christmas musical play many special precautions. THE ARTICLE Some organists music is tuneful and She al- tonic, she language for children. It runs about one hour and is cleans it with a fine comb, without accent. This is easy to sing. The plot in the September O Zion. singing with the readily produced with a minimum of rehearsing. ways slept with her 1937 issue of He npproacheth. simple process of has to do with jolly old windows wide but she never washes it.” thought to be due to sense o. Fling Melba was The an unusual wide thy portals, Zion. Othei St. Nick's good work Etude “Can Perfect 4. while playing. open—even when the temperature astonished Pitch of hearing, Give heed, thou sinful people. congregation with some young cynics. at this revelation which, Be Acquired?”, by which they are able to THE VISION OF SCROOGE was below zero. it occurred to the prefer to listen to the sing- She considered fresh however, she did not take distinguish variations in tone and in- read “2” organists Cantata for Two-Part Chorus to heart. writer that other it while playing. The figure order to CATCHINC KRIS KRINCLE air the best tonic for parents and teach- the congregation in of Treble Voices the voice. This, of course, is flection that the adult ear does not ing of Price, 40c exaggerated, but ers might be wiitten above the treble staff indi- By Geo. F. Root “Draughts, of interested in our and alter the regis- old-fashioned Christmas “show” By William Baines Price, 40c course, are danger- caution is always ex- perceive. By the four gauge its spirit This is a good necessary. time a child is cates that for young folks. Features some of the perience and conclusions at this point there is a In the Dickens’ beautiful Christmas story is the ous,” she said; “but constant on the or playing accordingly. favorite carols. open- On a cold, sleety day Caruso saw five it begins to lose this gift and comma tration and basis of the text of this effective cantata. subject. in the second stanza. The fig- Musically, it is not beyond the capabil- air breathing hardens the voice by organist should form and that Madame Frances Alda did the time it is ten or twelve, has ure “3'' this case the THE MADCAPS ities of the average junior high school not I, myself, am written below the treble staff chorus. This cantata may be sung with offers the best protection one of those people mind and at the By William Baines Price, 60c against wear rubbers on her feet. “You lost it altogether; which explains marks the words in his an accompanying series of tableaux for don’t who are called the location in A worthwhile operetta which children or adults, which a Stage Manager's Guide, giving colds.” tone deaf, that is, of a comma on the She suffered very little from I why form them combination of both, may present. The is wear rubbers in such a climate? And children in high school do not the third same time try to or a full staging directions, available. cannot carry a tune when stanza, and a “4” written plot puts forth a real moral. The attractive colds. singing, seem case, the system is all in unison. you aspire to be a singer!” During although to be able to learn a foreign above the keyboard. In either chorus work I have a fair tenor line locates the com- Send for FREE Folder giving lists and de- When Nellie Melba studied in Paris their voice. When 1 language Of has been described DISCOVERED common journey he kept on took without an accen. ma in of marking which SANTA CLAUS scriptions of other Christmas. Entertainment piano lessons as a child, the fourth stanza. The loca- with Madame Marchesi, she had a I could course there value. By Elizabeth U. Emerson Price, 35c suggestions, including Recitations with Piano lecturing her on the absolute neces- are a very few natural jon of will be found of great not detect discords. the figure Christmas cantata is for chil- Accompaniment, Toy Symphonies, Christmas cold and remarked to While I have im- does not indicate This pleasing her teacher sity of guarding the linguists who are able to learn a dren’s voices assisted by a baritone and a tenor Songs for Child Singers, etc. voice from the proved little me part a in this respect, in which the break is made; or soprano. How Santa helps to give children a that she could not think I still professional music school how she language at any age and speak it like A vision of the light that streamed from that each figure an attractive college town, is assigned different lj k: n fa iv in Star of Bethlehem is brought out in the dialog had caught it. The teacher a native, a BERLIN looked All but they It is ./.f i . ill 111 9 1 bran.-Ue, 2 solos there is a solo training is founded upon the principle are very rare. Position tn aH and action. Santa has and THEODORE PRESSER CO. that culture on the staff in order that the chon

Blending the Registers seem to be Teach Your ready to learn to read How to music, so I have not attempted that as yet, but will shortly. I taught him bi i ^Herbert ^lUendcfi ^sduitin the J9tilettfc>e Pimo Music Child Absolute names of the different keys on the piano, starting at Middle C and Attractive Selections for Pupils' Recitals, gradually Pitch adding new keys in either EGISTERS are the so-called di- through the scale, using the Study Use, or Recreational Playing During regis- direction as soon as he could name which result ters. When this Suitable for visions of the voice becomes a sort of from Page 760) these as I pointed the Holiday Season. Some Are (,Continued to them, or could R from the readjustment that “second nature,” use the first play exer- the ones which I named. This Use in Sacred Services. is made in the vocal cords as the voice cise again and try to blend the that small children possess was regis- of hearing done entirely at the keyboard proceeds up or down the scale. The ters. possible for most children makes it with the child looking at the keys. trained voice takes its lowest tones Now try this, bringing the absolute pitch, if it is After PIANO SOLO falsetto to be taught he knew an octave or more per- in the chest register, its medium down as low as possible. Sing enough; and that the softly started young fectly, I turned his back to the piano Title, Grade, Cat. No., and Composer Price tones in the register, and its Adeste Martin. .. .35 CHRISTMAS MELODIES medium very few people have absolute and found that Fideles, March (2) (19447) reason he could name any Adoration Borowski 50 upper tones in the head (falsetto) only a few are taught (4) (18483) Carols and Songs in Easy Arrangements is because tone I played. Around the Xmas Tree (2) (16192) Crosby. . . .25 Richter fh pitch He now knows two for Piano—By Ada rs Around the Tree ' ( 1 Risher. .25 register. As voice passes Xmas (1 V2 ) 7358) best-loved such a from the age of four or five. octaves. Here is a collection that brings the music at He has also been taught to Arrival of Santa Claus (3) (2728) Engelmann .40 Christmas melodies within the reach of young one register to another in the course to teach our Bells of Christmas (3) (8755) Karoly 40 did not start out play the C scale, pianists along in the first and second grades I one octave, with Cathedral Chimes at Xmas Eve (6380) Ah (3) arrangements will satisfy older of a song, the blending of the regis- pitch. She was Engelmann 25 and yet the daughter absolute either hand. playing attainments. The o Chimes .40 pianists of limited at Christmas ( 3 V2 ) (1 1451 ) Greenwald ters is so finely done that it is diffi- to play the piano, book contains thirty-one well-known Christ- 00 anxious to learn This method of teaching Christmas Bells (3) (25840) Johnson 35 perfect mas songs and carols with texts for those who cult for the ear to detect the change. Christmas Bells, March (4) (19961) Wyman.. .40 her father, being a musician, pitch could be used with love to sing them as well. Price, 75 cents. and other young Christmas Day (2) (1 1822) Spaulding 25 This scientific blending of the regis- Be sure to observe the rests in the wanted his children to have a mu- children. However, if after a child Christmas Eve (2) (17925) Blake 25 Christmas Eve (2) (1678) Eyer 25 ters makes possible wide, next exercise. Cat. No., and Composer Price a musical, Where the So, she was just Title , Grade, when . exercise has Christmas Fantasia Mueller. . .50 re- sical education. learned an octave or more at the ( 3 2 ) (23105) March ( (25484) Grey .40 Christmas Hymn and Bells ( (25103) Little Tin Soldiers, 2 2 ) vocal range. peats the same tone, the voice her an instruction 2 2 ) should past four I bought keyboard and has not acquired ab- Pitcher 35 March Carillon (5) (23856) Hanson .50 In the chest register alternate March of the Candy Dolls (3) (26224) Renton .40 the flow of between the falsetto and and started to teach her. I kept solute pitch for these tones, book it is Merry Sleigh Bells (2) (25836) Preston .25 breath is forward and chest register. without much the piano tuned to International scarcely advisable to devote more CHRISTMAS IN THE COUNTRY On Christmas Morn (With Words) (1) (27178) Copeland .25 impact against the parts of Six First Grade Piano Solos the pitch. Because of my lack of tonality, time to this method. O Holy Night (4) (27414) Adam—Freely Ex. Although this By Mabel Madison Watson mouth. The falsetto voice brings the to rely on transcribed by Peery .50 it was impossible my own experience shows results with two The Christmas Tree (25386) Watson. .30 Adam-Hess .50 tones (1) O Holy Night (5) (23142) forward on Games and Toys (25387) Watson. . . .30 Overholt .40 the breath (1) Poinsettia ( (26207) and singing or playing. Consequently, I children, a thousand such experi- 3 2 ) of Merry Men (25389) Stairs .25 places them against the hard March the (1) Santa Claus (1) (26051) palate, merely taught her the names of notes ments would be necessary to estab- Watson .30 Santa Claus Is Coming (2) (2354) Hiller. . . . .25 the Snow Watson .30 Varkony .25 or upper Playing in (1) (25388) Santa Claus Is Coming ( 2 2 ) (24802) teeth, for resonance. As the to read music in the same lish the truth or fallacy theory. and how of the Snow for Christmas (1) (25384) Watson. .30 Santa Claus March (1420) Nuernberg . . . .25 falsetto (2) proceeds into its higher way an older child would be taught. Song of Sleep and Snow (1) (25385) Santa On His Way (2) (27407) Thomas .25 Watson 30 Silent Night (5) (23949) Kohlmann .40 ranges, there is the sensation that After a month or two she was read- A Sleighride (3) (15046) Clark .50 The Sleighride ( (13836) Ashford .40 the tones are in the Eyer 35 2 2 ) head rather than ing the simple tunes in her book, and Christmas Morning (2) (1680) .25 The Talking Doll (IV2 ) (17359) Risher Christmas Morning at Home (2) (19090) in the throat, the Three Christmas Songs (Jingle Bells, Silent resulting tones noticed that she knew when she hit Martin .35 I 1 Night, Jolly Old St. Nicholas) (1 /2 ) (271 98) often being Christmas Suite (5 characteristic pieces) (2 V2 ) called head tones. Stu- note, although she was not Arr. Richter a wrong The Voice Teacher (16781) Armstrong 75 dents Three Little Christmas Pieces (1) (23456) need much practice Coming of Santa Claus (2) (1681) Eyer 40 on the looking at her hands. I turned her Hammond .25 Dreaming of Santa (2) (9238) Greenwald . .35 registers. Tommy's New Drum 2 (24405) Risher. . . .30 At first the breaks that she and the Stockings Green- ( V2 ) between back to the piano and found Hanging the (2 2 ) (9239) Toy-town Soldiers (26253) Richter. . . . .25 the registers are wald 35 ( 1 V2 ) apt . . to be quite no- note played, within Toys and Candies (2) (9243) Greenwald . . .35 could name any Hobby Horse (2) (25832) Clafflin 25 Under the Christmas Tree (2) (9244) Green- ticeable, but with Speaking Voice Holiday Sleigh Ride (26994) Hopkins 25 patient practice Remember that tones grow with the range of notes she had learned (2) wald .35 the tones will begin to blend together practice she Under the Mistletoe (2 Vi) (7609) Engelmann .40 on simple syllables. Do not something over two octaves. As Venite Adoremus (23143) Bernard .50 until Page 748) UNDER THE CHRISTMAS TREE (5) finally the “three (.Continued from Waiting for Santa (With Words) (1 (27302) voices” will leave these exercises learned to read more notes, her range V2 ) until practice Mildred Weston sound quite Piano Suite By Stairs .25 like one. It is a thereon intro- Yuletide vocal has resulted in a gratifying increased, and as chords were This little book delights young pianists yet in (2) (23148) Williams .35 defective cylinders, in like manner Yuletide Bells (13837) Ashford .60 achievement worth all the the first grade of study. Its eleven little pieces, (2 2 ) labor in- use of the registers. this is ac- duced into her pieces, she learned to When the characteristic each with text, are Hobby Horse, A Doll That vested in it. we can correct complished, try some good song. Sing distinguish two or three notes struck Goes to Sleep, The Tinkle-Tinkle Box, In a factor sounds of the voice. Little White Cradle, The Big Red Drum, Let us try an exercise. NUTCRACKER SUITE (Men may the tune to the vowel sounds as indi- together. After a year and a half of Wooden Soldiers, Tops, The Little Pop-Gun, Sometimes the normal speaking (Tschaikowsky) sing it an octave lower.) cated Jumping Jack, Candle Lighting Time and above, concentrating on good study, she can name any single note Christmas Tree. Price, 75 voice is so badly produced that its Twinkle, Twinkle, A Story with Music for Piano Ex. I cents. tone production and a smooth blend- on the keyboard and two, three or Arranged by Ada Richter '^KTiLh YOU WRITE a letter habitual use will overwhelm the to damp Japanese cell. ing of the registers. Then sing the four notes played simultaneously Young pianists who have reached the point of remedial operations. In that case try Holy Night, Peaceful Night (2) (13530) a Prisoner of War . . . to grade 3 in playing ability here Let’s try again. “Dear words. You will be surprised at the anywhere except at the extreme ends Greenwald 25 grade 2y2 Joe, these exercises in a pitch have brought within their reach some of the tonight? to operate Hush-a-bye, Dolly (With Words) (1) (26955) Ah new ease with of the register; she will most charming and most fascinating music I’ve been working . which the voice glides probably ordinarily em- Stairs 25 pretty higher than that ever written. The interesting and entertaining over Impromptu (5) (23855) Hanson 50 Perhaps he the pitches where it used to eventually hear these. She can recog- story that inspired Tschaikowsky’s ballet music, was left behind hard and haven’t Or, perhaps better, have the In a Manger (With Words) (2) (26752) Strick- had a vaca- Notice where your ployed. the book and there are voice breaks; let break. nize the tones of a violent discord as land 25 runs along through when Bataan fell. the vowels, which, of illustrations. Tschaikowsky often wrote in a Perhaps he the pupil sustain Jack-in-the-Box ( 3 2 ) (27010) King 40 tion in over a year, so . . readjustment take place melancholy sadness, but the num- and The easily as sing Bells ( (6863) Lawson 25 vein of and medium register is between of a concord. She can them. Jingle 2 2 ) had to bail out over proceed course, is singing Schumann 25 bers in this suite are bright and colorful and Germany. Better cross up the scale as high as any Knight Rupert (2) (4023) that out, too. They you the chest register It tone within her range on per- fit in with the yuletide mood. Price, 75 cents. and head tones. The Lead Soldiers, March ( 2 2 ) (25516) Anyway, he’s an can comfortably go. American, and don’t ever Don’t strain for merges downward deep fect pitch; and can play by ear the Baines 35 get vacations where power on into the he hasn’t had a letter in the high notes. Be content tunes a long, Joe’s staying. tones of the lower register, and up- she learned to sing in kinder- with small tones. Let the PIANO—FOUR HANDS long time. voice di- ward into the thin tones of the fal- garten. These tunes were taught en- mmish in Cat. and Composer Price Well, what are you waiting power if it Title, Grade , No., wants to. setto. Men should not hold in dis- tirely without a piano. She is also And when you sit Having World of Music Adoration (4) (24373) Borowski .70 down to for? noted the pitch able CHRISTMAS CAROLS Go ahead, write the let- on which dain these feminine-like sounds. to recognize most tones played Arrival of Santa Claus (3) (2664) Engelmann .50 write, tell him why your voice naturally Christmas Eve (2) (9377) Hiller J25 for you didn’t ter breaks, practice on other are Page 697) In Very Easy Arrangements to . Joe. Try to write it, instruments, if they (Continued from Christmas Festival (3) (1791) Buttschardt . . .60 the following Piano Duet—By Ada Richter buy your share exercise, Ex. 5 of Santa Claus (2) (4763) Eyer .40 of War Bonds anyhow. transposing it tuned to about the same pitch as our Coming Message of the Bells (2) (25724) Beer .40 carols arranged for first up 01 down to suit your the first chorus of mixed 12 of the favorite last pay day— if particular piano. child it became Sleighride (3) (15315) Clark .60 you didn’t. While she is a brighter A grade pupils to play as duets. The texts also But, if voice music at Salz- Christmas Toy Symphony (Piano 4 hds. parts somehow you find you than es to sing American average, she seemed to possess only) (9807-A) Hewitt .75 are given for singing with the four hand ac- “Dear Joe,” you might say, in Austria. He wrote cathedral ( Risher. . . .30 can’t, Tommy's New Drum 2 2 ) (25499) Price, 75 cents. will you do this? Will little musical ability until we started ; companiment. and was Garland. . . .40 “the old topcoat Chest Falsetto Chest Falsetto instrumental works Two Xmas Melodies (3) (16076) was getting al and Engelmann .50 you to Under the Mistletoe ( 2 2 ) (7615) up the amount of money teach her. Her sense of rhythm arranger of Negro folk kind of threadbare, .” Elector and so I . . was poor, and to sing you’re putting into your Pay- she did not try PIANO—SIX HANDS No, cross it out. Ah tunes as many small children do. Joe might not roll Savings Plan — so that you’ll for- Under the Mistletoe (2y2 ) (9943) Engelmann .75 o_ After VENTRESCA, composer, A Sleighride (3) (15424) Clark 75 | understand about the topcoat, Chest Falsetto Chest the foregoing experience, I HEN be buying your share of War Philadelphia Orches- decided that are est with the especially possibly children of FOUR HANDS if he’s shivering in a Bonds from here on in? Practice Exercise 5 to develop past year a member TWO PIANOS— Do not try to not born with ac- td for the smooth up absolute pitch, but 392nd Introduces "While Shepherds Watched" "Adeste Fidel is’ "Silent Night" your change of power in the register ad- Forces attached to the Christmas Fantasy— \ oice-break quire it. med Kohlmann .$ 1-00 between the registers Accordingly, I then proceed- died September 8 (4) (27415) too justments. Use the same vowel sounds Air Force Band, quickly. But do not ed to teach ability. was a This advertisement leave the above as our son the same Delaware. He prepared under the auspices of the War indicated for Exercise 4. This may He lmington, -m exercise until you can does not seem to be any brighter of musical organ- Advertising Council move right on f a number and the U. S. Treasury Department, be transposed if necessary. than 0 was the average child, although he Philadelphia and also THEODORE PRESSER CO. and space contributed by s in displays publications of more musical talent than his Y^r*mnt.in£r the in Music Publications a Everything l he ™e( alled sister master °t al1 masters. turn to did at the same age. He has an PHILADELPHIA 1, PA. him dnd lenrl ? Go, 1712 CHESTNUT STREET, , imth few means, excellent THE ETUDE how to produce great effects.” sense of rhythm and often hums —Beethoven. or sings tunes that he has 762 heard. "FORWARD MARCH WITH At four years of age he did not MUSIC” 76 3 THE ETUDE "FORWARD MARCH II ITH MUSIC November. 1943 . ; .

American Music Junior Club Outline, No. 11 My Musical Progress My Musical Progress ( Continued ) (Prize winner in Class B) (Prize winner in Class A) When I was six my Liszt mother taught me to In September, 1938, I merely knew that a read music. As A veritable good question we lived in Africa then, there whole note and a quarter note existed. This Colonial: hoofsteps. And were no piano teachers when we don’t available, so she gave month I am playing Chopin’s Nocturne in F- is. As it fell out we were not me lessons for three it know any years, until I was nine. sharp major first Liszt, his lifetime, was con- Notice the second note in more words and the movement of Bee- a. during the bass to we make Then a teacher came to the mission and he gave fortunate enough have many some up. thoven’s “Sonata Pathetique” in a piano recital. most brilliant is a passing tone, Come on, boys, me lessons for a year. When I sidered the world’s progressing from let’s give was ten we came If I have progressed rapidly it is not because n skilled in the art of musical to America. There was where was he C, the root of the chord, me hem a song. (Group a piano on board the of musical genius, nor on account of very favor- pianist. When and to E, the sings Rusty boat but I in the Colonies. could not use it very much because it composition Wil- igs or some able working conditions. It is due to three main born? When did he die? third of the chord, and passing other cowboy tune, was so much in demand. When we came here Billings and Francis Hopkin- factors: first, I had a competent teacher: sec- liam accompanied I lived in a house with a piano for a year, and b. He used many folk tunes in his through D as it progresses. on piano by one of ond, I laid special emphasis on scales and stud- were our most important that summer my grandmother gave me a few son mu- the group. Piano ies in daily practice: third, I have availed my- rhapsodies. These tunes were from solos may also be lessons. Then in the fall we came to live in Musical but we made use of the Wis- self of the opportunity to hear lots of good Program sicians, included.) consin where I started taking piano what country? and viola music on the radio and to make use of the music of Haydn and Mozart. Our lessons. Soon I progressed so that I could join of Since Liszt’s Present-Day Boy: musical material in a local puolic library. I c. He donated a large sum money piano compositions That’s great stuff. our orchestra and now 1 occupy brought second viola believe that, to progress rapidly, one should worthy ships books of I love cowboy chair. to erect a monument to a famous are nearly all of extreme difficulty, songs. I wish I could have a good instructor, practice regularly, and fair tunes with many other Anna Lois their be one—-a Reuling (Age 12), develop his musical appreciation through read- composer in Bonn. Who was this your program would be made up of cowboy I mean. I bet no Merry England. Wisconsin ing of and listening to the master imports from (Co- bronco could throw works of composer? simplified arrangements. Try to hear me. musical art. lonial group dance minuet to the Cowboy: d. Another famous composer married some of Liszt’s compositions through Maybe. But remember, that Mary Rosemina Shaw (Age 16), Mo. melody of Don Juan or Minuet in Edited by Liszt’s daughter. Who was this depends on the bronco. Now see E-fiat by Mozart.) here, composer? we have all been putting on Dear Junior Etude: Present-Day Boy: That’s swell! I Our music club, The ELIZABETH our song and dance acts for you. called Etude Music Club, A.GEST has twenty-five active and forty -six associate Terms think one of you should play a Now it’s your turn. What kind of members, each of whom wears our Etude Music tune by Billings or Hopkinson for Club button e. What is a rhapsody? music dc you play? proudly. These we secured from (Send answers to letters the Theodore Presser Company, and we us. I like early American stuff. Present-Day Group care of Junior have a f. What is meant by con bravura? play several Etude) very nice picture of Beethoven on them. Be- Colonial: I can play My Days Have solos, including compositions by sides our officers we have many chairmen of Keyboard Harmony Been So Wondrous Free by Hopkin- Dear Junior Etude: committees, including social, program, games, MacDowell, Cadman, or any I think Amer- music is a fine morale builder. Our concerts; and tran’srrortation. We are much in- son, but it was really a song, boys in camp enjoy music. Just think a g. What is a passing tone? (Refer to you ican pieces they have prepared. how terested in the study of composers and their soldier, sailor or marine would feel if he did know. (Plays.) not music. Each month a composer is studied, last month’s outline.) Do you re- recordings After the final number the groups have a song to sing. Music is a sort of made by some of the pepper-upper when we are sad, and no matter papers are read, pictures of the composer, his Present-Day Girl : That is beautiful. applaud. member how you formed chords world’s greatest Then two of the group where the boys may be, a song will build up heme, and so on are exb’bit-.d. Then the follow- American Music pianists. If you do his morale. ing month a quiz” is last month, using passing tones in My book says that Hopkinson was play a duet arrangement of the “spot given; students must not have any Liszt arrangements in From your friend, recognize themes given on a signer of the Declaration recordings, and (Costume Recital or Playlet) the melody? Passing tones are of Inde- march. Stars and Stripes Forever, Ronald Parker (Age 10), prizes are given. your repertoire, you may make up Pennsylvania. pendence, I believe. by Sousa, We frequently attend the concerts at our Art used the same way in the bass. the program this as each character brings month from pieces Museum, the club going in a group. We are now i, £. .A. Play the following pattern Colonial: The book brings forth the forth a small American flag which q. in you have learned, regardless of who writing words for our club song, the music be- three truth, but over and above that has been concealed in ing composed by our president, Dick Williams. major and three minor keys. the composers are. the costume. Melody The Etude is read each month and forms the CHARACTERS (in appropriate Present-Day he could turn a pretty tune on the Groups fall in line exit, wav- Wheel Puzzle Girl: Oh, a real Indian and basis of many interesting discussions. costume) : dance. Please do! Oh, please! (In- harpsichord, write a pretty rhyme ing flags. Take the second letter in the title From your friends, Ruth Hawkins and M. Harding, Ohio Pilgrims dian group walks around in small of poetry, yet all the while he was Curtain. of No. 1; the third letter in the title Indians circle, with shuffling, rhythmic mo- Instrument Game a fine lawyer and statesman. No. 2; the sixth in the title of No. 3; Colonials tion, heads bent Old Negro: My old Massa, he war the third in No. 4; the first in No. toward the floor 5; My Musical Progress Negroes as one of the group plays an ar- If JUL a lawyer and a statesman, too. the second in No. 6; the second in n jU,„ (Prize winner in Class C) Cowboys rangement of a genuine Dat’s just what he war. No. 7; the third in No. 8. Indian Down in I think that some people do not want to learn Present-Day old Kentucky. The letters will spell music because they it is Group Tribal Melody.) Fill in the blanks with musical instruments Dat’s whar he lived. a musical bebeve going to be too hard. I thought so too when I Scene: Interior with piano. All en- Present-Day Boy: Wonderful; Do Down in My Old Kentucky Home. term. What is the term and what are started nine months ago, but now 1 do not think it is hard. ter in procession and seat them- another one, please! Dat war his the titles? So if you people who hear (Another The “prima home and dat war my my story, think that donna of the strings” I helped music is hard, keep on and pretty selves on chairs, stools, cushions, and player or the same one plays an- the shepherd boy of old home, too. (Group sings My Old soon you will is often said of me, because I take find it easy. I can play a few things out of the so on. other Indian melody as the to pass the time away; on me he Kentucky dance the leading part Home by Foster, accom- June, July, and August Etudes and I can play in everything, you played a few hymns Present-Day Girl (walking around is repeated.) his melodies that cheered his panied by solo or duet arrange- from memory, and I can play see. My ancestors Prize Winners for August Last- some things lived long ago; the lonely day. from other books, too. The reason room and observing costumes) : Colonial: Interesting, To-day in the finest or- ment indeed. And zithers on the piano.) I n ade so much progress in a short time, even are my kin; the lyre and chestras, Letter Puzzle: Dear me! Who are all these people? to think of it! my place none can dis- Present-Day though I only practiced a half hour a day. is Had we but known harp were Girl: I love the songs fashioned first, and then because I have a very good teacher. So if you Am I dreaming or something? Real how to move the feet in Indian pute; I lead the wood wind section, of Foster. Class A, Dorothy Okoniewski (Age the Please sing another. want to make good progress in music, the most . 16) York. Indians! Pilgrims and everything! dance and my name is short, . , New important thing is and how to raise the voice a Negro: We shu is glad, Honey. We’ll to get a very good teacher. A Pilgrim (bowing Answers: Class B, Julia Colby (Age 14), Joseph Irving Karch (Age 10), low) : Yea, for- in their songs, mayhap they would 2 1, violin; 2, ’cello; 3, sing x Swing Low, Sweet Chariot. It Massachusetts sooth, here we are and all real not have I often guitar; 4, flute. Ohio. frightened us to betake m heard in orchestras, or warn’t written by Foster, ’caise Class C, Americans, forsooth. Methinks ourselves to in a string Barbara May (Age 9) , New it the stockades so fre- quartette; I like to join nobody know who done writ dat would be fitting and proper for us quently. Albeit the violin, or harp, York. we have dances of in a duet. My song, Honey. (Group sings, accom- all to become acquainted, one with our own, too. It well color is a shiny becomes our brown; my tone is panied by solo or duet arrange- another. Mayhap we could sing a ladies in crinoline and our gentle- deep and mellow my proper name ment on the piano.) Piano solos, hymn of praise is Red Cross Afghans Etudf. will Class A, fifteen to eight- that we are all true men with silver buckles and lace rather long; for short I’m called such as The Junior Oh, Susanna, by Foster, een years of age Class Americans, and thus acquaint our- to dance in a stately manner. a — Thanks again, knitters, for the award three worth while Junior Etude ; may be included. fifteen the B, twelve to ; Class selves unto each other. Surely the Pilgrim fathers would squares you have sent in for our prizes each month for 3 Cowboy: We used to sing tune. C, under twelve years. Present-Day Girl: Red Cross that most interesting and orig- Oh, but my musi- not have objected to the courtly I’m very afghans. (Incidentally, prize popular in Spain, I’m used You see, we never essays on a Names of all of the cal history some of get many inal stories or Contest says you Pilgrims do dignity of our minuets, had they for dance you are very good knitters.) winners and their con- and song; in olden times chances to sing and dance together given subject, and for cor- not favor music! but beheld As you know, are them. the troubadours these afghans because puzzles. tributions will appear on would carry me we have to ride the range rect answers to Pilgrim: Aye, aye, Present-Day much needed, this page in a future issue of The but there is music Girl: We would love to along. We felt so send in all the all open to all boys and girls un- at home at castle night long by our lone selves. Contest is and music. It would be the music see a minuet. Who wrote the music gates; squares you can (four-and-one-half of age, whether a Ju- Etude. The thirty next best contributors we traveled near and far; I’m Our horses, der eighteen years of inches) they get weary, and so Contestants will be given a rating of honorable men- hymn-sing and psalmody we for your minuets? still . One military hospital has Club member or not. a favorite to-day; now guess, we just sing, nior favor, and sing, and sing, to age as follows tion. would but not the music for (Continued on Next Page ) requested nearly five hundred of grouped according Lillian I’m a eeping time are Zona Gogel (Age 5) dancing or these to the horse’s steady Washington, merry-making. That afghans, and, of course, the SUBJECT FOR THIS MONTH D. C. would be unbecoming to our way Junior Etude is very glad to be able of life. But now let us to contribute join in the a few for the use of Honorable Mention for August hymn.” the wounded soldiers. “<2xeveideS Honorable Mention \ugast Puzzle: (All groups join in singing, ac- for r Chestnut Street. Philadelphia (1), Pa., not • ... Elude Office, 1712 . .1 1 lip lunior Antoinette Pollock: Eleanor companied at the Essay: entries must be February issue. Abel; Muriel piano by one of Squares have recently been All i""' 22. Winner, will appear in the 0 b Embergcr: Teddy Okoniewski; Dorothy Szin- the Pilgrim group. Other amb l: Veryl hymns hf)fi Haggerty: Colleen - yava: Nellie Andrews; Claire Bruner: Ann received from: in ''Barh ra Mli CONTEST RULES kland : Evelyn Yeide: Bar- Robertson: Jackie may be added.) !>3raR„?J . *F Moller; Dolor-s Kmiec: Shirley Day; Mary Olive Margaret Marie not o,tr one bu Chandler; ley ' Marie Angela must conum ^ondern- )?' Cestero: 1. Contributions left corner and your address in Francis Parsons; Anna May Francis; Rutti Indian Fields; Evelyn M^fan j upper Boy: Hi-yi! Hi-yi! Sound Fields; Ola Grace Gardner; ! n ^nietter; Ar>ne Leach; Louise a Mickleson; Agnes Ribner: '!cCormi’r^ el 2 - Na your papcr.Tf you need more than one sheet .1 paper, bo Nolla McMurtrle; Mary Blair Shirley; Dorothy Jones; arak r rigi, eo^Ai plenty good. Indian sing, too. In- stein r„u L ® Orcutt; Leonard Finkel- The :S>e Edna Roberts; Mollie Ann Hilton; Patsy Owens; Jean Parker; Janie Hinnant; 0 0 Margaret Annfioodl, ies«G Carol Thorpe; Margaret p^per^nly'^do^o^use a typewriter. Painter; Marjorie Bowman; Ellen Stone; An- dian sing plenty good, Ramona Rouse; Red- a , J,Ton on. s'ide of” too. Him Anne Hicks; Emogene udson oss: 3 . W Mary r.J,!' M Agnew Foreman; anyone ’°“.r gela Petrie; Albertine Bower; Paula French; dick; Doris Wheeler; Halloman: V 4. Do not have "°e contest and to submit not more than Edna Earle Black: ol(j a preliminary dance Buffalo Dance. Alice ’ Brenda Hopewell; or schools are nque.au Mary Mason: George Chetwood; Billy Rove- Frances Moore Dixon. (List will be continued Ram „ 5. Clubs Ward- Russel Bums: Mav Welch: Ruth C a ner: Stella White; Nancy Gross; Judy next month.) cSr requiren.en.s will no. be eligible tor prizes. Mason; Jan rieyEfEerSOn: M,Wred En.lfc.~w5l jrno.meet .hese May Belle Cox. >«: Gladys 6. 764 "FORWARD MARCH WITH MUSIC” Hender!on THE ETUDE MARCH WITH MUSIC" 765 November. 7943 "FORWARD —— — — , — - —

THE COVER THIS qualities of Haydn’s with the Intermezzo FOR MONTH-Three of music and enable “Lucia”; Mascagni, the great holidays nationally the child, while still Rusticana”; Mozart, These observed at a young and from “Cavalleria Second Piano Parts will be pub- which is of real assistance to beginning have great religious significance, formative age, to from “Don Juan”; lished and it become real friends with the Minuet and with the original Bach music organists who are not yet skilled in rourtn grades is deserving of particular note that they with this great master. with To the Evening Star and diffim.it,, tT of above them (in score) in small notes. reading three lines. Wagner, ty th are designed are given special to cover the Not only attention by many Educational and program possibilities Chorus from “Tannhaiiser,” importantfmnnrJ ’t 5 will professional two-piano 2. Effective registration. This has been pilgrims’ phases of keyboard work active music workers throughout the are offered in this book through Chorus from “Lohengrin,” and most artists find them important additions to provided with great care by Mr. a list- Bridal 01 1 0 the Tonner, country. These holidays for younger student. the literature, which choir ing of Haydn recordings, suggestions Prize Song from “Die Meistersinger.” TWni ^ t! but teachers also will including Hammond Organ indications, the oughout the collection the directors, organists, Sunday School chor- for dramatizing the story, Publication more fam- find them invaluable, will which and directions The Advance of subscrip- iliar major and for they prove greatly extend the usefulness of isters, minor keys have been school music educators, and mu- for making a miniature stage open at the low price of 40 constantly useful in the teaching of the the book by making it available also and set- tion is now used to set forth engaging sic club workers plan special and melodic Inventions. music are tings—all of which appeal to the imag- per copy, postpaid. The sale is lim- studies On the other hand, the to players of electronic instruments both cents in scale playing for Christmas, Easter, and Thanksgiving. ination left and student will derive in of youngsters and give them to the U. S. A. and its possessions. right keen pleasure and the Church and in the home. a ited hands, broken octaves, legato As our cover on this issue reminds us better understanding of thirds good instruction from playing them to 3. Interesting the composer and sixths, and unusual numbers of our national Thanksgiving repeated notes, chords, and a well-rounded Day, its A single copy of The Child Haydn may 'M melody second piano background. such as, Postlude by the 18th century musical work sustained against an ar- quotation from our National An- be ordered now at the special While this work is in preparation, a composer, Rolle; the Andante from Advance OUR LATIN-AMERICAN NEIGHBORS for peggiated accompaniment. them also reminds us that in many writ- of Publication cash price single copy may be ordered at the Brahms’ “First Symphony”; the lovely Great Concertos” compiled by Henry of 20 cents Compiled and Arranged by Ada During the period ings, American patriots of earlier days Piano, when these Sixteen special Advance of Publication cash Prelude Levine. This volume in itself will be a postpaid. Delivery of the book will in E-minor by Chopin; an In- / lovemoet' 1943 be Richter-There always has been a color- Short Etudes are in preparation turned heavenward to the Creator of made as soon as published. for price of 35 cents, postpaid. Delivery will terlude by Hassler; the Prelude most acceptable gift for any music lover. young people in the publication, from all mankind. This ful appeal to United a single copy may be re- be reverent spirit which musical made immediately after publication. Bizet’s “L’Arlesienne Suite”; the Largo ADVANCE OF PUBLICATION Let The Etude wish your and Canada in the things and served at the low Advance our forefathers wove into the founding States of Publica- from Dvorak’s “New World Symphony”; friends a Merry Christmas—not only on Central and South tion cash of these great United States people of the Amer- price of 35 cents, postpaid. "M of America twelve times and other compositions by Bach, Handel, Christmas morning—but countries. This is particularly true and which Francis Scott Key was in- OFFERS MORE CONCERT TRANSCRIPTIONS ican during the year. OF FAVORITE HYMNS—in Easy Arrangements Franck, Mendelssohn, Mozart, Schu- spired to voice in the FAVORITE HYMNS For Piano, of the melodious and rhythmic music of third stanza of All of the books in this list are in by Clarence for Piano Duet—Compiled and arranged mann, and Tschaikowsky. Advance of “The Star-Spangled Kohlmann—So many the songs and dances of these countries. Banner” should be preparation for publication. The thousands of copies THY by Ada Richter—Another of Mrs. Richter’s Publication cash price, 60 cents, post- whose ability to make ar- GOD REIGNETH—,4 General Cantata cherished by every true American. low Advance Offer Cash Prices ap- of Clarence Kohlmann’s Concert Mrs. Richter, paid. Sold Tran- for the wonderfully useful compilations for young only in the United States and of favorite melodies so that Volunteer Choir, by Lawrence Keat- In these days when many ply only to orders placed NOW . scriptions of Favorite rangements its possessions. American THE ETUDE’S BATTLE FOR PROMPT Hymns For Piano ing— pianists will appear with the publication difficulty in play- This is a fine non-seasonal cantata lads, as Lincoln expressed it, have given Delivery (postpaid) will be made published about a year ago, young pianists have no DELIVERY—That same spirit of friendly have been for of this book. Suggested by the amazing when the books are published. carefully the average volunteer choir of un- “the last full measure of devotion,” it is sold that perhaps the best ing them, has taken a se- understanding that has always existed description trained popularity of her My Own Hymn Book, fitting that Paragraphs describing each pub- and generous number of Latin- voices, with interesting variety we “Praise the Power that of this new book is to say that here are lected and including twenty of most lication appear on, these pages. between the readers of The Etude and in the various numbers the popu- SECOND PIANO PART—by Robert T. Ben- hath made and preserved us a nation.” additional hymns American songs and dance rhythms and for solo voices its publishers makes us wish that you similarly presented. and lar hyms, it already is assured an out- ford-To TUNEFUL TASKS-by John them for this book. chorus. The text, which includes These transcriptions do not run off into so arranged standing success by virtue of the care- Thompson Album for might peep behind the scenes in these —The frequently-used set of of Marches the Organ 60 embellishments They are not for the young beginner’s Scriptural passages to be read by the cM Ballads of Paul Bunyan Choral Cycle War days and see some of the many and variations such as fully selected contents and their splendid studies entitled Tuneful un- pastor or a special narrator, has Tasks by this Strong .40 would destroy, first year, but young pupils along in the been predictable delays that affect the prompt the religious mood, but adaptations to four hand uses. well-known American educator presents The Child Haydn Coit-Bampton .20 selected and written YOUR CHRISTMAS MUSIC PROGRAM- they do provide second grade as well as grown-up piano by Elsie Duncan Favorite Hymns— Piano Duet Richter .35 delivery of our magazine. smoother renditions for Easy grades will prevail throughout excellent foundational material for fu- If you are a choirmaster Yale. A single copy of this new cantata or organist, or Finger Fun Adler .20 the piano than is beginners will find these arrangements Of course our ambition is to possible when the this new collection, and a point of spe- ture musicianship. This musical have in Gems of Masterworks for the Organ have every may now be ordered at the devel- charge in school or community notes for the four delighting and satisfying. The songs special Ad- Tonner .60 issue come to you as promptly as voices of the usual cial interest will be the fact that the opment now may be furthered even groups the presentation pos- vance of Publication cash price of 40 more of musical pro- More Concert Transcriptions of Favorite hymn score carry between the staves the words of a sible and delays are more of an irrita- are played on the piano. primo and secondo parts will be of about by the use of a second piano part that grams, don’t delay Hymns. Kohlmann .45 cents, postpaid. Delivery will be too long in preparing in general the presentation is made Nutcracker Suite Piano Duet tion to us than they are to you. These transcriptions may be used as verse, and the same difficulty, with the result that can be played by the teacher in the your Christmas program for this year. Tschaikowsky-Felton upon release from the press. 1.00 piano solos in any part of similar to the manner in which Mrs. it will be possible to interchange studio, or Latin-American Fortunately each Etude is filled with the Church them by a parent, brother, sister, Music Our Neighbors. . . Richter .40 dealers everywhere are endeavor- or successful books Songs of Reverential Anthems Baines .25 values not affected Sunday School service, or they Richter’s very between the players at will. An added or friend in the home. ing to serve by delays. There- may music folk just as if these Second Piano Part to Bach's Fifteen Two- be cM fore, when your Etude does not used to accompany solo or congrega- My Country, My First Song Book, My feature will be the inclusion of a verse The unique feature of this Second were not war days, Part Inventions Vene .35 come on but many of them tional singing Book, and Play and Sing Second Piano Part to Thompson's Tuneful time, please favor us with your in- of the hymns. This album Own Hymn with each hymn. Piano Part to Tuneful Tasks is that have had to sacrifice to the call FINGER FUN for the Little Piano Beginner of war .Tasks Benford .35 also will dulgence and remember that as in provide an excellent means of have been produced. Prior to the publication of this useful it is written in the same grade as the the efficient co-workers Sixteen Short Etudes Lemont .25 your by Myra Adlcr-A surprising amount of who have as- home of Latin-American Neigh- Thy God Reigneth Cantata Keating .40 own case, in printing plants and binder- enjoyment of the favorite hymns A copy Our collection, an order for a single copy twenty tunes in the study book. Thus, sisted them in giving this service in years technical development is provided the ies it presents. Some of the bors may be ordered prior to publication may be placed at the low Advance of it is possible for the past. Then, handicapped by labor shortages, the hymns included primary grade piano teacher to switch too, our public transporta- are kindergarten and support of War projects must always Fairest Lord Jesus; Softly and at the special Advance of Publication Publication cash price of 35 cents, post- parts with the pupil giving the latter tion systems are taxed to the limit to beginner in this attractive book of twelve Tenderly paid. is limited to ber for more advanced singers come first. Jesus Is Calling; Lead On, O cash postpaid price of 40 cents a copy. The sale, however, valuable preliminary experience in carry troops and supplies, and delays in new this very easy exercises. Similar in style to King Eternal; Beneath the Cross the United States and its possessions. piano-ensemble playing. The freight, express season is J. Henry Francis’ original of studies for more advantages and parcel post ship- Jesus; 'M the familiar "Hanon” Spiritual De Lil’ Lor’ O Love That Will Not Let Me of these arrangements as sight-reading ments of non-essential goods may be Jesus Sleep "M advanced pupils, these exercises are lim- (S.A.T.B.) Go; and a generous number more. "M material readily are apparent. expected. (10c). A REVERENTIAL ANTHEMS by William finger position. Both single copy ited to the five In PREMIUMS FOR of this book may be ordered Baincs-William Baines is well-known to ALBUM OF MARCHES FOR THE ORGAN advance of publication, teachers Last month, in these Publisher’s Notes, CHRISTMAS GIFTS— clefs are used from the beginning, and in advance of may order a single Even though the War publication at the special organists and choirmasters all over the -Every organist will appreciate this copy of Robert T. we gave a complete list of the new has created a all exercises are in common time, and in scarcity Advance of Publication cash price of 45 new all-march album. What busy or- Benford’s Second Piano Part to Tune- Christmas publications that have been of merchandise suitable for country as a dependable composer of DO YOUR CHRISTMAS SHOPPING EARLY cents, the Key of C. ful Tasks premiums, workers need not postpaid, delivery to be made as singable anthems, which, by reason of ganist cannot find use for a good march at the special Advance of added this season to the catalogs of despair that The book is being published in the THIS YEAR-With the dearth of con- soon as published. Publication cash price of Theodore Presser they cannot still secure very attractive Sale limited to the their melodious appeal and musical in connection with church festivals, pa- 35c, postpaid. Co. The John Church sumer goods throughout the country oblong format and engraved in large, United States and its possessions. triotic occasions, school Co., and Oliver premiums for selling Etude subscriptions. worth, merit the interest and warrant used to and community Ditson Co. Among these available for Christmas gifts, shoppers easily-read notes. Rhymes are 1. cM were the The following is a list of interesting the attention of choir and congregation gatherings, weddings, and the worship new cantata especially appeal- are going to find unusual difficulty accompany the music, giving rhythmic in service? in recognition this ing to volunteer articles that are still to be had in this alike. for It is of fact NUTCRACKER SUITE by P. I. Tschaikow- choirs entitled Tidings selecting suitable gifts for their friends aid and also providing directions Joy convenient and inexpensive THEMES FROM THE This book, selction and in answer to many requests that sky, Arranged for Piano Duet by William of by Louise E. Stairs, and Danforth the coming Christmas season. way of fill- GREAT OPERAS in which a fine playing and reading the notes. The cash The War take pleasure in introducing Simonton’s clever ing out your gift list: Compiled by Henry Levine—Few piam of Mr. Baines’ successful anthems will be we this M. Felton—In response to repeated re- arrangement for jun- has created a scarcity of many lines of price at which a single copy may now book to fill what we believe is a definite quests from lovers ior or intermediate choir, collections published in recent years have be presented, is to be called Reverential Publication is 20 of piano duet playing, or choir with merchandise ordinarily used for gifts, ordered in Advance of Three-piece Crystal been need. The collection, when published, we are pleased to be a reduced male membership, of Louise more successful or more widely Anthems and it will be well named. Mr. prepaid. able to supply one but The Etude offers you an opportunity Salad Set Two cents, postage E. Stairs’ popular subscriptions acclaimed than Themes from the Great Baines will include a lot of splendid marches of the most popular orchestra suites ever Christmas cantata. to solve this problem inexpensively and Comb and Brush Set One makes use of Scriptural texts subscription among which there will be some sea- written hi a special transcription The Child, of Bethlehem. The latter, Porcelain Music Concertos and Themes from the Great as a general rule. number of for one as conveniently by taking advantage of the A generous 'M you Master Plate One Symphonies, both ar- dignified sonal marches suitable for Thanksgiving, piano, four hands, prepared by the late may remember, can be performed Annual Christmas Gift Offer. subscription compiled and and cliurchly general anthems ey father One Christmas, and Easter. Mr. William M. Felton, whose either by a junior choir singing in two f? . subscription ranged by Henry Levine. It is therefore and a few special Christmas, to the Fifteen superior A subscription to The Etude is not 11 e er Leather numbers for SECOND PIANO PART a S'?* One subscription The music lies well under the hands, work has parts (S.A.) or it -^ ^ with particular pleasure that we are Lent, and Ruggero been many times demon- may be sung in three “cheap” gift oy any means, even though Two Easter will make up this col- o-Part Inventions of BACH, by subscriptions does not go beyond a moderate grade strated to readers of parts (S.A.B.) with all Handifold2 Purse able to announce a third book in this lection. interest in The Etude. In the of the men’s it is comparatively inexpensive. When Several of the anthems have le—The ever broadening of difficulty and is, therefore, well duet medium, Mmre Silk . the arranger has been voices singing the baritone part. v One subscription important series. Themes from the Great never before appeared having pianos has prompted the ou stop to consider that a year’s sub- Dinner in print, isic for two To our Set Ten subscriptions Operas. been adapted to the requirements of the av- able to reduce the harmonic structures piano-teacher readers we sug- scription will bring the Cigarette written especially for this book. of these scholarly adapta- recipient ap- Case one subscription Olication organist. Suitable registration gest an examination Choice selections Advance Inventions, erage has and variated “colors” of the original or- of Rob Roy Peery’s proximately $50.00 worth of fine Correspondence Case One which appear in new of Publication cash price, 25 the Bach Two-Part music, subscription" ns to supplied for the Hammond organ, chestral version brahd-new arrangement Gentleman’s Leather transcriptions by Mr. include cents, while the been with most effective re- of the famous in addition to the many inspiring, fas- Levine postpaid. use at a second piano Wallet as well as for the standard organ, thus sults. The grade of difficulty Christmas Song, O Holy Two subscriptions Vesti la giubba by Leoncavallo, the first in- ranges from Night! by cinating editorial features, it can works are played at a ginal making the book available for either four to six. Adolphe Adam (50c) famous Barcarolle Offenbach’s the orig- , and the clever scarcely be said that “this from faithfulness to is just one of ument. Their use. of original "The at Church or home —Advance Pub- Opportunity to possess a copy of this composition for young students those gifts that I Tales of Hoffmann,” My Heart SIXTEEN in feeling and mood must get”—without SHORT [1 Bach structures Thy ETUDES FOR TECHNIC lication cash price, 60 cents, postpaid. book as soon as it is published is now by J. J. Thomas entitled Santa on His regard to its real value. Sweet Voice from “Samson and AND most devoted followers THE CHILD PHRASING, by hmonl- 1 delight the HAYDN—Childhood «„,* Delilah” Cedric W. offered to those who will send in an Ad- Way (25c) . For those teachers who plan single „f by Saint-Saens, Habanera and will mark them as A year’s subscription will cost Famous Com posers The Publication the master, and by Louie Ellsworth Coit of these attractive and vance of Publication order at the special a Christmas recital and have available Toreador Song from Bizet's “,” to the serious just $2.50 and a handsome two-color gift and Ruth musical studies inite contributions Bampton-This, the third book Knoivest will mark the addition OF MASTERWORKS FOR THE price of $1.00, postpaid. two pianos, there is the new Christmas card will be sent to the recipient Thou the Land from “Mignon” c pianos, GEMS in the in a new series of a particularly useful to the lertoire for two music appreciation by work ORGAN—ivifli Hammond Organ Registration Fantasy for two pianos, four hands by name of the donor. Two one-year sub- Thomas, Like a Dream from “Martha" amous his amplifying back- books for children, gives the “Music Mastery Series,” which n preparing Clarence Kohlmann ($1.00), which in- childhood by von Flotow, the celebrated Waltz Vene has -Compiled and Arranged by Paul Tonner scriptions ordered as gifts will cost $4.00, story of made for second piano, Mr. the father of the symphony," j® up of piano teaching material lunds that in Gems of Master troduces well-known Christmas carol and any additional from Gounod’s “Faust,” and three harmonic and —We believe ADVANCE OF PUBLICATION OFFER subscriptions above Franz Joseph Haydn, y contemporary lered rigidly to the melodies. along with some of transcriptions composers. We say works for the Organ, by Paul Tonner, WITHDRAWN During two, at the rate of $2.00 each. from Verdi, Celeste is of these remarkable — the current his early music. Added with assurance, well hhmic patterns Those are to the delightful and Triumphal from for we are are we are offering a book distinguished for month, our Mechanical Department who planning school music Finally, The Etude offers its own gift Chorus ana March amiliar Yet, while they story of “Papa Haydn,” with the which its of genius. programs will be delighted there will be in- “Alda” and “Rigo- special qualities support, several reasons: promises to have ready for delivery to with the to those of its many loyal and interested the Quartet from ac afford substantial teresting pictures of his * e this composer’s writings and ended to beautiful little two-part song boyhood and letto.” Verdi is also with the ^7 to not Its special typography. Only two advance subscribers one of the interest- composed friends who will order three or more gift easy represented n the been devised so as arrangements of music as successes his teaching works •v have used and the lower staff in- by Ralph Federer entitled The Star on subscriptions, in the piano Anvil Chorus and Miserere from “R hav staves are ing new publications that for several form of a fine mu- solos and one duet. e attained. Although simplified Trovatore.” cludes, in a different size than the notes months past has been described in the Christmas Tree (12c) . A choral num- sic album entitled “Themes from the Other composers included these these compositions contain the 6 studies by again essential are Donizetti, from Mr. Lemont for the left hand, the pedal part notes, ( Continued on next page) with the Sextette refucf his awareness of needs of 7 66 "forward MARCH WITH the MUSIC’ THE ETUDE N "FORWARD MARCH WITH MUSIC’ 767 OVEMBER. 1943 : , .

Publisher’s Notes. Directors of choral ject of the broadcast; on organizations and school music groups November 9, it is “Down Mexico Way”; who are familiar with Miss Strong’s 0n No- vember 16, it is “Through successful cantata for treble voices, The the Opera Glass”; on November Slumber Songs of the Madonna, no A Variety of 23, it is “In the doubt have been looking forward with Days of Paul Revere”; and on No- considerable interest to this new work vember 30, it is “Liszt and Chopin— from her talented pen. This note will Master Broadcasts Magicians of the Keyboard.” serve as an announcement that the special advance of publication price is 708) now withdrawn on Ballads of Paul (Continued from page Bunyan—Choral Cycle for Mixed Voices and Narrator ; Ballads by Ethel Louise Knox, Music by May a. Strong, is a typically I scheduled: “Getting Goods to the American choral work based upon two Consumer” (Nov. 6) , “Better Health favorite excerpts from the published WkcdJIUd Wusic ex- Care” (Nov. 13) “Security For Every - periences of the legendary Paul Bunyan. , I one” (Nov. 20), and “What Political Almost every school child is familiar with WLntke War£nJs? Parties Plan” (Nov. 27) these fascinating tales, and their pre- sentation in the form of a music program Mutual’s Chicago Theatre of the Air, “There never was c bad Peace and {here to should prove interesting to the average never was a good War!“ exclaimed Napo- which is heard on Saturdays from folks leon. All wars are temporary, Woodwinds—Hot or Cold audience. This is not a work for and all 9:10 10:00 P.M., has theee begin- over America blue prints are being made to EWT, a new ning choral groups, but for our activity To The Etude: the well-trained after Peace is declared. and augmented season of operas and SKYHIGH* Let us pray it In the ; c adult or high-school chorus seeking pro- that may come with the article, “The Men of the Orchestra," UP New Year. operettas planned. In response to by Mishel Piastro, gram novelties should not published in your January overlook Bal- issue. 1939, I listeners’ demands for more opera the statement is made regarding lads of Paul Bunyan, Price, $1.00. the intonation of the woodwinds, "The colder I condensations, several scores not it is, the higher they sound; the warmer, the I presented up to this time will lower.” be Although this is true of the string in- Send IO(! Today for struments, woodwinds are Your Copy of . . . I added to the repertoire. Among affected in just the opposite way by weather conditions, and play I operas scheduled for early broad- SONGS OF FREEDOM flat when cold and sharp when warm. I casts are “Faust,” La Boheme,” Also in the same issue, the article. Includes The Stars and Stripes Forever, Expand- ing the Violinist’s Repertoire," Come On, America, The Star-Spangled “La Tosca,” “Lohengrin,” by Samuel Ap- “Carmen,” plebaum, Banner, and a dozen other stirring patri- states in regard to violin concertos otic songs for home, school, and community “Mignon,” and “Hansel and Gretel.” "Mozart wrote seven, but Handel, Schubert] singing. Handy 6" x 9" size. Thomas L. Thomas, Metropolitan Schumann. Wagner, and Chopin did not write SI. 00 a Dozen any.” Evidently Mr. Applebaum has overlooked — $8.00 a Hundred Opera baritone, has been heard re- the fact that Schumann did write the "Con- THEODORE PRESSER CO., Phila. I, Pa. p cently with the company, which is certo in D minor” for violin which Yehudi NA/lTH - - - - r _ Menuhin brought headed by Marion Claire. Other na- to the attention of tin- public in 1938.—Laila J. Storch. that STATEMENT OF THE OWNERSHIP, tionally prominent singers will be MANAGEMENT, CIRCULATION, ETC REQUIRED BY THE ACTS OF CONGRESS selected weekly to support Miss OF AUGUST 24, 1912, AND Claire. The symphony orchestra re- A Successful Choral Project MARCH 3, 1933 Of The Etude, published Monthly mains at Phila- under the direction of Henry To The Etude: delphia, Pennsylvania, for October 1. 1943. State of Pennsylvania Weber, and the chorus under Robert During the several years that The F,tude has County of Philadelphia been a musical guide Trendler. A dramatic cast separate in our family, I have Before me, a Notary Public in and for the State noticed that a number of cities have reported and county aforesaid, personally appeared OR. from the singers is used in each pro- the presentation of this or that cantata Henry E. JAMES ROWLAND ANGELL or Baton, who, having been duly sworn oratorio. according to law, deposes and says gram. The broadcasts are all pre- that he is Thirty years ago the President of the Theodore Presser Com- MUSIC AND THE AMERICAS we could always have a pared and directed by Jack La band, but to pany, publishers of The Etude Music Magazine OF TOMORROW get a mixed group for singing was and that the following is, to the best of his Frande. next to impossible. The men were self-con- Dr. James Rowland knowledge and belief, a true statement of the Angell, the distinguished scious, or felt that to sing in public was only ownership, management, ex-president of Yale University and now edu- Alec Templeton, blind pianist, etc., of the aforesaid cational counsellor for the National for those who had studied voice. However, a publication for Broadcast- the date shown in the above ing Company, known for his keen, sane, composer, change has caption, and improviser, has joined come gradually during the last few required by the Act of August 24, penetrating vision, has given miE Etude his views upon the years. Our school has hired well-trained, 1912, as amended by the Act of March 3, 1933, musical future that awaits all the Cresta Blanca Carnival, com- of us Morton petent embodied in section 537, Postal Laws and in the Americas. musical directors, and the male of the Regulations, printed on the reverse of this form Gould’s show (Wednesdays, 10:30 to genus homo has seen what can be done with to wit: THE PIANO WHEN 11:00 P.M., group singing. 1. EWT—Columbia net- That the names and addresses of the pub- In 1937 a mixed lisher, PEACE COMES group of fourteen voices editor, managing . editor, and business work) Alec Templeton is best known sang “The Messiah.” managers are: Your piano today is a precious possession, be- The group was increased Publisher Theodore cause even good second-hand pianos are often as the creator of musical to thirty-five, and the next year they again sang Presser Company, Phila- hard to novelties higher- delphia, Pennsylvania. get. Lucien Wulsin, president of the “The Messiah” and other compositions. Then Baldwin Piano Company, allegedly and for Editor James Francis in pre-war his ability to clown with the our chorus Cooke, Llanberris Rd., days the world’s largest manufacturer of was disbanded because the women Bala-Cynwyd . 1 *111 08 Pennsylvania. P. ’ stops . in the midst of his works in the . huge respon- of the masters without ridi- ensemble were practicing three to five Managing Editor None. sibilities in war production to tell what may times a week, while the men were getting only Business Manager None. happen to the piano after the war. Mr. Wulsin culing them, and this is is a the sort of one 2. Harvard graduate and a well-known elec- hour each week, and consequently were That the owners are trical Theodore Presser engineer. thing he is expected to do on not progressing with the women. Company, Philadelphia the In Pennsylvania. CARROLL GLENN Cresta Blanca Carnival. Morton Gould November, 1941, a men’s chorus was or- The Presser Foundation, Philadelphia, Penn- ganized. Primarily it was organized to enter- sylvania. continues to TALKS TO YOUNG VIOLINISTS direct his fifty-piece or- tain people periodically, to make them forget Estate of Theodore Presser, Philadelphia, Penn- Carroll Glenn, attractive their war jitters. sylvania. young American chestra in special arrangements of There were thirty men in the violinist, whose meteoric success has been a original James surprise group. Francis Cooke, Llanberris Rd.. Bala- even to her friends, tells of the diffi- his own of culties familiar popular pieces, Cynwyd, Pennsylvania. which young violinists are likely to A public-spirited citizen donated money to encounter. 3. That the known bondholders, The accelerated pace of modern as well as some of his buy our first song books. The director of the mortgagees, concert life makes own original and other security holders owning extraordinary demands upon public school or holding tne young artist, and Miss Glenn indicates works. music department was engaged, 1 per cent or more of total how amount of bonds, she has met them. and, with the blessings of all concerned, she mortgages, or other securities are: None. The twenty-four-week winter proceeded to “wade in” and men’s 4. That the two paragraphs next series bring forth a above, giv- IGOR GORIN’S PHILOSOPHY chorus. ing the names of the ov/ners, stockholders, and of the NBC or General The dramatic Motors Sym- Five security holders, if any, contain not only the rise of the magnetic Igor Gorin months later, twenty-four men had Russian bass-baritone, is phony Orchestra list of stockholders and security holders as they another instance of concerts officially made sufficient progress to sing two numbers This advertisement, prepared by the War Advertising Council, American appreciation of distinctive interpre- appear upon the books of the company but also, tative ability. opened on the Music the this magazine in cooperation with His practical advice to singers on October 31. Maestro Ar- Week program. They “stole” by the Magazine Publishe m cases where the stockholder or is timely and sensible. show security turo and were thus encouraged to go on. They holder appears, upon the books of the company Toscanini is scheduled to con- appeared as trustee once during the summer, at a fire- or in any other fiduciary relation, JITTERBUGS OF YESTERYEAR duct the men’s the name of the person or corporation opening concerts, then Leo- convention. for whom A line of four such trustee is acting, thousand youngsters stood in When Fall came with a resumption of activ- is given; also that the front of New York’s pold Stokowski will Paramount Theatre from take over. Just ities, said two paragraphs contain statements dawn to opening they decided on two public appearances; Seven do: em- time, in order to listen to a things you should bracing affiant’s full jazz how the division one knowledge and belief as band playing at the theater. But this is to be made was in conjunction with the City Band, and to the dance craze is circumstances and conditions under not new. It has bobbed up many one as part of a mixed group. February a nmes in history. The article not forthcoming at the In which stockholders and security holders who by Raymond W. time of writ- concert do Thorp and Weldon D. Woodson describes was given, the chorus singing the not appear upon the books of the company amusing other ing. This is as outbreaks of this mania. Toscanini’s sixth full second half. As an indication of how far the trustees, hold stock and securities in a Support 5. Provide for 6. Don’t ask 7. Buy all the capacity other than season with chorus had advanced, Edward Elgar’s Land of 1. Buy only Pay no more 3. Pay off old 4. that of a bona fide owner; STRIKE the NBC Symphony, and 2. and this affiant has no reason to believe that UP THE BAND Hope and Glory was given a creditable per- Edwin Stokowski’s third. higher taxes the future with more money War Bonds any other person, association, or corporation Prankq Goldman, in a “right from the formance. Immediately following this, work what you than ceiling debts and shoulder has any interest direct or indirect in the said article on “Patriotic Music and the This was begun Band gives timely month’s musical upon “The Seven Last Words of life for you afford — stock, and tactful hints program on . . pay them adequate goods you can bonds, or other securities than on band making . as so management. Christ” really need prices . . . buy avoid stated by him. the American School of the Air (Colum- By this time the (Signed) Henry E. Baton, President. men of the chorus belonged willingly insurance sell or and keep them Besides the above-named features bia network goods new ones Sworn to and subscribed there will —Tuesday mornings) to the several choirs of the city. This group of rationed before me this 1st l»e other interesting articles, will day of October, 1943. special depart- sixty voices was after savings ments and the usual present varied brought together, and and work you do seal variety of interesting programs, embracing six only with stamps Alberta M. Allen, pieces in weeks of rehearsal of three or four nights the DECEMBER 1943 issue of wide ranges of Notary Public THE ETUDE. history. On November each week, we gave a wonderful musical (My commission expires Jan. 5, 1947). 2, “Bach presentation. and His Family” is the sub- —Howard Barrett, Minnesota 768 it out, make it do, or do without "FORWARD MARCH WITH Keep prices . . . use it up, wear MUSIC’’ THE ETUDE down

PRINTED IN THE U. S. A. BY THE CUNEO PRESS, INC. .

COMPOSITIONS BY Charles Wakefield Cadman SELECTED FROM TOE CATALOGS OF THE JOHN CHURCH COMPANY, THE OLIVER DITSON CO. AND TOE THEODORE PRESSER CO.

• Important, indeed, are the contributions of this versatile composer to American music. Prac- tically his entire musical education was obtained in this country. In the field of American Indian music he is well-known here and abroad for his lecture recitals and for his compositions in the idiom of the American Indian. Probably best known to teachers and music students through the delightful melodies his this of popular songs and piano pieces , a few of which are listed on 9 page 9 Dr. Cadman s composing efforts have by no means been limited to the smaller forms. Orchestras and instrumental in ensembles frequently feature Cadman compositions , especially radio broadcasting. His well-known Indian opera “Shanewis99 was originally produced at the 99 Metropolitan , and his typically American opera “The Witch of Salem was produced by the Chicago Grand Opera Dr. Company. Cadman was born in Johnstown , Pa. (1881) 9 but since 1916 has made his residence in California.

VOCAL SOLOS VOCAL DUETS PIANO SOLOS — Continued

Absent (d - E) l $0.35 At Dawning (High & Medium) 50 Song at Dusk (Gr. 3 /2 ) 35 At Dawning (E-flat - .50 Stately Lady. Menuet a l’Antique (Gr. 3) g) At Dawning (Medium & Low) 50 . .40 At - Dawning (d-flat F) .50 Lilacs (Sop. 50 The Heart of Her 10 21/2) .35 The Lyric Rose of Love (The Legend of Venus A Day Dream. Reverie cn Memories .15 (Gr. 2) .30 and Adonis) (d-sharp - a) Trip My Gift For You A to the Park. Descriptive (Gr. 2) .40 Magic (F-sharp - a) .50 [[[ .12 CELLO AND Sacrifice Bulbul. Persian Fantaisia (Gr. 2) .35 PIANO Magic (d - F) *50 of the Aryan Rose 15 Venetian Boat Evening Frolic. Gavotte (Gr. 2) 35 At Dawning (Transcribed The Meadows of the Lord (d-g) jg Song .10 by Rissland) Mister Policeman. March (Gr. 2) (Gr- - 35 3) .50 Memories (E-flat a ) f The Curfew. Berceuse (Gr. 2) .35 Indian Summer (Transcribed by Rissland) Memories (d-flat - F) :lo PART SONGS — MIXED VOICES (Gr. 3) .50 Memories (b-flat - D) COMPLETE IN ONE VOLUME, .75 '5? Memories Memory (d-g) Candle Light \2 (Transcribed by Rissland) The (Gr. 21/2) Moon-Flower (F - a) Song ot the Mountains *.12 50 Moon-Flower (d-flat - F) .'50 My Gift For You (with Violin) (E-flat - b-flat) TRIOS FOR VIOLIN, CELLO, My Gift For You (with Violin) (b-flat - E-flat) •io PIANO SOLOS A Visit to My Heart (c - E-flat) Grandma's — Set of Ten AND PIANO *f2 Lovely Across the Table (Gr. 3y ) $0.35 My Rose (c-F) 2 Piano Pieces, Op. 34 At Dawning (Arr. by Rissland) 50 My Lovely - At Dawning (Gr. 3) 50 Rose (a D) [jq Memories (Arr. by Rissland) .50 Belle of Havana. Awakel Awakel Juvenile Overture My Universe (E-a) [g0 Cuban Dance (Gr. 31/2) .50 My Gift (Gr. 2) For You (Arr. by Rissland) .50 My Universe (c-F) ’cn Blandishments. Caprice (Gr. 31/2) .40 $0.30 Birds Jnthe Orchard. .*35 O Bird In the Dawn (d - a) cn The Coy Princess (Gr. 3) .45 Caprice (Gr. 2) of the Midgets. Air The Milkmaid's Song. Waltz (Gr. de . O Bird In the Dawn (b - F-sharo) .50 Ballet (Gr. 3) .35 2) .35 STRING QUINTET from The Circus Parade. Descriptive The Pearl Lies In the Sea (E-flat - g) .50 the Land of Poppies (Gr. 31/2) 50 (Gr. 2) * To a Vanishing Race .60 The Pearl Lies In the Sea (c - E) .50 In the Forest of Arden (Gr. 4) 30 3s 1116 ea Funeral Score .60 Reeds (d-g) .35 In the Palace Garden (Gr. 4) 40 ,5, l March (Gr. 2) The Shrine (c - C) .30 In the Pavilion. Intermezzo (Gr. 3) 35 Water-Lilies. Barcarolle .*30 (Gr. . The Shrine (E - E) .30 Independence Day. Military March l 2) . (Gr. 2 A) *35 An Indian Camp. ORCHESTRA Starlit (d-g) .50 Indian Love Song. On an Indian Melody Grotesque Dance (Gr. 2) At Dawning Orchestration .75 - Song The Song of the Mountains (d - E) .5° Gr 31/2) • - 25 3q , i Dan=® °( the Sunbeams. Small 1.05 The Song of the Mountains (b - C-sharp) .... .50 A June Rose. Reverie (Gr. 3) 35 Gavotte Concert Ed. (Gr. 2) Full 1.50 To-Morrow (d-g) .60 J ust a Little Walts (Gr. 4) 30 _ Concert Ed. A Sudden Shower. Awakel Awakel .75 To-Morrow (b-flat - E-flat) .60 Marche Grotesque (Gr. 4) Descriptive (Easy) Small .50 (Gr. ’ 2) 1.00 To What Mcnr Love Be - Music Without .35 Full Likened (c g) .40 Words (Gr. 31/2) .35 Evening - Primrose. Reverie (Gr. Full Score 1.25 When Loris Smiles On Me (d F-sharp) On the Plasa. Spanish Intermezzo 2) . .35 .30 (Gr. . 3y2 ) .30 Festal March In . .75 Where You Are (E-flat - C . Small g) .40 Revellers. Intermezzo (Gr. 3) 40 COMPLETE IN ONE VOLUME, .75 The World's Full 1.00 Prayer (d-g) .60 Romance In G (Gr. 5) .60 Full Score 1.50 Heart of Her (Arr. by Borch) Small 1.05 Full 1.50 A Nubian Face .55 On the Nile . .Small Theodore Presser Co. Full .95 MUSIC PUBLISHERS AND DEALERS BAND At Dawning Concert Ed. .75 Distributors tor Festal March In C Small 2.50 Oliver Ditson Co. and Full 3.50 The John Church Co. Symph. 4.50 1712 CHESTNUT STREET Heart of Her .75 PHILADELPHIA 1, PENNA.