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

9-1-1927 Volume 45, Number 09 (September 1927) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 45, Number 09 (September 1927)." , (1927). https://digitalcommons.gardner-webb.edu/etude/749

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE JOURNAL OF THE MUSICAL HOME EVERYWHERE Z/te MVS i c ETVDE MAGAZINE Price 25 Cents SEPTEMBER 1927 $2.00 a Year

THE MUSICAL ARGOSIES TEE' ETUDE SEPTEMBER 1921 Page 629

CLAYTON F. SUMMY CO.’S OFFERING OF STANDARD MATERIAL FOR THE EARNEST TEACHER OF MUSIC For DEVELOPING TALENT; for AWAKENING MUSICAL PERCEPTION; for ENLISTING and RETAINING THE CHILD’S INTEREST; for LAYING AN INTELLIGENT FOUNDATION FOR FUTURE MUSICAL GROWTH

THE very first lessons at the piano MUSIC READING BOOK PIANO TECHNIC FOR CHILDREN By Mrs. Crosby Adams. By Mrs. Crosby Adams. 1.00 By Julia Lois Caruthers. 2.50 Distinctive melodies with words, for Sight Read¬ A recognized work on the subject of the First A Pioneer book in the r- ing and First Memorizing. Technical training practiced away from the Awakens and holds th< Simple Keys—Variety of Rhythms. with thousands of successful teachers. Encourages the creative faculty. Includes all the accepted standards of technical HOME STUDY BOOK FOR BEGINNERS MIDDLE C AND ITS NEAR NEIGHBORS By Mrs. Crosby Adams. Parts 1 By Elizabeth Blackburn Martin.6( and 2.Each . .40 HOW TO TEACH PIANO TO THE CHILD For rudimentary work between lesson periods. beginners P ^ Practice in Sight Reading, Writing of Music Char¬ BEGINNER acters, First Steps in Melody Making, etc. By Louise Robyn. 1.50 WORK AND PLAY BOOK A Practical Plan of Teaching very young children By Mrs. Crosby Adams.75 How to Hold Interest—How to Present Problems Elementary work in Transposition. . —How to Accomplish Results. Space provided for the transposing of a given mel¬ Scientific Principles based on successful teaching ody into all the Major keys. Includes exercises in Key Naming, practice in FROM THE VERY BEGINNING MUSIC EDUCATION By Phyllis Lucy Keyes.60 Scale and Triad writing in Major and Minor Concerned with the teaching of the Big Staff and mode, simple Two, Three and Four-Part Writ- By Calvin B. Cady Keyboard. Volume 1 . 1.25 Establishes a working understanding of all the “Work”—-by a principle. “Play”—its result. An Outline of the Educational Processes. simpler rhythms; of fingering, accidentals and of PEDAL STUDIES Volume 2. 1.80 By Mrs. Crosby Adams. 1.00 Teachers’ Material. Illustrates Principles and Suitable fo'rSight Reading. When and How to Pedal. Processes. Stating the principle o{ the propel of the ALTHEA’S SAMPLER Volume 3—First Home Studies for By John Mokrejs.60 relationship between the Ear and Ten Fingers. Book 1.75 A music “primer” for very young children. the Pedals. Books 2 and 3.Each .50 Ingenious and interesting method of introducing Expressive^Melodies for the development of Proc- regular piano problems. THE LITTLE HANON Includes the study of Notes, Note Values, Rhythm; By Robert J. Ring (S. E. No. 100)_ 1.00 These volumes treat of the underlying funda¬ teaches the Fundamental Harmonies, Positive Elementary Technic for Beginners. mental principles of music and their final cx- and Relative Pitch; Melody Making. Covering all elementary finger movements. Diatonic progression of exercises relieves all drud- Encouragcs and directs creative work—an impor- THE CHILD AT THE PIANO By Meda Zarbell Steele.75 Preparatory to “Hanon, Virtuoso Pianist." First Steps in Musicianship. EXERCISES FOR HAND EXPANSION Study of the Staff and Keyboard, Rhythm, Ear- By Robert J. Ring (S. E. No. 125) . . . 1.00 Training, Theory and Technic. VIOLIN BOW TECHNIC Presented through the medium of melodious little Carefully planned exercises that will assuredly pieces. increase the span of any hand to a perceptible By Henry Hoare. . 1.50 A complete treatise of th Bow. IDEAL LESSONS FOR CHILD TRAINING IN Complete relaxation provided after each expansion Systematic exposition—c PIANO STUDY A training that promotes ease in meeting any Covers every fundamental principle essential to By Kathleen Air.50 pianistic difficulty. the Technic of Violin Bowdng. An Outline of Instruction. Adapted to all types of hands—usable in all grades. Suitable for Beginners or Advanced Pupils, FINGER SONGS FOR THE PIANO THE QUEER LITTLE HOUSE OF LINES AND GRADED STUDIES By Edna M. Densmore.60 SPACES Compiled by Mrs. Crosby Adams Melodies for Dally Sight Reading. By Elizabeth Blackburn Martin.60 A Note Spelling Book. FOR NATURAL MUSIC DEVELOPMENT, SOUSA- NORMAL MUSIC PROGRESS AND FINGER SONGS OF THE WOODS Teaching of the Note Names and Letters made easy by “playing house” with King Bass and King ARTISTIC ACCOMPLISHMENT By Pearl Marie Barker.60 Treble and their families. Tone Pictures for Practiced Sight Reading. An entertaining, yet exceedingly practical 7 Books for Two Hands, Grade 1 to 5.Each 1.00 FINGER SONGS FOR TWO 3 Books for Four Hands, Grade 1 Advises Young America By Helen Gilmore.50. PRACTICAL SCALE BUILDER Duets. By Robert J. Ring.25 to 3 .Each 1.00 Promotes Constructive Knowledge of Scales, both A Universally Recognized Series of Graded Piano SONGS FOR ARM AND FINGER RELAXA¬ Major and Minor. Teaches the pupil to think, write and recite Containing everything necessary for a Complete "Ma^e the School Band or Orchestra” TION GAMES Scales. Musical Development. By Marie E. Briel.60 Each page a Chart for written work. Rhythmic Exercises for the Development of the Arm and Finger Muscles. , _ THE MUSIC STUDENT’S SPELLING BOOK Harmony for Beginners and POR a bigger, better future in any career Choose a Conn instrument—easy playing, perfect The above five books form a Course for Class By Mrs. Crosby Adams.60 Advanced Students Work in Piano Instruction. Preparatory work for establishing skill in Sight you choose, learn to play some instru¬ in mechanism, true in scale, beautiful in tone —and A Plan of Fundamental Training that is Practical ELEMENTS OF HARMONY and Definite. Presentsnthe clefs as a UNIT—one Big Staff. ment; join the school band or orchestra.” you will make rapid progress. Conns are choice “Ideal Lessons” is equally adaptable for other Union of Eye Training and Ear Training. By Emil Barth.40 Music Books used for Piano Instruction. A most practical work-book covering the first ele- of the world’s great artists. The Books of the Series, originally written in STUDIES IN SIGHT READING FOR THE This important advice comes direft from PIANO demonstration of the “Ideal Lessons” are equally PRELIMINARY STUDIES IN KEYBOARD Sousa himself endorses Conn instruments as the desirable for use with any other modern teach¬ By Mary Frances Frothingham.75 America's premier bandmaster and "march king,” ing plan. Thorough and Systematic. HARMONY AND TRANSPOSITION.40 John Philip Sousa. beSt, and uses them in his famous concert band. Trains the eye to a quick Perception of Keyboard FIRST MELODIES FOR THE PIANO and Staff Relations. KEYBOARD HARMONY AND TRANS¬ The great bandmaster says: "I consider that com¬ By Lillian Sara Jackson.75 Teaches an active observance of all other details POSITION. Vols. 1 and 2.Each .40 "Music, as a career itself, is now one of the beSt For Teacher and Pupil. concerned with proficient Sight Reading. By Anna Heuermann Hamilton plete equipment of Conn instruments enhances the musi¬ Single Melodies for the pupil—rhythmic back¬ LESSONS IN SIGHT READING An exceptionally clear and practical presentation paid and highly respefted professions,” con¬ ground of harmonies for the teacher. of the subject Widely accepted and used. cal value of any band at leaSt SO per cent.” Awakens artistic feeling. Develops musical By John Mokrejs.75 tinues Mr. Sousa. "However, if you prefer to be a Direct and Simple. HARMONY AND ANALYSIS banker, merchant, doftor, school teacher, engineer, FREE TRIAL, EASY PAYMENTS. Conn is Promotes the maximum in accuracy. Provides a By Kenneth Bradley. 2.00 TONE PICTURES FOR THE BEGINNER working principle. e of tl Stand the only maker of every instrument used in the musical ability will help you through school, and By Buenta Carter.75 LESSONS IN RHYTHM HARMONIC MATERIAL AND ITS USES Graded Material for the Piano, with Words. By John Mokrejs.75 give you a satisfaction that laSts throughout life.” band. You may try any one in your home, free. Artistic melodies for the introduction of early By Adolf Weidig. 3.00 plus postage Teaches how to consciously feel and scientifically The really outstanding and important work on the Send now for free literature and details of trial understand Rhythm. subject published in recent years. Begin now to cultivate your "musical bump.” consistent progression for first piano work. SYNTHETIC SERIES The Study of Harmony presented in a series of offer. Mention instrument which interests you. applied lectures, exhaustively treated. PRELIMINARY STUDIES FOR THE PIANO By Florence A. Goodrich By Mrs. Crosby Adams. Volume 1 (S. E. No. 11).75 CONSTRUCTIVE HARMONY AND IMPRO¬ C. G. CONN, dCtd., Conn Bldg. A book c preparation for piand Volumes 2 and 3 (S. E. Nos. 12 and VISATION Mail playing. 13).Each 1.00 By Clare Osborne Reed. 1.50 Introducing ; Grand Staff, Recognition of Pitch Constructive Analysis of Music Composition. A NEW work that is the outgrowth of years of Elkhart, Indiana A Plan of Intelligent Memorizing developed Coupon through the Study of the Harmonic Structure A natural method of the study of Harmonv: w-nring—Anay1"— ”—— Volume 1 is the elementary presentation and Vol¬ k that correl CULTIVATE VOUR M U S I C A L umes 2 and 3 follow in logical order. regular piar ’ ’ ' W 1 T H A CONN NST r u m e n t THE MUSIC STUDENT’S LESSON RECORD, by Leola Arnold, THE TEACHER’S LOOSE-LEAF JOURNAL Factory 'Branch Sto LEDGER and THE MARLEY MUSIC LESSON REPORT CARD are indispensable UTILITIES for the Music Teacher a;! s vsst gggSS! ? CLAYTON F. SUMMY CO., Publishers 429 S. Wabash Ave., Chicago, 111. Page 680 SEPTEMBER 1927 THE ETUDE Page 6S1 Have You New Fifty Cent THE ETUDE MUSIC MAGAZINE Series “Music for Everybody ” Studied Atwater Kent EIGHT PIANO PIECES Harmony? By French Composers These pieces are all delightful, either to play publicly or to use for study. You need it Contents for September, 1927 to complete your EIGHT PIANO PIECES Page musical education By Spanish Composers World of Music.,. 635 Selected from the works of the two Editorial . 63!) Practical knowledge of Har¬ foremost modern composers of Spain What Shall I Do With My Music?.H. Hanson 64.1 —Albeniz and Granados. Spanish Mastering Seale-Like Passages.E. H. Nickelsen 642 mony is absolutely essential music is much in vogue r Evolution of the Staff.E. M. Ibbotson 642 to round out your musical Learning the Pedal.<7. Coulter 642 education. It adds wonder¬ MINIATURE CLASSICS, Vol. ] Damrosch and New York Symphony.A. R. Tkur 642 (Bach and Handel) Launching the Musical Artist.. .O. E. LeMassena 643 fully to your equipment, as In the works of the great composers Music and Poetry in Autumn.R.I. Carver 644 Teacher or Performer. We e many smaller pieces which are Leschetizky’s Vital Ideas.31. Prentner 645 melodious and yet bear the stamp of offer you a complete course of their genius no less than their i—*■ On Practice./?. E. Yarndley 646 elaborate compositions. Hot and Cold.C.Knetzger 646 Harmony Lessons at small The Late Pupil.0. Delahaye 646 cost. These Lessons are given MINIATURE CLASSICS, Vol. II How to Get Up a Musical Pageant.L. 31. Smith 647 by Mr. Adolph Rosenbccker Do Not Run Past Signals. (Haydn and Mozart) ...F. L. Will goose 647 The Scale Signature Design. and Dr. Daniel Protheroc. Contains easy arrangements of pop¬ . .31. C. Crumpton 648 ular melodies from symphonies, Maintaining Interest.. . .31. G. Stevenson 648 Each lesson is clear, thorough and gether with melodies and easy mo\. Short Compositions for Piano. -T. L. Rickaby 648 correct; not the mere mechanical ments from the piano sonatas and Building the Grand Staff.. . .Mrs. W. B. Bailey 648 other works for piano. application of dry-as-dust rules, Curing Collapsible Joints.31. E. Williams 648 but an interesting, intelligent, thor¬ Stunts Do Not Lead to Art.T. 3latthay 649 TEN POPULAR MARCHES Tone Can Draw Pictures.C. H. Purvey 650 oughly practical method. A writ¬ For the Piano How Accurate Is Your Ear?.R, Soladay 650 ten examination on each lesson in These are all good stirring n_ History of the Bagpipe.M. W. Phillips 650 connection with ample original bers, suitable for school and gym¬ Musical. Smiles./. H. Motes 650 work; develops your knowledge nasium work. Tannbauser Overture”.r. Biart 651 and firmly fixes the important Department of Public School Music.G. L. Lindsay 653 TEN RECITAL PIECES principles in your mind. The Swinging Forearm..7. E. Layton 654 MODEL E SPEAKER For the Piano " hat High School Principals Think of Music. 654 Why don’t you, too. With 9 feet of flexible cord. An unhackneyed group of pianistic Melodic and Harmonic Accents.L. D. Hopkins 654 Improve your knowledge and make your Expression in Hand Independence.H. H. Davidson 654 work more interesting and your services A Temporary Stage for the Studio..1/. C. Kaiser 654 more valuable? You can do tins in Teachers’Round Table.C. G. Hamilton 655 your spare time, as hundreds of other TEN RUSSIAN PIANO PIECES Mus'cal Scrap Book... . 6g6 business players have done, with the A selection of playable and pleasing help of our Extension Courses. pieces from the writings of famous epartment of Bands and Orchestras..../?. L. Shepherd 670 modern composers, all of moderate MOST PEOPLE WANT SUC¬ difficulty, SpiS. *;:::::::::;.*• —» «• The Organist’s Etude. . 686 CESS, BUT THEY DON’T EIGHT RUSSIAN ORGAN Organ and Choir Questions Answered.. KNOW HOW TO GET IT! -H. S. Fry Pointers for Musical Parents. PIECES ■■31. W. Ross Most people seeking success are sincere The Violinist’s Etude.. „ „ . enough in their de¬ Transcribed by American sires—but they don’t Organists Violin Questions and Answers.R. BraZe «M WE HAVE COURSES Letters from Etude Friends, the Includes, together with some pop W king blindly, p'»"° ular favorites, a number of melodious Questions and Answers.... a , w‘ colorful compositions, useful to recit¬ Book Reviews. ' le Guichard 699 groping in the dark, voice"y alists and theatre organists also. Junior Etude. .UV'E" 703 struggling against Choral Conduct, ..E. A. Gest 711 trained thinkers, is Public Sch0.°l M placing a tremendous co?ne" TEN ORIGINAL COMPOSITIONS MUSIC handicap upon the Guitar For the Organ Arabesque. person who wants to March Carillon. .E. Parlors) 657 A group of attractive modern succeed, but who „ist“us Rocking So Gently.. .B. Hanson 658 Prices slightly higher from the Rockies pieces, chiefly by American compos¬ lactcs definite certain Advanced Compos, Kari and Per... ■ ■ - G. F. Hamer 659 West, and in Canada ers, and all suitable primarily for knowledge of the--- You are cordially invited to prove for yourself the church use. Away We Go.. ■ -T. Torjussen 660 .c- Huerter 661 undamentals that underlie all music. Pilgrims’ Chorus from “Tannhauser” Bet us give you, free, a practical dernon- (Four Hands). TEN NEGRO SPIRITUALS the thoroughness of the superiority of this new Radio Speaker Processional March (Four Hands) .E. Wagner 662 Arranged as Songs by .F. Keats 664 methods and of how easily you can Gipsy Revels.' master any of our courses. Fisher, Gaul, Johnson, Manney Legend.” " .V. Ewing 666 ERE is the new Radio Speaker which rep¬ Sample I H If you are buying a receiving set, here is Model 35, six-tube. One Dial Receiver; In song form ten of the most ap¬ A Septembre. ■ ■ -Th. Lieurance 667 without obligat resents nearly three years’ study in the gold plated ship-model name plate. $65. pealing Spirituals are here given as ■ A. H. Preston 668 Only by making an examination of the the Speaker with which to match it. If you arranged by four well known Ameri¬ Shepherds Play (Violin and Piano) Woodland Dawn. ■ ■ ■ C. Goldmann 673 actual lessons can you form an intelli- same laboratory which developed the famous can composers. ■ ■ G. N. Benson 674 already have radio, try the Model E and exult ff"*,°Plnion of the real merit of this re- • E. S. Stoughton 676 Atwater Kent One Dial Receivers. Here is real Price, each volume, SO cents, net. Hearty Laughter.. 8 e method of music instruction. in the improvement—and the moderate price. -31. Paloverde 677 Send for complete list. A Mountain Dance. / ' ■ ■ y w.'1 sh°w you how quickly you distinction in tone and appearance. The Broomstick Parade. -E. F. 31 arks 678 can equ.p yourself for greater things in • • 31. L. Preston 679 Postlude (Organ). The Model E Radio Speaker has a new type EVERY SUNDAY EVENING: The Atwater Kent Radio Artists bring you Model 30, six-tube. One Dial Receiver. Solid OLIVER DITSON COMPANY .S. Heller 680 frnm • W?y and make more money BOSTON A Vagabond Am I (Vocal) from music than ever before. their summer program at 945 Eastern Daylight Timee, 8:15 Central Daylight mahogany cabinet. |8o. The Rainbow Trail (Vocal). ■ ■ ■ ■ ■-G. Klemm 681 of operating unit, sensitive to the least tonal Time, through: Chas. H. Ditson & Co. ’ •l'- B. DeLeone 682 If With All Your Hearts (Vocal). vibration. A new method of cone suspension . New York NEW YORK J- E. Roberts WGN. Chicaio USD.St. Louis permits even the most elusive impulses to be . ■ . Boston WCAB .... Pittsburgh WWJ .Detroit Try your music store first. Washington WGR. Buffalo WCCO . . Mfils.-St. Paul University Extension Conservatory translated into audible sound. The entire range . Cincinnati WOC.Daventort WGY.Schenectady Siegel-Meyers Bldg. Dept. A34 of musical tones, from the lowest to the Write lor illustrated booklet tellint ry of Atwater Kent Radii Chicago, Model 33, six-tube. One Dial Receiver. highest, is covered faithfully and clearly. ATWATER KENT MANUFACTURING COMPANY Antenna adjustment device. Unusuall selec¬ tivity. Solid mahogany cabinet. $90. Page 632 SEPTEMBER 1927 THE ETUDE THE ETUDE SEPTEMBER 1927 Page 633 Distinguished Composers and their Works Latest Numbers (This is the eighth of this series of informative advertisements) This SERVICE has been established for the benefit of those SCHIRMER SCHIRMER’S LIBRARY of TEACHERS and ARTISTS located where the selective ( services of a Music Dealer with adequate stock are not available , SCHOLASTIC SERIES MUSICAL CLASSICS H. ALEXANDER MATTHEWS - JAMES FRANCIS COOKE - JAMES H. ROGERS - P. A. SCHNECKER A new series of copyrighted material for Vocal and Instrumental Study—from the Do you watch this page each month for its recording of four outstanding composers of piano music and selected lists T the great Masterworks^nMiSfc^The very easiest to the most difficult. In order 1500 volumes already published include SCHIRMER of their compositions? It gives you an opportunity to acquire information of great value upon lead¬ Vocal Music (Songs. Duets. Methods, to make this Series as comprehensive as Studies); Piano Music (Solos, Duets, possible, the cooperation of eminent ing composers. Many teachers are having pupils make scrap books of the portraits Studies, Exercises); Violin Music (Solos. pedagogues of all countries has been en¬ Duets, Methods, Exercisesl; Chamber ! Special Individual Service to j listed to contribute new works to it. and biographical notes presented. Music; Organ Music. Edited by em¬ Send tor Complete Catalog. inent musicians. 196 Suzanne Joachim-Chaigneau. Send lor Complete Catalog and New Values in Violin Study.. net .60 ! TEACHERS ARTISTS j An* important work• by Joachim’s 1487 Bach. Sonata No. 3 in E, for daughter; highly praised by Kreisler, Violin and Piano.net .85 What does it cost you to join? I other authorities, H. ALEXANDER MATTHEWS JAMES FRANCIS COOKE JAMES H. ROGERS 1508 Chopin. Rondo for two Pi¬ 197_Pre er. Five Easy Staccato anos (Four Hands), Op. 73...net 1.00 NOTHING! v atuaies. For Piano.net 1509 Beethoven. Ecossaises (Arr. \j 198 Walther. The Saltato : A for Concert use by Busoni).. net .50 What does it offer? (( | Neglected Phase of Viol!" T ALEXANDER MATTHEWS was born in 1510 Brahms. Trio in C-minor, The most complete and careful mail-order ? This new book teaches how to H BORN in Bay City, Michigan, in 1875, and edu¬ ONE of the really outstanding geniuses in Ameri¬ Op. 101. (Adamowski).net 2.00 | master successfully the performance Cheltenham, England, in 1879. His father, cated under the finest teachers here and abroad, can music today is JAMES H. ROGERS, the 1513 Tartlnl. Variations on a I service ever conceived for music teachers | I of the “bounding bow”. . «w , * John A. Matthews, and his brother, J. Sebas- JAMES FRANCIS COOKE is today one of Gavotte by Corelli. Violin and ( 200 Scarmolin. Fiv~e Melodious famous Cleveland organist, teacher, composer, Piano.net .75 1 THE announcement of a more unsurpassed advantages for manip¬ ? Studies for the Deveio’ ment of tion Matthews, are musicians and composers of excel¬ the most prominent musicians, educators and thinkers critic and writer. Born in Fair Haven, Connecticut, scientific adjustment of your ulating large stocks either of Amer¬ I] the Weaker Fingers. I r Piano lent standing. in America. In 1907 he gave up his extensive teaching in 1857, his musical training was pursued under such Mr. Matthews lives in Philadelphia, where he is practice in New York to become Editor of The noted musicians as Clarence Eddy, Haupt, Guilmant DILLER 8 QUAILE BOOKS ! individual problems and our facil- ican or foreign publications. / 201 Jubb. Rhythm and Melody, f Rhythmical Exercises and Pieces organist of the church of St. Luke, and the Epiphany Etude, and his constructive genius and indomitable and Widor. Returning from his European studies, Angela Diller—Elizabeth Quaile | | for 1st and 2nd Year Pupils (Pi- and conductor of the Pennsylvania University Glee energy are some of the main reasons for the present he located in Burlington, Iowa, where, he taught music I ano).net .75 Club. His cantatas, part-songs, and organ music are This very popular Series has two objects: ) On Approval A post-office employee is sta¬ 202 Wohlfarth-Grille. Twelve remarkable status of the’ magazine. Later he be¬ for about a year. In 1883 he moved to Cleveland. , Jo provide, in the earliest stages of the ) We send “on approval” practi¬ ' Emotional Studies. For the De- decidedly meritorious and have often been awarded came President of the Presser Foundation. Mr. Rogers’ compositions are very original and child s piano study, material of permanent [[ tioned in our Mailing Department- cally everything that we publish. l veiopment of Feeling and Ex- Upon the death of THEODORE PRESSER in virile, and altogether “worth-while.” His organ play¬ value, which shall serve as a basis for the ll He assorts the outgoing mail after ) pression..net 1.00 development of his taste. This material / Our catalog contains more than which it is taken directly on board November, 1925, Mr. Cooke was elected President of ing is brilliant, his criticisms for the Cleveland Plain consists of folk-tunes and classic composi- 60,000 compositions, by the great Interesting Piano Compositions by the Theodore Presser Co. His songs and piano pieces tions. To provide a plentiful selection of (I the train. This frequently saves Dealer authoritative, and his pedagogy is unassailable. pieces of real musical interest so carefully 11 classic _ masters and by modern hours for our clients and helps us | RHYTHM IN MUSIC H. Alexander Matthews have an exceedingly large sale. graded, both musically and technically, that | American and European com¬ Besides his musical activities, Mr. Cooke is a noted to be the “Neighborhood Music Worth-While Pieces by James H. Rogers for posers. We also send “on approval” Store of the Nation.” New Boot by GE0RGB A. WEDGE 15163 The Brooklet . IV $ .40 speaker, a fine linguist and an accomplished play¬ any outside publications provided | Clears up the mystery of this, the most 15165 Valse Caprice . Ill .50 wright. Use in Recital and Teaching the specified compositions are in Discounts vital element of music. Furnishes mate r i I 15164 May Morning, Scherzo. Ill .30 MINIATURE TRIO, No. 1 for developing and keeping a strict “pul*- Numbers by James Francis Cooke That Have stock when the order is received. We offer discounts to teachers, and the performance of rhythms—simple-. 3898 Giants .. Selections range in size from an artists and schools of music. | complex, and combiner!.net $1.50 THE BROOKLET Achieved Great Popularity 12051 Little Mis s Mullet. By%redU:°IintOTCUUiael)3nd insignificant amount to a season’s Complete Descriptive Wedge Booklet 3901 Sirens . Without Clarinet.net 1.50 No. 15163 H. ALEXANDER MATTHEWS Price 40 cents 1 2052 Old Mother Hnbbai Clarinet Part, extra.. .30 supply of teaching material. Small The Personal Factor Grade IV 23048 Sea Gardens. IV 12050 Mary, Mary, Quin Will be eagerly welcomed by Schools and selections are returnable in from 30 We have briefly related some of 8743 Forest Voices, Ballatellu. TV 8292 Feu Folict . Amateurs: easv. vet mnsirinnUr to 60 days. Large or season selec¬ 22954 Ribbon Dance, Ballet Miniature... Ill 8654 Valse Mignonne . . the more significant features of our NEW VIOLIN WORKS 23018 Keltic Dance . IIIJ4 3897 Elves . tions may be kept from September Teacher and Artist Service as it 11898 Rose of Andalusia, Spanish Inter- 3900 Witches. until the following June. functions generally.. If you are A Series of First-Position Pieces. ZEPHYRS from MELODYLAND „ , „ Helen Dallam. 19786 An'ofd Portrait * 111." 111TIII! 111 III« Location interested in expanding your work Complete Descriptive List on Request. 9248 Love Me. Valse Scmp’.ice. Ill Valse Keveuse ... or developing some ideas, we Student Concerto. August Ndlck. 23718 Beautiful Isle. IV ' Trot de Gavalarie We are in the heart of the world's should very much like to help Colors, Tunes and Rhymes lor First Vi.»- 23719 Fire Dance. IV Dolly's Delight, H greatest music market. We enjoy you. Un Study. Rebecca Richards. 13236 Toy Soldier variety ot Keys ana tempos; exemplifying Me odious Studies in the First Position. many fundamental elements of touch and If you think that possibly we can help—we will send you a question- Melodious Foundation Studies. Ml.hCookt,stMWC^^^Itadian'tL3SsPrt"Bm!^ta l“e technique. Each number bears an appro¬ Melodious Double-Stops. melodious Valse Lcnte, and ' Fire Dance" is a brilliant , priate stanza, which, in many instances, can Your answers will be carefully analyzed and anything that we Goose, Mary, Mary, Quite Con¬ be sung to the music. An exceptionally in¬ can do for you in the: line of supplying information or material will “Little Violinist at Home^&x v£hn trary. Little Miss Muffct, Old teresting and varied collection of first-grade always be the result of a methodicalthodical study of your particular case. Mother Hubbard. Little Jack pieces, so well and favorably known that g^V^l^yTma^l^SSd^ detailed descriptions are unnecessary. Send for Brochure containing complete information in detail Brown. Toeethor 11858 Dialogue . Each, net .30 except No. XII net .40 Detailed Descriptions'of ail on Request 13237 Dance of t The twelve compositions, as described P. A. SCHNECKER 13238 Fairy Stori above, complete in one volume, .net $1.00 8293 " ‘ ■- -urantelle . The Same, arranged for Violin and Piano THE FIRST ENSEMBLE NEW PIANO WORKS 1 Punch and Judy 5 by C. Grun, complete in one volume HAZEL GERTRUDE Jolly Teddy Bears By FRANZ BORNSCHEIN Piaffing Music (A Set of Very Fa, net $1.00 A. SCHNECKER was bom in Hessen, Darm- The Same, arranged for Four Hands Twelve Easy Ensemble Pieces. Founda¬ RINSCELLA’S WORKS P one piano, complete in one volume * stadt, Germany, in the year 1850. The famous tion material for the violin-groups of school Traveling Abroad (Thrre Little Duet": ^ net $1.00 orchestras. Suitable for one or more—" 1st<— The great success of the KinsceUa books singer, Mme. Emma Albani, was born in this 23426 Moonlight Dance . .. The Same, arranged for Violin, ’Cello riolins with piano; 1st and 2nd ■ iolins, 1st. and pieces is due to their undoubted practi¬ Four Pieces in 6-8 RhythmTc.rade^'r same year, and in 1851 Vincent d’lndy was born. This 23427 Reel . and Piano, complete in one volume nel$ 1.50 !nd and 3rd violins, 1st, 2nd, 3i I and 4th cality. All of the principles they embody are 23428 A- G; Dreisbach. information about Albani and d'lndy, though not Lyric Study . For one piano, six hands; Nos. I, IV. VII nolins with or without piano. the result of careful experimentation h, the “'“jn*ppemngs lUraucm. Hobby-Horse, Galop VIII. X, each 40 cents, and No. XII, 50 Score (including Piano Parts).net .75 composers own activities. These works arc pertinent, is interesting. Mr. Schnecker came to Marche Villageoise . . 1st, 2nd, 3rd or 4th Violin Parts (singly or (iavotte . n quantity) each.net .25 ^ ^ 8UpervisOTS “ ‘he publie rust Juvenile Reci^u“e,enNaS' America in 1865. He studied in New York City with Detailed Samuel P. Warren and, during the summer of 1874, MT.::::::::: with Richter in Leipzig, and from 1872 till his death A! Fresco .. he was the organist of the West Presbyterian Church, 8294 Master Series for the Young 23746 Prelude . Master Series for Young Orchestras New York City. 23747 Choral and Prelude.. In 12 Volumes. Selected and Mr. Schnecker’s fine cantatas, organ music and Fughctta . Edited by EDWIN HUGHES In12 Studies. Selected and Edited piano music gave his name a merited lustre. Mr. Schnecker died in New York in 1903. This unique Series gives the yc ■ 3m the master composers for the pi g pianist an assortment of fine material by VICTOR L. F. REBMANN ““ T‘ virtually a mini. J1/.118 a want in educational fousic.. Each volume is re Schirmer s Library of classical piano FEU FOLLET individuality and characteristic*style of the mas£r°m ouestiontr^erv rnmnth® p,day’adapted toany 8292 JAMES H. ROGERS Price 40 c de VI a?ehSchu^a ye«"£k onoretslrario^ ST Whid’ a"c“ies SchubHrt^laydnfCMozarr^’T^chairkiwf^dl ^dcP^ld88°hn™Beethoven1 Dances Couperin, Krebs, Gluck an5 in ths Suite of cK ^ f0T C°mP,e,e °e» TeTZd Z~OHer i « * ? “WHILE THEY ARE FORTY-TWO VERY EASIEST PIANO PIECES Single-Note Part for Each Hand YET YOUNG” New Epoch-Making Series f. -T- MUSIC TEACHERS, the country over, who are unanimous in thoV Juvenile Piano Collections preference for the h gh quality of SCHIRMFR nnk . *heir 300 SCHOOL CHORUSES c * A DMIRABLY suited for the A series of twenty-six Juve¬ £ assemblies, chorus?sf and glee dubs nile Piano Collec.tions which may Privare^KdPcoUeges8h SCh00'S’ be used as supplementary ma¬ «>3IIIHII ItllK ... SCHOOL CHORAL SERIES A TWILIGHT IDYL SIRENS terial to any Piano Method. These 42 compositions, in their extreme simplicity link thJ!f?‘ • , No. 3878 P. A. SCHNECKER Price 30 cents No. 3901 JAMES H. ROGERS Price 30 cents Invaluable to Supervisors, Kin¬ BATP°amP,'l't °nJ Ei,Ud Grade III i THEODORE I Grade III ^as»^ss^sr^

THEV GET RESULTS

Pupils love to practise

THE WORLD OF cMUSIC

JOHN M. WILLIAMS’ VERY FIRST PIANO BOOK has become the most successful beginner’s book on the market. Modern in every detail it takes up Interesting and Important Items Gleaned in i Constant Watch c step by step every item to make piano study easy and thorough. Happenings and Activities I .1 Ev<

JOHN M. WILLIAMS’ JOHN M. WILLIAMS’ FIRST GRADE PIANO BOOK SECOND GRADE PIANO BOOK fnr nSPr?hen8ive and thOT°ushly systematic book forjpupils of average age, constructed on the most ame Pri2*reSSj^ebS^ond G™de Book in. more than The most important link in the chain of successful modern pedagogy. Entire book written in five- egun in the First Grade EookTndTrocelds^a^e- piano lessons. This thorough book takes up, step illy and systematically in developing keyboard free- om, hand-position and complete relaxation. by step, two notes at a glance, three notes, four, fire, Pieces by the author and some of the leading educa- six, etc. Melodies using short phrases, then vertical >rs are preceded by analytical remarks and prelim- reading—chords, inversions and familiar melodies. lary exercises. pr;C3( $j qq

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SO BETTER TEACHING PIECES WHICH YOU SHOULD INSIST RECEIVING IN YOUR «, ON SALE” PACKAGE FOR FIRST GRADE FOR SECOND GRADE Arguments—Gest. FOR THIRD and FOURTH GRADES Chimes—Gest. Alpine Glow Waltz—Schmitt. Bee and the Clover, The—Geibel. Hungarian Rhapsodic No. g-Liszt. (Edited by John M. Willie Ding Dong Bells—Schmitt. . in the Starhght— Huerter Dot the Note—Cramm Buddies—McIntyre. Crow Story, A—Bilbro.... Irish Washerwoman—Sov—’ Fairy Queen Waltz—Harter Puck (Kobold)—Grieg.. Frog SongSr - ——Gest. • Hopper Toad, The—Cramir

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New Material You Will Be Glad to Know FOR. two years THE ETUDE MUSIC MAGAZINE has had experts literally ransacking the entire musical world for KEYBOARD SECRETS FROM THE NORTHLAND ALL AROUND THE HOUSE new features, new ideas, new articles, new illustrations, new The Greatest By Edouard Mayor By Dorothy Gaynor Blake By Marie Seuel-Holst A Splendid Both Short finger-drills to develop key¬ The smallest complete sonata music. Thesp experts have travelled tens of thousands of miles v. ^yv.u. uyjuuou vO left- Master of board freedom, accuracy, rapidity, written. It is prefaced by an an¬ New Series for this purpose. It means you will have a re-born ETUDE, reading. price. 60 cents strength and control. Progress is alytical story, illustrated with mu¬ gradual, systematic and thorough. sical figures and charming pictures. finer and better than ever before. Pianoforte CHILDREN’S SONGS Planned to follow “Melody Book Recommended as a favorite for from Hodgkins—Little Miss Crocus .40 I.” Considered the most modern program and teaching. Peycke—Go Get it (Recitation) .60 Composition and practical work on the market. Price. 60 cents PIANO SOLOS Handsomely illustrated with pic¬ I. Philipp Adair—Jumping Jack.35 tures to color. THRO’ THE CASTLE GATE Since Price. $1.00 Fitzhugh—Gathering Daisies .30 By Dorothy Gaynor Blake Professor of Piano Grieg Fitzhugh—Hay Ride:. .30 IN MARCH TIME A captivating piano suite for the at the Fitzhugh—The Garden Party .35 A wonderful collection of marches development of facility and style Fitzhugh—Merry Hikers . , .35 for schools, drills, calisthenics, introducing greater freedom over Paris Conservatoire Woodrow—Voice of the gymnasium or outdoor pageants. the various registers of the key¬ Eduard Heart.45 Price. 50 cents board. Price. 75 cents “The Evolution of Pianoforte Playing” POLDINI I FAMOUS METHODS AND COLLECTIONS FOR BEGINNERS THIS series is the result of long con¬ UDUARD POLDINI, whose compo- Bilbro’s Very First Piano Lessons.65 Woodrow—In October Sunshine. .65 ferences between Professor Philipp sitions are played by the foremost liv¬ Blake’s Melody Book 1.75 Thomas—Five Tuneful Tales.65 and the Editor. It will be one of the ing pianists (but whose genius insures Major’s Nature Pictures.65 Alehin—Song Stories for Piano.65 finest features ever presented in any simplicity and beauty of style, enabling Roege’s Songs and Silhouettes... .65 Fox—Miniature of a Dutch Family.65 musical magazine. Pupils from all The Trocadcro—the fan the active student to perform his works) Bilbro’s Little Etudes for Little Fingers. . .65 Parkhurst-Mistrcss Mary and Her Garden . 10 parts of the world have been going Bilbro’s Study of the Bass Notes.65 Mayor—Piano Pictures for Little Artists. .65 is now engaged in writing a new series Bilbro's Happy Half Hours. ’90 Mayor—AH Around the House.65 to Professor Philipp for a quarter of a of infinite charm. The Editor heard Berold’s Piano Course: 4 Vols. ea.50 “Memorable Days in Great Cadman—Holidays. 1 25 century. This series will present a Mr. Poldini play many of these fasci¬ Peters’Modern Piano Method. 1.00 Blake’s The Eight Intervals. 75 Blake—Melody Book (A Second Book).’ A5 marvelous opportunity for students. nating compositions and is certain of Blake—Adventures in Style.75 European Music Centers” Blake’s First Steps in the Use of the Pedai the wonderful treat in store for our for Piano. 7 c Bilbro—Folio of Characteristic Pieces. 1.00 By JAMES FRANCIS COOKE readers. Numerous other composers of Blake’s The Three Majors. '75 FOUR-HAND COLLECTIONS Thousands of Diller and Quaile—Tunes from Many Lands 1 25 MANY years ago Mr. Cooke presented in THE ETUDE highest standing have also sent us then- Diller and Quaile—When All the World Keyes—Nine Little Playtime Duets.65 Musical Successes a series of articles on European musical conditions most attractive works—full announce¬ was Young. j 25 Mdntyre—Sunshine and Laughter.65 which were so vital and so interesting that they were hriml—Musical Adventures for Four ment later. Easiest Sonatina Album...... go Hands. 75 Made through received with an enthusiasm which is remembered even White-Rutgers—History of Music. l’so to this day. Mr. Cooke has recently re-visited these centers Mattingly—A Visit to Orchestraland 65 McIntyre—Wondrous Tales...... !! ! G5 Four-Hand Recreations. Vol. I.75 “The Etude” and has come back with copious notes to be expanded in Mrs. Leo Oin his brilliant and spirited style. Our readers may look forward Interviews to delightful moments of information, wit and romance in ^TUDE Articles and ETUDE Music have With The EJ made innumerable notable careers, ama¬ a series of these unequaled and exclusive feature articles. Distinctly Definite Teaching Pieces Which Pupils Enjoy teur and professional. Our standards of GRADE I World’s Ws for You-Hyatt (Tonal balance). GRADE II (Continual) interest and practical help are rising with When the Sun Hangs Low—Adair (Cross hand) Turkey Parade—Thomas (Staccato). each issue. Here are just a few notable Foremost Rosemary—Fox (Left-hand melody flavine1 " Up Hill and Down-Adair (ScaU prmice) .' articles—Commendatore E Pirani, “Fin¬ The Little Corporal—Blake (Rhythm) ’.■ ishing Touches in Piano Playing;” Dr. I. Musicians Fairyland Music—Piaget (Broken chords).■ . Sir Henry Wood Happy and Gay—Adair (Phrasing) .1 W. Vorhees, ‘ ‘Musicians Take Care of Your When Falls the Dew—Hyatt (Ringing Tone) Ears;” W. J. Baltzell, “Home Influences in 'T'HE ETUDE has assembled an unusual GRADE II Making Great Composers;” Mrs. Leo -*■ number of exceptionally fine inter¬ Coj,°nial. Days-Woodrow (Rhythm).. . ■ Ornstein, “How to Pedal;” and fifty more views with great musicians. Two in the e Garden—Thomas (Thumb splendid articles. near future will be: Sir Henry Wood, Little Canoe—Blake '(Cross hands)' “Roads to Success in Music;” Alfredo Radiant Sparks-Hutchein(ffi,)!!!!!'! ] Casella, “What is Modernism in Music?” Just a Few of the Edgar Stillman Kelly, “Why Dissonances?” Helen Hopekirk, “The Charm of Scotch Neiv Musical Playlets for Children OttirtiTZ, Coming Features Music;” and fifty others. The Jeweled Opera How costumes and schoolroom accessories. ' h made A musfcal plfy?c^nT^ B»° niMaude s,a9ed Orlta Wallace Lessons on Great _Price. S3 cents 8°°d comed>' and tuneful^eTod^VSn **** fU“ °f -.-_____ mile. <5 cents Masterpieces Music in The Etude Send this Page to THE ETUDE Music Magazir THESE splendid features will be con¬ 1712 Chestnut St., Philadelphia, Pa. ■^TEVER have we given greater thought , /„ , L!BERAL D[sCOUNTSTO^TEACHFRr~ tinued in THE ETUDE. The next one An Illustrated Catalog “Helpful Suggestions to 7/ ti RS ' to the provision of music which will will be a lesson on the Wagner-Liszt Please send THE ETUDE for one year to suit every one of our readers. To achieve Send your naml*ariZd^ to™5"0*1’’ * FREE “Liebestod,” by the great Russian Pianist this we are dividing the music pages into and Teacher, Mark Hambourg. Thou¬ Name_ Street_ sections, in each of which we shall study sands of students have reported that they to supply the wants of its particular class find these articles of inestimable practical of players. THE WILLIS MUSIcfco for which I enclose $2.00. 137 WEST FOURTH ST., CINCINNATI, OHIO mm. SEE IMPORTANT NOTICE ON OTHER SIDE OF THIS PAGE THE ETUQE Page 638 SEPTEMBER 1927 A Splendid EDITORIALS The New and Greater Opportunity ETUDE MUSIC MAGAZINE to join 1928 with us EXPANSION CAMPAIGN THE JOURNAL OF MUSICAL HOMES EVERYWHERE he Musical in the You have seen at a glance greatly improved and increased new and interest in THE ETUDE Music Magazine represented in this issue and forecast on the reverse side of this page. ~Argosies However, much as you have liked THE ETUDE, you greater will realize that your favorite musical magazine has been born again into a newer and finer scheme of increased interest and usefulness. Are Qoming! ETUDE “We are advertised by our loving friends.” The great success of THE ETUDE from the beginning has been due to the contagious enthusiasm of those who have always MUSIC gladly gone out of their way to recommend it to others Rejoice! The Argosies are Coming! Gloria in Excelsis Deo!” who can benefit from it. MAGAZINE We invite our friends now to send us on the spaces below the names and addresses of ten friends whose musical life and interest may be expanded through THE ETUDE. (7^ HUS sang the multitudes on the great plaza of San Marco at Venice, extension In no other way can you do more at this moment for as the fleets of treasure ships from all of the known world brought musical progress in the world. their riches back to the Adriatic. campaign Kg Now THE ETUDE argosies are coming in every month, with flags in the world’s j flying and sails spread. They have been to all parts of the musical world and are arriving laden greatest period down with priceless cargoes. of musical ■Experts of international reputation have traveled during the past year, tens of thousands of miles, expressly for THE ETUDE Music Magazine. They have obtained hundreds of the most interesting musical progress. compositions that may be procured.

Otir “Thank You” They have captured articles and features fin;r than anything our readers have ever known. Just send this page with the names and addresses of your mu¬ This is indeed glorious news for THE ETUDE family, in keeping with sical friends filled in the high ideals and purposes of the magazine and its publishers. distinctly, together with your name and There is nothing too good for our patrons and readers; and, wherever address and we will send you gratis \J initiative, enterprise and invested resources can take us in our quest, OUR HANDSOME 1928 the finest shall be found. ILLUSTRATED MUSI¬ CAL CALENDAR Rejoice! The Argosies are Coming! Absolutely Free

This has a reproduc¬ IMPORTANT tion of the handsome ANNOUNCE¬ MENT cover illustration of ON REVERSE this issue of THE OP THIS ETUDE. Write your name and address op¬ posite. It will not be used in writing THE ETUDE MUSIC MAGAZINE to your friends. 1712-1714 CHESTNUT STREET September 1927 T5he ETUDE MUSIC MAGAZINE vd. xlv,n0.9 PHILADELPHIA, PA. Established II SEPTEMBER 192 7 THE ETUDE What Shall I Vo With My Music1

OFFICE HOURS An Interview with Dr. Howard Hanson JOHN’S VISION -p,n A PUPAL experience is, after all, the only kind of ex Director of the Eastman School of Music, University of Rochester THE late John Wanamaker was familiarly called by everyone in ™ to Therefore the Editor Ends h,„v Philadelphia “John,” just as President Roosevelt was affec¬ P self arntinually reverting to those happy days when he was a tionately termed “Teddy." People in the Quaker City, where conditions, make it impossible to say just Wanamaker started to build his great enterprises, refer to a visit teacher* in fact rather than in print. j OF the greatest problems of Once a pupil came in with a look of great achievement and how much the private teacher in a small to Wanamaker's as “going down to John's.” the student in music, who has the community may learn. announced, “This week I have practiced three The greatest merchant of his time made his store such a center proper, practical respect for the “We have had, as have all educational This pupil had great verbal ambitions and did not hesitate to that those who went there found a kind of color, warmth, character all-important matter of providing himself institutions, a great many applications for and spirit that was difficult to forget. This is one of the reasons tell her friends she expected to become a virtuoso of no small with a living, is,. ‘What shall I do with my graduates to fill special positions in col¬ why his New York store, situated far apart from the present-day consequence. Yet she bragged about three hours a day. music?’ That is, after the student has leges. Salaries of such positions range shopping center, attracts thousands who long to have color and Had she been employed in any business office as a sten¬ passed through the delightful hours of hard from a maximum of $5,000 per year music in their lives. ographer she would have worked, as a matter of course, from seven work necessary to obtain the very great¬ to $2,000 per year, the higher salaries est efficiency in the field he has chosen, When Wanamaker built his Philadelphia store he knew the to eight hours a day, and would have thought nothing of it. But much the rarer. In a great many instances what value will his acquired ability have wonderful power of music in influencing lives. Accordingly he sitting at the piano for three hours was an achievement. this is accompanied by other emoluments for his fellowmen? What price will so¬ built it around what is now the greatest organ in the world. Then Just why should a student, who expects to achieve great ciety place upon what the young musician such as residence and in some cases board things in life, feel that he is entitled to less working hours than he started to give concerts on a scale that staggered even the music has to offer ? In order to continue to work in the institution. Very often a teacher nine-tenths of the workers of the world in business life? Why managers. The merchandise was shoved out of the way and ten in his art, he must have a living. It should with a salary of $2,000 per year in a col¬ thousand chairs were brought in. The store was metamorphosed should one brag about three hours at the keyboard, when thousands be a comfortable living, one that would lege community, apart from a great into a great concert hall. The world’s greatest artists from all lines and thousands of intelligent stenographers work eight hours at permit him to be open to that priceless metropolis, will find that in the end, he were brought in; great orchestras, such as the Philadelphia the typewriter and in that eight hours in a great many situations inspiration without which one cannot do has actually saved more money than a Orchestra with Leopold Stokowski, combined with master are beset with annoyances and difficulties that never suggest good work in any art. teacher with double that income in a large organists, such as Courboin, Bossi, Dupre and others. themselves to the student comfortably seated in the studio or “It is a great mistake not to give due city. consideration to this problem. Prepara¬ “Advertising reclame!1' exclaimed the critics. What of it? in the home? Orchestral Players Those who benefited most were the public. If “John” chose to Of course, a great deal depends upon one’s physical condition tion by no means indicates fitness to follow a certain profession. The great body of 4 4 TOURING THE LAST few years, the advertise that way instead of on billboards, that certainly was his and other educational obligations. Over-practice may become a musical students will be and should be accomplished orchestral player has business. As a matter of fact, he resorted to almost every known very serious matter, with a very sensitive, nervous organism. musical amateurs. Without musical am¬ had very little to do with the question, form of advertising, from balloons to the daily press. But why shouldn’t one who is interested in taking up music as a ateurs, musical culture in the world could ‘What shall I do with my music?’ We knew John Wanamaker and we saw enough of him to life-work practice four, five, six, seven and eight hours a day, not survive. The more amateurs, that is, There has been a very large demand for know that if he had advertisement in mind he was business man if he is really enthusiastic about it? music lovers with a proficiency to play an fine orchestral players. This is due, in enough to realize at a glance that there were dozens of ways in We think a great many students baby themselves, belittle instrument or sing creditably, the greater very great measure, to the great increase which he might spend money for advertising that would bring far the importance of practice and under-estimate their physical the interest in music. The idea of study¬ in the excellent orchestras in the ‘movie's.’* HOWARD HANSON, MUS. DOC. larger and more direct returns than the prodigious sums he spent ability. Don’t be afraid, of practice, if you want to win out. ing it for the sheer love of it is something “Stabilizing employment, without the for music and for art. For this reason, if for no other, we credited After all, work, work, work is the everlasting secret. which should be cultivated at all times; expense and hardship of travel, has been and schools of music and conservatories him to the greatest extent with practical idealism in bringing Of course, practice should be broken by periods of rest. most important in helping thousands of should give just as serious and earnest at¬ Biographical music to the people in a most powerful and sensible manner and One should never practice when one is really fatigued; and there men who engage in ‘moving picture’ with a generosity equaled only by the Roman emperors. tention to the cultivation of the amateur Howard Hanson was born in Wahoo, Nebraska, in 1896. His work. is, we admit, a difference in the physical force expended in playing music lover as to the one who has decided John Wanamaker loved music, believed in its civic signifi¬ musical studies were done mostly in Luther College of Nebraska, The In- ‘The moving- picture- .organ - also has been a Kullak Octave Study and in writing a business letter. Yet we to become a professional. Surely it is years; and cance, and looked upon his great stores as a means of spreading believe that the practical student should have “office hours,” and quite as laudable to study music for the stitutc of Musical Art of New York, and then at Northwestern University a development of the test musical inspiration and enjoyment in line with his own practical that the student should not be stingy with himself about his love of the art as to study it with a view where he was an assistant teacher of Musical Theory while under the ^hich‘ has a way changed the whole idealism. Let us honor him for his actual accomplishments. office time. to making it a vocation. In our own work tutelage of Percy Goetschius, Arne Oldberg and Peter C. Lutkin. In the economic situation in the organ field. In These stand alone in American business and artistic annals. we have made it a serious matter. We fall of 1916, he became Professor of Theory and Composition in the Col- other words> tbe moving picture demand His son, Rodman Wanamaker, has continued the musical endeavor to exclude from our professional lege of the Pacific at San Jose, California, and, while there, received in has afyected the income of church or- work of his father in the great stores, on an even more magnificent The \ey to the portals of musical success is forged classes' those who do not seem to have well- 1921 the “Prix de Rome” and that autumn went to the Eternal City for ganists.t in the laboratory of hard wor\. • scale. He made one of the greatest modern collections of string determined talent and likelihood of becom¬ three years of study. Since his return, he has been Director of the “Here the demand for more accomplished ing very successful in the professional field. instruments of the violin family to be found anywhere. These he Eastman School of Music at Rochester, New York. Dr. Hanson is among players is mixed with the call for men of has placed under the care of Dr. Thaddeus Rich, former Concert- Three Classes of Students the most original composers of American birth, and some of his most especially bright wits, not merely m e master of the Philadelphia Orchestra, as curator. No expense has TIN-PAN ALLEY successful compositions have been his “Nordic” Symphony; “Pan and the way °/- ^^^^p^ramatic’scenes in the been spared to make the Wanamaker concerts lavish beyond the < t^vN THE OTHER hand, anyone with Pries,/-a symbolic peen, "North end West;" the symphonic poem, "Lu, Cv& “nS imagination. The price of admission is merely a love for music. ASm?RI tl,mefg0rwe made a tour of some conservatories in vJ a fair degree of talent should be L X New England. In one we found an equipment of excellent encouraged to take up music as a special Eterna;” these for orchestraThe Lament of Beowolf is for chorus themes Moving pictUre playing is best The Wanamaker concerts have been an inspiration to scores ■ study in special courses, as long as he has of other merchants, and the musical public has benefited enor¬ modem pianos by a foremost New England maker. The college and orchestra. His compositions have been on the programs of such or- jearned ;n a special school provided with the ability to get pleasure out of it. To mously thereby. chestras as the London Symphony, New York Philharmonic, New York projection apparatus, a very comprehensive SfaS® feSd m“e “ r""'do”n *= my mind, students entering a conservatory Symphony, Augusteo Orchestra of Rome, Italy, Conccrtgebouw of Amster- library of suitable music and all the para- should be roughly divided into three dam, Holland, Chicago Symphony, and many others. phernalia that goes with this new and im- Keep sunny. The world has enough clouds. Bright classes; first, those who are what one might new Lr'b“adin8 “d _mensely prosperous industry in America. and happy music is one of the finest tonics the Almighty call ‘listening’ students. They come to lec¬ The organs ;n moving picture houses are *n kn0t!fr CollegL’ Wlth a comparatively new building we tures on appreciation. They play to a hasi given us. boy. Note! how a test runs. The result of that the boy, all other things considered, improving all the time; and the time is were ushered into what can only be described as a ‘S! moderate extent and want to become ac¬ Alley. In the first place, the pianos never had been good Thev the test shows he stands musically about 95. would be acceptable as a professional stu- coming when only the most skilled per- quainted with the literature of the art. _PrerS gradualy cha"gcd Untd the "F" The Aspirants repertory of tricks and fakes, has given way to the promoter who employs training in singing under a conductor who instruments used would look very queer became our bass clef sign t) , and the let- vantage in hearing the finest music at con¬ T N AMERICA there are 150,000 profes- legitimate methods. In this field, Mr. Le Massena has been engaged at times knows the operatic traditions. certs, through the radio and through the to us. They did not have pianos or violins ft* A sional musicians, 50,000 of whom are “We have so many very capable singers as we do now. ter G became our treDIc clef sign fflS by a long list of noted musicians, including Mine. Galli-Curci, Frieda Hempel, talking machine and player piano. These singers. There are 250,000 vocal students, i.i America; but very few of them have Paderewski, Damrosch, Dohnanyi and many others. are all very vital features in modern mu¬ A good many years later, a line was , , „„„ , •' thousands each year clamoring for recog¬ been able to make the bridge to the oper¬ drawn over the words, too, so a better ““ cu/ "g f°“nd thc 1 line, the other Mr. Le Massena is the composer of a very delightful operetta which has sical education. Nevertheless, to get the nition. Figure out the chance for success atic stage. It has-been my conviction that real fun out of music, to have the adven¬ idea was had of what the right notes were ,around the 'G lme‘ * hilc this was a if you attempt the struggle without pub¬ been given frequently by professional and amateur groups and has been our next step in America, leading toward A singer would start on any note that b'S ,mProvenlcnt> still gave smr.e diffi- ture that comes only with the explora¬ licity’s aid. heard over the leading radio broadcasting stations. Over five thousand copies greater opera, will very likely be through suited his voice and it was more or less a cuUy m rapld readillS- °llc da> me one This does not apply to trade papers with tion of new fields, just as one reads a new There are two kinds of publicity. The of this operetta, “Pandora,” have been sold. which the artist is only figuratively con¬ a higher form of light opera, such, for guess as to what the following notes were ?aid’ "Let us lcavc out thc six,h line « instance, as is ‘The Student Prince',’ book or plays a new game, one must have it is in the middle of the staff (erase it), one betrays confidence—fictitious creations cerned. ‘Countess Maritza,’ ‘The Vagabond King,’ the ability to perform. This is not em¬ and when we want to use a note on that that eventually sentence one to the editorial Syndicates Ex. 2 blacklist—and that means failure. The ‘The Chocolate Soldier,’ or such a work phasized enough in America. It is not line we can just draw it in (do so) as Space in newspapers is at a premium prepared, the more influence it is destined THERE are two available—newspaper other is built on fact, embodies news value, as the unfortunately ill-fated ‘Deep River,’ understood as it should be; and many it will always be "Middle C” whether with only a modicum available for music. to carry. and picture—both highly useful and -J J J avoids sham, bars extravagance. Nothing by Mr. W. Franke Harling. The produc¬ very good American citizens go through we add it above the bass clef or below Publicity material for artists, therefore, immeasurably profitable. They are elusive courts editorial ire more than an attempt Articles, Stories, Interviews tion of many of these works and their like life without the facilities for getting the My country, ’tis of thee, the treble clef. So that is why and how must be a highly-sensitized product con¬ and difficult channels, however, because to put one over. has resulted in fortunes for the pro¬ best out of music merely because their we have the two clefs to-day. densed to a minimum. TN ADDITION to material carried in a everybody rushes them. Syndicate editors ducers. parents have neglected to give them a It is essential that this material be cor¬ press-book, every artist needs to have are targets for press agents and offices are Barnumism “Wherever there is a practical economic musical training. rect, striking, newsy, magnetic, gracefully on hand a quantity of special articles, swamped with “stuff” on every imaginable demand, the demand for artists always in¬ “It is very easy to show a man that The PUBLIC, too, resents being mis¬ presented. Sensationalism is a matter of stories and anecdotes, written in the first thing. Due to this plethora of nonde¬ creases. These operas are tending to ele¬ playing a game of golf and merely stand¬ Learning the Pedals led. We are no longer in Barnumian psychological moment rather than of gen¬ person, on subjects pertaining to one’s life, script material editors are put on the de¬ vate the taste of the general public. ing around and watching it are two very days and any prolonged attempt to fool eral practice. art and views. These are valuable for plac¬ fensive and it is impossible to catch them “The field of recitals, concerts and radio, By George Coulter different things. But it is hard to show the public is artistic suicide. Ambition, The one thing that unfailingly arouses ing with syndicates and magazines and are off guard. and also the talking machine, is so much that same man that the great joys in music lacking idealism, becomes a bursting interest is human nature. Plastic saints also good for “fillers.” If the artist be There is always a chance of placing any¬ a matter of the individual performer that come from playing it and not merely bubble. and pictured idealism’are dull because hu¬ prominent, such material is readily taken. thing of real news value, and it is right it is difficult even to intimate what the Sat; ,co“'“fd iz ztvrw?wi".*u» h™ watching the other fellow do it. music in trying to control their feet Tn i • thls without distraction ir on his This is an age of the Survival of the man beings like to see men and women as Staff writers are always on the qui vine here that a clever press man can show his possibilities are. Some of the concert “America is now on the threshold of its Known. Time was when clubs and local for live leads and one such item fre¬ ability. It’s his business to know what syn¬ singers are said to have earned as high allow the requisite freedom L playJg SeTh r" * e"ab,ed ! appre- they are—not as someone imagines them. greatest musical experience. Music has be¬ managers could be sold on recommenda¬ quently serves as good bait to land an in¬ dicates want and that they will hold aloof as forty thousand or fifty thousand dol¬ pedalling ought to be automatic and un feef oMhToTdaf1”*’!!* a"d vital! ef; come as much a part of life of the conscious. 01 tne Pe(Jaif and will lie stimulated tion, but today they buy names. Essentials of Publicity terview. At other times, reporters may be until he has . acceptable copy to present. lars per year. The field is broader than average man as his bread and butter. We The most prized, the most beloved, the invited to hotel or residence for a news Nothing is more detrimental to an artist’s Its Simple and effective use mav be em m.VtTT Sk!" in i,s ‘,se- * IRCULARS, prospecti, the first im¬ that of opera, of course. Concert pian¬ have come to a day in our national his¬ most noted works in literature and art are C “release,” discussion or quiz. standing than the constant circulation of ists and violinists have, in some instances, barked upon thus: Take an easy waltz each half V^emptcd,next- w,th Pcdal for portant items of publicity material, tory when few men and women are will¬ with a pronounced rhvthm rnmn„c„j a,f bar, so that the action : the those best known. The greatest creations absurd or glaring “piffle” that smacks of lived to see themselves become millionaires, with a pronounced rhvthm and corniced font ^ S° tha* the ac,i"n : tlle should be perfect in every detail, skillfully ing to admit musical illiteracy. It is my firm of.man, when left to themselves, are noth¬ Advertising rank publicity. Selling a name to an edi¬ not in francs or marks, but in actual of simple diatonic harmonies, the chords Th?n again.Is-vnchro,>'ze with the beat, written with a selling punch, neatly printed conviction that this will lead to greater ing; only when they function as instru¬ tor is half the battle and sooner or later United States dollars. remaining unchanged within the bar daln f ™y adva"cc ‘ -a- and artistically designed. The usual stock WHILE NOT in the province of the happiness and civic content in the future.” ments of service do they become a vital good stuff will receive his “O. K.,” for When this can be played with ease Z t T 1°™ the regular »" ‘be m re ir- form inspires neither confidence nor inter¬ press department advertising should force for good. be created and placed in co-operation with publicity is really a form of mental science pupil should depress the right pedal eentlv ” rhyth,?ls wh.ere ‘be pcdal - used est. Money saved here is false economy. with the down beat in each bar, ralsfn^it onts^Olf, 1'ngem,i':v and for the sake As musical history shows, building a it. Preparation of copy requires skill and —an act wherein one mentality exerts a For ^Mastering Scale-Li\e Passages of course, at the end of the bars. The powers ° d SUSta n,n» 30(1 expressive career without efficient publicity is almost Announcements, Letters knowledge of selling values. It should not persuasive influence over another mentality. unprecedented. A big artist usually is one be contracted for without careful consider¬ UCH THINGS are intended to be By E. H. Nickelsen who, as a small artist, took advantage of S ation of mediums and territories. More General Magazines read, so they must carry an immediate opportunity. One remains swallowed up money is squandered in indiscriminate ad¬ How often does one come upon i “stop” phrase or caption—something to CIRCULATION is the chief requisite Follow this by grouping the notes into in the crowd until one asserts individuality, vertising than in any other phase of musical for publicity, and magazines provide -_o-sage in„ a- -piece-- or study, whichyv.uv-n isi nut so “threes” and playing them as triplets catch the eye and lead it on. They should ‘Damrosch and the Hew York Symphony and the way to do that is to lift one's self publicity. Few artists understand this aspect, an extensive distribution. Entrances of different from a scale and yet has about Only the beginning groups are given, but be succinct and rhythmic, embodying style, above the mass. too often relegating such details to man¬ it something that makes it tricky for the the student will continue these to the com- graceful and polished diction—a combina¬ this type are not for all, but reserved for By A. R. Thur One may do without publicity, also get agers, office employees or advertising rep¬ tion calculated to promote confidence and the particular. Biographies and memoirs are xerS‘ Pass of the run, always keeping each The fact that Walter Damrosch has along without success. One may have pub¬ resentatives. If advertising is to accom¬ To overcome such a difficulty the fol- finger on the note it will play in the beget influence. That which is carelessly the most acceptable forms. Sometimes a , recently resigned from his post as con labl«!r ‘job' came along than the sym- licity, also fail to gain renown. Publicity plish its mission, it must be on a par with lowing method is suggested, using the finished run prepared or hastily executed is apt to prove discussion of a pertinent subject is in order. ductor of the New York Symphony father a frt’ wou^ simply send my is a means, not an end. the publicity in strength, character, fre¬ opening run in Godard’s Second Mazurka a complete loss. The selection of media must be made judi¬ as an example for study. * onra,vSUf.,tU,,C- Smal1 tvonder thatoc- It never made a famous artist great, but quency and opportuneness. ciously, otherwise time, money, energy and The original passage i: horn o Vhe'r ',ps gave out and the first it has made many a great artist famous— Press Book patience are wasted in sending out MSS. and it is an incontestable fact that no great¬ Music Periodicals Bx.li rormm ?mpCt WOuld break 0“ a" im- VITAL necessity. The best single without sufficient knowledge of require¬ ness was ever recognized apart from it. A “And n° 6 ■ UH:lg a '^Phony concert, publicity medium which serves a pur¬ USEFUL, mediums in launching and ments. in? rndv Spite of these dishearten- pose such as nothing else does or can. An sustaining a career. But they should be It is best to discuss the proposition with S S Era“ Th*. The Press Representative indispensable adjunct since it dispenses employed with discretion. None but an one of the editorial staff before submitting HE MUSICAL press representative an article, because music material is ac¬ Orchestral conditions were bad mm T with innumerable details associated with expert is qualified to advise on this sub¬ As a preliminary exercise practice the has evolved into a specialist who no bookings. A good press book of diversified ject. Small sums are inadequate and large cepted only occasionally and must be following, which is made up of repetitions pared with to-day,” says Waited dZ longer deals with clowns and elephants, matter pertaining to the attraction, neatly amounts are sure to strain a budget unless exactly what is wanted; consequently, this of pairs of notes taken from this passage but with souls and personalities dwelling mimeographed and bound, usually supplies one has ample funds to command. Caution class of matter ought not go by mail unless and fingered exactly as it will be when in a world of art. to out-of-town publications following cor¬ taken as a whole. Then with five notes in a group local managers with all the press material and experience are the best guides. march dbVeryzProudly int0 his as we He is the motive force that drives the needed to cover an engagement. This should Such investments are futile unless placed respondence thereto. Most magazines either we wt r* !r°m a concert. even though engine and steers the artistic craft, yet his be kept strictly within the limitations pre¬ properly and used effectively. A “fling” have their own staff writers or place orders abilities are rarely appreciated at full or “flyer” now and then is certain to mis¬ for such articles as they may need them. cert was mI?* S“bscription t0 the con' scribed by good taste, but should embody lars and m°re tban e'Sbt hundred dol- value. dignified propaganda, also be! free of error carry, while a cheap, insignificant inser¬ Hence it is an occasion for rejoicing when Press service must be planned and exe- you do land something. had nm r.th\Tg,e Sa!e at ‘be box office and untruth. Above all, it must embody tion is as valueless as it is unwarrantable. •cuted with skill and unerring judgment. This method will promote dexterity and had not reached the hundred dollar mark.” readability. It cannot be too well done and Musical journals (with the exception of Only an experienced journalist and musi¬ compilation ought never be assigned to a the musical home magazines, such as The Photographs, Reprints clearness of execution, add brilliancy to with a ? r35 tUrned in 1879> learn, dances, and some of them even J“,•!’• a cian can cope with the innumerable difficul¬ novice, for a poorly-written and ungainly- Etude) are strictly “class” publications, the touch, and improve tone color, m ion ofir ™,anCe of Berlioz’ “Dam- PICTORIAL publicity is the most effec- or military processions and mass meetings ties and problems of a publicity campaign looking press book is a detriment rather serving a like purpose and covering the tio ^f L acSt> 'Vhich Proved the salva- tive and valued kind. In point of " °f the Symphony Society. in the field of musical art. than an aid. Conversely, the more expertly same territory—i. e., the musical field. “boost” nothing equals having one’s picture THE ETUDE SEPTEMBER 1927 Page 6^5 Page 6U SEPTEMBER 1927 THE ETUDE intelligent idea of what he has heard. He reproduced. That is the reason out-door Press clippings as visual evidence of press Sometimes, it is wise to reprint ani entire is a human being, not a machine. He pos¬ display enjoys such a vogue, in commercial service are desirable. There is no way, notice if given by a prominent cnnc o sesses mentality, intellectuality and emotion advertising since the eye is quicker than however, of locating all that gets into print, enumerating points that do not lend tne But these faculties lie dormant unless Leschetiz\y s Uital Ideals the mind to grasp and more apt to retain although a fair percentage can be gathered selves to curtailment. Key wor s ma> stirred into activity through impulse. It’s the impression for a longer time. An illus- through the assistance of least two press emphasized in bold-face type or t at. up to the artist to supply that impulse ‘By Leschetiz\ys "Most Famous Vorbereiter trated article has more potency than one clipping agencies. Some papers will return Press notices, when reproduced, stiouia carrying no pictures...... -et off byi... a_ striking picturemVtnre with the maxi-maxi¬ Word-books are apt to prove a hindrance “marked” copies if requested. rather than a help, for, instead of listening Even a photograph with a mere caption is mum of white space. A single sentence Marie Prentner more desirable, from a publicity angle, than often proves of greater value than a vol¬ to the singer, those who receive them in. Foreign Press AUTHOR OF “THE MODERN PIANIST,” A TEXT BOOK ON LESCHETIZKY’S METHODS twice as much reading space. Rotogravure uminous exposition. To alter or delete so variably follow the translations in a vain and picture pages in the daily press are /CERTAIN foreign papers have repre- o transform a poor notice into a good attempt to get at the meaning. eagerly sought and are at a high premium. sentatives in the. United States who one"is both dishonest and unsafe, IN THE BRILLIANT rooms of the was holding up a big branch of blooming an hour before the beginning of the class. These are excellent mediums to cultivate, are glad to receive new$ concerning artists r Books and Compositions Villa Leschetizky, in the Karl-Lud- lilacs, which he had broken off for her Each of my little girls had prepared no but the subjects must possess news value.’ going ,t0 or returning from foreign parts Campaigns HE PUBLICATION of books is pub- wigstrasse at Vienna, it was formerly on his way, when suddenly he felt him¬ less than eleven pieces, although I thought T two or three would be Sufficient. The Original photos are costly and not essential —particularly useful for Canada, Europe, , ,. , licity of an uncertain type. Rarely usual in the autumn for a great number self lifted up by her excited admirers. for distribution except in special cases. Mexico and Cuba. Press material for the "VT O PART of a season s publicity wor do books by artists aid a career k-cause, al¬ of pupils from all parts of the world to Holding on to a pillar he was lucky enough Professor, generally so severe, was so de¬ lighted that, at the end of each piece, he Reprints are inexpensive and well suited to Dr'ent or remote parts requires special is more important than that pertam- most invariably, they are memoirs, auto¬ assemble around their celebrated teacher, to be able to throw the fragrant blossoms asked, “What else have you got? Go on publicity purposes. Black, glossy prints treatment because of a set publicity policy iug to tours. It is aimed to stimulate ticket biographies or teaching methods written Theodor Leschetizky. Eleven years have at Jenny Lind’s feet. She forthwith playing!” till all the twenty-two pieces produce the best results; therefore, sittings t*lat maintains in some localities. The for- buying, also to induce repeat engagements, at the close, of a musical life. Hence, few passed since, he has gone, “round the cor¬ picked them up and gracefully bowed her thanks. This was his first meeting with had been played. Leschetizky’s pleasure should be made with clear, well-defined e'&n language press in American cities fur- The signed contract is not the end of the books can be utilized as propaganda mate¬ ner,” as he used to express himself about the celebrated singer, and it remained un¬ and appreciation were really touching. He poses. Many photographers do not favor nishes a convenient medium, particularly transaction. Adequate publicity is an ex- rial. Compositions and songs, however death. That his spirit, however, is still such desecration of their art and insist on when it concerns those of like nationality— pected accessory to every engagement, forgotten in his memory. exclaimed, “To-day is classday. Your have an appreciable publicity value. ’ alive was proved on the twenty-sixth of creating an “art study” which is wholly Serbian, Polish, Jewish, Russian and so Campaigns should be launched far in ad- pupils must play! The others must hear A good composer who plays his own September, this year, by those disciples unsuited for publicity. forth. English'copy can be used for such, vance of schedules and each point covered who joined together to do homage at the Molding Delicate Hands them 1 The performance of these two works or sings his own songs finds them T t a as well as for most foreign states, there thoroughly right up to the performance master’s grave in the Vienna Central- children reminds me of my own child¬ helpful in creating name value, and as these ESCHETIZKY believed that it is one ^ , being few cases when items need to be date. friedhof, both in their own names and hood.” Leschetizky himself had been a still. In fact, the hardships of daily life begin to find their way on programs of con¬ of the most pleasing tasks to model CHEETS, Cards, Cuts, Mats. One and translated into another tongue. Annotations in those of all the others who were pre¬ wonderful child-pianist under the tuition were so great that my sister, a very suc¬ ^ three sheet posters, as used on theatri¬ temporaries, this value is enliai - d propor¬ children’s hands and children’s minds vented from coming by the great distance technically and musically. In this opin¬ of Karl Czerny. cessful sculptress, and I were fain to re¬ cal billboards, are part of the equipment r. .. V/fOST auditors are mentally unpre- tionately. A musical work i i class per¬ At the close of the class I was made move from Vienna to Gmunden am Traun- of every artist. These, with window cards Criticisms and Notices 1V1 parecj to listen. They bring their of their homes beyond land and ocean ion I myself fully share. Children as formed by a recognized organ: ation is a barriers. very happy by the charming way in which see. The lovely lake surrounded by and cuts, are usually handled by managers, rT"'HE CULLING of essential portions mentalities to a concert, but these do not pupils always had a great attraction for decided boost to the compos. . but such On that day took place the solemn un¬ he offered me the appointment as his as¬ beautiful mountains, the pure air from but a certain number of half-tones and . °f critical reviews is a delicate opera- function spontaneously. Therefore, it is me; it may be that my partiality was works are scarce, so publicity i this sort veiling of the monument which had been sistant. On the following day, my door the Alps, after the city, so neglected since newspaper cuts, also a quantity of mats, tl0n> f°r it is not always clear what specific necessary to acquaint them with what they somewhat owing to the charming incident is too ephemeral to be courted erected through the generous efforts of bell rang over and over again and each the war, was a welcome change. are always needed in a publicity office, words are best to lift. Brief, pithy, force- are to hear. Program notes serve that which led to my appointment as Le¬ Radio furnishes an excellent medium for his American pupils. After the long period time a new pupil stood before me, say¬ The intercourse with a particularly in¬ Some, papers accept mats, others cuts, while lld clauses and catchy, graceful phrases purpose as nothing else does or can. By schetizky’s assistant. wide publicity which artists a..! managers of eleven years this surely shows that ing, “Professor Leschetizky sends me to tellectual and artloving society, which had class magazines often use fine screen cuts, are Perhaps most effective for reproduction, this means, the auditor grasps the signifi- At that time I had as my first pupils have been slow to recognize. 1 t towards only what was earthly of Leschetizky has have lessons with you.” From that time assembled round the court of Cumber¬ but the best and largest publications prefer They take, up less space, can be set in large cance of each pie.ee or song, receives greater two little Polish girls, cousins, and they which they arc now showing a decided passed away and that his memory is still on I had principally to do with grown¬ land, soon let us feel that we had here to have good prints or originals and to tyPe and more readily attract the eye. emotional pleasure and carries away a more were nine years of age, one fair haired partiality. cherished by his grateful pupils, that his up pupils, eager and ambitious, to whom found a second home. All my pupils from do their own engraving. One of the. details with blue, eyes; the other with dark eyes spirit still animates their art and work— I could devote all my energies and in abroad had left Austria on account of of press service is to know the various and black hair. The two pretty little girls Leschetizky’s ideals still live 1 whom I could infuse my own enthusiasm. the war. A few advanced pupils from quirements in this line. at once became my greatest favorites and Music and ‘Poetry in Autumn The great attraction and interest of his were extremely diligent. After two years Vienna had followed me to Gmunden and Disbursements teaching and the wonderful results at¬ of eager study it occurred to me to ask Effects of the War new pupils from Gmunden presented T T IS NOT good policy to send out press By Rena Idella Carver tained were in my opinion due to his Leschetizky to let my little pupils who BUT THE war brought a change. The themselves. A material whenever one takes the notion ever-ready ability to illustrate, by his own were now eleven years old, play to him. musical soirees in my villa in Vienna, To my surprise, children, also, were or because it is a self-appointed duty. If TV/TUSICIANS as well as poets must love performance, his remarks and criticisms which had been so frequented, had to be brought to me as hopeful scholars. First 3. In Autumn .Sdchting When such a time comcth, He readily assented and fixed on a Wednes¬ possible, it should be scheduled so as to . X Autumn for there are many beautiful of the pupils rendering of the work. of all, a very wealthy lady brought me 4. Autumn Idyl.P. Renard I do retire day, the day of his well-known classes, given up. Art in Vienna was at a stand- guard against overdoses. Too much is sure Pieces which are distinctly inspired by it. Thus, the instruction of the master was her eight-year-old, pretty little Tommy. 5. In Autumn.Moszkowski Into an old room to clog the wheels or close the sluice gates. M possible to arrange, it is advantageous combined with the execution of the artist. He knew nothing to play to me; he only There are two sorts of press news—one J°r t^le teacher to give an early recital. The n Beside a bright fire, (I lay the greatest stress on the im¬ knew the names and the values of the t group is given over to Hal- Oh, pile a bright fire! breaks quickly and demands fast action; the The Programs may be ordered with tiny lowe’en pranks and all the gaiety and portance of this method of teaching and notes. His original interest in learning other involves a systematic building-up pro- *eavf s > and brilliant decorations for the witchery of dainty and boisterous figures have therefore myself adopted it.) to play the piano had been thoroughly I never look out cess. The former has to be executed on the studio may be found in abundance from of the masquerade, as well as the awe-in- knocked out of him during his one year's “run,” often dispatched by messenger, tele- Nature’s bounty. spiring appearances of ghosts and witches, Nor attend to the blast, Aural Representation instruction in London. His mother, an For all to be seen graph or special delivery. The latter is the . In creating proper mood and atmosphere enter into the music, AS I FORMERLY noticed with Le- Austrian, had just returned from Lon¬ more difficult to handle because it lacks ln m’nds and hearts of both the audience Is the leaves falling fast. don. After her experience there, she Falling, falling!” schetizky’s pupils and have since ob¬ the spontaneity of the other. and Bie performers, it is delightful for 1. Jack o’ Lantern.Bartlett served with my own, there is nothing more despaired of her boy having any talent for Items about activities, dates, engagements, tlle teacher or a narrater to introduce each music. So she begged me to give him .Chaminade 1. Flying Leaves_ inspiring to the phantasy and sense of programs, roles—whatever is of current grouP of pieces. 3 Pierrette . ...C. a month’s trial. . Chaminade 2. Falling Petals_ musical beauty than the vivid representa¬ interest-should go out weekly, even daily, uThe a‘™sphere of early Autumn forms 4. Paladin (from'Mascaradel iTr-c tion to the ear. This brings the desired if important, and on time to catch the edi- *e inspiration for this first group of selec- 5. Witches’ Dance u 3. Autumn Leaves. Tommy’s First Lesson firms for whirl, thr„ t„ tions. That ".macirowell 4. By the Fireside... goal within the scope of nearest considera¬ tion and renders mountains of dry schol¬ 'T'HE case was really alarming to me, case of dailies, this is a matter of strict ‘Thenx lift up theuie headneaa with a song' arly instruction superfluous. Hearing spe¬ for, except his notes, he knew next to attention and promptness, for to be late Reason of mist and mellow fruitfulness, And lift up the hands with a gift! cially difficult passages played (the elocu¬ nothing. I looked at his delicate little hand with such notices is to prove one’s ineffi- Close bosom-friend of the maturing sun; To the Ancient Giver of all tion of that language of all languages, and placed his soft, inert fingers in form ciency. One must know also whether such Conspiring with him how to load and bless The spirit in gratitude lift! music) awakens in the pupil the dormant of a third (right hand) on the keyboard, copy is suitable for the “music” editor or With fruit the vines that round the For the joy and the promise of sprint Witches' Revel.Schytte talent and leads to progress with surpris¬ showing him with my own hand exactly “news” editor and that it is directed ac- thatch eaves run; For the hay and the clover sweet S’ ing rapidity. how the fingers are to be held, the point Ghosts. c u cordingly. Musical papers may be supplied ~° ,jend w'th apples the moss'd cottage The barley, the rye, and the oats ’ . The older Leschetizky grew the more of the thumb resting on the edge of the with a variety of material at frequent in- ‘^ees The rice and the corn and the’wheat Ait c °f the Mounta»’n Kins?.. .Grieg he interested himself in signs of precocious key C and the third finger well curved tervals, provided one carries advertising; Anc* a" fniit with ripeness to the core; The cotton and sugar and fruit ’ talent. Quite a number of such miniature in the middle of the key E. The fingers otherwise, it might prove “unacceptable.” To fweB the gourd and plump the hazel ^ The flowers and the fine honeycomb Joyous Peasant.Schumann pianists were often grouped around his which are not occupied are to be held The country so fair and so free March of the Pilgrims.Kroeger well curved above. In the same position Features With a sweet kernel two pianos at his celebrated “Klassen- : budding The blessings and glory of home. Au umn Leaves Waltz.Zimmerman I made him strike the keys D and F, FEATURE STORIES are always sal- more abende.” Some droll remark or some 1 hanksgiving! Thanksgiving! Thanks¬ E and G, and so forth, in form of the able, if of feature quality. These are And still more, later flowers for the bees comical situation on the part of one of giving ! The Black Forest Clock.C. Heins these sweet and very clever little musical ascending Scale. of the intimate orderjlealing mostly with Until they think warm days will never Joyfully, gratefully call He had to count aloud and to strike the private life or affairs of the subject. Autumn Days March.C. Lindsay “tadpoles” often decided the success, even To God, the Preserver of men, the first four thirds as loudly as possible, Sensation and scandal are to be avoided For Summer ™ ..Moszkowski as to the performances of the grown-ups. er-brimmed their Marche Fantastiq^.w G Smith the next four thirds as piano as possible. even though it close the columns of certain clammy cells ” The bountiful Father of all.” Then the cheerful temper of the njaster journals catering to such tastes. Tk¥°i 7.G. L. Spaulding lasted for the whole evening and he would As a preparatory exercise for the legato, the hand should now move quickly close On occasions, a publicity “stunt” may be 1. The Joy of Autumn.MacDowell The Tale of a Bear.G. L. Spaulding relate tales of his youth, of his friend¬ Those who especially love the Autumn to the keyboard from third to third as¬ staged legitimately and to good purpose, Arrrval of the Brownies. .. .B. R. Anthony ships and meetings with other great artists, iiii Carruth in his glowing description; 3 TnT.i™ °ayS.MacDowell cending and then (four thirds loud and but it must be adroitly concealed. Such 3. In Autumn...MacDowplI Ar»^La a ....C,°.'r.H . ungeimauuEngelmaim such as Anton Rubinstein, Lablache and four thirds piano) descending. material makes good “first page” copy. the Swedish -Nightingale, Jenny Lind. “A haze on the far horizon, t nf R1.162!.MacDowell The lTtt Aftcrnoon.C. Lindsay Stolen jewels, divorce, marriage, finance, 5. Of Brer Rabbit.MacDowell r- /? 2 Huntsman.G. Merkel At her first appearance in Vienna, Jenny The infinite tender sky, arrivals and departures, purchase of prop¬ 6.i.By By Smoldering Embers...F.mWe MacDowell.! Giants Games.Rogers Lind was received with the greatest tri¬ The ripe, rich tint of the corn fields, erty, contracts, appearances, social func¬ Prelude and Fugue. No. 1 (with Hymn umph, and, after the performances, on And the wild geese sailing high, tions—things that pertain to personality, Edward Fitzgerald’s leaving the “Karnthnerthortheater” (our And all over upland and lowland Song” gives Columbin °f Thanksgiving) Mendelssohn rather than to art—these generally prove a scene of late Autumn. present opera house) her carriage was The charm of the golden rod— good copy. Local representatives of out- March of the Dwarfs! I' ..V.V.V.Grkg drawn home not by horses, but by the en¬ Some of us call it, Autumn, “ 'Tis a dull sight thusiastic students. Often, till two o’clock of-town papers are almost unanimously And others call it God!” agreeable persons looking for suitable ma¬ J° the year, dying, Indian Summer.. Lindsay. ip the morning, she had to appear over When Winter winds and over again on the balcony to thank terial, and are valuable co-operators, espe¬ 1. Autumn .Chaminade aves (An Autumn Impression) the acclaiming crowds for their endless cially for tours. 2. Autumn Song... .Tschaikowsky Set yellow woods sighing, a„ a . C. Ancliffe Sighing, 0 sighing.” ovations. FailW pm*n,M°0d.W. M. Felton These exercises and all the following ex¬ Falling Petals.r Schmeidler On one of these occasions Leschetizky ercises should then immediately be played the ETUDE SEPTEMBER 1927 Page 61,7 Page 61,6 SEPTEMBER 19.27 5 excellent Eighteen Months’ Training with the left hand in contrary movement. preparation for the scales a Then these thirds were practiced stac¬ practice for the little hands: BUT LET us return to my little pUpil cato. For this the fingers are placed in Tommy. He passed through his How to Get Up a Little 'Musical position on the keys and, after giving a month’s trial successfully and, after eighteen quick stroke down, not only the fingers months’ work, was able to play Chopin’s but the whole hand, throwing itself up¬ The thumb, the naturally strongest Nocturne in E-flat and Henselt’s Pensee ‘Pageant in Your Gown ward from the wrist, drops quickly back finger, always has to strike its key more Fugitive (a study in octaves), both by heart again to be ready in position for the next softly than do the other fingers. The and with exquisite expression, to the sur¬ c.By third. Again four thirds as loudly as sixths are played with the first and fifth Then follow the scales, especially the b been my duty and pleasure to direct chords, first, each finger separately, then prise. of his parents who were good judges possible and four thirds as softly as pos¬ and then in connection with the fourth the musical programs of a small town Lena Martin Smith sible. This exercise is also executed in finger, which gets a special accent. in connection, while some of the keys are in music. They were naturally delighted school—cantatas,. operettas, glee clubs, another kind of staccato. held down. In most of the chords the It is hardly possible to conceive a more choruses, and pageants. Illustration by Wm. S. Nlortenheim Ex.3 In this the hand, well raised above the position of the hand is turned slightly rapid development of talent. The bril¬ Pageantry is still so new to the average keyboard and the fingers already in posi¬ outwards. The fingers should first be liant result is based on the careful plac¬ small town that it is not exactly defined tion, is dropped suddenly to strike the prepared on the keys in the position re¬ ing of the hand in the right position so Sound the Call.Johnson keys and then quickly and elastically quired for the chord (without striking). indispensable for the cultivation of a per¬ Water Glass Drill. jerked upwards from the wrist. The same Then being raised from the wrist and fect touch and by the selection of suitable 20. March of the Midgets. exercise is also practiced with another still retaining their position they should compositions. Vivacity on the part of the Bath Robe Dance. fingering, with the second and fourth and immediately descend and only then strike teacher and frequent illustration by p]ay. the third and fifth in the different modes These exercises are to be transposed into the chord. By doing this great accuracy the different keys. ing pieces under study will prove an in¬ Interspersed among these were the stand¬ of touch and color', forte and piano in striking chords is soon acquired. ard melodies for the folk dances and the later fortissimo and pianissimo. After the sequences of thirds and sixths, fallible help in keeping alive the interest After this the arpeggios should be prac¬ closing number was a Sandman Song. The variety which is attained by the other finger exercises follow—with the ticed. These exercises all together cor¬ of the pupil. hand at rest in legato and non legato and Sometimes the entire selection from The change to different touch and tone is an rectly executed develop a full sound and Little Tommy was so eager to hear then from the wrist, staccato, forte and Etude was used; more often but one or attraction for the child and keeps his variety of tone not savoring of childish music that, after his lesson was over he piano. As soon as the stretch o’f octaves two movements sufficed. attention alive. I have tested this by ex¬ performance. As these finger exercises remained standing by the piano begging is attained, mostly in a few weeks of The director and pianist were so placed perience in various cases among my will prove so effectual it is not necessary me to go on playing. But he said, “Now steady work, the exercises are to be prac¬ 4. Dance of the Rosebuds.Keats as to be out of the view of the audience; younger pupils. Moreover, it lays the to practice them for long at a time. you must not only play my pieces, though foundation for phrasing and execution. ticed in octaves, first piano, then cres¬ Entrance, Boy Blues and Goldilocks. so the program was indeed a children’s Half an hour daily will be quite sufficient. they are so beautiful, but you must play The interest awakened by this method cendo, then forte: performance. They soon learned their At the same time I began from the very your own,” and gave me no rest till I 5. Dance of the Sprites.Morrison makes the child eager for his studies, musical cues (splendid ear training) and Ex. 4 first lessons with the charming little com¬ Entrance, Witches and Peter and to him it brings as a rule, three special had played to him serious works of endeavored to enter into the spirit of the positions of Gurlitt, Heller (edited by Chopin, Schumann, Beethoven, and others. Pumpkins. play as suggested by the music. At one qualities: quick perception, the gift of Louis Klee with appropriate titles and In any case it is a blessing for every 6. Dance of the Sunflowers.Story of the rehearsals, the twenty-four Nymphs imitation and good memory. One of my verses), Reinhold, and so forth. These- child to be instilled with true art from Wheel Dance of the above. and Fairies were seated in a side room advanced pupils who had followed me pieces must already be played with ex¬ from Vienna and was studying as a the beginning. He who ultimately has to apparently unconscious of what was going pression and also with discreet use of 7. The Gay Coquette.Dale teacher attended at every lesson and then on. A teacher entered and said, “Why, the pedal, as it is my object to bring out adopt another profession will find in the prepared the young pupils for the next the folks from Storyland and to try to Entrance of Orphan Annies and isn’t there someone here to tell you when all the beauties inherent in these little love of music gained by such ideal study a by carefully practicing with them exactly interest them in the Rules. If the Make Raggedy Men. to go on the stage?” compositions. I cannot but admire the beautifying influence for his whole life; Believe folks approve, the children will in my method. 8. At Dusk.Hamer A chorus answered, “Oh no, we know talent of the composer who can bring and for him whom fate lias accorded the soon be following. In the same way as the thirds, the Accompanying scene of Woman our music!” so much taste, grace and effect within the grace of pursuing music as a career, how We really built the pageant around our sixths should be practiced with the finger¬ Special exercises for the thumb ; or understood as yet. It is known to be of the Shoe. The Nature Story scene was especially narrow compass of child literature. many thorns will have been removed from characters as well as following the story. ing: thumb and fifth, loud and soft, long an elaborate staging of something, using good as an interpretation of character sup¬ the path leading to the goal! Our general outline was as follows. 9. Dance of the Goblins.Schick and short. The sequences of thirds and large numbers of characters. The cause ported by music. The Bunnies leaped The right foundation of the study of Entrance and dance of Peter sixths then are to be played separately, one is usually civic, historical, or social. Scene I. (10 min.) In Healthland. around in a lively manner, stopping here music is of the utmost importance. In Rabbit and Bunnies note after the other very slowly, forte After directing eight school musical Father Health and Mother Health, and there to nibble grass. The Kittens Self'Test Questions on Miss Prentner’s Article these, our realistic times, the love for true and piano, legato, staccato and non legato pageants using from one hundred to two Their Fairy and her 12 Fairy helpers and 10. 1st Movement, Dreaming of Home entered softly and dreamily, wandering music should be imbued as early as pos¬ 12 Nymph helpers. with first and third, second and fourth 1. What position of the hand should be 4 What it tn h* • , ... hundred young children from the primary Morrison slowly and surely. Then came the Three and third and fifth. sible, and the desire for the higher walks and intermediate grades, 1 am enthusias¬ Scene II. (IS min.) Make Believe Puss in Boots and Kittens. Bears on all fours stepping rhythmically >au?9hunhe y0!o‘9 at 6ie first lesson? thumb on the key? ’ * * *”P * of art be cherished throughout the whole Ex.2 4. U hat were the effects of the mar on c u/i, < . . tically advocating the pageant as a feature Storyland. and awkwardly to the heavy bass melody of Right Hand course of tuition. 11. The Lobster Quadrille.Paldi of the school year in the Music Depart- Cinderellas and Princes. the Lobster Quadrille. The Bears (boys » 0. Why rshouldrmu variety■ of touch be JiSltS™' It was the lifework of Lesehetizky to Witches and Peter Pumpkins. Three Bear dance. from the fifth) could not repress the growl stressed with young pupils? disseminate the lofty understanding of his My first attempt at this work was four Red Riding Hoods and Peter Pans. 12. A Fairy Dream was repeated at that they thought should accompany bear art and whoever earnestly endeavors to years ago. I wrote and produced a Spring Goldilocks and Boy Blues. the close of each group dance journeys. follow in his footsteps will help to prove Pageant with one hundred and eight Orphan Annies and Raggedy Men. when fairies entered and led away The Pageant seems to awaken children that Leschetizky’s ideals still live!’’ children. It was purely a fantasy, an Woman of the Shoe and Children. the characters. to the meaning of music in other forms imaginative story; but it gave the children (Folk Dancing) than that of the voice. With the pianist 13. A Gay Procession.Becker Some Observations on Practice an opportunity to interpret a great variety Scene III. (1C min.) Bible Storyland. for Assistant, each small group is taken to of music. For my material for music ac¬ 14. Grand March Processional. .Johnson the stage for a fifteen-minute practice By Richard E. Yarndley Hot and Cold!-A Helpful teaching Idea (Pantomime) .. companiment for this as well as subsequent Parable of the Wise and Foolish These marches were played as about twice a week. By spending two By Charles Knetzcer pageants, I have depended much upon The Virgins. guests arrived for the Health hours of each afternoon, and having but jV/TUSIC student, what is your practice one has gained perfect poise and serenity, Etude. Having on hand several years of Story of Joseph sold into Bondage. party. three of the entire assembly rehearsals, we to you ? A mere formula which you results accrue with twice the ease of those THJf Te"'kn°Wn . Wrist Study by observe, with fair regularity, or a really numbers, these files afforded me an abun¬ Scene IV. Nature Storyland (interpre¬ have been getting good results from the produced by careless, irregular endeavor. ait fr/abb°g’ °P«* 63, No. 3, is usu¬ 15. The Country Band.Johnson vital function? Pray stop a minute to ally a favorite among the little folk It dance of material from which to choose tation and musical games). five weeks of time devoted to it. An aid to this state of mind is to practice Molar Teeth Drill. take stock of yourself and determine selections suitable to the many parts of Peter Rabbit and Bunnies. The children lose little of their regular slowly. This^ dictum, through constant iractLPfoarS1\S-air. and offers excellent whether or not you are getting on with the pageant which connect the standard Puss in Boots and Kittens. 16. Summer Night Ramble.Lindsay school work. They develop a listening repetition, has well-nigh lost its force, that etude or concerto in a way that satis¬ K are It °Ut melod-v ‘ones dances and drills. Three Bears. Rope Jumpers’ Drill. attitude, learn to respond with the dance, but it is a rule that still works perfectly. a chord ^ tlme members of To overcome this tendency, and to help fies you. The subject of practice is a trite I have directed the “Spring Pageant” learn cooperation, responsibility and self- Factor number three has to do with aJr°fd’ *bus squiring one finger of the them keep the staccato idea in mind, the Scene V. The Party in Healthland. 17. A Country Dance.Schick one, and yet on practice hinges future twice, a Christmas pageant, “America’s confidence, all the time in a musical atmos¬ the amount of practice. This is something httle pupils may learn to say. “O, it is The arrival of guests followed by Milk Bottle Winding. success to an extent few students, even Child,” “The Birth of Meade,” and “In phere; and, in the aggregate, this makes each student must determine for himself. so hot!” to each measure of the piece, ex¬ eight short episodes demonstrating eight the serious ones, fully realize. Healthland;” in each of which I used 18. Full of Fun.Lawson the performance a much worthwhile thing In view of the factors mentioned in the cept the following: Health Rules. First, there is the factor of physical well¬ from fifteen to twenty-five numbers from Vegetable Seller. in the school music work. foregoing paragraphs, it would be a safe Ex, 3 For one and one-half hours these being, of “keeping fit.” Sound mental The Etude. It has proved so satisfactory children in costume presented the story. hygiene is another most important item. plan to apportion periods well within the that I wish to explain my methods for student’s capacity for sustained effort, this ™ •flfcS {«* f P Less than fifteen minutes was given to Each of these factors depends on the sure, especially in the following? other small town supervisors or directors. on the same principle that it is good to talking or speaking the dramatic parts. P)o JQot P^un Past the Signals other. Proper physical training tends to 'A It IS SO cooil “In Healthland,” we produced last May The other hour and fifteen minutes was a induce keen mental action: a healthy mind get up from the dinner table feeling some¬ Ex.l with one hundred and eighty children. I what hungry. In other words, do not This insures perfect rhythm, besides continuous picture of rhythm, interpreta¬ By Frank L. Willgoose reacts favorably on the physical condition. shall describe this one in detail. It was practice to satiety. Failure to heed this eeprng them on the alert to raise the tion and other action to musical accompani- It is not straining the point at all to assert almost impossible to find a published ’ I ’HE ENGINEER of one of our crack in the Pullman car is the playing of a point will dull your interest and lessen hngerj from the keys. that ill condition, mental or physical, is libretto that fitted our needs exactly; so, flyers must never for one instant beautiful piece of music. The pupil’s your accomplishment. As one pupil said, “I feel I have scorched We use piano music entirely. After se¬ responsible for most of the failures’ in relax his vigilance as he rushes through my fingers when I fail to raise them from as formerly, we planned the text from the lecting the number, from The Etudes, of failure to observe the signals is as dis¬ all departments of human endeavor. Ex¬ To sum it all up, you must be full of the night with his train-load of trusting, which careless pupils often render suggestions found in printed matter put the selections needed for one program, I astrous to artistic performance as is the uberance of spirit, on the other hand, is enthusiasm; you must have faith in your¬ out by public health organizations, play¬ sleeping passengers. Every curve with the engineer’s to human life. self. Your mental state must be poised assemble them under one cover. The se¬ a large factor in success. Get it! Make ground, National Food Councils and sim¬ rate of speed at which he dare approach and deliberate and you must apportion lections for “In Healthland” were as What are the signals? Look: it a study. This will involve sacrifice in ilar movements. It was when Mr. Hoover it must be known to him. your time so as to avoid weariness. Lastly follows: many ways, a relinquishment, first of all, requested that every school community He sees a flare burning ahead of him P, pp, mp, mf, f, ff, sfs, cres., dim., rail.. you must practice every single day. There 1. Melody of Peace.Johnson of the opinion that merely “having a good celebrate May Day with a feature that or hears the report of a torpedo placed on Fed, dolce, ccmtabile mareato, leggicro, is a big psychological factor involved in Used for Introduction or Overture. time” is the purpose of life. would emphasize the health rules that we the rails and knows at once that some¬ piss, area, 9, b, M, >, " absolute regularity. "Trust men and they will k, t„~~ 2. A Fairy Dream.Haesche Factor number two is faith: faith in decided upon .that subject for this year’s thing is wrong and that he must slacken -= — 72, 8 , v. n- your art and faith in yourself. If this P-eatly and they wiH "* **“ annual pageant. Fairy entrance and exits. speed. Indeed, his watchfulness must Carmen is the apologia and the epitaph soul quality is lacking, it will have to be The keynote was the following story. 3. Moonlight Revels.Andri never falter from the moment of his de¬ So, the next time you play that lovely of Biset one of the great glories of acquired by study and practice. This calls Father Health and Mother Health have Vivace Movement, Entrance of parture until he brings his train to a safe andante movement or that sprightly minuet, h ranee, whose passing bereft the world of R'L"a W4t°° E,,“S°». *>«» 0. Prud,„, for determination, not of a belligerent type Peter Pans. stop at its destination. be careful to observe all the signals. a genius, and his many friends of - - become discouraged about the children of but of a calm and steady nature. When Then play it so for your teacher at your affection.”—Herman Devries. Earth who will not obey or practice Health Largo Movement, Entrance of Red Like the engineer at the throttle is the Rules. They decide to give a party for Riding Hoods. pupil at his instrument. Like the journey next lesson and hear what he says! Page 61,8 SEPTEMBER 1927 THE ETUDE SEPTEMBER 1927 Page 61,9 Short Compositions for the ‘Piano THE ETUDE T3he Scale Signature ‘Design the whole made up of phrases—first, there early fifty miles out of By T. L. Rickaby N is the movement of the whole; second, By Maimie Carter Crumpton London, nestling in among the the movement of the phrase; third, the lovely Surrey hills, is the quaint movement of a group of notes not the in the compass of one, two or three pages T IS QUITE common to hear pupils— little English hamlet of Haselmere, where same as a phrase. From the outset one DRuAf aJ veftical line and Place at the Ietters E and A. Black E (Eb) hav- J Schumann’s Avon-, Dvorak’s Silhouette many city-folk go to reaehl delightful and even parents—speak boastfully of must see that music consists of progres¬ sl:>nHs0tfnrnClShthe T • The t0P C ‘"g 3 flatS While wtlite A haS 3 sharPS, and No. 2, the shorter Preludes of Chopin country surroundings, breathe really pure, "d for the smallest signature—no white E with 4 sharps while black A (Ab) the length of the pieces they happen to be sion or movement as regards Tune, pro¬ sharps or flats—while the bottom C stands has 4 flats Leighton's Nightingale, Kroeger’s Cradle fresh air, and revel in the beautiful 'scenery playing. “It has eighteen pages,” they gression as regards Harmony, and, above Song, Goldmark’s The First Anemone which here is rich and widely attractive. all things, progression as regards Pulse flats.1*16 largeS‘ SignatUre> Seven sharps or Y°«r completed diagram looks so: will say, as if the length of the •composi¬ Out a bit from this village and way up Grieg’s Voglein, Schytte’s Forest Birds’ and Rhythm.” c tion had the remotest relation to its value. Tschaikowski’s Song of the Lark, and on an elevation of its own is High Marlcy, Great painters have given us “The scores of others by MacDowell and other the summer home of the piano pedagogue, The ?^ew Piece Horse Fair,” “Christ Before Pilate,” “The American and European composers are Tobias Matthay, also a winter week-end Crucifixion” and so forth, paintings that available and are distinctly worth while. refuge from his many London activities. IN TAKING UP a new piece its mood cover large canvases and ecclesiastical These smaller pieces furnish a welcome And here, at afternoon tea on the lawn, must first be determined as this will Fids Sharps walls and ceilings. But it must not be relief to the larger things that must be under the wide-spreading shade of fine old reveal much regarding interpretation. Do not play a light, vivacious composition in forgotten that many a marvellous painting studied, are a source of pleasure to those trees, which overlooked hills, almost high an over-morbid manner worthy of a mus¬ t> is a miniature, a subject presented in a who play (and especially to those who enough to be mountains, near at hand and # ical Hamlet. Next scan the piece to find AL . medium that can be held in the palm play for the love of it) and are much stretching away into the distance, with its shape; that is, to find out what note of the hand. The epics of Milton, more satisfactory to those who merely shifting lights upon them and purple you are going towards or where each the works of Dante, the plays of Shake¬ listen. shadows settling o’er the downs—here Mr. 1 Matthay talked about the message of phrase is leading. “We must know the speare, all are superlative works requir¬ In our teaching one all-important mat¬ music and how best to convey it. His piece as to its construction, see how it -M.S ing scores, nay hundreds of pages for ter is-almost totally overlooks i, and that ideals are noble, lofty, far-reaching, and is built up, learn its general shape, its j/N* their presentation. But think for a mo¬ is that the chief end and aim ..i all music one wonders if the enchantment of the rhythmical construction, down to the ment of the gems of literature that have study is to furnish the student \ ith some¬ The right side of the diagram represents spot has not had much to do with their minutest details. We must, too, learn to been embodied in the fourteen lines of a thing for his own use and bene : to give the sharp scales and the left side the inception; for this man, so keenly sensitive perceive what the music does, where it is sonnet: of the great thoughts that have him the means of securing j, himself flat scales according to the circle of fifths to beauty, has a passionate love of nature that each idea, phrase, sentence and sec¬ Notice we have only four sets of signature been expressed in a verse of eight or even pleasure and gratification in leisure Now pface all the numbers between 6 and hills above all else. tion has its natural climax or crisis. Such numbers to learn, one line and three four lines. and 7 on the vertical line and draw a line moments, in much the same way that It is so quiet, so peaceful here with understanding of the actual material of squares: In the amusement world the tendency is TOBIAS MATTHAY IN HIS LONDON STUDIO through the two adjacent numbers, that is, some people will read a good I - . What beauty of an intimate quality, so full of the music will, also, enhance our percep¬ The letter C on the 0-7 line. toward vaudeville, because people dislike through 1 and 6, and form a square : musician (not a concert | , inner) repose and rest .... but the master is tion of the musical feeling underlying these The letters F, G, on the 1-6 square. to concentrate their attention on what they would ever think of playing a / n Juan speaking, “What started me thinking shapes.” c The letters B, D, on the 2-5 square. corfsider long-drawn-out matters such Fantasia, or a concerto or the like, for along original lines, you ask? It was When the phrases of a piece are felt The letters E, A, on the 3-4 square. as lectures and five-act plays. Even his own pleasure? attending a concert given by Rubinstein ‘Stunts ‘Do K[ot Lead to Art” to be progressions more szving is imparted Notice also, all letters on the right of musical people do not always want to The literature of the piano <.nC 0f that did it. I was influenced greatly to one’s playing and he can sweep his C begin on white keys except Ft and C# listen to long piano numbers, unless the wonders of the world, ill i able in these numbers are played by artists. The by hearing Anton Rubinstein in London. >An Interview VAith Tobias Matthay hearers along with him. Duration is an¬ while those on the left begin on black extent, marvellous in content. ., infinite keys except F and Cb. majority of people prefer to listen to The way he played a Chopin Etude, his other point of which much is made in in variety. Vet the years devot, i , piano Mr. Matthay’s teachings. It is natural to short, or comparatively short, pieces, and marvelous technic, depth of interpre¬ study often leave the pupil ri.fi (?) jn Laura Remick Copp enjoy them if well done. The young tative feeling, his trick of ppp, quality of iSS the strings by means of that hammer-end. self-expression. Stunts do not lead to three beginning pupils together in a class Rotative Action son, it usually takes about ten weeks and In a word, we shall not try to play the art and ‘he that seeketh his own happiness Cut blue and red disks one-half Wt, • V 7 "-* this ten weeks is usually the period in will 3Ve- a in Sta^ building, which keyboard or at it, but shall instead try to THUS WE MAY PLAY a passage loseth it!’ Wll inspme the spirit of rivalry in the showing only finger movement, “The first step to realize is that music Then draw one more square, this through which the teacher is most free from worry. play the strings by means of the key. We g,j i r esti- m Pupils, each attempting to be most accu¬ whereas each act of key-pressing de¬ is not a scrips of brick-like disconnected the numbers 3 and 4, which will belong to At each lesson the pupil has a chance rate and speedy. must take hold of that key by placing to wm one bean for practice, one for a finger-tip against its surface and thus pends upon a combination of exertions pf fragments consisting of “subjects” and c technic and one for pieces. The one for enable ourselves to realize its weight and the finger, the hand and the forearm accented and unaccented bits, but all music If all of these short phrases are ended practice is given if the pupil has practiced resistance through the muscular sense. rotatively and with a momentarily re¬ implies movement and progression and alike the tone will sound dull; but if the assigned amount each day and has a Curing Collapsible First Joints of Fingers “Thus realizing the weight of the tool leased arm to serve at times aj a basis that it is this sense of orderly growth, in the first is played at the end with weight written statement of it signed by his we mean to employ we must then proceed for the operation; the rotary Ictivities a word, rhythm, which compels us to feel and the second without (kick-off), and guardian. If there has been good progress , By Mary E. Wiluams positively to aim with its opposite end, (not necessarily sflowing any movements) that the executant is really telling us his so on, there will be more difference in on the piece, the jellybean is won; if not the hammer-end, and in such a way that being, perhaps, the most far-reaching ele¬ thoughts and not merely making unmean¬ tonal quality. In order thoroughly to it is lost The same applies to the’technic! ■ its full speed is reached at the moment ment of all towards making or marring ing sounds. Rhythm has been felt as understand music one should study com¬ Uuite often an ultimatum is issued at one of the piano but always with one finger a that the hammer-end is in communication success. Thus the production of all kinds progression of movement—a definite pro¬ position; for only then can one tear to lesson that if there are more than two exer"£ to..«et the full benefit of th with the string—the moment that we can of tone differences is made clear, the con¬ gression toward a climax; and, as key pieces in order to build up again, and this mistakes m notes at the next lesson there exercise. Now take c e e r * * r r * hear the beginning of the sound. At trasts of duration and also the laws of movement leads to sound, so the growth is just what it is imperative to be able will be no jellybean. Of course such agility, which must be obeyed for the of a group of notes is toward the next to do. All chords whose resolution is to other"0"" thC ke^’d' Change’of the spme moment we must cease to apply pulse. Always feel the phrase going given (this might be said in deference ultimatums can be used at the teacher's inthe larPefgi0S or e«rcises. Since energy against the key except a slight acquisition of that mere ‘brilliancy’ which to modem music) should be played discretion. The jellybeans themselves form sarv to b'°n °e h°°k'ng down, it is neces residuum of weight required in tenuto the public so often ntistakes for music. somewhere, just as movement goes to a consolation prize to the defeated candi¬ some definite point and play towards that, properly and consciously resolved; pass¬ this7 methnH ^ Joint in correct attitude and legato, to prevent the key from re¬ Endless pounding of finger exercises be¬ date. So far we have always used a bounding. We must determine in which comes. unnecessary, sinte only a sufficient using long sustained swings of rhythm. ing notes should be played passing on to subscription to The Etude as the first the same wa^Then foT blaCk keys in than S£ dtelt' * “ beUer eff6C Technically one should play from (the something for resolution; and so when fingers or l ,! ,g a PuPd to curve th< manner the required speed shall be number are required as a vehicle for the prize. second white key eve™ thiVd^’,/436 6Very each bit is understood the interpretation is cave in Mk,”g him not to let his finger: reached; for if the total energy is ap¬ acquisition of the muscular and rhythmical last note), but musically towards. A habits, which the student has to acquire, page in front of one does not suggest so much easier and more musical. “Find construct,•r°n°Ver’ '* «ives the brain the plied suddenly the result is a ‘brilliant’ constructive idea with which to work. but ‘short tone;’ whereas, if it is applied and as a means of attaining endurance. movement, but he must get a sense of where each note lives in time impulses of Page 660 SEPTEMBER lm

SEPTEMBER 1927 Page 651 FuJLZZjez1-' - musically; as this hint, “chords and oc¬ TEE ETUDE taves must not be played as dead chunks History of the Bagpipe of sound but each note considered as a separate voice. The coloring of octaves By Mabel W. Phillips THE world’s GREATEST MUSIC AS HEARD IN THE OPERA HOUSE, IN THE CONCERT HALL, IN THE MOTION PICTURE THEATER, OVER £ consists in making the upper or lower tone THE RADIO, THROUGH THE TALKING MACHINE, THROUGH THE RE-PRODUCING PIANO, EXPLAINED BY A NOTED LECTURER 6? CRITIC. J nS&ttSx:„:s£ more prominent, as in Beethoven’s E-flat used To‘sf t>them’ *llch as “the pedal is JN THIS age we naturally consider the ancient Irish historical tales datintr I used to i/0/> sound.” “Use it not tn t,„u Sonata' Op 27, Bach’s B-flat minor and bagpipe to be the peculiar possession of the reign of King Conaire the C.l fr°m ! This Is the Sixth Article in This Series 3 notes but to discontinue them- and ob Cnopms .4-flat Etude. Do not play In the Highlands of Scotland, but history does B. C., speaks of “the nine pipers fr, at’ 35 vertical masses, but, keeping in mind- the serve this well, for slackness of pedal t not entirely bear out this supposition. fairy hills of Bregia.” °m the tention spoils much. The cessation of *’ ~ mobilisation of thought, play put forth fresh verdure, salvation from While , for many years the Caledonians, in In Vienna the townpipers were th | N THE BROADER sense, any over¬ horizontal harmonies, making the piano, in I the glow of hell can never bloom for asT*causes dLT^ ^ accentuatio" general; and the clans in particular, adopted cial music-makers as early a, ti ' ture to an opera or a drama is a ,tr„ aS "6a^ as Poss'ble a sustaining in¬ .-{his instrument as being most expressive of thee 1” strument. Chopin and Bach do not usd' 1288, at which time they were equall?.^ ! dramatic overture. The terms drama¬ national sentiment, the bagpipe, or wind- octaves and both need cantabile playing.” favor throughout all the cities of pt, ■" tic overture, however, embodies a narrower Tannhausers Redemption flute, as it was earlier called, is one, if AH the world is familiar in¬ and more specific meaning. In its more MBITTERED, Tannhauser invokes A typically Matthay saying is tin in- not the first, of the musical instruments E Sr^-"S famous medieval storv, “The Pied d- 1 discriminating significance the dramatic the goddess of love, who reveals her¬ wofdfm definition of Practice in three known to mankind. of Hamelin,” the magic secret of overture foreshadows the character and self in her wonderously illumined grotto. the first efrnmg to,clloose;” and so,'from Long before the great cities of the East piping has never been solve 1 . nose spirit of the forthcoming opera or play. ^st step, touching the key and play- Wolfram seeks to restrain the distracted halfe,damnnstrumcnt- ,Ha,f Piling 0" were dreamed of, shepherds were shaping day. u n ,0 ‘his j ng the note, one must choose how it Is Obvious as this may seem, it has not by man from rushing to her, and only the be mad7 g IS fan°thcr effect ‘hat should the rivefgrown reeds into form and sound¬ any means always, obtained. pa."Iade,“se of m°re often than it is What m!!c d?wn> withe; ivhat kind of touch, The bagpipe was a great favorite ' appearance of the funeral procession of Paderewski employs this device in the ^«ar djustment) what ton ’ ing the notes with which to call their Spam in the early pan ,,, ", ® Prior to the opera reforms of Gluck Elizabeth recalls him to his senses. Im¬ flocks. (1714-1787) which this master introduced *tr\l{at/a"adc- The Brahms G- Phrlse tl Va'Ue’, What relation to the Cuntdd' Thc b,®"pc* ' Zamora”' ploring her to pray for him he dies. phrase it is in, and' so on and on, ever and It has been said, and the first book of alluded to in “Don Quixote." and one of ! in the se'cond half of the 18th century, no Thereupon a chorus of younger pilgrims for it Stct ft ‘S a"0ther good P'ace • -In fact, it is a very useful means.” always choosing. ' ld Daniel bears out the statement, that Nebu¬ the most exquisite painting, j„ ,he ' , special connection existed between the enters and announces a miracle; during chadnezzar supported a band of musicians palace at Madrid depicts ;m ,ngcl app? overture and the dramatic work that it the night the Almighty has adorned the Ex.2 Brahms, Rhapsody in G minor who made music upon bagpipes (then mg to a group of shepherd, „f E 1 preceded. The practice then prevalent of staff of the Pope with fresh leaves, thereby borrowing overtures from other works— called by the Hebrews “sumponias”), for IS playing upon a bagpipe " m ] proclaiming the pardon of the penitent and even from other composers—was, there¬ his great feasts and that these performers The early Russians had ., : ,nn of ‘ sinner. were piping right merrily at the time the fore, not felt to he particularly anomalous pipe called “the volynka" which was atf In this sequel Wagner departs from thc handwriting appeared upon the wall. or illogical. In some of his overtures known to the Finns and Bulgaria^ S original version, in which Tannhauser is Osiris, the god of the Egyptians was Gluck introduced thematic material of the product of expression; does it convey a used m all of their wed-l,: . crcmonS doomed to perdition and returns to the credited by them with the invention of the ensuing opera in order to presage the Wandering minstrels of the north count Venusberg. windreed which was named "the syrinx." mood; in others he merely established the fnfth/h Tmd y spirit of a,ways looking as well as gypsies, played ,tle for he good extends to everything he doe! It was their belief that his great gift for character of the forthcoming scene. Interpreting the Overture drawing sweet sounds from this instru- pipes to whose drone traiiu,! l!ear* were Thus he elevated the overture to a new HE MASTER’S PROGRAM to the and ?n;mSS°C!f ”g with people> Aching ment created the Nile from the happy tears wont to dance in thc market ;,|acM :n pv. and high dramatic plane upon which it T ‘b® listening goddesses. change for copper coins. **" was ready for the greater beauty and ex¬ TANNHAUSER IN THE VENUSBERG Overture, as translated by Mr. Wil¬ lovely Surfey ffilis this^tea^hw °JT£? liam Ashton Ellis, is as follows; The later Egyptians added a bag or In the early years of the seu nteemh ccn pressive power of Mozart, Beethoven and tury, the bagpipe, under the ,mines of the Weber. Mozart gave it the beauty of “To begin with, the orchestra leads termed lns,t,rumem which was then comemuse ’ and the ’Weite," enjoyed classical architecture by applying to it before us the Pilgrim s’ Chant alone; it 3S **3» EflSSir01 high favor in France; it was „, theiBSS the sonata-form; with Beethoven it became *:Richard Wagners draws near, then swells into a mighty out¬ an abridged instrumental drama, by illum¬ pour, and passes finally away. Evenfall; ^3*^','”' A inating some of the principal phases of last echo of the chant. As night breaks, the spiritual or emotional content, or of magic sights and'.sounds appear; a rosy lor oSthyeSrsgemUS ^ “d taking baJdTf pfayers^consi'sthig‘of”,wenJ-S the action, of the dramatic work to fol¬ Great ‘Dramatic Overture mist floats up; exultant shouts assail our violinists and an equal number of SglZ low; Weber infused the romantic spirit ears; the whirlings of a fearsomely volup¬ tuous dance are seen. These are the Greek author said: “He ^ skilled^ Wowers who performcd wilh into it. write, to work 3a T IS skiUed to to “Dannhauser” ‘Venusberg’s’ seductive spells that show rn it T C instruments bcloneu.g t0 the A Triumphant Overture themselves at dead of night to those 4^7r■ royal orchestra were elaborate! fashLed WITH HIS OVERTURE to “Tann- whose breasts are .fired by daring of the with S'de l,V’h VClm r"'br0idered ! hauser” that Titan of dramatic ‘By Victor Biart senses. Attracted by the tempting show, a music, Richard Wagner, reached the high¬ shapely human form draws nigh: ’tis new definition for "practice." Late Official Lecturer on the l<[ew Tor\ Philharmonic Concerts a ir.8ra;in« b>’ Lchlond aptly portrays est point of magnificence since attained. Tannhauser, Love’s minstrel. He sounds iSSsiJ- d^ elegant' , e^stumid This is a dramatic overture in the strict¬ his jubilant Song of Love in joyous chal¬ dramatic purposes. After he had laid out the Landgrave (the ruler) and several stenninJd 8 .bagp,I,c acrois h shoulder, est sense, for Wagner assigns to it a lenge, as though to force the wanton minstrel knights. Kone Qan Draw Pictures 5?H tT mt° a li«,llcd Ka.'dg, where “program” presenting the opposing ele¬ the plot he wrote the entire text (libretto) witchery to do his bidding. Wild cries The second Act occurs in the Minstrels’ How Accurate is ments of the crucial basis of the opera, himself, then proceeded to the composition of riot answer him; the rosy cloud grows By C. Hilton'Turvev Hall of the castle Wartburg and centers "JZ'XU'Z*' ■* - *■ the struggle between sin and virtue!. Every of the music. Doubtless much of the latter denser round him, entrancing perfume's Tour JYCusical 6ar? jMi in the song contest between the knights JVfODERN science has contrived an in- note of the Overture is, therefore, taken germinated in his mind before his comple¬ hem in and steal away his senses. (Minnesingers). The prize is to be the tionc ;!tfrument which records the vibra- By Ray Soladay ' from the opera—the Overture, logically, tion of the poem. “In the most seductive of half-lights, ktusicAL Smiles hand of the Landgrave’s fair niece, Eliza¬ TfrpL l f,°Und and throws ‘hem on a having been composed last: the sensual He made his first sketches in 1842 and his wonder-seeing eye beholds a female Compiled by I. completed the poem on May 22, 1843 (his beth, who loves Tannhauser and who is doifs are ne * S°me °f «“« vibra- H. Motes Venusberg music represents the allure¬ form. He hears a voice that sweetly ment of sin; the Pilgrims’ Chant, redemp¬ thirtieth birthday). The music was beloved by him. murmurs out the siren-call, which IHS?~y;=2 .TH0SE musical parrots brought to completion April 13, 1845; the A dear old lady was *h °TS tion by Divine mercy. promises fulfillment of the darer’s wild¬ ■ MUSINGS OF A MUSICAL MISS opera was first performed at Dresden, The Tournament of Song Parrot to her EngHsh lS°Wlng her "ew The significance of the composer’s pro¬ est wishes. Venus herself it is, this wo¬ October 19 of the same year, but it was 'T'HE LANDGRAVE summons the “Do you know ToLgatrdener- in fron^of f^1 a1 ten -rtars was seated gram may be further illuminated by a man who appears to him. Then heart theisrsimm keys in which th„ " can determipp presentation of the story of the opera. really a failure. knights to reveal through the art of and senses burn within him; a fierce de¬ /• , WfUcl1 they are written tt* from the Congo,’ andC™!,,Parrot com« kitten. The JhilH^b P‘ay'ng wi,h her ^ As with nearly all of his operas, Wagner song the secret of the long absence' of vouring passion fires the! blood in all his ST” intelligent ttat they lm T°tS are and musSlv id,Wh° was both religiously The Story took his subject from a mediaeval legend their comrade and to define the essence veins; with irresistible constraint it “an- , Th^ bird whistles ‘H ^ hu~ b- mother • SUd\/en!' U1!ined *° ANNHAUSER (pronounced Tbnhoy- of love. One after another they exalt Home so beautifully uaf m0"16' Swe« which he modified and adapted to his thrusts him nearer; before the Goddess’ psssas down his beak.” 7 Wat the tears run So to heaven?” Mo,hcr> do «*» ser) is a knight and “Minnesinger” ideal love, when Tannhauser, as if awaken¬ or “Minnesanger” (“Minnie,” in old Ger¬ ing from a dream, seizes his harp and S' z d:rx replied° “D,J>el'fve tbey do,” her mother wVE ^ ‘‘ very interesting to theticanymU“'" d°“ment®d John sympa man means love), that is, one of the Ger¬ outrages the assembly by defiantly glorify¬ “t orn mnL^LZTZ,,"!^ Muci, t®,"* Why do ^u ask?” man noblemen of the twelfth and thirteenth ing impious love, to the tune of his Hymn ‘led The Viflage B a0ck°Lnth>6 ‘hat whis' then asked • motber’s surprise, the child centuries, corresponding to the Trouba¬ to Venus which he had repeatedly sung dours who wrote poems and songs, princi¬ to her in the first Act. With drawn swords £ “poLT™ harp hstnngi?C“6 d° the angeIs get their pally extolling love, and sang them to their the knights close in on the offender, but own harp accompaniment at court and on Elizabeth intervenes, supported by the and°hearing,nS7puW 'sTT, 7°*! °f ,sight , A definition ’ * * festive occasions at castles. Landgrave. Grief-stricken, she pleads for allied when we ran tn ,t0 be cl°sely SS# : He has strayed into the Venusberg, or his salvation, and the Landgrave and the as well as audible E t0”e visibIe Hill of Venus (the Horselberg, in Thurin¬ nobles conjure him to join the pilgrims gia), where the goddess of love, sur¬ even then on their way to Rome and water 3 Then tld” glass bowl half full 0f rounded by her sirens, nymphs and bac¬ there to seek Divine pardon. chantes who lured men to her abode of The scene of the third Act is once a'^trfSs's.teou Will see the water rising in a tinv impious pleasures and revelry, holds sway more the valley of the Wartburg. Wolf¬ ndged pattern, following you? finL Z and eventually casts the souls of her way¬ ram, one of the knights, who vainly loves it makes its circuit, obedient to the vibrf the key in which = ‘ gUess correctIy ward victims to perdition. Finally, sur¬ Elizabeth, appears and approaches to find tion caused by y0Ur movement. » *»-..» in feited with this baneful existence, Tann- her kneeling before a shrine praying for has fixed hie ac '.,ct’cd When thc maker hauser longs for the fair, green valleys the return of Tannhauser with the pil¬ [hi»9 which shall 0>> U'C Waki"9 °f a and the song of the birds of terrestrial grims. Presently they enter, and she sor¬ 11 « the onlTetl icem finc t0 hims,,f- life. Despite the protestations and ardent rowfully and vainly seeks him among success, monc\Stanfatd’ 3,1 lhc ol,'ers~ entreaties of Venus, he breaks the spell of them. After they pass out she dedicates discussing it,” " f he^d the neighbor. benefit of fVtH l^c pleasure and her fascinations by invoking the Virgin. herself to the Virgin. uiiderstandingfff musfcf the Study and 57"'tlrb",»<»S '» the ar\u*C'Jyl'~tcad to confusion The scene being suddenly transformed, he Tannhauser later appears and confides to w“ *ta k.PMn, ,7 dust castles. T^i ,0 ll,e "tailing of finds himself in a valley between the his friend Wolfram that his plea to the the only ~L, °ntC,ase y°ur best self is Wartburg and the ill-famed Venusberg, Pope for forgiveness has been denied—that Galsworthy T be,n9 sincere."—femu WAGNER CONDUCTING where he meets some of his old friends. “even as this staff in my hand shall never Page 652 SEPTEMBER 1927 SEPTEMBER 1927 Page 658 THE ETUDE triurrrnhinjV'dl ,cant'.c^ °* '0Te elaborated and extended this scene for the oraise to h, r" A^'to^6 s.,n^s 11 ecs,atlc iH-fated performance of the opera at Paris of' htto! Aa h°Ugr' I* w’zard s>)e!1 in 186I> which was given by order of the nornll/b, wontlers of ‘he Venusberg Emperor Napoleon III, at the special re- rUltons shoM^h ihUeS )ef0r)e h'm; ,U' quest of the Princess Metternich. This School Music Department molt nn 1 a" S3Vage cries of W re-arrangement was made in response to EaXr/ d; ’n <,rUnkc" g,ee the urgent demands for a ballet; for an Reaching its climax on the drw 3 Conducted Monthly by S Tannh^r da'Ke and °kra at Paris without a ballet was tin- B-major,, - this ■passage ,cleadsaas to T jiI hausers Hymn to I enus, which f of Love’s PnHrl ° i the* waim caresse3 thinkable. 'It was a grudgfag concession GEORGE L. LINDSAY 1 arms al l! W O ‘TT hcr glow' on the *>»* of the composer for he re- This passage again occurs in the Introduc¬ Second Theme of the Allegro. °rn,s hlVZa Y d i hC mTta dr°Wned with garded the hallet as out of place in the tion to the third Act. Noteworthy is also DIRECTOR OF MUSIC, PHILADELPHIA PUBLIC SCHOOLS lad to the rLth,mfWpe-e n° Step dare opera and included its abolition in his the fact that it appears more than thirty- years later in the master’s great Consecra¬ scurry like so^l of ^ °re‘ A ePoch-niaking reforms. The'dismal failure HERE IS no reason why the artistic slow six-part measure: %—down on on tions! Play “Parsifal,” the work in whicli T sS’v he storm ° Vd ?Unt’ a"d °f the opera at the French capital, the results of the singing of school left on two, left again on three, right o ton whir still m.ls ^ ^fere7 a wan' hisses. boos and cat-calls with which even the religious spirit perhaps finds its most choruses should not approach the (Conducting four, right again on five, up on six. Save o w‘ d m the a the Overture was received, are too well- sublime and exalted expression in music. highest ideals of musical expression. The \ eird voluptuousness, like' the known history to warrant further dis The climax of the Pilgrims’ Chant is sensuous breath of unblest love, still soughs cussion. This re-arrangement in which reason that the singing of the average reached in Part III, following a retransi- school chorus is so colorless is due to ,W,IS,,*re T eh™ »'» th Overture fade Sly iuto tt, the tional phrase devoted to a rising crescendo, the lack of inspiration on the part of the which uplifts us to that altitude of fervent as it does at concert performances, with leader whether or not he is educated musi¬ gratitude at which the Pilgrims unbosom cally. An appreciation of tonal contrasts the Pilgrims’ Chant, i i known as the Paris their feelings with the words: “Der Gnade In response the Vein School fflorus The Pilgrims’ Chant version. 'k'rg music breaks in light and shade, of dynamic values and Heil ist dem Busser bechieden. (The sal¬ forth in wild abandon “DPT DAWN begins to break already; rt>ssimo. it ^ of tempi must be inherent in the artistic from afar is heard again the Pil- vation of grace is granted the penitent.)” softens down, and i: ymbolical motive conceptions of the leader, if he is ever to reach greater artistic heights than the class If the baton is not suitable, it is better (Ex. 3) is heard in i to get rid of it, even if it may be the grims C /unit. As this chant draws closer This is the familiar passage in which the 1 7o|as- A stand call forth an artistic expression of response that is working on an elective basis for gift of a misguided chorus of admirers. yet and closer, as the day drives further entire orchestra, with the exception of the is made on the dim - f the dominant from the chorus. credit. The difference is due, no doubt, The baton should be thin with a small back the night, that whir and soughing of trumpets, is released, the trombones domi¬ ninth of E-major in "‘•d and violint, There is something greater than a skill¬ to the attitude of the teacher in charge. flaring base to prevent it from slipping the air—which had erewhile sounded like nating all with the melody, to the famous that ushers in the in n ■dl of the goddess, ful mechanical reaction to the baton by through the fingers. The broader end may The cue is represented by the dotted the eerie cries of souls condemned—now figure in the violins. In the return of Part It is fittingly assigned ' - 'he clarinet, tig the choral group. This reaction may be Tonal Balance be slightly pointed in order to fit into the line. Professional orchestral conductors rises, too, to ever gladder waves; so that II the melody exhibited in Ex. 2 is heard dramatic soprano of t> orchestra, accora- brought about by drilling and training. USICAL discrimination is required palm of the hand. It should be held by disregard this but choral conductors some¬ when the sun ascends at last in splendor, in the second violins and violas in unison, panied by muted violii divided into eight The chorus may be prepared to sing in a to balance the parts of a mixed the thumb, first and second fingers in order and the Pilgrims’ Chant proclaims in ec¬ re-inforced by a horn. It is then repeated strands, fluttering in t ' Ic ill bewildering precise artistic way and may be expected chorus properly. The timbre of individ-, times use it to indicate tempo. It often stasy to all the world, to all that lives and an octave lower by the celli, in dynamic aromatic charm. to reproduce the choral numbers without ual voices differs- greatly, and it is the to allow a free motion of the wrist. proves more troublesome than useful hut moves thereon, Salvation won, this wave abatement, the orchestra gradually thin¬ the presence of a conductor. What then duty of the conductor to blend these is of value when a composition begins with itself swells out the tidings of sublimest ning out until, at the end, it is confined to is the real function of the leader? Some different qualities into a common tone. A The Traditional Beats a partial measure. The small loops repre¬ joy. ’Tis the carol of the Venusberg it¬ clarinets, horn and bassoons, as in the be¬ say that it is to keep time and to guide very useful preparatory exercise may be HE DOWN beat must always be sent the auxiliary motions of the wrist self, redeemed from curse' of impiousness, T ginning of the Overture. All now recedes the singers into a faithful repetition of provided by sustaining chords for tonal used to indicate the first beat of the and indicate the exact “point” of the beat. this cry we hear amid the hymn of God. in a vanishing diminuendo as the Pilgrims' an interpretation which has been fixed balance, using neutral sounds such as no, measure. It may be-said to picture the This is-a very important element in exact So wells and leaps each pulse of Life in Chant fades away in the darkness of night. upon in the rehearsal. noo or the vowels themselves. The resolu¬ bar in the sign language. The last beat chorus of Redemption; and both dis¬ conducting and is used not only to show The final phrase is suppressed, and. instead While it is altogether desirable and tion of cadential progressions, such as.the of the measure must always be indicated severed elements,- both soul and senses a possible turn of the wrist in making the of a cadence, the Venusberg music sud¬ necessary to have this reaction, there is various progressions of the A-men, is an¬ by the full up-beat. This is most easily God and Nature, unite in the atoning kiss denly breaks out (Allegro). The /»//_ need for that greater psychological and other useful preparation. Dynamic values next stroke but also to mark the precise oi Iiallowed Love.” understood in two-part or quick six-eight instant of each division of the measure. (hrnl takes the place of magnetic stimulus which comes from the may be secured in the same manner. A measure, which is a compound of two- The Pilgrims’ Chant occurs in the first introduction of the classical overture emotional depth and vision of the true code of left-hand signals may be devised part, that is, down on one and up on Scene of the third Act and is sung by the The Venusberg music furnishes the First artistic spirit. We frequently see amateur, to represent gradations from pianissimo to Elder Pilgrims as they enter the valley two. In other measures, three-part, four- Dynamic Effects and Tempos Theme of the Allegro, the main hods- of _ The Venusberg moti\ , coursing in vio¬ leaders who have the divine spark and Who fortissimo. of the Wartburg on their return from their part and their compounds; the secondary the Overture which is fundamentally in lins, illustrates the function of the Leitmo¬ try whole-heartedly to create artistic ex¬ The tonal balance must be the result of IT IS obvious that the size of the beat pilgrimage to Rome. They are first heard beats are represented by smaller sidewise will carry a varying suggestion of the sonata-form. Every Wagner student tiv as illuminating the > object. This pas¬ pression, while the professional conductor the individual tonal sense of each singer. motions and the accented beats by broader m the distance, then gradually approach¬ DEATH OF ELIZABETH dynamic values. The broad beat will pro¬ knows that the Leitmotiv-leading or guid- sage leads into that , ibited in Ex. 4, is often content to reproduce the printed There must be no soloists whose voices motions. The following are diagrams of ing and finally passing out. Their song is duce fuller tonal reactions and the small L, phrase, or a strfin, ^m- but which now appear in E-major, to notation exactly as it is suggested. It is stand out like the proverbial sore-finger. a four-part male chorus—for first and the traditional beats: beat quieter effects. Many conductors state ’’f a character- a “ait an emotional emerge in Tannhauscr 7Vm»» to Venus, the combination of the two elements that Each must listen to his neighbors. The (1) two-part measure—% and quick %— depend entirely on the right or baton hand 5LE takTnToemSuchaPserb * state, an idea, or even an object. The oc- which recurs in the sau - key, in the Re¬ produces the real conductor. Let us keep team work required creates interest on The first two stanzas are sung unaccom- currenee nf ■! r . 0Dject- ‘he oc¬ down on one, up on two for general effects, while the left hand is currence of a Leitmotiv, generally in to,. capitulation. This them< again evokes the in mind the fact that music must be created the part of each individual and acts as pamed (a cappella). The orchestra enters harmonies o f^ifrimF Chant 7 T used for cuing in the entrances of the Venusberg music, whir:. Kvays occurs in and that it is a living art. In calling it a check through this self-analysis on the m the transitional phrase to the third little attention tn to • devotes vocal parts. As a matter of fact the right the main key of the O:, and breaking into being we must make it the vehicle of individual whose voice is apt to be ob¬ ExJ stanza, which forms the climax of the 2*2?“yj1 ES rasgfttsss refined emotional expression in order that trusive. There are many exercises which hand should supplement the use of the left song. This point is the desnsiY of to. too_- • 1 s matter P'ays one of out fortissimo in full orcbi tra, soon attains its performance may actually affect -the may be devised for flexibility, shading and in creating these effects, besides setting conductor, for, at this junction of chorus of expression” Wh pa!‘ts.an,ong his media its climax of bacchanalian and wanton conductor, the performers and their hearers responsiveness, and a short practice period and maintaining or varying the tempo. and orchestra the former has generally more aotlv eh .‘ ms]trun’ents c°uld be revelry in the dazzling chromatic descent engaged in during each rehearsal will be It requires able musical judgment to above the dominant pedal point and the with a true art inspiration. thoroughly enjoyed by the chorus. attempt to vary the pace of a given tempo. sustained note B in ha- -rings and brass Atcelerandos and ritards should be pro¬ amidst the clanging of triangle and cym¬ Preparation for Conducting 32?**=**^ tone of its lower, or "chahmeau” register duced gradually and not abruptly. The bals, the rattle of tambourine and the roll T IS A homely aphorism that the leader The Use of the Baton The Text in which the greater portion of the First I amateur is likely to disturb the flow of of tympani. must lead and not follow the chorus. THERE ARE certain technical tradi¬ the rhythm of a composition in his natural A TRANSLATION of the text of this with its and the horn> Every member of the chorus, whether tions which every leader must know anxiety to produce effects. He must con¬ majestic song may assist in'initiating French "Chalumeau" I?;stlCls*? (The seated for rehearsal or arranged in con¬ and observe. While it is true that in¬ sider that the singers and his audience the student into its spirit. It is as follows! calamus-S- d e ^ cert position, should be able to observe the dividual conductors may break the estab- three-part measure: ? and quick %—down m prose: . , . .u ls tne name ofr the pastoral should feel the urge of the rhythm to enjoy leader. The leader should “be seen and lished rules of conducting on occasions, ", right one of the greatest basic elements of all “Rejoicing, 0 native land, may I now the d^inet is ^ngllsF' sha^> frorn which not heard.” He must be placed in an order to obtain particular effects, yet music. advantageous position on a raised dais is dangerous to distract the attention of the Each composition should be given the arc s* ^ which is not too high. The conductor audience by too intense gesticulation or to tempo peculiar to itself .because of the must have the confidence of the singers annoy critical individual observers by de¬ setting scored by the composer. Much and insist that every individual must follow parting from the accepted standards of gnmage'^Z'LTZi to God. siSP i ®. °f th,es.e “stminents fill in the har-s .. ;,,d tr"»: fine music is spoiled by the wrong relation ginning pianissimo and^l Jd'Wind' be- directions implicitly. These directions the art of conducting. The technic of the of tempo to musical mood. Therefore, “By atonement and penance I have con- bass.'^TteresfOf'ba^°0ns, bring ,UP ‘he s'dmg alternately in to! mg and s"'»- must be explicit. baton must be practiced until the motions difficult rapid compositions should not be ciliated the Lord, to Whom my heart is in abeyance °rchestra is held a«d sighing 2i,li,VenSUaI cre^dos The conductor must be prepared by mak¬ become automatic. It is well to practice attempted unless the chorus is thoroughly devoted, who has crowned my repentance a ? voluptuous of music °f ‘his moSt ing a careful study of the tempos, inter¬ the various beats privately while following with His blessing—the Lord, to Whom my Andante maestoso 1=50 prepared to sing them. chromatics. From the th , raPturou.s pretation and mood of the composition if suitable records of choral compositions It is generally better to sing the average song resounds. Clarinets, horns and bassootls ' forty-fijurth raeasuthe Jh,rtv.seco„d to the he hopes to gain recognition as a competent played by a sound reproducing machine. number slightly too fast than too slow. The salvation of grace is granted theth V enusberg m0tiVe KrvLlhet,/1!!c9rn the leader. He must have ability as a pro¬ A baton should be selected of sufficient Ex.l The too rapid tempo can be or will penitent; he enters the peace of the blessed length to enable the chorus to observe the fabnc, running through tiS f ’C orc,1estral gram builder. Whenever a miscellaneous four-part measure: % and quick 1%— naturally be reduced, while it is nearly im¬ he feareth not death and hell; so be praise motions without undue discomfort. It is unison, now with the V ^ par‘ i" program is decided upon, the relation of down on one, left c n two, right on three. possible to quicken the pace after starting to God eternal 1 Hallelujah!” more or less of an affectation to discard the bassoon, the oboe a snT,’.: "°'V with key, needful variety in measure and se¬ up on four. it too slowly. However, it is unnecessary - A, por‘1011 of ‘he third stanza is sung radic part. 06 aIso taking a spo- quence or contrast of musical mood must the use -of the baton altogether, as the m the Finale of the opera by the Elder to beat out all of the beats in very rapid _ In measure 44 (,,,, h be considered in the choice of numbers. leader will quite likely make-up in physical Jrilgrims, the Landgrave and the knights tempo. A quick waltz or scherzo tempo sing the amorously exwl-'^ the viol'»s The proper selection of material and of its motion what might more easily be accom¬ salvation and Divine pardon forming the • !"ttbe Second Part, which, in the song, Ex. 3 may be maintained by using a single down gmnmg thus: y exPr«sive passage be- arrangement in the best order possible in plished by using the baton. This should climax of the entire work. is set to the words of the second stanza beat. beginning Durch Siihn und Buss' (By the program is a great factor in the success be light, well balanced and flexible, in £Oe_ The Paris Version atonement and penance),’’ the thrice soar! of any concert. The attitude of the order that it may be handled without The Attac\ and Release singers toward their leader must be one fatigue. It is a pathetic sight to see some ' HE VENUSBERG MUSIC o mg of the melody to the octave, expressing N IMPORTANT factor in the technic of enthusiasm. The practice must not be amateur leader wielding a baton that re¬ A T chanal occurs in the first^sosne’of joy andanQ relief,‘CfL is entrusted tot° the ’cellos,’cellos,the th! of a good conductor is his ability to the hoop and horseshoe,” permitted to become mechanical and re¬ sembles a policeman’s club. It may be produce a perfect attack. How many the first act. In 1860 Wagner re-wrote! the harmoS' “d baSS°°nS furni'shin& Queen street, tower hill, the first solve into a mere process of drilling. It banded and tipped with gold and made of otherwise excellent choral efforts are resting PLACE OF WAGNER, IN LONDON is frequently noticed that a school chorus ebony, but it is a dangerous weapon unless (1839) working on an extra-curricular basis will it is gripped tightly in the fist. (Continued on page 695) (Continued on page 703) Page 654 SEPTEMBER 1927 THE THE ETUDE SEPTEMBER 1927 Page 655 ^he Swinging Forearm W'hat High School Principals 'Ghink of the Advantage of "Music By Joseph E. Layton ^Teachers’ Round Table 'T1 HE following thumb and forearm ex- “rpHE Conn Music Center,” conducted 1 by the well-known firm of manu¬ (Conducted by mart^C’SeS ha'u been used with s>>ch marked success that the writer feels justi- facturers at Elkhart, Indiana, has made thelrmerit* * 0,llers the °PP°rtunity to test an extensive survey of the advantages of music in high schools. I"*0 considerafion the fact that The principals of 772 high schools the pupil has a strong tendency to turn were questioned and 645 described the hf™ ; ■!' ff3 6 and arPeSSio playing, a advantages of music as represented in the menfnl t '/ i***1 unsighl,y and detri- following chart: Zmh f°tJe!°CI,ty' ,Jegin fay Placing the Altogether this indicates a most un¬ thumb of the right hand on any convenient usual appreciation of the practical signifi¬ cance of music entirely apart from the de¬ ingLT theZ 0rhandheT and1^ armc't hirdin aspace) perfectly- Hold re - light in having a musical education. that matter, it is well to keep the fingers single pieces of sheet music, laxed condition and using only enough considerably over on the keys. There are of the expense. weight to depress the key, proceed wffh several reasons for this: the fingers are In answer I would advise but one book a backward and forward forearm motion Teaching Minor Scales nearer to the black keys when these are of studies at a time, since it is apt to gest the following order: 5, 15, 6, 17, 2, ZFtt! P°sition of the wrist in¬ Melodic and Harmonic Accents needed, and they are less in danger of confuse a pupil to mingle too many kinds 8, 21, 3, 22. In volume 2 the preludes ward, the thumb serving as a sort of pivot Should: the “natural” form of the slipping off the edge when playing. Also, of technical work. It is well, however, may he studied in the following order: n which the whole forearm swings By Lulu D. Hopkins minor scales be taught before the harmonic and melodic forms? it is a principle of mechanics that less to alternate studies of an interpretative 12, 2, 6, 7, 10, 15, 24. M. E. character with those that are purely tech¬ As to the fugues, a good one with one WoctaveoZPea \lower. the Pr °TICeSSn this With exercise the left all hand the When learning a piece of music, you to recognize the key or keys of the force is required to press down the key should identify melodies and phrase and sition, the principal , ,r(], , comP0- an inch or two in from its outer edge than nical. After Burgmiiller’s Op. 100, for which to start, on account of its attractive There are three reasons why the “nat¬ theme, is number 5 of volume 1. Next, into playf ‘hUmb 3re brought free'y ready for the full octave. mold them according to correct laws of resolutions and so i ,t|,. ’ on the very edge itself, since in the former instance, you might give E. Biehl’s Op. ural” form need not be stressed with 7, Book 2; or, somewhat harder, Berens’ number 2 and 1 of the same volume may expression and taste. In order to bring understand leading i , suspension J > position the fingers are nearer the pivot ha^lTon rth T ‘hird finger °f the right pupils. on which the key-lever works. School of Velocity, Op. 61, Bk 1, both well be studied, after which the following out the melody, it is necessary to give tlle °< I*' indul. - 1 '«> »uch an extent “Beginners’ pieces should be in five- of pieces, such as The Very First Pieces In the above partial list I have placed £bl'eand repeating tWs a number of melodic importance in order to accent such 35 t0 !".,crferc witl' ,<: rhythm of tie is identical in notes with its relative major finger position’, so that they may be for the Pianoforte, Standard First Pieces, only those preludes and fugues that are w! n The same exercise applies to the easily transposed?” notes. composition. Study v m' pieces from each scale, from which it may be easily adapted, both of grades I-II, Souvenirs of the Mas¬ most straight-forward and generally useful left hand, the only difference being that if necessary. Wta aoWng , „„po!itlon if';™--own- If this is ters and Album for the Pianoforte, the in their technic. Having mastered these, spaUcebfnteA1“f th"“b °n C (second Then this same figure should be ex¬ 3. Because the pupil will learn to play SF watch for notes of special harmonic im- towards corrcc 8 «,reat hdP By “five-finger position” is meant that last two being by George L. Spaulding the student should be well prepared to over to 1? Tb'0 PaSSlng.the third finger tended to the ninth, one degree beyond the the descending natural minor scale anyway, position of the hand in which the five (Grades II-III). All of these collections choose others for himself. f TV. Th S exerc,se ls merely to get octave. portance. This means a trained ability results. * exprc5'lon and artistic the feel, so to sneak- nf +u r when he takes up the melodic form. fingers are placed on consecutive notes are published by the Presser Company. Personally, I prefer to begin with the of the scale. Thus in the scales of C and If your pupil takes the Etudf you will Acquiring Technic harmonic form, and, as soon as this is D-flat major the fingers fall as follows: probably find in it many good teaching fairly well understood, to change to the I have studied piano for a num¬ Expression in Hand Independence pieces to fit her capacity. ber of years and have emerged as border et P°Siti°n °f the hand “wards, mixed minor (the melodic ascending and Right a musician: by which I mean that to prevent any turning of the the harmonic descending), which I es¬ I feel and play musically (I am also . ’ a so that the thumb remains under By Hazel Hawkins-Davidson Pedals and Octaves for Small Pupils pecially stress, since it is the form much studying the ’cello). But to my mis¬ the^hand each time the third finger returns fortune I have never acquired the more frequent in actual composition than 1. Should a child in Wie second fects in playing are obtained ^“bringhig nfjij d',r,cu,t anl»‘" this ability. A j grade use the pedals occasionally, technic that L desired in iny piano any other. Finally, I give the pupil some Left If he has to sit on the edge of the work, and, at this late hour, have ulaTrhlP"fminary acc°mplished, any reg- .«». »*d,. .M1I». ,aomp,zs sr Siamt ngrjz experience in playing the melodic form, stool to reach them (the stool being come to the conclusion that I have “SLff cises may be employed. raised to the proper height for him) ? had music lessons, but not piano although, for the reason above stated, I If a pupil is taught—as he should be— lessons. My teacher is exact in my First study the following exercises ore ^ . wys had been suggested their mastery. 2. Would it be wise to give a child do not emphasize this form. to play five-finger exercises with this posi¬ who cannot yet reach an octave an paratory to. the scale. Use first finger" When these have been mastered, the fol¬ While I am continuing with her, I fZ1* ‘he1Wa?1 ,

^ heard I And In the Round Table for No¬ simply by applying the same fingering to vember, 1926, a question by Mrs. We may divide the whole field of piano -m,i i ’ J I>rouKfit tin desired results H. W. on teaching the minor scales- each new group of scale-tones. ■If r frrrPP a,ld ‘he >'••** found a m u way to practice, to young pupil's. I have great suc¬ But while the five-finger position does, technic into two classes: cess in teaching the minors to pupils the background, it is exceed- ac Hr "l\' l,Cn ’* isni,t dearly marked as I have shown, facilitate transposition, 1. Work on “stock materials,” such as as this, one lias to hunt t\ ,r the melody. even as young as seven years of age. I always use the harmonic minor it is so limited in scope that the beginner (1) I should prefer to wait before the common five-finger exercises, scales, at this age, saying that this is the teaching a child the use of the pedals chords and arpeggios. proper one to come first. should not be long restricted to it. The The first point to fix is that there sooner the beginner is made acquainted rather than to cause him to assume an 2. Work on special problems, such as A ^t’orary Stage fa Studios is but one major scale built on whole awkward position such as you describe. the new progressions in modern music. - ff , /r\ . e and half steps, always the same, with the whole sweep of the keyboard starting on any key. This is our (with, at least, the octave scale) the better. It is possible to purchase an attachment to Inasmuch as a large percentage of piano p , . . By Marguer'te C. Kaiser Major family. Now, all the Majors the pedal which will bring it within the music is made up from the materials in 0 .---,s yon (^e pupil) So I should take the statement which you quote with a grain of salt. child’s reach. When I was a small boy Class 1, it behooves ns to see that this I used to place a wooden box on the the^eft W*. WUSt ^ StUdied aIso aTdle^ ma"n" in facing an Minors. material is kept well under the fingers. the left hand, playing the notes one octave pedal so that, by stepping on it, the pedal Hence a certain portion of one’s practice lower than written. i Toung Beginners from a large third was depressed—although I am doubtful —perhaps from an eighth to a quarter of uuu ttuuve a a small third (major and I am anxious to know if about recommending this device! Perhaps it—should be rigidly devoted to such drill. ance purposes .! 6 8 hal1 for Perform- TJT' .method. a teacher's means minor thirds). A small third below study some method wherebj other teachers will make suggestions along Preferably, too, this work should come at consequence oum/ °nC6 3 year’ and, as a trul P"fK pupds cu,livate repose and a the major tonic we find Major's teach little tots who are n cousin. Tonic Minor, and there we to school. At present there i this line. the very beginning of each day’s practice This will be continued through four start and play the scale on the same pr cssionaI auitude- little ones whom I could l (2) I should also avoid such exercises period. In my own teaching I invariably groups descending, the same as to Vscend notes ns the major. But, we ex¬ ms if I could make the wor k simple ' mg. Each group will be fingered in sim " dcnce necessary fj surf ^ tbe conf- plain, the old musicians liked it bet¬ as you quote, as far as possible, until assign each pupil a technical stunt at each ment. This could have been^ -T'"13'”- ter when they played a sharp on W. H. ar ™nner.t° first one of No. 6 Fol¬ number seven of the scale, so we the child grows to them, since they make lesson—such as the major scales in thirds, low this with No. 7. 1 regular intervals they codd ,aV°lded if « shall do the same; and there we have it necessary for him to jump from orffe with certain prescribed rhythms. the privilege of having a Ve enJ°.vcd the minor scale all built! Next Three books which might give you a Ex.7 note to another (which was not intended), For a compendium of this work I sug¬ vacy of the studio 3ge ,n the pri- build the tonic minor chord at once start in musical kindergarten work occur with the small third below and the and thus very likely will tend to stiffen gest James Francis Cooke’s Mastering the large third above it. to me. They are: Musical Kindergarten his wrist. Choose music for the pupil in Scales and Arpeggios. pIa«"rmCinP^« a temporary Use a little imagination with chil¬ Method, by Daniel Batchellor and’ Charles dren and they respond at once. I which such passages are infrequent, at Then, under Class 2, mark out certain nominal fee. Th^ ^ StUd‘° for a very have seven-year-oid pupils who play W. Landon; The First Months in Piano¬ least, and then adapt them to the small sections in the piece you are studying— all the minor scales, and tell mo to forte Instruction, by Rudolph Palme; i major scale each hand by omitting or altering the offending say of two or three measures each—which > that Half Hour Lessons in Music, by Mrs. present peculiar difficulties, and follow out work “I 10 d9mage *h Wa,ls- t be f Hermann Kotzschmar. Then, for music, work. A capable carnem: P °r Wood- a practice scheme with each of these you may use John William’s Tiny Tunes torTo1dCn°Ugh (and «iU have!" make « The Well-Tejnpered Clavichord marked passages. It is said of a prominent o hold a grand p;ano e !t movable) for Tiny Tots, or for slightly more ad¬ Octave Playing virtuoso that he kept on his piano fifty fme, and a bmp, ma- vanced pupils, the same writer's First Year In what i: When playing the white and fugues o: slips of paper, one of which he moved to to a recital to be give„ ;n i. If’ PrcvioUs at the Piano. From these materials and As the number of notes keys, is it better to play o Clavichord” 1 (lied ? one side for each repetition of a passage, wtshes his pupiisSt0 a hall, a teacher the keys, that is, to place the nngers your own previous experience you ought increases, do not hurry the t: until all were transferred from one spot about half way between the edge of to be able to build up a method for the fingering has been mastered. the white keys and the front of the Any attempt at grading these preludes to the other. So do not be afraid to repeat black keys, or to place them on, or yourself. almost on, the edge of the white and fugues is necessarily inaccurate, since a passage thirty, forty or fifty times, if keys? I mean what position is best difficult passages are sprinkled through necessary, to get it perfectly. Studies and Pieces for the average hand (adult), not for nearly all of them. the small hand that can scarcely Make up a scheme of diligent practice S=; • r* stretch an octave nor for the large Miss E. O. B. asks if it is well to have Let us first examine the preludes, and try it out thoroughly on these two hand that can easily reach one or a pupil work on more than one book of which do not always correspond in diffi¬ f'“* Hu I.,*;.,?' *-« this |„ classes of technical work. If your ex¬ two keys beyond. studies at a time. She cites the case of G. G. D. culty with their respective fugues. Sim¬ pertness does not improve under such drill, « zms?* a parent who wishes her daughter to plest of all is number 1 of volume 1. there must be something the matter with In playing octaves, or anything else, for study from collections, rather than from In studying others in this volume, I sug- your fingers! A TEMpORARY STUDIO STAGE Page 656 SEPTEMBER 1927 Page 657 PAGANINI CALUMNIES BERLIOZ, THE ROMANTICIST The French historian, Fetis, once wrote Hector Berlioz is one of the very a biography of Paganini in which he musicians who ever achieved fame w'th quoted a letter written at his request by beginning the study of music in his T?"1 the great violinist in .person, refuting hood. If he had any musical tram; many of the wild tales told of him. Here all it was very rudimentary. As l* is a brief quotation from Paganini’s let- Ware Locke points out in his stud. "Music, and the Romantic Movenfem ° They have represented me in prison, France," his training was mor^E * but they are ignorant of the cause of my than musical. “efary incarceration. However, they know as much of that as I do myself and those “Bqfore Berlioz went to Paris i„ l82. who concocted the anecdote. There are at the age of eighteen,” says Locke “ti ’ many stories in reference to this, which had been little in these early years’ of W* would supply them with as many subjects life, spent in the quiet surroundings of tv. for their pencils; for example, it is stated village of La Cote Saint-Andre, to awak “at. having found a rival in my mis¬ in his mind the modern ideas of th* „ ? tress apartment, I stabbed him honorably side world of literature and phil^hy WAS HANDEL’S FATHER RIGHTf in the back, while he -. " ■■ But Berlioz was born a romanticist and . mm mat, in the mad- ti^Ti*Most ofOI usUS knowlcnow that the father of “German opera was not yet invented, and even in that little quiet corner of Fran U s of jealousy, I slew my mistress - but nHandel 7 wasWuas sternly opposed to a musical in• ~Italian opera one would see only the and in the midst of the domestic they do not state how I effected’ my i°L ^ S0'V GeGeorge°rge Frederick, and fashionable amusements of the wealthy, bility which surrounded !r early eE' bloody--y-n-uje. purpose. Someoume assert Ii used a Ti i.Z to condemn him on this account, carried out by foreign hirelings. The tion, he managed to de\<] ...Ca’ The old n dagger—others that, desirous of witnessing ,, -roundly ' declared-wi»mig that music father) wishing toim raise his son in the on nature and life and ; ;,ture » i°°e er agony, I used poison. Each has f an *e!®ff3anantt ,art and a fine amuse-amiisp- socialcnrial scale,cagIa rlirldid all in hishie powernrtutAf frtto miAW»hquench urac *r% an "XtrilOrd III l r \ . ^ settled it in accordance with his own ,? > ’/r’. , c°nsidered as an occupation, this terrible (musical) trait in his char- tory of his later conscious , ?mantidsm!W' faacy' ‘ ^ b“e dlflty as having for its acter. Since music was taught in the Even the spiritless ,fictj f I wdl relate what happened to me at °. ng b(;,tter than mere pleasure grammar schools, the boy was not allowed Florian s "Estelle et Ncmorii,” whirl, Z Padua, nearly fifteen years ago. I had f hTof W n, , to a'ttend He was Scented from fort to hi. fallier*, IN,,.. ,,, hi, J ,a concer' with great success. Williams nrlf/ ’ bowev,er> Abdy going to any place where music was per- mv pi t da>-’ seatcd at the table d’hote, Handel was fU *hat nP doubt oId formed. All instruments were banished seif as the Nemortn for , real Estelle observed n “ r°°m had passed un- demning music from !hllS COn" from the house- and the b°y was forbidden the Estelle Fournier who w.,s his child¬ hood s sweetheart. . STWfitetts; sSfflSfcsj aKarjrfri: “He reacted in a similar!, |llic,ic manner to any experience ! ; "al nature. He tells in his ‘Autohu •‘i>hy’ of his translating the death scene * t* -aara Dido in the ‘Aeneid,’ ‘the agony of tin "ig queen, the cries of her sister, the 'ror of that scene struck pity even to tb ' •uts of the Immortals; all rose so vi\ before me that my lips trembled, m words came more and more indistinct! •'"d, at the »«* f,r ,rom Tb"i,,g“ - ^^rtr***^* line, "Quacsivit coclo hu-.-i ingcmuitqu? reperta,” I stopped dead. I: my father’s delicate tact stepped in. ' ..rcnUy THIS TENOR WAS FIERCE taV nothing, lie said. gemb. That wil do (or today, my boy; 1 a,« tired.” Am CARUSO AT REHEARSAL er?SfitotS^ ^^the stage. I was sur i tore away to give vent .. Virgiliati misery unmolested.’ ” as Possible ^rS 'if'’6 their vo!ccs as m«tclf fory°f an opera tenor who sang lost"to HomV”* SUPP°Sed he was nervous, the soell^f th rebea.rsals’ but occasionally her Carmen on her own benefit-night in wnr^ °"’Jhlngs we"' from bad to thev l|ie music is too powerful and Mctz- She had borrowed him from a ha tu' ?V eDthing Carmen said to Jose they have to let themselves go. I„ her neighboring theater but “he would not f ‘ ?°Ward was «V«g to him Tn O PIANIST-CON 11 TORS ’ - .. “earn nothing wen?1! and A,"01‘ Rubinstein famniif’ t ce,cbraU'd P«"ists ,,, became famous also a* co"ductors. ; „old Auer g She had beenasSgtlinopherraft Covent his'swo^^.“,Fina"y ^tst , - comna ’ V ,)0th «iv« -"'cresting r paI,*°!l °f 'heir condm ■ : .■ in "My an^isS^da^a^t/^ ^ ^HetuX? ^ Long Life in Music.” Of Von Biilow he says that “as a vir¬ tuoso he did not reach the hew fits he sealed SSSa 5SrS”r ■P as;a C.0nduc[or- for in the latter capacity, aside from his technique as an orchestral auE hC '‘■I5 ,ma*ne'ic and carried the met?'6 WTthL him from "’c very first he fpi»e‘ ^ bavc always suspected that WdS stromug^ aoout the he felt more authoritative, more in con- stage, beautifully dressed, as usual, with wh^ why?) tafn T the baton in hand It is cer- mj ,^ny rate> 'hat as a pianist lie never feather fo7i-Dfby,hat’ gIoves of wash- ■ I St00d this leather and light-colored cane. The tim- ' y f t tle sa7le enthusiasm in the public, had come for his famous solo. whn 6 W3S t le first 8reat piano virtuoso to. At th., he lost hts to Share a perforce i“Uld "0t bear :e with any c In '?tat thf Samc ,ime as great a musi- the or u c0"dl,c'°r, and when hc fronted

an unfamiliargco°nVducforfa’H^beg^soTt* “The hi ™P RHYTHMIC LIFE hitherto Sanolen.COUld Ca" forth effeCtS Dosffp1^?1 A'u0n fifhinstein the direct op- piano *!le ,casc When he plaved the PersonaMt!r°k t 'C public by "'orm with his SI' "as as 'h°"gh he pro- and hP w,W3Ve .°f comPcIling magnetism, could not a?P .a"dcd because his audience pHSiP swayed anHrf^3'" fr°m apP,ausc ■' >' was anew for such a voice ” G°d tre ^«g,)ein8' an expression of meanness Weut , hc membersmembers of these clacLsEf l C’a, ' resulrcsults‘s.- he anlard,d0m",a'cd by him. Yet when The air from “Pagllacci” here rp ssometimes~es hear a modernmodern^%y equifa fnt of %7‘ started,arted, to be dull afd l, tended^^'- Wiledwherf orchestra h 00 *he pIatform 'o lead the ferred to was doubtless “Vesti la giubba' hts m protest against ragtime and eSeme STTy’^ and blatfnt ' ^,in tbe he ™ nc';cr seemed at ease; and for which Caruso was specially famous.' 'hough tnC ed W,tb his head bowed, as __ •- — thdr^hyttoT W WttStf tofS ,thf nbatter "u°d”’ymainEftIi2e 3nd ^ S ^Poss2ngtA°tftl!r^|he score as Closely . "Whether a business man himself finds onPMo "Tf ^ m°St’ C0~Ss' wtfad»°‘ been da^cLf n°tcd m musm a source of pleasure and recrea- ingSe idll f pTa!''StS agfee in tr“t- graceful Tn ^ 1>CCame not on\°J ^ Sh strumem.” heS‘ral cffects fr«m 'he in‘

ii£SS;: =3£g||p “There is nn flucticc than grfaicr harmonizing f"- InteraationaJ Copyright secured music r-_ m*tstc—particularly choral Copyright 1927 by Theodore Prosser Go. x'eral Coleman Dupont. ■British Copyright secure* Page 660 SEPTEMBER 1927 THbetvds THE ETUDE SEPTEMBER 1927 Page 661 A rollicking and highly characteristic Norwegian KARIAND PER writer!Gradele 55.a tU”' b.VM,<,«»"P‘ 1i>*«i modern -DANSE NORWEGIENNE AndantinoAndantirm (quasi( nil flUl mA/lniiniAimoderato) mw Mw JrI ~ - $ * * TRYGVE TORjUSSEN

Allegretto moderato M.M. J= 108

t> > £*-n — j rj] m r^h id ss ) €> gresc.^ ^ rit. 1 / n« -| £4= =£= —2- Copyright 1927 by Theodore Presser Co. Copyright 1926 by Theodore Presser Co. British Copyright secured

International Copyright secured THE etvbe SEPTEMBER 192 7 Pbge 663 Page 662 SEPTEMBER 1927 ~ THE ETUDE PILGRIMS’ CHORUS PILGRIMS’ CHORUS from ‘TANNHAEUSER’’ from“TANNHAEUSER” K-'VAGNER R. WAGNER Arr.by Preston Ware Orem SECONDO Arr.by Preston Ware Orem PRIMO See Mr. Biurt’s very interesting analysis of the “Tannhaeuser Overture” on another page of this issue. Andante maestoso m.m. J=63 ? ^ J"~

a; The right hand above the letr. Copyright 1904 by Theo.Presser vrimF SEPTEMBER i927 Page 665 TME ETUm PEIMO

British Copyright socured SEPTEMBER 1927 Page 667 Page 666 SEPTEMBER 1927 TPS ETUDE TEE etude GIPSY REVELS MONTAGUE EWINg In Tarantula style. Exemplifying light, rapid finger work and steadiness of rhythm. Grade 2?.

LOVE SONG

International Copyright secured the etude SEPTEMBER 1927 Page 669 Page 668 SEPTEMBER 1927 THE ETTjfi£

A lightand seasonable drawing-room piece Grade -l1 ^ SBPTEMBRE x °m piece.Grade S-t I)ANSE GRACIEUSE A. H. PRESTON Moderate (Nottoofast)M.M. J= ?a E — -. 5 M. m. Teneramente

When Chaliapin sings, the piano is always Baldwin "Bravo! Bravo! Baldwin!!’

HAVE chosen the Baldwin in ment of the great artists who use it. preference to all others,” says Chalia¬ (( You, too, can have this piano in i pin; “Bravo, Bravo, Baldwin.” ((The your own home. Its possession means wonderful voice and artistry of this the enjoyment of finer music, the I famous basso demands nothing less cultivation of higher music ideals than the rare tone color, the rich so¬ and the pride which goes with the norous volume and the sparkling ownership of Chaliapin’s own choice. brilliancy of this truly great piano, <2[ Grands, Uprights and Welte-Mig- at recital appearances or in the pri¬ non (licensee) Reproducing Models— vacy of his own Studio. ((Instantly from$85oup. Convenient terms may it responds to every artistic require¬ be arranged with any Baldwin dealer.

The Baldwin Piano Company * Cincinnati

Copyright MCMXXI by A. Hamm0nd A Co. «From here go back to % and play to Fine-, then play Trio THE ETUDE Page 671 Page 670 SEPTEMBER 1927 whose life will reflect to all mankind the HARK! HARK! elevating influence of an early training in What’s that I hear? ‘Music of the People, fafe (people, by the People music. The Band! The Band! Making music is probably one of the | ! j The village band is out on parade. most effective moral factors in the life of J j| Up go the window shades. Out come Bands fa gverybody a boy; and it is one of the most human. ^ j the citizens with their flags. Kiddies Blowing a horn comes more natural to — IS stumble out in front of their taller elders. him than listening to sermonizing. Give j| Attention all! Mark time as the martial By RobektI Shepherd the boy a trumpet, a violin or drums and |S strains draw nearer 1 Then off go the.hats, ji as the cheering crowd follows the boys always the victor. It seems to dengnt useful direction by a training school for place him in the midst of companion down Main Street. particularly in conquering where every players of band instruments. There is no youths with trumpets, violins and drums, . ! So we find the village band of to-day, fortification is erected against it. other way of producing good bands and and he will be surrounded by an atmos- the outward and visible sign of the public There is a town m ew exic good band music in America.” phere which is one of the greatest means of salvation from the temptations of the }> spirited good fellowship that every loyal (Artesia to be exact) that boasts a to ! I citizei* of the community inwardly enjoys, population of 500 souls and a successful The Iowa Band Law adolescent. j There is a thrill of romance—emotion— band of twenty members. Another town 1__ „ f The inception and development of a N FACT, tne importance of the Vil- hand ;s a greater achievement in the aggre- ll animation in the call of the trumpet and of 1500 population (Hardin, Montana) has lage Band is in many states beginning gate than is the organization of a symphonic j| the roll of the drum. The same martial a band of a hundred and twenty-five to be taken seriously. “There group with its maintenance of high 11 voice that in days gone by stirred gallant players, and there is an almost endless son,” they say, “why so pertinent standards; because, while the latter mu¬ warriors to greater deeds of valor now list of towns of two thousand to three fluence for good should not be sponsored sicians are contributing to sublime art, ji quickens the heart and warms the blood thousand inhabitants, whose bands are and provided for by those who will actu¬ these boys are formulating sublime char- i| of a music-loving nation. Handed down carrying home the trophies from the state ally benefit by its existence.” Public And which is more important: a ij through the regal splendor of the days of contests every year, Libraries, Public Schools and other a human being or a Debussy Suite? Assum¬ ji old the village band still reveals the tradi- Even the “R.F.D.’s.” have caught the munity benefits are maintained out of ) tions of a gay and lustrous past. spirit of the march, and the farmers are or- ing that the Debussy Suite possesses a ) RIVER. funds. The Village Band, a leader among souj jt ;s i article already made. A J SQUAMISH RFom ganizing their own little cross-roads bands. >K grove B 0 girls 0 I all cultural agents, should come under boy ’ is a man in the making; and these f NONeH^VEVR; GROWERS- Bands of Medieval Days Just as they have found organization these ArE the same class. childhood influences will determine the farmers D EHIND the modern village band lies pI“sant ^ beneficial in their buying and Iowa was the first to respond to this status of his soul. - -. D a story as romantic as that of the sellmg operations; just as they have found broad attitude, and to Major George W. bloody courts of France. In fact, -the organization advantageous in the manage- ™“ ‘’’CTURE WAS takes Tel members of the “sinking spring Landers, of Clarinda, goes the credit for Count on the Girls - * ment of their cross-road schools and (PA.) CORNET BAND” HAD NO IDEAtKt THE TEN-YEAR-OLD CORNETIST^ON history of the development of wind instru¬ the establishment of the Iowa state QIRLS, TOO, have taken churches; so they are finding organization THE EXTREME RIGHT WOULD SOME!IS DAY H ment music is so closely interwoven with . , ,• , , * , • TRIC LIGHTS ON BROADWAY IS, law which makes it possible for towns ■ edented interest the the political and social state of Central most dehghtful ln ‘he business of making r- • ence, increased accident ratio and de- similar action the levy may at any time Commerce or the business men of the INGTON, KENT c HESTB.A. considered “Shadows,” and they could not j*.ye,t la “fancy—and the reason for A large amount of the world’s work has creased organization morale,_ be discontinued. towllf because these men know that | inherit property, recover debts, nor partake ,*.“7. 0t developrnef‘ ls eas,Iy under' ceased to be a creative effort and has The benefits of music in industry do Clarinda was the first town to vote hand is the biggest advertisement, the of any Christian sacrament. TjTT1?” whlch Can boast of become a soulless drudgery It has there- not end with the walls of the factory. under the new state law to put their band biggest booster a town can have. The whose soHunPiL11;35! ai “ih.tary ba,"d forc- become a vital necessity to introduce The individual worker carries the gospel a permanent foundation. The tax 0id Village Band in many cases has gone The First Band Organization Tnd tn °r , ls to ead In parac,cs into the life of industrial workers a recrea- of music and its exhilirating effects provided by law shall not exceed two mills to pieces because the “fellows wouldn’t TT WAS NOT a breach of etiquette, carrving share3 °! S°U"d tional p^gram centering about those his home, and then its power for good on the dollar; so, while the people of a practice” or the first cornetist moved away, 1 however, to allow these wandering great distances’ tn ^ , °VCr things whit'b give every individual I spreads into the community, community may receive the benefit of good gut aiong COme the boys, full of ambition, music furnished by their own band, they ou, for big glory and little pay, and once vagabond bands into the homes even of paraLra rny march S Jf chance’ at leas‘ “ a small degree, to ex- r _ „ high estate, to learn from them the ancient occasion The narade e spirit of the press himself. This is a matter not only Less Fiddles, More Horns will hardly notice the amount they are agajn the crowd gathers every Thursday- called upon to pay for its support. The njgbt around the bandstand in the Court tunes they had preserved. They played a necessity and is „spf„n na 1 ** of human i,lterest but also of actual busi- FREDERICK STOCK, director ol u«c ------* r™,- « . ™ HJ —- -- dance tunes, song melodies and marches, and for that reason its insfr„m a<_e- ’ uess imP°rtance. because anything that T widely famed Chicago Symphony Or- wisdom of the law is attested by the a House Square. , and but for them a great deal of the music so devTsed as |S makes *or happiness and a contented mM chestra, is another who sees a brilliant ‘ha‘> ou‘ of ,thef first hundred towns to Besides playing for all the local and of the day would'have been hopelessly ^THoun^ A?? ttbp ““f n,Um '’°l automatically increases efficiency and pro- future for the village band. vote> ninety-eight voted to use the tax for often state, functions, these School Bands lost and forgotten. But there was another speakthesetn^ S° t0 ductive power. “The time will come in America’s de- a local band' . . have their State, Regimental and National class of musicians in those days (13th are usuany t;le onIy music-making organ* In the textile industry of the South, velopment,” he says, “when every com- Clarinda has fifty men and boys also contests where they compete step by step rgest single industry in America, one munity, large or small, will have a good a fcw gllds> are of the wo f°r ^ hT°rS: if ^ r rZ r!enormousi "operatorgk tis reduced labor turnover band of its own and will not depend upon and uwho are members °f, tbe pnudfy carries home the Silver Cup. day. These men, fearing to be classed glVlng concerts- from twenty per cent to three and a half the itinerant musician to supply something bands vvhich are now receiving tl,e towns Sometimes at the National Contest as THIS SAXOPHONE BAND with the wandering vagabonds, combined „ ( , per cent through his co-operative plan which should be part of every city’s civic support. many as two thousand young musicians for their mutual protection. They or- *Use °J the Concert Band which„J1IWI featuredieaturea musicmi among the eo- life. There are too many pianists and The Village School Band ^lll jom in a final concert led by John belvidere, tenn., in itself h, | asset to the church \ POPULATION OF ONLY 100 BI IT IS affiliated, all gi olovees. Prartir-alh- ,mru mill in this in-.Sviolinists in the world todav who can olav * ^ tttal. nnf^/Msts and violinists. This talent might There afe i;terally hundreds of these EVEN THE CHURCHES have caught "drlno«”£ U-TtjgS.'K i 1, turned nto » profiuH. b„y,. tand, i„ ,«„ly every S,«e. Schools the toot-your-own-hom spirit of the six bandsmen played at a citizen’s wedding of ‘he future will be the equal if nof^ ’n m.any StateS a,fe glvm£ proper credit now day and are organizing bands and or¬ they were subject to a heavy fine. Their-n.snnprmr superior of,,I the*1,0_1_. orchestra, C ‘he ,.__.major landers’ ... . band of_rmiKTY page couxty farmers wholuwn Uhaveiv> madey,Arvo quitenirm aa for instrumental music study either in or chestras. Here especially the young ladies instrumentation was poor, yet they were reputation for themselves throughout the state of IOWA. out of school. For the first time in this take an active hand. In many congrega¬ the first attempts from which our modern MAJOR LANDERS SPONSORED the FAMOUS IOWA BAND LAW. country boys are taking a real interest in tions the band has become a distinct unit The Song of Industry village bands originated. r»nT mreb music. And music is giving 0f administrative affairs. To-day, it is estimated that in America £)U1- . .. has another HM| this younger generation a cul- alone over 200,000 musicians are playing . . ImissionJnssion 111 life than tural advantage that will never Deaf have Ears 1 village, town and city bands.* "There'rLJt tertam us‘ , ,The “Village’ be measured. QTRANGER STILL, the Illinois School Too few of us realize, as we ^ for the Deaf has one of the finest THE SINAI COMMUNITY-BAND OF SINAI, are every class and kind and size of •’ dressed in overalls, plays listen from the curb-stone to bands for its size that ever trooped a OHIO. ITS MEMBERS ARE YOUNG bands, providing music for the folks in ij-'v 1®portan‘ part in industry, FARM PEOPLE WHO. ENJOY every nook and corner of the land. Toe hard heads of big business the music of the boys’ band as concert tour. Every one of its twenty-two MUSICAL RECREATION. are learning that a good band. they march down the street, members, including the director, is stone They Lead the March of Progress ™ade up f rom the roll of fac- that something vastly more im- deaf—born so. And yet they play to- portant is going on in the con- gether with a precision and tonal perfect- Yes- The village band is one of the turaowfto^1^^ ^ sciousness of those boys than ness that has absolutely bewildered some / noblest of American institutions. It and production of S Y the mere matter of making of the foremost band leaders and instruc- is doing its work for community better- ployees 1, • em" music. A vital process of char- tors of the country. ment. And no town is too small to have 5SyS^Jttpp,ness a,ld acter development is taking How did they learn to play? Well! a real band of its own. For, given half the relationship place. A man is in the mak- First, to teach them rhythm, the teacher Ployer and employee , ing—a citizen of the world (Continued on page 701) Page 672 SEPTEMBER 1927 the etude Page 673

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Wurlitzer Grand Piano Co. Dept. Z Box 825 Chicago, Ill. Extension Courses Growing in Popularity Each Month

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in the first mail ^ou^rha^ha^ }°U w cl'§ the couPon below. Get it waste any more time' ^Thp^n, 6 ad many times before. Don’t essons which will be of untold value +-°U information about the More than 200 000 amh ril ^ ° ,obll-?atlon on your part! n these various branches oVnrnsiJTv file 7]°™” have«aincd proficiency Vnd to you we offer the sameTvuLt, University Extension Method. Same advantages which were given to them. IS Is Your Opport:unity—Mail the Coupon TODAY! •=ss5sssas»s-^r.- Please send otreet< Chicago, Illinois. __rse I have marked with’aiT'x* be!ow°nS and ful1 inf°rtnation regarding □ Piano, Normal - □ Cornet, Amateur □ Violin □ Cornet, Profes- n d- Teachers sional □ Guitar u Piano Course for □ Ear Trai ning and Students □?:?«

■«ser Co. # From here go back to the beginning and play to Fine; then play Trio. International Copyright secured Copyright 1927 by Theodore Prei Page 674 SEPTEMBER 1927 *****>*, WOODLAND DAWN WALTZ Equally good for dancing, recreation or recital use. Grade 3±. G. N. BENfiru,

5\ i yff^j [,^7T7l y Oyf ^Pespreesim '--- ' L- ^---~ mf

j**—* * * * ,rn '!—~} l_ - —--1 *-- l ^ -' 4_i_ ~ f-5- a tempo # « 1 -^ .r-ftj, b|I 1 F hi l i_i Fir if- —

£ ff ^T^7 r tjf

P 4

—a

[2 ^T~] f -1 ~ 1 -pj—j-.C-s| ^8)^-- =^-j 71/X——j 1

|b"--— 11 8 8 5

TRIO

* W g„ b.O ,be « pl>? „ * L British Copyright secured Pig* 676 SEPTEMBER 1927 VIVIAN A very taking modern intermezzo. Grade 4. CAPRICE Allegretto grazioso m.m. J - iee

Copyright 1927 by Theodore Presaer Co.

British Copyright secured Co. # From here go back to $ and play to Pine-, then play Trio. British Copyright secured Copyright 1916 by Theodore Preeser P*ge 678 SEPTEMBER 1927 A MOUNTAIN DANCE IgttTVD* StPTMMBtR mi r.ge 679

M.L. PRESTON

A little burlesque military march. Grade 2j.

British Copyright secured British Copyright secured Copyright 1927 by Theodore rresser Co. Page 680 SEPTEMBER 1927 ISw.,Full,with Reeds, Box open. POSTLTJDE THE ETTJDE SEPTEMBER 1927 Page 681 Gt., Full to 15th,coup.to Sw. STUDY IN D MINOR, Op.45,No.l5 STEPHEN HELLER Ch.,s;4;&2; coup.to Sw. A VAGABOND AM I Ped.,16'& 8', coup.to Gt.& Sw. Arr.by Orlando A. Mansfield D LUISE GARDINER Sometimes known us “Warrior's Song!’ GUSTAV KLEMM Con spirito e abbandono Sgkh. - EEE3 f*:= J-LJ-r ■ p r j -ifN _. — winds in my heart, in my cry of the night, no- ^ 4>i /T\ -Jw- > 1M 1f r g p= a tempo l-4V-rl». 19 4 — baa

e** m m^ . r—^ r—n . ^ . • « #- ^ *

t —— ^ Sw. Box close^S * « ^w. ib. Sw. ,_.» dec-re sc. titt f g( r i r

> ^ . nth a friend-ly face— in ev - ’ry land., The peo - pie and the king are nine ’Neath trade_ I am the man— the sun - God made— The cap - tain of my fate I ride & ^ J"M' V M ~ r ^ f r f.it #* b J IW

i pocorit Irrif T t-pi&Pr^rf^ fare forth’till South is North- For nev- er lone_

to Gt.

Copyright 1927 by Theodore Presser Co.

Copyright 1927 by Theodore Presser Co. British Copyright secured THE ETUDE SEPTEMBER 1927 Page 683 Page 682 SEPTEMBER 1927 ?HE ETUDE THE RAINBOW TRAIL FREDERICK H. MARTENS FRANCESCO B. DE LEONE

IF WITH ALL YOUR HEARTS J. E. ROBERTS

British Copyright secured Copyright 1926 by Theodore Presser to. British Copyright secured SEPTEMBER 1927 Page ■fSB ETUDE

Educational Study Notes on Music in this Etude By EDGAR ALDEN BARRELL

'4r0f„ur-mUuereTnVoduc*on “admirable; it fin^e the sixteenth notes short enough! In I

£?!&»%'**»* a " iStP T~He,r"-by '• *•Rob- -SZZ,a!»A TS I

The “Princess Grand”

A miniature concert grand this de¬ lightful piano is often called, for it imsms.._ offers the musical advantages of larger • , , only “rather quickly” beS^inthe editor'll preface to his article { grands with case design and dimensions ideal for the modern home. Exqui¬ sitely .finished in figured Adam brown mahogany, satin finish. Ivers & Pond PIANOS are built today as in 1880, in all types, but in only one quality—the highest, by the same interests, with the same artistic ideals. Over 600 leading Edu¬ cational Institutions and 75,000 homes use them. For latest catalog—showing favored styles in Uprights, Grands and Players, write us now.

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taste (Continued on page dp;) Page 686 SEPTEMBER 1927 SEPTEMBER 1927 Page 687 THE mi THE etude Stumbling Edited, for September by Eminent Specialists ' of Julius Hay, a Pedagogf? ^ portance that the lower lip should not to sing. Only by articulating the vowel on the initial consonant, a blunder which Richard Wagner paid ,,?J , .fc IT IS THE AMBITION OF1 THE ETUDE TO MAKE THIS VOICE Author.) e-—Tht leave the lower row of teeth, for in case distinctly and in good taste is it possible to results m wasteful explosions of breath of * overlooking this action, the singing create a beautiful sounding o. The tech¬ which undermine the vocal sound and DEPARTMENT “a VOCALIST’S MAGAZINE, COMPLETE IN ITSELF.” 0f o with a good resonance is an impos- nical principle of this vowel is to direct which render tiie articulation of the con¬ The vowel «. has «, the position of the lips as in o tp a. slightly sonants both faulty and indistinct. They Hon8 »» different language^ are several kinds to be distil, • ,ete contracted shape, whilst the tip of the do not seem to appreciate the fact that suit what may seem to be the convenience It is, therefore, necessary *for teachers The long and closed, the short olT^' tongue is pushed towards the front; on consonants: and vowels are formed by of the singer. The* idea that the voice to be constantly on the alert to guard the obtuse and obscure. ]n th« iPetlan(l t F THE O is at all guttural in quality the guidance of this depends the beauty separate and opposed actions, that conson¬ cannot sound at its best on short a, short their pupils against any possible miscon¬ closed c the tongue is a trifle Zl °ng. *1 1 the student should endeavor to practice of the sound. A good way to accomplish ants form a natural obstruction to breath, or long e, is false. It is the result ceptions. the o with its auxiliary vowel i—as in bio, this, is to practice o—o—c with preceding while vowels depend upon the free flow of an imperfect understanding of the part than in the open. Beginners Often?®1 Here is just one instance of a dangerous the habit of sounding the vowel c nio, tion, riot, scion, pious, viola, lion. The consonants:—no-no—-tie; lo—Id—le; mo— thereof, that therefore the two opposed which the pharynx should play in vowel misconception which frequently occurs and ion “i”). Therefore the pupil shouM, vowel i lies more in front of the mouth mo—me; and cl—ol—el. 0 is principally actions cannot be attempted at the same formation. which prevents guttural articulation and moment without disaster. which may work great mischief. The ways practice this vowel in particulartit used in the words connected with love. gives the tone the required smoothness correct statement that the primary vi¬ a broad position of the mouth ’ r Lover, beloved, lovingly—above, enough. If you will place your speech organs in - Equal Beauty of sound. It is advisable to produce a position for articulating the following brations of voice proceed properly from b. Ukc„ ' I' HE VOICE CAN be made to sound clear o in practicing these examples. Any consonants, P, B, F, D, T, K, S, G it the glottis, situated inside the voice box sharply. Singers often raise the bl! U(oo) equally well on every one of the approach to pressure on the pharynx must will be found that it is quite ’impossible jaw too much and thus produce a HE MOST DIFFICULT of vowels vowels, whether long or short, if you (larynx), is apt to lead the unwary stu¬ be avoided conscientiously. 0 is used in T to emit a vocal sound while the contact shrill sound. Sing or speak, gay, lay is u, on account of the high position only know how to relate them to the dent to suppose that the right thing to words of emotion and religion, noble ex¬ of the parts is maintained. This will prove may. The open or short e, which? of the lower jaw, .which causes the nar¬ voice. To know how is to allow the do is to think of his voice as proceeding pressions. God, Lord, offer, noble, motive, to you at once that vocal sounds must proaches thfe quality sound of a is eenl rowing of the posterior ends of the vocal variations of space in the pharynx to from that, part, that is, to direct his con¬ dome, orthodox, monk, holly, organ. In follow the consonants when the contacts ally produced by the consonant which adapt' themselves without interference to sciousness to his larynx. That, however, chords and thus checks the requisite power of the articulating parts give right of precedes or follows tl„- vowel e. The ob¬ Shakespeare you meet o as expressed of the different musical pitches of tone. This of emission of the sound. No vowel way to them by separating. is one of the worst things he can dol great mental stress like in Othello, Act V, adaptation of pharyngeal space takes place tuse and obscure c has to be articulated shows more the skill of a vocalist than And why? Because the fundamental vi¬ in smgmg like the close and open e Ever Scene II: Ol monstruous act! O! Des- of xtself and calls for no attempt at the vowel u; therefore special attention is brated tone is only one of the elements demona, Dcsdcmnna dead! 0! 0! Ol And O as other mothers are doing—have your children Two Fatal Faults herd, fuel, brave. V. is very useful vowel required. Great patience is needed in order D adjustment -on the part of the singer. of which voice is composed, and because in Macbeth, Act V, Scene I: All the per¬ for the practice of students, as it possesses to learn the true management of this vowel. 'T'HE FAILURE of singers to take in- The singer has only to conceive the musical the larynx is only one of the parts en¬ fumes of Arabia will not sweeten this little taught to play the piano while they are young. pitch, and whatever vowel belongs to it, the faculty of bringing the tone in front. Not to impair its beauty, an important , to consideration this obvious natural gaged in the production of voice. There¬ Physiological is the tone color of e indif¬ hand, Oh! Oh! Oh! law causes them prematurely to liberate as a unit of sound and to allow free play rule is to open the throat wide, keep the fore, the tone that the student is taking ferent; and this is used mostly in everyday Children can be taught so easily then . . . when minds the breath. In liberating the breath to to the parts of the throat to adapt them¬ tongue low and let the lips assume a broad selves accordingly. such pains to place-just where he is expressions. Ever, gj-cut. made, left, best Oi position. Never fall into the habit of are alert and hearts are responsive to beautiful piano the vocal tone and making the contacts told that it has its origin, is necessarily shelve, bed, sell, settle. In following these directions the singer HIS DIPHTHONG belongs to the narrow, pointed-shaped lips, as often is for consonants at the same moment, one an incomplete tone. It is lacking in the T music. will then become conscious of sensations group of clear sounding ones. The the case with singers. This spoils or de¬ of two tilings, equally fatal to artistic complementary tone waves excited in I—Italian I (EE) which he has never associated with the position of it lies in front of the mouth. stroys the beauty of the vowels and res¬ smgmg must occur: either the vocalized the upper resonator. This is because he is Start the lessons now ... and start them correctly with a forrnation of vowels,—sensations of vowel- '"PHIS VOWEL resembles in articula¬ Untutored voices often separate the diph¬ onance. On account of its darkish tone breath forces open the parts with an ex¬ limiting his possibilities by having in mind ized tone perfected in the upper pharynx tion the c. The same position of the thong when singing, which is not permis¬ color, « is mostly used in words of placid, Brambach Baby Grand, for a grand action makes good plosive action, involving muscular effort a place instead of a sound, instead of the above and back of the uvula and quite mouth ,s adopted. The upper lip should sible. The two vowels o—i should be ordinary and material state of things, as and hardness of tone, or, the articulating tone itself that he is about to utter As independent of the front part of the be slightly raised, more raised than in any blended well and both sung simultaneously. in: book, room, smooth, noon, wool, boots, piano playing easier to learn. parts fail to come into the close contact you cannot put your mind on more than required for the distinct utterance of tongue or mouth (the original glottal other vowels. If that is omitted, the sound Oi assumes a clear quality of sound when wood. one part of your anatomy at the same words. If, however, you make the silent vibrations being without sensation of any becomes dull and without timbre. In sing¬ The Brambach Baby Grand has tonal qualities of unusual moment, you will naturally infer that contacts of consonants before the vocal tone, sort). This whole process is so natural ing « the natural tendency is to drop the m directing your consciousness either to richness . . . full, golden tones that thrill and inspire with each will have its innings as a separate’ so simple and so easy, that the wonder is lower lip, which must lie strictly avoided, How VYCelba Studied a Song the larynx, the head, the mouth, or, in act, with the result that the words of a that it has not been recognized by the as it would give the vowel, equally as in e their sweet resonance. tact, any one part engaged in voice pro- By R. Thur song will be heard as distinctly as if they rank and file of singers during the last a piercing, shrill sound. / is used in duc ion the result must be an incomplete were spoken, not sung, and the voice will quarter of a century. Those of the old words of endearment or sweetness; its In a biography of Melba by Agnes G. vocal study, and as a general rule it may This fine piano is ideal for home or studio use. It is vocal tone, a tone lacking in the dual sound as free and as clear is if there school were wiser—they knew enough to pointed, fine character lends itself par¬ be safely laid down that it invariably min¬ Murphy, the great singer includes a chap¬ wonderfully compact—less than five feet in length—and were no words to hamper it-! Remember let the vocal mechanism work of itself I ticularly well to the state of noble feel¬ ter which shows that she uses her brains imizes the possibility of those refined, soft resonance.SSL,0* The sooner the habit ™ofi asso-£3 that wherever a.consonant occurs, whether Many stumbling blocks are caused by ing and ecstasy, as in Idcss, kiss, singing, as well as her voice in studying a song. effects which are not only a charm but also is priced reasonably. at the beginning or in the middle of a misunderstandings. Whatever facts may deary, greeting, uniting, imperial, visits, “Before even attempting to hum over a necessity to artistic singing. During meals, spirit. word, it is a natural and proper inter- be stated regarding the physical processes yourself fr S°°ner you emancipate any music,” she says, “I am always care¬ practice students should always hold their Send coupon below for the interesting booklet, "Genius ruption to vocal sound. The interruption of sing mg, no matter how clearly they of vote W ^ fllshly consideration ful to phrase it on the keyboard and com¬ forces well in reserve; and if they sing the r—I (English as in Eye) Deserts the Attic,” and for a paper pattern showing the should be as slight as possible and there¬ are put, there is always danger that the you eniovJ th S°i th® sooner will mit it to memory. Young singers too often upper register pianissimo in private, they student will form a wrong idea of the fore a nimble action of tongue and lips ’T'° ARTICULATE this diphthong in take a new song or role to the piano, and, will find that the forte effects will readily exact space requirements of this beautiful Baby Grand. is required. part he has to play in profiting thereby! which. aXntttniram! good taste, it is necessary to blend without any knowledge of it, begin to use respond when the public performance de¬ melled expression of yourself. the clear vowel a with t. however, without and waste the voice in a preliminary that mands them. On the days when I sing in Short Vowels accentuating or dwelling on either of these could be accomplished equally well on a opera or concert I run through a few A NOTHER STUMBLING block in the 'She Singers “Stop” especially. The moving of the jaw should mechanical instrument. They chop and scales in full voice during the morning, way of singers is that they have be energetic in this case. )' and I are hack at their voices, not in any effort at By H. Ellison Howe and if I cannot sing top D perfectly I con¬ grown accustomed to regard certain vowels mostly employed when expressing action, vocal accomplishment, but merely for the EASY TO OWN ONE as harmful to the quality of voice- for There is a point at which every singer as m fly> striz’c, rise, high, dying, strike, sider myself out of form.” times the voice must float ■, purpose of memorizing. instance, short a (as in and; short e (as must apply the emergency brake and come defy, write, spied, buy. Wise pianists, of course, follow a simi¬ Because of enormous pro¬ breath. Whenever ti • &t ESl y on t!le “It is only when the words and music are duction the Brambach m end) and long e (as in me). There to an abrupt stop; and that is the moment 0w~ou is a comparatively easy diph- lar plan by studying their pieces away when the temptation is felt to use more firmly engraved on my mind that I use my Baby Grand is moderate is no doubt that these vowels, as produced Tf 5' 's d,e most natural sound of all. voice on them, and even then I spare it as from the keyboard as well as at it. By- in price—within the means by a majority of young singers, with for¬ votce than that particular organ was cre¬ If the neutral vowel a is sounded with the ated to stand. much as possible by practicing the top studying the notes, phrasing and fingering of all. Ask your dealer to ward pressure of the tongue, acquire a t C!inging to lt* y°u have the tone ow—on. notes quite pianissimo, except on the rare beforehand like this, the fingers uncon¬ show you this fine instru¬ More voices have succumbed to the ment and to tell you how pinched and most unpleasant sound 1 So It belongs to the obscure vowel and has a occasions at rehearsal where the full voice sciously adapt themselves to the require¬ bad an effect do they have on the voice forcing habit than to any other. Nothing a large reserve of voca^n eg‘nnm§ w‘tll good effect when sung in the low register. easily you may own one. is needed. Practicing high notes forte is ments and are ready for their work at the that many teachers, not knowing how else so soon wears away the edge of those ~u and ow have a sombre, serious, some¬ °ne of the most pernicious customs of keyboard when the time comes. otherwise to correct it, tell their pupils velvety tones which are the first charm times sinister character in the English ot the singer’s organ. to change the sounds of such vowels to “driving” the voice! ^ *** Sensatio" of language: proud, mount, crown, power, Young singers, in their enthusiasm, for¬ something else. To cite one instance, howled, hawk, cloud, crowd, shower, down, get that a reserve is the artist’s greatest The (parrying Voice they are directed to change deliberately thaToftffoSg the W form than doubt. source of power over the audience and, in the sound of short a (as in and) to the self. PowerZtVbr,:0-^^1^ il' By Stella Parsons their abundance of spirit, push their vdices PART VII broad Italian.a (as in far). Thus the ;holeastofdiscoverablebeJ‘ta-odwithout to their limits of power. No greater mis¬ When singing in public the best way more distant point than is necessary when . BRAMBACH HE VOWEL “O” in the English words occurring in Handel’s “Messiah,” take could be made. limit. Any power , 1 the ng,rt T to be sure that the voice is carrying to addressing a person close at hand, BRAMBACH And he shall stand at the latter day,” be¬ language has various sounds, like No way is so sure to overcome this ten¬ which in any way Lxes 1 ^ this’ PIANO COMPANY the “e” and the “i.” There are the all parts of the hall is to address the song BABY GRAND Mark P. Campbell. Pres. come “Ahnd he shahl stahnd aht the lahter dency as to cultivate the feeling that at all the breath support ? L V°Cal cords or day’—which suggests some foreign lan¬ bad results. ’ UnwiSe and sure of 01}s °> the short o which may also be to .the most remote corner. If this is done NEW COURSE of SINGING 623 West 51st Street. New York City called closed, the open o, and the obscure ^675 Yes, you may send me without charge guage—anything but English 1 with the proper resonance and enuncia¬ by CORRESPONDENCE the descriptive paper pattern and the inter¬ A singer has to do verv much *imro ,, . This> of course, is all wrong! There ° Tu,m cotion- ii°”, honor and actor. tion, every word and tone will be heard esting booklet, Genius Deserts the Attic.” the long o is articulated by narrowing is no excuse whatever for perverting the A/so Harmony CorrespondenceCours the lips and sounding the vowel with a distinctly by all present. Just so, when one legitimate sounds of any language to zs&p. 'Z'v/fZZ ti cXamt- are requisites; and experience and, in his audZr's’Lj^^ him To Hear timbre. In the short o the mouth wishes to speak to someone in the next should adopt a broad shape. To gain .3 room, one does not need to shout to be steady position of the pharynx, which m sard but merely to send the tones to a clddrtrb _ SEPTEMBER 1927 Page 689 Page 688 SEPTEMBER 1927 IBE eme tHe etude casion. The people enjoy an old well 1 Getting the hymn, and unless dragging sets .Veti Gregrory the Great wholly different thing from slow rhJk"? Article Two of a Series COURSE IN (Congregation to Sing singing—he should be content with t: C ing all together. ReeP- “The Church the Cradle of Modem Music” By using inverted positions of ch a Theatre Organ Playing By Marcus A. Hackney wherever practicable and effective he By Bertrand'Brown largely offset any tendency to come f'*'1 Two- and three-manual Kimball theatre unit organs for TTYMN-PLAYING is not taken seri- he GREGORGIAN AGE of music ten before 600 A. D. In the strictest lessons and practice. Special course for pianists changing 11 °usly enough by many organists. T a more final sound than when invent sense, the Gregorian chant is the Roman Young organists are apt to be too noisy belongs peculiarly to the church. to organ. Advanced pupils have the advantage of lessons therefore these changes of position i ' form of early plain chant, as distinguished and erratic; old organists, dull and per¬ In church decrees of today we find things more “on the move.” The H6p from other styles and before the advent before the screen under the same conditions as prevail functory. It is hard to say which is the modern music as distinguished from that in any large theatre. Graduates are in constant demand, worse. To accompany hymn-singing really inant seventh chord in its first and thffii ” Ssory *« MiddTe Age, m«n- of polyphony. inversion, when the rising or falling n well is a fine art the mastery of which will tioned as “musica,” whereas the plain at big salaries. The Plain Chant Character add more to the organist’s local reputation, is taken by the pedal, is especially stthe! song, or plain chant of Gregory is termed in this tendency of “carrying over”-* not to speak of his real usefulness for good, “cantus.” IT HAS an indefinable, mystic character. Write for Catalogue E. reality, resolving. Organ playing that 5* than the ability to play all the most difficult just yourself to conditions as they exist in along, neck and shoulders, by mere noise, This distinction, made so many cen¬ The name itself originated from the concert numbers. your particular case. dull has usually too many chords in rnni turies after the death of Saint Gregory, Latin word “planus” meaning “level,” VERMOND KNAUSS SCHOOL OF but play in the same way that you would position. We take it for granted that any organ- In the- comparatively-.-j few_ placesr-_- where an old hymn. If the congregation still are conveys a real appreciation of a difference and this implies that even movement of THEATRE ORGAN PLAYING Pitch is another very important thinv which may be felt even bettef than it may ist worthy the name should be able to exe- . voices predominate’ ' real* diapason•• timid about joining in. use a slightly stac- melody which is one of its chief elements. Allentown, Pa. cute the notes correctly and keep proper with or without reeds, may be much cato touch and add 4 foot coupler, SW. A congregation is not a choir and cannot be expressed. For the Gregorian Chant, But the most important characteristic 210 North 7th Street be expected to soar to F or G. As mos rhythm, also that he has an instinct for : freely used; also with ordinary con- to GT. When you can hear a few more as we know this music, is truly sacred; from'the standpoint of theory is the rhythm. the_ - proper* tempo—- of ~vany o-'-..given hymn-ti gregations, in the Doxology, or in any good voices joining in, you may add a few more of those in the pews sing “the air ” the it is not, as someone has said, wordly No other music can rival this in ap¬ This settled, there still remains great choice rousing tune which everybody knows, stops and you will presently hear still more key chosen should be one “comfortable” music dressed in the garb of a priest. propriateness for the liturgy. Saint in the matter of registration. He must But, even in these, high pressure reeds voices, for the voice, where there will be no strain Saint Augustine wrote, “He who would Gregory, in fact, compiled the l.turgy as I read the words of the hymn to himself, should be avoided. and little danger of going off pitch E-flat sing to God must have God in his heart.” well as the music of his time. He also I QMLMANT ORGAN SCHOOL and follow the general sentiment, but in a Using an Old Tune is usually the highest note to which a No one can enter the spell of the Gre¬ founded a musical academy which had a I AUSTIN ORGAN congregation can well rise. If higher gorian chant without having God in his far-reaching influence. Dr. William C. Carl, Director f«y some will try to sing, but be so afraid of heart, just as Gregory had so many cen¬ A certain familiarity with the plain A Steffi sari1 Tad*? - w * * and vicinity, testify to the reputation Aus¬ Teacher of Organists inartistic in themselves, but will actually When all is said and done, there is no It sometimes happens that the occasion the sound of their voices they will not be turies ago. chant is necessary to derive the maximum tin organs have gained. Made of absolutely stop ■ people from singing, for they will e®ect °f congregational singing equal to is of such a nature that the words of a heard; others will decide not to attempt highest grade materials, they stand to their of appreciation and inspiration. The ar¬ work with record unparalleled. They are A Distinctive School for Serious Students have an instinctive feeling that certain re- .tbat °*-a favorite old tune that everybody certain hymn is called for, yet it is un- it. It need hardly be pointed out that The Plain Chant tistic reserve contrasts with figured music always dependable, as any first grade prod¬ finements of expression are being at- knows; but, if the minister wishes to use wise to risk the effect of an unfamiliar uct is dependable. An instrument taken every organist should be able to transpose of the secular world and requires at first a from a New York church af|cr twenty-five tempted with which they are not acquainted aP unfam'har tune, the organist should be tune. In such a case, observe what the readily. ■ THIS PLAIN CHANT, as it was Free Fall Term called, has been tested many times. willing ear. The tonality and rhythm and which they may mar by their at- tPe *ast one t(? P*ace anY obstacle in the meter of the hymn is, “L. M.,” “S. M.,” erty? was found to be in perfect playing Scholarships October 4th For almost four centuries after Gregory, produce an effect more deeply felt after tempts to take part. The Hutchins’ way enlarging the repertoire. On the “7,6,7,6,” or whatever the case may be, initiation has made possible a quicker re¬ Loud Accompaniments it was the only music of the Church. Ntw Prospectus Ready Hymnal, used in the Episcopal Church in °, er band’ be should take all pains possi- and consult the “Metrical Index” in the sponse. former years, though now happily being We to have it “make good.” It is a great hymnal where you will find a list of all Even after then it held its own; for on AUSTIN ORGAN CO. X\f HEN ALL are singing in unison, [a 17 East Eleventh Street, New York displaced by the much superior New Hym- . . ln ™is case, to play over the tune the tunes in that meter. By searching the one hand it developed in its own right, Woodland St. Hartford, Conn. , ful1 organ may be used, provided The Chant Preserved nal, furnishes an excellent example of how ?.1.ving ■ e nielodv, say, to the GT. Open among them you will be almost sure to and on the other furnished a basis upon the instrument is not too large. However HE SIXTEENTH CENTURY was not to do it, being marked through all the diapason, playing tlle alt° and tenor with find some familiar tune which can be used which its rival musical systems were built T TINDALE when accompanying the choir or a solo verses with constant changes of f, p, ff, the e“ hand on the SW., the PED. being for the words in question, and this solves and from which they were developed. a*time when vocal polyphony reached voice alone, one has to be very judicious. its point of highest popularity, and the Gre¬ Music Filing Cabinet Pt>, cresc., dim,.no and the like with appar- ,coup,d °nJy the sw* 0r> one may the difficulty. But it will be wise to try There came a time, much later, when 0RG0BL0 Part-singing can easily be spoiled by too gorian chant reached its point of greatest ent reason. keep both hands on the GT., playing the it over beforehand, as it occasionally hap- Gregorian music had lost prestige and was The true Standard^of Ex- much organ. In solo work, the higher neglect. The story of how the plain chant School and Conve The pure diapason tone is rightly re¬ melody in octaves with the right hand, the pens that verses which are theoretically in little esteemed among most men. Never¬ notes of a powerful soprano, tenor or was preserved and how the purity of the garded as the grandest and most churchly inner voices with the left. When the sing- the same meter do not have exactly the theless the Church—even when she Winner of the highest award baritone, can usually lx* heard above a early music was kept or recovered is inter¬ tone of the organ, but it took the present ing begins, do not try to pull the singers same swing when applied to music. neglected the plain chant most—still re¬ considerable volume of tone, but, as they writer many years to discover that, unless garded it as her own and suited to her esting. Special Orgoblo Junior for descend the scale, the organ should grow The Benedictine monastery of Solesmes Send for list oI the congregation is really blest with plenty services as none other could possibly be. Reed and Student Organs. more and more subdued. It should also was devoted in the nineteenth century to of good singers, including a fair propor¬ making the plain chant accessible to the TINDALE CABINET CO. tion of men’s voices, it is not always wise Service Playing be borne in mind that an accompaniment The Return 40-46 Lawrence St. to use it freely. The same is even more which sounds quite soft to anyone beside new world which ardently desired it. Two Flushing, New York By Henry C. Hamilton or quite near the organ, will be heard much THE VOGUE of figured music for monks, Dom Jausions and Dbm Pothier, true as regards heavy reeds. If the organ the Church proved to be transitory, more distinctly by those in the pews. If were leaders in the work which consumed tone is more intense than the human voice, PART II whereas the strength of the Gregorian the organist plays up to a point that sounds several decades. the people simply w.ill not sing; they will ANONIC IMITATIONS import in¬ Chant gave evidence of eternal quality. C mas Oratorio”—the chorale Now Ven¬ fairly loud to himself for a soloist’s ac¬ Thus when Pope Pius X turned the only listen. It must be kept light enough terest, in addition to supplying an in¬ geance hath been taken. It goes to show companiment, he may rest assured that it Only on this belief can we conceive of so that they can hear themselves sing, and, fectious onward___., movement, such „as thoughts of the Church toward the Gre¬ how really modern and far-seeing Bach will make itself unpleasantly prominent Pope Pius X in 1903, so many centuries at the same time, strong enough so that the following, in the theme of the hymn, after the age of the plain chant, decreeing gorian chant in 1903, the monastery at is. Few will deny that Bach’s piety and to those a short distance away. A great they feel adequate support for their voices Come to the Saviour. the return to it as the traditional music Solesmes was able to publish the results sense of the fitness of things was a pro¬ deal of useful information on these matters A typical setting of stops for a tune of of the Church. From the time of Gregory of its labors and the devotion of the nounced quality of his character. True may be found in Dudley Buck's splendid average character, has been found to be in the sixth century to the time of Pius monks was hiade extraordinarily useful. some did complain of his introducing work on “Choir Accompaniment ” about as follows: "Come to the Saviour’ X in 1903, the plain chant has intensified Divers strange sounds” and “surprising A middle voluntary at the time of the Today we see the Gregorian music re¬ GT. Doppel Flote 8, Gamba 8, Flute spiritual life and emphasized something variations,” but these people are to be offering is customary in many churthes.. stored to its former glorious position as Harmonique 4’. of grandeur in church worship. mund occasionally in any church. The organist is here confronted with the the property of the .Church, the devotional SW. Viol d’Orchestra 8, Oboe 8, Stopped The term plain chant takes us back at A tune so well-known as that used to necessity of having in store a number of melody from the time of Gregory the Diapason 8, Soft .Mixture. once to the time of Gregory, although it is SUMMY^S COJZJNEjR the hymn Stand up for Jesus, being of more than usually short pieces that can Great and still the purest and most inspired PED. Bourdon 16, Flute 8, with SW a pronounced rhythmic type, could, with not to be understood that he in person be nicely timed as to their finishing. Im¬ of sacred music. and GT. coupled to PED. telling, effect, be sung in unison, a^d the wrote all the plain chant melodies. Yet OUR provisations are sometimes to be heard at (To be Continued) SW. to GT., unison coupler, adding 4 following type of free accompaniment most authorities agree that all, were writ¬ ft. coupler for bright effect. this time, but unless an organist is pecu¬ liarly gifted in this respect, his work will . W.hen the people are well started in the “STUDY SERVICE SHEET” not be possessed of fresh interest Sunday singing, and are producing a good vol- „ , . More About the Bamboo Organ No. 28 ume, the Open Diapason may be added Moreover, this suggested treatment does Ex.4 "Stand up for Jesus” 3fter Sunday. It is better, as a rule, to To the Etude : have some short piece prepared, where an My attention has just been called to a will be ready for distribution this month (Sept.) and, if you get to a verse where the senti- lnterfere Wlth the written voice parts, little article in the November issue of your hey will respond after a fashion. It is ending could be made, if necessary, at journal where there is a small description of me that he has been so handicapped by ment is very intense, the Cornopean may ,u“en a Verse ls sung in unisoll> of course, nf funds. The fact that Manila has The “STUDY SERVICE SHEET” was first introduced about be added to SW. or the Trumpet to GT t,heorgan accompaniment can assume a still more than one point. the famous bamboo organ at Las Pinas. Sup¬ Then, if the organist found it necessary plementary to that you might be interested in years without giving him i 1916, presenting teaching helps by Harriet Barnett. In more and you will have a blaze of glory. High- f’eer natPre introducing changes of har- the following account : recent years the “STUDY SERVICE SHEET” has presented to stop at a considerable distance from the Las Pifias is a small town about seven miles ‘credit to this metropolis. pressure Tubas, Stentorphone and so forth °^1lgat,0 parts/ pedal points< and so south of Manila on the Mauila-Cavite boule¬ The tone of the organ, sc the teaching principles representative of Walter Spry. Edward end proper, a little extemporization, in judge of are fatal to congregational singing. Six- *°rth' klnd of thmg need "ever be- vard. The bamboo organ is, perhaps, the only repair, is sweet and true,Tut not"at all loud. Collins, Allen Spencer, Louise Robyn, Howard Wells, Glenn teen-foot tone on the manual and (for the tu t fnJ0,ous °r empty if kept within the style of a piece sufficient to bring thin# that makes the town famous. Visiting When at its full power the tone is by no Dillard Gunri, Clare Osborne Reed. Julia Lois Caruthers. Mary same reason1 all __, , tle bounds of real music; neither can ob- everything ‘o a conclusion in the tonic musicians from nfl parts of the globe make : reason) all sub-couplers are n the trip to Las Pifias to see this wonderful means thunderous but it is very pleasing to Wood Chase, Gertrude Murdough, Henry Purmort Eames, _°e jection be taken on the ground of it being key could be used for an ending. It need the ear Some three years ago the wiitei Silvio Scionti. Bessie Williams Sherman. Rudolph avoided, as they produce a depressing ef¬ was able to* induce the members of a cathedral unchufchly, irreverent or too theatrical. hardly be pointed out that to improvise . For several years it was allowed to stand Reuter, Alexander Raab. fect, though if the people are singing well J“cvc,cm UI meairicai. in a half ruined state, the home of industrious choir in Manila to make a pilgrimage out well a player needs to be well-grounded already and it is desired to add the element moreover, many people like a little The speed of the hvm * mice and insects of all kinds, so plentiful m there one Sunday morning and render a mass THIS POLICY WILL BE CONTINUED m harmony and counterpoint. One pro- the Philippines. But the present parish accompanied by this organ. The event was of solemnity to some particular verse they !s h ill, “l movem?n from the organ, in part regulated by the si’ to be Priest, a Belgian, has some knowledge of organ heralded far and wide over the countryside cient in these matters and possessed of may be used for a shSrt time. If onehas “(J “rse 5 must° Tu i gaB°"* music and is able to play fairly well himself. and a great crowd of people flocked to the The “STUDY SERVICE SHEET” is sent FREE upon He has been actively engaged, for the past few church to hear. The service was a success a good sixteen-foot reed in the pedal, not ‘ f ■t, "ot be to° complicated filled, a slightly more delih ,Q e wel1 teal musical feeling and originality can in- 'est the most ordinary things with years, in raising an organ fund, but his parish and the collection taken helped to swell the request, to Teachers of Piano too loud a one, it sometimes helps out the £ ZP TZ f * n f nkely with ad™able. Especially tempo is is a poor one and money is scarce. He has. organ fund considerably. ^ ^ nreamt-of interest An old familiar however, succeeded in getting sufficient funds effect where there are many women sing- added ffie nJ*6 tU.n®- Bach’ m hls day- hymn happens to be an old ^ lf the together to get the organ renovated, the rats ing but few men. g added [hc, mof vaned harmony and coun- is the time that all T d favonte* This hymn-tune, presented with varied registra- ton and effective harmonic changes, fits "Every church of any size could eosilylturious-mindedchurch organists would CLAYTON F. SUMMY CO., Publishers m well here; it also possesses the advan¬ be a center from which, with intelligent eventually resu. g music gen- 429 South Wabash Avenue Chicago, Ill. tage of brevity and of never being far you were accompanying a soloist, and ad- did example may be found in his “Christ- not ^ to ruslThe tem^ Sh°“ld trom a logical stopping place. effort, the finest of musical influences might radiate; and the combined efforts erally. ittijde It identifies you as one In touch with the higher ideals of art and life. (To be continued) When you write to our advertiser* always mention THE ETUDE. SEPTEMBER 1927 Page 691 Page GOO SEPTEMBER 1927 THE ETUDE 0E ETUDE

Organ and Choir Questions Answered SCHOOL FOR By HENRY S. FRY VYCusical Education Former President, of the National Association of Organists, Dean of the Pennsylvania Chapter of the A. G. 0. in the Home THE TRAINING OF No ouestions will be answered in The Etude unless accompanied by the full nam» and address of the inquirer. Only initials, or pseudonym given, will be published

Conducted by Q. Will you please give specifications for Ms repertoiref Where may I obtain „ a , THEATRE ORGANISTS what you would consider a good two-manual which gives the compositions of the ° . church organ to cost about five or six thou- famous organ composers as tcell as nZl0*8 notes f Recently a1 naahad ithenc pleasure ofnFlJf '!m Margaret Wheeler Ross m A? ^Stace* the prices of various organ build¬ thew greattreat French organist,organist. Louis» Viceri/.L. nnll ers differ, we shall give specifications for a nas been on a recital tour of -1 mrrim medium size, two-manual instrument which man I obtain a list of the orgun comnnn!!010 Fall Session Opens September 12 may be submitted to organ builders for esti- which M. Vi erne performed in during this tour? Can you also aiv? some of the finest examples, in each caw t alSj or pseudonym give Direction: CHARLES H. DEMOREST nod HENRY FRANCIS GREAT ORGAN the different types of pieces which make Hi Open Dlapson 8 ft, 73 pipes rAKKS, r amous Theatre Organists •Dulciana 8 ft. 73 pipes liotrh and Goncert or'jan 2 , PIE AVERAGE housewife and to be a band, with improvised instruments, ♦Melodia 8 ft. 73 pipes actcr 0penin° number* °1 a brilliant char- •Flute d'amour 4 ft. 73 pipes mother faces September with fear They learn the words of songs very Octave 4 ft. 73 pipes and trembling. It is the month of quickly and try to sing, but the time val- St fhKav® \fsonf and practice before the Screens pro- character, such as0/ Ariaa®. hr from?n'' and‘•Co., sustained.* “ vided by the College m its studios. New two, three and four Tremolo ™ * Enclosed in sepi 10,’’ Handel. all the twelve in which she requires her ues make no impression on them. The (c) Numb,.o inurement reserve of patience, determination older boy receives high marks i manual Wurhtzer and Moeller theatre organs for lessons SWELL ORGAN aftsuch« “Prelude in D minor,” CUramhault. More often than in the public school. His teacher u. and practice, owned and operated by the College. Bourdon 16 ft. 73 pipes .»/ « Historical character and strength of pun Open Diapason 8 ft. 73 pipes not she is wearied fr« the vacation period, plains that he tries harder and enjoys Salieional 8 ft. 73 pipes (e) Some* impo i C<"' V J Voix Celeste 8 ft. 61 pipes if) Numbers possessed ofttu with its attendant excitement of extra the work more than any pupil in the class, SCHEDULE OF LESSONS Stopped ant dramatic quality and ,/r tertaining, packing', journeying and home- and that he is not conscious that he is off- 73 pipes such as "Piece Heroique,” Pram t feeling First Year (Beginners) 4 ft. Pipes (g) Numbers of a charade, coming, and with the constant care, of key. .Both children enjoy listening to n 1st term—First working registrations. 8 ft. 73 pipes relax the strain of the dramatis the children unleashed from the restrictions wondering if anything c Reeds played. of the schoolroom for three full months. done to help them so they may be able to 2nd term-Playing of weekly news features and song slides PEDAL ORGAN (h) Numbers of a light ■ graceful or fanciful character. No matter how the children feel about appreciate music, even if they cannot 3rd term—Short feature films and jazz. Bourdon 16 ft. 32 pipes 0) Numbers with a touch Lieblichl-u 32 notes ffro] (j) The more human mi it, she looks forward to the opening of make it?” 4th term—Long feature films and cuing. Gedeckt 16 ft. Bourdon. be.rs such as Flute 8 ft. 32 notes (Irom(from Swelltsweii meditations or reveries. school with real joy and a sense of great Most certainly they can and should be Stopped Diapason) thckrecfta'inbCr8 0/ “ hriWa"t {VPe to close relief. True, this event brings its own helped. What right have we to sit in CO0PLERS cares in the replenishing and reassembling judgment upon these children, condemn- Second Year (Advanced) Pedal ureat to Pedal 4 ft. organ A partial list of composer, includes of wardrobes, but mother knows there will ing them to a life devoid of the joy and 1st term—Actual screen playing of feature films. Swell to Pedal Swell to Pedal 4 ft. S” .. Fi'Cscohalclb be long, quiet hours for her when the inspiration and the cultural influence of music, simply because they appear to be etc!” ImT>rov*sation including waltzes, marches, jazz, Swell, to Great school bell sounds. Swell to Great 16 ft. t, Lemare, Hollins, lacking in musical sense at this tender age ? :o Swill 16 ft .... Wldor, Franck, ; Getting Bac\ to Lessons The fact that these little boys play musi¬ rne. Gigout, Dubois, B< IMip'rf, Mulct! 3rd term—All scenics, effects and constant screen practice :o Swell 4 ft. cal games and try to sing shows an inter- o Great 16 ft. Dickinson. Borowski, AFTER SHE has supervised and dis¬ 4th term—Screen playing before audiences. ureat to Great 4 ft. Maitland, missed the question oi proper ap- est the subject. Swell Unison Great Unison parel, directed the fall housecleaning and AUU may secure books giving , ■ogram notes rehabilitated the living-rooms, she must Classifying Wor\ LENGTH OF COURSE PEDAL MOVEMENTS from Samuel A. Baldwin. ProfO •nr of Music Great Organ Expression Pedal at The College of the file of N, w York, and yet face the problem of getting the chil¬ jp'IRST: I would put these children at The time which will be consumed in covering the course will Swell Organ Expression Pedal C7fc- Crescendo Pedal dren back to music lessons. This is ordi¬ into a dancing class. Rhythm is be determined to a large extent upon the ability as organTsts Great to Pedal Reversible narily a discouraging process, for a com¬ the most vital force in music. On this of those who take ,t. Students who never have studied organ Sforzando Pedal In* feteLW " yCHPOMATIC Suitable mechanical accessories parative beginner in music after foundation you must begin to build. ExnVer£ny 71 re and she \ her compensation classes, in a music school, where they Chromatic (jhssando Keyboard rdon pedal ORGAN ComrrYll) ^ ^ VaZti^s dr in added hou STUDENT DORMITORIES „ajLbe™ lost and to restore^satisfaction"e^satisfaction'to would have musical associates and where Artistic and comfortable dormitory accommo i;,i<„r ..i. Lieblich Gedeckt ... VC4lBUBl0(extension Swell ‘wSSPvEStof? ’ Grand'"Piece SyZ one s self. they could get the benefit of various teach¬ i the children have been in camp or at a “fCrL.Ct?.re.I'’r''i“''k: First Movement. ers on various instruments for melody stonntonned,In thisrt“ 1Sninnoonx THspeciflcationSpeciflcatlon a the t0°G?eat"--d l’ottl!Se all summer, end there has (f) Three Chorals, (Ysnr Franck.. as S a complete cessation of practice, as well training. I would have them drilled per- Pietro AY’>r'”gti"u’’ Alfred Hollins: Echo, ““'■‘n periods, then, indeed, the mother rotdy /nr| ‘feXdSXa^iXan^yfiigcIndittom sistently in simple melody, using cornet, IT fJZ A,exmulCT9Rusi fait ,season "hen she will need her violin, piano, voice—all unaccompanied— sell, Laron jtram “The New World C “ quality the dnddi,“gSf„‘ nvoMk : ftpHng i i “The and single tones unharmonized. For this lowest price, as it is nnssihie Vlci, than’ the *•south"),’ - n' E( ■ h".ra mare ; hryonamr, Aurora, estimate on the same specifications T,e "PPnrentapparent Xf-™™®1.1, m"st direct without purpose the cornet is specially good, be- CHICAGO Phony, ivtv" ,\ S' N '■ ,-t udaate Cantabile (“Sym- concerned, g ' T' ). Charles Marie Widor. cause of its clear, strong, penetrating qual- (h) Chan nd so forth — -— • -“-I d’rspoir, .T. A. Meale: Cherubs Sue•“*» is a stiff , f ity. I realize that this plan would take ™"ices_CP9 M''McCoIlinroI"n ;: Fifes. Joseph-- si'endos from the^xpression* boxes, flne volc / Bella so (from Sonata I), James H. infinite patience and close co-operation h,c,st tesnits. of todav1 XnK'. ?,f ,h,‘ average child between the teachers in the school. But MUSICAL bain ian Wid'or- SyKPhonv VI.” Charles Marie The President Sang 60 East Van Buren St. (SBSfiS) Chicago, III. Coronation u IS-v",r’'>0PY I.” L. Vierne; . ,las come to this department from Finale F a ZVich- p- r- Tschaikowsky; flexed mother. She KKK 'T'HEODORE ROOSEVELT sang off- HERBERT WITHERSPOON, President We hiw ‘ Alexander Guilmant. ®* and eight years old respectively of 1 k&’ but he sang lufIy and wlth c": CARL D. KINSEY, Ma- - of music for the orgS?and°u-hi "h'^ pieces Jom she writes as follows: “They joyment. Scientific early training would gamut who desires to have,aZZ,7l'ni or' ‘Dnrnfl’ ^ are muny Others—such as probably have helped him. I believe it the best organ compositions muT&lut Z from Symphonies and d a a (UVe and keen interest in music, ■ Would hdln lnnl-n effective re fond of singing, and of pretending (Continued on page 60S) Page 692 SEPTEMBER 1927 SEPTEMBER 1927 Page 698 difficult to keep the hand in l S-LiJ V/T ANY VIOLIN students get along position. When playing in th Ue right . „ friusic is another useful means a useful addition to one’s income can be fairly well with the odd numbered position there is a tendency to iSM°nd C0PS a dollar or two. .. made from it. positions, 1, 3, 5, 7 and 9, but when it comes ‘Ghe hand gravitate either towards th the of earI1‘° town there are musicians who Many violin makers are amateurs. The to the even numbered positions, 2, 4, 6 and or towards the third position T, In e-Ve,T times desire some music to be art can be learned from a professional or 8, the average student finds himself in a student has no one to play the „ . tlle at varI° , or transposed. And to do from a textbook, and it can prove a fas¬ peck of trouble. One reason is that the VIOLINIST’S copied ?u . j very troublesome the piano, as a guide, he will °n dianuscripl mus.c^ ^ ^ ^ ^ ^ cinating and remunerative hobby. start being in the first position and the great help to test the notes he is „l a next position studied usually being the ETUDE business i be dQne neatly and quickly, Occasionally a music-teacher is glad of with the open strings of the violin' •3?n8 third, he confines his practice very largely an efficient deputy. But when doing this in unison or octave form. In the l practice. * d for by the sheet. A to the odd positions. It is a fact that, in sort of substituting, and of course retain¬ B-flat scale, the third note of th -ve IS advertisements in a local paper will shifting the positions usually go in the order Edited by Robert Braine gkly bring first jobs-and they will ing a part of each lesson fee, one should 1-3-S-7, although, of course, there are (D) can be tested with the open* if* IT IS THE AMBITION OF THE ETUDE TO MAKE THIS VIOLIN see if the scale is being played never swerve from the pupil treatment many exceptions. Another reason for this bfThe °handyman violinist can turn his prescribed by the real teacher. Experi¬ lack of knowledge of the even positions DEPARTMENT “A VIOLINIST’S MAGAZINE, COMPLETE IN ITSELF. proper pitch. The sixth note (Q\ "c Jl to good use. There are not too many ments must not be made on another’s is that students do little practice in these be compared as an octave with the ■in repairers about, and there are al- pupils. positions. If they practiced the second G, the seventh note with open A th! °pen V1° manv little bits of work to be done— position as much as the third and the with open D, the thirteenth as’ ,7* One speculative way of making a little WayS to be fitted, bridges and soundposts fourth as much as the fifth they would octave with open G, the fourteenth a money is to buy a double-bass and hire it LeSbe adjusted, varnish to be cleaned, soon get a good working knowledge of The Even Positions octave with open A. The violin studm out to such local orchestras as need one. r whnards to be scraped, bows to be re- all. makes these tests to keep himself “j ' It does not involve much study to learn . e of the..... e.....n positions. Take, e the foi- scales improves, they can in time be played S All such things as these can readi- The attitude of the average student lowing passages, for instance, at any requisite speed. In mastering the key” just as a mariner makes soundin ' to play this instrument oneself well enough m navigating Ins vessel. 88 Ke done after a little practice. ^ towards the even positions is well ex¬ positions our correspondent could not do to do the stuff required by amateur so¬ emplified by the following letter from a The following is the scale of D i ^ piano tuning is not easy, but once ex Fig. 2 better than get Schradieck’s "Scale Stud¬ perience is gained through a qualified man. cieties. reader in a southern state. He writes, ies.” This work gives the scales in all posi- the fourth position. The first note ml* “I am struggling along without a teacher, He would also benefit greatly from is placed on the G string and compared as I am unable to find a capable one in the study of Hermann’s “Violin School,” m exact unison with the open D to see ‘Pablo de Sarasate this city. I am doing fairly good work Book 11 which takes up a systematic study that the hand is in accurate position in the first, third and fifth positions, but At Fig. 1, the passage in 32nd of each position with its proper fingering Ex. 3 By G. R. Bett . , famiHar T* ‘he second and extremely awkward, played in very fast Fourth Position fourth. Would you adv.se going back to time in the first position, because it in- Learning to read in each position is a nRESENT -DAY enthusiasm over midst of his St. Petersburg triumphs,” these positions and mastering them before votes changing strings By playing ,t tion * , of industry otl the part F Spanish music has caused a revival of says the Russian, “Pablo de Sarasate re¬ the splendid Spanish. Dances of Pablo de mained a good comrade and preferred the As in the preceding scale, frequent teste Sarasate, which are to he found nowadays society of his musical friends to playing not hope to rack ,be fti.t ranks, but I plajad enttrely on one string and is really boa,d aa ,he intonation till be .bJLtel, should be made, 'i In- fourth note of on most programs at violin recitals. His in the homes of the wealthy, unless it do desire to work my way up to the very easy. At Fig. 2, the use nf thf _...... ? the scale D can be tested, as an octave full name was Pablo Martin Meliton de professional point. I am willing to work fourth position, by obviating the change of ^5”?'gW°rk were for a musical soiree which paid him with open G, the fifth note as a unison Sarasate y Navascm-. and he was born at hard, if I can only be shown hnw.how. If strings, converts what would be anon awk-wk a.nd Tch ?racdce-. The foIIow««_ gives from 2,000 to 3,000 francs, a fee which at the scale of B-flat in the second position with open A, the eigl.ih note as an octave Pampeluna, 1844. He died a few years you will give me a few practical hints as ward passage in any other position into the time seemed exorbitant. with the fingering. The student places with open D, the ninth note in unison with to how to study these positions systemati- an easy one. “When this was not the case—Rubin¬ his finger on the note A (first finger on open E, the twelfth as an octave with SThe writer heard him play many times. KIMBALL PIANOS cally, 1 shall be grateful. Should I do Innumerable other examples could be fi!p open A; the fifteenth as a double octave Sarasate was a distinguished looking man stein not being in town at the time—he much scale practice?practice ? Which is the most cited of passagesnassAcres which are made ^ string; the first position. He with open D. By making use of these with white hair and moustache, and a spent his evenings with Davidoff, Lesche- important in this practice, correct tempo paratively simple by the use of the even then advances the first finger half a tone, The Favorite Through the Years moving up the hand test notes frequently, the student can keep bronze complexion. His eyes were a tizky or myself, always merry, always or correct intonation?” positions. The student who wishes ac- This gives the note B-flat and puts him himself at the proper pitch. If he does striking feature, now soft and gentle, now smiling and in good spirits, and bursting I have often found that many students tually to master the violin and play com- not do this in the earl; r stages of position DURING the seventy years that have passed have become possessed of the idea that positions of any real difficulty must learn into the sesecond'“"d position. It is a good full of fire. He was always most care¬ into peals of delighted laughter when he playing, he will find that the hand will fully dressed and usually wore a foreign was fortunate enough to win a few roubles since the Kimball house was founded, several it is not absolutely necessary to know the thoroughly ,„d „ . u,,«r of curie ££ “S. S likely stray from the proper position, order dangling from beneath his white from us at a modest game of cards. He chapters in the story have repeated former his¬ even positions. I hey think that it is use- all positions, for at any time he may meet just as a singer or chorus is likely to flat necktie. Sarasate was a fine violinist, was invariably gallant toward the ladies, less work to study them and that they with a passage which calls for the use of or sharp when singing unaccompanied by tory and illustrated the permanence of the ideals can execute any ordinary passage by play- some one of these positions in single or with a superb quality of tone and a bril¬ and carried with him a number of small an instrument of fixed pitch. (Choruses ing in the odd positions. To some extent double stops or in chords, liant technic. of the house. often flat a full quarter of a tone, at the Spanish fans which he was accustomed to this is true; but one occasionally meets with Our correspondent and all other worth- Leopold Auer gives us a glimpse of him end of thirty-two bars, when singing un¬ present to them.” Eminent pianists of years ago, operatic stars, and passages which are not only difficult but while violin students (or students of any in “My Long Life in Music.” “In the accompanied by the piano or orchestra.) leaders in music, who have chosen the Kimball also absolutely impossible to execute ex- other musical instrument for that matter) This same principle f using test notes cept in the second, fourth, sixth or other should devote much time to scale practice, piano for their personal use, have been succeeded can be applied to any < the positions, and even position. Again, other passages are for the scale is the foundation of technic! In the earlier stages of position play- se to say that they as good and sometimes better. I brought a great j^p to tbe student is valuable as an aid in keeping in tune “It is all nonsci by others of more recent days, whose praises of to be found which can be played, it is Intonation is of the first importance, of have" some one I th ie play the while studying any piece or exercise. (women violinists) can not produce as them into my orchestra in 1912 and I have the Kimball echo the commendation bestowed true, in one of the odd positions, but which course, for music consisting of false notes with him to hi , ‘fh P'an° big a tone as men They are every bit never regretted if.”—Sis Henry Wood. are enormously simplified by the use of is not music at all. As proficiency in the pitch of ffie notes as ^ first : Ccorrect°rreCt in former years. t is quite Earning a Few ‘Dollars You should hear the Kimball. You will be greatly pleased By Sid. G. Hedges with the beautiful new styles in grands—period designs, Before the Qoncert 'T'he keen amateur musician may oc¬ classic'modern, reproducing grands, uprights and players. IF YOU ARE asked to play at a concert are always dressing rooms and artists’ casionally turn his experience to some Catalogs and nearest dealer’s address sent on request. down without noticing whether there is -*■ or musicale, give yourself plenty of time rooms where the performers can get in a practical money-earning use; he may even anything on them or not. Many a fine to arrive at the place where you are to bit of practice. It is sometimes possible make his hobby pay all his expenses. W. W. KIMBALL COMPANY play. You should have a half hour at in a private house also, as the hostess can violin has been reduced to kindling wood There are many ways in which a few least before you actually step before the often find an unused room where the vio¬ because the owner thoughtlessly left it on dollars can be gained. One of the most audience. The violinist who arrives only linist can practice very softly with a mute a chair instead of finding a safe place for popular is by playing for dances. A pianist five minutes before his turn on the pro¬ while waiting for his turn. But if condi¬ it or putting it in the case. and one or two violinists can work together for this work and practice until they have gram is apt to come to grief, because that tions are such that he cannot play without Professionals know and observe all these a fairly large repertoire of dance music. is not long enough for the proper prep¬ the audience hearing him, he can practice rules because they have learned their im¬ In playing for dances the great thing, aration. with the left hand alone (without using portance by bitter experience. Amateurs of course1, is to get rhythm—this is more The violin is a great deal like a ther¬ the bow) and thus warm the strings and however, sometimes neglect them, with dire mometer, since it is affected very greatly important than anything else. limber up his fingers. If the violin and consequences to performance and violin Dance music needs to be unbroken and by a decided change in temperature. For strings are “warmed up” thoroughly be¬ Concert violinists and symphony players of unvarying speed; and, in order to in¬ this reason, as soon as you arrive, take fore the performer commences to play, the always arrive in good time before a p ! sure these qualities, repeats must be thor¬ your violin out of the case and keep it out chances are that the violin will stand in oughly understood. so that the strings and instrument can ac¬ formance if lt is at all possible. They get good tune while he is playing. hem instruments out promptly and begin When a good, varied repertoire is mas¬ commodate themselves to the temperature ..Especially are these things important in to warm their fingers and instruments. In tered it may he repeated frequently, e'’etl of the hall or room where the program is cold weather, for, if a violin is taken from every symphony hall there is, or should be at the same place, for dancers often prefer to be given. Tune with the piano as soon a cold temperature into the warm and arge, comfortable room where the play¬ music with which they are familiar. Ad¬ as you arrive and again just before you vertising and good work will soon build often overheated atmosphere of a private ers can practice before the concert begffis. play, and occasionally between times if house or concert hall, and played on at up a reputation. A warming up” process is just as im necessary. While you are waiting for your Deputizing offers scope for the com¬ once without any preliminiry “warming portant, if not more so in th turn, run your fingers over the strings so up,” the warmth of the room and the per¬ • i • lure so> ln the case of petent amateur. Often a theater or mov¬ wind instruments. There is this differ¬ that their pitch will change as much as spiration of the fingers will cause the ing-picture player desires a free day and they are going to under the influence of strings to become flat and out of tune to ence: warmth and perspiration cause gut so has to arrange for a substitute to n violm strings to fall in pitch> wh£ 1g“t the warmth and perspiration of the fingers a surprising degree. I have seen many a his place. Here is a remunerative opening- and the warmth of the room. performance by a talented amateur ruined The amateur who is sure of his ability ers coldness *>»- should prepare for such a chance by study¬ A little preliminary practice just before by ignorance of these few precautions. ing the methods and duties of the man to you go on to play will be a great help. Do not lay your violin on a chair, either, breath of the player to "aise th , whom he wishes to substitute. The Pr0. This can be easily arranged if the pro¬ while you are waiting your turn. Chairs the proper heigh/ fessional will probably be glad to hear ot gram is given in a hall or theater as there are made to sit in and people often sit especially susceptible to such influences •a man on whom he can depend m emergency. It Identifies yon t one In touch with the higher Ideals of art and life. Pa9e G9J> SEPTEMBER 1927 SEPTEMBER 1927 Page 695 THE etude Cut Out! ‘Department of Public School 'Music this panel JOHN M. Violin Questions Answered (Continued from Page 653) QUESTION- By MR. BRAINE . by the habit of singers to dis- means of judging the ability of an able J |WILLIAMS SP01 d the signal for a prompt and precise conductor. The instrumental conductor has re®ar j jn an initial attack the leader, little regard for the fact that singers must Which American Composer of piano teaching material JL MUSIC speaking of ellt™ld show by look and gesture his reali- breathe, whereas the choral conductor often has successfully appealed to and benefited the piano 5 . 0f tjje value (through psychological over-directs an orchestra, and the members Zatl° tion) of intense alertness on his part, scoff at his solicitude concerning the phras- student to the satisfaction of the teacher? sU|fetjie chorus is required to sing without ing. The chorus should have attention 1' strurnental introduction it is well to directed to all of the unusual places where ar‘ the tonality of the composition and it is necessary to mark the breath-marks. estf for a brief moment of expectancy, It is not necessary to call attention to the ANSWER- wal.j ^jano has ceased sounding, with phrasing otherwise, as the average com- u"'baton poised jn the cue position to the position is so set that the musical phrases • ht If the conductor will count men- coincide with the verbal. r ?| he will establish a relation between The enunciation of the words must be X please of the tonic chord used to estab- clearly defined, in order that the listener e ' ' '^ollow the text as far aS possible. JOHN n light and shade maintain the : of audience and singers alike, sts in tone-color add great charm to h precision. The any rendition. The chorus should be THOMPSON 13 modify the quality of tone ac- to the mood of the song in the PIANIST same manner as does the soloist. The use ..._ _ of a good messa-di-voce, that is, the shad- TEACHER is^more "disturbing than the habit of a ing from soft to loud and return, is one COMPOSER slovenly release. Too abrupt a close is of great charm as is the sweeping cres- startling in its effect and should be used ccndo or diminuendo. The chorus will re- sparingly and then only in brilliant num- act to all of the beauty of mood and bers The exact release is brought about nuance if the conductor will develop the by insistence on proper phrasing. The resources of his choral group, final chord of a composition may be The interpretation of the song of musical Just Issued! 1, such as the tone picture as opposed le song of the narrative type, must ve consideration accordingly. The first e signal for will call for many harmonic effects through Fifty Selected Studies he "F” clef the use of the hold or fcrmata, while the 1 demands melodic sweep in inter- compiled by John Thompson and chosen from the works of the _ _ pretation. The conductor must have the Master-Etude writers such as CZERNY, BURGMULLER, h f) ability to create an understanding and GURLITT, and others. Only the most interesting and tune¬ attitude of appreciation for the beauty and ful studies are selected. This book offers the teacher of piano ng of the choral music selected. He an exceptional set of elementary studies. Price, One Dollar. 1 be resourceful enough to find new of beauty to work for in each tion of a selection. He must have Keyboard Frolics ull support and co-operation of an follow the Eifty Selected Studies as Velocity Studies in the iccompanist. Above all, he must be second grade. Over two thousand teachers are already lerate of the short-comings of his acquainted with these. Books I and II. Each, 65 Cents. '"pHE CAREFUL phrasing of the text chorus and remember that he has selected 1 to conform to the musical mood or them to do what he calls on them to do. setting of the composition is one of the If they fail, he must show them how. The Twenty-Four Sketches in all the major and minor keys, an excellent set of studies in Combined Course in History, Appreciation and Harmony grade three, deal intensively with a single problem in each of the short numbers. Price, 75 Cents. Part X (Continued from page 617, August, 1927, issue) Page numbers referring to Musical History study are those in “The Standard The Bach Two-Part Inventions History of Music" (Cooke) - those aligned with Appreciation listings are pages in as edited by John Thompson set forth the theme of the Inven¬ “Standard History Record Supplement;” and the book for Harmony study, to which tion in large notes affording the student a clearer conception reference is made, is “Harmony Book for Beginners” (Orem). In each issue is pub¬ of the work. Price, 75 Cents. lished enough of’this course for study during one month. Term II. No, S Week Subject Chapter Topic Page FIVE NEW PIANO SOLOS 17 Historv 37-38 Euronean Piano Composers, American Composers.. 215—226 By JOHN THOMPSON 17 Anoreciation 38 Piano Selections and Te Deum (Buck) Oh! That We (Grade Two) Two Were Maying (Vocal Duet by Nevin). 17 THE CUCKOO . $0.30 17 Harmony 28 InvmSSnTof the Dominant Seventh. 127-130 SONG OF THE GALLEY SLAVE.30 18 History * 39 Modern European Composers, Historical Summary . 227-234 FIREFLIES .30 s by Elgar, Sullivan, Sibelius. SPINNING WHEEL .30 s of Dominant Seventh (continued). 130-133 A STATELY DANCE (from Mignon). .25 . VIOLINS-0/ £rery oraneous American Composers. 235-244 19 Appreciation — Selections by Cadman Lieurance, Burleigh. 19 Harmony 29 Further Uses of Dominant Seventh, Sequences. 134-139 SCHROEDER & GUNTHER, Inc. grade—OLD and NEW 20 History 42 European Musical Progress. -45-254 5 hh* 17 EAST 45th STREET NEW YORK

Musical Education in the Home ON APPROVAL

Possible for your children to ^musically tune is hopeless from any musical stand- l approval for Sixty days, publications i trained to the point of appreciation and point? Many people make the mistake of understanding. Whether or not they make assuming that such a child should not □ Check here if Supplementary Teaching Pieces are desired on appr, music is of small importance, but they j,ave musical instruction. The writer has may do even that. WTho can say? know of numerous children who showed • Concerning the question of early train- nQ musica] inclination whatever in child- Street ‘"it X mil

40

Question and Answer Department

Conducted by Success m Music is easy—it ARTHUR DE GUICHARD 42nd Session Commences September 8,1927 . merely the adding each week each month, a little Offers superior courses in all branches of music and dramatic art, including Master School. Diplomas, more'knowledge, a little more Degrees and Teachers’ Certificates granted by authority State of Illinois. Thorough preparation for concert, skill opera and teaching positions. Many special features, recitals, concerts with full orchestra, lectures, etc! through properly direct¬ ful frock! The alluring charm No questions will be answered in The Etude unless accompanied by the full name and ed study and training. Thou¬ address of the inquirer. Only initials, or pseudonym given, will be published. of the whole effect! Excellent Dormitories Offer Accommodations at Moderate Rates What a pity that even a hint of sands of good musicians are A Hi all School Glee Club: A Teacher’s seen in the fact that the 3-note, Fit, and perspiration odor should come to spoil Problems. the key-signature, A, form a nor third which that confident sense of being always UNSURPASSED FACULTY OF ONE HUNDRED TWENTY ARTIST-INSTRUCTORS standing still—are “in a rut” Q. In the high school where I teach voice is the foundation of the c 1 of F$ minor. 1 ® boys’ and girls’ gleeclub. (a) Bow This rule is invariable. at your best. Among these might be mentioned —because they have gone as shall I ..— oke the work interesting to them! “Mum” is the word! As you dress iTA!NU.~:THen,ot Levy, Allen Spencer, Silvio ORGAN—Wilhelm Middelschulte, Frank Van r (b) Can you give me some suggestions joi Prelude in G Minor, Rachmaninoff. for the day, a touch of “Mum”, the ocionti, Henry Purmort Eames, Louise Robyn, PUBLIC SCHOOL MUSIC—O.E. Robinson. teaching boyst (c)What arc the ranges of PUBLIC SCHOOL CLASS PIANO METI! far as their training in music lass, baritone, second tenor, first tenor, lyric Q. I have great difficulty in memorising personal deodorant cream, applied to f,urt Warueck Sad Blair, May Doelling tenor! (d)May I have some suggestions for the part between the Sl/th and 50th measures the underarm, keeps you fresh and Mr. and Mrs. Charles J. Haake. MUSICAL THEORY, COMPOSITION- ODS—Charles J. Haake, Gail Martin Haake. of Rachmaninoff’s “Second Prelude.’’ As soon will permit. conducting boys’ quartet; girls’ trio! (e) sweet all day and evening. Adolf Weidig, Arthur O. Andersen, John SCHOOL OF OPERA—Eduardo Sacerdote What are some names of songs suitable for as I learn a new phrase, I forget the old one. vOICE—Karleton Hackett, E. Warren, K. Palmer, Leo Sowerby. Is this your case? If so, then boys’ voices: bass, baritone, tenor!—Katherine What am I to do!— H. H., 4th ave., South In fact, “Mum” is so effective, Howe, Eduardo Sacerdote, Charles La Berge, DRAMATIC ART, PUBLIC READING- Saint James, Minnesota. and so safe, it is used regularly with VIOLONCELLO-Hans Hess. Walton Pyre, Louise K. Willhour. Cobb, Arkansas. ‘ There are so very few different phrases Elaine De Sellem, John T. Read. the solution is a simple and A. (a) Set aside the first third of the the sanitary napkin. ORCHESTRAL. INSTRUMENTS—Mem¬ DANCING-Louise K. Willhour. period allotted to the club for rehearsal {“ “ that you should find it easy bers Chicago Symphony Orchestra. easy one. More money, great¬ breezy and instructive talk " ' iu lucmuiiac, u. juU go about it the right way. “Mum” is 25c and 50c at all stores THEATRE ORGAN SCHOOL —Frank ments oof sinsinging, ' on solfeggio and p or from us postpaid. Also special size and others of equal importance VanDusen. er recognition, higher posi¬ hymn-like melody whose chief parts are con- of “Mum”—10c postpaid. 8 st unon the imDerative necessity for read- same meiouy_____, as i ancl g , measuiimeasures 5 and 6 Mum Mfs. Co., mg Chestnut St* Phila, Pa. GUEST INSTRUCTORS, 1927—Josef Lhevinne, Oscar Saenger. tions are ready and waiting necessity . . ._imitation of the foregoing, one note (!)> Do n_Jt attempt to train higher; 8, 9, 10, 11 have the same melody as Free A dvantages: Admission to Teachers’ Normal Training School; Students’ Orchestra; Vocal Sight Reading Admission to ,11 for you, just as soon as you _„ >. .. --between the ages of 14 and IS; 1 to 4; measure 12 is the same as 5. In meas¬ Conservatory Recitals; Lectures; Musical Bureau for securing positions. 8‘ Adm,Mlon •« or that of a girl between 12 and 16. (c) ure 8, third beat, occurs a subsidiary melody are ready for them. Approximate compass of male voices in the tenor, in G minor, the phrase continuing , THIRTY FREE SCHOLARSHIPS AWARDED to the first beat of measure 10; on the third beat of this measure begins an imitation of EXAMINATIONS FROM SEPT. 2 TO SEPT. 6. (APPLY FOR EXAMINATION BLANK) let us help you the phrase continuing to measure 12, first beat; on the third beat of this measure, and Lyceum and Chautauqua engagements secured For 25 years this great Musical continuing for four measures, are seen in the U1 alto short snatches of the initial notes of this Organization has been helping am¬ subsidiary melody forming a species of bridge takes all the odor A**ITDT^»Ilnfa!rSFr“ ' matpliauim - Moderate Tuilion Rate, leading back to the repetition of the opening bitious musicians help themselves. movement. The melody is thus seen to be very out of perspiration Thousands of letters from enthusi¬ simple and easy to memorize. The left-hand, AMERICAN CONSERVATORY, 571 KIMBALL HAIT rmrsro _ harp-like accompaniment, chiefly dominant ms J. MTTsm CHICAGO astic students and graduates testify _ harmony, over the dominant bass note D (dom- (1) Second bass; (2) first bass; (S) baritone; inant of G minor) presents the chief difficulty ^AMAZING to the great value and profit of our (!) second tenor; (5) first tenor (exception- in the execution of__ the_ arpeggio extensions, ally, to C) ; (6) counter tenor—this voice’ sings These must be played very legato. They arc NEW CORSET musical training. the top line in_ male quartets; _ in__ male church-lurch- comparatively easy for a large hand with r Insures Boyish Form In your spare time, right in your cu„m' where” boys sing the’ treble, it sings pie fingers. But smaller- . the alto. Note well that the classification of lingering best suited to them, always bearing DEMONSTRATORS own home, and at a trifling cost, a voice depends upon the quality, not upon the in mind the direction of “legato sempre. EARN $60 WEEKLY SCHOOL MUSIC Catalog Sent Gratis Upon Request ~ compass. Btufly these arpeggios by reducing them to you can gain a musical training (d) Classify voices carefully for quality, not chords in their sir ce. and beaut/ ol Psrt, Three Vert ud^Fcur hir'choruses'® M^'sTc'Tor Srokd"^ Su?cr,is°'!- If numbers tor Unison, Two ®f?F ®tarrett grfiool for compass. Teach each part separately, chord foi Orchestra Collection,, Writing Books, Etc! Sp ^ 0cca,,on*> Operettas, Sight Resding Material, COSMOPOLITAN that will be the best and most Insist upon the complete articulation of every the arpeggi. SfSgMSUJ CONSERVATORY of MUSIC consonant, with particular care to sounding l^OOto S5 00°an Franklin t\s_ SCH0°L MUSIC 4 DRA4"T4I,C profitable investment you have the finals (for clarity) and to attacking the JTHEODORE PRESSER CO., 1712-1714 Chestnut Street, PHILADELPHIA PA initials (for expression), (e)w Apply_ X. DR. CARVER WILLIAMS—President ever made. , for catalogue of TfachW r CONFERRED—• songs from which to choose. Q. please explain the C clef. Bow are . . - leachers Certificates FALL TERM STARTS SEPTEMBER 12 SEND FOR FULL DETAILS notes read with these different clefs! Also 44th Year Begins September 24,1927 Eminent faculty of 60 Artfau. N rmal training for The Use of the Metronome. the F clef starting on the third line.—F. C. Quickly establish your Special Classes in Technique and Intemrrtat;™ Tcadier.. Student.’ Orchc.tra, C oncerts, Lectures, AND SAMPLE LESSONS 0 In using the Metronome to mark the Tanchez, Dominican Republic. Diplomas, Degrees and Teachers' ( rrtificates. —FREE time of my piano music, should I keep it go¬ A. The staff or stave offers sufficient range COLUMBIA P°LleaCVo?ceaVioMdVnCe<1 StTuent8, Courses in ThKLtmeJ?ts-Plano’ Voice Violin, Musical ing throughout the piece or only at the be¬ ■ ordinary voices without having to employ Health Corset Co. Composition ’CeHnO °rg?n’ ,The°ry, Harmony, tr«f P imposition. Violoncello, Orehes- If you are really ambitious to suc¬ ginning of each movementmovement!!—B.—B. B.is. G., Flint,etutht, more than one leger line; for example, the so- Dept. W-9 63 B. Randolph, Chicago UL andfiramatk Art^in^ubfic^”'1?^- °f Speech Michigan prano employing the G clef uses hut one leger D^mLu'c^rrr?’ PubUc Scho0' Music’ ceed in music; if you have faith in A The constant use of the metronome in line (middle C) to sing up to G above the staff, ^ SCHOOL OF lyri rorp the performance of a piece or of a movement this note being the usual.limit for writing for fiaSsKgSjfeS yourself, by all means clip the cou¬ cannot be recommended, for it destroys all chorus soprani. The tenor has the same Instant Foot Relief TWENTY-SIXTH YEAR OPENS I W I I | a^ I I . the Director, P 8* For catalogue address Awfer/v;;;' stvle and interpretation, rubato becomes im- range, C to G, but one octave lower, the man s SEPTEMBER 12, 1927 JL T JL V# pon and send it back We will send For particulars address—Edwin L. Stephen.’Mgr. possible the touch becomes hard and unsym- voice being an octave lower than the woman’s. Ii ithptie owing to the never-ceasing, imperious The tenor clef is the C clef placed on the fourth Hides U0,S|M?/P:°o,TAN SCHOOL of music you full details of our wonderful demand of the tic-tac-tic-tac, inspiration is line, the high G (the same note as the note Boa E. 16th Floor Kimball Hall Bldg., Chicago Large One of America’s Finest Institutions Devoted to Education in Music Home-Study Method of musical impossible and the player becomes a mere ma- 0f the treble or G clef) being on the leger line chine performing a cut-and-dried gymnastic above the staff, and the low C the note below Joints FULLY ACCREDITED COURSES LEADING TO training, and also a number of exercise The wise use of the metronome is its the staff. Various clefs and positions of clefs emplovment to indicate the average pace of are used (a) to avoid the employment of many CERTIFICATES, DIPLOMAS AND DEGREES sample lessons from the course au exercise, of a study, of a composition, or ]eger lines, and (b) to indicate the absolute of a movement; once that pace is deter- pitch and sound of a note. Thus the C clef by authority of the State of Illinois checked. Send today. mined there is no further need for its em- always represents the absolute pitch and sound nlovmeut—it should be stopped and the per- 0f middle C. so called because it is middle dis- Improved Music should continue to interpret with all tant between the G or treble clef, a fifth above dunning system of Study University Extension Conservatory the elasticity suggested by the trend of the c, and the bass or F clef, a fifth below C. The in any styleshoe—outside or u A School for Department A33 - — always with average pace in p eief on the third line is termed the baritone regular size. Sold over 20 years by sho< rn ■-- any slavish observance of cief --4---•- rm-- druggists, and department stores. For F Langley Ave. & 41st Street ... Finally it should borne in mind t if the clefs a is follows send 75c for one protector. Money b The Mature Musician The Public School Teacher practically r" _ indications a Immediate-relief. State size shoe and wl approximations. NORMAL CLASSES AS FOLLOWS: Chicago be regarded FISCHER MANUFACTURING C The Young Artist The Ambitious Amateur MRS. CARRE LOUISE DUNNINr n • • C Clef 425 East' itWetei" Water St. Dept.~ 90“ rkQty. To Determine Major The Teacher of Music The Talented Child AfihHEdward Bareus* ^00^ Co*i°n ^ s’ ^^^hio^Airold SdlsoHrf^Mujfo0*-'^1*^ University Extension Conservatory - -‘ h New York City Address, 1C East lllh St. Department A33 Elizette Reed Barlow Cor r TA’*’’ F,‘ Tex. (») Kindly tell me how to distinguish Catherine Gertrude Bird, 658 Coiling^ A» ** n'"’" H"'n’ n*- Langley Ave. & 41st Street Chicago the key-name of a piece written in a minor Training in the following departments: Grace A. Bryant, 201 10th Aye N T en ’ D,lroi>, Mich. ken without having heard the piece played. Mrs. Jean Warren CarriA ton p" . ™ F*"*’ W»l»- nhuaSei-send me free and without any Since it has the same number of sharps or flats bhganon fun details of your remark- ■it is likely to be confused with a major key. MusTc’ SSI Vd°Iin’ Th“ry, Violoncello, Normal Training, Public School ZL ,me StudF Method, and also ii Is it true that the last and lowest chestra P TT Corre,ated Arts' of Music, Ensemble, Or- note of the piece in the bass determines the Ida Gardner, 17 East 6,h sLe Tt’ Ohio, checked*eSStmS *rom t*le course X have keyname of a piece! Bow may one distin¬ Instrurrtp^t°^nS10na .^Tr°mpan^ln8, ConductinS’ HarP- Brass and Wood Wind I guish in this case, between major and minor! Instruments, Dramatic Expression, English and Psychology. —Anxious Musician, Charlemont, Mass. u^Mse for □Professional • .Tub. School \ Look at the very last and lowest note □Harmony Music of the bass, at the end of the piece—that * ONonnaf8 □Advanced □Voice is the keu-note—it determines the key-nt. Send for complete catalog Mrs. Wesley P0rter Poland, Oregon. S** for Composition [ Organ If t r niece But the key mny be in the major □History of □Guitar o{ the *mtnor mode ; to ascertain this, examine Qvfcfc* Music □ Mandolin the key-signature (namely, the group of sharps a,icago' 10834 4"’ □Banjo- or flats at the beginning of the first stave) , it o.ccr □Choral 5 String the key-signature imbeotra the same note as Columbia School of Music **■*-"—*>«. Conducting Isabel M. Tone, 626Sc£fi» & '’,San. Texas. major*4 Tor^T Mast Box E, 509 South Wabash Avenue, Chicago, Ill. J The Alto Clef is used for alto voices, and Kill Thc Hair Root sat tests? the highest trombones. The Tenor Clef is used to prevent the hair from erow- the kev is A major. If, on the other hand the 'or tenor voices, trombones and the upper notes __ information and booklet upon request last bass-note i Fit ^d tlm key _signature HUGSi City.... and violoncello. The F clef is used M&hUr,0: a THE ETUDE. It i Fi minor 'positive pVoVof thUfa for aU bass“in8truments and‘voi«s.‘ - A Mahler Park, Providem ‘ouch with thc b|Kher i(i ais and |jfe ,ys mention THE ETUDE. It Identifies yon as one In toueh with thc higher Ideals SEPTEMBER 1927 Page 701 the e: THE etude- Page 700 SEPTEMBER 1927 Bands for Everybody—By Robert L. Shepherd ('Continued from Page 671) the floor with a ball bat, the Gruffness ‘has given way to cheerful¬ and devious ramifications, is finding its AMERICAN be3t tching the vibrations through their ness; and even the hard-pressed waiters way into the lives and the hearts of the cihen the boys themselves drummed quicken their steps and wear a smile in American people. Their sweet song of CHICAGO fee*' cair rungs, and eventually they grad- keeping with the music. Peace on Earth, Good Will to Men, W‘!Hd to drums. Laying their hands on On every big occasion the band is called rises ever nearer and clearer to the great CONSERVATORY uat • ° while the notes were sounded im- upon to perform and is heralded with a heart of Christ and up and out of their thep’fna sense of tone value to their great deal of pride. Whenever a list of ranks are marching the chieftains of a SI sensitive bodies. “Listening” thus men leave for the road camps, or a few new and better generation. For in their OF MUSIC .waltzes, marches and so on taught of the boys are about to depart from the ideals is the genesis of a new understand¬ MUSICAL JJS and tempo, until they had finally confines of guarded walls, the band plays ing, a higher emancipation that promises mastered their art. jubilant airs of gladness, ending with the to liberate mankind from the old order of KIMBALL HALL, CHICAGO, ILL. parting strains of Aloha Oe. things and to blossom in the springtime Music Goes to Jail And so the village band, in its myriad of another renaissance. 62nd Year COLLEGE PUBLIC SCHOOL a ND did you know that every day CLASS PIANO METHODS three thousand inmates of the great San Quentin (California) Prison sit down It’s just three weeks Direction of Charles J. Haake. Gail Martin Haake to their meals with the strains of sweet HERBERT WITHERSPOON, President music flowing to their ears? Nothing This department offers a thorough training to students to teach could have helped the morale and con¬ piano classes in the public schools. Mrs. Haake has had personal charge since he got it tributed to the welfare of the inmates of such work in the Public Schools cf Evanston, Illinois. Send for special He did not know one note from another, more than this one means of betterment. circular. yet within three weeks he learned to play The effect on the inmate is two-fold, in the popular airs on his FALL TERM OPENS SEPTEMBER 12 SCHOOL OF OPERA that it has a tendency both to elevate his thoughts from the lower depths of despair A school of opera has been established under the personal direction of to the higher plane of refinement and Eduardo Sacerdote, the noted conductor, master of the voice and coach. to create a spirit of joviality. More than 125 teachers of world-wide reputation. Private Further particulars furnished on application. GTrue GTone SEXOphoilC THE SAN QUENTIN PENITENTIARY MILITARY BAND, SAN QUENTIN, CALIFORNIA. lessons only or courses leading to Teachers’ Certificates, SCHOOL OF THEATRE ORGAN PLAYING SCHOOL OF ALLIED ARTS Would you clip the coupon below if MAUDE PRATT CATE, Director “All children in our public schools give pleasure to others. But from a more you thought there was a chance that you Graduation and Degrees in Piano, Voice, Violin, Cello, This department has attained a foremost position among aimiliar A Conservatory of High Standards should be given the chance to partake of practical standpoint, music education m could learn to play. You can. Just a few hours’ practice, a few quiet evenings at Church Organ, Movie Organ, Theory, Public School Music, schools in the United States. Students have special advantages to play Eminent Faculty the greatest joy in life—the art of music, our schools will teach the children the before the screen and to secure lucrative positions. Frank Van Dusen, Branches of Music, Dancing. Dramatics home, and you will he playing happy Wonderful Winter Climate It ■will influence their whole careers and value of disciplined cooperation, or team- tunes. It’s so easy, even for people who Dramatic Art and Expression, Toe, Ballet, Interpretative "Director”. Send for special circular. enable them to give pleasure to others— work, for the lack of which our great m- PHOENIX, ARIZ. think themselves musically dumb. and Classical Dancing, School of Opera, all Orchestral In¬ and there is nothing liner in life than to dustries are severely suffering.”—Eliot. SCHOOL OF ACTING Here’s a Test for YOU struments, Chautauqua, Lyceum, Concert and Languages. Can you whistle or hum a tune? Can you keep Direction Walton Pyre. Students thoroughly trained in stagecraft, START A TUNING BUSINESS step with the band? expression, oratory. yourself, anywhere. Earn 82 to M an hour spare Then you caflearn to play a Buescher. It is not Send for special catalog time, or 3200 to 35(X) mooth, full time^ Require. 90 uncommon for such beginners to master scales in an hour and play tunes the first -week. uouodVper tuning. Player work alsoPbrings iig 571 KIMBALL HALL CHICAGO pay. We train you thoroughly and rapidly at home. Only “Buescher Assures Success Get our free booklet "Piano Tuning as a Business:9 Only with Bueschers, easy blowing, easy finger¬ ing, perfectly tuned, is rapid progress assured. Mack Institute, Crafton Sta., EM*2, Pittsburgh, Pa. No expert lipping required. Just open the key and blow normally It's almost as easy as your BUSH "one finger” piano solo. 'But oh!how Beautiful. Michigan State Normal College Conservatory of Music Take One Home on Trial 85 lent for six day, >ay a little each month. CONSERVATORY to Play, Easy to Pa Ir. Send coupon today Tuition tod fees exceptionally Iw FREE FELLOWSHIPS Buescher Band Instrument Co. Michigan State Normal College Conservatory of Music, Dept. 9, Ypsilanti, IV EDGpresidenf °N " CHICAGO everything in Band and Orchestra Instruments (Two Private Lessons Weekly) to be awarded to the students who 2112 Buescher Block Elkhart, Indiana after an open competitive examination, are found to possess the DEPARTMENT OF BUESCHER BAND INSTRUMENT CO., S Faculty of 125 Instructors 2112 Buescher Block, Elkhart, In greatest gift for playing or singing. Gentlemen:Without obligating me in any way please sei Theatre Organ Playing Drake University me your free literature.Mention instrument interested 1 PIANO DRAMATIC ART Age?_Name instrument- PROFESSIONAL DEBUTS, DES MOINES, IA. ENGAGEMENTS and SITUATIONS MUSIC DRAMA How to Train VOICE DANCING ART Public debuts are given artist students in Central Theatre, Chi¬ ergamsts. Unusual demand for graduates. Salaries VIOLIN LANGUAGES are big. School Bands cago, when they are ready to commence their] public careers. A For Detailed Information Address Full courses in Music and Now SCHOOL MUSIC THE BIGGEST SELLING AND special bureau established in the College assists artist students Dramatic Art OPERA DETROIT conservatory MOST WIDELY ADVERTISED in obtaining professional engagements. Graduates who have quali¬ James H. Bell, Secy. OF MUSIC Degrees: Bachelor of Music; ORCHESTRA REED IN THE WORLD fied as teachers will be assisted in securing situations without charge Box 70, 5035 Woodward Ave., Detroit, Mich. THEORY Bachelor of the Science of Music to teacher or employer. (Music Supervisors) Eachelor of Expression (Dramatic Art) STUDENT DORMITORIES For full particulars write Fall Term Opens Sept. 12 Artistic and comfortable dormitory accommodations for men and women in HOLMES COWPER college building. Piano furnished with each room. Prices reasonable. Dean College of Fine Arts Courses Accredited Dormitories Make reservations now. for Teacher, Will Be*/UU nS'T 58*?'"t?1’", «••• other places i„ GUIDE TO NEW TEACHERS ON -- still available. Write for Catalog V COMPLETE WINTER CATALOG ON REQUEST TEACHING THE PIANOFORTE T. E. SCHWENKER, Secretary, 839 N. Dearborn St., Chicago A booklet full of helpful information York Band Instrument Co. ormation and Booklet. Address 1027-1 Division Ave. 136 W. Sandusky3AAv°?AB™ Grand Rapids, Mich. 1 Ynsr— MAILA L THISthis COUPON—COUPON Address CARL D. KINSEY, Manager I K banD INSTRUMENT CO. PIANO TUNERS and j millikin conservatory OF music' 1027-1 Division Ave„ Grand Rapids> Mich. PIANO JAZZ School of Mu«c TECHNICIANS 60 E. Van Buren St. Chicago HowS?ndr>me free a copy of “School Bands— Off th DECATUR’ ILLINOIS A fators and repairmen. Practical Shop School. N.U/ °b°Sat?on?rgam2e andTrain Them>” with0Ut Bachelor ol Music ^ DeJI^'rv 9our3e* loading to Send for Catalog S. J. SCHWARTZ MUSIC CO., Inc. A Conservatory Pledged to the Highest Artistic Standards cate in PianoVoL R,plomari “d CertiS Name .. SCHOOL* 3™=ssa ; Jubjeclc includ Y. M.C. A. Piano Technicians School Dept. No. 250 Address . 1421 Arch Street Philadelphia, Pa. 10 West 19th Street New York, N. Y. ■“asSSr^ Music City W. ST. CLARe MlNTURRnj northwestern! . .State- When you write to our advertisers always mention THI^ETIJDE^It UNIVERSITY mention THE ETUDE. It i ratifies a touch with the higher ideals of a Year 1926-1927 _ When j e to our advertise higher Ideals of art and IU«* Page 702 SEPTEMBER 1927 SEPTEMBER 1927 Page 70S •THE 1 THE ETUDE 1Richard Wagner’s Great ‘Dramatic Overture to “Tannhaiiser (Continued from Page 652) The “Whole World” Music Series 4/4 (or the duple, of Jp ), whereby each is the world’s premier line of musical collections incinnati (fonsertmtorjg ofXtlusi( note of the melody acquires double its for piano, violin, voice, organ and other instru¬ 9 BERTHA BAUR, President and Director C INCORPORATED original length, and in some measures ments. Each volume contains 256 or more pages __ nt and Director AFFILIATED WITH THE UNIVERSITY OF CINCINNATI devoted to the choicest classic and modern com¬ The Chant begins softly, maintaining a positions. Printed from engraved plates on clear solemn dignity, when, at the end of the white paper, and substantially bound in either For Sixty Years Noted for the Highest Second Part, and still more in the retransi¬ Standards of Attainment tion to the Third Part ( Un poco acceleran¬ cloth or paper. do) it quickly rises to the greatest climax Here is the Complete List of “Whole World” Collections Offers courses in Piano, Voice, String Certificates, Diplomas and Degrees of the Overture. At this overwhelming and Wind Instruments, Organ, Theory, Awarded, climax (Part III of the Pilgrims’ Chant, Opera, Dramatic Art, Languages and Faculty of distinguished artists Assai stretto the quadruplication of the Dancing. Public School Music (Ac¬ Beautifully situated within a ten-acre credited). Teachers’ Training School, campus, all dormitories and buildings are rhythm (the original J becoming a S, the Master School for Artist Pupils. owned and operated by this Conservatory four-measure phrase of the beginning of •Address Registrar Dept. E for Catalogue and Information. the Overture being extended to one of Main Build™,, This last stand of this seductive music twelve' measures!) magnifies the Chant in Burnet C. Tuthill, General Manager Highland and Burnet Aves. at Oak Street, Cincinnati. • • coincident with the collapse of its bane- the light of triumphant religious exalta- . 1 p0Wer; for the pedal point B, enduring tion, betokening Virtue’s final victory. In phone Pieces (B> Tenor)...... ig for twenty measures, above which the rapid spell-binding glory the three trombones— 'olin figure rushes by, as if suddenly dis- the instruments of religious majesty—in Idling every bacchanalian vestige, is the unison with as many trumpets, proclaim For Sale at all Music Stores (except in Canada) or sent direct on receipt C(lphplanbJhBtitmr great harmonic basis on which the Pil- the melody on high until the magnificent of marked prices grims’ Chant, the song ’of victory and re- end of the Overture, This “Whole World” Catalogue demption, re-enters. Against the violin fig- - ;, maintained until the close, the great Self-test Questions on Mr. Biart’s Article Is Sent Free vofc choral song is carried, with the same in¬ 1. What is the nature of a Dramatic to every music lover in the United States (not in Overture? strumentation as in the beginning, namely, Canada) on request. It is an intensely interesting 2. In what way is the Overture to by clarinets, horns and bassoons, violas, booklet, profusely illustrated, containing the titles, ’cellos and double basses now joining in the "Tannhduser” a great achievement among descriptions and complete contents of all the books harmonies. Throughout the Second Part, dramatic overtures? listed above. Whether you are a teacher, a student which is here nor repeated, the ’cellos and 3. In what way docs the “Paris ver¬ violas join in bearing the melody. sion” of "Tannhduser” differ from the or a musical amateur, you will find a number of One of the most remarkable and signifi- original idea of Wagner? books for violin, piano, voice, organ, saxophone, nal rhythmic transformationslsformations in the an- 4. Which part of methe uvermreOverture inter¬ etc., which will prove the most satisfactory collec¬ nals of music is the augmentation of the prets the religious spirit of the opera? tions which you have ever used. Mail us a post¬ Acknowledged Preeminent Chant, from this point of the Overture on, 5. In what manner are the workings card today with your name and address and the As a Conservatory of Attainment extending the metre to the quadruple, of of the powers of darkness interpreted? catalogue will be sent by return mail. cal insfrnrC cons<;rva|ory 'n the West ... a reputation for l _ i "n A. ‘VTX7’ 35 W. 32nd Street D. APPLETON & COMPANY New York City otters to earnest students ideal plishment in the Mu,SwSd "" Fall Term Opens September 12,1927 Unrivaled Free A—- , ' CORRESPONDENCE HARMONY—Sim- nle nractical Music composed, send poem. -llnre old violin, nppra Dr. Wooler, 171 Cleveland Ave„ Buffalo, N. Y. [•illv Co., Chicago, as to of 1750 or '00. Unto orkmanship ; fine tone SAINT LOUIS, MO. 1 [ousel, Ashtabula, Ohio ^‘4wfet?st"Ev«’ Told^and“oO ' ‘ ' concert and Recital Halls. “ -- 55 St“dios- FOR SAI.I wood case, g. , other works, Ridley Park TEACHERS’ CERTIFICATES. DIPLOMAS and DEGREES 2442 Shermai _» «ft****JnS. . DEaiRABLE boarding accommodations KROEGER English, Foreign L«om^“o?SreS llt'lnuT' ^0UrSeS Examinations Free. For Catalog and Other Inform EVERYTHING IN MUSIC PUBLICATIONS Brown. Lansdowne, — --- JAMES H. BELL, Stemmy* SCHOOL of MUSIC Our mail order service is prompt and accurate. “KEY TO ULTRA-MODERN HAR¬ (E. R. KROEGER, Director) Teachers' needs given special attention. MONY”—Write for particulars. Edmund C. THEODORE PRESSER CO. Philadelphia, Pa. Staunton , Virgini/ All Branches of Music Taught BEETHOVEN Send for Catalog SEPTEMBER BULLETIN / L.°^,R,ate? Begi OF THE CONSERVATORY MUSICAL ART BUILDING ESTABLISHED 1857 JOHN M. WILLIAMS SERVICE SHEET DANA’S musical INSTI TUT I FOR m PEABODY Mg™™?* warren, OHIO TEACHERS OF PIANOFORTE

m America. Catnln*,,. T special Music Supervisors Course Mr. Williams Las selected .he .Cowing nnmbers from recen, public..^ as being of outstanding merit for teaching purposes for the Sep- ---1--_ Catalogue.on application to I YN ,N B- DANA. Pres. Desk E. CONSERVATORY OF MUSIC tember Issue of the SERVICE SHEET. Compo..r Publisher OF SHENANDOAH COLLEGE Composer Publisher Name _. th'°< The Shenandoah Valley, near Washing Name Schmidt II Wood Nymphs’ Frolic.Aaron Flammer ton. Full Courses in all branches of Music. Pupils this Atlanta Conservatory of Music year front fifteen States. Rates most reasonable ^, ™' Kouismlle Consmiatory of |Husfc3 Titania’s Dance J? . Presser When Evening Shadows Fall Adair Willis Organ 0rchestra Band, Piano Tuning and Pipe THE FOREMOST SCHOOL OF FINE ARTS IN THE SOUTH Beautiful Isle ^OOK w , The Little Shamrock.Jewell.Schirmer SHENANDOAH COLLEGE DAYTON^VmGINU FREDERIC A. COWLES, DIRECTOP E«u*1 '• Th«' Fo“d Anywhere. The Brownies’ Morning Song. Brown.... • Student, may enter at any lime. Semi 1« A Nationally Accredited School of MUSIC-ART-DRAM AT,r- 8E0. P. LIND NEB, Director Orange Blossom..Canfield. D.Uon II Degree and Certificate Course MATIC ART Ask Your Local Dealer to Show You These Numbers Ask for Our Circular of Peachtree and Broad Streets, Atlanta. Georgia EDUCATIONAL music books PIANO—VOICE—ORGAN—VIOLIN—ORCHFSTD a PUBLIC SCHOOL MUSIC NORm1TINSTRUMENTS •ii conies of numbers selected each month with a lesson outline and suggestions as to for Schools. Academies and Colleges including NEW ORLEANS CONSERVATORY Teachers who subscribe for this service will receive copies^ ^ number q{ subscribers t0 the Service Sheet is necessarily limited, Academic and Special Courses in Anan^F TRAINlNG Text Books, Inference Works and Collections STUDENT RESIDENCE A 1 and Expression 0F MUSIC and DRAMATIC ART, INC. 1783 Coliseum St. New Orleans. La. Phrasing, fingering, interpretation Pf^e^ollLent 'fees when the subscription list is full, THEODORE PRESSER CO. Specializing in Violin, Piano and Vocal Instruction the management reserves the right to return emu 1712-1714 Chestnut St. Philadelphia. Pa. L. PresiXnt'llTw. TYn A winches of Theoretical work Teachers desiring detailed information concerning this Service Sheet should write to JOHN GRUBER, Broadway, 1 3reef*nd Artists Diplomas conferred Winter session October 1st John M. William., P. O. Box 216, Trinity Stat.on, New York C.ty. <> our niMerilaers always mention THE ETUDE. It identifioa — DR- ERNEST E. SCHUYTEN, Pres. I-Caialotst Mailed on R,qunt_ __ __ , ,,, ,, .. Hill. Hi * * r* 1 aN on*‘ ~ , ai,voy» mention THE ETUDE. It .dentines . When yon write to our advertisers alwajs Page 7Ob SEPTEMBER 1927 lBg STUDS SEPTEMBER 1927 Page 70S TEMPLE UNIVERSITY NEW YORK SCHOOL of MUSIC and ARTS I School of Music — - _ N*w York’s Oldest Music Schnni 1521 LOCUST ST. PHILADELPHIA, PA. COMBS 26 WEST 86th STREET . Thaddeus Rich, Mus.Doc., Dean^, Publisher’s Monthly Letter RAI.FE LEECH STERNER, Director * E. F. Ulrich, Assistant Dean and wonderful features planned for the coming season EST STANDARDS ot MUSICAL INSTRUCTION Conservatory o/JdBSjc „ by this institution A Bulletin of Interest for All Music Lovers —" r—^ PHILADELPHIA accredited ^ FORTY-THIRD YEAR Frank Stewar Adarna Director of Motion Picture Organ Department a,,, I"!^““rNGUIgj,Ep^ faculty-,bivt bC en years onanist of Rivoli and Rialto Theatres, New York City A School for the Beginner Individual Instruction. F TRAINING FOR OPERA ^ Ambitions Amateur ^ SEVERAL FRQp^OPAimAL FREE SCHOLARSHIPS6 !KTaHE&TiLS—OrrOBTClIITY FOR ORCHESTRAL the Professional Musician ONE HUNDRED PER CENT ETUDE You Can Save Money by Dormitory in School Building. A real home for No Entrance Requirements exert., t The Annual Money-Saving T"^HEH] Etude Music Magazine has had no more enthusiastic friend Ordering Magazines Now Certtficate, Diploma and Degree ctses Offers to Music Buyers ththan Mr. John M. Williams, who has conducted classes in peda- _gogygo from coast to coast with remarkable success. Mr. Wil¬ THE inside back cover of this issue Instruction in all branches iw. JTTST the other day we read in the liams “never gets done talking” about the value The Etude proved to of THE E5TUDE offers the biggest and Band Departments. Two ConfT^ newspapers that during an income him in his own early training and studies. He continually refers to money saving combinations pre¬ Student Symphony Orchestras l?*!?6 tax^ case the culprits admitted articles which appeared years and years ago, insisting that The Etude sented to our readers in the past two gogy and Normal Training. ApprovS charging various prices “according to is the greatest compendium of musical information the world has ever years. Note the prices. They are good and Accredited Courses in PubHcSch^l the traffic would bear." This is a possessed. In one of his recent classes he asked how many were from September 1st to November 10th. Music. Degrees Conferred. W f0rinus way to do business. The Etude subscribers. Every hand shot up at once. The entire class was After that date prices will advance. The Theodore Presser Co. always has en¬ 100% Etude subscribers. “But,” he remarked, “it is just as necessary wise magazine lover orders early. for the success of the teacher as well as the pupil that every individual TWO NEW COURSES SIX spaciouTbuildings laced to give its patrons the lowest , teacher’s entire class of pupils should be 100% Etude." , dormitories for women Drices possible. Furthermore, at just Swindlers INSTITUTE OF MUSICAL ART the season when teachers and active FRANK DAMROSCH, Director Send for Illustrated Catalog music workers are ready to buy, even BEWARE of the fake magazine sub¬ j American Institute of 120 Claremont Avenue New York, N. Y. mwer than usual prices on certain pub¬ scription agent. Fall is here and lications are offered each year in order Have Sufficient Music Always An All-Embracing it will bring the annual crop of Gilbert Raynolds Combs, Director complaints where money has been paid Applied Music CRITICAL AND PEDAGOGIC COURSE to give music buyers an opportunity to at Hand Without Making Service to All Interested for Teachers and Advanced Pianists under CARL FRIEDBERG become acquainted with many recent to strangers who have not turned it in. 1331 South Broad Street Metropolitan College of Music works at close to cost prices. There a Cash Outlay in Any Way in Music Look out for so-called college men NORMAL COURSE FOR TEACHERS are many interesting publications in working for points to secure subscrip- Methods of interrelating all theoretic subjects and correlating them this year’s offers and every musician Elementary and Advanced Courses for with the study of piano, violin, voice, etc. and music lover should read about them. sent to our readers even T -- — - in the army, etc. Pay no money to J Zeckwer Hahn . . densed reproduction of the thou- _1 !study and recreation material tor strangers THE ETUDE employs no Children and Young Students tuition fees very moderate, catalogue upon request, address dept, u Philadelphia Musical Academy They are fully described in the adver¬ Ws tising pages, 70G, 707, 708, 709 and 710, sands of letters received from teachers their pupils, travelling agents. Unless you are con- Season Opens September 15, 1927 5' years ot continued iucc<- s tuining musicia of this issue. Prices such as those now telling us how much they have been School Supervisors want kn^n-hpatrf vinced of the responsibility of the maga- Catalogue on request Highest Standards of Musical Instruction placed on these particular publications assisted in their work through our On the most desirable choruses, orchestra zine solicitor and are willing to assume ethel mcintosh for year book, address will never again be offered. They are Sale plan. As most teachers are aware, music, cantatas, operettas, etc. full responsibility, send your orders di¬ Managing Director made so exceedingly low for final intro- this plan makes it possible to obtain any Choral Directors, whether they have a rect to us. We cannot be responsible quantity up to a year’s supply of music mixed, men’s or women’s chorus, must 212 West 59th St., New York City VIRGIL SCHOOL OF MUSIC ductory purposes and the loss of profit for the work of swindlers. Founded by the late A. K. VIRGIL is charged to the advertising. covering everything likely to be needed have pleasing program material, (Originator of the Virgil Method, Inventor of the Virgil Praetice Clavier) in a season’s work without immediate Choir Directors, Church Singers and cash outlay. It eliminates the need of Organists need considerable assistance Fall Special frequent ordering by mail or of making in securing the music for their parts in Training JTHACA CONSERVATORY Special Courses 8S5^p&“d Sept, frequent visits to music stores. In fact, tne Sacred Service, ro, al: particulars address: THE A. K. VIRGIL CLAVIER CO or the teacher has a small music store of Professional and Amateur Pianists, ’#“* N. Y. state Board of °f 12th Teachers A her own when a good supply of our On Singers, Violinists, Organists and other Pho s , MRS- A* K. VIRGIL, Director UssterO^M; MUSIC Phone Susquehanna 10485 PITTSBURGH MUSICAL INSTITUTE, Inc. Sale music is at hand. It is impossible performers have their needs which must (VO OTHER ADDRESS 5'° Catalog Free Piit.burgh, Pa. to exaggerate the importance of being be supplied expertly, The Presser able to provide the pupil instantly with Active music workers and music lov¬ The Presser Personnel just the right piece or study needed. ers have needs ranging all the way from Personnel e piece to literature volumes, musical ‘.Schools open early in September this Introducing our Introducing Instruction for those patrons to the year and ^ time^Very AR ofthe above needs and many more patro the who desire the resumed at about the same time Very met dail b the Theodore Presser highly trained highly trained often many busy teachers will dela^ chestnut St., Philadelphia, and experienced and experienced FINEST IN members oj our members of our Charles Tamme SINGING staff who serve staff who serve GRANBERRY them daily. them daily. teacher of voice 2231 BROADWAY s.sx s srsars? r New York City PIANO SCHOOL 149 Past 61st St., New York, N. Y. Miss Katherine L. Gordon has ADVANCED COACHING a-scoming m so rapidly, it is a pnysicai aaterial °-“= in any classificationa7 cheerfully been identified with the Book¬ W EFFA ELLIS PERFIELD e first entered impossibility to fill all selection orders Catalogs and lists sent free. For PIANISTS, ACCOMPANISTS and keeping Department of the Theo¬ Classes in Musicianship j| of the Billing bepartrm at once and even though we work examination privileges gladly dore Presser Co. since December, Trinity Principle Pedagogy _ _faith- 1902, and this means that in De¬ Sight J not “Do-re-mi” teachers work in this department n= Citf T SSc to "Jo"«£ responsible i.dlvWu.ls. cember of this year she will he Singing) .. ltually brought to him some musical development through hphind with the work. We are always eligible to the “XXV Club” of the i Of - important duties de- Theodore Presser Co. Many of. Virgil Portable Keyboard SIGHT-TOUCH and HEARING. Booklet manded in the department before conscious of the fact that delays YOU CAN SECURE BEAUTIFUL IRIS he was transferred from it to the our readers will recall that on . AddresIflFsSF^W For Pianists and Piano Students —- ARD Adjustment and Correspondence cause great annoyance and disappotot- PeoNIES WITHOUT EXPENSE Page 30 of the January, 1926, issue Department in about 1923. It is ment. We therefore urge all teach- aind mui of THE ETUDE there were por¬ Keep Up Repertoire to his credit that he handled the ers to get their fall supply orders OW is the time to plant Iris and traits of all the members of this tremendous amount of detail NOW i club, to which only, those having Perfect Your Technic in at the earliest possible moment and placed upon him in the adjust¬ PeorPeonies which will bloom next served 25 years with the Company INTERNATIONAL 8mmoLAAGENCY Strengthen Fingers on this Instrument heatre ment and correspondence work to when doing so, it would be well to out¬ _ spring.sprii are eligible. The only representa¬ MRS. BABCOCK Key Action Perfect the satisfaction of our patrons line particular needs in such a manner Six beautiful Iris, one blue, purple, tive of the Bookkeeping Depart¬ OFFERS Teaching Positions, Col- 6 DRA M A^O FERA ,hM USICreCtlD8 and all concerned. as to leave no doubt in the minds of n„r white, yellow, lavendar and pink. Two ment in the “XXV Club” at pres¬ Touch Light to Heavy ^directors s Alw.ru **’ ,C°,n4ervatories, Schools. Catalog on request Fine Arts and Photoplay. Develop Early in 1926 Mr. Bandyk was people as to what is to be sent. I Iris for one subscription or all six for ent is Miss Emma N. White. AlsoChurch sad Concert Engagements - i * given to the Trade Department to not necessary to write long lists' “j" threeiree new subscriptions. VIRGIL PIANO SCHOOL CO. S.V **. Martin, be assistant to the manager of dividual pieces or studies, although Three strong healthy peonies to beau¬ Miss Gordon rendered efficient CARNEGIE HALL, NEW YORK 137.,39 West 72nd Street New York City Harv'-v Taylor. Mary Pick ford. Eleanor Painter. Anne that branch of our business. service for many years to our pro¬ Here his capabilities in faith¬ these are always helpful and tify your garden, red, pink and white. fessional patrons, but for the last fully and intelligently clearing up glad to fill such orders. Mucl uiicOne root |H____for one subscription — five or six years has been identi¬ . details stand him in good stead in The Courtright oid«tM,aw„tpr.rt!, detail work may be left to the good f two new subscriptions. fied with the important division ms participation in the desk 1 judgment of our selection clerks who of the Bookkeeping Department, System of Musical tAogSpel°,i?°rSriSsr" duties necessary in conjunction Kindergarten 'Trite for pnri with the great volume of dealer I are instructed to fill orders of this kind handling the accounts of Music orders handled in our business. wiffi the utmost liberality. Our aim is Change of Address Dealers. Miss Gordpn is the Chief Mr., Lillian Courtright C.,d,116 Edna Are.,Bridgep' Study Piano With He has just finished a busy sum¬ to put in sufficient quantity and suf¬ Bookkeeper on the “Trade” ac¬ Permanently Adopted by Foremost Teach, mer, taxed with responsibilities HEN returning to the city from counts and supervises several ------vuvucia HARRIETTE BROWER thrust upon him incident to the ficient variety, thus covering as com- W your summer home, be careful who assist in keeping accurate “An Expert Authority on Technic and interpretation’ Stock Order” season. During nletely as possible all ordinary needs. records of the vast amount of the past summer season when -■ . ~ /-.F qcs trot takt I 1 to notify us immediately of the STANDARD HISTOR^TTl^rrr^TTri m"".;*Modern Technic-Thorough and Rapid coalers were stocking up for the Teachers jtho have ncrt ;as ^ change, giving both the old and new ad- material purchased and the pay¬ PLAN NOW FOR YOUR FALL By JAMES FRANCIS COOKE minatmg ideas on Programs and Repertoire 1927-28 season, hundreds of thou¬ ments made on the same by deal¬ U S I C sands of copies of Theodore advantage of thlLP'“ 7 h elDful it is. dresses. The postmaster will not for-, ers throughout the country." AND WINTER MUSIC Appointment, by Letter Open September 10 to learn b°w extremely help l l ward second-class mail even though you Studios 150 West 80th St., New York Cits Presser Co. publications such as Naturally, considerable business COURSES AND DON’T OVER¬ always are in great demand were There is no obligation to buy anytmng change of address, is done with the dealers, due to shipped by case-loads to pro¬ not actually used. the great number of leading edu¬ A F1RST HIST0RY OF MUSIC gressive music dealers in the LOOK THE ETUDE AS A ^thoroughly practical textbook ,„M ;_w So ALL AGES United States, Canada, Mexico, cational works published by the THE NATIONAL CONSERVATOR! n America and abroad. Even Theodore Presser Co. MEDIUM FOR MAKING 'Hmtrations! map' oT musicaf Fnilrinedanoith ,V All difficult „ordsund«'tand everv OF MUSIC OF AMERICA -.-.a and J ' -- Jilt stamped. Any teacher may use?t without prellestions 250 Z cself-Pronounced ” i cn y w°ra— YOUR ANNOUNCEMENTS nous experience 8 Stron8ly bound in m^oo**0* FoU(r„?,*drbT Jeannette M. Thurber Publications i He is the greatest JLrtist Who has Embodied in the Sum THEODORE PRESSER COMPANY of His Works the Greatest timber oj the greatest Ideas. When y PHILADELPHIA, PENNA. °J 1 11 RUSKIN. 8 IHkJ ETUDE. It Identities y„71 ' °“e in to«>* with the h'Bher of art t Page 706 SEPTEMBER 1927 THE ETVDe rst etude SEPTEMBER 1927 Page 707 Piano Study Material Vocal Collection Musical Plays

FIVE LITTLE TUNES FOR FIVE LITTLE PENITENT PIRATES FINGERS FOR LEFT HAND ALONE An Operetta in 2 Acts

Annual Fall Bargain

Organ Collection

ORGAN MISCELLANY of the

Violin Works and Albums

VIOLIN METHOD FOR BEGINNERS

S DANCES FOR THE PIANOFORTE TWELVE PIANO ETUDES FIFTY EASY MELODIOUS STUDIES „ „ FOUR HANDS FOR YOUNG STUDENTS ^^-Introductory Cash PrUe^ceT introductory Cash PriJ,7o'ctf FUNDAMENTAL STUDIES IN VIOLONCELLO TECHNIC A COLLECTION OF I ST AND THIRD ROMEO AND JULIET l THE VIOLIN POSITION PIECES f Offer No. A Musical Burlesque in Two Acts for B By John W. Brigham Price, Offer No. 37—Introductory Cash Price, 50 c

" ^The" n[

FIRST GARLAND OF FLOWERS

By J. Weiss, Op. 38 5g«jL._.....Offer No. 25—Ini ,

FIRST GARLAND OF FLOWERS For Violin By J. Weiss, Op. 38 Price, 75 cents Offer No. 26—Introductory Cash Price, 35 cents

TWENTY-FOUR CAPRICES

ORDER BY OFFER NUMBER „ ~a « • of merit. Th.

Third Page of These C L Page 708 SEPTEMBER 1927 SEPTEMBER 1927 Page 709 TEE ETUDfi THE etude Bonuses for Orders of Offers Nos. j A Recently Published Mass Piano Study Material A Saxophone Method MASS IN C, In Honor of St. Joseph No. 14 to 72 Totalling $2.50 and Over PAGE FOUR itfYBOARD ADVENTURES FOR THE BEGINNER’S METHOD FOR THE For Two Equal Voices With Latin Text SAXOPHONE THE NOTABLE Be sure to Name Your Choice and State That it ' * PIANOFORTE By Eduardo Marzo Price, 80 cents Bonus You are Selecting. You Will Receive the B ** By A. Louis Scarmolin THE NOTABLE Offer No. 66—Advance ( fer Price, 40 cents to Which You are Entitled Without Any Additional CoT the supervision of H. Benne Offer No. 40—Introductory Cash Price, 50 cents Offer No. 54—Advance Offer Price, 30 cents it self-instructor, although it QHEVALIER MARZO ha. made many fine contribution, to the music T„,_ an entertaining little book which at the same time is very used with real results by - do self'Study, but t *or ,use *.n the Catholic Church and this Mass answers a need that Annual HIS isi an “ {or students who are just proceeding from the :en designed as a legitima for the saxophene Any One of These With a $2.50 Order ftp Second Grade. The title of the book is by no Annual rs of this instrument w aS^wT'tS1**8’' V f MCaSS t*iat can ke sung after a few rehearsals first i These are real “Adventures”: On the White Keys, i the material afforded the male voices are somewhat Tacking. ‘lt°?s written ‘fo^wo can'd Clarke’s Pocket Dictionary of Musical Terms. means tanciiu . ^ Chromatics, Over Many Keys, The Left Hand tteble voices, but the range in each is so limited that it may be sung Fall Bargain Basic Principles in Pianoforte Playing, by Lhevinne. A?0ne High a"d Low, Cross Hands. Fall Bargain sopranoaonran^nart part. FromFt'" thert? Kynee™’ thcto the Agnus Dei,alto this and is athetoys most melo- "hf On the Street, by Mary Gail Clark (6 piano pieces for beginners) dmus Mass, yet i, always in keeping witfi the sublimity of the text Offers Spelling Lessons in Time and Notation. ALBUM OF CROSS-HAND PIECES Offers School Supervisors—Note! Your Choice of These Free With a $3.00 Order FOR THE PIANOFORTE of the BOOK OF PART SONGS FOR BOYS WITH For the Sunday School Program Pieces (33 solos for good pianists). Offer No. 55—Advance Offer Price, 30 cents of the CHANGING VOICES Standard Second Grade Recreations (83 piano pieces). piANOIAN? students like to. play^eces^ in.^hMs, ctoss-W playing^ THE STAR OF PROMISE THEODORE PRESSER CO. more difficult than it really is. Needless to say, it THEODORE PRESSER CO. Offer No. 67—Advance Offer Price, 30 cents The Standard Vocalist (30 songs, medium ranged " Ver8)' A Christmas Service for Sunday Schools 1712-1714 Chestnut St.; Philadelphia, Pa. :t to the plaver’s technical eqmpmwrt^be^ able^to MATERIAL for boys with changing voices is rather scarce, but this 1712-1714 Chestnut St.; Philadelphia, Pa. book is especially planned for the ^purpose. The^numbers are^all By F. A. Clark Price 7 cents tnese lincs^at a fairly early period. This new album, to A $5.00 Order Entitles You to One of These s the Album of Cross'Hand Pieces, will be composed of Offer No. 41—.Introductory Cash Price, 5 cents Price Reductions on a Variety of Recent ouths in singi Volumes - Two, but mostly in Grade Three, Price Reductions on a Variety of Recent TT it not too early to begin thinking c. . e , , Music Publications to Gain a Wide 'The™ previouslyiously publishedpublish vol- Introduction for Them cs for Special Purpost Music Publications to Gain a Wide Introduction for Them ittnnethl°SundifslhMftr^^ywU^ others. tat“ Church and^Home Collection of Sacred Songs (specify if high or low No Returns or Exchanges Allowed, Single Copies May be Ordered at These Prices Studio Song Album. No Returns or Exchanges Allowed, Single Operatic Selections—-Violin and Piano. Copies May be Ordered at These Prices Two Works of Interest Prices for Cash with Order Souvenirs of the Masters, by Spaulding (27 famous melodies as Grade 2 PIANO DIALOGS Prices for Cash with Order to Choir Directors Delivered Free of Transportation Charges A Song Book for All By Helen L. Cramm Delivered Free of Transportation Charges Offer No, 56—Advance Offer Price, 30 cents THE MANGER AND THE STAR If Your Order Totals $7.50, Ask for Any One of Choral Cantata for Christmas FAVORITE SONGS OF THE PEOPLE Prices void October 1st Tj^no'nlV ‘ tuf /hcm’.ha Mi«eH?lenhlL Cramm,"''who"has been These tremelv ar. ,.|1 of her writings for young students, has con¬ Prices void October 1st For All Occasions By R. M. Stults Celebrated Light Overtures—Piano Solo. flicted these i >»vl» very cleverly, so that they are actually in¬ strumental dial . uveen the players, each player having an indepen- Price, 20 cents Celebrated Compositions by Famous Composers. Offer No. 68—Advance Offer Price, 30 cents Celebrated Pieces in Easier Arrangements (Grades 3-4). I the Christmas story Offer No. 42—Introductory Cash Price, 15 cents THREE FAMOUS FAVORITES ALL OFFERS ON THIS PAGE ARE exceedingly well done in Stults’ i cantata, The Mange ime time or other nearly every piano player has played < ADVANCE OF PUBLICATION PRICES This is perhaps one of this c poser’s finest cantatas ed to play these compositions, and nearly everybody likes I Young Folks’ Picture History of Music (Cooke). He has them. Their recent addition to the Presser Catalog maki - illustrative. It will be ready ir TWENTY-FIVE PRIMARY PIECES FOR )t8found in other'collect le the entire boot is adapted ^successes formless'1 th*'8 extrj0rdin!jry Kroup^of these un A Piano Solo Collection s are so arranged that they A $10.00 Purchase Gives You One of These THE PIANOFORTE some cases in two-part har- regular'pifeeforThe three"?! Sl/M?.1*" "r‘Ce8 ‘°talled $2'35 Volumes By N. Louise Wright BOOK OF INDOOR MARCHES FOR Offer No. 43—Only 1 Set to a Customer Offer No. 57—Advance Offer Prtce, 35 cents THE PIANOFORTE JUNIOR ANTHEM BOOK FOR UNISON September Bargain Cash Price, 45c Organ Transcriptions, by O. A. Mansfield (24 numbers). Celebrated Light Overtures for Four Hands. UVERY cxr J piano teacher knows that most students are bene- Offer No. 62—Advance Offer Price, 30 cents VOICES filed bv i . :;v. n interesting supplementary work to the regular Music Masters Old and New, by J. F. Cooke (a wealth of biographical t THERE has been an ever-increasing demand for Indoor Marches sue Selected, Edited and Composed by Edward Shippen Barnes E PRECEDING PAGES FOR OTHER OFFERS course. This i. ' work Ivy Miss Wright ia.CC£SE“« ^hon "tSnef!f and as are used for Lodge work, or where indoor drills are practiced Clarke’s Complete Pronouncing Diction S “ntr^stTA’u Vi'r various'"rhAhms be?ng‘““ployed. Both clefi are -t-l._.ioiki.m ia rh*» result. This work has been don Offer No. 69—Advance Offer Price, 20 cents very ^careWly, only used from die I-.u,w Many will want to use this book to follow rs being elim IN organizing Junior Choirs, Auxiliary Choruses and the like, the the author's : . :t'iKcess The V^ first Pieces Played on the use of unison material is indispensable. It is far better for a young choir to sing in unison for a considerable period before attempting part FIVE FIRST-GRADE PIANO PIECES THREE SONGS FOR LOW VOICE singing. Many of the finest anthems are readily adapted for unison NOS. 43 Total Retail Price, $1.25 NOS. 54 singing and choirs are thus made acquainted with works of real musical Total Retail Price, $1.20 A Four-Hand Piano Teaching Aid value. Mr. Barnes has made a splendid book and all of his arrange' Offer No. 44—Introductory Cash Price, 40c Offer No. 49—Introductory Cash Price, 40c PLAYTIME BOOK FOR THE PIANOFORTE TO 53 TO 72 ON SIX RECREATION PIECES FOR FOUR Play-Time.By Pauline B. Story By Mildred Adair Pickaninny Sandman.By Sarah Talbert HANDS FOR TEACHER AND PUPIL Littls Hands.By Ora Hart Weddle The Roses in the Garden-By Frank H. Grey ARE THE NEXT Offer No. 58—Advance Offer Price, 30 cents By Georges Bernard Little Soldier March.By Walter Rolfe The Nomad.By Cecil Ellis A Dainty Gavotte.By N. Louise Wright attract. . 1 pieo book that .starts,starts the youniyoung beginner pla ' Easy Two-Part Songs ~ ’ as been located on uie 558555 « Offer No. 63—Advance Offer Price, 35 cents SPECIAL Dolly Dimple.By Wallace A. Johnson PAGE ARE THREE SACRED SONGS FOR HIGH staff. The ■ up and down on Middle C, J student bece: B'SSS hya°v"e"ga 'A'SSt of &K S? AsS. SECULAR TWO-PART SONG COLLECTION VOICE OFFERS ADVANCE instruction book or kindergart FIVE SECOND-GRADE PIANO PIECES Total Retail Price, $1.25 appropriate text and illusti He s it Offer No. 70—Advance Offer Price, 20 cents ON Total Retail Price, $1.30 Offer No. 50—.Introductory Cash Price, 40c OF PUBLI¬ The book ray gradually up to the o little duets when well played sound like -JiHIS is a good all-round ci Offer No. 45—Introductory Cash Price, 40c for average'voi i SHEET Saviour, Breathe an Evening BlessingM' STULTS CATION A Sleighride Party.By Theodora Dutton A Fine Piano Solo Suite SiniarS Puss in the Corner-By Wallace A. Johnson LITTLE STUDY PIECES IN THE i in this book. MUSIC Acquaint Now »YATT OFFERS On Horseback.ByL. Renk CLASSIC FORMS MOODS FROM NATURE Care Free.By Paul Lawson __By Franklin Riker ••<>« i»C»- PUBLICA¬ Fairies March.By Paul du Val By Fanny Reed Hammond Four Sketches for the Piano (Offers Nos. I to 42 By Gordon Balch Nevin Operettas for Amateurs THREE SACRED SONGS FOR LOW Offer No. 59—Advance Offer Price, 35 cents TIONS Inclusive are Ready Offer No. 64—Advance Offer Price, 50 cents FOUR MEDIUM-GRADE PIANO PIECES VOICE for Immediate 1 successful teacher to arouse interest among students -PHIS new offering _ by one of America’s outstanding compMers ^m O CHO SAN Total Retail Price, $1.60 Total Retail Price, $1.20 Delivery) original pieces, giving a detailed explanation of the form and «yle impressionistic music o t e otter^ sens’e of melody. Japanese Operetta for Young People Offer No. 46—Introductory Cash Price, 50c Offer No. 5\—Introductory Cash Price, 40c of each, with interesting references Some Morning, Oh, Some Morning' ers are very6easy, about Second Grade, “The V^« Heave ^Twilight Hour,” i “The ^Open Text by Sarah Grames Clark These are In the Boat.By Frederick A. Williams Those Ordering follows: Melody with Counterpoint. Study Road’’—and will be published coll Music by Mrs. R. R. Forman Alpine Roses.By Julius Holzer Variation. Mthuet, Saraband, etc. being illustrated with a photograph Unusual Bargains Sweet Fern.By Montague Ewing Be Thou My Guide.By^C^= Any of Nos. 54 point of difficulty, the pieces are n Offer No. 71—Advance Offer Price, 35 cents Gavotte Ri'stique.-By N. Louise Wright to 72 Now Will -J'HIS is a delightful < r_ young perforin One of Each Set MELODIOUS STUDY ALBUM FOR 1 is Japanese throughc .. for both boys and girls. Have the Works A Violin Work ' tty and thi - : is tuneful and full^of^col May be Purchased THREE DIFFICULT PIANO PIECES YOUNG PLAYERS e the colls THREb VIOLIN AND PIANO PIECES Ordered Delivered FIRST FOLK SONGS in producing interesting But Absolutely Total Retail Price, $1.50 By A. Sartorio Total Retail Price, $1,20 For Violin with Piano Accompaniment to Them as Soon Offer No. 60—Advance Offer Price, 30 cents No Quantities of Offer No. 47—Introductory Cash Price, 50c Offer No. 52-Introductory Cash Price, 40c By Mabel Madison Watson Cradle Song_ D as They are STUDIES of Sartorio have proven very successful. Teachers find in Any Set Sold to Valse Phantastique.By Edna Bentz Woods ° them just the proper educational features and students find them Offer No. 65 —Advance Offer Price, 60 cents One Individual Etude de Concert.By Fay Foster Just a Little Waltz..By BuRYL Retting Published. interesting. This new book mav be taken up in the second grade ana Thus new work accomplishes a two-fold purpose. It furnishes some- Polonaise in F.By Reinhard W. Gebhardt it will carry the student comfortably into the third grade. The 1g'S nTv for the" absolute beginner on the violin and through MISS POLLY’S PATCHWORK QUILT Dreamland .... ®V Charles Wakefield Cadman The Advance Offer ■ ^ gn“nJ aUmPanL»tTafforifa pleasing and profitable ensemble .ByHenry Tolhurst Prices are Far Below KT^ng. placets on bo^„;^ruments. fAs ggMbj Operetta THREE SONGS FOR HIGH VOICE of theybook, the ti what the Regular ar tunes. The piano accompaniment is wr By R. M. Stults No Examination Total Retail Pt-ice, $1.40 THREE PIPE ORGAN NUMBERS at occasionally there is opportunity for a s Total Retail Price, $1.05 Prices will be When ECLECTIC PIANO STUDIES The first number entitled Bagpipes Offer No. 72—Advance Offer Price, 45 cents Privileges, Returns or Offer No. 48—Introductory Cash Price, 50c Works are Published ’,e open G String of the and for Exchanges at These Low Offer No. SS-InHoductory C.,h P,i„, i5c Compiled by Louis G. Heinze yfi^MATEUR p At Twilight. .By Charles Huerter ••<>«<>•• productions requently include dances, chori Cash Postpaid Prices Offer No. 61—Advance Offer Price, 35 cents S!8 V?olin°"h"s hadgvery great •s that almost e ;r the domain of the professions Loves Perfect Song.By Bernard Hamblen Orders for These l, however, in a learth of new things for church Rose of Sevilla.By Lily Strickland iS; je ss - 'Bv H 5”-™> THIS is the third volume in a series of selected studies by standard ainments and “treasury filling” ; Works Count Toward “* writers. The first volume, entitled The Piano Beginner contains and groups tc Alleluia! Alleluia!...... Bv^W^dIarmsttujnc Bonuses Offered Above ORDERS MAY INCLUDE OFFERS ON Folly's Patch . deal for such amateur needs and the easiest exercises. The s^cctid volume, entitled The Progressing THIS PAGE TO EARN BONUSES of good humor for Orders of $2.50 up Dane Player. fouow8 on with second padc material. The new book completes 1^ era c ry ng the dent on nto be 1? third numbers. It w fLi Th*se compilations have proven very successful and a g nelp to practical teachers. SEPTEMBER 1927 Page 711 Page 710 SEPTEMBER 1927 THE ETUI

World of Music pr IS

-TENT CHINESE MUSIC been donated to the Lib Philip T. Z. Sze, a nephew of the Chinese M: “Shi King,” or ho, cJftCelbas composed between Teachers! these‘odesB/nC Repertoire Let us send to You

A BEETHOVEN PRIZE of ten thousam A report from Australia giving Melba’s concert repertoire states Without Cost Book¬ ^JUNIORr marks (two thousand five hundred dollars that during the last ten years the songs she sung the most are awarded “a mi ua 1 \y tfth/'most °f ,Pru^ia- Willow Song” and “Ave Maria” from Verdi’s “Otello”; lets and Lists giving or unrecognized old composer of German bi: Mimi s Addio” from “La Boheme”; two arias from “Nozze information upon ETUDE MOZART'S “COSI FAN TUTTE” (“So Do di Figaro ’; “Annie Laurie," “Cornin’ Thro’ the Rye,” and of" Zo.fd£ ,he **«""* Th— "By the Waters of Minnetonka.” the Theater. Produced I “has proved four thi By the Waters of Minnetonka” seems to be taking on the mexpensively; that j )f translations is 5,^a,racter Annie Laurie,” “Cornin’ Thro’ the Rye,” and MOST CONDUCTED BY ELIZABETH A.GEST The Old Folks at Home.” Ih other words, it is the kind of a song that audiences are so eager to hear that they start in to EXTENSIVELY applaud the moment they hear the first notes of the accompani¬ Arrested and Fined Mary Anne’s Visit with a Music Fairy ??? Ask Another ??? COMPETITIONS ment. Mr. Lieurance has produced a very notable work in this 1. What is a minuet? A $1000 PRIZE for a Composition for Organ USED this increasingly popular number. By Edna M. Schroeer By Edna M. Schroeer 2. How is the ’cello tuned? ciation1" of "'Organists^6 through th Nati°na' • A*“” 3. What is a six-four chord? the Estey Organ Company* ContesTcloseTDe¬ TEACHING cember 1, 192: P| h Na "BY THE WATERS OF MINNETONKA" Eddie was practicing his music lesson “I wish I were a little fairy,” said Mary Mary Anne looked surprised and a little 4. What is meant by dynamics? Association of Organists, Wanamaker Auditorium when suddenly he found himself before a Anne one morning while she was prac¬ disappointed when she saw that the piece 5. What is modulation? N, k City. Published for MATERIALS beautiful castle. He wandered around the ticing. the fairy had chosen was a "beginner’s” 6. When was Brahms born? Vocal Solo—Concert Edition—High Voice grounds for quite a while admiring the piece;’but her attitude soon changed when 7. Who wrote the symphony “From the , f OR A STRING QUARTET, a prize of one Catalog No. 14561 Price, 60 cents “Why do you wish that?” asked a little the fairy began to play. tuousand dollars is offered by the Community Vocal Solo—Concert Edition—Low Voice Every Teacher will gardens...... brownie who was sitting on the violin New World”? All at once, lie saw a sign which read “What a beautiful tone!” she exclaimed, 8. What does dolce mean? TheS competiLonT Satnta Barbara’ California. Catalog No. 12125 Price. 60 cents bridge. Vocal Solo—Recital Edition—High Voice find this Information “Castle of Music—Positively no hunting before, the fairy had played the first “sen¬ 9. What is the signature of the key of George W. McLennan, Santa Barbara, California, (Easier Accompaniment) or fishing on these grounds.” “Because then I wouldn’t have to prac¬ tence.”' “I wish I could play with such a D sharp minor? Catalog No. 17550 Price, 60 cents Valuable and As he was looking at this sign two tice, and I could play the hard pieces that good lone. How can you do it?” 10. What melody is this? Vocal Solo—Recital Edition—Low Voice policemen came up who seized him and are so beautiful.” “Because I want to, mostly,” answered A PRIZE OF FIVE HUNDRED DOLLARS Catalog No. 17446 Price, 60 ril VI”, 0“No.” string” bowings and easy scale studies for (Answers will appear next month.) Piano Solo—Concert Edition— A PRIZE OF ONE THOUSAND*DOLLARS LETS AND LISTS GIVING IN¬ “Why, 1 wasn’t fishing,” laughed Eddie. “I knew it. Would you like, to visit a so long that it wouldn’t be natural for Catalog No. 22912 Price 60 little music fairy?” me not to practice them now. And you’d Answers to Last Month’s Questions pzr?«« “ bcci Violin and Piano- FORMATION UPON THE MOST November 1, 1927, Full particulars may be h“d c Catalog No. 15218 Price. 60 “I’d love to!” be surprised how much they help me in 1. The English horn is a wood instrument, EXTENSIVELY USED TEACH¬ taking the part of the alto oboe. New YorkaCtC°Pley’ 10 EaSt For‘ythird Street, “Come with me, then.” And almost be¬ my other music too.” 2. Rossini wrote “William Tell.” “Scales are really pretty when some Catalog No. 16048 Price. 60 ING materials” and IF i fore she realized it, Mary Anne was in 3. tSeuza ritardando means without retard, Mixed Voices— Positively j people'play them,” hinted the brownie. "'aguer died in 18S3. A FIRST PRIZE OF $5000 A SErnwn THERE ARE ANY PARTICULAR Musicland. 0. Enharmoi change n Catalog No. 15565 Price, 12 cents "Always teasing! Well, all right.” She $2000Ear?F l'30lI?’1AN,U "‘L THIRD PRIZE OF They went up to a pretty flower-cottage letter names o Three Part Chorus—Women's: Voices— TEACHING PROBLEMS NOW pitch. C sharp to D flat. ofPiilSM by the Epical Fund Society, NO HVNTlrtG 0/? | and knocked on the door. A beautiful played through her scales in first position, ' anthem of France is La “sic f“*’ for con?Posl‘i°ns in chamber mm Catalog No. 20016 Price. 12 correctly and very well indeed. Part,>nfarfmpet,!‘ cCl,0^s Dece“b« , Men’s Voices— CONFRONTING YOU DO NOT fairy in a pale green and violet flower- *927 011 31 “How pretty and even your scales sound, 7. An interval is the distance In pitch be- Catalog No. 20059 Price, 12 cen HESITATE TO ASK FOR OUR dress opened the door and invited them in. Pennsyfvanlm ’ 407 ^ StreS^ Fhiladdp^ Two Part Chorus (With Violin Obb.) FlShuuf trn t “But,” she said, “I’ll have to practice. don’t they? I wish mine were as even as 8. Liszt was a Hungarian. SUGGESTIONS SOLVINGTHOSE 9. A triplet is a group of three notes of Catalog No. 20207 Price, 12 n j You two can stay and listen if you care yours.’.’ equal time value, caused by dividing a b PRIZES OF $1000 for a Suite or Tone Poerr to, though.” “They are the same scales exactly, and and Sseccmdrprlzesa,fo 10l°h t0 -be divj,ded as firs1 “Silence,” commanded the king. “What “That’s what we meant to do,” an¬ I had .to practice them just as much as of two cantatas introducing French-CanadS was he playing when you caught him?” swered the brownie. “I knew this was any little girl or boy ever did. I’m sure Quartet^ f^orV^uf f Sui‘e f°r Strin“ Always Remember “He wasn’t playing, your majesty; he your golden hour.” of .that,” said the little fairy, kissing her chansons Populates for male voices^anflzsl violin, she loved it so. “But really, I must September Anniversaries 1°?*, fiT0.uP of Hansons populates arranged for was practicing.” “He’s always teasing me because I call £re °ffered ^ E- W. Beatty, Pres- that the Theodore “This is even worse than I thought,” it that; but I love to practice, don’t you?” practice now.” Anniversaries of the following musi¬ “I didn’t know that fairies had to prac¬ cians are celebrated this month. Per¬ ^whtthaepp^tl“°te Emadeayf 4*tf’ said the king angrily and frowning darkly laughed the fairy. The ETUDE Presser Co. Stands at Eddie. “What were you practicing?” Mary Anne pretended not to hear, be¬ tice until I met you,” said Mary Anne. haps some of you can honor their days cause she didn’t want to answer that ques¬ “I’ve; learned lots of things today. I’m by playing some of their compositions at the he asked, keeping his eyes on Eddie all Ready to Give the time. “My music lesson.” Eddie was tion especially. going ‘home to practice my scales and your September club meetings. You so frightened he could hardly answer. “Play us a piece before you practice, ‘easy’ pieces until I can play them as well might also look up some interesting de¬ thePA?waferTKeTnfLF nda$tio;50° “ .offef,ed b* Radio Hours ™ Teacher Every “Why, of course, you silly boy,” the won’t you?” begged Mary Anne. as you do. I’ll remember the ‘open’ string tails from their biographies. bowing exercises, too, because I want to king spoke more kindly this time; "what The fairy smiled and didn’t wait to be September first, Engelbert Humper¬ John Barnes Wells Possible Service else would you be doing on my grounds coaxed. Fairies never do. have a good tone like yours.” dinck was born in Germany, 1854. besides music?” “I’m the king of music,” September fourth, Edvard Grieg died Pennsylvania State aU“^o beTSStt? Well-Known Lyric Tenor and Composer Club Corner he added, noticing Eddie’s puzzled expres- Ti-wiob Etude : harmonicas are in the key of C. in Bergen, Norway, 1907. iiss Roxy Aubel. music.supervisor of Hast- enclosing a picture of our club. September fifth, Giacomo Meyerbeer Will be the Feature Artist was born in Berlin, 1791. PRTIZESNTw\th J G?aLndApNrEe ?%ELA£,S IN “Really?” asked Eddie, hardly believing Dollars, are offered an internaffonal oTtft his ears. September eighth, Anton Dvorak, com¬ “Really,” answered the king; “but we poser of ‘‘The New World Symphony,” of the Centenary, in 1928, of the deathc z Schubert. The offe, ,s i0r tn must get down to business again. Eddie, was born in Bohemia, 1841. “Unfinished...... „..ed Sympho,Sym October Eastern you were fishing for notes, were you not?” September twelfth, Jean Philippe Ra¬ July, 1928, a meau died in Paris, 1764. may be hY from y nf the Societ Etude Radio Hour “For notes; yes,” admitted Eddie. t’tls3 Helen Lovt “Do you realize the seriousness of the September twenty-fourth, Vincenzo Bel¬ eet, New York City. case?” lini, (Italian opera composer) died in WIP Eddie laughed. “But the piece was France, 1835. hard,” he protested. September twenty-fifth, Jean Philippe i ff er sDaV P ve' (Gimbel Brothers, Philadelphia, Pa.) The king rapped for order. Rameau, was born in Dijon, France, 1683. ?n,aTh:e <.£w«iafj, a^rgRal“Aodem . at 8.15 Eastern Standard Time “Slow practice or another week on the September . twenty-seventh, Engelbert Cantor Ronhon » i mPartlculars from same lesson,” he said gravely. Humperdinck, composer of the opera Tuesday, October Eleventh ,‘I’H Pay my fine,” answered Eddie. “Hansel and Gretel,” died in Germany, Ill practice slowly.” 1921. ™E PADEREWSKI PRIZES of one thou- Be Sure to Reserve this One, two, Evolution of a Composer fiveYinrdred donar^fo^the^es^phree^of'^cham^ Rate for This Excellent Program Three, four, one borrf^b b>d *f ^mer.ican’born composer or ScHumann Five, six, HAydn hfarch ‘ l!" lP^^F^her T^forSon'from Seven, eight, WagNer Elizabeth C Allen, 296 Huntingdon Aven”e Bos¬ ton, Massachusetts. Counting’s not GiorDani A bit of good, BizEt Unless ! do MendeLssohn It straight. Page 712 SEPTEMBER 1927 THE ETUDE The Choir Master JUNIOR ETUDE—Continued Each Month Under This Heading We Shall^Give a List of Anthems, Solos and Voluntaries Appropriate for Morning and Evening Puzzle Corner Services Throughout the Year. Junior Etude Contest The Junior Etude will award three Musical Deletions pretty prizes each month for the best and Opposite "a" are anthems of moderate difficulty, opposite those of a simple type. Any tof the works named may be had for examination. Oi neatest original stories or essays and an- By E. Mendes able and the discounts the best obtainable. tail price^are always reasoi CHOIR MASTER’S GUIDE FOR NOVEMBER, 19 LOOM SUNDAY MORNING, November 6 SUNDAY MORNING, PRELUDE PRELUDE Organ: Sea Gardens.Cookc-Mansfield Organ: Andante i_ai er a subscriber or not. 3_Take q away from «t0 drift Qn , Piano: Elegy.Drigo Piano: Canzonetta.il/ Te Deum .Stephens ANTHEMS rsjrjsa rm ot ANTHEMS (a) While the Earth *yoUR (a) Fear Not .Hosmer (b) Near Thy Side.Pike (b) And God Said, Let OFFERTORY To Secure Just the Magazines YOU Want With OFFERTORY Search Me, O God.Xcidlingcr His Almighty Hand THE ETUDE MUSIC MAGAZINE at the GREATEST SAVINGS OF (Duet for S. and B.) POSTLUDE POSTLUDE <‘B‘ S0l0'> THE YEAR. YOU Can’t Afford to Miss This Offer! ORDER NOW! Organ: March in C.Read Organ: Piece Heroique.Diggle Piann * O Sanrticcitna # _ Thomas Piano: Marche de Fete.Barr ell SUNDAY EVENING, November 6 SUNDAY EVENING,1G, November 20 THESE BARGAIN PRICES GOOD ONLY UNTIL NOVEMBER 10th PRELUDE PRELUDE Organ : A Song in the Night Organ: The Bellsi of Aberdovey Sheppard Prize Winners for April Puzzle Piano: Ave Maria.. .Schubcrt-Hcllcr Piano: 0 Thou Sublime,sublime, Swert" Magnificat and Nunc Dimittis.. Terry ning Star.IVi ANTHEMS ANTHEMS SSiKll (a) O Praise the Lord. (a) On Our Way Rejoicing.. .Stults (b) Lord of the TT (b) Thro’ the Day.Orem OFFERTORY OFFERTORY Christ, When Glory ] Be still .IVooler (A. Solo) (Duet for S. POSTLUDE POSTLUDE Organ: Marcl/in G.Smart Organ: Postlude Piano: Marche Religieuse_Gillette Piano: Marcia Fi SUNDAY MORNING, November 13 SUNDAY MORNING, PRELUDE PRELUDE Organ: Elegy .Lacev Organ: Sabbath Piano: Andantino in D Flat. .LemOre Piano: Farewell ANTHEMS ANTHEMS (a) The World’s Prayer.Cadman (b) O Love the Lord (a) Jesus, Meek and Gentle.. .Barnes (b) Be Thou, O God, Exalted Gordon B. Ncvin OFFERTORY O Lord Most Mighty. JVooler God's Hand./, (T. Solo) POSTLUDE POSTLUDE ^S' S°l0-> Organ: Allegro Pomposo.Lacev Organ: Duke Street Piano: Triumphal March.Jensen Piano: Theme fi Pathctiqu SUNDAY EVENING, November 13 PRELUDE SUNDAY EVENING, Organ: In the Starlight...Kohlmann PRELUDE Piano: Creator’s Hymn.... Beethoven Organ: Nocturne .. anthems Piano: Forest Chape Jus*-. as I Am.Ncidlmger ANTHEMS (o) Saviour, Breathe an Evening (a) A Strong Castle Is Our God Blessing.Gordon B. Nevin OFFERTORY (b) The Lord Be With Us.. flavin Cradle Song.Retlihg OFFERTORY (Violin, with Piario or Organ Accpt.) 0 Love That Will Not Let Me Go POSTLUDE POSTLUDE Organ: Marche Moderne.Lemare Organ: Epilogue . Piano: March . Camp Piano: Alla Marci

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Music has colors. It may burn with every hue upon should be in every home where good music is known and the painter s palette. And in the Nutcracker Suite, appreciated. Yet it is only one of many beautiful record¬ Tschaikowsky has used them all—the gorgeous golds and ings waiting to delight you. scarlets of Pekin; the rich designs of oriental fabrics; The world’s greatest music, the most eminent artists shapes, sights and odors as of living flowers; vivid and orchestras, are yours on Victor Red Seal Records. chromatic fantasies from Russia. ... No music ever No matter where you live, they bring into your home the written has caught more of the feeling of the designer’s best of the concert platform and the operatic stage. Their art than this extraordinary ballet. music, recorded by the new Orthophonic method, is won¬ The Nutcracker Suite has been recorded in its entirety derfully pure in tone, incredibly realistic! . . . Write today upon three double-face Red Seal Records (6615-6616-6617) Jor the illustrated booklet, “A Musical Galaxy,” with fore¬ by Leopold Stokowski and the Philadelphia Symphony word by Leopold Stokowski—a commentary on six of the Orchestra. Their interpretation, already familiar to thou¬ greatest moments in music. It is yours for the asking. sands of concert-goers, is brilliant and imaginative. It VICTOR TALKING MACHINE COMPANY, CAMDEN, N. ;., U. S. A.

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