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

11-1-1925

Volume 43, Number 11 (November 1925)

James Francis Cooke

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Italian Piano Study, Maria Carreras; Amateur Composers, BorowsKi; Community CBoruses, Arthur Nevin; Mastering Nerves in Playinif, Ceefson I THE ETUDE THE ETUDE FEBRUARY 1925 Page 77 Page 76 FEBRUARY 1925 “The Best Piano EARN A DIPLOMA Method I Know’ OR Ignace Jan Paderewski Teacher's Certificate Ignace Jan Paderewski, world-famed pianist-statesman, FROM after a careful examination of the master work of Dr. William Mason wrote— A Recognized School

“Your ‘Touch and Technic’ is the best piano Do you realize that there are hundreds of openings for trained musicians and with the present method which I know and I congratulate you vigorous movement for developing Public School Music the demand for organizers, teachers and leaders on being the author of so masterly a work.” is beyond the supply of qualified musicians? Everywhere there is a demand for trained teachers. You can fit yourself for a good paying position without the expense of leaving home. If you have a LISZT, GABRILLOWITSCH, JOSEFFY, and scores of great pianists and teachers, music class you can continue teaching at the same time you study. have praised this distinctive and original technical system in the strongest terms. This, perhaps, is the highest achievement in American musical educational work.

TOUCH AND TECHNIC (IN FOUR VOLUMES) By Dr. William Mason Wc Bring the Conservatory to You Selling at $1.00, each volume represents the basis of the artistic and technical success You Study with the best Teachers in the Country of numerous famous pupils of Dr. Mason and countless disciples. THE SYSTEM REQUIRES NO SPECIAL TRAINING COURSE TO Special Certificates Awarded Our Study in Your Own Home with the Best UNDERSTAND. IT IS SELF-EXPLANATORY. Graduates to Teach in the Public Schools without Examination Teachers in the Country Dr. William Mason realized that the finest possible preliminary training was needed in combination No longer is it necessary for the ambitious music student to incur the expense of leaving home with his Touch and Technic, and for this reason he was in constant collaboration with W. S. B. A teacher in Michigan writes: to study at an expensive resident conservatory. By the University Extension System the masters’ Mathews in the preparation of the original issue of the ten grades of the “After having four courses with you and methods are taught in .the home by easily understood lessons sent by mail. now working on the fifth, I am in position The Piano student has the marvelous teacher Sherwood to demonstrate just how he secured to say that the University Extension Con¬ his incomparable' effects. The Cornetist studies with the master Weldon; Crampton trains the voice servatory gives the earnest, thoughtful stu¬ of the singer; Heft shows how to interpret the soul of music on the Violin; Rosenbecker and Pro- STANDARD GRADED COURSE OF STUDIES dent as much as any other school in the theroe take the pupil through every phase of the study of Harmony; Protheroe gives his author¬ world. With the Sherwood course you offer, itative instruction in Choral Conducting; Frances E. Clark gives the most practical methods in FOR THE PIANOFORTE a teacher can use his own ideas.’’ Public School Music; Frederick J. Bacon, the great banjoist; Samuel Siegel, world-renowned man- dolinist, and William Foden, famous guitarist, give their methods for mastering these instruments. Designed to accompany Touch and Technic, although each work may be used independent of One in Nebraska writes: The History Course, including Analysis and Appreciation of Music by Glenn Dillard Gunn, and the other. These ten interesting, melodious, practical volumes, selling for $1.00 each, have been the “I am Music Supervisor and am very suc- Advanced Composition by Herbert J. Wrightston, are the most advanced courses we offer. The \ cess ful, all due to your Public School Music backbone of a very large part of the musical educational progress of America. course in Ear Training and Sight Singing by F. B. Stiven, Director of Music at the University of Course. The credits received from the Uni¬ Illinois, is our latest course. versity Extension Conservatory have been More than 200,000 ambitious men and women have gained proficiency in these various branches ‘THE STANDARD GRADED COURSE” IS UNCEASINGLY RE-EDITED, REVISED AND ]: readily accepted in the States where I have of music by the University Extension Method. And to you we offer the same advantages which were KEPT UP-TO-DATE BY RENOWNED TEACHING EXPERTS, INCLUDING W taught.” given to them. FAMOUS VIRTUOSOS OF THE PIANO & The busy music teacher, whose days This Is Your Opportunity—Mail the Coupon TODAY! are filled with lesson hours, can keep IT IS ALWAYS THE LAST WORD IN THE MOST Fill in the coupon below—send it now for four lessons and our late catalog. We will give “up-to-date” and continue his own SENSIBLE, PROGRESSIVE TEACHING MATERIAL you full details of our offer to teachers and students, and the offer calls for samples from one study at home at the same time he is of the courses. Get the catalog and lessons—then decide. teaching. The greatest teachers are those who never cease to be students, and the teacher who Kindly let us send you with our compliments our desired for supplementary material. This guide is in¬ devotes all his time to teaching and none to his own advance¬ UNIVERSITY EXTENSION CONSERVATORY, Dept. C-28 24-page “Guide to New Teachers” telling just how to valuable in many ways. It is entirely free. Just send ment makes a great mistake. Langley Avenue and 41st Street, Chicago, Illinois use these world-famed methods also listing some three your name and address on a postal to-day and say The development of the Extension Courses during the Please send me catalog, four sample lessons and full information hundred pieces, studies, etc., which may be used as “Please send your 24-page ‘Guide to New Teachers.’ ” past 21 years is ample evidence of the fact that it is possible regarding course I have marked with an X below. for our teachers to establish contact with students all over the □Piano, Course for Students OViolin □History of Music country and conduct courses by mail to the satisfaction of the □Piano, Normal Training □Mandolin □Voice Course for Teachers □Guitar □ Public School Music State Examining Board. □Cornet, Amateur □Banjo □Harmony THEO. PRESSER CO. PHILADELPHIA, PA. □Cornet, Professional HOrgan (Reed) □Choral Conducting □Ear Training and Sight Singing □Advanced Composition MAIL ORDER SUPPLY HOUSE FOR EVERYTHING IN MUSIC PUBLICATIONS University Extension Conservatory LANGLEY AVENUE and 41st STREET DEPT. C-28 CHICAGO, ILL. City- TUE ETUDE Page 78 FEBRUARY 19217 THF, ETUDE FEBRUARY, 1925 Single Copies 25 Cents YOL. XLIII, No. 2

National Opera The editor once wrote a Japanese ballet. While visiting friends who have a household staff of Japanese servants, he asked some “Time,” the new miracle weekly of modern journalism, of them to listen to his ballet. After a solemn discussion of F7OR 102 YEARS it has been the ideal a miracle because it combines brevity with brains and smartness l of Brambach’s makers to pro¬ the work, into which several Japanese themes had been woven, with sanity, recently reported that John Drinkwater (noted the butler announced with great dignity, “Very sorry—music duce the finest moderately priced grand playwright, author of Abraham Lincoln) is at work upon a no like Japanese music one little bit.” One cannot import libretto dealing with the life of the Scottish poet Robert Burns. piano made. Today, the result of this atmosphere in melodic bottles. effort is plainly evident... a grand of The music is to be done by the English musician, Ernest Austin. Some day we shall have American opera. But it must Here is a real opportunity for a national tone-poet. Most exquisite lines, and with a surpassing spring from our soil like the violets and the hickorys, the golden of the opera libretti of the past were written by incapable rod and the redwoods. It will not come with the stamp of beauty and resonance of tone. dramatic hacks. It may be said that it was not until compara¬ La Scala or the Prinz Regenten Theater. It must grow from The Brambach Baby Grand has that tively recent years that dramatic poems worthy of the name the soul and mind of a great American, with emotions as tumult¬ unmistakable atmosphere which only a have been prepared for the composer. Bellini, Donizetti, and uous as Puccini or Wagner, and a technic as forceful as grand can give. And even the smallest the early Verdi, suffered from this. Beaumarchais was an Humperdinck or Rimsky-Ivorsakoff. Such opera is coming exception. His “Figaro” gave Mozart and Rossini immortal home can have it, for a Brambach needs inevitably. -——- opportunities. The “Carmen” libretto is also notably good. With All My Might Wagner, who wrote his own libretti, often succeeded in being no more space than an upright. It was James who showed us through his psychology that hopelessly prolix. a large part of mankind is only partially awake, partially Scribe, a professional dramaturge who made a large for¬ alive, partially active. tune writing libretti for Meyerbeer, Auber, Verdi and others, We will gladly mail you a free paper pat¬ Success in music calls for the utmost in every individual. tern showing how very little space is re¬ produced works, which, in this day, creak with the same kind No halfway measures will do. You must work to the limit of quired. A Brambach will be placed in of artificiality which marked the plays of Bartley Campbell. \ A 7"0MEN of varied interests have been quick to welcome physical and mental endurance all the time, to reach the heights. your homeupon the smallest possible pay¬ Yet he had numerous admirers who did not hesitate to com¬ ment; the balance on terms surprisingly V V the typewriter for their social as well as for their busi¬ If you expect anything but a life-long climb—get out of music. pare him with Shakespeare. small. Just send the coupon to us today. ness correspondence. They realize that the obvious good form You will be miserable, with any other viewpoint. The great fun As for the works of the older librettists, they are simply and good sense of a typed note corrects the old-fashioned im¬ is in the gre^t struggle. pression that a letter must be handwritten to be personal. too absurd to deserve serious consideration. The composers Jonathan Edwards had the right idea. When he was in used this footlight doggerel as a kind of theatrical wardrobe The Underwood Portable, because of its beauty, its compact¬ his teens at Harvard he wrote, “I resolve to live with all my ness, its ease and quietness of operation, removes the last in which to hang their trite, and always mellifluous, melodies. might while I do live.” objections to the typewriter in the home. It is a home con¬ Such a thing as a national spirit in opera was unthinkable. And he did. His example has inspired thousands of young venience that lightens the tasks of all the family. “Lucia di Lammermoor” is about as Scotch as chianti or ravioli. men in succeeding generations. It is a genius indeed who can leap very far from his own Everyone who writes for business, for pleasure, for study, or in fulfillment of social duties, will appreciate this capable “secre¬ national stockade. Felician David, Oriental only through his Fading Fashions tary.” Ever at hand, willing, quick, it makes writing easier Semitic ancestry, Was one of the few exceptions. His Desert Thebe is something pathetic about fashion in music. Com¬ and more pleasant for the writer—and for the reader, too! is a real masterpiece of assimilation of another phase of civili¬ posers of works that do not possess the intrinsic qualities of zation. One must have the soul-grasp to absorb the spirit of All that is associated with the name Underwood—which every¬ permanence, work their lives out giving their best to the world, a whole race, to write the music of that nation in the natural where means typewriter speed, accuracy and durability—is onlv to find in their old age that the fashion for their music embodied in this Portable. Descriptive booklet will be sent idiom of its people. Proximity sometimes helps. Probably is fading like the autumn leaves. upon request. one of the reasons why so much of the Oriental-style music We had a visitor from Germany recently who knew the written in Russia seems real is because the Russian is next door music-buying tastes1 of the German public in every detail. We P-rice $50.00 in U. S. A. to the great East. Someone 'has “scratched the Tartar.” mentioned to him names of several composers whose works have, Weight 97/h lbs. cased Charpentier’s “Louise” persists in the operatic repertoire in their time, been enormously popular. Gone—all gone. Yet because both the libretto and the music have grown from the these composers wrote exceedingly* beautiful things, tending The Portable is obtainable at Underwood Offices soul of a Parisian. “Louise” is Paris. Like great architecture, toward the salon music style, but, nevertheless, very far from in all principal cities, or direct by mail. it seems to have risen from the soil. mediocrity. On the other hand, the “Girl from the Golden West” Time, the leveller, moves invincibly and ruthlessly for¬ UNDERWOOD TYPEWRITER CO., Inc. as an opera is as hopelessly un-American as “Madame Butter¬ ward. He has no favorites but those who have builded so UNDERWOOD BUILDING, NEW YORK CITY ’ fly” is un-Japanese. Were it not for the splendid libretti the strong and so great that their works refuse to yield to his music for the most part could be transplanted to almost any long, keen scythe. That is the reason why we unconsciously other country. True, both have alien thematic suggestions, revere the power, the beauty and force of Bach, Beethoven, but one cannot make a lark out of a squirrel by putting Chopin, Schumann, Schubert, Palestrina, Bizet, Purcell and feathers on it. Were it not for the powerful dramas and the Tschaikowsky. ---- magnificent music of Puccini, these works could never have Make Music Work for You gained their great popularity. They survive because of the John D. Rockefeller is quoted as saying, “I determined BRAMBACH immense and inextinguishable genius of the creators. that in addition to working for money, I would make money “Cavalleria Rusticana,” however, is national opera. The w ork for me.” BABY GRAND drama is Italian and every note in Mascagni is Italian. “Han¬ It often occurs to us that many music workers work all sel and Gretel” is German because Humperdinck never forsook their life for music and are so busily engaged in the intricate andu his native idiom. “The Bartered Bride” of Swetana is Bohem¬ technical machinery that they never make music work for them. ian from start to finish, as Musorgsky’s “Boris Godounoff” is If you do not learn to take a little time for yourself in which UNDERWOOD Russian. The Indian music of Thurlow Lieurance is Indian to really enjoy music, as the smoker enjoys a good cigar or the because the composer knows the Indians, loves the Indians, and book lover enjoys a page from “Sir Tristam Shandy,” you are ante has lived among them for years. not making music work for you and are missing the chief joy PORTABLE It is hardly profitable to attempt counterfeits in music. of your life work.

?9 FEBRUARY 1925 Page 81 THE ETUDE

How Shall I Hold My Hand? Brain Capital Tests of Rhythm More letters have come to us upon hand position than If a miner digs down into the earth and brings out lumps By The WethKnown Concert Pianist and Teacher of pure gold, that gold belongs to him as long as he lives or as regarding almost any other subject. The question can never be absolutely settled, because of long as he desires to keep it. If he sells it he can invest the GUY MAIER the great differences in hands, to say nothing of differences capital and pass it on to his descendants as long as they desire Head of the Pianoforte Department, The University School of Music, Ann Arbor, Mich. to hold it. in opinions. 3. Has the piece any well-defined phrase accents, and If a real estate investor buys a piece of property lie can At best we can merely attempt a compromise. Several of the much-advertised reproducing pianos do I prepare their entry well enough to make them clear entail it to his descendants. Thereupon rests much of the wealth Liszt seemed to hold his hand high, with the fingers slop¬ claim that their records sound exactly as the artist plays. Indeed they claim even more—that each roll is the artist to the hearer? of the Astors, the Vanderbilts, the Goulds and the other Ameri¬ ing down; but Liszt had a very large hand. Frequently accents which come on naturally unac¬ DnkinMnin Uorl c+iiMw finerprs anrl had difficulty in himself! This seems a bit too much to believe; and yet can multi-millionaires. in some respects it is true. For, if you hear several of cented parts of measures are.not sufficiently emphasized. If a brain worker delves into his own brain and produces accommodating them to the piano. these records by well-known pianists, it is quite easy to If the composer is painstaking he will have marked these a work of permanent value to mankind—let us say a musical Lhevinne, in his conferences in The Etude last year, tell who has made each roll. Why is this ? Not because carefully with long or short slurs. Otherwise the pianist himself must decide where the music needs them. When masterpiece—our laws let him keep it only for the length of his gave very useful opinions upon hand position and touch. They you can recognize the particular tone quality of phrasing of each pianist, nor yet because of the peculiar technical these occur it is well to make a slight pause before the copyright. If he sells it to a publisher with a view to investing have since been published under the title, “Basic Principles in sound of each artist—but chiefly because of the repro¬ accent in order to really underline the phrasing. his receipts, the publisher is in a wholly different position from Pianoforte Playing.” duction of the rhythmic differences and subtleties which 4. Do I give full value to all final beats or portions of that of the real estate investor, because he cannot buy a perma¬ The Etude printed a chart on hand position a year or distinguish one pianist from another. One plays with a beats in the measure; or do I hurry into the next measure nent piece of property but only a lease for a few years—that is, so ago which was a compromise design. This has helped count¬ more sharply accentuated rhythm than another; or one thereby impairing the “swing?” the life of the copyright. less teachers and students, and thousands of copies have been has a more deliberate or plastic “swing” than another. Impairing the “Swing” One great pianist will play a work with an ingratiating, reprinted for those who wanted the chart apart from The Why should the descendant of an Astor, who gained his coaxing rhythm; while another’s sweeping exhilaration This is a general fault of students, frequently notice¬ money by barter and trade, roll in wealth while the descendant Etude. __ in the same work will fire your spirit. This is easily able, for instance, in their playing of waltz rhythm. The of Stephen Foster, who brought priceless melodies out of his reproducible; and in this one se'nse at any rate the roll last beat is almost invariably hurried-over the “fence What About Your Musical Library? into the next measure. One good way of remedying this own brain and soul, go penniless? If the copyright upon is faithful to the artist. Recently we went into the music room of one of those is to think of the last beat (or note) as an.accented tone, “Old Folks at Home” alone belonged to the Foster estate or teachers who are always complaining about the absence of the The Pianist’s Greatest Asset and then “phrase” it with the first beat of the next to the original purchaser of the Foster works who risked his A pianist’s greatest asset is his rhythm; and the serious measure. This will insure giving it its full value, hairy of Success. To anyone with common sense the reason money in publishing it, the revenue to-day would be immense. student cannot spend too much thought in developing a 5. Do I pause before all tones that are to be well was so obvious that it was funny. The whole studio was so A great many people are beginning to realize that brain persuasive and infectious “swing.” It makes no differ¬ accentuated (whether forlc or piano) ; and do I hold uninviting that the little elf would probably have tilted her ence whether he is playing a slow, sustained melody or a capital is being unfairly treated. Harry B. Smith, in The these accented tones long enough? fairy wings and flown away as fast as she had come, if indeed rapid and brilliantly dramatic work. If he falls short \lways wait an instant before any impressive tone American Mercury, has this to say about the subject: she had ever been coaxed into the vicinity. One of the reasons of a beautiful tone, if his pedaling is bad, if his phras¬ or chord; it prepares yourself and the hearer for the MR. GUY MAIER “An author devotes his life to the only ability that he ing is poor, his playing can yet be effective if his resulting effect and then do not leave the tone too soon. for a lack of interest in the room was the forlorn little library possesses; he writes books; he creates the only kind of property rhythm is compelling. Ask the ordinary audience what Hold it! Organists have no other way of stressing 2. Does the damper pedal really help to bind and of musical books on the mantelpiece. There they stood, three he knows how to create. The law says to him: ‘This property it likes to hear best and it will usually mention either tones than to hold their accented notes a fraction longer make legato the tones or chords in each phrase; or do lone volumes covered with dust, and as uninteresting as the works with simple, beautiful “tunes,” or pieces with in¬ than the unaccented ones. And, as a great many of owes its existence solely to you—but you shall own it for only I leave “holes” of non-legato by my manner of changing room itself. fectious rhythms. Inasmuch as the piano has not the them do not do this the organ is popularly considered the pedal? a limited time. Then it shall be taken from you, if you survive, ability to sing a long sustained tone as well as most of to be rhythmically less vital than other instruments. Have you ever gone into the office of a prosperous lawyer, This is, of course, the elementary “syncopated” pedal, or from your children after you; and after that it shall belong the other instruments, it has to rely more and more on 6. In rapid pieces do I devote enough attention, to a prosperous clergyman or a prosperous doctor and found it and is only mentioned here because many students un¬ to anyone who chooses to exploit it at a profit to himself.’ But the rhythmical element for its effect. the hand that has the less technically difficult portion, without a fine working library of the best books obtainable? Of the two, beautiful tone and fine rhythmical swing, consciously slip into the bad habit of changing the if the author had devoted his life and labor to acquiring any thereby controlling it well, and making the rhythm The old Scotch saying, “Sell your coat and buy a book,” has the latter is the more important to a pianist. If, to a pedal at the same moment that they play the tone, in¬ property other than his writings, the law would say to him: swing? . , • , j-fl- been only too literal to many a young and struggling profes¬ naturally beautiful tone he succeeds in adding a good In most works that are bristling with technical diffi¬ stead of waiting a fraction of a second later. This ‘That belongs to you and your heirs forever, or until you or sional man. rhythm, he is a pianist sure of his mark! culties, one of the hands has a comparatively easy causes the jerky, disconnected sound which characterizes they see fit to dispose of it.’ In other words, if a man is foolish This difference between rhythm and “time” can best time of it; as {or example, the left hand in Weber’s the work of students who have not developed the faculty Books are an investment, like money in the bank. They enough to write books or compose music, the law sets a definite be illustrated by hearing a record on one of the old "Perpetual Motion” or in Chopin’s Etude in A Minor of listening to their own playing. are almost a statement of your intellectual riches. Musicians, player-pianos, and then hearing one of the modern limit on the time that he and hh family may have the use and (“The Winter Wind.”) By working just as hard at unfortunately, have not yet sufficiently discovered the need reproducing instruments. In the first there is merely this left hand as at the right, you will master works of Too Much Damper Pedal benefit of the property he has created, and when that prescribed for a practical working library. Every good book you buy rigid, mathematical precision; in the second there is a this character more quickly. Absolute control of the 3. Do I spoil the clarity of scale or passage-work in time elapses the law permits its confiscation. is a prop to your understanding, another beam in the structure real “poetry of motion,” and elastic give-and-take, by easier hand tends to hold the work well in check. Hold the middle or bottom sections of the piano by using the “It is true that in this day and generation there are autjiors means of which the record is able to communicate the back and emphasize especially the final beat of each of success. You can not expect to go on and on without replen¬ damper pedal too often and too long? and. composers who realize substantial incomes from their writ¬ performer’s intention. measure. When rapid passage work descends below the C above ishing your mind. There are thousands of musicians who are ings. Some of them even acquire moderate wealth. But these Rhythm is indeed the “soul of music” and the back¬ 7. Where there are broken or irregular rhythms, do middle C it is advisable not to use more than an dymg of intellectual starvation, for lack of the right kind of ground of all interpretation. In Christiaui’s excellent I give sufficient time to the longer tones? are surely the exceptions. Those of more than ordinary talent occasional brief touch of the pedal. library diet. book, "The Principles of Expression in Piano Playing,” In any rapid rhythmical groups, such as , 4. In sustained (lyric) passages are there places are nearly all poor men. Certain playwrights, novelists and he says very appropriately “Music is indebted chiefly to Your pupils will unquestionably add to their respect for where, by playing a more solid bass tone I can hold popular composers enjoy a few years of success, during which rhythm for its order, perspicuity, intelligibility and con¬ you as they see your studio library grow. Don’t content your¬ down the pedal for a longer time, thus obtaining a they earn incomes equal to those of prosperous plumbers. Occa¬ sequently its power and effect. Rhythm is the principle richer mixture of tone? self with half a dozen volumes. Have a regular hook-buying j7n.J3JiJ3fl-.ra sionally a newspaper paragraph reports that Mr. So-and-So, of order in the magic world of tones. It is everywhere, A “long” pedal usually depends upon solidly played plan and take a pride in seeing the best musical books and and lends a beautiful self-balance to the out-goings of the novelist, has made seventy thousand dollars in one year from it is well to give -almost too much time (or stress) bass tones for its background. When these are lack¬ also books upon cultural subjects in general, added month by unimpeded energy/’ to the longer notes. It frequently helps if one thinks of ing the result is unsatisfactory. In those places which a successful book, or that Mr. Blank, the composer of several month. Your dealer will be glad to help you in making selec- Two Hundred Pages of Rhythm the shorter sixteenth notes as being almost “thirty-sec¬ demand a blurred, indistinct pedal effect, treat care¬ musical comedies, earned a hundred thousand dollars last season. onds.” Wait long before playing them—and then play fully the harmonic and non-harmonic tones, making sure It is interesting to note that out of the three hundred But it is always forgotten that Mr. So-and-So and Mr. Blank them very sharply and quickly. that the former predominate. Otherwise the passage will pages which comprise Christiani’s book two hundred are may never again attain to that lofty financial eminence. The .. , „ nas Broadened enormously duriim become overbalanced and unpleasant. the last fifty years. More than this, it has broadened in a devoted to the problems of rhythm! Real Rest Spaces prosperity even of the few is precarious, and most authors and In tlie recent “Jazz” symposium in the “Etude no normal and healthy manner. True there are the usual number 8. Do I give all rests their full value; And do I Long Pedal Effects composers, year in and year out, find the small form income-tax one stressed the fact that the fascination of good jazz is leave real spaces where they appear? At those spaces of musical literary curiosities in which men with abnormally Sometimes one can get charming, long pedal effects blanks adequate to their requirements.” due chiefly to its rhythmical complexities and to the do I remove my hands from the keys and my foot narrow brains try to impress the musical snobs with the fact really wonderful elasticity of its, swing—in other words, without this fundamental “bottom" (bass) tone!, when from the pedal? both bauds are playing well up in the treble portion of that anything written about subjects of slight world appeal to its alluring rhythm. Take this away from it and see Always remember that music uses for one of its the k' ^board. how much you have left! most impressive effects the absence of sound. A fine, Posthumous Success or real human interest are matters demanding superior scholar- 5. Where there are obvious breaks in the music, do As in the former tests of “Tempo and Outline,” be sure long pause will do more to make a work effective than »l..p. Such ,scholars .ill ^ Jh, Le " ^ l release the damper pedal, or do I obliterate these There is something essentially tragic about compositions to apply each of the following tests conscientiously to pages of well played notes. It takes an artist of ex¬ mficant mediaeval manuscript and turn their backs upon °a breathing places by holding it down? the whole piece not omitting a single measure. perience to realize the importance of these breathing published after the death of their creators. Many of the works 6. Where are the phrases which need the soft pedal? great modern symphony. Fortunately they succeed In ini- 1. Do I give sharp accents on the firsts notes of all places. Exaggerate them in your practice, and when Do I use this pedal often enough to make effective the of the masters did not appear in print until after their deaths. pressing few others than themselves. We know of several hooks measures of rapid or strongly marked rhythmical works? you play to other people make such spaces longer than change of tone color wdiich it produces? Several of the best waltzes of Chopin for instance were still in of this kind which are little more than academic rubbish They Students should exaggerate such “meter” accents more you think necessary. Perhaps then you will pause just The soft pedal does more than reduce the amount of manuscript when he passed away. The “Tales of Hoffman,” than they do. Frequently a work will need little more long enough to be effective 1 than this to make it swing effectively. Watch carefully tone; it puts several new tone colors at ones’ disposal. Offenbach’s one claim to larger immortality, was never seen by JhT a rrv to sec that these strong accents persist when playing the Tests of Pedaling One of these is a relaxed, easy (ARM) weight color, and another is of a close-pressure, thicker quality. the composer. Bizet’s “Carmen” and Moussorgsky’s “Boris piece up to tempo. 1. Do 1 release the damper pedal quickly enough and Decide which effect is needed in each of the soft-pedal Goudounoff” were produced during the lifetime of their com¬ 2. In slow works do I give every note, long or short, long enough at each harmonic change, to avoid blurring? of fine musical books which reach out \ t1housands Bad pedaling is caused chiefly by the failure to shut places. posers, but they could hardly imagine the great receptions that its full value? One reason for ineffective “melody” playing is that the off one set of vibrations before another is put in motion. 7. Is there a place where it would be well to use a were to be given to them in after years. short notes or quicker groups of notes are not emphasized Students should get into the habit of completely re¬ “half” pedal, or a “shivering” pedal? =:sc-- - a An artist’s feet are as sensitive as his hands. He «& leasing the pedal, and then waiting before pressing the or heid long enough. It is better to stress these tones and has learned that sometimes a passage will sound better to give them more value than they should have, rather foot down again for the next tones or chord. In by pressing the pedals half or quarter down; or that, than to cut them short and so spoil the smooth melodic forte or fortissimo places the changes must be quicker and the release longer to avoid conflicting vibrations. by releasing it part way for just an instant he will shut line. THE ETUDE FEBRUARY 1925 Page 88 Page 82 FEBRUARY 1925 THE ETUDE

off conflicting tones and still keep the ground (bass) Interpretation for the Child tone sounding; or that, by making the pedal vibrate How Not to Practice quickly (as though his foot were shaking nervously) By Mae-Aileen Erb he can make an especially beautiful diminuendo. These higher was the distant echo. Beginning on the fourth By F. CORDER effects are fascinating but it takes years of sensitive Interpretation is one point which is frequently over¬ count of measure 20, a little bird sang, 'Good-night, pedal technic to do them well. There are a thousand looked in a child's early piano lessons. Too often this of England and Professor of The Royal Academy of Music, London good-night, good-night,’ which was echoed softly in the Eminent Theorist shimmering colors to be had if the student will con¬ subject is excused on the ground that until a pupil reaches higher register. Next, a bell chimed. Good-night,’ stantly experiment with his pedal extremities! a certain stage of maturity he is not capable of shading have the inconvenience of getting up to look at it when¬ three times rather slowly; and finally the fairy, the bird Many years ago I lived in a country town, and every This has the effect on the hearer of a graceful correction . 8. Is there a chance for me to give increased sus¬ his compositions, that is, of playing them expressively. ever your memory needs prompting. and the bell, all seem to sing her mother's song together morning as I went to my daily teaching I passed a house in oratory and explains why the appoggiatura is nearly tained sonority by holding any tone with the sostenuto As the performer is tender in years, he is only expected Never give way to the senseless habit of drilling the (measures 2S-31). But, on the minor chord in the fol¬ where a girl was always practicing on the piano. I dare always the note above the harmony instead of below. (middle) pedal? “to play as a child.” fingers by mere automatic repetition of a passage. The lowing measure, she awoke with a start, and sat upright say I passed a good many, but this one dwelt forever in The latter would produce the mental concept of having Artists differ exceedingly in their opinions as to the This is an erroneous idea. A child is naturally expres¬ swifter the muscular movements involved, the more in bed (pause). When she saw that she was saf< in my memory, because she was always doing exactly the failed to reach the desired note and having made a sup¬ importance of this middle pedal. Most European pianos sive. Watch a group of children at play, or engage one slowly and deliberately they need to be taught to the her own room she sank back on her pillow and fell same thing, as I passed the house at pretty much the same plementary effort—not nearly such a pleasant idea. do not have it, therefore, many artists use it in a very in conversation and the many unconscious changes in muscles. There is no such thing as quick practice. asleep as her mother’s voice grew fainter and fainter as time. She had a volume of Plaidy’s Technical Studies Now the connection of this fact with my previous re¬ limited way. But it is surprising how it will repay facial expression that illustrate the various phases of his And appreciation of this fact is not possible till we before her; and she was playing it straight through, marks may not be immediately apparent, but the follow¬ close study, and how often one finds a tone which, if narrative will be convincing proof. The child's instinctive she quietly went downstairs.” have realized the essential difference between Practice permitted to sing out during a passage improves the That story made the piece doubly dear to Ethel. She from beginning to end without stopping. I did not need ing true anecdote of the greatest of all pianists will impulse to express what he feels in voice, action and and Playing. In the former every tiny act—every shade singing power of the other tones, knits the passage to¬ loved to play it and make the piano tell the story to the to be told that her mind, during this task, was in a state make it clear. In Liszt’s Don Juan Fantasia there occurs countenance, may be turned to account with little diffi¬ of tone—must be consciously directed; in the latter all gether, and helps to avoid the “messy” sound which listening friends. With each repetition the interpreta¬ of complete blank oblivion. I knew from the manner of the following succession of widespread chords: culty in the playing of his elementary pieces. the details are relegated to the subconsciousness and the would result if the damper pedal were sustained for tion improved until one day a musical friend of her her playing that this was so. Her eyes were fixed upon In teaching a composition to a child, appeal to his Ex.4 general direction only is conscious. Clearly then the prac¬ so long a time. mother exclaimed: “That child does not play like a certain black dots on paper and in response to this code fertile imagination, which is readily stimulated, and he ticing of a piece—just like the practicing of a recitation of signs the fingers rose and fell. Nothing more than Getting Sick of Pieces will weave a story about the piece in a remarkably short child, but like a miniature artist 1” —can be beneficial only when done so slowly that any And that is a point which every teacher should ponder this happened or could happen. Before proceeding to the "Tests of Phrasing, Tone time. A suggestion here and there from the teacher will error can be repaired instantly and not allowed to be¬ —why should not the child play like a miniature artist ? Will any teacher or pupil who reads these lines reflect and Color,” there are a few general points which need serve to keep it apropos to the character of the compo¬ come habitual, A child is responsive and will take great enjoyment in for a moment and tell me what useful purpose was clearing up. First, a great help in acquiring a technic sition. As an example, take “Good-night, Little Girl!” A pupil was complaining to me only the other day of shading and gaining different effects in tone, but he served by this procedure? The daily drumming went on of interpretation is to make use of every opportunity by H. L. Cramm. This easy piece is rich in interpretative the difficulty she found with certain left-hand skips in possibilities and is carefully supplied with dynamic signs will not take the initiative. He must lie guided and for more than two years, without any perceptible result; to play your pieces frequently to others, to single in¬ Chopin’s Ballade in G minor; but I had already per¬ which the pupil should be taught to follow as accurately directed until he becomes original himself. for the simple reason that there was no definite intention dividuals or to large or small groups of people. Each ceived that the error—which consisted in dashing out to as he does the notes and rests. With interpretation, deliberation should be taught in behind it. I need hardly point out the fact that these The composer, who was given to altering the details time you play (if, meanwhile, the work is studied a bass note one tone farther than the one intended—was The writer asked a child of eight, what story this com¬ the earliest lessons. Deliberateness in beginning the finger exercise's of Plaidy, Tausig or Pischna are of of his pieces in performance, on a certain notable occa¬ carefully) will bring finer control, greater ability to always the same, and had been unintentionally learned, position suggested to her. She was given a week to think piece, deliberateness in ending the piece, delilwrateness in very differing kinds and are intended to develop various sion thought fit to improve the last chord by making the project yourself, and a surer knowledge of how to through lack of deliberation. It was not enough to real¬ of one, and the following was the result: “After a little playing the ritardando passages and deliberateness in ob¬ branches of finger technic. Just to gabble through them, left hand go over the right so as to emphasize the top communicate your feelings. Play only a few pieces that ize that fact and correct the error now; the habit of girl was tucked into bed, her mother sat nearby and sang serving the pauses. Ease, poise and confidence all grow as a schoolboy rattles his hoop stick along an iron railing, note. Not having done this before he missed the note are not too difficult—and play these over and over again finger had to be unlearned and a fresh habit acquired; to your friends. If the music is of first-class quality, a song to her (first eight measures). She sang very from that one word, deliberation. is to refrain deliberately from trying to improve one’s and came down on F instead of E. But as he was a tiresome matter. you ought not to tire of it. “Getting sick” of pieces softly, especially at the close of the section, as the child If the pieces a pupil studies are adapted to him and are playing. If such a foolish task must be undertaken it keenly listening to what he was doing he was able not only instantly to repair the error but also to turn it to is due to a gradually distorted perspective, and to lack was dropping asleep. During the next eight measures not beyond his grade, there is no reason why they should should be done on a dumb piano, which at least would Eye Versus Mind of constant, careful study. Ask your friends to listen she dreamed that she was wandering in a forest filled not be played correctly in a thoughtful, artistic manner. not injure what little ear the player possesses. musical account. He held the F and slurred it down, appoggiatura-wise, to an E. Then, after a slight pause, Moreover, I found that in repeating the faulty pas¬ to you carefully, and to criticise you. Even - though with birds and flowers. The short phrase beginning on The most simple composition, when thus played, ceases I know that even in these enlightened days there are he did the same thing again, very softly, like an echo, sage the pupil was unable to check herself from going they are not experienced musicians, they can frequently the last count of the 16th and 18th measures, was a fairy to be merely a beginner’s piece, but is invested with people who believe, or pretend to believe, in “finger help you by their fresh and different points of view. thus: straight on each time. This showed plainly that all the voice calling, ‘Good-night,’ the repeated phrase an octave charm and becomes a thing of beauty. drill” and who will rather slave at an aimless task for There is no reason for feeling discouraged if a work hours than use their brains for five consecutive minutes. time she thought she was practicing, she was really only is played badly for the first few times. Even though Such people love to tell us how Paderewski practices for Ex 3 Lento playing. This is a very common fault, caused by let¬ it has been studied carefully and is seemingly well con¬ thirteen hours a day or how Pachmann once played a 1 ,=abi ting the eye direct matters instead of the mind. trolled, it will need many performances in the presence The Smallest Interval single measure of a piece all day long for a month, or H ftp * I cannot too often repeat that the eye is the perpetual $ of other people to make it effective and beautiful. any other silly fable that foolish journalists trouble to F- 1M hindrance in learning music—the perpetual foe of the f Artists who appear in public hesitate long before play¬ By s. m. c. invent. Many and many a brainless student have I heard ear and the intelligence. Hence the absolute necessity ing a new work to a metropolitan audience. They for dispensing with it as. far as is possible. Even in The smallest interval recognized in music, as it is play a faulty passage over and over unto seventy times = j, i i ji. J plan to “try out” their pieces dozens of times before is, however, much diversity of practice among composers ■dJ =1 reciting or reading, if you have the copy in front of taught in most civilized countries, is the half-step, known seven without stopping, in the mad belief that if you go including them in their repertoire. And even then it in this respect. To make the notion of diatonic and you, you will hardly be able to refrain from gabbling also as a half-tone, a semitone, a minor second, or an on doing a thing wrongly often enough it will get right sometimes takes countless performances in public be¬ chromatic half-steps clear, a few examples will be in or at least you will hardly be able to make pauses where augmented prime. This interval is formed either by using order. somehow and somewhere. Everybody of course believed that this was an inten¬ fore the artist is able to do justice to the piece. Play¬ There is only one way to practice properly; but there the sense requires them. So when you play with the adjacent staff-degrees, as B-C, D-Eb, C#-D, or by using tional embellishment; and, had he not afterwards con¬ ing in public once, twice or several times a year is Diatonic half-steps, or small seconds. are several ways in which one ought not to practice; copy in front of you, you find an irresistible impulse to the same staff-degrees with the second note accidentally fessed to his friends that it was his way of repairing a bound to be an unsatisfactory experience. You must Ex.l and another is this. A girl whom I can hear from where play all the long notes short, to clip all the dotted notes raised or lowered, as F-F#, G-Gb, E-EJt. mere blunder, the fact would never have been suspected. play frequently and regularly if. you expect to control I am now writing is practicing a well-known and quite and to ignore pauses. If you play from memory, you When the half-step is formed by using adjacent staff - Now this incident teaches the would-be pianist several your pieces and if you wish to learn how best to make easy piece in the key of D major. Whenever the right may play in time; if you play from notes, I don’t be¬ them effective. degrees, that is different letter names, as D-Eb, CS-D, or things. hand descends the scale she contrives to get the thumb lieve that you ever will. At least not with any cer¬ E-F, it is called a diatonic half step, and is equivalent to 1. The value of making himself a good musician. With Limited Repertoire Chromatic Half-steps, or augmented primes. on A and, in consequence, plays ithe next note G-sharp tainty. And what is true of playing is ten times more a minor second. The term diatonic is confined to tones a sound knowledge of harmony the musical memory be¬ instead of G-natural, the former note lying temptingly true of practicing. When Wendell Phillips was asked how he had at¬ proper to the signature of the key in which they occur. Ex. 2 comes strengthened and mere finger-blunders, such as the ready for whichever finger turns over. Vainly does her tained the poise of presence and finish of style which The interval E-F, for example, occurs in the scale of C above, are rendered less likely. If they do occur they Mind Control made his lecture on “The Lost Arts” so attractive, he major, III-IV, and in F major. VII-VIII. The interval teacher point out the mistake at the next lesson; vainly can often be concealed. Now, if you hold in mind all I have been saying replied, “By getting a hundred nights of delivery behind Ct-D is found in the scale of A major, III-IV, and in D does he mark the place where it occurs with furious blue 2. Be sure to finger a passage always in precisely the (which I can hardly hope is the case), or if you will me.” There are many other speakers who have only major VII-VIII. Hence each of these diatonic half-steps Diatonic half-steps, downward. pencil. The utmost this pupil can do is to play the G- same way, especially when as in the above instance, there read it over again and try to make a summary of it achieved popularity, authority and distinction by many may belong to two different major scales. sharp first and then go back and play G-natural. The Ek.3 are two equally good ones. Uncertain fingering always (which is what you ought to do), you will perceive, I times repeating the same address. So it is also with The chromatic half-step is formed on the same staff- next A and G that occur cause the same blunder to be re¬ spells imperfect performance. think, that all the faults I have spoken of have a com¬ many virtuosi. Most of the well known artists play degree and does not change its letter name; as, F-F#, peated; and I fail to see how any improvement can take 3. Above all, however well you may know a piece, un¬ mon origin—lack of mind control. Where there is no a very limited repertoire in public—and then they re¬ Ab-Ab, CS-CS3, Bb-Bbb. The word chromatic is derived place so long as the pupil practices automatically. “Evil less your whole mind is concentrated on every detail, you mind control, there can be no improvement; where there peat many of these pieces year after year. It is a wise from the Greek, and is applied to notes marked with is wrought by want of thought” is a true adage in music,. plan. Chromatic half-steps, downward. may easily forget it or, lose your way. The habit of ex¬ is no improvement, practice is not practice. But why accidentals, beyond those normal to the key in which the So long as the hand mechanism is working uncontrolled temporizing is far too little practiced nowadays; and is is there a lack of mind control? For the simple reason Also, students should not play long or involved works passage is written, but not causing modulation. Ex.4 by the mind and will, no good can be done, only harm. of the greatest value in covering up lapses of memory. that nature has endowed us with several senses, and has in public. A short piece well played stands much more The chromatic scale, which consists of twelve half- By the judicious practice of scales and other finger not endowed us with the power of using more than one of a chance of being effective than an incoherent, floun- steps, remains in the tonic key throughout, or rather, it exercises, a systematic habit of fingering can be acquired, The Worst Way of Practicing at a time. dering-about virtuoso piece, or a deadly, interminable has no tonality. Although there are many ways of writ¬ which will indeed become automatic; but the acquiring sonata. It is not a heinous crime to play one movement Returning to my main thesis, that there are many bad Perhaps you have never realized this, but the exist¬ ing this scale, the most general practice is to use such of such habit demands all the brain-power that we can of a sonata without the others! When Beethoven was ways of practicing, let me again remind the learner that ence of the well-worn adage, “think before you speak,” accidentals as can occur in chromatic chords without requires different letter names, while the chromatic ein- command. There is no point in teaching yourself to gab¬ pressed for a final movement to the “Kreutzer” sonata the worst and most universal one is to allow the eye tells you that it is difficult—nay. impossible for many— changing the key in which the passage is written. There nlrfn? Til110" °f the Same letter name- filler expla- ble senselessly. he deliberately “grafted” there a movement from an¬ nation will be unnecessary. The lack of perpetual mind-control during practice is instead of the ear to rule the fingers. It is indispensable to speak and think simultaneously. All that most of us other complete sonata. What harm would there be, the cause of all faults whatever in performance. Noth¬ to learn to read; but it is fatal to use the eye in prac¬ do is to switch off rapidly from one sense to the other. then, in playing this as a separate piece? And many ing is more common, nor more distressing, than to hear ticing. Think now! When you learn poetry or prose for The same with seeing and hearing; the same, but most other sonatas may be similarly treated. “The Bass Bothers Me” the blunders of a bad player which have been learned and recitation, what is your procedure? You endeavor as of all, with smelling and anything else. Smell a flower To go back once more to the wise words of Chris¬ cannot be unlearned. Do you know what is an appoggia- quickly as possible to dispense with the book, so that or even a scent bottle, and you will find that for the tian' : “The quality of the true artist is best shown in tura? It is a musical ornament, the underlying idea of you may give your whole attention to the proper elocu¬ moment all your other senses are paralyzed. Smelling his rendering of small pieces, for in the larger works tion. At first you gabble the lines without any attention is the least cultivated of our senses, so it refuses to co¬ New pupils who have taken numerous lessons often The -i • which is the instant correction of a fault. Through ex¬ the finer details, the deeper toning, the artistic touches, to the sense. This is not the best way, but there is no operate with the others. Sight is the most cultivated complain as above; and: “Is there some way to get the the basT^lff InuY51?1 to begin with this lowest G c cess of zeal the performer is supposed to have taken a are either overlooked in, or over-shadowed by, technical great harm in it so long as you regard it as a mere pre¬ (with most of us), and so it dominates the rest. You ...... j. uuiu uuuers note higher than that intended : thus bombast, which often covers a multitude of sins.” Bass Clef Clear in mind? I don’t understand it and don’t letters as they are'pHyed^fter th ^iddlC C’ naming *' liminary exercise. So in learning a piece of music there never thought of that, did you ? Nor did you think that quite know how to find my bass notes.”notes ” y Played, after the plan : Ex.l would be no great harm in letting the fingers rattle in playing the piano you must use two senses absolutely 1 show a pupil: “Here is your Bass Clef Staff” I then Ex.2 “First and foremost, the accompanist must have a middle-B through the mere notes if you could persuade them that at once. Now find out which two those are. complete understanding of the technical difficulties of draw middle G above it as a starting point. this is a mere preliminary to real practice. Unfortu¬ When I was a boy, an Indian gentleman once told the instrument he is accompanying. Especially in the nately the parallel between the fingers and the organs of me that there was, in his country, a college—or more case of a string instrument, the violin or ’cello, it is instead of simply speech is not exact. With the voice you are on familiar than one, perhaps—devoted to the sub-division of the middle-6 necessary to have a fair knowledge of the artist’s bow¬ it ifehScffvePeUveiLh!? this Utt1e {"r™la in the mind Ex. 2 . ground; with the fingers you are not—unless you are a mind, so that it could attend to three, four, or even ing. If he accompanies a singer, he must understand From Example^ v*-’ a"d BaSS Staff troub,cs are over fine musician, when all my advice is needless. But at five different things at once. His description made a breathing.”—Josef Adler. least you can put the copy on a chair by your side, or, powerful impression on me. and I ever afterwards tried first line of theP Bass'Staff ‘,1C firSt ,Ctter th‘ C. Staff ls the Second G below Middle better still, lay it flat on top of the piano; so that you consciously to cultivate this power to some extent. FEBRUARY 1925 Page 85 THE ETUDE THE ETUDE Page 84 FEBRUARY 1925 seeks his guidance, from the ministers son THE caption of this article by no means to the plumber’s daughter. feeling liow useful it would be in music. My inform¬ A Promise with a Purpose implies that there are musicians who do We see hint setting up the specific program ant described an almust incredible exhibition which he not know as much about business as do demanded by every student; adjusting the professed to have witnessed. A number of persons sat By Marguerite C. Kaiser the run of business men of average good stand¬ mystical, magical art of music to every individ¬ in a circle, all doing different things, while the per¬ ing and ability. Let us hasten, then, to recog¬ uality according to its light and its strength, former walked slowly round, attended to every thing nize the fact that there are many men and doing his utmost to bring musical enrichment use that lime to understand finer music. When I conic that was done, and, at the end of half an hour, gave a With a view to stimulating my pupils to a higher women who secure their livelihood through into the community; taking under the wing of in contact with a famous work which seems to be out¬ correct summary. Thus, one person made a few strokes sense of responsibility to their work and to their teacher. music, performing a worthy public service and his personal interest the few or many music side of my sympathies, I will say, “This work bears the on a bell atf irregular intervals; one took stitches in a I have had a number of blanks like the following printed. at the same time handling themselves and their activities of the town, and, so far as his capac¬ name of an artist whom the best judges have pronounced piece of embroidery; one threw marbles at the per¬ 1 call it a pupil’s pledge; and every new pupil is ex¬ equipment with as much profit as could be ity and discretion (Oh, Beloved Discretion!) former; one gave him lines of verse to remember; two to be great, and the work is called a masterpiece. I can¬ gotten out of a commercial enterprise capi¬ pected to sign it. It is then pasted in the front of the permit, giving them the benefit of his whole¬ played a game of chess; two others, a game of fox-and- Instruction Book or Study Book. Its effect upon the not see its beauty; but that must be because I am not yet talized for a like amount and carried on with some influence. geese, and another gave him a few grains of rice and minds, hearts, characters and zeal of my pupils has been educated to it. 7 will study it; and, perhaps, by and by equal intelligence and industry. millet occasionally. All these different things were cor¬ One may even go so far as to say that the Sell the Best to Your Customers excellent. It also makes a very advantageous impres¬ I shall appreciate its qualities.” A love of good music is rectly remembered and noted by the man who attended thorough business instinct and practice of sion upon the parent. the one unmistakable mark of culture the world over. The attitude that I have attributed to this to them, doubtless not all twenty actually at once, but in 7. I will cultivate a love for all that is beautiful and many musicians is so highly developed that teacher toward the public is a business attitude, quite irregular and unforeseen succession. This is the Student’s Pledge uplifting in this life—good books, pictures, nature with any modern Ruth, gleaning in their fields, insofar as it aims honestly to give the newest same kind of memory as that cultivated by some great its stars and sunsets and forests and hills, and friend¬ would find scant picking. Nor is there any and best to every client, never over-selling, chess players of playing as many as thirty games simul¬ ships which bring us closer to God. Life to me, without unworthiness in this. Such economical clean¬ never passing out goods of ancient lineage, but taneously, but with the important difference that the music and art and loveliness, would certainly not be ing up, even of the odds and ends of assessable importing first into his own intelligence and value, is by no means a skill or practice to be chess player consciously turns his attention from one promise my teacher that: worth the living. then into the lives of those who constitute his game to another, while the Indian’s mind had no such despised. People of this type may be at times 1. I will always regard my teacher as my sympathetic 8. I will go to concerts, recitals and lectures whenever clients, all that is 1 leanti fill and practical in relief. over-zealous in the pursuit of reward; but friend and helpmate. / will tell Iter without shame ex¬ possible. the art. And basic to it all—never assuring Playing, Speaking and Listening even more frequently they arc acting only as actly what I do not understand, so that she can help me 9. I will try with all my mind and heart and soul In the crow that he can learn to sing nor the good stewards of the two or five talents origi¬ I myself have succeeded in reading a new piece of when I need it most. I will try never to deceive or dis¬ be a beautiful and accomplished pianist and a broad, fingerless to play; that is, holding forth no nally given them. And thus they rise superior MR. TAPPER IN HIS NEW YORK OFFICE music at the piano, speaking to somebody and listening appoint her in any way; for I fully realize that she is well-informed musician. No sacrifice shall be too great glittering allurements to those whose gifts run to that grasshopper type of human being who to a conversation all at once, but the mental strain is constantly planning and laboring for my success. for me in order to accomplish this. in other channels. very great, because of the complex attention required plays all summer and liegs for a winter supply 2. I zvill come regularly for my lessons and will be 10. I will be a piano enthusiast, and a firm believer in Now, to do all this properly it must be done to read music. The late Sir Walter Parratt is known at the hive of the frugal honey bee. absent for very serious reasons only. thorough foundational study. I shall try to enlighten systematically, and thus we come upon another to have played a Bach Fugue and a game of chess But, as the common expression of the streets What Should the Musician 3. I will try always to be punctual—rather too early my friends and acquaintances as to what artistic playing factor of business that must enter this pro¬ without the board, simultaneously. However, this has it—there are others. There are those of than too late. really is, through my own good example. If I play beau¬ gram—System. Not that System should be¬ is not so difficult as it sounds. The mind can, as I say, the temperamental turn, of the flowing tic, of 4. I will practice every day faithfully and as much as tifully and correctly, surely they will be dissatisfied with come one of gods many, to be worshipped switch off with marvelous rapidity from one thing to the emotional hop, skip and jump habit of Know About Business? beyond its deserts. But System should govern possible. I can be only as skilled a player as 1 am willing mere strumming and thumping. My thorough knowl¬ another; but to make it govern two senses at once or action and judgment, a tribe timid in the world at least the operating machinery of the musi¬ to put in the time to be. edge of technic will make them abandon superficial drive one sense in double-harness, as it were—hear¬ of stern realities, who, nevertheless, bank a 5. I will practice slowly and with intelligence and care. study, and in this way I shall be an educator and a mis¬ By THOMAS TAPPER cian’s profession to the extent that the teacher ing sounds and their quality—this is a power many large expectation of reward for a glorified If I practice beautifully, I shall play beautifully. never attempts, as we have just pointed out, of us never attain because we do not suspect that it is sionary making this world a better, happier, richer, more future upon a small deposit of talent and indus¬ 6. I will not waste my time on Jazz but rather shall The .musician’s skill and knowledge constitute his to sell his goods to those who have no receptivity a thing that can be acquired by deliberate training. For beautiful place in which to live. try. It has been said, and truly, that temperament may lerch'andise; and like the merchandise of the business fbr them; that he makes the investment to every that matter the majority of folks believe everything be an asset in art but that it is a decided liability in busi¬ individual client as worth-while as in his power lies; ness. In this stubborn fact we shall probably find an lan, it should be renewed from season to -season, so they can’t do is “ a gift” and never consciously endeavor nat no snopwom aiiicic c«u - that he sets up a systematic procedure of hours of Melody and Accompaniment with One Hand answer to the question that constitutes the caption of that no shopworn article ever passes over the counter to learn anything. How feeble this is 1 ff mutual exchange to the customer. This means that teaching programs, of graded study for himself and Am I wandering from my text? I don’t think so. this article. . «• « • i.* M —_1 L.’„ . tUnt Uo oetoKlieline o cfriPt finntlPIfll IlfllllSt* the teacher is forever providing himself with r ! and his pupils; that he establishes a strict financial adjust¬ To use your fingers automatically, to use your brains By Olga C. Moore But there is still another class—perhaps the most ment, and. finally, a definite agreement as to lost les¬ automatically (which is the same thing as not using them worthy of them all; the unheralded, serious workers, the better salable factors, sons as definitely set forth in this magazine some at all), to believe that the amount of time spent is a earnest teachers, struggling with an equipment {hat is How does he do thi time ago; that he be where he says he will be when It takes a great deal of patience to explain to a young the wooden shoes, of course, should not drown out the First of all, let me set him up as eager to do the most measure of success—all these are the ways NOT to probably far below what they desire to contribute in he says he will be there; that he demand of his stu¬ pianist the difference between melody and accompani¬ pretty melody notes, so we practiced this part alone, with what he has, a reader of this magazine because it practice. To fail to realize the scope of the problem their daily service, procured in years of struggle and dents the same honorable appreciation of the appoint¬ ment when played with one hand. Then after explain¬ over and over.' The heavy thumb had to learn to be keeps him in touch with the modern developments of before you—to ignore the mental control and discipline often at a price that has been a real sacrifice. These ment as he does of himself ; and so on—down the ing, it is tedious work making little fingers execute the very loose and to touch the key very lightly, then spring his art; a keen student of the newer books; constantly which must precede any attempt at self-improvement— teachers perform the finest type of service. They are line. We should expect him .to be able to show the trick properly. But once learned, a child never forgets up, as though the wooden shoes merely kept time softly seeking to provide himself not only with i these are ways to render all practice futile and un¬ the backbone of the profession. Theirs are the sancti- Federal Tax Collector, if need be, the source of every it. The following example is from Wooden Shoes, a with the melody. fied hands to which and from which the torch of truth attractive teaching material but also with a clearer and worthy of its name. To practice a passage at a pace' penny and the channels along which the pennies make first grade piece by Gertrude Bartlett. is passed. In-short, they are the good, solid, ambitious, more practical ideal in the training of every one who which precludes possible alteration is not practice at Ex. 4 their exit from his purse. This is not sordid trouble. all. To do anything where your fingers are not in ever-improving, reliable instructors who carry the mes¬ It is the exact record of a faithful stewardship. And, leading-strings may be very beautiful playing, but it is sage of education into communities all over our coun¬ finally, he should know whether his annual volume not practice and will not get you on a bit. You have try. Let us be forever thankful that we have them and is producing a net profit that is a fairly reasonable in¬ got to be teaching your fingers all the time, and this let us keep them in mind as we proceed to ask— Where is Doctor Tapper ? come upon what the professional training and equipment demands the incessant and careful use of your brains. One little girl made it sound like this, as any child have cost. The person who does this is the person who gets on would if it were not explained: E; quarter rest, F; quarter rest, F. Then we counte What is Business? Where is Doctor Tapper? What Is all this necessary? quickly and infallibly. aloud, always remembering to make the thumb only ta What should the musician know about business so is he doing now? Several such in¬ It is merely the reasonable attention which one should That is my translation of the line, Ex. 2 the key. When we were ready to play both melodv an as to conduct himself and the active practice of his art quiries have come to “The Etude” be¬ give to the mechanism of a business. “Be good, sweet maid, and let who will be clever.” accompaniment together, we listened closely for th in a sane, sensible and useful way? cause during the last few years lit¬ Why? Because it makes for justifiable operation, for melody note to ring the longer, a little beyond the ta economic and well conducted processes of the exercise of Self-Test Questions on Mr. Corder’s Article To begin with, what is business? erally nothing has been heard of of the wooden shoes. . ability that knows its way around. . 1. How can “Evil is wrought by want of thought’’ By adding words to the melody (with stems turned Of many definitions, here is one: him personally in the world of It gave the effect of a staccato note in the accompani Thus far, then, we have come upon some factors of be applied to the practice of music? upward), it was easy first to practice the melody alone. music. These inquiries are quite ment; but better this way than to lose the smoot A useful activity dealing cither in material things or in importance. By the first we are reminded that we must 2. What is the basic cause of all faults in per¬ legato of the melody. skill and knowledge dedicated to the service of others, natural about a man whose books formance? Ex.3 upon theory and other subjects have have a practical, serviceable article for sale (that is, By adding words, it was easy to teach the child t or conditions making for mutual profit and well being. Instruction) always new, desirable and improving. Next 3. IIow did Liszt once hide an error in playing One can imagine the emotionally inclined starting separate one little phrase of four measures from th sold by the thousands, whose arti¬ - we must offer it in an environment that can absorb it, before the public! next phrase. visibly at the expression “mutual profit,” but we shall cles have appeared in foremost musi¬ to its profit and benefit. We must proceed with sys¬ 4. What three things should this incident teach the Here are wood-cn shoes,Here are wood-en shoes a dasc-ing The teacher must never forget that music is a studj take care of this and them as we proceed. cal magazines for years, who has tem in all transactions and keep an accurate record of pianist ? First of all, business demands for its very continuity and that children must be taught. I have heard it sab held important positions in great ed¬ what we do. 5. What arc tlic characteristics of the best type We sang the words. We counted aloud. We played that we possess something that fulfills a need. The dis¬ so often that beginner's music does not sound lik ucational institutions and who is re¬ We have now set up the teacher, very much as we of practice? _ it over and over until it was very plain that the com¬ posal of this something must be our honest undertaking dmch of a^thmg’’; but that is not always true, fo membered everywhere. Well, Thom¬ should set up a retail business of any kind. Behind poser intended these notes to be the melody. The notes —whether it lie the biscuit of a grocer or the ideas of uiiidrcns music can be made to sound very intelligen him stand the inspiration, learning, knowledge, skill and Scale Fingering with the stems turned downward, and the rests, were an interpreter. This constitutes the transaction. as Tapper has left the field of music equipment of masters, instructors, editors and publishers the accompaniment, representing the wooden siloes. Now t&r *“* •“ ** 4 P* fin, Business demands that we supply fhe need and con¬ for that of big business. For years —from whom he procures that which is within his duct the transaction in the best manner possible, with he has been associated in high advis¬ By s. M. N. means, in order that he may dispense it to those who due regard to the mutual profit concerned. This con¬ ory positions with the J. R. Penny stand before him, namely, his clients, the learners, who stitutes the service. The scales, C, G, D, A, E are fingered alike. The Company, a corporation operating look to him as the one to procure in the markets of T 1 ——. , ; , WU1 euiuain articles from Emi Business further demands that we take our equipment fourth finger is used only once in each octave; and, if American the world that which they need. Leaders of Thought and Industry, who have manifested wide intt into a community that needs it or that can be induced to hundreds of department stores in placed correctly, all the others will fall in their order. These will include: ‘ in Music. all parts of the country and doing a Rule—Right hand: Fourth finger falls on “seven.” absorb it. There would be, for example, a scant liveli¬ The Gospel of Business hood for Mr. Paderewski at a settlement in Labrador business estimated well on to $100,- Left hand : Fourth finger falls on “two.” In these factors and transactions lies practically the DR. HENRY VAN DYKE - Former or for the Editor of this magazine in the midst of the The scales of B, FS, Cf, Db, Gb, Cb contain the three 000,000 a year. Dr. Tapper has not whole' Gospel of Business. Minister to Holland, Eminent Poet Painted Desert until (and this would immediately hap¬ black keys; and it is necessary to finger, not by scale lost his interest in music by any But there is stiH another factor which the musician and Essayist. Dr. Van Dvke has va“d Un'- Wh° Seated ™ pen) each had adapted himself to the new environment numbers but by black keys. Hence the following rule: should keep in mind, the pursuit of which is his bounden sponsored music all his life/ by means of a new activity. means and he has been persuaded to Right hand: Fourth finger upon A# or Bb. duty. I refer to that preparation for securing pro¬ We may lay it down, as the next factor of what a write this article for “The Etude.” Left hand; Fourth finger upon Ffi or Gb. tection for the later years of life, when the light burns musician should know about business, that he should be The remaining four flat scales, F, Bb, Eb, Ab, are CHARLES M. SCHWAB —World He is a remarkable instance of a low, when strength comes less readily to the call, when sure that his skill and knowledge have been developed fingered as follows: famous “Steel King” who was him¬ man who past middle life has left one needs, in a measure, to rest upon the oars rather to the point where they are at once authoritative and Right hand: Fourth finger on Bb. self a Professional Musician for the profession of music and become than vigorously to pull against the tide. Left hand: Fourth finger on the fourth note of each many years. useful when transmitted to others. There are already in the world too many disseminators of misinformation. a great success in business. Is it wise to think upon this time? scale except that of F, which takes the fourth finger on A factor of atl wisely conducted business is that in¬ MplSTch'szmor for ,hePhi Let him pride himself, if on anything, then upon the the second tone. surance of its own continuity which rests in a care- reliability of his instruction. THE ETUDE FEBRUARY 1925 Page 87 THE ETUDE Inspirational Moments fully conceived and executed plan of daily procedure- (-9) He should find all the satisfaction of life by which there is set aside a surplus which shall amor¬ and living in tile field, of his professional activity. Short Cuts to Piano Proficiency tize the mortgage which circumstances place upon ojjr If he does these few things, he has worked well, Observations of Music Lovers current activity. In this connection, the amortization done good serricl, fielped-others and has prospered in By CLAYTON JONES is that of the bonded debt we owe to'our own last years. terms of spirituaPreckoning. What more could anyone . ; “Rhythmic expressiveness in playing is really what This means that good sense bids us contrive, in sortie Noted American Composer hdds the final finish of the real artist to the perform- manner, to set aside wisely that which is necessary ,tp, . Wffile teaching is often spoken of as an illumination, ^ntc w]lat distinguishes his art from that of the Professor of Pianoforte Playing, New England Conservatory of Music constitute a fund for protection. It is not the purpose it no less logically a procurement, a gathering from neophyte.”—Edwin Hughes. of this article to stipulate, or even to suggest whether Four Simple Measures of Technic to be Practiced in Many Different Ways this shall be done through the savings bank or through rti&ny sources -p! that which is needed to inspire and the purchase of endowment insurance; but it is the pttrT supply the. ^idividfial. Business insists that there must “Program music cannot always be detected without pose of this arcticle to point out the wisdom df be a "reasonable rfet profit upon the volume of total the help of a title or descriptive material; but, con¬ The Exercise and its variations are meant to produce a Place the fingers on the three chords and then roll the proceeding into the later years with such reasonable as¬ transaction. Mus| ;fhe teacher work to this end ex¬ versely, a piece of absolute music, particularly of the state of relaxation in the fingers and wrist; but, later on, wrist in contrary motion, of course, like this: formal kind, should assert itself in a fairly convincing surance of self protection as is made possible by prac¬ clusively^; . they may be practiced in all manner of shadings, from Ex.7 tical economy. She may take her,.pay, partly (and how many take fashion.”—Sigmund Spaeth. pp to ff, and with all manner of degrees of tension and Every teacher owes it to herself to secure this later it largely) in terms bp satisfaction, in the fulfilled de¬ relaxation, also in different tempi, from lento to presto. life protection. Sometimes this seems, from the point- sire of doing, getod wojjlj ;• of stimulating, enticing, lead¬ • “Education that envisages merely the brain is a lop¬ The four, or eight, measures should be repeated a number of view of income, to be impossible of fulfillment. There ing forth the ability ;§£f'the learner; finding life de¬ sided thing. To be complete, to fulfill its true purpose, of times until the student is comfortably fatigued without In Example XIV play both hands together in parallel are, however, two insurance policies within the reach of sirably passed in the consciousness of doing well that it must envisage the character. It must foster taste and any strain. motion in a dowtiward direction. The left hand must be To avoid “smearing” between the 3rd and 4th, or 4th most of us. One is the Policy of Happiness and the which it is a delighf- to do, namely, giving oneself gen¬ seek to minister to that subtle, undefinable and compre¬ The first exposition of the varied combinations is in played two octaves below the right hand. and Sth fingers, practice slowly for a while, according to other is the Policy of Health. Both of them go a long erously and without stint to the service of others. What hensive thing which we call the soul.”—Otto H. Kahn. C major; but the exercise is more valuable if the student the following proportionate accents : way in keeping us at our best even unto the last day. a marvelous army are they who, doing this, have dis- would practice it particularly in the flat keys, in which And whdt is better than to find ourselves “I am convinced that those in America the thumb (downward scale of the right hand) must capable of working and earning our daily could take no single step which would completely relax, when the third or fourth finger turns bread by our daily toil? But this form Why Willie Did Not Get His LeS5on Well* advance the Nation along the road to hap¬ over the thumb, similarly as the third or fourth finger of insurance has to be provided for in piness further than the establishment of a turns over in the upward scale of the left hand. sane habit, cheerful action and the wise national means of exercising the power of In the upward scale (right hand) the thumb must turn Since it is not necessary to have the Exercise printed conduct of life. music. To accomplish this I would sug¬ promptly under the hand, relaxing it completely, whereby in all the different keys, the following suggestions will Truly, it is a wonderful privilege to go gest the adoption of the Eisteddfod idea any awkward accent ought to be avoided. In the down¬ be sufficient for the student to practice it in any key on, day after day, performing one’s task The student is urged to study each hand separately at of Wales in America.” ward scale (left hand), follow the directions like those desired. with joy and a feeling of satisfaction in first, and then to combine them. Having considered the James J. Davis, Secretary of Labor. for the right hand, when the thumb turns under the Sharp Keys .. doing work measurably well; making hand. preparatory details, begin with the Exercise, as a whole, oneself to move through life in unison It is also absolutely necessary (if the desired result be playing three octaves of arpeggiated groups in scallops “Music, of all the arts, offers the most with the Divine Intention, if I may so obtained) that the fingering of each exercise in the dif¬ (right hand) in an upward direction, then playing the express it; that is, working with the tide direct medium for spiritual stimulus in ferent keys shall be exactly like the fingering of C major. scale in the downward direction (with a quiet hand), in the affairs of men that leads on to some national life. Other arts-—as literature, In order to make this sure, the exercises are carefully accenting slightly the first note of each group of four type of fortune, whether it be the for¬ drama, painting—may appear to have more tune of health, or the fortune of wealth, immediate appeal ; but music presents more fingered. Before practicing the Exercise, as a whole, two or or the fortune of happiness. active possibilities of public art-participa¬ three preliminary exercises will be found useful. tion. Music.affects concourses and gather¬ The Ideal Life ings perhaps less intellectually, but more Preliminary Exercises No , writing in this connection, spontaneously and instinctively. At mo¬ Exercise I should fail to point out that teaching offers ments of great public emotion crowds do Place the fingers on the first chord position, playing a wonderful opportunity to live the ideal Flat Keys not join in quoting poems . . . they sing." with the fingers only. The wrist should be relaxed. life; the professional equipment constantly —Leigh Henry, (English Critic.) improving, the general education expand¬ Ex. 1C ing and the circle of activity constantly “Time was (and not long since) when widening and its influence deepening. our ears were -assailed by strange, new Certainly one is fulfilling an office of im¬ sounds from the piano and orchestra, portant influence in one’s time, who, evoked by one Claude Debussy. Contem¬ through studying the community and porary criticism strengthened the Ixdief of Having done this, move and relax the fingers sideways learning its musical needs accurately, takes many of us that music had fallen upon (not up and down) on to the second chord position. up these needs with the assurance of the evil times; that men had turned their backs Then, in the same way, on to the third position. well-intentioned, well-trained mind, to on beauty; that melody had been deformed, put them upon a basis of efficient func¬ Having made sure of the three positions, and having and that harmony had become an in¬ The real difficulty, in the flat keys (fingered like the tioning. no stiffness, either of fingers or wrist, proceed to strument of torture. And then, after a C major scale) comes from the turning of the thumb There is no activity in the world that Ex.2 5 few short years, Debussy becomes our under the hand, and the turning of the hand over the can exceed in practicability this broad community interest that is open to all familiar, fireside friend.”—R. D. Welch. thumb, at which turning point there should be no false teachers. One may be, perhaps, pardoned accent. In both sharp and flat keys, finger exactly like at this point for saying that one of the “In the critical years of adolescence, C major. The movements should be smooth and even very first reforms that the private teacher when the emotional nature of the young After playing with the fingers only (with no wrist move¬ as the scale of C major, no hitching, no stumbling. The should bring into the conduct of her own persoii is in evidence, music is the most ment, but the wrist relaxed), repeat the first chord posi¬ relaxation of the thumb is the true secret of the turn¬ fortune is to attempt to finance herself valuable outlet for the surplusage of emo¬ tion several times, enough to make the position sure. ing of the fingers over the thumb; and the turning of upon a twelve months’ basis. Ordinarily, tion—a veritable safety valve, in fact; not Exercise III the thumb under the hand, keeping the hand and fingers - teachers earn all the money they handle, alone the mere passive hearing of music, Roll the wrist, dropping it with the thumb on to the In Example XI play the right hand three octaves of in an oblique position. in eight or nine months; for the remainder of the If the student will follow the above directions, he covered the illuminating truth that lies i uut more than this, the serious study of first note of each group of four notes, in a series of arpeggiated groups in scallops in an upward direction, they move into a period leaner than that of the kine executive sense; will do more to hold to scallops, or waves, like this, repeating a number of times, then play the scale in an upward direction (with a quiet will be able Jo apply them, practically, to the exercises. of Pharaoh. the greatest of all teachers—it i than to receive. until the motion becomes easy. hand), accenting slightly the first note of each group of There are no special demands upon the musical side With‘hc W^ty-pigglety I do not know whether Mr. Finck discusses this, Is this good business? emotion of that period than anything efse Pafents four notes. The notation of Example XI for the right of the student, beyond a musical touch and a metrical question in his book which deals with the business side sense. However, do not practice perfunctorily. Think As good, as sound, as sacred as was that of the little who neglect the musical education of their children are hand is like the notation of Example X for the left hand, of music; but it is worth thinking of, particularly in of your ear and musical feeling, bringing out what is band who helped to spread the Gospel in Galilee, going ignoring one of the most valuable factors in character starting like the sample. . a world into which so many come who possess not the advancement. George Bernard Shaw best within you, whether it be a scale, five-finger exercise, without script and without staff but nevertheless gather¬ power to exercise wise dominion over a fifty cent or a Bach fugue. The result of the exercise, after hav¬ piece for a reasonable length of time. ing riches even as they scattered them. Yes, it is often wise, it is often good business, to take our payment in The wrist and fingers must be relaxed, excepting for ing practiced it, ought to be something like “the proof of the pudding” after having eaten it. It is taken for Practical Principles satisfaction of the task well done. More Ears a slight tension of the thumb, which immediately relaxes granted that the exercise and pudding are good, both in In conclusion, then, what should the musician know and takes the sideways position of the next chord, rolling the wrist in the same way. their different ways. about business? Play Often By Alfredo Trinchieri The watchwords must be: Turn the thumb under the (1) He should offer for sale a good article. In Example XII play the left hand three octaves of hand and turn the third and fourth fingers over the (2) That good article should bring to his client and By Edwina Frances White arpeggiated groups in scallops in an upvuard direction, thumb, and then relax. It should be needless to say, to himself a reasonable profit in terms of satisfaction then play the scale in a downward direction (with a quiet “Practice slowly” in the beginning. in the entire transaction. next room R . • . a niouseJET cuttingl paper '“in the Play for yourself, your family, your friends—play hand), accenting slightly the first note of each group of (3) He should know what his training and equip¬ just play for people, and listen critically at times to becomes just a! keenTthe deteT^"7 8 * f°f mUsicia" four notes. The notation of Example XII for the left A Simple Exercise for Stretching the Fingers ment have cost him as a capitalization and what they of tone. 6 detect,on of various shades your own playing. ’At other times just glory in your hand is like the notation of Example IX for the right should bring him in terms of a minimum net return. playing and rise on wmgs-great, sweeping wings-to hand, starting like the sample. (4) He should proceed in all he does upon a reasona¬ portance OIfora itC makS'ght 'S °f the Kreatcst »K'-- ble practice of system. those heights of the soul beyond the touch of human woe and even human happiness. (5) He should regard himself as a steward of his Oh, my child, open your whole heart and soul to l intellectual and financial resources. Exercise IV music, and it will indeed “wash away from your soul the Place the hand on the keys forming the chord on the dust of everyday life.” The Exercise for the left hand is to be treated in the seventh degree of C major. Then stretch the fourth that thing has been Z ‘ 1 d?ne; tIle ear ‘c«* if same way as that of the right hand. finger on to d above, and then the fifth finger on to d. (7) He should build for the future. . Love 'b throw yourself into its glory, into its revela¬ tions of those realms of thought and ideals which can which it is possible Les* Wf1 • *16 Vtmost nice,>' of Ex. 6 j 5 » If you will follow the diagram below, exactly, you will (8) He should recognize music as possible contact never in this life be expressed through any other more of it with the ears W'th the cyes and In Example XIII play both hands together in parallel see how the wrist follows the fingers, turning it to the with all phases of righteous living. medium. J ence in the progress of m,? ' make, a deal of differ- motion in an upward direction. The left hand must be right, and then returning to the left. Relax both the cianship. . any a student toward i played two octaves below the right hand. wrist and the fingers. THE ETUDE Page SS FEBRUARY 1925 THE ETUDE FEBRUARY 1925 Page S9 Preliminary Exercise Tone-Color for the Amateur Pianist

By H. G. Hughes How to Bring an Earlier Technic Up to Date If we would have the keys do exactly what we want, How many of us have felt, after hearing the per¬ By the Well-Known American Composer and Teacher we must never hit them. Hitting the keys will produce formance of some great artist, that it was hopeless for a sound, but never any willed variety of tone at which us to endeavor to get into our own playing anything of PATTY STAIR we have determined to aim. As Tobias Matthay, the that quality which makes the rendition of the expert great exponent of tone production, points out, a man Be careful not to strain cither wrist or fingers. The sound so different from that of the average performer. question learned how to relax your wrists, and perhaps number of repetitions must depend upon the physical After all, what is the chief difference, from tlic musi¬ does not hit the implement which he is using—unless it There are pianists of at least two classes for whom really nothing new about them; it is only their applica¬ too often your fingers. But have you really the power of strength of the student. Begin with two or three repeti¬ cal view-point, between the great artist and the moder¬ he a machine for testing the strength of one’s “punch.’' this article will have no message. The first are those tion which is new, with greater emphasis upon points relaxing from head to foot? Or do you still curl your tions, then increase the number. The tied notes must be ately successful amateur? The piano key, as much as a tennis-racquet or golf- who are appearing constantly in public and mingling formerly only occasionally m«de much of, and then per¬ toes up tight inside your shoes, stiffen the muscles of held down to their full value, with no stiffness. Apart from the ability to perform great feats of club, must be weighed and balanced in the very act of freely with the musical life of large cities, with the re¬ haps rather by instinct than design. your throat and neck, set your jaw hard and bite your After the Preliminary Exercise has been practiced, be¬ technic, does not the difference lie in the power which using it, in order that we may know and do just what sulting opportunities for observation, criticism and inter¬ Naturally, like all musicians not measured by a purely teeth together until your face assumes a gorgon expres¬ gin with the Daily Exercise. the true artist has of using the surprising potentialities is wanted to produce the effect we intend. A great deal change of ideas. The others are those fortunate indi¬ dilettante yardstick, you have a contempt for fads and a sion that would turn any audience to stone ? During my Ex. 19 R.H. of varied tone-color that are in a good pianoforte; the may be learned by experimenting with the keys, listen¬ viduals who have the means and leisure to take sabbatical wholesome distrust of the latest notion advocated by the power of making the instrument respond to his musical ing most carefully to the various shades of tone that jmars, or frequent summer courses of study under mas¬ followers of such. The principles 1 cited here, however, earliest efforts to relax my arms, I used to wonder why feeling and so transmit to the audience his conception of can be produced, and remembering that all we can really ters of distinction. are not open to the-charge of either quackery or old- my throat ached after each lesson; and it was many the beauty and significance of the composition he is play- do to influence the keys with a view to zfilled and in¬ But there is another and far larger class and one rela¬ fogyism and are the ifechanical stock-in-trade of every weeks before I realized that the old desire to “hold on somewhere” was not yet gone and that my throat was L.H. tended tone (if we want it beautiful) must be done dur¬ tively more important, because upon it the great bulk of pianist you envy and respect. Measuring by these and ing that brief space from the first acting of our fingers our music-loving population depends for its standards these only, let us see where you fall short of the best the last point to suffer.' i. i How to Get Tone-Color on the key surface to the instant of sound production. and instruction. The members of this class are the to-day requires of you and how you can bring yourself To avoid any lingering bad habits of this kind, try Provided the amateur pianist has some musical feel¬ All legitimate movement and action of the limbs out-ide players and teachers earning their living in small towns, up to date. beginning your daily practice in this fashion. Take a ing, and is not quite “tone-color-blind,” there is no rea¬ that—and there is plenty—is preparatory, and is done for often unlucky in being the best in their own locality, or Are we preparing to send to the scrap-heap all the comfortable. chair with an easy back, determining the son why he should not learn to produce beautiful and the sake of freedom or to get on to the keys at the those in larger places, who are so absorbed in making technic you have toiled to acquire and exploited faith¬ height of the seat by the length of your own waist and R.II. varied tone and so introduce more than a little of the ex¬ right instant. ends meet that they do not take their own measure as fully for so many years? By no means. You must be- the height of your piano keyboard from the floor. Lean pert's distinctive musical quality into his own playing of often as may be advisable. These are the ones who are back easily and relax every muscle in your body as if k 'A r*i m ipn r*n. Main Principles of Tone-Color «. - rT3 JTl i m i pieces that are within his powers. particularly addressed in this article. preparing for an hour’s rest or even a possible nap! The production of good tone, and then of “tone-color” Let us apply all this to the production of variety of You are not the ignorant nor the unambitious. You Drop your shoulders and arms a little forward and L.H. or varied shades of tone, depends on our use and treat¬ have all, probably, had pretty good musical educations leave your hands lying loosely in your lap. Remain in ment of the piano keys. The piano key is simply a tool Here are the piano keys; they are “tools,” like the at some time, if perhaps not very recently. Each may be this way until all sensation of "holding on” has left you. which we use to act upon the strings. Thus we produce violinist’s bow. By their means you can make the ham¬ teaching successfully and playing well with a technic Then raise your wrists, hands hanging loosely, until your the various kinds of tone we want, according to the de¬ mers approach and act on the strings, either compara¬ which has no need to avoid the larger works and an art finger-tips are just above the keys. Let your hands sink mands of the music we are playing. That tone may be tively gradually or more swiftly and with more “attack” which speaks effectively in smaller ones. But to each, if into the customary position (assuming that the knuckles loud, or soft, or medium; it may be round and sonorous, in them. The first will produce the sonorous, singing, you are honest with yourselves, comes one day the con¬ are a trifle arched and the side of the hand not low), let¬ R.H. - or sharp and brilliant; sympathetic or aggressive; sing¬ sympathetic tone. It is done by letting the weight of sciousness of a subtle change in the surrounding atmos- ting the weight of the hand carry down the keys, the ing or percussive. Yet, with all these possibilities at some or all of the piano-playing members—more or less wrist dropping a little as if from its own weight. Do their command, how many never get beyond a moderate weight according to the volume of tone required—fall Something is happening and has been happening for this without feeling any change in your relaxed condi¬ difference between their loud and soft playing! as it were into the keys and lever them down. tion. Now press down one key only, with your middle L.H. some time, which you have been too busy to notice. New¬ All differences of tone-color depend upon the variety The second kind of key-use, with swifter approach comers, claiming much for their newer ideas, arc at¬ finger, and rest the full weight of your relaxed arm upon of ways in which the piano hammers can be made to ap¬ of hammer to wire, differs from the first in this—that tracting attention, and greatly as you hate to acknowl¬ it. Then with your wrist and elbow describe a com¬ proach and act on the strings. This in turn depends on ft, « whereas in “weight-playing” the letting go of big m edge it, do play, not so much differently from you, as plete circle, your arm turning loosely in the shoulder the way in which the keys are manipulated by the per¬ little weight is primary and muscular action secondary, better, with tone more resonant and significant, with socket, the finger-tip remaining firm in its position at the former in order to get the particular tone he wants. in this “brilliant” touch the muscles initiate the action touch more authoritative and convincing. What do you bottom of tlie key. Do this many times in both direc¬ Once more, the right way of using the keys for tone- and the weight comes in after. The first note of each measure should have a slight lack to aid you in getting the same results? It is perhaps tions, until you feel that wrist, elbow and shoulder arc shading depends on different ways of using the members accent or pressure, thereby giving an accent to each This sounds complicated; but again there is a test, inexpedient to take a course of study with any one at equally loose and easy and that nothing could pull the and joints that come into action in pianoforte playing— - telling us whether we are doing right or wrong. To’ finger in turn. The speed and the tone quality of the hand who might help you, and yet you must not remain clinging finger-tip from its place. namely arms, wrists, hands and fingers. Much of the take an easy instance—the playing of small chords-it exercise must depend upon the technical ability and de¬ content to play merely as well as ever; you must play as Right at this point we begin to consider “arm weight.” use of these consists, paradoxically, in not using them; we are properly using weight touch, then, on relaxing all velopment of the student. well as possible. The time has come to take inventory This has been for generations familiar to all players of that is to say in not allowing some muscles to act, while effort the instant we hear the sound of the chord, letting The fingering, above the notes, is for the right hand of your shortcomings and to help yourself. the organ. In childhood I was taught by a well-known setting free the energy of others. This sounds a little arms and hands go “flop,” the wrist, if all is loose as and that, below the notes, is for the left hand. Play For your bewilderment it is sadly true that of making instructor that any pianist who could make use of an complicated; but there is a test—a kind of muscular it should be, will inevitably drop dozen; while if we are the left hand fingering, an octave lower for the sake many piano methods there is no end. You may study “organ touch” upon occasion had one resource more than of convenience. conscience”—which tells us whether we are doing right using the “brilliant” touch, with its “muscular-initiative " book after book written by enthusiastic Vorbereitcrs the average. Playing with arm weight is not striking or wrong. If there is any stiffening, anywhere, it is a the tendency of the wrist and of the whole hand u i'll sign that muscles are in action which ought to be quies- be to rise in the air. (preparers) of tile best masters of the musical centers with the arm, and the misunderstanding of this point of the world, each claiming to be our only road to suc¬ occasions the greatest difficulty of all to an older tech¬ Crossing the Hands We should experiment on these lines, using small As in any studied muscular operation, perfection is cess,only to learn that more than one of these very mas¬ nic accustomed to eliminating the arm wherever pos¬ reached by eliminating all useless activity and setting chords or single notes; for these two modes of key-use ters disclaim using any fixed pedagogical method. sible. By D. X. Kyrbi free no more activity than is needed for and adapted to and consequent “hammer-approach" are the basis ,.f When I was a small girl, I often watchdd with as¬ Play with your fingers as you have always done the work to be done. Nature, itself, helps us here; for practically all variety in tone-color. tonishment one of my mother’s friends play with what (though the less you raise them the easier you will find Ti tiie hands are to be crossed to sound a single note, the case and freedom which lead to perfection in muscu¬ space wiil not allow of more than the mention of she called a “straight-finger method” which she had ac¬ MISS PATTY STAIR it) adding the weight of your relaxed arm to the down¬ the index finger is almost always used for this pur¬ lar action are instinctively reached after by the human the pedals, which, used and not abused, arc of great im- quired a generation before in Berlin, and which reminded ward push, rather than stroke, of your finger. Try first pose. W hen a hand is crossed over for more than machine, and there is always that grand test of looseness, portance in connection with the subject here treated me of nothing so much as the sails of a windmill in a gin exactly wherfc you arc and make at least some use of your old familiar “slow trill” with fingers cither resting one note, all good editions carefully indicate the better on the surface of the key or very slightly raised if you fingering. from shoulder-blade to finger-tip, which tells us when To conclude, let us remember that no piano likes to-he strong breeze. It was so unlike the combination of Ma¬ everything you have. Consider your old methods as re¬ we are on the right track. In time, right action becomes son and Sherwood which was my law and gospel at that sources at your command which belong only to the ex¬ prefer. Play with a very little roll of the forearm, feel¬ As a general rule, the hand leaving its usual position hammered; but ,f we treat our instrument properly, with spontaneous, coming instinctively at the dictate of the time that I marvelled and yet was forced to admit grudg¬ perienced and which the unseasoned student with the new ing that your entire relaxed arm is resting pn the firm will pass over the other. If it is to be passed under a tight appreciation of its beautiful character, it will music we are playing. ingly that her playing was musically beautiful. It was diploma might be glad to possess. But forget them when finger-tip, the center of gravity of your hand shifting the one in normal position, this is quite sure to be respon to our personality like a sympathetic friend. indicated in the text. true in this case, as in many another, that a good work¬ they get in the way of your further development, which from key to key toilh the roll of the forearm, which man will get results with any tools; but we dare not must he as slight as possible. Notes to he played by a hand out of its usual place means in the final analysis a better and a bigger tone. Let o represent your center of gravity and w and v are often marked ///. d (Italian—mano dcstra; French— Time-Keeping in Music forget that the work of only the best workmen with the First, let us take up the matter of the firm linger. the roll of the arm. main droite: right hand), or m. s. (Italian—mono sin¬ best tools will stand up under every possible test. This is pretty familiar ground. We may take it for istra: left hand) or ill. g. (French—mum gauche: left By Viva Harrison The fact is, that piano technic has been in a state granted that you curve your fingers, strike just back of of evolution from the days of the pre-Bach thumblcss hand). Tin the finger-nail, and in the middle of the key; also that e in music is the rate of speed with which beat- fingering of delicate clavichord music to the present ti¬ you neither slide along the key. nor let the linger-joint Sometimes, even in good editions, the guiding marks Playing For those who cannot rely upon their own tanic possibilities of the modern grand piano in the pub¬ bend inward after the key has been pressed down. This may be omitted. If so, the notes to be played by a °,her “”“li"g 10 ,he crossed hand generally have their stems turned in a £S, to depend' metr°nomc is :i valuable friend, lic hall. How much futher it will evolve seems limited is all right as far as it goes, but leaves us with a rather Each kind of measure must have a unit of fixed length throb of rhvST T" y0ursclf- cultivate the natural only by the endurance of steel wire and human sinew. direction opposite to those which are to be performed tnrob of rhythmic pulsations, closing the eves ,„d r „„t thin and inadequate tone unless we go further. Repeat many times. by the other. simple or compound, accented regularly in groups be’ For something like four centuries, however, certain tween each pair of bars. The time plan is indicated Let us assume for the present that the lingers may be When this seems natural and easy, proceed similarly ideals have remained constant: beauty and expressive¬ raised, or not, as you prefer. Now begin by not thinking by the time-signature at the beginning of the piece Of ness of tone, variety of tone-color and necssary velocity, with the following:. quite so much about striking with a narrow finger-tip Of all instruments, the organ excepted, the piano this the upper figure indicates the number of beats in all under immediate control. To attain these, several furnishes the most in a harmonic way; if properly tsure, and the lower figure indicates the kind of upon a bard surface; think about pushing a rather broad note which fundamental principles of technic have been developed, studied, it opens a larger field. But it may be added that receives one beat. Metre is the working more or less in this order: finger-end through soft and unresisting material to the form of the measure. in few eases is it thoroughly or properly studied. Too 1. Firm fingers. lowest point of the key-drop' and keeping it there to the often it is used simply as a means for personal display— 2. Complete relaxation. end of the tone. In other words, play at the bottom of until the fair student marries.’’ H^rrPal aceent always falls «w* one. However the composer may introduce specially accented 3. Economy of motion. the keys and not on the top. Imagine (and your imagi¬ chords at any place ,n --- * ,.rVot undertake a piece ; .... J measure, when it suits his difficult that the more In addition to these, in the last twenty-five years the nation is one of your greatest assets) that there is noth¬ In this the notes also will all be of equal weight. Con¬ purpose A feeling for this principal accent may be difficult parts must be taken a “I write music in order to serve that which is the best a time slower than the, developed by tapping or clapping the time easier portions. This means si increased desire for the greater sonority and depth of ing between you and the tone you are producing. sider this however as a transition merely from the first possible within me and without any other preoccupation ■ opment. t death to artistic devcl- tone which modern music has made necessary and the But we can do little with our first point until wc ex¬ to the third exercise which is far more important. In >t is logical that this desire runs the risk of displeasing Analyze compositions for their note values, giving them their proper accents, and then playing hem "n modern piano possible, has demanded the “arm weight” amine our second, as each is to a great extent dependent the third, do not feci that your hand has attained its those who love music of a conventional pattern to which metreBe yourami own time-keeper, 1 i' Weldvveld fg.the rhythm,i ,i phrasing,, they remain jealously faithful in spite of smiles and strict time. Until this can be done, do not take sTart- metre and musical character o th ' and “hand touch" of which we hear so much and may upon the other. In fact, in teacliing a beginner the sec¬ new center of gravity until the accent is reached, though jests. —Debussy hng privileges and slacken or quicken the time. The consistent whole. And withal a goT™'1' ' not be sorry to know a little more. ond should properly be taken first. They arc here placed the grip of your finger-tip should never lye relaxed. This Keep time. How sour , • ShakesPcare says, ability to keep an even tempo is at the root of all artfeS All great artists in all periods have, consciously or merely in the order of their historical development. has the effect of making the last three eighth-notes in broke, and no < unconsciously, made use of all these principles.* There is Relaxation is also a familiar idea. You have without each group a shade less full in tone than the others. THE ETUDE FEBRUARY 1925 Page 91 Page 90 FEBRUARY 1925 TUE ETUDE Ex. 3 Analyzing Melodies By s3T c. Musicians Do Not Sleep Enough

Tiie pupil beginning the study of melody construc¬ These very simple exercises should open to you num- tion will find that melodies may be divided into two By HENRY T. FINCK . berless opportunities for gradations of tone color, to be classes: (a) those moving along scale lines, and (b) regulated by the adjustment of the arm weight and an those moving along chord-lines. Some authorities state “I love music but I hate musicians,” the eminent histor¬ able in proportion to the amount of sleep they get. I the weight had to be lifted in order to awaken the stu¬ unvarying resonance controlled by the firm finger. Apply that the scale constitutes the most perfect melody. The inactive, or tonic, chord tones arc marked with ian, Dr. Kiehl, used to say. once knew a boy who, if he got more than ten hours of dent the deeper was his sleep. Nothing could be simpler and more convincing. Now, a nap is always the begin¬ this to all passage work, at first very slowly, then with Whether we agree with them or hot, it is a significant an asterisk. This melody follows the scale-line almost Well, what’s the matter with musicians ? What’s the sleep, was the pleasantest little fellow in the world; but, gradually increasing effort toward speed and brilliance. ning of sleep, hence deep and refreshing—Q. E. D. fact that melodies following along scale-lines offer the exclusively and has very few skips. The progressions matter with them, eh? Just read the diagnosis made by the if he got less than ten, he was perverse and morose and The essential points of the “hand touch” are well least difficulty to the singer.* are all according to rule. Since a melody built exclu- Baron in “Florian Mayr,” the famous musical novel by took pleasure in saying or doing disagreeable things. He Listen, Ye Musicians! known to you all. William Mason and many others have Melody has been defined as “a succession of single sively on scale-lines would become monotonous, skips are Ernst von Wolzogen (in which, by the way, there is wasn’t to blame, poor boy—he should have had more sleep. If you can manage to get a nap or two during the day, told us nearly all we need to know about it; but here we tones which are musically effective,” or, “a pleasing introduced. These follow the lines of chords which are much about Liszt and his pupils) : Pullman porters are apt to be cross and surly—why? like Napoleon, Goethe, and Edison, you may get along shall go a little farther in its application. We may have succession of tones forming the upper or predominant likely to occur in the key in which the melody is written. “But the general run of music-folk—brrr! I don’t Because they alone of all those in the car have no with seven hours of sleep at night, or even a little less. called it “portamento” or “slur” according to the way voice of a good chord progression.” The latter definition After a step-wise progression a leap in the same direc¬ believe that the average talents of any other art can show chance to sleep. On some lines, now, they have to be But if you have no nap, you must have eight hours of we have happened to apply it. Try using it in this way. implies that a good melody must be based on a correct anywhere near so much stupid conceit, general imbecility, polite or lose their jobs. That’s something; but they sleep, and if you wish to be healthy and happy and live Take any simple chord such as a triad or six-chord. harmonic scheme or foundation. tion to an accented note is not considered good. Skips, moreover, should not follow unusual chord-lines, for ex¬ shallow-pated bigotry and, odious defects of character, feel cross, all the same and show it in their faces. long, you must arrange your habits so you can always Lay your hand upon the keys as first directed. Raise The tones of the scale are classified as active and in¬ like envy and spite, as music can. The insignificant medi¬ Why do musical critics seem to delight in writing get that amount, at least. your wrist slowly, drawing an entirely relaxed hand after active. The tones which make up the tonic triad of the ample, such as involve augmented intervals. ocre painter or sculptor is nearly always a pleasant, amus¬ nasty, savage comments on singers and players? Why, Usually, alas! the vast majority of persons in the it until your finger-tips just leave the keys. Poise it thus key in question, as C-E-G in the key of C, are inactive, The following melody has many skips along chord¬ ing chap. The unrecognized author, to be sure, is a in answer to his boy’s question: “What is a critic?” did musical world live in a way that makes eight hours of an instant; then drop quickly and firmly upon the chord, or tones of repose. The remaining scale degrees, that lines. perfectly frightful bore, malicious, bitter, and more given papa reply: “A critic, my son, is a man who writes sleep every night a thing impossible of attainment. Quite putting the wrist in the lead and dropping it, relaxed be¬ is, the second, fourth, sixth, and seventh, are called to going to the devil than the rest, but at least he has about things he dislikes.” Because critics lose so the contrary, with diabolical ingenuity everything is low the level of the keys, and at the same time gripping active, because they have a tendency to progress to some many-sided interests; one can manage to talk with the much sleep. To be sure, after they have hastily scrib¬ done to cheat musical brains out of the rest without the chord firmly with the fingers and' holding it to the other scale tone. Of these the seventh degree has a de¬ brute, in fact get something profitable out of him occasion¬ bled their comments and sent them to the office, they which they cannot be at their best. end of the tone with the weight of the loose arm. Now cided tendency upward toi the eighth, the sixth downward ally. On the other hand intercourse with a musician of can sleep until late in the morning; but sleep of that When I became a musical critic in New York, in 1881, practice Example 4. The curved line gives the motion to the fifth, the fourth downward to the third, and the Measure 5. having two skips in the same direction in¬ the inferior class is apt to be impossible for a man of kind, taken after the brain has been excited by hurried Steinway Hall was the city’s concert headquarters. of the wrist, which must be kept in the lead all the time. second either upward to the third or downward to the volving two different cl culture.” work, is not Jhe most restful thing in the world. That’s Opposite it was a restaurant and beer hall to which, The break between the chords must be imperceptible. first scale degree. It is Well for the student to remember In analyzing melodies the student will discover that If you know a lot of musicians, will you say that the why critics are so often cross and cynical and dis¬ after a performance, singers, players, conductors and that this natural tendency is frequently counteracted by pure scale-lines as well as pure chord-lines an the ex¬ above is, on the whole, a wild and woolly exaggeration? agreeable, day and night. Artists do not love them; critics resorted. There they sat, drinking and eating, progression in the contrary direction. ception rather than the rule. Composers never confine My own experience of forty-three years in the midst of and yet all that the poor critics need to make them and talking, and talking, and talking till midnight, and In order to learn to distinguish’between active and in¬ themselves strictly to one or the other, bring convinced the musical maelstrom of New York, preceded by four amiable is plenty of sleep of the right sort. often till two or three o’clock. At first I tried to “do active tones the student should analyze simple melodies, that a judicious mingling of the two produce a better years in musical Germany, confirms the Baron’s diagnosis The catnaps they can get during a dull performance as the Romans do;” but soon I found that I grew dull for which purpose folk songs afford excellent material. effect than adherence to one excluding the other. and explains Dr. Riehl’s aphorism and pessimism. don’t always help because often there is no oxygen in the and stupid, apathetic, uninterested, and of course, un¬ In leaving one chord, try to feel that the first chord is Some of my best friends, I courageously admit, are air of our amusement halls. It all has been used up as interesting and disagreeable in my writings. I soon slipping easily from the ends of your fingers just as your musicians—musicians of all grades. They are, or were, the air has been taken and retaken into the lungs of hun¬ stopped it; and for many years now, when I receive an hand is ready to fall upon the next. Practice the same Keeping a Repertoire Fresh about as free from faults as I am, which isn’t saying much, dreds of persons—not a pleasant thing to think of, is it? invitation to a supper after a concert I have always exercise also with a quick down-stroke of the wrist with¬ to be sure. But the average musician 1 “Odious defects of replied, politely but firmly, that I could not sacrifice my out lifting from the keys—also with a quick up-stroke, By Dr. Annie W. Patterson How to Mollify the Critics character like envy and spite” are certainly more charac¬ necessary hours of sleep. but never a stiff one. Apply this to your old “slur” and • How often do students, and even gifted recitalists, feel If artists—and their managers—were wise they would meat of Ludwig van Beethoven easily digestible mi Tues¬ teristic of him than of any other class of persons. Result: at the age of seventy I am mentally stronger portamento” exercises, to all your heavier octave, chord a; certain weariness of much practiced pieces insensibly see to it that concert halls and opera houses are always day. These, followed by the musical philosophy. poetry, A friend of mine, a music teacher, went to the circus one than I was thirty years ago and physically nearly as and staccato work and some of the lighter, and the thing creep over them. The causes are not far to seek. Famil¬ abundantly ventilated. The critics would then write brilliancy and piquancy of the other composer the afternoon. In a box next to her own were several sports¬ strong. I never lose my temper; I never say an un¬ is done. The motion given as preliminary to Exercise 4, iarity brings a sense of satiety; we can scarcely call it much more favorably because they would be less de¬ order named, during the succeeding davs ,.f th,- Wrck men who freely discussed all the latest scandals in their kind thing abqut anybody; and I am as pleasant and as but with the finger remaining at the bottom of the key’ contempt. As the fingers get to move more and more pressed and bored and somnolent. Oxygen is as exhil¬ afford an agreeable variety in the student' circles, without paying any attention to her. Near the playful as a collie pup. is invaluable for lyric legato passages. The undulating automatically, the thoughts wander to all sorts of sub¬ arating as strong drink. Everything seems good to you keeps mind and ear too occupied to wander . , \ seri¬ close of the performance she turned to them and said: motion, while it can add nothing to a tone once made, jects—usually the worries of the moment—with the re¬ when you have plenty of it, as on an ocean voyage or in Horrors of Insomnia ously during practice hours “Gentlemen, you must excuse me for hearing your gossip— can insure the proper taking of the tone in the first place sult that the- ear ceases to listen carefully to what is the mountains. Whenever I talk to a musician in this vein I am between should come all manner of dishes, nourishing or I couldn’t help it. I merely wish to say that it has been and continued relaxation throughout the entire passage. played. We are speaking, ip. particular, of the instru¬ May I interpolate here a curious personal experience? almost sure to get this answer: “I fully realize that I light, in the shape of strict technical exercises (if ,fi rmed a comfort to me to hear you talk, for it has shown me This very suggestion of a continuous motion leads us mentalist. Now as concentrated listening is so essential I am extremely sensitive to nocturnal noises. In the ought to have more sleep, but the trouble is that, even essoitial), and the acquiring of novelties of all kinds, that music, my own profession, is not the only one that naturally to our final point—economy' of motion. It to an artistic rendering of any given selection, once the country, not only the abominable four-o’clock crows if I lie abed eight or nine hours, I may get only three as they may tempt the musical palate. harbors contemptible characters in abundance.” might be dismissed with these few words: “Avoid all mind is hitched off, even occasionally, from one’s imme¬ and the vociferous whip-poor-wills, but even the frogs or four hours of sleep.” unnecessary motion.” The preceding motions are, how¬ diate occupation, touch and interpretation become me¬ Indrndial, Wi" kn°W ,’cst to apportion their “Not for Pianists” and the robins wake me up. But I have often been That’s no fun, I know. Let me cite here two short daily times for practice; but the above suggcM- „ may ever very necessary in slow practice and often advisable chanical, and the effect is far from satisfactory. soundly asleep not only in concert halls but also in the paragraphs from my book on “Girth Control”: help in bringing variety into the program. King the How the rival pianists and violinists do hate each other I in playing. It is often well to exaggerate a motion to Most of us who are-honest with ourselves are aware Do you remember the story of the famous professional opera house, with all the soloists and chorus singers and “Have you ever lain awake a whole night, and night changes on standard composers as often as possible make sure you are doing it properly. So do not altogether of this aloofness when a number gets, one might almost violinist who was sitting with a ditto pianist in a box an orchestra of eighty men joining forces in a fortis¬ after night, trying in vain one after another of the abandon a previous habit of raising your fingers, at least say, too well known. It is a danger signal which no good while another ditto violinist was giving a recital? simo climax. My wife doesn’t wake me up on these twenty or more futile methods of wooing sleep you m your slow practice. It is next to impossible for some artist can afford to. overlook. The remedy is simple The audencc. got more and more ardent in its applause, occasions unless I snore, which might be considered an have read about? people to acquire independence of fingers without a cer¬ emtally t\'w. Give that piece or selection a rest without delay. Go to more insistent in its demand for encores. Presently the unfavorable criticism on the performance. “Have you endured the frightful boredom, the dis¬ tain amount of high-finger work—but eliminate it wher¬ something else. Take up something wholly new These naps, by the way, doubtless helped me win the ™wor0krin* 1 2 3 4 SgCtl0n °f 3 m°Ven,ent’ at Wh'ich haP,,cn to violinist in the box, who had become more and more, vexed gust, the wrath, the agony of mind, as hour after hour ever it interferes with your speed or brilliance. Similarly, “This is all very well," the public recitalist may say • by the success of his rival, turned to his friend and said: reputation of being the most amiable of the New York passed till daylight mockingly stared you in the face? a light staccato is rarely acquired without much prelimi¬ but I simply must keep up a certain number of standard “Isn’t it getting unpleasantly warm in here ?” critics. They make me feel at peace with everybody It is worse than headache, toothache, dyspepsia, and sea¬ nary practice m raising and dropping the hand, but the 'h“ “ '* Pieces. People expect me to include them from time to oughly nrenarph well-known numbers in a thor- And the keyboard friend, with a wicked smile, and everything. sickness, all combined and multiplied by fifty-seven other emphasis is on the word “preliminary.” Reduce all mo¬ time. If I omit to keep them continually before me' I answered : “Not for pianists 1” varieties of aches.” tion to very low terms in playing and to its lowest pos¬ continually alternatingTem^fo*ST-?® ^ ** In Praise of Siestas have a good deal of the old ground to go over again be¬ ess. If this ,i b em 111 tl,e keeping up proc- Here is another story. The concertmaster (leader of Insomnia, says a medical writer, “is often associated sible terms where anything like speed is required. Learn to take catnaps and you will enjoy life much fore I can feel as sure of them as before.” Whilst this the violins) of a certain orchestra was anxious to play a with general indisposition, headache, muscular twitch- It is not possible here even to touch upon the thousand tion of the day cach separate -tlcc- more. You will be more efficient, too. Three of the is to some extent the case, especially with players who certain concerto. Much to his indignation, the directors ings, terrifying dreams and outcries; its results are las¬ and one details which may be developed in the working would be lacking if oac 'c an interest which most famous men, Napoleon, Goethe and Edison, had have short, if quick, memories, the problem really is engaged an outsider, a very famous virtuoso, to play it at situde, bad temper, irritable nerves, lack of appetite, and out of these ideas. I have purposely omitted the pedal out every dav «nt;i i ?Wcrc consc*entiously hammered this in common that they could take a nap at any how to .keep “up to the mark” in any or all items with¬ the concert. so on. If it persists night after night the victim be¬ as a subject in itself and not pertinent to this article. ferent to its form and^auty'' S°l aCtUally indif* moment. A nap of fifteen or twenty minutes sharpens out overdoing them. Let us try to see how this can be Hell hath no fury like a concertmaster scorned. He comes tired of life and in many cases commits suicide.” But to those who wish to remo've the reproach of being most pleasantly and effectively done. the mind as stropping does a razor. resolved to have his revenge. At the concert the soloist, All these things may come to you, and probably will old-fashioned’ from their technic I would say: Never pla^oveT’a^tl i°n CXpcrience« ™y be useful, In our places of amusement, if a performance lasts Suppose a fairly advanced student has a good execu¬ before beginning, turned to him and asked for his A. come tp you in large measure, if you’ persist in your 1. Practice the preceding exercises faithfully and al¬ tive knowledge of a Bach prelude and fugue, a Beethoven very weary 0r worried' 'Th ^ faVOritc ,,iccc when till much after eleven o’clock, the audience gradually present course of working too much and not sleeping ways, and apply them to' everything you do. Instead of giving it to him on the open string, the con¬ dwindles away because the hearers, not having had a sonata, a Schumann, Chopin, Liszt and ultra-modern cert-master gave him another A. slightly off the pitch. enough. Be warned in time! 2. Experiment for yourselves and study and listen to item ; the six may be so divided over a working week of fresh or new, and the exercise S°methinR f|uite siesta, or afternoon nap, get tired and sleepy. How dif¬ Fortunately the first oboist was on to the dirty trick the results of your experimenting, especially as regards tention to what one is doing at hi "g *° Pa>' ^ ferent in Spain and Italy! There the siesta is uni¬ How to Make Sure of Sleep steady practice as to deal with onlv one of them each a healthful pick-me-im i 8 f* , C moment often acts as the resonance and quality of your tone. and saved the soloist by blowing for him the correct A. versally indulged in, so nobody feels tired and sleepy in There is one aspect in which sleep is actually worse day. Thus Father Bach may be taken as a goTd pre¬ “Schweinehund 1” muttered the conductor, who had 3. Do not abandon all you have learned to do in the paratory tonic on Monday, so as to make the strong five to distressed though^ 3 J7?Inisterin« a ™sical *eda- the evening, and a performance may safely last till than no sleep. It is when you have nightmare. Night¬ past but improve it and add to it. worth trying. lhe exPenmcnt, anyway, is noted the spiteful act on the part of his first violinist. midnight or one o’clock, or even later. If singers and mare may come from a diseased condition of some A hundred stories like these might be told as having oc¬ 4. Rely at least as much upon your own judgment as players indulged in a daily siesta they would do better in bodily organ; but nearly always it is a result of eating curred in the higher strata of the profession. As for the upon that of others; remembering that beauty in art is SidfT the evening. If the critics had a siesta they would write too much, or too fast, or the wrong food, or at the Lights lower strata, it is needless to dwell on them. Music may of all times and peoples, and that there is no existing more favorably. If the hearers had a siesta they would wrong time. If you eat mince pie, or fried onions, or cu¬ have charms to soothe the savage breast; but too often method or style of playing but that may furnish some By s! m. n. enjoy the performance much more. Let’s have the siesta cumbers, or watermelon, late at night you are pretty sure detail toward an artistic whole. The “passing under” of the thumb is one of the greatT it fails to civilize those who make it their profession. as a national institution! to have uneasy and unpleasant dreams and to wake up est obstacles to equality of tone but this technical diffi¬ Of course, music itself is guiltless in this matter. It is The strangest thing about naps is that a short after¬ feeling more tired than when you went to bed—and culty, which is very prominent in scale and arpeggio great difficulty in smooth6*! ,'vitllout preparation, is tl the way it is cultivated and taught and practiced that is noon sleep of ten or fifteen minutes is equivalent, in its cross, too. Self-Test Questions on Miss Stair’s Article playing, is greatly lessened when the thumb is prepared responsible for much, if not most, of the trouble and refreshing and invigorating effect, to an hour or even To make sure of sound, restful sleep—the kind of 1. What has- been the period of evolution of Piano scandal. Technic? for its attack by being passed beneath the hand to a two hours at night. I have never been able to find an sleep which in the morning makes you eager, for work position above the key, in readiness for its stroke For °< »*«*«, in S *«*«, for wlh A Nocturnal Art explanation of this but have a suggestion of my own and enchanted with the realization that • you live and 2 Name three fundamental principles of technic. Long ago I came to the conclusion that the principal example, in the scale of “C,” as soon as the thumb is than the others, are valuaht ri!8erS are raised hi8h< to offer. In my university days, when psychology was have friends—you must stop maltreating your stomach. 3. How shall zoe develop the ability to play at "the reason why so many musicians are peevish and cross and my specialty, I remember reading a book by Prof. Avoid the things that you know will give you indiges¬ bottom of the keys?” - I released from its first key, it should be placed over “F ” unpleasantly noticeable m Ja, T'’C ,thumb is aPl to 1 and wait there in readiness for its turn. The stroke of spiteful and disagreeable in general is that music is a Fechner of the University of Leipsic, in which he tion; eat very slowly and not too much; if you eat one 4. Discuss relaxation and its acquirement. >t be made to strike oianis * a'’d arpcggios 1 but 1 the thumb on the succeeding “C,” to which it must reach nocturnal art. In other words, the musicians do not get demonstrated that sleep is deepest during the first hour. banana or doughnut, or whatever you like, very slowly, 5. What is meant by "economy of motion’’ and how Scale playing in contrar Slm°’ l l's will be obviatci beneath the fourth finger, is much more difficult, but it enough sleep. He proved this by a series of experiments on students. you will get more pleasure out of it than by bolting may it be practiced? ‘ thumbs’’ are alX ya|m°t,0n is good, because th is prepared in the same way. The loss of time, which is Ask any intelligent mother and she will tell you that He had a weight so arranged that it could be dropped three or four, and there will be no indigestion to keep taneouslyr ways passed under simu her children are bright and good and cheerful and agree¬ from different heights on a board. Obviously the higher you awake. Page 92 TlIB ETUDE FEBRUARY 1921 FEBRUARY 1925 Page 93 THE ETUDE The late dinners or suppers of which musical folk Substitution of Fingers fiddle, tennis, flute—demands, and gladly pays arc so suicidally fond are an invention of the devil. Dr. rital had gone quite well that after- for, that last perfection—the tool which will best Kellogg, of Battle Creek, knew what he was talkin'* M , and the rather adipose Lady Presi¬ By E. F. Marks serve his genius—from opening drive to tourna¬ about when he said that the less undigested food you dent advanced, beaming, “You’ve given our club ment cup—From preliminary “A" to final “tutti.” have in your stomach when you go to bed the deeper such a treat and what a lovely toned violin you But so often comes the question, “In what and more refreshing will be your sleep. securing the legato connection and producing the notice, have! Is it, may I ask, a-er-Strad.?” "I deem the changing of fingers upon the same key way does Strad. excel the modern maker—if he Try, by regulating your diet, by avoiding overwork able effect of imitation. The bass was played by her Happily, I could assure her that such was of the pianoforte an abomination and entirely unneces¬ does excel him—and why cannot modern science and explosions of temper, to ensure eight hours of in the following manner: the case. dreamless sleep and your life will enter into a new epoch sary,” remarked a teacher to me a few days past. I delve go him one better?” down in my chest of memories and find something as “How awfully interesting 1” she exclaimed, of efficiency, profitableness and bliss. “but would you mind my asking another ques¬ Once in Holland, I was taken by an artist follows: "If a single voice carries a melody or phrase friend to see what he claimed was the loveliest No Thinking in Bed legato, all the other voices may be staccato and still the tion? I’ve always, been confused, don’t you know—about Cremona. Now am I wrong in picture in the world. It was in the Hague Mu¬ In this short article I cannot discuss all the methods idea- of continuity is sustained throughout all parts, not¬ supposing him to have been a sort of rival seum—a thing of cool blue and white, called of ensuring sound sleep I have dwelt on in detail in withstanding the contrasting of legato and staccato.” violinmaker? Or was .it just a family name—a simply, “The Picture of a Young Girl.” What "Girth Control." But I must refer, in conclusion, to one Well and good! trade name, so to speak—of Strad.’s?” struck me most was the remarkable freshness enemy of sleep to which musicians, more than most Only a short while since a young lady had to appear Anyone playing the above in the manner indicated Few indeed, among the Virtuosi Errant, who and recentness of the portrait, although it was mortals, are wont to capitulate: thinking in bed. Don’t in an evening of music and requested me to criticise her will observe the smoothness of connection and the simi¬ have escaped , the "Lady President” with her painted in 1656. Quite the same impression I do it, 1 say, and again I say DON’T DO IT I It gets rendition. Beethoven’s “Moonlight Sonata” was her larity of imitation to the two notes of the theme in the quaint questionings; so my experience that had had a short time before in Vienna where it your brain into such a state of excitement that steep selection. At the sixteenth measure her bass notes were treble, and perceive its superiority over the manner of afternoon was by no means exceptional. But had been my good fortune to be introduced to . is banished for hours. Don’t go over again—over and entirely too disconnected to convey the idea of imitation playing the succession of octaves with the first and fifth at least they have decisively located one fixed the “Kreutzer Strad.” It was almost uncanny over again—in your mind all the unpleasant things of the preceding figure, of the treble, owing to her fingers without sustaining any of the notes and chang¬ star in the fiddle firmament, even though the to find such freshness of coloring and such an that have happened during the day. Don’t dwell inability to reach an octave with the first and fourth ing fingers. re'st are blandly ignored, and no eye encount¬ entire absence of age in a violin that had known much on the pleasant ones either. Don’t compose, don’t fingers, especially on the white keys. Calling her atten¬ While the pianist perhaps may ignore many legato ering my rather cryptic opening query—from over two hundred years of active life. solve problems, don’t think out speeches. Make your tion to this fact, she endeavored to obviate the staccato connections by changing fingers to sustain tin- tone, not That day at the Hague Gallery I saw the mind a, perfect blank and keep it blank. Augusta to Oberlin—Alberta to Omaha—will effect in devious ways, without success, until she was so with the organist; the latter performer must be con¬ usual student artist painfully reproducing the That’s easier to say than to do, you retort. I know it! widen with even momentary doubt as - to the shown the method of changing fingers on a key to secure stantly on the look-out to secure a smooth-flowing me¬ curving cheek and parted lips, the pensive gaze 52“* 1 fen*1* many a savage battle with my busv profession and importance of—“a-er-Strad.” the legato effect, principally in the connection of octaves. lodious connection, and this is secured only through the and wistful pose of the Vermeer masterpiece. brain at night! But I have learned how to dull and Recently, while following the trail of a ro¬ Photo by Goldcnsky. stupefy and deaden it. Attempting this manner of playing, she. at once ob¬ unceasing substitution of fingers upon a depressed key mance, as it meandered among the alluring auto¬ The duplication was uniformly good. But a most served that she gave the imitation with the left hand as excellent Vermeer “copy” was offered at the It’s as easy as falling off a log. All you need is a And notwithstanding the similarity of the I . \ board of mobile “ads” in the back section of a popular smoothly and connectedly as she had rendered the right local art shops for less than $20; while, on the wilt and attention to your respiration. Breathe deenlv the piano and organ, yet the touch is generally quite publication, my attention was caught and held hand, simply by holding down one key of the octave and other hand, to start a popular uprising in Hol¬ and regularly (through the nose) and every me y£ dissimilar; therefore the two instruments must be a by an intriguing line in heavy type which sug¬ changing fingers upon it while holding it down, thus study separate and apart from each other. gested, “Ask the man who owns one.” land it would be necessary merely for the t,X> At 7°f air say-not a“d4 but men" Why is a Strad. ? Museum Directors to announce that the' “Picture tally No. Make that No monotonous. Repeat it a Now of course there were no motor cars in of a Girl” was to be sold outside of the country. dozen times, a hundred times, if necessary, till it has Cremona, Italy, A. D. 1714, to park before the Sparks from the Musical Anvil Stradivarius has been copied and imitated by driven away every reminiscence, every thought, that violin shop at No. 2 piazza San Domenico, By OTTO MEYER where resided Antonius Stradivarius, but the practically every violin-maker since 1737 and tries slyly to steal into your consciousness. American Representative of 0. Sevcik f your will isn’t too flabby you cannot fail to conquer Flashes from Active Musical Minds auto people seemed with their slogan to have earlier—but in no single instance has one of almost anticipated and nearly answered my these imitations remotely approximated in price nfUL'»n‘l0mna u,h‘S simple fashi°n- And abundance of sleep will double and treble your chances of suc¬ question, “Why is a Strad.?” Ask the man who Are the Great Stradivarius Violins Likely to Become the Cremonese original. cess in the musical world. conics' into'Sai)SlAmerican covert’‘tVloda'ytomes S' " Extinct as Concert Instruments? By many painters, Vermeer is considered the most accomplished in the history of art, and for cause it loves good music.”-SoPHlE BsIlau. Cha"CC ,hin* ,hcrc In his clay Stradivarius (sometimes known as Antonio Stradivari) was paid anywhere from Mcyc it «/ Mr. Walter Stafford most violinists Stradivarius stands alone, un¬ •i the t\ approachable and supreme. I think the shrewd Avoiding Monotony in Scale Practice "Public taste is a factor with which every artist has $20 to $200 for his violins. A few months ago Music should become part of the life <>i the ,,coplc, discernment and intuitive prescience displayed to cope, nud ,t is of the utmost importance to him came the report that a celebrated Strad., recently and should be looked U|h>ii in just the sam. wav as the brought over from England, had been resold in this coun¬ indecision that to misquote a ballad popular in the clays by these two master-workers in the selection of their By Blanche D. Pickering whether it be good or bad.”—Josei- Lhevixne. provision of parks and pleasure grounds and ..ihcr mat¬ try for $55,000; and we can only conjecture what his of the gut "E" string, “All fiddles were alike to me." coituries had much to do with their present-day pre¬ ters of public health, liccausc it has a great influence on most famous instrument, “The Messiah,” would bring if “Still the Strad. myth persists.” Yes, and to under¬ eminence. Vermeer hunting a 1914 apartment in upper “Two factors arc necessary to operatic, success. One human nature, and a great deal to do with I iV itself” Manhattan is rather a strain on the imagination, though and Cvef n T a !Ule’ arC VtTy cl‘stastefuI t0 young pupils, it we're to be offered for sale. The sum would lie in six stand it we must revert to the slogan of the sedan sales¬ —Sir Da s < Iopfrey. figures, that is certain. man, “Ask the man who owns one.” in these days he would, perhaps be able to get through musical eSucattm * ^ ,mP°rta,lt part the chi,d's ttXZttTuSXzg?* Would he exchange his 1714 Strad. for seventeen the winter without being obliged to barter an impiortal It is not impossible, however, to make the sttidv of Sir Thomas Beecham. “Musicians who think they can write in iStvles Violin Contests hundred and fourteen modern violins? He most emphat¬ canvas for a batch of baker’s bread. The “Fizz Tire People” would see to that and would Witliout travd delude themselves and aPp,,„ ridiculous, And yet, from many cities and from distant lands ically wduld N OT. That’s the test. also, without doubt, purchase pasturcland space for to wntc the music of other nations, one m o study it come the reports of violin “contests/ so called, in which his “Posters;” featuring the “Head of a Girl” enhaloed “ „t ’e„ftlun.ta'n'hcad. among the peoples themselves; the instruments of Stradivarius have gone down in dis¬ Joachim and Sarasate in caoutchouc. catmg their food, admiring their art, read. astrous defeat before those of certain modern violin- Here are the chords to be used in the key of C. In one sense, of course, a violin is a violin, and noth¬ isSKartLS',o ,,,e" - °f makers or luthiers. And the laity, reading these reported ing more ; but the tone produced by different violinists Stradivarius on Broadway tne root of a national art be extracted. triumphs, lifts up its voice and demands to know: “How on the same instrument differs quite as much as does I have no faith in the student who savs 7 And “Stradivarius in his Work Shop” up among t * —Louis Lombard. the timbre of their speaking voices. Joachim and how this should sound, but I can’t do it ’J T ti 'V the roaring forties!! Strad. swaying from a subway “Why squander a fortune on fourteen ounces of Sarasate both used Strads. of an almost identical period; would be as true to sav ‘I cm d f K \ J ,l ancient wood when the contemporary creation has won strap; arguing with a capricious flivver; blinking de¬ is measurerf'lf^it,0^ RrCat pain,crs ai,d great musicians and yet their tones were as unlike as their home towns— fensively at the scudding silhouettes; shuddering past the L peonlf % *«"'"<>« or less intimate rel.,«„.„ with such an unequivocal victory? Is it all a fad—this old as different as Madrid and Berlin. The austere nobility fiddle craze? A servile salaaming before the tradition of steam riveters’ merry fusillade. This is the age of super¬ Italian Rons-T C T"’ which fascinates „s in the of the Joachim and the sensuous grace of the Sarasate lative cleverness, we are told—mechanical cleverness, that Italian Renaissance of mediaeval art is discover in ancient superiority? Does it simply corroborate the tone were inevitably derived from the personalities of “Prodigies arc born, not made. A slightly varied is; and music, not to remain behind, offers among the The pupil will take great pride in learning to trans- rather cynical and entirely Gallic contention that the these two supreme artists. Their tonal characteristics conformation of the brain, and one is born f,,n uTl Italy of'^tmcsT?' fCa,l'r" wl,ieh ,r'"nc to the many recent contributions, a “Locomotive Symphony” American ‘Knows the price of everything and the value would have been quite as much in evidence had they •O . particular art, „« J <*•£ what moves us de 7*’ ^CSCnt and f«tur<. That is from the tonal roundhouse of one Herr Honegger. HaveSfICa(,CnC,e mt° tllC "eW k6y 0f each sade- ° of nothing ?’ ” used instruments from the workbench of some mute, the scale aVff r6 ‘ T' immt’diatc1-'' at the close of The situation is made more dramatic because the Stradivarius’ ears escaped this grade-crossing peril, at rne state, as if it were but a part of the latter Thus *“■whkb *» ffiJt,Sju’Sl": *clc,cr inglorious Maggini of the Middle West. It would not least, and Mynheer Vermeer never grew “ashen and work and pleasure are interestingly blended. time is coining when the Stradivarius Violin will become have mattered, in one way. so long as the violins beneath sere” at the sight of that glistening gentleman outlined .as extinct as the Dodo. It will still exist in collections their chins were correctly built. The tonal result order6 Tout *n be given in the following A Vanquished Conductor against the night in electric lights above Times Square n Music and Bad Manners (published by Alfred A t and in museums; but, as concert instruments suitable would have remained entirely individual and personal, temperamentally cleaning his teeth with the Mazda- mediant. MedianJ^l^rA^dJS^ ^ for day-in-and-day-out use, the Strad. violins are almost up to a certain point, and with the lustre and brilliancy ICnopf), Carl van Vechten picturesquely relates how the Uractematioff as noble a piece of stage work a: lighted tooth brush. There are many thousands of e have s certain to lose their marvelous character from “over¬ of their performance seemingly undimmed. Tilden with capricious Mane Delua outwitted the supposed-to-be pilot painters and luthiers grinding actively away to-day; but of an operatic performance. puot “4. l." T.\‘ leard m our dav. playing.” There are already many “sick" Strads. It a $1.39 tennis racket would prove quite as devastating- in the “Picture of a Girl” and the “Dolphin Strad.” they seems now that in a few generations those now in active up to a certain point. But the supreme player—golf, “She always retained a certain peasant obstinacy was superb, vocally a'YT' NCW York- Mmc- Dc1m have a mark to shoot at that will engage their attention S&TsS S^L air, Che faro sen-a , U. dramat,caII-v- In the cclcbralcc concert work will have lost their brilliance, so that the ^ and acquired a habit of having her own way. Her’ virtuosi will prefer violins in their prime by the later for quite some time to come. dition, doublv «M,r t,lc Slnger followed the tra- ° I' waS and Stl IS’ 1 should thmk) one of the Italian makers of less repute.- Stradivarius believed in allowing his work to tell The Resourceful Piano notable achievements of our epoch revival ™ II* It is now a quarter of a century since a certain Long the story; so we have only meagre details of his life. the part several hundred times she natural^ T®'”? Stanzasstanzas of the air • Tt*' °f smgmg ,hc different Island City lost its most celebrated citizen and the Millions of Fake Strads Coming from a family that dated back to the 13th cen¬ A P n P-r{!-CiplCS. of depression in Pianoforte Flaying certain habits and mannerisms, tricks both of actioTand ada'To, the conductor • Umf.L In her sIoweS' modern world its most gifted violin-maker; or, as a well- If you have a violin with a Stradi- tury, he was born in Cremona in 1614 and lived there A. T. Christian! gives in about the fewest possible words’ stick briskly across h.c V ? ,mpatu',lt- He beat his known violin house describes him in their latest ’2.3 his entire life. No portrait survives, even if one ever varius label, or stamped Stradivarius were painted. We, are told that he was tall and thin, apprehensive exposition of the possibilities of the Metropolitan Opera^Hol’e ‘Te tffcV^TrS ““ tea. There was soon 3nd whipped up the orchcs- catalogs, “A master workman and the premier ‘Amer¬ on the outside, there is not one chance and wore habitually a long leather apron. He made sal, to defer to Air. Toscanini’s ideas. He ti,e --..T" and musicians. It w 3 ,atus.°f two liars between singer ican Luthier.’ ” For a time after his death the best of this famous money and kept it. He was married twice; and the rer?7,is, the proper domain ‘he pianist, the goes, gave his approval to her interpretation on this won the victory si^ t tCrr'I>le m°mcnt; but the singei in a million that it is genuine. The realm m which he is supreme, and in which no other in¬ maker’s violins went as high as $1,000 in price; but last family circle was not small. Of the children, we hear and continued to sine' • "!"' d ,l, r on the conductm fake Strad. violin labels were printed strumentalist, not even the organist, can compare with -Those who ha ** roller! g "i her c - month a splendid 1885 specimen was secured for $250. of only three sons. For a while, two of them, Omobona A’ct during his lifetime this maker was quite certain like postage stamps, in exact repro¬ and Francesca, carried on the family business after Stradivarius’ death in 1737; but they soon pass from “The organist, with all his advantages, yet lacks manv that the divine afflatus had fluttered straight down from duction of the originals. These labels the Parnassian slopes to find a permanent abiding the picture, leaving behind them a few violins of of the facilities and most of the liner nuances of the A musical amateur is otic win. has were put in new and old violins by place in Long Island. undoubted excellence, but illustrating once again that pianist, notably those of accentuation, instantaneous dyna¬ study to music, especially to some instrumcm" "d 7"S "A City n,„ fa., , “But how then—about these violin contests: ‘Chicago other makers, to fool and cheat the the ability to leave “sandal imprints upon the sands of mic discrimination through touch, and that most impor¬ S7.“^.fdit,g satisfaction in produeffi/t £ °nd taste than by main, "- I" Us zcisdo» vs. Cremona,’” I’m asked: “are they not on the level?” ignorant purchaser. Almost any pawn tune” is not hereditary. The third son soon put aside tant condition of expression, pulsation.” Entirely so; but they prove nothing one way or the the fiddle-stick, so to speak, for the yard-stick, and, n the hon Z:yNm isa '"Zic-LZ u '!"'s'r’ ■Umos shop has a supply of these fake Strads. UlHSiL’ thc fylU)M/y € ’ ^orr t/lOII its SlSld other. Tile writer has attended more than one, in years turning clothing merchant, achieved wealth and oblivion. re(lches highest and niott'rl;r,°"r a" orchestra i, gone by, and was reduced to such a state of muddled Stradivarius’ life, as he lived it seems to be the finest most appeahug form." FEBRUARY 1925 Page 95 THE ETUDE Page 94 FEBRUARY 1925 The Whole-Tone Scale example of single-hearted devotion to one supreme ings.” Ever haunted -by a vision-of-perfection,- he-kneiv The Teachers’ Round Table object that has ever come down to us. He went slowly, no rest but labored on through the years until,-at .fin age By Elizabeth A. Gest but*so exactly and surely forward from the first; and only when, most men seek the chimney corner, he - emerged when he had finished his long apprenticeship and had radiant upon the heights into the glory of what the Conducted by PROF. CLARENCE. G. HAMILTON, M.A. found himself, do we see his name in a violin and that The whole-tone scale used to be considered a novelty world now calls his “Golden Period.” "Three score ’ etc., and not technical only after he had passed his 29th year. And yet we years and ten” passed before appeared that miracle of but has now become an accepted form, and was no harder This department is designed to help the teacher upon questions pertaining to How to Teach. Questions Answered restless, efficient moderns demand to be shown why men workmanship and tone, the Messiah Strad. to adopt than a change in millinery. Not long ago one problems pertaining to Musical Theory, History, etc., all of which properly belong to the Musical Questions Answe are not producing such masterpieces to-day. Stradivarius shuddered when confronted by such a scale, on account 0f department. Full name and address must accompany all inquiries was a home body and we have no record of his travels, Do Violins Improve With Age ? the difficulty of execution as well as the “queer sound,” s gained immediately, i if indeed he ever ventured abroad; and the sporadic up¬ Every violin, like every human being, seems to have but now pianists greet such a scale as an old acquaintance Bach and Others Height of the Piano Stool risings and revolutions of his day passed over his head a normal length of life. It has its babyhood, its youth, _the kind that should not be forgotten. But do they ;)Stl>The hi unheeded. In 1702 Cremona changed hands three times its maturity, and its senility. This age depends not so play it with the same degree of skill and velocity that In what ordi>r should the in as many months; hut it is entirely probable that the and Threif Part) he taken much upon years as upon the amount of playing the in¬ they do the standard major and minor scales ? Is one practically ready t is needless to say that as guest I master was unaware of the fact. There was a long none too good for the little folks to strument receives. When first produced a great violin After all, there are only two forms of the whole-tone n after mastering tl oiit by the officers of the foreground to Stradivarius as there always is and must “Parliamentary ruling is carried has a lack of perfect responsiveness, which is difficult clubs, elected annually. The presn lent presides, assisted by ever be when a world genius appears. scale, no matter what key the passage may lie in, or to irer. The secretary’s re- to describe. A number of years ago it was my privilege what’key it is leading; whereas, in the “regulars” we ; Chopins rreludes, vice-president, secretary <™’”1 month, and the Four Centuries of Violin Making in Berlin to play upon a Stradivarius in the famous have twelve majors, twelve melodic minors, twelve har¬ Partello collection. The violin was old in years, but to monic minors and a chromatic, so why should two more Foe the study of the two-part Inventions, I suggest Nearly four centuries have passed since a certain all intents and purposes quite new as far as its “playing” add any terrors? the following order: Caspar, whose surname is uncertain and immaterial, age was concerned. It has been played upon only at As a general principle, we may state that when one One form uses the group of three black keys, no matter No’s. 1, 3, 4, 8, 5, 2, 6, 10, 11, 14, 15, 13, 7, 9, 12. produced, in Brescia, Italy a stringed instrument which rare intervals. Though obviously superior to a new sits high at the piano the tone is more brilliant, and where it starts, and the other form uses the group of two With their splendid drill in two-part playing and he called a violin. His violin was broad and wide, flat violin, it lacked the fine sonority and flexibility of other when one sits low it is more mellow and rich. The and perhaps rather crude but not essentially different from black keys, no matter where it starts. The first form will their simplicity of construction, these two-part inven¬ Advanced Piano Study Stradivarius violins that had been in the hands of reason is that with a high seat the arms slant down¬ the instrument of to-day. His pupil Maggini brought in use the second, third and fourth fingers on the three black tions furnish an excellent preparation for the study of a master violinist for years. wards, and the touch is consequently more direct and Miss H. M. L. writes that she has studied piano for a higher degree of skill, but knew enough to stick to the keys, leaving thumb, second and thumb for tin- white keys. the Well-tempered Clavichord—the climax of Bach study The fact is that violins improve up to a certain point. forceful; while with a low seat, the keys are rather seven years, and sends a list of music which she has pattern of his great predecessor. But then come the —since they render unnecessary the more complex three- This point they retain for some time, depending upon pulled down, and the hammers are driven against the taken up—a list that includes most of the standard ma¬ part Inventions, many of which are quite as difficult as vast hordes who must needs improve on the original the amount of playing they regularly receive. Then they strings with less of a knife-like blow. Now, both of terials. She is accustomed to memorize all of her pieces, model. So fiddle tops bulge—backs buckle out—sound- the more important fugues of thc greater work. The decline in character and brilliance. They become what these effects should lie at the command of the pianist, and can devote an hour and a half daily to practice. holes draw in their sturdy curves to become refined and most useful of the three-part Inventions, in my opinion, are known as “sick” violins and are chiefly valuable, from who needs the brilliant, fluent tone for quick passage She says further: lady-like—until with the entry of Stainer, from the are No’s. 1, 3, 6, 8, 10, 15. that tirnc on, to the collector. If a violin has been used work, and -the rich, juicy tone for melodic expression. Tyrol, comes the beginning of the end. No better preparation for organ study can be found by a number of famous players, or if it has some ro¬ The other form uses the second and third lingers on the Hence most players compromise by sitting so that the than the practice of Bach’s polyphonic clavier works; His instruments bulge like Bartlett pears until the gaze mance in its career and has a well-certified pedigree, the black keys, leaving thumb, second and third fur the white top of the forearms and the back of the hand are could almost wander in at one F hole and then out and after mastering a generous number of these one collector may pay a big price for it, although it will go normally in a horizontal line, from which vantage, ground through the other. But Stainer had his hour in the sun should be able to take up the study of the pipe organ into a glass casket to live in a state of invalidism for the the wrist may he allowed to rise for passage work, and was at one time rated above Stradivarius himself, remainder of its life. to good advantage,—especially if piano study be still while it may equally well be slightly depressed for m England, at least; for the tone of his violin, they Rest acts as a remedy; but it is not a cure. That is, if continued. melodic work. I should have to hear you play, in order to form a just said, “was more penetrating.” It was—it is! I suggest your working at the same time on Mendels-, the violin rests for some time, it can be played on again My advice to you is to cultivate the position just estimate of what your future career may be. But from sohn’s Songs Without Words, also sonatas by Haydn, a few-times, but then it seems to suffer a relapse. Just described, since it avoids extremes and is most useful your description, you evidently have ail excellent back¬ How Many Strads. are There ? Mozart and the earlier sonatas of Beethoven. For what miracle it is that brings the violin “back" after When playing these scales with each hand an octave for all emergencies. The reason why your tone has ground to work upon; and I can sec no reason why you Under that great artist, Nicola Amati, Stradivarius a rest is difficult to explain. Joachim had a “sick” apart, or a major third or a minor sixth apart, Ix.tli hands studies, the three great C’s: Czerny, Cramer and de¬ improved with the low seat is probably because your should not become a proficient player. learned his profession and later fell heir to his teacher's Strad. which he played upon only at rare intervals. use the same form, but when playing them with the menti, are invaluable. wrist was thus loosened up. When the back of the Here is a plan for utilizing your practice time: entire stock in trade from glue pot to patterns; and a tile kind of playing a violin receives makes all the hands a minor third or a major sixth apart, each hand There is no reason why you should not immediately hand and the top of the forearm are in a straight line, 1. General technic.15 minutes priceless heritage it proved during the years which difference m the world. The finer the fiddle at the plays in a different form. This is not .a-> to do at cultivate also the more elastic style by some of Ch<5pin*s the wrist is most liable to stiffen; but if the wrist be 2. Etudes and the like.30 minutes followed, years of trial, study, experiment, leading at first, but it is a splendid exercise in concentration, and works. Begin with the Preludes No’s. 1, 3, 6, 15; the either raised or lowered, thus 3. New pieces.30 minutes last to fame and world-wide recognition. Not alone bner.the P«'fect tonal channels, the more beautiful the vibrations upon the molecules of the wood is a good preparation for the unexpected in modern piano Waltzes Op. 64, No’s. 1, 2, 3, and the posthumous Walts 4. Review pieces.15 minutes violins, but harps, ’cellos, mandolins, violas and guitars and the varnish, the finer will become the violin. One music. in E Minor; the Mazurkas Op. 7, No. 1; Op. 33, No’s. poured from that wonderful shop at No. 2 Piazza San Wrist could play upon a cheap fiddle until doomsday and 3 and 4; and the Nocturnes Op. 9, No. 2 and Op. 32, 1 hour, 30 minutes Domenico. The Encyclopedia Britannica says that never make it a good one; but with a fine violin at the No. 1, For the first item, a useful guide is James Francis Stradivarius made over 2,000 violins during the ninety- start the violinist literally plants his musical soul into it Berlioz Admired “Der Freischutz” Extended Hand-Positions Cooke’s Mastering the Scales and Arpeggios. three^ years he lived. Other authorities put it at not As to the second item, splendid material may be found and it is this imprisoned' musical quality which has The appreciation of one genius by another is seldom Please suggest some exercises for expanding the over a thousand. The famous London experts, the brought reputation to many Strads. hands.—A. B. in Bach’s works, which I notice aire omitted from your Brothers Hill, some years ago made an exhaustive characterized by those small cynicisms indulged by lesser I am often asked whether this is not all mere* supersti- or list. Begin with the Ttvo-part Inventions, and then pro¬ mmds. And so we find Berlioz writing most enthusias¬ A useful group of such exercises may be derived from search and traced some 500 genuine Strads. over the ceed to the Well-Tempered Clavichord, on which it is said earth. One of the leading American experts said tically of the “Der Freischutz Overture," one of the few the following three simple chords, each one of which is that Chopin was accustomed to practice for three weeks “four hundred about” in answer- to an inquiry and compositions of its form and time which have held a place extended one note over the octave; and all of which before playing at a concert. Bach may alternate with added that of that number a hundred were of the first on modern programs. are fingered alike : k * >*e more specific studies: Moscheles’ Op. 70, two books; rank. “The overture has been crowned ‘queen.’ None can be . However, mere age will not produce this marvelous then the etudes of Chopin, Liszt, Rubinstein, Scriabin, and It was one of these great “hundred,” perhaps, that in¬ found to contest that fact. It is an overture which now improvement. Violins made by other violin makers who there is little chance of stiffness. So cultivate first and others. spired Gladstone to declare during an address before serves as a model of its kind; and the themes, of both its foremost a very loose wrist, and then accentuate this For pieces, I should alternate a classic with a modern Parliament that “the production of a Stradivarius violin undoubt dl 6 °r, thC life °f Stradivanus, though andonte and allegro, are known everywhere. But there undoubtedly much better than when they were made looseness by allowing the wrist to rise or fall within was quite as great a scientific achievement as the building composition. Watch the current concert programs, and do not compare with the master's work. Unless a violin altZSf-r 6 *° Which.1 am o»>liK«l to refer, liecausc, a limited radius, as occasion demands. I predict that of a locomotive.” Almost to the end of his life, this nab the most attractive numbers. is well made, it will not improve at all Wo blv czzp f' C°UrlS ess not,ce- 't causes me an incompara- by this means you will find your tone as good and your wonderful violin-maker worked on with undiminished You can broaden your general musical knowledge by a hope that violins of other makers will ever"^^ by greater emotion than the rest. I refer to that long These chords may be applied to all keys, in chromatic touch as fluent as with the abnormally low seat. And, vigor; and only with the oncreeping nineties do we systematic course of reading oil Musical History, Biog¬ parable with those of Stradivarius Plaintive !”e,ody’ issuing from the clarinet, to a tremolo ■order; and various figures may be based upon them, by the way., in playing elsewhere than in your own detect a heavier touch in the turning of a scroll, the less raphy, Appreciation and Interpretation. For the last- such as the following: studio, insist on a seat of the proper height, even if perfect throwing of a corner, a shadow in the limpid af^0l“kine was the last of tlm Renaissance arts • and a distant11"16-?4 °n-,le stnnge<1 instruments; seeming like named, I recommend two recently published books: Prin¬ after Stradivarius’ death came a gradual rWi;„ AjT, oufthe Lto the w"d* have dispersed through- you are obliged to press into service a dining room ciples of Expression, by Christiani and Basic Principles brilliancy of the varnish. His was a soul serenely aloof tta d„„ „ 19tj, Ex.2 A) 5 3 -n iePthS°f thc woods’ It goes straight to the heart chair! in Pianoforte Playing, by Josef Lhevinne. There is no and spiritually posed above the “tumult and the shout¬ ever on the glory that was Cremona.” 3 to exhak";,0?-alany ra,C' ,his Vlr*i"al *»>*. seem- Pupils’ Clubs reason why you should not study Harmony by yourself whilst a somhr t,m,,d1reI,roadl i" a heavenly direction An important means for interesting young pupils is with profit, from a book such as Harmony for Begin¬ neath it is ° r"'! tlrcatcll'nK harmony trembles lie- to form them into clubs, for the conduct of which they ners, by Preston Ware Orem, or The Student's Har¬ Memorizing at the Piano most hpantifi^f ° t lC newest> the most poetic and thc are given personal responsibility. A clever teacher. Miss mony, by Orlando Mansfield. • ducecl In thk -COntrasts tllat modem music has pro- Ethel Ruby Hood, of Newburyport, Mass., gives an Cataloguing Music By Norman Lee to recognU 15 "Str“' inspiration it is already easy interesting account of a system of clubs which she has worked out with signal success. She has at present I am trying to figure out some way of Indexing is soon to develop"iHelMn^rif"” eu ln 3,1 its passionate .A{,a" UKcandor. "hk*! It is perhaps a piece of temerity to believe I could four such clubs, each with ten members. These groups Is there any system like the Dewey Decimal System the printed note. Middle C, for example is translated used in libraries? If not, could you suggest a way? make suggestions as to how to memorize more easily; hold monthly meetings, and are conducted with due I don’t care to file music hy the author’s name— and yet, an engineer by profession, as I have been closely from the mental vision of a black spot one line below he “Barber Shop Music” in Shakespeare’s parliamentary formality. Miss Hood writes as follows: but don’t know just what way to proceed. staff t° a certain white key itself, "in £££?£ associated with pianists all my life, both here and abroad, “The city in which I live is very musically taclini W. R. McK. and am myself at present an earnest student of this art’ use the music only to find where the keys are and then Time I do not know of any such system that has been formu¬ remember the position of the hand on the kevs ' ,, ■h artists as Ilcmi I venture to offer some hints. lupliony Orchestra lated for cataloguing music—so am afraid that we shall away from the printed page as soon as TZ hear tu,3l3,tKSJOp-dl0rd!;’: 'n Which WC Sti11 1 the Choral Uni i tfie have to invent one of oar own. How about this scheme: Roughly, pianists may be divided into two classes; those after all but a dim i • c 0,1 moonht street corners are, who read at sight readily but do not memorize easily, clavier itself. In other words, with a well-memorized Illy, I might add that the: Have a number of pasteboard folders made!, each with custom noted in q an anc*ent and honorable and those wli0|have no difficulty in remembering, yet are piece they could only write out the music b, ™ 2 •very corner! Ilowev I do not fear that the a capacity of. say twenty pieces. A tag is pasted on the which keys they had played. y emembennff Musicians.” C °CS Third Bonk of llie Great s and hoys here will ver-edneated musically •almost impossible sight readers. i consider how far all bade of each, with the numbers which it contains: 1-20 With good sight readers, it is the visual image of To those who have trouble, then, the advice would he Different degrees of tone and of speed will add to e social needs of the for folder No. 1; 21-40 for folder No. 2; and so on. greatest there hkw-t 5”?* ‘word-musician’ (one of tlie the usefulness of these exercises. Since they tend to lity. Were the cliil ig due reward for their the note on the printed page that conveys the impression aside from the ye< Each piece of music is numbered according to its place Shakespeare was n nl ** been ( is Quite likely that to the fingers. Their conception of the keys is almost stiffen the wrists, care should be observed to keep the citals helped the.. li.e junior players much, for in the folder. A card index is also prepared, in which when he iver E3frjnd si,*er- ' ' • I» the days latter relaxed. Also, it is well to alternate such ex¬ .... , „.. . ceompanied by "’— _illires. on entirely mental as represented by printed notes, and account of lack of previous experience daying outside of the piece is listed, together with its assigned number. famous for their pf ' n a,ul Englishwomen were pansion work with exercises in very close position; such physical. When they seek to memorize,-—, itii isu byuj « imuu Now for classification. Suppose you have a library onze the keys and position. Only when it is almost all of them could'8' var'ous instruments, and as those based upon the chromatic -scale. “Accordingly, i organized four musical clubs for the ju: photograph of engraved s, which implies an extreme hoys and girls. Teachers of violin and other orches rat that contains piano pieces, songs, orchestral and choral mental effort. instruments gladly cooperated with me. These clubs woi scores. Piano pieces may be numbered from 1 to 999; On the other hand, to those who read with difficulty, was often an ffisffu^nt^n^ “ * barber’s shoP thcre “Never despair; but if you do, work on in despair.” pleasantly anticipated 1 songs from 1000 to 1999; orchestral scores, 2000 to the physical key on the clavier means much more than or guitar) hanging onX wlllV CUtCr" (a kind of IutC play well before each i 2999; and choral works, 3000 to 3999. waiting his turn to be sha37°r,any Customer who was —Edmund Burke. practice for better resit adays there are newspapersl^m^S “ "°W' THE ETUDE FEBRUARY 1925 Page 97 Page i)United States,’’. e learn, “he played at Hoover. And through his- co-operation Hatfield, it should lie explained. : to encourage them and their ^ai.1 J°se> California, during Holy Week, thousands of lives were saved in Poland.” palatial home <»f the Marcjuu f Salis- efforts when the public obstinately re- which was a bad time for a concert. Two Hoover worked his way through college, hiirv, who afterwards mi. , ed Dis- fuses to pay any attention to them? If students at Leland Stanford University Through energy plus education be became rat‘li as the Premier of I'.iielai an act is ordered from one of them, it had arranged the affair, and had guar- rich, and was able later to lie the saviour fails to go. Two or three years later the anteed a *ee °f $2000 to the pianist. The of famine-stricken, war-torn Europe "A perfect r first ana ■ thing is tried again with thi -office receipts were $1600. In great Poland. What part did the act Cl finish." result..In the final analysis, mental anguish, the students told Pader- .’nerotis musician play in his subse¬ where are these young composers of ge¬ fecretary that he must wait for part quent history and themc-m^.y history u.of the™ world?wnor /f)// (IUkt v y c-ru,( rss ir ,,rz nius? Who are they and what are their names? Let them go to the orchestra and RING" bear The Marriage of Figaro, Oberon, HANDEL, THE COMPOSER The veteran violinist and teacher of Freisrhuts and Orpheus. We are , , Mischa Elnmn, Heifetz and mam others, doing something for them by placing such How did Handel, produce. his multifari- le l1ad ‘earned how the piece continued, lias published a readable book H\ I nmr models before them.’ gigantic works? Remain Holland and sometimes before the librettist had Life in Music." in which lie Ml !„,u lie S'ves us the answer in his book, “A Musi¬ "The voting composers who were thus "tel Johann Strauss, composer of Die politely invited to be seated included, cal Tour Through the Land of the Past,” “The urge tr create was so tyrannical Hedermaus (The Hal), ami mam waltzes among others, Bizet, Delibes, Massenet, in which we learn that “He was like that it ended 1. isolating him from the of undying charm, at Baden-I’.adm. where rest of the world, and the writer of these lines.” Berlioz: musical notation was too slow allowed Strauss was conducting open air concerts himself t for him; he would have needed short- itcrrupted by any futile twice a week for three thou-and nanesa “The rapid in •cment may carry the hand to follow his thought; at the be¬ s ,k“:“ antI llls impatience performance, then a fabulous Mini audience along hy its spirit: 'hut the slo ginning of his great choral compositions ally Hooded d of the ideas which contiuu- “Strauss told me that he bun , 1 f lost piece with a soul is Hie one that touches he wrote the motifs in full for all the shut up.’ Hislus brain mmd kept him always practically all he made condlictim ilu- the heart the more deeply.” part and then another; finally he U°lng ‘V? was 110 says Auer. “This, however ..... KNOW THE CLASSICS. SAYS would retain only.one voice, or he would had a habk of^ slSkint ? ’ ?C Vent his l>aiaK always in' ,he best of RICHARD STRAUSS even end tip with the bass alone;; he would' everybody learnedt"’*?” A"Cr cxl,r^ James Huneker quotes some effective lfss at a stroke to the end of the composi- And ■ what exaltation what tears f th,s conductor-composw. nbi.-b he passages from Richard Strauss in Over- 1011 which he had begun, postponing until wrote. He sobbed aloud when 1 ,e shafwJ with Mrae. Schumann Hr..: m- and tones, in which the great German com- Jater the completion of the whole, and on composing the aria He Was 7^ 0tllcr lnuslc,a'>s then in 1 ’.,..1. „.I„ P°.S,^Sa/S,: , the morrow of finishing one piece he ’I have heard it said ’ reports ShSTJw , “*« sooner did Strauss mount the plat- My father kept me very strictly to the w0l W hefn “nother, sometimes working when his servant took him hk flf' i f form (whitl' was always amid acclama- old masters, in whose compositions I had 0,1‘'v0- lf "°t ‘>'rcc. simultaneously. in the morning he was often t •, ti,,ns) ,lla» >‘e s.rined to • them a thorough grounding. \ on cannot appro- would never havc had the patience to see him weeping and wetting wiffiT f'th his l^rsotialitv. When he took up ciate Wagner and the moderns unless you ?f .Gluck, who began .before writing, by tears the paper 0n which he I v f h,s vio,in and-- gave theme signal n> the pass through the grounding in the classics, going through each of Ins acts, and then With regard to the Halleluiah ri tms\ orchestrairehestra with his bow,!„.«■ the,l„. auditors-..„i:. . v„ \oung composers bring me voluminous tae whole piece; which commonly cost the Messiah he himself \ a If L lon,s 01 ireathlcss. lie conducted the first few manuscripts for my opinion on their pro- so he told Corancez—‘a year, and St Paul • ‘Whether t T • 4 le words of measures of every composition; then he ductions. In looking at them I- find- - that- oftener than • .... • vvuuiiiLr i was in my body or illness, would suddenly seize his violin, place it they generally want to begin where Wag- Handel used to compose body as I wrote it I know not. act before God agamst his chin, and while lie plaved carry ncr left off. I say to all such: ‘My good his audience away with him, leading them young man, go home and study the works with movements of the head, and beating of Bach, the symphonies of Haydn, of A NOBLE DEATHj ■me with his foot. After every number Mozart, of Beethoven; and when vou have Vn» r,_i„„ . , . , fa Srcpt wave of applause. When lie mastered these art-works, come to me to Etli.e readers l^now f is'Sw 'b-s in Tristan (at Munich). It H ""e day >r agam'- ..thoroughly understand- example of this sarcastic virtuoso-conduc¬ that one day Mmf Scimorr' received £ Acxffilf*f.* .fl®. ?rch.estra »«» infinitely ing the significance of the development With . would play with the most from Haydn, via Mozart and Beethoven ,tk ttorThe ^ ShaUiLTusba’iid wa's1 IVf * sl’ad»>ll'and'thc"most delicate modi- to Wagner, these youngsters cannot appre¬ ciate at its proper worth the music of either Wagner or his predecessors. ‘What „ Music 1 s endangered, that singing Trist marches ’ these dances, these an extraordinary thing for Richard ■A ,..t consider. Cion (or individ.i, “i” Strauss to say,’ these young men remark, when it but I only give them the advice gained by artistic truths of my own experience.” ”" - •r'rri'-r by Johann- Biilow’ Whereupon vo Riilow, Strauss.” The father of Richard Strauss characteristic M-’*-* ••• - * ” Quite r nerite. “Sometime" I think you no longer ^ bCCn C'lgaged to si'1R the fading Carsfeldl” ' dn'St '"'e Sch— .audience in New vSj Sd iLZ dislike my music, Herr Strauss,” said ---- wher's'"8 E’uroPe> even in Vienna, Wagner to him one day, “you play it so “Meanwhile the Cardinal Ippolito in most part vain ,1 t Wondersffrc'gned supreme. One team,folly To wind, the scni.p, horn- ,,„om .11 ,„y bM („r„ wen „le„t. coj/ i ,’ „7e J, ’ ""d """ <• «.„(,’ “'f "Mfcnl, o[ ,l,i. Amec- Si", T"“ *» “ "" «• ' Sem,, ,o unierM the, uZ oiVeS L""<£. 7 ,'i o' , ' the promises of thi.*tthis world nroa /v»». ....j _. lolue is best and n ( ,s^'^ffuislicd i ■ 'ortuc nndsnfestbest'ittr i!^Si,t THE ETUpS Page 98 FEBRUARY 1925 In rapid alternation of the hands, IMPROMPTU BRILLAJN I requiring absolute eveness in weight ARNOLDO SARTORIO and in the duration of the tones. Grade 4. Allegro M. M. J = 126

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International Copyright secured FEBRUARY 1925 Page 101 THE ETUBe Page 100 FEBRUARY 1925 MARCH OF THE MANIKINS A brilliant drawing-room piece affording excellent BALLERINA practice in octaves and ir\the glissnvdo. This latter MONTAGUE EWING is best done by using the back of the third finger. MAZURKA Grade 4. CARL SCHMEIDLER

International Copyright secured Copyright 1924 byTheo. Presser Co. FEBRUARY 1925 Page 103 TEE ETUbt THE ETUDE SPIRIT OF THE HOUR SPIRIT OP THE HOUR WALLACE A. JOHNSON WALLACE A. JOHNSON PR I MO In the'style of a grand procession, full and dignified. SECONDO Tempo di Marcia M.M. J = l i I j y-

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tt 1 ' a tempo m —. — Uj^-^ 3 ^ ,Vr7 j^s ^1 ji tb# ^ F f t- FEBRUARY 1925 P*Se 105 THE ETUDE THE etude Page 104 FEBRUARY 1925 THE GAZELLE RICH. KRENTZLIN, Op. 74 A well-balanced number for players THE GAZELLE MAZURKA BRILLANTE of equal attainments. Play in steady RICH. KRENTZLIN, Op. 74 Mazurka rhythm. . MAZURKA BRILLANTE Vivace m.m. J = m SECONDO. 3 4

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' & « [ ls " ' — 1 1 * 0 g. a: T THE ETUDE FEBRUARY 1925 Page the etude Page 10H FEBRUARY IMS LARGHETTO W. A. MOZART from the “CORONATION CONCERTO” inejdiaustible mine of pure and spontaneous mel- his works an almost Moz»rt U known per ..Mime, no the mu.ictaW compooer.'There to to be found among odv- Larghetto M.M. J=63 viol 3 i

Copyright 1925 by Theo.Presser Co. THE ETUDE FEBRUARY 1925 Page 117 THE ETUDE Page 106 FEBRUARY 1925 Xjj^RG'HBTTO / Sw. = Diaps. MELODY IN D W. A. MOZART ) Gt. = 8'and4',//^ coup.to Sw. from the“CORONATION CONCERTO ” _ Prepare < _ ciarjfle^} mj, coup. ^o Sw. T. D.WILLIAMS ^spontaneous mel- — / ° v Ped.= Soft 16', nif coup, to Sw. Arr. by Orlando A. Mansfield Mozart is known par excellence as the musicians’ composer.There is to h^ffnmoresgue. Grade H A tuneful soft voluntary, well calculated to display the“Solo stops’.’ ody- Larghetto m.m. J=63

British Copyright secured Copyrightl924by Theo. Presser Co- J COME AWAY!

FRITZ HARTMANN, No. 219, No. 2 A lively little teaching piece, lying well under the hands. Grade 2.

Allegretto M.M. J=1Q8

International Copyright secured Copyright 1925 by Theo. Presser Co. Page 119 THE ETUDE the etude FEBRUARY 1925 Fage 118 FEBRUARY 1925

VIENNESE REFRAIN Transcribed for Violin and Piano A most effective arrangement of one of the old folk songs. by ARTHUR HARTMANN

Copyright 1925 by Theo. Presser Co. * The lower notes of the “double-stops’,’ throughout, may be omitted, if desired THE ETUDE FEBRUARY 1925 Page 121 120 ,MMHUKr mi wltnG WIDE THE GATE S THE etude SACRED SONG FOEaPALM SUNDAY HARRY ROWE SHELLEY

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Copyright 1934 by Theo.Presser Co. British Copyright secured THE ETUDE Page 122 FEBRUARY 1925 I’VE BEEN ROAMING CHARLES E.HORN ■

FEBRUARY 1925 Page 125 TEE etude PTULBRANSEN V JThe7teffitering Piano

Pupil and Teacher Alike are Benefited by the Gulbransen

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To Gulbransen Owners: The Gulbransen is too fine to neglect. Have it tuned at least twice a year FEBRUARY 1925 Page 127 Page 126 FEBRUARY 1925 THE ETUDE the etude Finally, there is a method which, so far HE present tendency of vocal teachers T as the writer knows, has never been advo¬ Distinct Enunciation is to dispense largely with the “physi¬ cated in print. It is only a temporary de¬ ological school” of instruction and to de¬ vice, and most students will want to try pend more 'and more on what are now By K. Hackett it out the first time in private; for it has recognized as the bel canto methods of- The Singer’s Etude certainly no elegance to commend it 1 Stand the golden age. These methods may be There is no department of the art of beauty must be sustained throughout the in the usual erect position, but cup the summed up in a few phrases: imitation singing in which our American singers are entire range; and to mold these tones into hands behind the ears in such a way that of the teacher’s correctly produced tone; Edited by Vocal Experts more open to criticism than in enunciation. distinct words demands great technical hands and ears form larger ears, standing dependence upon the emotional and intel¬ Various elements have contributed to caus¬ skill. about perpendicular to the side of the head lectual content of songs—this is, upon the ing them to lag behind in this respect ; but No matter what the language is in which In this way the sound waves coming from IVERS & POND singing of words, phrases and sentences, It is the Ambition of THE ETUDE to Make This Voice Department they must brace up and conquer the diffi¬ you sing, the thing that you sing is the the lips are enormously reinforced, so that rather than isolated “dark” or “bright" “A Vocalist’s Magazine Complete in Itselfi’ culty “Telling the story” with such dis¬ vowel; the only thing you can “sing” is a sounds; and the development of a con¬ they quite obscure the subjective sensa¬ tinct enunciation as makes the words under¬ vowel. The consonants form what may tion of hearing. sciousness of the correct sensation of standable to the audience is becoming a be called the bone structure of the words tones sung to all the vowels throughout This manner of hearing has one conse¬ and most of them from their nature cannot PIANOS matter of more importance every day. The the singing range. quence that should be understood, or the public is beginning to insist on good Eng¬ be sustained. A few, such as /, in, n, and s purpose of the whole experiment is likely And it is with this last conception that lish so that they shall know what ‘the song can be sustained, but this is not called “sing¬ Hearing Oneself Sing to be defeated. The “edge” of the voice the trouble begins. For, even granted that is all about.” ing.” To sustain in, for example, is the the student has produced a tone as cor¬ will be far more prominent than usual, as The main difficulty is that young singers same as humming with the lips closed. The By F. D. Moore rectly as has the teacher, the sound of it prominent as if someone else were to sing think the words from the standpoint of the moment you open the lips and sing a tone is altogether different to him. within five or six inches of your ear. But spoken word, quite overlooking the fact you find that it is a vowel. if allowance is made for this effect, the attention can be For the higher voices this problem is usually not so the exercise might take such a form as would lead to a that they are not to speak but to sing them. In the desire for distinct enunciation «. difficult; the student is already acquainted with the sen¬ self-conscious change of register. This will necessitate easily directed to the proper resonance-forms. Distinct enunciation in singing must be young singers do things which interfere sations of the middle voice in his daily speech. But fairly large intervals, repeated several times on the same When it is Easier to Sing based upon the singing tone. with the freedom of the throat. The only the contralto, the baritone, and the bass frequently have pitch. Since the fourth is easily recognizable, and is Nearly every one has noticed that it is easiest to sing The difference between speech and song result of this is a poor quality of tone with¬ no such background. These voices may be used in speech for that reason easily sung, we shall start thus (The when there is some outside noise to obscure the “mach¬ lies in this; in speech the tone is not sus¬ out the slightest benefit to the enunciation. almost exclusively in the chest voice; even emotion or bass and baritone will sing an octave lower; the higher inery” of tone production. It is easier to sing with ac¬ tained upon a definite pitch, while song Clarity of enunciation is made possible by excitement may not cause natural, easy higher tones, voices will probably transpose a second or a third up¬ companiment than alone; it is easy to sing while one is is precisely this—the sustaining of the such freedom of tone production as concen¬ especially in phlegmatic persons; and even when such ward) : drawing water for the morning plunge; it is easy to sing tone upon a definite pitch. In speech you trates the tone at the front of the mouth tones are produced they may not be remembered clearly Ex.H when a train or a noisy truck is passing by. Why is may pitch the tone wherever it is most where the enunciatory organs can get hold enough to aid in singing. this? Simply that the attention is shifted away from the convenient, whereas in song you must of it. The throat must be open, the jaw Imitating the Tone mechanism of singing and the voice is free to respond sustain the tone with ease and grace upon loose, the tongue and lips elastic, so that they can function freely. If there comes Consequently the procedure is something like this: the-way the speaking voice does, unconsciously, in con¬ an arbitrary pitch determined by the com¬ tension into any of these parts it hurts the The teacher sings a tone and asks the student to imitate versation. poser. This first exercise may be followed by the same inter¬ tone. it. The student responds with a tone forced into pitch . Holding the hands cupped about the ears as described If the tone be so freely produced that it val carried one degree at a time upward to.the limit If you make a poor quality of tone by means of the extrinsic muscles of the throat and above leaves the voice surprisingly free. This is due to has musical beauty there is sense in learn¬ of the"voice, thus: two causes. First, attention is centered more easily on ing how to form it into a word, since nobody cares whether you enunciate dis¬ tongue. The teacher says, “Don’t force the tone; sing¬ tinctly or not, since they say that, “it is ing is easy; play the tone on the nose.” And, unfor¬ the- song, rather than the singing. Second, the raising when so done it will have charm. If you of the shoulders removes unsuspected tension of the neck go at it the other way round and in your no good anyway.” If you make a tone of tunately, no teacher can be more explicit. He can repeat musical beauty it must be freely poised, all the truisms of the bcl canto school; he can say, mfiscles. To discover that this is often considerable, desire for distinct enunciation do some¬ because it is impossible to produce a fine §@i one has only to raise the comfortably bent arms outward thing that interferes with the beauty of “Sing on the breath; sing forward; open the mouth.” tone with the vocal organ stiff and inelastic. 5? and upward. This position seems to give an automatic the tone, you have destroyed the essential But—and here we have the whole dilemma—he cannot Then if you have skill enough to maintain These two exercises will be found ample to fulfill their • reason for singing. make those phrases convey definite meanings to a stu¬ adjustment for the high tones that often is not discovered freedom of the tone production you can purpose. If. the interval sung is varied to a fifth, a sixth, As a matter of physical fact the tone dent who has not yet experienced the sensations involved. otherwise without months of tedious trying. learn to enunciate distinctly by putting your Now the student tries again and again to reproduce and an octave, the necessary variety will have been Standing thus, one may experiment with the exercises comes first, since a pure tone is the result of such freedom of production as enables mind to it. the tones as he is guided by the teacher; he must im¬ secured. ■ given in the first part of this article. As proof of the the tone to concentrate in the resonance This depends upon the mobility of the Five Foot Colonial press on his memory the sensations of his voice as the Resonance Cavities pudding, start in with the second exercise, moving in enunciatory organs—the lips, the teeth and teacher pronounces, “That is better; That is correct.” chambers at the front of the face. The In addition to the quality of tone as regulated by intervals of a fourth upward from a comfortable low the tip of the tongue. The only way to tell Daintiest of all our Grands. Smaller Grands are And by patient repetition he gradually loses his fear organs of enunciation are the lips, the the resonance cavities, one should listen to the beginning note. Do not pitch your voice by the piano, but carry the whether or not you are “telling the story” of unfamiliar pitches, remembers preceding sensations, teeth and the tip of the tongue—if you say built, but at a sacrifice of tone, touch and line incom¬ and the end of the tone. The accuracy of the first im¬ tones as high as you can sing them without strain. The clearly is to sing for people and ask them and can reproduce them finally at will. these words trippingly you will find it to patible with Ivers fif Pond standards. Larger Grands pulse determines whether the tone is musical or not, chances are you will he surprised to find you have gone if they understand. If they do not it is This fairly typical routine in vocal study places em¬ be so. The more freely the tone is made, that is, free from interference. The letting-go of the a tone above your usual range. because you are not using the lips, teeth require money and space your needs may not call phasis where it must be placed if the student is to be so that the farther forward jt concentrates, tone determines much of the value of the interpretation. rendered eventually independent of a coach. For his the more easily the enunciatory organs can and tongue with sufficient elasticity. You for. Send for out catalog describing this and other The child first learning to write leaves a splash of ink unaccustomed ears tell him that his highest tones are form into words. must maintain the beauty of the tone, or and a dig in the paper at- each lift of the pen, as if to Grands, Uprights and Players. too heavy in nasal resonance, too thin, too far away. Is Music a Language? In speech our enunciation is often everything goes for naught. But if you say, “See, I have finished that one.” So the singer is He is like the swimmer in unfamiliar water, who can¬ “Program Music” has become so much the mode, music indistinct and our pronunciation slovenly. cannot make the words understandable you likely to “end” his tone with a contraction of the throat not let himself go and take a bold stroke forward; and which dismisses that “beauty of the kind that might be If you desire to do public speaking you will muscles. These suggestions will point to the solution are under a severe handicap. Intelligent like the swimmer, he iompensates by unnecessary mus¬ called classic,” that it is interesting to read an expres¬ find that you must take great care over of any number of individual problems through this application will remedy this defect, but it Ivers & Pond cular tension. sion from Mendelssohn—who probably surpassed all these matters, if the audience is to under¬ objectified hearing. is not so easy as it sounds. Cutting Half the Time others in the balance of the classic and romantic spirits stand what you say. The singing voice This is all very well, the reader will protest, for in music—in a letter written by a young poet, to the com¬ must have a much finer adjustment than Brains are what count here as in every If one could from the first hear his own voice as those who have at their call a clear echo 1 But unless the poser, asking if lie had succeeded in embodying the senti¬ the speaking voice, since tones of musical other department of art and life. PIANOS it sounds to other people, as his teacher’s voice sounds student is living in a very large city, he will find in the to him, he could escape many wearisome hours spent in ments of certain of his compositions in a set of poems course of his daily five or six-mile walk some surface written for this purpose. are used in over 500 Educational Institutions and following up blind clues, false preconceived impressions, that will provide the sound-reflector. Many large build¬ and even impressions misconceived during the lessons ‘Aou give the various numbers of the book such titles Singing for Health 70,000 homes. Built today, as from the first, in but ings with unbroken walls are quite as satisfactory as as ‘I think of Thee,’ ‘Melancholy,’ ‘The Praise of God,’ themselves. In fact, one could thus probably cut in the romantic and traditional cliff. One may even use one quality—the best—with continuity of proprietor¬ half the time required to “feel” the voice habitually A Merry Hunt.’ I can scarcely say whether I thought the interior of a building; many long, narrow, and oref- of these or other things while composing the music. By Edward Podolsky ship and of artistic ideals, they represent the farthest where it should be focused. erably high-ceilinged rooms are excellent reflectors. Following are a few aids toward securing this co¬ Another might find ‘I Think of Thee’ where you find advance in fine piano building. Every intending ordination between the ear and the vocal apparatus. Singing in a Small Room Melancholy,’ and a real huntsman might consider ‘A Many measures are nowadays advo¬ vincing testimonial for the hair tonic. Yet buyer should have our catalogue. Write for it. First is a method sometimes employed by the old Merry Hunt’ a veritable ‘Praise of God.’ But this is not cated for regaining and preserving health. I cannot recall a singer who was not a The following suggestions are intended for thosp who because, as you think, music is vague. On the contrary, Italian school. Students were sent out to a high The makers of toothpaste and tooth¬ very convincing voucher that singing keeps have no access to any of the aids mentioned above. I believe that musical expression is altogether too definite, cliff, or other natural sound reflector, where they sang brushes would have us believe that tooth one in fine trim. Caruso, I recall, was not How to Buy A surprising gain in objective hearing of one’s own that it reaches regions and dwells in them whither words a few notes, and then listened for imperfections in the cleaning is a paramount means of keeping a puny, weak, anaemic sort of chap. Nei¬ voice may be made by singing ir. a very small room, cannot follow it and must necessarily go lame when they echo. Any one who tries this for the first time will be healthy. Then we have the physical cul¬ ther are McCormack, Scotti, and others of Where no dealer sells IVERS & POND pianos we quote preferably with plastered walls. The very closeness make the attempt as you would have them do.” amazed at the difference between what the echo gives of the walls allows the actual sound to outweigh the ture faddists who recommend vigorous the professional singers. What about the lowest prices and ship from the factory tho’ your home be back, and what he has previously conceived to be the subjective sensation of it. Of course, here there7 is no exercise, and the dietitians who advise prima donnas! in the most remote village in the United States. Attrac¬ Music is one of the oldest modes by which man 1 sound- of his voice. way of hearing the voice apart from the inner sensa¬ dieting. Is it not rather interesting to The first observation of the healthful tive, easy payment plans. Liberal allowance for old expressed his emotions and aspirations. It brin If this drill is systematized, it will be found helpful notice that most of the advertisements in effects of singing were noticed by the pianos in exchange. Every intending buyer should have tions; but one may learn much more readily to dis¬ pleasure to probably more people than any other one in several ways. It gives the power to analyze the tinguish between the two. In fact, daughter will prob¬ cars and subway trains have something to French composer and musician, A. E. M. our new catalogue. Write for it. the arts. Whatever contributes to a wider disseminati two parts of the singing process, singing and hearing, ably hear herself more as others hear her in the small offer to keep you healthy: tonics, pills, Gretry (1741-1813). "I placed,” he said, of interest in it is entitled to be regarded as a r- so that hearing can- be concentrated on exclusively, an modern kitchen, than she will in the ordinary-sized vitamines, glandular extracts? There may “three fingers of my right hand on the pubhc service.”—President Coolidge. obvious psychological advantage. Usually not more than living-room. be something in some of them, but why go artery of my left arm, or any other artery two or three notes can be sung before the echo returns. Incidentally, every one who is to sing for the first through so much trouble and expense in my whole body, and sang to myself an “America, in a musical sense as well as in actua And any haste to sing as much as possible in a limited time in an unfamiliar room should, if possible, try when you can keep healthy in a very nat¬ air, the tempo of which was in accord¬ Ivers & Pond Piano Co. is a young country, and in order to overcome the g time is as detrimental here as elsewhere. How, then, out the acoustic properties in advance. There is noth¬ ural and at the same time very pleasant ance with the action of my pulse; some¬ harmonic advantage held by Europe, our music sh( 141 Boylston Street, Boston, Mass. shall one practice to get the most benefit from the drill? ing more likely to unnerve the young student than to way. What I mean is: Why not sing and time afterward I sang with great ardor an be as good as it is possible for us to produce. If g Since the problem concerns chiefly the upper half of find his voice escaping quite away from him, and he is be healthy? And what normal person air in a different tempo, when I distinctly music is served to the American public via the pla the voice, singing intervals up the scale will provide liable to compensate by forcing his tones to a point does not like to sing? felt my pulse quickening or slackening its ot good orchestration, the American audience will re the most important exercise. An interval is the briefest where they seem to approximate their usual effect on We are all familiar with the bald-headed action to accommodate itself by degrees rocate with its hearty approval, and not with va< possible phrase, and lifts one easily from chest to his own hearing. Here the adviefe of the teacher or-of barber who offers the gentleman whose to the tempo of the new air.” Modern stares of blind bewilderment and utter lack of intellif medium, from medium to head voice. At first perhaps some adequately equipped friend is almost indispensable. hair is fast thinning a tonic to rehair his physiologists have established the fact that comprehension.”—Victor Herbert. scalp. His is decidedly not a very con¬ singing has a very beneficial action on the ETUDE when addressing onr advertisers. THE ETUI)i FEBRUARY 1925 Ptige 129 Page IBS FEBRUARY 1925 THE etude D. A. CLIPP1NGER "A Master of the Voice circulation. It accelerates the blood flow, of body tissues which occasions hunger revitalizes the tissues, eliminates toxins and increases the appetite. What more and oilier poisonous wastes. It gives one natural way is there? What need is there¬ a general feeling of well being, without for tonics and pills when a good song will do? Teachers of singing have always attain the same ends. Setting noticed that the appetite and digestion of up exercises arc essentially for the purpi children being trained to sing arc always JUST as a ship 0f getting the blood in action. Very few superior to non-singers. The trainers of needs the clos- people seem to care for a. daily dozen pre- choir boys, when questioned as to the di¬ gestive prowess of their young charges, onder'the'water' scribe(i nt of vigorous motions. Why line, so do the teeth not, then, sing a lively tune, a song with always make such statements as: ‘'Singing under the gum-line, lots of "pep ’ and '"go.” always makes boys hungry"; “Singing is If the gums shrink And yet that is nop all, for singing has certainly appetizing"; and the late Pro¬ from the tooth-base, a]s0 a marked influence on respiration. It fessor Philip Amies, of Durham, Eng¬ ThcTeellTare weak! undoubtedly strengthens the throat and land, said that his hoys have "the appe¬ ened. They are loos- lungs. By a purely mechanical process it tites of horses and the digestions of As a means a) contributing to the development o) interest in opera, Jor w^ZtoedlcaTm expands the chest' puts an end to any ostriches.” We have here a sort of double viunp nears Mr. James Francis Cooke, editor of “The Etude/’ has prepared, FOR sums|hemse^ves^ender vicious habit of breathing through the action, the mechanical exercise of the gratuitously, program notes for the production given in Philadelphia by The which become ^he dMr- open mouth, instead of the nose. It is a muscles of the abdomen, throwing back Opera Company of New York. These have been reprin of the head, and deep inspiration, while extensively i. a programs und periodicals at home and abroad. Believing that Teach Piano Pupils in Classes THE GUNS fo?ythefwMe system5 'vc,,-known fact that pulmonary and chest __ map have a desire to be refreshed or informed upon certain They* disfigure the complaints, as well as catarrh, are rare the increased amount of oxygen absorbed aspects of the popular grand operas, these historical and interpretative notes Music for Every Child with “The Melody Way” dKyIrecede°POr,i0naS arnon" singers. Indeed, I have known improves the blood. on several of them will be reproduced in “The Etude." The opera stories have been written by Edward Ellsworth Hipsher, assistant editor. ‘Forhln'sprevents this some physicians to say that singing not Several years devoted to a study of the 'HY not teach piano to twenty pupils in an hour instead of to gum-decay called Pyor- only prevents chest complaints, but that it influence of music on the human body W] ...wracks a]so may actuaiiy be used as a curative have led to the conviction that the influ¬ your list of pupils will be constantly growing. measure against them. ence of music is very profound. Not Through the efficiency of “The Melody Way” Plan, piano playing is The digestion also comes in for its everybody can play an instrument or go to tooth-brush time t< Flotow’s “Martha” simplified; progress is rapid. For a trivial sum, the parents of any __ share. In 1881, Dr. Walter H. Walshe, of concerts to get the benefits of music; but child can find out whether or not their child has musical talent. io°ihi wholesomeness. Loncion wrote a treatise, “Dramatic Sing- everybody can sing, at least to his own It is difficult to understand how a com- fortable. “Martha,” and “Martha" alone, Tender gum spots arc . J . , ,, , ' poser, capable of writing such an extremely remains as a token of the great applause The Melody Way Course was originated by W. Otto Miessner, active corrected. The gum- mg Physiologically Estimated, wherem he satisfaction. Music is as necessary in our in music education work for over a quarter century. His knowledge daily scheme of things as eating or sleep¬ charming and fluent work as “Martha,” that once came to his ears at the Paris SPECIALIST IN ancWigored loTup'pou asserts that singing is of marked benefit in of child nature and music has made possible this remarkable plan of sound, unloosened jaundice, liver complaints, and indigestion. ing. A certain period each day, say fif¬ could live to the hale and hearty age of Grand Opt-ia and at the Opera Comique. “Martha” was slow in making its way class instruction in piano. I diseases of the mot ,e®,h, . It aids in extracting the nutritive elements teen minutes, should lie set aside for sing¬ seventy-one, work industriously all his life, produce some thirty works for the stage, to the world’s music centers. It was not The Melody Way Course and Teachers’ Manual can now be obtained PREPARED FOR THE dentifrice!’’though no of food, and facilitates digestion. This ing. The results will not be long in ma¬ THE TOUR UNIQUE by mail and successfully put into operation by you at once. Tl dentifrice possesses its ;s casily explained by the fact that sing- terializing. The reward will he a gen¬ A SUMMER CRUISE arid yet leave only one really significant until 1858, eleven years after its premiere, | PRESCRIPTION 4^ THE that it was first given in London, at Co¬ Course is complete with (instructions for organizing and teaching achon” 8Um KUe iug involves deep breathing, ami deep eral good feeling and a supreme satisfac¬ 83 Cleveland Street Orange. N. J work, unless we except his other opera, classes; includes all material needed to carry on the work vent Garden, in Italian. Seven years later ! DENTAL PROFESSION Ifgumshrinkage has breathing leads to considerable oxidation tion with life. Begin now! „ WRITE FOR INFORMATION "Stradclla,” now heard but rarely. And the cost is surprisingly low. The coupon will bring Friedrich Freiherr von Flotow was born it reached the Theatre Lyrique in Paris. you complete information. Mail '' * ■ at Tottendorf, Mecklenburg, April 27, It was, however, given in New York, at 1812, and died at Darmstadt, January 24, Niblo’s Garden, in 1852, with Mine. Anna Accompaniment Playing 1883. His father was a landed nobleman Bishop as Martha. The title role has been MIESSNER INSTITUTE of the Arch-Duchy of Mecklenburg. In a favorite with the great prima donnas of 154 Reed Street By Annie Patterson, Mus. Doc. 1827 he was sent to Paris where he studied every decade since its first successes. composition under the famous Reicha. His Patti, Gerster, Kellogg, Nilsson, Sern- Milwaukee, Wis. It is curious how little attention is paid, on. For these emergencies the one who first operas were produced in fragments at brich, Galli-Curci, all have made it the even by good teachers of the pianoforte, accompanies must always be ready. It C. K. GROUSE CO. the private houses of the French aristoc¬ medium of some of their greatest suc¬ to accompaniment-playing. It is one of means watching the headline all through. racy. “Stradclla” was among these. His cesses. those things often taken for granted; a That there is an art in this none will deny. A MINSTREL SHOW talent was conspicuous and his social pres¬ Much of the success of the work is due fair performer is supposed to be able to Other singers, on the contrary, like to be tige enabled him to gain. recognition rap¬ to the fine effect secured by the masterly read an ordinary accompaniment at sight. helped out, and often led. It i: IS EASY TO PUT ON idly. This was doubtless a fatal element interpolation of “The Last Rose of Sum¬ Menthol Now this is what a fair performer, and, of temperament and training very often. THESE TWO BOOKIETS in the career of a very gifted young mer,” Tom Moore's lovely poem set to the LUDENS COUGH DROPS indeed, a really brilliant solo player, often Emotion and control must always be taken equally lovely old Irish tune, “The Groves DARKENS and BEAUTIFIES man. Had he been obliged to struggle, EYELASHES and BROWS does very badly. The reason is that execu¬ into account. A good accompanist can, of Blarney.” INSTANTLY, makes them Makes Breathing Easier however, help very greatly without being there is little doubt that he might have at¬ tants, as a rule, are concerned rather in the “Martha,” despite the composer’s Ger¬ . perfecting of particular pieces than in the too assertive. No one likes to hear the tained far greater heights. In 1844 he re¬ ThE famous Luden Jg- man birth and its premiere in Vienna, is I continual “trying over” of all that may pianoforte too prominently in a vocal solo. wrote his onc-act “Stradella,” making it a Menthol Formula gives l MINSTREL SHOWS usually classed as a French opera, as much come in their way. Another reason may At the same time its sympathetic support is real opera; and the work was given in quick relief to the Inclose 2« postage foreit.,., ... — of the composer’s technic is distinctly be that the soloist (instrumental) develops gladly welcomed by the singer. Hamburg, where it created something of Trouble Zone—your “ARK C SONS ■ 1650 BROADWAY NEW YORK French. Pity it is, that he did not have a kind of egoism as an exponent; he does Perhaps we can gather from the above a sensation. In 1847 he brought out “Mar¬ ie and throat. better libretti and that he did not try to not care to play “second fiddle” to any that adaptability and sympathy are very tha” in Vienna. Its success was immediate remove traces of shallow and amateurish SYNCOPATE THE CHRISTENSEN WAY” other artist. Experience in “accompany¬ desirable qualifications in an accompanist. and great. The revolution of 1848 drove PIANO JAZZ workmanship from his other works. “Mar¬ ing.” and the art of, filling in a background Possessed of these, if theoretical knowledge him back to Paris; and the remainder of tha" is unquestionably one of the great rather than taking the leading part, arc, of music is sound and talent is fair as an his life was spent between “The City of FOR SINGERS AND VOICE masterpieces of the lyric theater. It acts therefore, two qualifications which we in¬ executant, the main desideratum for be¬ Light” and Germany and Austria. For a TEACHERS SENT ON REQUEST well, sings well and affords the singers ex¬ variably find in those musicians who are coming a real aid in concerted work of all time he was court intendant of music at ceptional opportunities from beginning to most successful in this particular branch of kinds is to have plenty of practice at it. Schwerin. Several of his operas were “EXCERPTS FROM end. It has spontaneity and a kind of musical efficiency. The acquaintance of singers, violinists, received by the public with favor; and he vernal character, which, despite some quaint EXCELLENT SONGS” It is a mistake to think that this subsidi¬ and other soloists should be cultivated. was regarded as one of the great opera and old-fashioned musical idioms, make it ary role is an inferior one. Just as it When a student can either play accom¬ composers of his day. His fame was as Fats; School of Tuning Kill The Hair Root new and fresh with every performance. takes a good artist to sing an inner part paniments at a choral society's re¬ shortlived as his existence was com¬ ists you nothing. Send a Postal (or a Copy, correctly, many desirable musical qualities hearsals, or, later, qualify for the mgs by such composers as BEACH. DETT, CAND. and acquirements go to make up the com¬ position of Church organist, very valuable LYN, BUZZ1-PECCIA, FOSTER. HAGEMAN, PR0THER0E, MANA - ZUCCA. KOUNTZ, plete accompanist. First one needs a quick The Story of “Martha” Reed Organ and Player experience will be gained at the so-called Piano. Year Book Froo O'HARA, CLAY SMITH, LIEURANCE, WOD- eye and car, in taking in time and key- “filling-in” process. Teachers with a large s of i 27-29 Gainsboro Street signatures, when asked to read a selection connection might well add accompaniment- “NEW AMERICA''Si?’ thing of a , [• her. Hearii BOSTON, MASS. With Piano Accompaniment f protests of at sight. This observation of detail can, playing to their courses of study. The art Words and Music by HENRY C. FRINK the Richmond Fair. I.ady JIarri THEO. PRESSER CO. it is true, he cultivated. The ability to tjttgg off to the Fair, disguised as servau, maids and fa.. is all too little cultivated in schools and Singable words set to a tune easily playable ’ II—The Richmond Fair. Plunkett and his adopted brother, Lionel, 1710-1712-1711 Chestnut Si! et, PHILADA., PA. grasp the general features of a composition colleges. It should always be easy to .. H ,iis dying father to he shown to the Queen in at a cursory look-over certainly comes with arrange an Accompaniment Class at which Price, 50 cents by mail "f difficulties. Attracted hy the disguised ladies, THE OPUS PUBLISHING CO. them, and the ladies pursuing their madcap tr careful and continual practice. each member might take a turn in playing fe. 2135 EstaughSt. Phila., Pfe. c* mmls them to a year of service. T But, even if an accompaniment be played “at sight” for another's sole performances. protests and is hooted off the grounus. . .. f Teachers—let me give you a regular through with absolute accuracy, one is A knowledge of harmony and form gen¬ decide't©1 endure'!them°US/.ioiic?0flnds “Tmself in Tore with Mama, steals a rose from 30c size tube of Kondon’s— confronted with another difficulty. Singers erally will help the student in this branch. WHAT THE VOCAL STUDENT are notorious for taking liberties with a For, before tackling an unknown composi¬ SHOULD KNOW musical text; it would appear that, in the tion, it is very advisable to get more than 1rtCf*SW Queem^'wonrT'nnexpected^f lueete majority of cases, the indication fempo the time, key and speed into one’s head. It By Nicholas Douty Price, $1.00 rubato (literally “robbed time”) was is well to look through all in advance, not¬ whfeh ^“rej’e'cted ; “JXthis meident'Teads' iiito the SSiSnt“PJ^lL durin/Vflch Lionel specially invented for them. Thus even ing any unexpected modulatory or rhythmic . Act\Vi'lSeenehI—A1Cnan"'in*'Phmllrtt’l Farmhouse. Hlunkmna^ua£^d° the best artists have been known to say to changes that may occur in the course of the "hh Of his brother. Nancy connives a meeting between Tnoncl and Lady-Harriet. m p,h ?h P"’1’ Harriet tells him the Queen has announced^Mm the son m the oanwnOT an accompanist: “Keep with me here,” “I piece, also taking advance note of harmonic Barrie0’ DerbV- who has been found guiltless. He refuses the rank generally hurry the pace there,” and so on. sequences and combinations of all kinds. ciples that will guide the vocal student aright. ,rSeenePII—^The 'scene changes to a Fair on Plunkett's Grounds. The two ladies Take these four steps for pupils’ health It is not unusual, to find that in moments of These matters are part of the good accom¬ appear garbed as formerly atThe Richmond Fair. Lionel’s mmd clears i he embraces excitement,* a singer will jump a measure panist’s work, and they certainly demand a THEO. PRESSER CO., 1712 Chestnut St. ffnrrirt; and thf two pairs of lovers pledge their love amidst general re,i i i g. or two, or else substitute a slightly varied much higher level of efficiency than being Philadelphia, Pa. measure that may occur in the song later merely able to render or read the tune. ny are >o be included j Page 130 FEBRUARY 1925 the etude the ETUDE FEBRUARY 1925 Page 131 occasional renewing, or it will speedily re¬ O the rule that the circulation of an “Why is a Voluntary ?” T venge itself upon its neglectful owners by error or a fallacy is a much easier disturbing the worship music, putting the task than its correction or contradiction, the church to needless expense, and victim¬ By Edwin Hall Pierce case of the organ furnishes no exception. izing the innocent and unoffending organ- On the contrary, misconceptions are ren¬ dered the easier of dissemination in this The Organist’s Etude Some years ago the writer was attend¬ Church year, there are nevertheless some instance on account of the comparative in¬ Troublesome Organ Committees ing a performance of Mozart’s “Magic occasions on which the character of the Flute,” in one of the smaller European service is easily foreseen—such as accessibility of the instrument, the general But while some organ committees neg¬ It is the Ambition of THE ETUDE to make this Organ Department cities’ The orchestra was good; the sing¬ invisibility of its keyboards and mechani¬ lect their plain and simple duty, others Thanksgiving, Children’s Sunday, Christ¬ ers, fair to middling; the stage settings, mas and National Holidays. On other cal actions, and the confinement of the “An Organist's Magazine Complete in Itself” magnify their office by issuing all sorts of decidedly poor. As the curtain rose on the Sundays the surest and best guide is to practice of its manipulation to a compara¬ harassing restrictions concerning the use of second act, the scene is supposed to rep¬ examine the character of «hymns which the tive few. the organ by the professional organist and resent an ancient Egyptian temple; but the minister has selected, which in most cases Further, owing to its centuries of con¬ Edited by Well-Known Organ and Choir Experts his pupils, under the mistaken idea that nection with the services of the Christian massive (?) pihars were so obviously will have been determined in his mind by organ practice is hurtful to the instrument. Church, the organ is surrounded with such flimsy pasteboard that I involuntarily the subject of his sermon. Very many This, however, can never be the case, pro¬ a halo of romantic and legendary closed my eyes to listen to the music. A times it has happened that having chosen vided the instrument be sound, the organist tions that anyone attempting to remove the few magnificent and solemn chords an opening voluntary provisionally I have competent, and the pupils under careful latter will almost invariably be regarded Some Things the Young Organist Should Know About sounded forth from the brass intruments; felt it fitting to alter this at the last min¬ training. On the contrary, the frequent as a sacrilegist or an iconoclast. For us, opening my eyes again, the pasteboard pil¬ ute, on being handed the list of hymns. His Instrument use of an organ not only discovers hidden however, accustomed as we are to constant lars seemed suddenly to have become real Where no appropriate piece is at hand, it defects, but keeps the reeds in better tune misrepresentation, this fate has no terrors; By Orlando A. Mansfield, Mus.Doc. granite! Such is the power of music to is often of excellent effect for the organ¬ and the mechanism in better working order. and, although convinced, by years of ex¬ Fellow of the Royal College of Organists create a mood, an atmosphere. ist to improvise on motives derived from By the frequent use of the instrument in perience in matters educational and contro¬ This incident, which might at first the tune of the first hymn to be sung, in the week temporary derangements of mech¬ versial, of the difficulty experienced in the thought seem to have little to do with case he has cultivated the art of improvi¬ very common, are still but imperfectly un- already written so much and, in past ap- anism or tuning are discovered, which, if combating of any popular organ-playing is mentioned, because it il¬ sation, as every skilled organist should. - - • ■ the bar . ^ derstood in many quarters. Quite a respect- pointments, suffered such unutterable allowed to remain until the time for Sun¬ the task set ourselves the greater will ab]e number Df otherwise well-informed things, that we cannot be quite content, i lustrates both the artistic and the moral This is particularly the case where the day service, would often render the organ Premier Aristocrat Model be ( satisfaction at any measure of people are as yet unable to distinguish this connection, to allow the brevity of 01 possibilities of the organ voluntary in the order of service is such that the program unavailable, and cause much trouble and hands of an organist who is both a tal¬ opens with a hymn. If the opening is 5 feet, 3 inches long Price $725 rCaderS may between a consoIe or a k£y desk and a words t0 be accePted as affording any vexation to both choir and congregation. consider us to have attained. glorified reed organ minus the cheap turn- adequate idea of the measure of our suffer- ented musician and a reverent worshipper with the Doxology, a choir “Call to Wor¬ MBODIES the artistic qualities sought by the real musician and ery top and dummy pipes. Only quite re- ings. Obstreperous Officials —and no other should undertake the duties ship,” or an anthem, the sense of corinec- E Smaller Organs Often Noisiest of church organists. tiqn with the improvised voluntary is par¬ artist—yet purchasable at so reasonable a price, that a consider¬ cently, and in our own hearing, a lady de- The best position for an organ in an The writer once played in a church, Undoubtedly the most elementary mis¬ To assume, on the one hand, that an or¬ tially lost. ’ able saving is effected compared with any other make of quality posed to having visited a church in which Episcopal Church is, undoubtedly, that the officers of which, unable to deprive him conceptions concerning the church organ gan voluntary is merely something to pass Small Grand. were two organs—a little one at which the adopted in the concert room, viz., facing of a legally conferred privilege of access Unity Needed e found ,in the discussion of its specifica- organist sat, and a large one at some dis- the congregation, i.e., at the east end of the time pleasantly while the congregation This is because it is the product of the largest and most critical to and use of the organ for himself and In order that there should be a certain scheme. The popular idea is that tance behind him, the two being played the church. Failing this there is the north is coming in, or on the other hand, that Grand Piano makers— the institution that made the Small Grand Piano n nf linpral nimpnsmtiQ must be in- *_i- _ - r < . • •. . t. .. ., .... . his pupils, endeavored to send leanness into unity between the opening voluntary and an organ- of liberal dimensions. together by means of electricity! Better or south side (as in most cathedrals and it is to give the opportunity for display of the instrument of universal appeal. his soul by making him responsible for any the organist’s skill as a concert performer, any other music which is to follow im¬ tolerably harsh and noisy. On the con- than this, however, is the story vouched modern churches), or even a suitable and damage done to the instrument during the Before selecting any piano, see and hear the Premier—'sold by leading trary, the over-blown, and harshly-voiced for by the late Dr. Longhurst, to the effect roomy chamber or recess. But the posi- is to take a very low and faulty view of mediately, regard should be had to key-re¬ exercise of the aforesaid privilege. The Dealers. If you cannot obtain locally, please advise—we shall see that little organs are those which produce noisy that after the introduction of the new or- tion in the west gallery, i.e., behind the the subject. Its true function is to create lationship between the end of one piece result of this grand-motherly legislation and the beginning of the next. If they you are promptly supplied. and irritating t< Quality^ wink,^Dy their gan into Canterbury Cathedral, a verger congregation, renders the instrument more a mood in which the mind and heart be¬ amounted to an expenditure on his part of are in the same key, the relative major Send for “The Magic of Music” and floor space diagram. lack of variety of soft stop combinations, used to inform visitors that “the connec- or less invisible and inaudible, causes comes more easily susceptible to religious a couple of copper coins in three times as or minor, or the key of the dominant or they engender the most deadly monotony. tion between the console and the hargin is “dragging” oil account of the lateness of emotion. many years! sub-dominant, the connection will be pleas¬ On the contrary, the larger instrument, done by hclectrics, and the whole thing set the sound in reaching the congregation Premier Grand Piano Corporation Believing that whatever the other mis¬ Sermons in Stone ing, without special care. The rise or fall America’s Foremost Makers of Baby Grands Exclusively though more powerful, is usually better in motion by hydraulic water!" from behind, and renders the instrument voiced and blown; its full power i conceptions may be current concerning A certain noted writer has remarked of a major third also will be agreeable; 510-556 WEST 23rd STREET NEW YORK , . A more pardonable misconception, how- unavailable for choral services and organ church organs, they are more or less re¬ rarely called into play; while its greater ever, is that, in placing a contract for the recitals, and uncomfortable for the organ- that a great cathedral is its own best ser¬ but certain other key-relationships will be lated to, or derived from, those we have number of soft stops enables it to produce construction of an organ, the larger the 1st and the choir. So bad is this position mon—that one can scarcely imagine any¬ less effective unless skilfully bridged over already discussed, it only remains for us a constant variety of subdued and pleasing firm the better the building. In many cases that we only know of one distinguished thing that could be said by a preacher, by a little modulatory improvization. For to remark, in conclusion, that this paper in such a place, that would not have the instance, the change to a key a major sec¬ 6 CC S' of .T ., tb's 's not a misconception at all. There advocate thereof, and much of his advocacy is not altogether intended for the profes¬ ond or a minor third above or below, made otops Wot a Guide are many firms of the first rank who would is, we fear, “spoke sarcastic.” The late effect of an anticlimax. While this is sional organist who should be fully aware without intervening modulation, is specially Another popular error is the estimation take as much interest in an instrument de- Professor Sir Frederick Gore Ousley, a doubtless an over-statement, it cannot be -see OUR UNITED STATES =- of all the misconceptions we have passed of the size and value of an organ by the signed for some humble meeting-house as former Professor of Music in the Uni¬ denied that beautiful architecture and the displeasing. Thus, suppose the hymn com¬ in review, and equally well acquainted with A Song of the Nation number of its draw stops or stop keys, in one intended for an influential church or versity of Oxford, recommended this ■ varied symbolism of Christian art are ca¬ ing directly after the voluntary were in C, This is to forget that some ten or twelve popular concert hall. But this interest is position in a large church without a choir, the facts we have adduced by way of refu¬ pable of powerful influence. In such sur¬ the voluntary might be in C, G, F, E, A Words by Arranged, Harmonized and Orchestrated by per cent, of these are couplers, controlling due more to the conscientious character of in which “the whole congregation were in tation. We write rather for the earnest roundings, the organist’s task—to create a flat, A minor, E minor or even C minor, EDWARD W. BOK LEOPOLD STOKOWSKI and combining stops or combinations, but the principals of the firm than to the posi- the habit of singing hymns at the top of church worker and supporter, the individ¬ religious atmosphere—should be easy, as it but should not be in D, B flat, E flat, A For Single Voice or Massed Singing—Price, 10 Cents ual who desires to do and to have done for is already half accomplished in advance. major or D minor. The fact that there not adding to the number of either. Be- tion of the latter. their voices.” The organ would then be A new patriotic number that should appeal to all. There is no breath of war or his church the best things in the best pos¬ In a plain and unimpressive religious edi¬ may be a slight pause while the minister sides, stops are sometimes made to draw useful to “drown the shouts if the caco- martial spirit—it carries the pledge of peace, brotherhood and love along with pride sible way, the individual who has sound fice, the task is undeniably more difficult, announces the hymn does not alter the m halves, or a port.on o one stop is What Builders to Select phony became intolerable.” Drowning, we of country. grooved into another, in both of which The reputation of a large firm is seldom are told, is one of the most merciful forms and, we trust, sanctified common sense, but the duty remains exactly the same. case, as the ear retains a more or less cases there are two stops but only one set advanced by the erection of small organs of death, but its comfort can surely be in- and whose only deficiency is along technical But it must not be imagined that there conscious memory of the musical tone last THEO. PRESSER CO. cmlSer stmet PHILADELPHIA, PA. of pipes. Again, a number of small, fancy in comparatively unfrequented districts, creased by speed. And as congregational lines. Should this article be of interest is any one particular class of pieces spe¬ heard. or stopped pipes, especially if some of whereas it is by the construction of these singing can be much more effectually and or value to such an one, we shall feel that cially fit for opening voluntaries on all oc¬ In regard to the closing voluntary, or these are shorter than their legitimate com- very instruments that a young firm first speedily drowned by an organ placed in we have arrived at the ultima Thule of casions. The religious mood is not one “Postlude,” conditions are slightly differ¬ pass, will be much less expensive and far gets its foot upon the ladder of popularity, front instead of behind a congregation our ambitions and desires, viz., to be use¬ thing but many. In churches observing ent, and it is quite allowable for it to take less sonorous than a single complete open Hence it is only reasonable to expect that this fact deprives the supporters of the ful rather than ornamental or even con¬ the “Church year.” like the Protestant on a somewhat more noisy and worldly SUMMY’S CORNER pipe of generous proportions. And it is the small organ builder, if a man of in- west gallery position of the last prop upon troversial. Episcopal, it is possible to foresee, even character, only that this difference should through ignorance of these elementary tegrity and ability, will do his very best which they can possibly lean long ahead of time, what the predominat¬ not be so pronounced as to verge on the Two New Piano Works of Interest to the Teaching Field facts in organ building that many churches with a small commission or order, whereas ing line of thought is for any given Sun¬ incongruous or irreverent. Should the ser¬ and organ committees, declining to engage a firm burdened with large and heavy com Dirt in the Organ The Four-Foot Organ day or holy day. There is even a book vice have been a particularly solemn one, WORK AND PLAY BOOK By Mrs. Crosby Adams professional advice, have come to grief tracts could not always be expected or re- The .question of organ preservation is published in which suggestions are given a noisy postlude would be completely out Couplers Price, 75c and squandered public money to an almost lied upon to do this. Personally, we would me upon which misrepresentation is fear¬ for organ voluntaries, postludes and ap¬ of place, and it should at least begin in a incredible extent. prefer to place a small contract with a r propriate anthems; but any organist who more quiet, meditative character. Whether Mrs. Adams is always keenly sympathetic with the needs of the teacher of today, and her fully rife. Some people will favorably By Helen Oliphant Bates T Bable builder in a small way of business .. compare„ the- _ tone_ of„ an organ in some. lias a reasonably large repertoire and a it should afterward swell into grandeur or offerings are in keeping with the newest pedagogic ideas. In this, her latest work, the pupil is iwo or three Manuals one of second rank. The former will make neighborhood church with that of their own good sense of the fitness of things can brilliancy is a matter to be determined by encouraged to thirds, to discover and to create. It deals with transposition in its elementary At a recent organ recital a young lady form and sets forth in an authoritative and intelligent manner a simple principle by which the For the fostering of one serious mis- his own wood work and action with credit instrument, forgetful that the one is under choose for himself just as intelligently. a sympathetic feeling for the prevalent was heard to remark, “The organ is such a pupil transposes the familiar Folk Song, given in the key of C, in all the major keys. Other conception concerning organ construction, and distinction, and purchase his metal and regular tuning and constant supervision In churches which do not observe the mood of the occasion. noisy instrument, I can’t enjoy it.” features of the work include scale and triad writing in major and minor'mode and early train¬ organ builders themselves are often re- reed work from expert makers and voicers while the other is only attended to by third- As her remark had special reference to ing in the writing of two, three and four-part music. An unparalleled work of its kind and a sponsible. This is the erection of organs to the trade; whereas the larger firm, with rate workmen, and even these employed the concert just attended, it was recalled valuable addition to educative material. of two instead o;f three manuals in churches just sufficient capital to lay down a plant for with the regularity of irregularity. Other that the organist had made frequent and of respectable size. Given a sufficient num- the manufacture of its own metal and reed people protest against a dirty church fin Tremolo Organ with Singers NORRLAND-SCHERZO her of stops, combined with adequate coup- work, will often produce stops of the most which music sounds as well as in a clean injudicious use of the four-foot couplers (Domare-Dans) on the manual being played upon, that is ling action, and distributed over three man- inferior tone and voicing, far below the one), but appear to be unaware that no By E. F. Marks By H. Smidt-Gregor uals, the same power can be produced as purchased work of the small builder or the good tone quality can be expected from a to say, the swell to swell 4-foot and the Price, 60c in an organ of two manuals, but with a manufactured work of firms of the first dirty organ. A grain of dust on a reefl great to great 4-foot. According to the law This is another demonstration of the possibilities of the artistic development of old Folk- We read that the tremolo stop of the The first movement of the selection had much larger number of effects, and with magnitude, which latter are, of course, in and its voice is dumb or discordant- an of acoustics the upper partials of a tone Tunes or Dances. This number is evolved from an old folk melody popular in the province organ never should be used with singers, been rendered in an agreeable manner, far greater ease and comfort to the per- a position to lay down the best plant and accumulation of dust in flue pipes or on decrease in volume as they ascend from of Norrland, in Sweden. It is a cheerful theme developed in octaves and is to be played quite recently an excellent opportunity presented when on the entrance of the second move¬ former. Indeed, the wrestling with some secure the best workmanship. the organ action, and brightness of tone the fundamental tone. Is it not unnatural rapidly and rather humorously. The strongly accented rhythm and contrasts in tonal power and inartistic then, to reinforce in the i self for observing the effect of this stop ment the tremolo stop was added, giving a tend to an artistic rendering. It should grow to be a very popular concert number. of the unmanageable and overgrown two- and smoothness of working graduallv dtc most favorable chance to contrast the manual organs, to be found in so many Where to Place the Organ appear. g gradually dis- swell to swell 4-foot and great to great used with a quartet choir, with the listener Subject to Discount to Teachers 111 the audience. That it was a quartet effect with' and without this particular churches constitutes no mean addition to But perhaps the greatest of all miscon- Some organ committees seem to think 4-foot couplers? These couplers should rather than a large chorus was another stop. At once was noticed a nervous un¬ the troubles to which almost every organ- ceptions concerning the church organ is that their responsibility ends with the erec- be sparingly used because they add to the CLAYTON F. SUMMY CO., Publishers noise and decrease from natural musical lappy incident, as this small ensemble of easiness among the singers, and the voices ist is heir. . that relating to the position in which it tion of the instrument; whereas organ mech- le, ‘our Parts gave music in its purest began to fluctuate around the notes as if 429 South Wabash Avenue - - - Chicago, Illinois Pneumatic and electric actions, although should be placed. On this point we have anism needs constant overhauling and expressiveness of the greatest of all musi¬ cal instruments. aild simplest form. endeavoring to produce a slight trill upon Please ETUDE addressing advertisers. tiie etude FEBRUARY 1925 Pago 133 Page 132 FEBRUARY 11)23 TIIE ETUDE Etude Letter Box (AUSTIN organs] StxKwr&s EasterChoirMusic C_ _) gave the ear just five uncertain non- Question and Answer Department

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' Fall Term, October 7th A Glimpse Behind the Scenes person who haThad PERSONAL A piano of distinction Bv Rena I Carver cvcr>' advantage and plays or teaches from By Kena 1. Carver a purely colxlmercial standpoint. One of 17 East 11th Street New York City STATIONERY Tub teacher will find it a profitable L^pcrTo^'of lo'l'tlgta, “l£ UK 71“ “mSul leave him cold. High among these chosen few, many of our alomlnSs’^M f’glSsf behind 200 SHEETS and $|.00 foremost musicians place the Weaver Piano. 100 ENVELOPES 1 theory! "harmony aiuTbiogniphy ar^ta.ight which meant not only persons who cared in the- private lessons, arrange to have each little about music, but who did not want Printed With Your interpret your every thought. Let us direct you to the nearest piipil demonstrate a few phases of these anyone else even to consider music seri- Weaver dealer. Weaver Piano Co., Inc., York, Pa. Weaver, necessary subjects. ously. Being deprived himself of what Clear, white bond paper, with taught in class lessons, or at Juvenile or thing in his power to induce others to Junior Club meetings, let the class give stu<111 envelopes, and sent to you post¬ WEAVE R paid, for only }51.00. (West of PIANOS Mississippi river and outside of WARNER’S STANDARD US. 31.10.) If inconvenient to GRADED PIANO COURSE send the money, we will ship C.O.D. Money returned if you are not Increase Order Today! Write name and addi V>UR Agents Make Big Money; Income ELITE STATIONERY CO.

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THEO. PRESSER CO. TEE ETUDE THE etude FEBRUARY 1925 Page 185 Page 184 FEBRUARY 1925 attained. Scientists tell us that each time Concerning Strings IT is a beautiful sight to watch the bow¬ a muscular action is performed it becomes ing of the violinists of a well-trained easier. An impression is made on the symphony orchestra. The members of nervous system and brain, as well as the By Berta Hart Nance each string section bow exactly alike- muscle, and each succeeding impression playyow each part, first" and second violins, violas, The Violinist’s Etude deepens it and makes the action easier. A well-known dealer in violins and If possible avoid putting on new strings ’cellos and double basses, with its own It is like making a little gutter in the bowings: The bows rise and fall together, my uheadf strings gives in his catalog some such just before some important engagement. Edited by ROBERT BRAINE sand with a stick. If water is poured on valuable suggestions on the selection, use, and each player does the same kind of the sand, it has a tendency to flow through Give your strings time to become settled bowing as the others in his section. If TEADING profession- and care of strings that I am going to It is the Ambition of THE ETUDE to make this Department the gutter. and thus eliminate a lot of tuning during one is playing spiccato bowing, all are Pass on some of them for the benefit of “A Vidlinist’s Magazine Complete in Itself” Following out the analogy, it will be your performance. playing spiccato bowing; if one is play¬ the readers of The Etude. He says : seen how important it is for the student Contrary to general belief “fresh” Strings which in use become coated with ing martele bowing, all are doing the to practice a passage correctly from the an excess of rosin, but which otherwise same, and so on. This uniformity of bow¬ strings are net as durable as those which Start, no matter how slowly. Even if a supremacy in tone, tune, are in good condition, should be carefully ing pleases, the eye and also helps the mM-hanism and easy play- are older. There is a certain seasoning passage in thirty-second notes is played at ^ qualities. You’ll get that takes place. As a matter of fact, if wiped off with a clean cloth dampened unity of tone. ahead faster with a Conn, Uniform Bowing .first in half or charter notes, and played socially or professionally the playing public would believe us we with alcohol. How is this uniformity brought about? correctly, the brain gets the correct im¬ A correspondent writing to The Etude on would not offer a string for sale that was Lightly rubbing an old string with the ing indicated and it is left foThe violinist twenty-five variants (as given in most pression of the passage, and with a suffi¬ big money if your1 this subject evidently has the' idea that less than six months old, but on account meat of the Brazil nut will restore the to supply the bowings. editions of Kreutzer). Massart has writ¬ cient number of repetitions the requisite there are certain rules in bowing which of its dry appearance such a string would softness to the string. We have the excellent saying that “A ten a work giving additional bowings for speed can be obtained. every well-educated violinist observes, and never sell, and we would be accused of Many customers “yank” a string up to violin pairt well marked is half learned.” the studies of Kreutzer, which should be Theoretically, every student admits the that if you should give a certain number attempting to , sell “old stock.” If you pitch without the care of tuning it grad¬ are more The selection of the proper bowings, and mastered by every violin student. In this extreme value of slow practice, but few of violinists a piece of violin music where Conn is the only maker of every insn will take our advice you will anticipate ually to give it a chance to stretch. Again A graceful slender girl holds a fascination style of bowing for a violin part is of the work there are over 150 different bowings have the patience to do it, as every violin band; saxophones, trombones, cornets, ...... - no bowings were marked; each one of ... for Free Book Success in Music and How to your string needs and so arrange that you they will not allow enough slack in the which only slender women have. greatest importance for its proper per¬ for the second study alone. Kreutzer, teacher knows, many pupils trying to learn them would bow it in an identical man¬ Win It,” by Sousa and other artists, and de-tils can. put away gut strings where they will string to give at least three or four turns Men admire a youthful silhouette. formance. Every violin pupil of an Fiorillo, Rode and other standard studies a. difficult piece or exercise, practice it 0{Free'Trial offer. Mention instrument. ner; for he asks for a list of rules by be exposed to ordinary house temperature around the peg before the tension begins. Instinctively, they are drawn towards the eminent teacher will remember how care¬ are full of valuable bowing material. from the very start at top speed, or even C.G.Conn,Ltd., 213 ConnBldg.,Elkhart,Ind. which he can always bow correctly. and not use them for three, four or six In such instances the string is very liable woman whose figure is graceful and shapely. fully his teacher marked every phrase, The bowing studies of Sevcik are en¬ That’s why slender girls are always popular. This is a mistaken idea, for while there faster than it is intended to go. Say there months. Try this and you will be sur¬ to break. how he continually changed bowings and cyclopedic in character, embracing every But why wbrry about being overweight? are certain fundamental rules which are is a difficult run in sixteenth or thirty- prised at the durability you will obtain Try putting the knot of an E string made corrections. conceivable bowing. They form a vast It’s easy to reduce. Use Marmola Tablets usually observed, yet it is often possible second notes, far up the fingerboard, and from your strings. into the tail slot and drawing through Our correspondent is assured that the and valuable mine of material for the (thousands of men and women each year to bow a passage in different ways, each with many notes slurred in one bow. This suggestion does not apply to wound enough .to put the knot in the slot again art of bowing, so that it can be correctly student of violin bowing. regain healthy, slender figures, this way). one of which will be effective. A wide Most of them will make a bluff at it, strings. Wound strings should be put and then drawing up the slack or loop The Forty Variations, Bowing Studies, These tablets will make you slender again. latitude is observed in bowing, as to what applied to any given composition, and so getting most of the notes out of tune, into use soon after purchase. They will thus formed through the right edge of Try them. No exercises or diets. that it will cover all cases, cannot be laid Op. 3, by Sevcik (which can be obtained part of the bow is used, whetheT the up many of the intervals atrociously false, keep in condition better and give less the tailpiece. This will take the strain All drug stores have them—one dollar down in a series of short simple rules. with a piano part if desired), are interest¬ or down stroke shall be used, or as to the and the time uneven and jerky. They trouble than if stored away for a long off the knot and do away with breakage a box. Or they will be sent in plain wrap¬ It can only be learned by years of study ing and excellent for the student who particular style of bowing to be employed, never seem to have the patience to apply VIOLINS interval. A wound string which “rattles” at that point. See that notches in the nut per, postpaid, by the Marmola Co., 1829 of the best studies and compositions for wishes to 'perfect himself in spiccato, to best bring out the musical phrase. the “slow motion” cure to the difficulty. Examine our can often be cured by immersing the and bridge are smooth and, do not bind, General Motors Bldg., Detroit, Mich. the violin and by theoretical, studies in flying staccato, richochct,, and various What should be done in such a case collection string in olive oil over night, coiled in a and many of your breakage troubles will Why They Bow Together music. During this long period of study bowings of that character. would be not to take on all the difficulties all kinds saucer. disappear. MARMOLA the violin student learns to apply instinc¬ Find out the thickness of string which To reduce the chance of G breakage in The reason why the bowings of sym¬ Experience Solves Problems at once, but one at a time. Instead of _ (Prescription Oizblets tively an effective bowing to any given, gives best results on your own particular phony orchestras and other well-trained playing long, fast scales or runs with summer, we suggest that it be strung on passage. As said before, the same pas¬ The student, notwithstanding the fact instrument. Have each string, E, A, D Jh.ePlzQsa.ni Way tofiedwe orchestras are so perfectly uniform is be¬ many notes slurred in a bow as written, the D peg. This does away with the sage can be bowed in different ways, each that he may have learned the proper exe¬ and G, gauged the same comparative size, sharp bend over the nut, where G’s usu¬ cause the parts are all marked by. the con- the notes of the passage should first be one of which.will prove effective. Then cution of a large number of bowing as otherwise true fifths are impossible, certmaster of the orchestra and the played very slowly with a single bow to ally break in hot weather. Place the D again there will be other ways of bowing strokes, will often be at a loss how to even though your strings are true. leaders of the various string sections. each note. When the correct notes and pretations added string on the G peg; the D will not VIOLIN STRINGS the same passage, each one of which will apply them until he has had the necessary elevnte vou in the opi Replace strings frequently enough to break. Follow this suggestion and you Where necessary, the up or down bow is their sequence have become thoroughly your friends as a play ETUDE BRAND be weak and ineffective. experience. In acquiring this experience avoid using a string which is worn from Used by the Leading Artists of the marked, the slurs carefully marked to in¬ impressed on the mind, the passage can be Established 1846 Catalo will probably save a G that might other¬ he will find it of great assistance to, get a fingers or flattened by the bow. Philadelphia Orchestra clude the proper number of notes, the kind gradually speeded up and the bowing as wise break if strung in the usual manner. Main Thing in Bowing number of parts, such as orchestra violin of bowing—spiccato, martele, sautillc, and written can be added. Take the following HUQU5T GEMUNDER 8/ 50N5 Etude “E” String, 3 lengths. . . $0.15 net The main thing in bowing is, of course, parts for theatrical, dance and hotel or¬ Etude “A” String, 2 lengths.15 net others are marked where necessary. In passage, for instance, from the Cadenza to slur the proper number of notes in one chestras, as these seldom have the bowings Etude “D” String, 2 lengths.15 net this way the bows move exactly together, of exercise No. 23 in Kreutzer: Violin Mak Experts Exclt bow, and to use detached bowings where correctly marked, and are usually merely JeiTvork Etude “G” String, 1 length.15 net and every violinist is doing the same kind The Thrill of the Violin necessary so as best to bring out the le¬ phrased. He should mark these parts, Bundle Lots (30 assorted Strings) 3.75 net of bowing as his neighbors. If the parts gato or staccato effects of the music. A carefully studying the best bowings, where ■Prices Given Jre 5!£e<—Discount were not specifically marked, the players up and down bows should come, and so By Henry H. Graham THEO. PRESSER CO. would often be bowing at sixes and fundamental principle is to use the down bow for accented notes wherever possible, on. If he has a good violin teacher, he 1710-1712-1714 Chestnut St, Philadelphis, Pa. sevens, for it is seldom that we find or¬ Free Book since the down bow is naturally heavier can go over the parts with the latter after New, handsomely illustrated brochure contain¬ chestra parts, as they, leave the publisher, ing valuable information on how to judge and What music in the world thrills like No other instrument so discloses the and more emphatic than the up bow. For they are finished, getting his advice and First, play the passage in quarter notes select your violin and how to care for it; gives with the bowings well marked. that pouring out of the sound holes of a skill of the player as does the ‘ violin. corrections. in slow tempo, gradually increasing the An immense amount of the violin music this reason the down bow should be used violin ? “Fiddle music” appeals because it Every move by the performer stamps him as far ’as possible for the first beat of The student who wishes to advance in speed as facility is obtained, as below: om indi vidua*^European*violin-makers*we^re of: the world, including not only orchestra depicts life itself, both the bitter and the as a genius, a person of moderate ability, the measure and other accented portions the art of applying proper bdwings will parts, but even solo violin parts as well, sweet. The smooth richness, the satis¬ or as a failure. It is one of the most of the bar,..and the up bow for the unac¬ also find it a great assistance to study and is prepared by arrangers and composers faction, the sadness and the joy found in difficult of vocations to master—that of cented pprtions. There are very many play compositions of all kinds which have - who have but a slight knowledge of the course of human life are all vividly violin playing—and one in which the un¬ exceptions to this- rule, however, as it can¬ Write Today violin technic and are not competent to. been carefully edited by really good portrayed between the time the master’s fit are swiftly weeded out. not always be applied. In syncopated pas¬ mark the bowings properly. Many of violinists, and to note how the bowings bow first moves across the strings and the But the unequalled tone of the violin sages it is "effective to use the down bow .' e’j.a.V: ‘11). r*m IT ’if" 5 oi these composers and arrangers are pian¬ have been applied to the various passages. Next, bow three notes to a bow as fol¬ finale. Most compositions by the great is not its only asset. The chances for for the accented notes. Remember that I BftwJS* ists, theoretical musicians or players on He should try to impress on his memory lows, until it can lye played smoothly and masters tell a complete story; and all of flawless technic, mastery over tremendous the most powerful strokes are the down /saw^asus* wind instruments who have only a smat¬ how these various bowing problems have rapidly; *«■ LEWIS & SON the emotions felt during the reading of a difficulties, and the reflection of one’s soul bows at the frog, and the weakest the up 225 S. Wabash Av ' tering of violin technic. Where we find been solved, so that when he meets the romance are felt during the rendition of a are greater than in any other field of mu¬ violin music well marked, the publishers bows at the point. same problem in another composition great musical selection, and just as real¬ sical endeavor. And while it is possible have engaged a good violinist to edit it Bowings of every conceivable kind should be studied for years. The second which is not marked, or is marked incor¬ istically. And the violin can narrate a to achieve near perfection in violin play¬ and to mark the bowings. ing, there are always variations in style, exercise of Kreutzer is excellent, with its rectly, he will know how to solve it. “music tale” better than any other instru¬ Even when orchestra parts have been ment. understanding and interpretation. Always marked by an editor employed by the pub¬ Finally, play in one bow, as given in The possibilities for tone and expression there is something to be learned. There is lisher, the concertmaster may have his the first example. The same idea can be on the violin are unlimited. A true artist ever a different, fresh, presentation of old, own idea in regard to the bowings, and is capable of making his audience weep beloved numbers which tug at the heart will make many changes to conform with followed with the rest of the study, and Slow Practice to any study or to difficult passages in one moment and laugh the next, so great and make the lump rise rhythmically in his own notions as to the most effective is his mastery over his instrument. the throat. manner of executing the music. The same When we go to the movies, we are all There is a great lesson in this slow any piece; and it is astonishing how diffi¬ holds good in solo violin parts. Different interested and amused by a “slow motion” motion stuff for the violin student; and culties can be made to yield by attacking artists have their own ideas as to the best film. When the speed of the picture is that lesson is the necessity for the slow them separately and in a very slow tempo. It is an excellent idea in pieces or exer¬ way of bowing given passages and as to very much reduced, the action is so slow practice of- difficult passages, for by no When Is a Lcud Orchestra? the variety of bowing to be used for exe¬ that we can analyze the swiftest motion other method can he so well analyze the cises containing a great many trills, turns, mordents, and embellishments of all kinds cuting any given passage to the best ad¬ at our leisure. We can see \yhat takes steps by which such passages can be The “dear connoisseurs?” bless them, we Wagnerian scenes has ceased to be consid¬ to play them without the embellishments vantage. place when the action at real speed would mastered. never would know what to say about mat¬ ered worthy the effort; while there are at first, for as soon as the simple musical If we watch an ordinary theatre or be too fast for the eye. Slow practice is something which every ters musical if they did not “give the cue,” moments with the modern Italians which structure is impressed on the mind, the dance orchestra, we will see what happens An athlete vaulting over a horizontal one admits is of the highest value, but have almost ceased to remark on the mere are almost as noisy. embellishments will be found to fall easily when the parts are not carefully bowed. bar seems to be floating very slowly which very few seem willing to do. The incident of an orchestral climax being But the dear people never will be satis¬ through the air. A great race horse, into place when they come to be added. The leaders of such orchestras seldom greatest violin teachers of the world con¬ built up in an operatic score till it com¬ fied. When Peri created the first opera tearing down the home stretch, appears tinually emphasize the importance of pletely inundates the singer’s voice. Per¬ given a public performance, in 1600, he used take the trouble to mark the parts, so the to be raising and lowering his legs like a slow practice. _ By this means the student “It is better to play with concentration haps it has become so much a common¬ as an orchestra a quartet of striiigs con¬ different violinists use their own judgment lazy swimmer. A high diver comes down can comprehend just what has to be done; place that to mention it would relegate one sisting of two violins, a guitar and a contra- about the bowing to be employed, with the through the air as if he were a bunch of for two hours than to practice eight with¬ and, when this understanding of a passage out. I should say that four hours would to the ranks of the benighted common herd.* basso, with a flute added; and it is said that result that it is far from being uniform. feathers, instead of 175 pounds of flesh is established, it is easy to gradually in¬ be a good maximum practice time—I never To listen for the words of the singer the disagreeable dilettanti complained that As a rule, such parts have only the phras- and blood. crease the speed until the correct tempo is ask more of my pupils.”—Auer. through the orchestral torrents of many “the orchestra was too loud.” Page 136 FEBRUARY 1925

Violin Questions Answered By MR. BRAINE

17llo ... „„ Jaw. Two Shirred Note,. Ph„„oKra„h and Violin T,

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Who Enjoys Playing the r Selections from the Grand Operas will Enjoy STANDARD OPERA SELECTIONS

r of the music. Lcfok^ver^thTindex'gb/erf belov/Tnd yor^wiirb^sure

Aida. Celeste Aida .Aria Act I Aida. Grand March mermoor.Sextette Barber of Seville. Waltz Song .I Am Alone ridge paper.ttwssaffttsa soM ;n litt]e reels. 8. Quartet and other parts should always Bartered Bride. The. . Comedian’s March .4h! So Pure My Heart, Lord J 3. A pretty portfolio can easily be made be tied together with tape when not in use. Bohemian Girl. The .. I Dreamt I Dwelt .In Happy M>.. e Gates (Higli or ’oleott fr°m some cardboard and a piece of pretty What is more annoyingr th..:.th io find cne Bohemian Girl. The .. Then You’ll Remember .Scenes That Are Brightest w) 'cssler nr6’, TldT 'S L° mUS'C m'SSi"g? II is l,est to of NumbergPrize Song 1 in A.Iun'ma SUNDAY EVENING, APRIL SUNDAY EVENING, APRIL 5th M,gn°n .Know'st Thou That Fair Land? “To form or to ) Cid, Le . Naila .False Dos Fleurs Coppelia . False Lente ANthem AnKe*s .Scotson Clark a O Light' 0 Lovel O Spirit' fashion is the natural delight of youth. To world of art both, however Norma .Grand March P -pinsuti ' da«d up for proved excellence is that of be equally justifiable."—Dai Coq d’Or. Le .Hymn to the Sun Parsdal i V).^.March of the Holy Grail Damnation of Faust.. Hungarian March b. Softly As Falls the Twilight __ Eclair, L*. Call Me Thine Own i March Elixir of Love.A Furtive Tear °FBeEforTe°tbI Cross (Duct, S. and A.) orQ^^"' ^ (L°W)' ‘ Emani.Inf dice Rigoletto .Quartet SLINGERLAND’S Ernani .Chorus of Bandits Juliet.Waltz Aria °B., SUNDAY MORNING, APRIL 2 Eugene Onegin .Entr’acte Waltz MAY BELL BANJOS Famous Operas Faust .Soldiers’ March Y MORNING, APRIL 12th and Delilah..1 fy^/a/t'at Thy Sweet Foice ged for Piano Solo F*«st .Holy Angels eFor Thy Tender Mercies’^ Faust .Kcrmesse Waltz & Forza del Destino, La .Duet Tannhau .. Grand March PRICE 75 CENTS Freischiitz, Der .Prayer RbenC Indeed'51 '' ihrnna OFFE^RV ^ L°rd. Tannhau ■ ■ To the Evening Star Rock of Ages (Duet, S. and T.) DEALERS: We are the largest manu¬ Der .Huntsmen’s Chorus ..Drinking Song organ’ Scc: t!the Place (High) .Ambrose Solly facturers of banjos in the world. Over .a .Dance of the Hours ..Miserere Hallelujah ( 3000 dealers sell them and say our line Hansel and Gretel ... Prayer Chorus .Handcl-Gaul °RMarch from “Naaman”.Costa ' ■ -It Was Not So To Be is the best. Write for catalog. the Publishers .Bridal March SUNDAY EVENING, APRIL 12th SUNDAY EVENING, APRIL 26th .Intro. Act III AamP;l .Overture S’"”.n'mU Anyone interested in our banjos and banjo ukuleles and THE MUMIL PUBLISHING COMPANY J SNSffi^fSsSt a. Holy spint,eTruthnDmnC;^WcG« unable to find a dealer who sells them, write us and we will

Will Bloom (High) .Bird SLINGERLAND BANJO CO., 1815-19 Orchard St., Chicago, Ill. THE ETUDE the ETUDE FEBRUARY 1925 Page 139 Page 138 • FEBRUARY 1925 John M. Williams’ Ruth—Sacred Cantata How to Succeed in, all combine to make a delightful offer¬ World of Music The Etude Cover ing for a children’s program. The play Normal Class For Women’s Voices In Singing (Continued from page 75) Prize Contest takes a little over a half hour to present. The Etude is pleased to announce the Recognized nation-wide as an authority By Paul Bliss By A. Buzzi-Peccia on matters pertaining to musical educa¬ Those who at any time have anything to award of the $250.00 prize for the best Mr Bliss needs no introduction, as his If tlie purchaser of this book is success¬ do with the staging of children’s perfor¬ cover design submitted in the Contest that tional work, Mr. John M. Williams has musical writings, especially in this field, ful in carrying out just a few of the ideas been having' remarkable success with a mances should know “Day Before Yester¬ closed December first, 1924. Mr. John e so consistently attractive and worth Senor Buzzi-Peccia gives, he will find him¬ series of normal classes conducted in the day” and, in advance of publication, we Whitcomb, of Delaware, Ohio, is the for¬ while We feel it is a privilege to be able self well repaid. It is very rarely that a will accept an order for one copy only at past year in such cities as Chicago, New to offer to our patrons at a low advance of man with the artistic skill and the breadth tunate winner of the first prize. The prize York, Seattle, San Francisco, San Diego the special price of 40 cents, postpaid. design will be utilized on the March, 1925, ....Miration price this new sacred cantata of inusicianly scholarship has the pro- Los Angeles, Salt Lake City and elsewhere’ '.^ women’s voices by Mr. Bliss. The jounced business insight that is indicated Elementary Piano Pedagogy cover. There were some 300 designs sub¬ Teachers taking up the course, as gjven mitted and it was not an easy task for the story of Naomi and Ruth as presented in in all the work of Senor Buzzi-Peccia. He By C. V. Macklin judges to decide which cover was best in the John M. Williams’ Fundamental this cantata required about 35 minutes, has helped a number of prominent singers How to teach so that the teaching will Training Normal Classes, find their mu¬ suited for the needs of The Etude and at and hearers will find in the story new to real success and in this hook he tells rank with tlie best work that is done in sical knowledge increases and their ability the same time embody those character¬ charms when contemplating it to this many of the means that he has employed. accordance with the most modern ideas of istics of workmanship, color, freshness and to impart their musical knowledge devel¬ attractive musical setting. Although the 1 he work is very readable and very enjoy¬ musical pedagogy is a problem which con¬ a design of general attractiveness to ops to a high degree, thus furnishing the choruses are writfen for four-part able. The advance of publication price is fronts many, many students. We believe warrant its selection above all the others. equipment, making possible the increasing women’s voices, it is possible to do it in 60 cents, postpaid. we have in the new work of Mr. Macklin a There were some submittals in which it of their income. The system is, devoted three-parts by the omission of the second very simple, practical, helpful text-book was quite apparent that those executing to the training in piano teaching and alto part, making it a cantata for first Musical Moments for upon the elements of teaching that any Mmi7 urrnPTfQ has composed a new song for that occasion, allied theoretical subjects. All along Mr. NEW WQKKs ming Wide the GaUs It i(. published in them lacked artistic training along techni¬ and second sopranos and altos. The solosa The Pianoforte young person desiring to enter the pro¬ Williams’ itinerary, enrollment soon ex¬ for this work are for sopranos, mezzo- Advance of Publication Offers two keys, the higher With a range from E cal lines. Nevertheless these are deserv¬ By Mrs. H. B. Hudson fession may read with unquestioned profit. ing of commendation for the efforts and ceeded the limited number that may be sopranos and alto voices. Choirmasters There are just a very few essential com¬ February, 1925 Sp'wo,°“" to a’ tlie Iower from b to E’ thoughts behind them. taken in each class. We are bridging Mr. desiring music for special occasions often This is a very attractive collection of prehensive principles that every teacher Album of Arpeggios for the Pianoforte.. .30 . The foll.owinS pipe-organ numbers may Distinctive honorable mention is due Williams’ normal classes to attention at are handicaped because of their inability# first or second grade recreation pieces should know. Without an understanding Album of Song Transcriptions and Varia- be used in connection with the Easter this time in order that those wishing to designed to accompany or to supplement tions for the Pianoforte.40 program: Church Festival March, by R. M. those whose designs survived all elimina¬ to secure suitable male voices, but seldom of these principles the young teacher may tions until the final group from which the enroll for the Philadelphia classes the are they limited as to the number of any instruction book or method. The make many serious blunders. Mr. Macklin A1M^«?f»mransCriptl0nS f°r Pipe 0rgan— Rn Stults; Altar Flowers, by Frederic Lacey, first two weeks in March, 1925, will not women’s voices, at their command; there¬ pieces are printed in a special large nota¬ Capriccio Brillante—Mendelssohn.30 and Marcia Pomposo, by R. M. Stults. winner was selected. has stated his facts in clear, comprehen¬ overlook making arrangements early. fore, this cantata is bound to prove invalu¬ tion so as to render them easily read Cleopatra—Opera Burlesque—Brigham... .40 A copy of any of the numbers Distinctive Honorable Mention sive, sequential order. The book does not Dawn of Spring—Cantata for 2 Pt. Treble mentioned' as well as anv in nnr eonmre- A booklet describing the course in detail able to the repertoire of many a choir and less - trying to the eyes of young require a special teacher. The advance of Voices—Kountz . .30 mentioned, as well as any m our' compre Grace Evans, Philadelphia, Pa.; Vir¬ is gladly sent any interested teachers or students. Mrs. Hudson is well known as Day Before Yesterday—Operetta for Chil- hensive catalog, will be sent to choir- director. It is also a safe prediction to say publication price is 75 cents, postpaid. ginia Heist, Glenside, Pa.; G. Francis prospective teachers. that music supervisors and other choral a .successful teacher a:nd writer of teaching dren—Cynthia Dodge ..40 masters for examination on our usual Kauffman, Chicago, Illinois; Helmut Elementary Piano Pedagogy—Macklin. . . .75 liheral “on sale” terms Write to-dav stat- directors of girls or women’s classes and material. This hook contains a number of Eleven Indian Love Songs Eleven Indian Love Songs—Three-Part imerai on sale terms, w rite to day Star Kroening, St. Paul, Minn.; J. Whitcomb, King of Glory organizations will utilize this cantata to as her original compositions, as well as some For Three-Part Chorus Chorus of Women’s Voices—Lieurance .30 mg your particular needs, the size and Delaware, Ohio. arrangements and adaptations from other How to Succeed in Singing—A. Buzzi- capabilities of your choir, and have our Choral Cantata for Easter great an extent as choirmasters. Of Women’s Voices Honorable mention is due a number of By R. S. Morrison A single copy only may be ordered at works. Although most of the pieces arc JoUyCcvfoUim in°pust^Port^ '5° Victrola Department Helen M. Bennett, New York City, N. time for those desiring to secure quan¬ Mr. Lieurance has incorporated some of Y.; Rose Cezer, East Orange, N. J.; Sister tities for Easter use. We have no doubt Opera Burlesque vance of publication is 35 cents per copy, Music sfrapHBoTkanThe-Wright :! .'.' ill . The Victrola Department of the Theo- postpaid. his greatest successes, together with some Musical Moments—Piano-Hudson.35 dore Presser Company is now under highly M. Gervina, St. Angela Academy, Carroll, as to the success of this cantata, since it Book and Music new things all arranged most effectively Iowa; Bessie P. Heller, Philadelphia, Pa.; is of the type that the average choir can New Anthem Book.20 expert management. There is no reason By John W. Brigham Dawn of Spring for three-part chorus of women's voices. New Orchestra Book Parts, each. .15 wliv out* tlinirs'inHs ot eimtnmpTQ (shniilH August Holmberg, Thief River Falls, sing effectively. It is melodious yet of a All of these numbers, either singly or in New Orchestra Book—Piano.30 "7 °“r Vi .ot customers should Minn.; Carl J. Jordan, Denver, Colo.; proper character for • sacred work and Everyone that has seen the manuscript Cantata for Treble Voices Peer Gynt Suite, No. 1—Piano, Four not make their purchases of records and of this extremely clever offering has en¬ By Richard Kountz groups, will make most effective program Hands—Grieg .30 machines through this house and assure Frances Kratz, Philadelphia, Pa.; Vesta the solos for all voices arc not difficult. In numbers. They are not difficult to sing, Markley, Cheltenham, Pa.; Roberta E. fact the solos may be done in unison if joyed laugh after laugh over the humorous Here is a new cantata, which may be PiWHfhf?r th® Development of Tec5lnlc— OK themselves of the superior service which lines and the excruciatingly funny possi¬ yet at the same time they are capable of Preparatory Trill Studies "for' the violin they have long associated with the Theo- Megowen, Alton, Ill.; Freda Miller, desired with perhaps the exception of one done entirely in unison or two part sing¬ the most artistic renditions. Some of the Rochester, N. Y.; Edwin D. Myers, Kirks- soprano solo, which is a requirement that bilities in the presentation of this bur¬ ing. A cantata of this character is usable —Op. 7, Part 1—Sevcik.50 dore Presser Company. We should be glad lesque. Men's clubs or choral organizations numbers are given with the original Buth-Oantata for Women’s Voices-Paul ^ indeed to inform you upon any particular ville. Mo.; Lutie Hume Pierce, Boonville, should not stop any choir organization either in grade schools or girls’ high Indian texts. The piano accompaniment is presenting this cantata. It is every bit can have a fine time presenting this Schubert Album for the Pianoforte...... 35 matter relating to the purchase of records. N. Y.; Hugh Ross, Spokane, Wash.; schools, preparatory schools or colleges. effective throughout, affording good sup¬ What to Play—What to Teach—Harriette The combination of a music publishing George F. Runge, Merrill, Wis.; Alice an Easter cantata, holding to all the comedy. It can he handled easily also by It is about the right length for an offering high school boys, all the characters being port to the voices. Brower .75 house with, its musical resources and the Pauling Schafer, Albany, N. Y.; W. B. exaltation of that resurrection morn. The in a special school program, such as, for enacted by those of the male sex, making The special introductory price in . sale of records is a most excellent one. Willis, New York, N. Y.; Chester A. first four pages to the King of Glory serve instance, the commencement exercises. It advance of publication is 30 cents per orld hails *from Springfield* Missouri ' it all the more mirth provoking. The Choosing the Easter We know from long experience what real Young, St. Joseph, Mo. as a prologue to the cantata, after which can be done comfortably within 25 min¬ copy, postpaid. is a membership of two hundred and elghty- the resurrection story is taken up. An Cleopatra part might be done by a mezzo- po. from which a ooncert band of one hnn- Music Program teachers, music-lovers, and students need. utes. Mr. Kountz has not missed any [■od to one hundred and fifty meinhers is Preparatory Trill Studies Easter service will be greatly enhanced soprano, however, if desired. The musical opportunities in the handling of so de¬ Album of Transcriptions Easter Sunday, of all the festive occa- Yo" are dcaI;nfr ,with ™usicaI exPerts as For the Violin by the musical Contribution found in The work is easy and the solo parts are within lightful a subject as a day in Spring, and sions throughout the Church year, is most as exPert salespeople, For the Pipe Organ By O. Sevcik, Op. 7, Part One King of Glory and the entire cantata may the ability of almost any amateurs. Cos¬ the melodies and harmonies make an generally celebrated with an elaborate ^ .. * ^ be rendered in forty minutes. tuming and staging are thoroughly de¬ By Orlando A. Mansfield The violin world owes much to Otakar attractive vehicle for the nature pictures musical program. Every choir of any pre- Operettas and Cantatas One copy only may be ordered at the scribed and require liMIe work to make Although there is much good music Sevcik. He has classified and systema¬ presented in the text. This work will be tent ions whatsoever, aims to have some For Spring Performances special advance of publication price of satisfactory. The production time re¬ ready shortly and school supervisors wish¬ written especially for the pipe organ, bright, new music to present on this joy- In anticipation of the usual call for help tized the technic of the instrument to the 30 cents, postpaid. quired is about 40 i 'mutes, so the play nevertheless, many organists are accus¬ highest degree. The practice of the trill ing something for spring festivities should ous day. Choirmasters exercise great care in the matter of finding a suitable and may be used as hut a part of an evening’s place an advance of publication cash order tomed to use a goodly number of tran¬ in selecting appropriate numbers, and we effective operetta or secular cantata should be included in the daily routine of Little Folks’ entertainment. scriptions from other wOrks. There are all violinists. Not only for the mastery of for this work, thus securing a copy at 30 feel certain that a few interesting sugges- suitable for spring or graduation perfor- Music Story Book cents, postpaid. many piano pieces and violin pieces that •obably unique as’ ai the trill itself, but also for acquiring sound particularly well when played on tions at this time will not be amiss. mances, we have assembled the largest By James Francis Cooke is composed of fort; Many cho’rs make the presentation of a and most varied assortment we have ever exactitude of finger action. For this pur¬ The Music Scrap Book modern pipe organs. Dr. Orlando A. cantata the feature of the Easter services, had of such works. Returnable copies of pose, the Trill Studies of Sevcik have be¬ The final steps in the preparation of this Little Suite for Two Violins Mansfield has selected from our catalog book have been a real pleasure. As we By N. Louise Wright enthusiastically received. and we are more than, pleased to announce six different operettas or cantatas may be come indispensable. Part One, the most In the First Position, Op. 19 a number of suitable pieces and has made important book, is all in the First Position. have frequently indicated, this very The title. Music Sc'rap Book, should not very effective transcriptions of them. that we W-. for this year’s program a new had on request. Such an assortment will By Arthur Hartmann Erie ila Hiempel. who choral cantata by R. S. Morrison, entitled, furnish ample choice as regards style and This book is now in preparation to be elementary book will have the pictures on prove misleading. This is not a compila¬ These are chiefly of intermediate difficulty d iieing her Jenny Lind’eoxti d program as “King of Glory.” This is an excellent work difficulty, and as most works of this char- added to the Presser Collection. The new separate sheets to be cut out. and pasted Quite a novelty is this offering. A use¬ tion, but an original work. It is designed and in contrasting styles, they will prove the last half of her recitals ii ndon. recently in the book by the child. Some of the ful publication it will be, too. It affords for the use of very. young students; entertained an afternoon pai of thirty peo- for volunteer choirs. Other cantatas of acter are designed for moderately-trained edition will be under the supervision of suitable for teaching purposes, for recital pie who laid heard the im rtal “Swedish special merit are Alleluia by R, M. Stults; performers it will be an easy matter to hit Mr. Otto Meyer, who has been in intimate pictures are well known ones that every the student some serious, yet pleasingly although it is not exactly a kindergarten use, for church and for picture playing. Nightingale.” Dcwn of the Kingdom, by ,T. Truman upon one or more that may be produced association with Sevcik and his work. child should know, but a great many melodious practice in finger and bow exer¬ book it is the next thing to it. It paves Every number is already a proven success. Wolcott; Victory Divine, by J. Christo- with credit to the participants as well as The special introductory price in are entirely fresh and new, pictures that cises, the trill, the tremolo, the pizzicato, the way for any instruction book or This is a most desirable volume. pher Marks; The Wondrous Cross, by to the musical director. During the past advance of publication is 50 cents per copy, no one has ever seen, because they have chromatics, arpeggios and double stopping. method by imparting in a most pleasing The special Introductory price in ad¬ Irenee Berge, and The Greatest Love, by two years we have added several works postpaid. been made especially for this work. The Either part may he played by the pupil manner the elements of notation and the vance of publication is 60 cents per copy, H- W. Petrie. A very useful cantata for of this kind to our own catalog and we book will be out very shortly. If you accompanied by the teacher, or the suite beginning of key-board work. It is postpaid. choirs where men’s voices are lacking, or, always carry a liberal supply of those Light- want to take advantage of the special in¬ •nay be used as a concert duet for students especially adapted for work with the at best uncertain, is The Dawn, by Wil- issued by other publishers. It is just the Cantata for Treble Voices troductory price of 50 cents we shall be of moderate attainments. We believe that youngest students. This book is now on New Orchestra Book for liam Baines, a cantata for two-part time to start the work of preparing for By Richard Kountz glad, upon the receipt of the money, to everJ progressive teacher will be inter¬ the press. The School Orchestra Theatre, New York, on the enter your name now, so you may get a ested in this work. The special advance The special introductory price in her 30, when the fare was chorus of treble voices. any special spring musical undertaking of Before this month is out, we will be In response to a very general demand, characteristically AV e publish many excellent anthems for this nature. 'J’bese returnable samples will copy as soon as the book is published. °f publication cash price is 30 cents, advance of publication is 30 cents per we are preparing another New Orchestra making delivery on all advance publica¬ Postpaid. copy, postpaid. Easter, Some, of the more recent being be sent promptly to any one directly inter- tion orders for his cantata, which might be Book for school or amateur use. This new Tlie Mn Plil Epsilon Christ is Risen Indeed, by J. Marvin est^d. t&V New Anthem Book irority hold its termed of a festival character, since it is What to Play— Day Before Yesterday book will contain a number of acceptable Hanna; As It Began to Dawn, by Charles Organists and choir directors will wel¬ concert pieces, new and original, together of a type for May festivals, etc. There is a come the announcement of a New. Anthem What to Teach Operetta for Children now based on musicianship and definite uni¬ Vincent; Christ, Our Passover, by R. M. peer rjvnf Suite Nn 1 two-piano accompaniment that gives an with some arrangements and adaptations Stults; Lo, the Winter is Past, by P. W. pT/nY „ 7?t6’ „ \ Collection to our long and successful form standards of musical requirements, with unusual and very satisfying background By Harriette Brower By Cynthia Dodge of old favorites. All of the parts will be the aim of advancing the musical interests of Orem; Today the. Lord is Risen, by R. EOf PiailO Four Hands series of similar compilations. For Chorus Those who are familiar with Miss playable, none of them difficult and some Amenea. Further informaton as to mem¬ to the singing. The choruses are written Choirs and especially for Volunteer Choirs, This book is now nearly ready and will bership and the formation of chapters of the Kountz; Sing With All the Sons of Glory, By E. yrieg oe m the hands of our customers very Dodge’s other successful operettas for of them very easy. The instrumentation for three-part singing in the main, but it is most convenient to have on hand organization may he had from Lucille Eilers by R. M. Stults, and Rejoice and be Glad, GrieghiPeer Gynt music may be played oon. A great many have ordered it in children, recently published by us (The will be as rich as it is possible to make it. 3426 Morrison Place, Clifton, Cincinnati! occasionally other combinations are made several sets of these books. Each book by W. Berwahl. for enjojtjnept as pure music or it may with good effect. The text is a story of advance of publication. We are glad to Rainbow’s Kao! and Let’s Go Traveling) There will be the usual parts for stringed Two very effective Easter solos by Paul be used fir ppn junction with a reading contains at least 64 pages and in these the origin of Light, a subject relating to atL lis’ ’>ecausc we know that as soon need but little more to recommend this instruments with the addition of solo Ambrose, lie is Risen and Come See the of Ibsen’s plaj^j The .four-hand transcrip- pages are contained none but the most operetta to tjiem, than that this operetta violin and two obbligato violin parts. Only Nature throughout. This work is not easy desirable anthems. Our new book will is * see Miss Brower’s unusual book, Place Where Jesus Lay,, will prove tion is especially jrood to use since in this ey will not hesitate to recommend it to is by the same writer. Miss Dodge lias B flat clarinets and B flat cornets will be New Magazine Catalog or trifling and it is destined to become the contain anthems of but moderate difficulty, interesting to the solpists. Both are for there is more than a suggestion of the prize effort of numerous school and college r's' However, those who desire to the happy faculty of giving the children employed. There will be parts for alto For 1925 medium voice. Lord of Life and Glory, orchestral coloring. The four-hand all singable and easy to rehearse. These something a little out of the ordinary to saxophone and for tenor saxophone, also choruses. It is worthy of the rehearsal anthems are chiefly by modern and con¬ themselves of the advance of publica- If you have not received your magazine by F. A. Clarke is a number that will arrangement, moreover, is particularly well required, since it is extremely appealing. oon offer for the new work may still do so handle and her musical settings are always melody saxophone. catalog for 1925, a post card request will please sopranos and tenors; while I Know balanced, requiring players of about equal temporary writers; none of them have tuneful and attractive, being easily learned Prior to publication we are hooking The actual rendition time is about 25 appeared in anv other collections. They m,iV,IO,.lth’ by sending 75 cents, the pre- bring you a copy promptly. The best that My'Redeemer Lives, by L. C. Chaffin attainments. Our new edition is nearly PUDUcation price. The design of the book by the young participants. In the “Day orders for the “New Orchestra Collection” minutes. Many will be interested in know¬ are adapted for the use of practically all magazines which the publishers’ market is appropriate for altos and basses. ready. Before Yesterday,” interesting characters at a cash price of 15 cents for each afford are clubbed with Etude so that ing that an orchestration of this work may religious denominations. ii. °. lnforn' teachers and students upon Soloists seeking a number for Palm The special introductory price in ad- be rented if desired. available teaching and study of days and even centuries gone by step orchestral part and 30 cents for the piano you can renew your Etude subscription Sunday will be glad to know that the vance of publication is 30 cents per copy, The special introductory price in ad- . The advance of publication price of a Pla<- Miss Brower’s ideas have been into the scene. The staging, costuming and part, postpaid. and also include your favorite magazine at well-known composer, Harry Rowe Shelley, postpaid. vance of publication is 20 cents per copy> even the little dances that may be worked (Publisher's Notes Continued on page HO) a very substantial saving. single copy only is 25 cents, postpaid. postpaid. most excellently worked out. tiie etude FEBRUARY 1925 Page HI Page HO FEBRUARY 1025 THE

Album of Arpeggios Album of Song Transcriptions For the Pianoforte and Variations The idea of separate volumes devoted For the Pianoforte to special important branches of technic in The piano is a universal instrument and the intermediate, grades, has proved very it has many duties to perform. Music popular. We have already published in written for piano solo is only a part of its this series the Album of Trill* and the literature. It is used frequently to make Album of Scales. Now comes the Album known and to spread the popularity of of Arpeggios. The arpeggio in modern Sherwood Music School works written for voices or for other technic plays a most important part. In instruments or for combinations of voices FOUNDED 1895 BY WM. H. SHERWOOD this new album we have included some particularly attractive arpeggios as well as some pieces in which arpeggios are used of tlte best composers have employed very largely. In spite of the fact that the their talents in these piano transcriptions. numbers are all directed toward one de¬ In our new volume we have given atten¬ partment of technic, there is much variety tion especially to song transcriptions as 192s Summer Session in the book. This is due to the manner in these are possibly the most desirable of all. which the arpeggios themselves are em¬ Both sacred and secular songs have been Six Weeks—June 29 to August 8 ployed and to changes of key and of transcribed, some with variations and harmonies. The study of this book will others less elaborately. All of the pieces prove pleasurable as well as profitable. are of intermediate difficulty. The special introductory price in ad¬ The special introductory price in advance vance of publication is 30 cents per copy, of publication is 40 cents per copy, post- postpaid.

Jolly Jingles aeturtisai5tituteof$usic Master Classes Capriccio Brillante Founded by Mary Louise Curtis jBok For Little Fingers For the Pianoforte By Helen L. Cramm IN PIANO, VOICE AND VIOLIN. FREE PIANO NORMAL CLASS, By F. Mendelssohn A national institution offering a thorough musical education by This is another one of those good little In these days when one’s ears are the foremost instructors of distinguished accomplishment SPECIAL PUBLIC SCHOOL MUSIC COURSE, CLASSES IN HARMONY, books for young people. The children of assaulted on the one hand by the din of HISTORY OF MUSIC, ACCOMPANYING, ENSEMBLE, CHORAL today probably fail to realize what good ultra-modern harmonies and by “Jazz” on luck they ore enjoying in having placed the other hand, one turns instinctively for HE Faculty of the Institute includes over CONDUCTING, DRAMATIC ART, DANCING, LANGUAGES. PRIVATE before them such a wealth and variety of relief and refreshment to earlier and T 40 authoritative instructors in its prepara¬ attractive teaching material. Miss Helen more genial Works. Mendelssohn, who INSTRUCTION IN ALL SUBJECTS. I., Cramm has been a most successful con¬ some years ago was thought by the critics tory and conservatory departments. tributor of material of this type. Her to be out of fashion, has come back again The entire field of music is covered in separate \ books for young players are all successful. into his own. We find his concertos being This new one should prove equally so. played by the great artists and his Songs ' branches devoted to Teachers’ Certificates Awarded for Completion of Special Courses It contains some bright and up-to-date Without Words appearing upon many first grade pieces. programs. The Capriccio Brillante is one Choral Training The special introductory price in ad¬ of the best of all exhibition pieces for vance of publication is 30 cents per copy, Orchestral Training Dormitory ^Accommodations postpaid. ‘ • school or conservatory use. It is not so Rhythmic Training difficult that one has to struggle with it Harmony Composition and its tunefulness is invariably appealing. Counterpoint Elements of Music ONE SPECIALLY CONDUCTED VACATION EVENT EVERY SATURDAY AFTERNOON s for the Development Our new edition of this standard work has Of Technic been very carefully prepared. The second with Courses in Language and Diction- piano part is in score. DURING THE SUMMER SESSION By N. Louise Wright ir. English, Italian, French and German. The special introductory price in In this little book of studies, chiefly in advance of publication is 30 cents per .. ::. ■ -• the second grade, various departments of copy, postpaid. m Including a visit to Ravinia Park to hear the Chicago Symphony Orchestra and Ravinia Grand Opera—A Boat technic are treated, either hand being brought into play. One study, for Trip on Lake Michigan — An Automobile Trip through the Chicago Parks—Visits to the studios of Lorado Taft, instance, will exemplify arpeggios for the Advance of Publication Rittehhouse Square the sculptor, the Art Institute and Field Museum, with lectures by Curators on the exhibits; also other events of right hand, the left hand playing the Offer Withdrawn accompaniment. In the next study, the interest. Free Concerts by Members of the Faculty. left hand will take the arpeggios while the The following work has been published right hand accompanies. The book goes during the past month and is now with¬ on in this manner through scales, double¬ drawn from the advance of publication notes, etc. The studies are tuneful and offers. COMBS CONSERVATORY lie well under the hands. Reflections for Music Students, by PHILADELPHIA The special introductory price in ad¬ Sidney Silber. vance of publication is 25 cents per copy, A book of pithy paragraphs upon piano¬ FORTIETH YEAR Scholarships postpaid. ' playing and music study by a celebrated A School of Individual Instruction A School of Public Performance UNDER THE FOLLOWING ARTIST TEACHERS: Chicago teacher-pianist. It contains a Four Pupils’ Recitals a week give you opportunity for Public Perl Schubert Album world of sensible and helpful advice to Ail br ambitious students and teachers, and tndard. Pedagogy and Normal VIOLIN For the Pianoforte should find a place in every music library. >r Teachers. Degrees conferred. PIANO VOICE Our new Schubert Album for the Piano¬ personally informed ir progress—Daily Sup< GEORGIA KOBER ELSE HARTHAN ARENDT JOSKA de BABARY forte will prove entirely different from GEORGE RALF KURTZ ARTHUR van EWEYK P. MARINUS PAULSEN other Schubert compilations. In addition Courses for Public School Music Supervisors Useful Gifts Given for New GLENN FRIERMOOD to some of the most popular original oved and Accredited Three-Year Courses in Public School Music Supervision. Pci LOUIS LUNTZ Etude Music Magazine State Certificates issued upon completion of Course, without further examination. pieces and movements from the works of EDWIN STANLEY SEDER DANIEL PROTHEROE Subscriptions CELLO this master, it will contain also some tran¬ Six Spacious Buildings Dornxit SIDNEY SILBER Send postcard request for 1925 gift A School of Inspiration, Enthusiasm, Loyalty and Succes ARTHUR ZACK scriptions of Schubert’s most famous THEODORA TROENDLE songs and also transcriptions from some catalog. You will be surprised what we Illustrated Year Boot Free of the orchestral numbers. The vein of offer our worker friends for spreading pure and spontaneous melody running F/rt-DE influence for the good of music in GILBERT RAYNOLDS COMBS, Director through all the works of Schubert will be their community. The following is a most amply exemplified in this volume. special list of desirable and useful gifts The pieces are chiefly of intermediate selected at random. tUsviU difficulty. Reality Ro.r—With compact and puff. Teaching Positions CONSERVATORY The special introductory price in ad¬ One subscription. oVMUSIC Zeckwer-Hahn vance of publication is 35 cents per copy, The Sherwood Music School now has Twenty-Two Neighborhood Branches in and near Chicago. These Branches give rise to positions Salt and Pepper Sifters — Aluminum, Philadelphia postpaid. instant service, simply press the button. for students and teachers who wish to teach and at the same time continue their own study under artist teachers. There are also Musical Academy Ideal for damp weather. One subscription. excellent positions available in the thousand and more Branches of the School located throughout the country. Junior teachers for our Letter Holder 'with Perpetual Calendar Atlanta Conservatory of Music —Solid brass. A mighty handy article for 1924-25 teaching season will be engaged from the students in attendance at the Summer Session. The number of openings is so great that any the desk. Two new subscriptions. inent Faculty. Ear Training, Theory, Composi¬ THE FOREMOST SCHOOL OF FINE ARTS tion, History of Music and Teacher’s Training talented, ambitious student or teacher with reasonable preparation may be sure of an opportunity in our organization. IN THE SOUTH Handbag, Ofay Leather—With silver ' rses. 55th season. Advantages Equal to Those Found Anywhere. metal trimmings. Two new subscriptions. Write for catalog. Students may enter at any time. Send lor For Summer Catalog, and Application Blank for Scholarship or Teaching Position, Address Catalog. GEO. T. LINDNER, Director Solid Gold Chased Friendship Pin—With CHARLTON LEWIS MURPHY Peachtree and Broad Streets, Atlanta, Georgia safety catch. Two new subscriptions. Managing Director (Continued on page J/ft>) SHERWOOD MUSIC SCHOOL Training Courses FINE ARTS BUILDING for Teachers PFAROHY CONSERVATORY Faculty of 56 CHICAGO, ILLINOIS EVERYTHING IN MUSIC PUBLICATIONS 1 LaI\mJ\JU 1 BALTIMORE, MD. Specialists in Our mail order service is prompt and accurate. all departments HAROLD RANDOLPH, Director Teachers’ needs given special attention. One of the oldest and most noted Music Schools i i America. THEO. PRESSER CO. Philadelphia, Pa. iresslng our advertisers. Please mention THE ETUDE when addressing our advertisers. THE Page US FEBRUARY 192C tiie etude FEBRUARY 102! Page US

NOTICE—TEACHERS OF PIANOFORTE USING THE “JOHN M. WILLIAMS’ SYSTEM OF FUNDAMENTAL TRAINING” ARE EARNING FROM $200 to $600 MONTHLY. ARE YOU ? Summer Master School If not—Write to us for booklet describing this system of Normal Training MR. WILLIAMS is the author of “NOTHING EASIER” or “Adventures of Ten Little Fingers in Mother Goose Land.” (Schii If you have used any of these books and liked them you would enjoy and June 29 to August 8 (Six Weeks) “TUNES FOR TINY TOTS” (Presser) , profit by joining one of Mr. Williams’ NORMAL CLASSES FOR TEACHERS “CHILD’S FIRST MUSIC BOOK” (Schirmer) “FIRST YEAR AT THE PIANO” (Presser) OF PIANOFORTE AND TEACHERS’ TRAINING CLASSES FOR PIANO Did you read the splendid series of articles that appeared in “THE ETUDE’ _,Jan., Feb., STUDENTS WHO WISH TO BECOME TEACHERS. A School for the Training of Public School Music Supervisors Mar., Apr., and May issues, entitled “WHAT TO TEACH AT THE VERY FIRST LESSONS’ . , FREE:—Send name and address for keyboard chart—for correlating the keys of the pianoforte with the notes on the grand staff—sent absolutely free upon request. and Music Teachers ---ITINERARY NEW YORK CITY .Feb. 16 to Feb. 28 PHILADELPHIA. Mar. 2 to Mar. 14 W. OTTO MIESSNER FELIX B0R0WSKI HAROLD B. MARY0TT RAYMOND DVORAK PROVIDENCE, R. I, .Mar. 16 to Mar. 28 CHICAGO.APril 1 to April 15 Noted Authority on Public School Music Famous Composer and Teacher Well-Known Specialist in Public School Music Expert Band and Orchestra Instructor PACIFIC COAST CITIES, SPRING AND SUMMER OF 1925 Classes in Classes in Classes in Each Class will be of two weeks' duration (daily class lessons of two hours each). Early enrollment is urged as the size of all classes will be limited.__ Public School Music Methods Music Appreciation Class Violin Instruction Booklet describing the Course in detail sent upon request. Address Class Piano Instruction History of Music Sight Reading Band and Orchestral Instruments JOHN M. WILLIAMS SYSTEM OF FUNDAMENTAL TRAINING FOR TEACHERS OF PIANOFORTE Harmonic Ear Training and Key¬ Composition Ear Training—Acoustics P. O. BOX 216, TRINITY STATION, NEW YORK CITY board Harmony Musical Literature Vocal Art and Literature Courses for Supervisors of Orches¬ Community Singing tras and Band Music Orchestration Harmony and Counterpoint Choir and Choral Conducting Class Vocal Instruction Orchestral and Band Ensemble i=College of Fine Arts’ VIRGIL SCHOOL OF MUSIC AMERICAN INSTITUTE PUBLIC SCHOOL MUSIC TEACHERS’ CERTIFICATES AND DEGREES Founded by the late A. K. Virgil OF APPLIED MUSIC Public School Music Teachers Certificates, Graduation Diplomas and the Degrees Bachelor of Music Education will be conferred at the end of Originator of the Virgil Method, Inventor of the Virgil Practice Clavier each summer session upon music teachers and supervisors who have the required credits and pass a satisfactory examination. CDFriAI miTDCFC FOR TEACHERS, PLAYERS AND METROPOLITAN COLLEGE OF MUSIC OrbLIAL LUUKdtd earnest students of all grades For all particulars address: Mrs. A. K. VIRGIL, 510 West End Avenue, New York. Prof. Auer, Mr. Grainger, Mr. Witherspoon, Mr. Brady, Mr. Klibansky, Mr. Kate S. Chittenden, Dean Hageman, Mr. Van Grove, Mme. Hinkle, Mr. Sametini, Mr. Eddy and Mr. fREE SCHOLARSHIPS Demorest have each consented to award Free Scholarships to the students who, FEEL MUSIC ITHACA rONSERmTORY d after an open competitive examination, i found to possess the greatest gift for playing or singing. Free Scholarship application blank on request. Private 1 Of Instruction KNOW MUSIC D0RM1T0TY ACCCMMODATICNS FALL SESSION OPENS SEPTEMBER 14 COMPLETE SUMMER OR WINTER CATALOG ON REQUEST PLAY MUSIC Special Student^CIasses begin Septem Registered with N. Y. State Board of Regeni CHICAGO MUSICAL COLLEGE Musicianship and Piano Playing for in Concert work. Normal Training Classes. Pra FELIX BOROWSKI, President 60 E. VAN BUREN STREET CARL D. KINSEY, Manager Sight Singing without "Do re mi,” tice teachers available. Master Courses wii For Circulars, address world-famous artists in all departments. E!ev« (Chicago Musical College Building) Normal Teachers in every Stale. buildings, including Dormitories, Auditorium, Gyr D. THOMPSON, Managing Director Send Jot Catalogue or call for demonstration. The Leading and Largest College of Music in America. Established 1867 Book sent on request. 212 West 59th St., New York City Circle 5329 opening of Fall Tern ANN ARBOR, MICHIGAN MILLIKIN CCNSERVATCRY CF MUSIC DANA’S MUSICAL INSTITUTE DECATUR, ILLINOIS WARREN, OHIO . STAGE DANCING UNIVERSITY Offers thoro training in music. Courses leading to 3 Singing. Pine Arts and Photoplay. DevmupmB LONG ISLAND SHORE SCHOOLS The Only University of Music in the World Bachelor of Music Degree, Diploma, and Certifi¬ for Study and Vacation Combined INSTITUTE cate in Piano. Voice. Violin. Organ. Public School SCHOOL OF MUSIC All branches taught on the daily lesson plan :: Special Music Supervisors Course Summer Term Commences June IS OF “An Institution for Advanced Students** Music Methods and Music Kindergarten Methods. Pupils r.ow registering for Summer Course for 1925 and Regular Course for 1925-26 Bulletin sent free upon request PIANO SCHOOL Affiliated with the N » Bayei. Fas lor l! In . Lads Ril ; fesdalej Catalogue on application to LYNN B. DANA, Pres. Desk E. LOWELL L. TOWNSEND. Director. Vivian■ U. A tor.G ( rlaGi □ ld-Biahop,andothers, Send for niustrluilnnm UNIVERSITY OF MICHIGAN CarnegielHafjf, New York MUSICAL ART EARL V. MOORE, A.M., Musical Director F. L.Willgoo! ol Bldg. Huntington, N.Y. of the For PIANISTS, ACCOMPANISTS and PERCY FULLINWIDER MUSIC STUDY SUPPLIES The Courtright CITY OF NEW YORK SUMMER SESSION VIOLINIST TEACHERS Head of Violin Department Text Books* Writing Books, Manuscript Paper System of Musical to spec The SIGHT, TOUCH and HEARING 120 Claremont Avenue, Cor. 122nd St. June 22—Aug. 1, 1925 LAWRENCE CONSERVATORY Cincinnati (fonser&atorjg °dflusic Music Writing Pens and Other Requisites Kindergarten Jump System of Teaching. Write for Booklet APPLETON, WIS, /°r Catalogs on Anything 1 Mrs. Lillian Courtright Card, 116 Edna A MASTER TEACHER FRANK DAMR0SCH, Dir. GuyMaier,»^¥S.rSi.K Jnusual opportunity for the se- THEO. PRESSER CO. ---tides now running in ETUDE. SUMMER SESSION OF THE DEPARTMENT OF 1710-1712-1714 CHESTNUT ST. ious student of^ violin. Write for PHILADELPHIA, PA. Send for catalogue Theodore Harrison, CARL J. WATERMAN, Dean. PUBLIC SCHOOL MUSIC (Accredited) Samuel Lockwood, Intensive six weeks’ courses giving credit toward certificates, diplomas and degrees Instruction in Orchestral Instruments and in organization of School Orchestras Palmer Christian, && SCS Minneapolis School of Music Affiliation with the University of Cincinnati provides a complete course for Public NEW YORK SCHOOL OF MUSIC AND ARTS School Music Supervisors Joseph E Maddy, ORATORY AND DRAMATIC ART 148-150 RIVERSIDE DRIVE 23rd YEAR Ralfe Leech Sterner, Director WILLIAM H. PONTIUS. Director Ideal Home Department on the campus for students from a distance Wilfred Wilson, 60-62 Eleventh St.. So, MINNEAPOLIS, MINN. Send for Summer Announcement to BERTHA BAUR, Director SIX AVEEKS SUMMER COURSES for Teachers and Professionals, also Beginners and Advanced students Highland Ave., Burnet Ave., and Oak St., CINCINNATI, OHIO Starting May 15 pupils may enter any day Rates: $250 and $300 (accordins CELEBRATED FACULTY INCLUDING etc., by Mr. Maier and Mr*. Harrison. Tuition reasonable; University environment; Auditorium Arthur Friedheim Ralfe Leech Sterner Aloys Kremer Leila Yale ing 5,000; many concerts by world artists and org One of the world’s greatest pianisi The well-known voice teacher of the heads of Teacher and Pianist Celebrated Teacher of Public School Music /COLUMBIA Detroit Conservatory of Music a New York City Schools. ISSJFor “tal°‘ Opera, Church and Concert Singers, who will give CHARLES A. SINK, Seen Cl . V Francis L, York, M. A., President me will play work of all the grea his course of Lecturfes from Voice Anatomy to Frederick Riesberg Helen Carmichael Robertson § SCHOOL OF''” J I St I ear Elizabeth Johnson, Vice-President Grand Opera. Distinguished pianist who studied with Fn Drawing and Painting Liszt, Xaver Scharwenka and Carl Reinecke. Students May Enter NOW Finest Conservatory in the West Paul Stoeving Alvin Belden LAWRENCE CONSERVATORY Offers earnest students courses of study based upon the best modern educa¬ The eminent violin artist, teacl Frank Howard Warner Alexander Pero Class;, tional principles. Departments—Piano, Voice. Violin. Cello. Organ, Theory. Pianist, Composer and Lecturer kwusiqI CLARE OSBORNE REED, Director ■ Public School Music and Drawing, etc. Diplomas and Degrees conferred. • A National Music School for Teachers ■ Many Free Advantages. Desirable boarding accommodations. Catalog free id for Views and Outline Our entire faculty will remain in New York City and teach all summer MEHUN PIANO USED Degrees awarded. Piano, Theory, Voice, Violin, | Address JAS. H. BELL, Sec’y, Dept.7,5935 Woodward Ave., Detroit, Mich. Fa Teachers’ Normal Training, I CARL j. WATERM AN, Dean Appleton, Wiseon.i PublicSchoolMusicMethods, I INTERNATIONAL PIANO CONSERVATORY Interpretation for Profession- 1 Crane Normal Institute of Music al Musicians. Music Study Opportunities Convenient to All MRS. BABCOCK A MASTER SCHOOL Training School for Supervisors of Music An Accredited School I /"OFFERS Teaching Positions, Col- VIRGIL Tr . BOTH SEXES ensemble piano music CHICAGO, Pages 141, 143, EASTERN, Pages 140, 142 ^ Voice culture, sight-singing, ear-training, harmony DETROIT, Page 143 SOUTHERN, Page 140 '“'leges, Conservatories, Schools. 34th "season I p NOW OPEN YOU ARE WELCOME An unequalled stock of music for Piano, Four NEW YORK, Page 142 MIDDLE WEST, Pages 141, 143, 1 Also Church anil Concert Engagements practice-teaching. Graduates hold important p p,s' f«no. Si* Hands: Two Pianos. Four MRS. A M. VIRGIL, DIRECTOR 120w. tions m colleges, city and normal schools. PHILADELPHIA, Page 140 CARNEGIE HALL, NEW YORK Sendffr TW° PUnos- EiSht Hands; e,c' 53 MAIN ST., POTSDAM, NEW YORK Catalog Theo. Presser Co., Phila., Pa. Now is the Time to Consider Your Plans for Summer Music Study Please mention THE ETUDE w n addressing our advertisers. TEE Et Page 1U FEBRUARY 1925 HE ETUDE FEBRUARY 1925 •Page 1J&

SUMMER MASTER SCHOOL SUMMER MASTER SCHOOL June 29 to August 8 {Six Weeks) June 29 to August 1, 1925 =SUMMER FACULTY^ JOSEF DELIA GEORGE H. Prof. Leopold Auer Herbert Witherspoon William S. Brady Richard Hageman Master Violin Instructor of the World Famous Singer and Teacher Celebrated Vocal Instructor Noted Coach and Accompanist Sergei Klibansky Percy Grainger Isaac Van Grove W. Otto Miessner LHEVINNE VALERI GARTLAN Renowned Pianist World Famous Piano Virtuoso Famous New York Expert Leon Sametini Clarence Eddy Carl Busch Repertoire On Voice Production Of Public School Music Florence Hinkle Teacher’s Classes America’s Foremost Soprano Renowned Violinist and Teacher Dean of American Organists Illustrious Composer and Theorist Repertoire—Teacher’s New York City Auditor Classes And the Regular Faculty of Over 100 Brilliant Artist-teachers Auditor Classes Classes TEACHERS’ CERTIFICATES AND DEGREES Heniot Levy, Silvio Scionti, Piano Karleton Hackett, E. Warren K. Howe, Voice Teachers’ Certificates and the Degrees of Bachelor of Music, Master of Music, Doctor of Music, Bachelor of Oratory, Master of Oratory and Doctor of Jacques Gordon, Herbert Butler, Violin Wilhelm Middelschulte, Organ And 100 Additional Artist-Instructors Remarkable Courses in—Public School Unexcelled Normal Courses in—Piano, Remarkable Courses in—Expression and Q| TMjV/irn CrCClfkM °f Six Weeks, from June 29th to August 8,1925. Special courses for Teachers and Advanced Music, Lyceum and Chautauqua, Movie Violin, Vocal, Expression and Dramatic Art, Musical Theory and Com¬ 0 Li ITIItIEiIY Students in all branches of Music and Dramatic Art. Special Courses for Supervisors of Picture Organ, Languages Dramatic Art position, Opera Coaching, Accompanying Public School Music. Recitals by distinguished Artists. Lectures by eminent Educators. The American Conservatory awards Teacher’s Certificates, Diplomas and Degrees by authority of the State of Illinois. 3rofessor Auer, Mr. Grainger, Mr. Witherspoon, Mr. Brady, Mr. Hageman, Mr. Klibansky, Mr. Van Grove, Mme. Hinkle, Mr. Sametini and Vlr. Eddy have each consented to award Free Scholarships to the students who, a FREE SCHOLARSHIP awarded by Josef Lhevinne and Delia Valeri. Send for application blank. Excellent Dor- FREE SCHOLARSHIPS ! ift for playing or singing. Free Scholarship Application Blank on Request- . mitory Accommodations. Rates of tuition moderate. Summer Session booklet, special Lhevinne, Valeri and Public School Music circulars mailed free on application. For detailed information, address Dormitory Accommodations Fall Session Opens September 14 Complete Summer or Winter Catalog on Request CHICAGO MUSICAL COLLEGE American Conservatory of Music 60 E. Van Buren Street, (gfiSS’iSlSSj) Chicago, Ill. 571 KIMBALL HALL, CHICAGO, ILLINOIS John J. Hattstaedt, President

DUNNING SYSTEM for Beginners The Demand for Dunning Teachers Cannot be Supplied—Why? IN INSTRUCTION CONSERVATORY ALBERT“s AMERICAN NORMAL CLASSES AS FOLLOWS: MRS. CARRE LOUISE DUNNING, Originator, 8 Weal th Si, New York Cfc»; Normal CUi City. BEECHWOODf: CHICAGO ■ Mrs. Zelia E. Andrews. Leonard Bldg, Spokane, Wish Katharine M. Arnold, 93 Madison St, Tiffin, Ohio, Arnold School ol Music Beginner S Book By Theodore Presser Allie E. Barcus, 1006 College Are, Ft. Worth, Texas. combs:;:;::: =S5b. CINCINNATI Elizette Reed Barlow, 48 George St, Newbem, N. Car. Mrs. Jean Warren Carrick, 160 East 68th St, Portland, Oregon Dora A. Chase, Carnegie Hail, New York City; Pouch Gallery, 345 Clinton Aye., Brooklyn, N. Y. Jarre Louise Dunning, 8 W. 40th, N.Y. DETROIT Adda C. Eddy, 136 W. Sandusky Aye, Bellefontline, Ohio, Jan.: Cincinnati Conserralory June. Used More Extensively Than Any Other Elementary Instruction Book Beatrice S. Eikel, Kidd-Key College, Sherman, Teiaa. Ida Gardner, 15 West 5th Street, Tulsa, Okla. A Substantial Success Because It Supplies a Real Need r K n n I complete traini]TRAINING FOR OPERA EDDY “3m Gladys Marsalis Glenn, Box 1188, Amarillo, Tex. FABRI isKsgasssi 136 W. Sandusky Ave Mra. T. O. Closer, 1825 Gorman Ave, Waco, Texas. Mrs. Travis S. GrimlanJ, Memphis, Tenn. For information address 5839 Palo Pinto Si, Dallaa, Texas. Catalog free. Win. F. It Maudellen Littlefield, Dunning School of Music, 3309 Truest Ave, Kansas City, Mo. Normal Class, Jan. 5, 1925. KNOX' Carrie Munger Long, 608 Fine Arts Bldg, Chicago, III. Normal Clas.es, Chicago and Dallas, Texas. Write GUICHARD Information. The “First Reader” in Piano Study Step by Step Grading Abundant Explanations TOMLINSON S3 Harriet Bacon MacDonald, 825 Orchestra Bldg, Chicago, III. Despite the author's long experience as a teacher and is a very important feature in an elementary, piano in¬ without adding one word too many, explicit explana¬ Mrs. Kate Dell Marden,61 N. 16th St, Portland, Oregon. in the musical educational field, this work was not structor. Elaborate care was taken to have the grading tions occur whenever needed, and they indeed help Mrs. Wesley Porter Mason, 5011 Worth St, Dallas, Teats. quickly put together. Every step was measured, every so gradual that the pupil will advance without dis¬ HAWTHORNE INSTITUTE OF MUSK' Virginia Ryan, 940 Park Are, New York City. both student and teacher. Mrs. Stella Seymour, 1219 Garden Street, San Antonio, Tex. problem weighed, all useless waste cut out with the couraging difficulties introduced at the wro’ng'time. WESTERN Isabel M. Tone, 469 Grand View Street, Los Angeles, Cal. object of producing a work which would insure the Writing Exercises MOULTON Mrs. S. L. Van Nort, 2815 Helena St, Houston, Texas. greatest progress without sacrifice of essential thorough¬ The Scope of the Work Mrs. H. R. Watkins, 124 East Uth St, Oklahoma City, Okla. ness. If the work you are now using does not include These exercises are added to supply the common The first grade of study up to, but not including the needs of notation. Time and rhythm are, of course, also INFORMATION AND BOOKLET UPON REQUEST the following features you owe it to your pupils to in¬ NEW YORK «££ CONVERSE COLLEGE1 vestigate this "Beginner’s Book” for Piano. scales is covered. Little pieces, duets, etc., are suggested covered, and then exercises at the piano are given. in case the teacher deems it desirable to turn aside from . book work for a few lessons. Pieces, Duets, Test Questions PRETTYLEAF Large Music Notes MANY edltions of this collection have been made and a continued sale is the The Simplicity of This Work Has Without neglecting technical exercises, occasional in¬ -cAlbum of * surest evidence of especial merit. Former editions were repetitions of the All elementary books in the modern public school are teresting pieces are inserted to reward and entertain original and of course, as time went on the plates, style, etc., needed bringing printed in large type to aid the child eye in forming im¬ Enabled Many Teachers the child. Little duets for teacher and pupil as well as up-to-date. In this new edition all these details have been well taken care of pressions. The same principle is applied to this book to Achieve Speedy Results With test questions after every advance complete the work in by the use of large notes where needed. such a manner that its success does not surprise. CONSERVATORY OF MUSIC and the contents were also revised, eliminations being made and new numbers Even the Youngest Beginner added in a way that greatly improved the compilation. The numbers are ar- TRENTON 40 E. State Street, Trenton, N. J. * Instructive mnged m progressive order and such numbers as Melodie, Schumann; Bohemian “BEGINNER’S BOOK” Cheerfully If You Have Never Used This Work WITH hi CHARLES Correspondence Instruction, Melody ,Behr; Rustic Dance, Schnecker; Cradle Song, Heller; Marcia, Holmes; and If t IJ ll Musical Theory, Harmony, Melody Writing CD' PRICE PRICE $1,00 ■ ■" w 11 Counterpoint ayd Musical Form. T by e*cf lcnt. c°mposers are included. Teachers will find this an Sent to Teachers for Examination Order a Copy NOW for Examination advanc e—ST ATE*NORM^ SCHOOL^'cSiffiSa,0Penna.^ *" faeces being well phrased and fingered and of a style llCCCS $1.00 that will develop a taste for better music in pupils in the second year of study. VIRGIL THEODORE PRESSER CO. * Music Publishers and Dealers, 1710-171247X4 Chestnut Street * PHILADELPHIA, PA. ITHEO. PRESSER CO. ffl&gajaa PHILADELPHIA. PAH virgil SCHOOL OF M S ETUDE when addressing our advertisers. Page U6' FEBRUARY 1925 THE ETUDE

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