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

1-1-1952 Volume 70, Number 01 (January 1952) Guy McCoy

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Recommended Citation McCoy, Guy. "Volume 70, Number 01 (January 1952)." , (1952). https://digitalcommons.gardner-webb.edu/etude/133

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Th Joy of nata Pia i ZIN f,ac.sCflfff

ibl tafl'·Pian" .." •.

Idea in u ic Education fit ,.,t,.,

The Lo t u ic of _IS f,.ds (oN.

y ot omen in Orch tr ? ''''- ,....

The Power of Concentration ..... r.... t' r LeTTeRS EDITOR T 0 T B E

Sir: I like the ETUDE maga- Arlicles zine very much because it offers Sir: Though I have bought the musical-layman 01" for one only a few copies of your mage- who plays the piano {or his own aine, I think it is a very good amusement (like myself) a means of musical education. worthwhile magazine of music Every musician should provide and reading material. I like the themselves with the ETUDE as Questions and Answers and it gives valuable information. I Maurice Dumesuil's articles. John R. Keller s~An~. encourage you to continue your York. Penna. TIME, 1952 Y good work. Renii Bouchard "The Pupils Talk it Over" PLACE, "World's Most Unusual U",versify"• Manitoba, Canada Sir: After reading the article Sir: The people who have in Nov. 1951 ETUDE, entitled seen fit to criticize the ETUDE CAST, Approximately 3,000 students and a con. "The Pupils Talk 1t Over," I for its new forlllat merely are want to tell you that 1 think it not progressive enough to move sec rated Christian faculty, was a very fine article. I think with the times. I have just re- that this s'ort of informal Work newed my subscription for 1952, Shop recital would do a lot in SETTING, and consider the quality of the PHClTOGRAPH 1IY AClRIAtl SIEGIL One of America's loveliest and most mod- helping each pupil analyze his contents of your magazine to be Rudolf Serkin at the Steinway good and bad habits in playing better than ever before! I am ern university campuses. In addition to the piano or any instrument. an avid collector of classical I always enjoy the articles recordings and therefore wish For your home: dormitories, dining common, au ditorium, in ETUDE, as they always seem that your column ev'aluating the to be appropriate. Being an ac- current crop of recordings could library, student center, etc., Bob Jones cordion player and teacher, I the piano chosen by be enlarged somewhat. Such a would appreciate seeing a solo wealth of recorded literature University facilities include radio station for accordion in E'TUDE. for all instruments is being the world's great artists Thank you for a fine music made available currently by the magazine. WMUU, studios and sound stage of UN- various companies that the list- phragmatic SoundboaTd helps create Janet, Mavis The piano you hear at a concert or big piano tone in even the smallest ings in your record column during a musical broadcast is nearly California Stein way Vertical. USUAL FILMS, Biblical museum, and gal- merely scratch the surface in always a Steinway. Because of its For almost a century Stein way's this connection. Otherwise, more matchless tone and its incredible "It's Time to Pay Tribute" superb craftsmanship has been un- lery of great religious or t. power to the ETUDE-I find it ability to endure continual use, the Steinway is chosen by virtually every equaled by any other piano. The to be just swell of late! Sir: I would like to thank great artist, orchestra, and broad- initial cost of the Steinway may be Donglas Morgan you for printing the article "It's higher, but in terms of abiding PERFORMANCE, Training young men and women casting station. New York, N. Y. Time to Pay 'Tribute"-by values, it is the most economical of These same advantages make the pianos. For a free copy of our help- for clear-cut Christian living ond Maurice Dumesnll in your No- Steinway the perfect piano for the ful booklet, "How to Choose Your Sir: After reading the letters vember issue. It was very en- home. For the beginner and the ex- Piano," write to Steinway & Sons, Gospel testimony and ministry. criticising the new ETUDE for couraging to me and also I perienced player, Steinway's exclu- Steinway Hall, 109 West 57th Street, several months I finally had to sive Accelerated Action is a true aid New York 19, N.Y. think more people should uri- in achieving sensitive touch. Its Dia- write myself. I think the maga- derstand what we music teach- zine has made a remarkable im- ers are up against. MUSIC, SPEECH, AND ART WITHOUT ADDITIONAL COST provement. I used to hesitate to In my opinion, the ETUDE is ABOVE REGULAR ACADEMIC TUITION. ACADEMY AND ask my students to subscribe to a must for all piano teachers. the ETUDE since the articles Joan Stratford JUNIOR HIGH SCHOOL IN CONNECTION, \ were either too general or too Craoenhurst, Onto technical for them. Moreover the ETUDE seemed to have no "Let's Teach the Child liow to relationship to musical life in Practice" America. . BOB JONES UNIVERSITY Your columns, articles, and Sir: In your article, "Let's even a good part of your music Teach the Child How to Prac- GREENVILLE, SOUTH CAROLINA now have real life and vitality. tice" (August 1951), the sug- Now, if only you would have gestions made are very valu- the courage to drop the salon able, I think. music that sees its birth and More articles like that should death in each issue of the be printed, for following the Tile Stalnway is used e~dusively hy Ahram. basic fundamentals, such as sug- Barlow, De Sabala, Gold & Fizdale, Hofmann, ETUDE, you would really have Schnabel, 'rneuom. wetsseoeen, and many others. ~ gested in your article, make for Illustrated is the illustrious louis XV. Now you a fine magazine. may purchase a stetnway at convenient terms. See 5 TEl N WAY Martha M. Mattson better plano playing. If the your local Steinway dealer, who is listed in the classified telephone directory. THE INSTRUMENT OF THE IMMORTALS Mankato, Minn. (Continued on Page 3) \. 1 ETUDE-JANUARY______1952 /1 111111111111111111'1" II 11111111111111 When parents 1111111 SHERWOOD MUSIl: SI:HOOL put you Just Publisbed_ the 'lI..sic "u,gn~i"e Letters to the E di tor Distinguished since 1895 for the training of professional ETUDE Excerpts the on the from SPOT musicians. Member of the National Association of Schools , PUBLISHED MONTHLY, BY THEODORE PRESSERCO" PHILADELPHIA, PA. of Music. Faculty of renowned American and European Editoriol and Advertising Offices, Bryn Mowr, Po. "FLEDERMAUSJI \ (Continued from Page 1) artists. Degree, diploma, and certi fieate courses in piano, \ find the answer in this voice, vio'lin, or~an,'ccllo~ wind instr'umen ts, Public School Founded l883 by THEODORE PRESSER Jame; Francis Cocke, E,litor Emeritu~ (The Bat) (EtUtor. 1907-J9~9) music, composition. In the heart of cultural Chicago. Liv- pupil has worked from the Schubert. Guy McCoy, Managing Editor: Shirley C. Jefferis, Business Manager by Johann Strauss valuable FR EE piano to the music, he should Please congratulate for me ing accommodations at moderate cost. George Hochberg. Music Editor • have no trouble sight reading . Mr. Forest M. Shumaker for Harold Rerkley Nichola~ Slollirn.ky Elizabelh A. Ce.l Guy M.ier I a111 delighted with your writing his "Air Squadron" in Kurl W. Ce!nk<·". ,\I":,<",,oIer l\f,·C.urdy SPRING SEMESTER BEIiINS fEBRUARY 4 booklet! HOW Easy arrangement magazine, and I am eagerly the grand old spirit of SOU:::3. * To Ihave some of Sousa's marches; fOT the piano awaiting my next issue. * CHOOSE all the way through the piece, For free catalog, write A~thur Wildman, iUusical Director. , THE Barbara Brown Val. 70 No, I CONTENTS JANUARY 1952 by West Grove, Penna. Mr. Shumaker was Sousa again. 1014 SO. MII:HIGAN AVENUE' I:HII:AGO:l • ILLINOIS BEST It has that "fire" and "get-up- PI4NO •·..:~\TVIlES A Suggestion and-go" to it. I just felt like M PAGE ODERN HARP TECHNIQUE. . _ . . . . _Cnrl06 Sul:;etlo 9 getting up and marching. THE FLEXIBLE STAFF.PIANIST _ .}lJ¥epJl Kah" "10 Sir: Sitting listening to the I have been meaning to write THE JOYS OF SONATA PLAyING ZiIlQ Prrmae. aui 11 ADA suite The Smoky Mountain by you several times telling you THE LOST lUUSIC OF YESTERDA Y. . .••...... }r1111f"6 Fran i, Cook,. 12 Richard Addinsell and it oc- how much I enjoy your maga- ~EW IDEA IN MUSIC EDUCATION _.... • '" Kir/: PQlkitlJ( '13 curred to me that ETUDE does zine. I look forward to it every HY NOT WOMEN IN ORCHESTRAS? . _ ..•••...... Uayllll)IlI1 /'oiI:6 ]4. RICHTER not offer anything about our month. Sometimes your music GENTLE GIANT ••.•••••••••..••••.•...•.•.••••••••• Celia autHier' 16 THE POWER OF CONCENTRATION . If- 'T . '.' "'7 modern contemporaries such as isn't too good and other times MUSICAL C P ...... -11'1 """an,,', Price 90f o W"ltIQI' JP(Jotl..r)tl 18 Addinsell, Victor Young, Leroy the whole music section appeals lUUSIC EDUCATION IN ELEMENTARY SCHOOLS .. n'lYlIIOtltl GI;>",I L;>lltlit'j( 19 Anderson, and the like either in to me. I wish you would put in " SO YOUR CHILD WON'T PRACTICE ..... , . . . C C 20 TEACHING MVSICIANSHII'.· . .. rore : N~..lI EJ,KA -VOGEL CO"INC, biographical form or musical more Viennese waltzes, not RIGOLETTO ...... FrOll!.- FrretlrrcJl 22 l ...... - ...... ~/ltbel Lyon 59 excerpts. Strauss. but others-some "un- I 716 Sansom St, I should think that becoming knowns'" or "too-little- heard- familiar with these artists would ones." Thank you. and your I.":,·.t\ II T~' ":NTS Philadelphia 3, Po, • "What do you look for in a good piano?" LETtERS TO THE EDITOR...... _ .. be just as inspiring to the rising staff for a fine magazine. You mu,-,ic without a tower? :MUSICAL ODDITIES...... •...... , ... 1 93eLL • "How do you tell reaf musical excellence NEW RECORDS...... •.. Nicol.,. IDliinuky 4 young musicians in our schools do a wonderful job. from short-lived brilliance or surface "'"1""11"1""11"11111111111111111111111~ beauty?" MUSIC LOVER'S BOO·KSHELF·.·· . . . • . . • • • • • • ...... C~or8e CmcQYIUJ (, today as would the familiarity Kathryn Bott • :'How ca~ a musieolly untrained parent TEACHER'S ROUNDTABLE ....•••....•...... Thoma~ Faulkner 7 with the old masters. One can Woodbridge, N, 1. \Ie..; --with ludge g plano's quality?" QUESTIONS AND ANSWE~S: ~:...... /IItturice DUItI/J."il 21 be more appreciative of some- It's up to you to answer these and other THE FINE ART OF PLAYING OR~~'~ ·1;ED~i..S· nur/ Cehrl.:ell. 23 one overcoming present-day ob- Sir: I enjoy the ETVDE vel')' 24 questions any time your students and their VIOLINIST'S FORUi\'[ . . .. Ale.t(wdPr McClfrd:r stacles than those of one or two much, but I do believe it could parents decide they need a piano and ask ADVENTURES OF A PI~'~O ·'~.£~C·HER·...... 1lnro/d Berkley 25 ueariLLonic ':BeLL..;!" your advice. You want them to cet fullest be improved by having more ORGAN QUESTIONS ~ - Guy Maier 26 hundred years ago. value for their money-yet you \~ant to be BOSTON UNIVERSITY sure your recommendation is sound. VIOLIN QUESTIONS:············· - ...... ••... - . Fret/f'rick J~MJlip. 52 If Leroy Anderson is good music, especially for fourth and JUNIOR ETUDE ..... ···················•·•······ - .. Harold Berl.-Je,. fifth grades, In past ETUDES The FREE bookl~t offered here will help 53 enough for Arthur Fiedler and you answer the nnpor-tunt questions most ~ORLD OF l\1USIC_.::::·.::::::::~~::~~·······,··EIi:."bel1l A. Gc.t s', College of Musk the Boston "Pops," I should there was a lot of different Your Church-with or ~dte~ asked by piano-minded families. And (" 1t Will help them-and you-be sure they All Branchol of Music think he's good enough for mUSIC. without a tower-can bring choose right! Send for your copy now! IUUSIC and Music: Education ETUDE. Margaret J. Foster a new spiritual awareness CIlIssie ntl.fl CQJltcm,'IDrtIT)' Compo.itions West Grove, Pa. When Should a Child Start Lessons? Dean Worren S. freeman Also, how about an article on to the community with A famous child·eare expert answers this Tango (Adios iUuchachoil) (fTom "Pianor" . f I World's Favorite Dances") • nM 0 I Ie Dr, Clyde R. Dengler and all and other l"Juestions parents ask you about "Carillonic Bells". At the their children, in our free booklet "l\Iuslc A Song of India (Chansoll Ind~~~): : : : : ~: : ~: : .. - .. - . S,mtler •• Agn:r 27 Courses leading 0 the degrees AA his choral groups? "How to Start a Piano Studio" im IN YOUII CHILIJ'S DEVELO!>1\IENl'." Check The Magic Pool N. R sk)·-Kor6l,I.:O'fl 28 in Mus.; B. Mus.; M.M.; M.M. Ed. In touch of a finger, or the coupon for you~ copy. Patricia D. Taylor ~;:~~;::I:~.~I~~·~~i·~·~·~:.:.:.:.:.:.:.:.:::.:.:::::::::~::::::~;;;;;,/;;.A~:~;:'~7~30 conjunction with he Graduate School Spokane, Washington Sir: Wish to thank the automatically, their beautiful 32 -M.A.; Ph.D. In canjunc 'on wifh the ETUDE for Ihe ver)' good ar· Beneath A Southern 1\'[0011, Opus 163: ~: : : : : : . EII'I Ketterer 34 true bell music carries School of Educatian--M.Ed.; Ed.D. ticle about '''How to Start a Skatetil in the Starlight...... • . . . . Frederick A. William .. 35 Music Seclion your church's message to all Wild Horses.. . - !lobert S. DUllea" Piano Studio," written by F1or· 36 Year·round Proj.c.h ondWorkihops include- who hear-at a fraction Scotch Heuther •('Pi~:~'~~~I).('f~~•• ",~:••• p' Sara Freed 37 Worhhop in Music Education Sir: I have had my ETUDE ence Porter in the June maga- nl luno Uttners") .I11olly Donn/d/foJl 38 magazine a few days now but zine. It is helpful and-good of the cost of cast bells, l"$tr/llllclttal "ud VOCttl Conlpositiolls Opeta Worhhap ..; Pianists Workshop I have not had an opportunity sense for old as well as new A Little Swcel'nin' (Vocal) . They are light in weight, The Sweetest Story Ever Told (Organ). : .. : .' .. : Glmly. Snell Davi. 40 I to play. Today I opened il up beginners of Teachers of the Eminent Foculty of Artists, Com- yet 25 "Carillonic Bells" Chansonetle (Violin)...... •....•...... S'ult.-A.verell 4,1 and played a few pieces. The Piano. Hope we hear more from . . ...•..•...... C/lttrles E. Over/'oll posers, Scholars and Educatots 43 provide the same musical P'ecesfor YDung Pl,~yers . Scherzo in B·Aat was studied her pen. Most., Closs.s \lnd't such ll!od.n cu- R. Boesen range and volume of cast Famous for musicol excellence. since 1875 The Chariot Race, Opus 17, No.5 .•••.••••.•• by my 13 year old cousin, so r------_ Arthur Fiedler Roland Hoyu Dream Tunc...... • ...... • ••••••••• Rob Roy Peery 45 I have an incentive to study Detroit, Mich. bells weighing 73,000 pounds. To The Hunt _ .....•.....• " . ' •...... Walter Rolfe 46 Albert Spalding '" JESSE FRENCH & SONS ...... " '" Dept. E.II. Elkhart, IndiClna Write for complete information . ,.:"t:~~Ai~~e~t~:: :~ For informofion, colo/oque, ilJusfrafea Without obligation, send me these free ~:I~;::k::!~.I~~ : :·.:'.:'.::..'.:::~'-. folaer, ....rite booklets: Vienne5e l\'Ielody ...... •..•.... " .••...... •..•..... France. ,U. Light 47 HAPPY NEW YEAR "Carillonic Bells" is a D "How to Cboose the Best Piano" ...••....••..... " .. Anne Robin.on 48 DONALD L. OLIVER trademark for products of D "Music in Your ChiId's Development" Schulmerich Electronics, Inc. Elltered ,tl srcolld C!IIU 1I111lterJatlllar 16 Direc/ar of Atimjujons Name' _ of ,\I(/reb 3, 1879. CoPyright 1951 'l 1·,£1884 III the P. O. at Phiht P ETUDE extends greetings to its many Illfef}/(/tiollal copyright seci/red AIt' . Yh' ~eodore PreHU Co. U S ~' 4., tinder the Act • "g J reUtved. ' . • ...... and Greal Brililin. Street _ BOSTON UNIVERSITY readers everywhere and wishes them a $3.50.1. year in U. S. A. and Possessions· als . h .. eariLLonic ':BeLL6 Room 115 City Zone_State _ Rep).lblrc. Guatemala, Haiti. },'!exico N' 0 In t e PhJlJppines. Costa Rica C .. Spam and :tIl South American countries eJ~~:a~~h' ~a~ama, Republic of H~oduba. DSommJun SCHULMERICH CARILLONS, INC, 3!A (.rillon Hill, SElLERSVILLE,PA. D Please check here if you are a teacher foundland; $4.'0 :t year in all other countr.P 17 ulanu; $3.75 a yeat in C uras, alvador, 705 COMMONWEALTH AVENUE HAPPY NEW YEAR es Manuscripts or art should be accompanied b . SIngle COpy pricc: 40 Cents pa!l:ldd ~nd New. BOSTON 15, MASSACHUSmS for return of unsolicited manuscripts or art y return POstage. ETUDE assumes tlnte In u:.~.A. ------. . no responsIbility • 2 ETUDE~JANUARY 1952 3 l _ ETUDE-JANUARY 1951 petition on the first of Vende- tioned the audience to let him Ask your teacher speak: "Thank you, thank you," mia ire of the Year III, and ruled: HWe have no doubt that this 'in- Tea,cher-Snlosmeli make he gushed. "1 want to tell yo~ flood moneY-lcdte for de- teresting work should redound to how much better you'll play tails and open territory. something. You see, Paderewski m-eat social betterment. The name If HOU are an orga/l teach- plays this C-sharp (and he ran to e or and have tt cur at yon!' of the author shall be placed on the with a famous master-made d1·s]Josal, YOII can elljoy the piano to demonstrate the pas- a pl·ojita,ble busilloss both sage) with the third finger-but I, list of ci tizens who have a right to in teach ill 9 all d iIt sellin 9 national munificence." In the in- E!:.1te'!1Ovsans. I use the fourth finger-like this! scrutable ways of all steering com- Pretty: isn't it?" mittees, revolutionary or other WILKANOWSKI wise, the order to print Gn::try's • volume was not put through until Each and every Wilkanowski violin is the per- By NICOLAS SLONIMSKY a year later, on the 28th of Vande- sonal production of Mr. W. Wilkanowski, one ERDI USED TO STAY at a hotel ruin ire of the Year IV. The volume of America's greatest living violin makers. As a Ea~y to play, easy 10 own" YOII'll V in Milan where the owner kept was finally published in Pluviose result of Mr. Wilkanowski's master craftsman- IIII'm 10 teaching on rho wonderfully a huge Newfoundland dog, named ship and painstaking artistry the Vi.olinist has expressive Estey Symphonic Organ. lIE FInST CHURCH ORGAN that home hy the National Guard.The of the Year V. available an instrument of long Iasring beauty Deep, rich organ notes, long sus- T "ever pealed to the glory of band played overture to c·La Muette Caesar. When Verdi was on a tained chord.", exciting tonal variety! tour, he wrote to the hotel owner • and truly brilliant tonal qualities. For the tal- Costs less than a piano. requires less Cod in this country" was imported de Portici," and a march. Auber ented student or the professional seeking a really space, never requires tuning. from London in 1713 by Thomas was pleased with the performance requesting him to give Caesar. a HE FOLl.OWINC QUATRAIN ap- fine instrument at a very moderate price there dog biscuit and charge it to Verch's "New States- can be no better choice than a WILKANOWSKl. Pedal 01' meter operated, the Sym- Brattle, one of the founders of the of his overture. He also likedthe T pea red in the phonic features' five octaves, 11 stops, old Brattle Street Church in Bos- march, and asked the band leader account. Accordingly, Verdi's next man" of London in 1950: Get complete details of the amazing 2 sets of reeds: double set of Harp hotel bill carried the notation in Aeolienne of 2 octaves (170 rccds) . Ion, first .know» as the "Manifesto who wrote it. lie \\8 very much Wilkanowski 6-day NORISKtrial plan Crescendo and swel! pedals (or knee Church." He left it to the church surprts d \\ hen the band leader large letters: A BISCUIT FOR Johann Strauss swells) from pianissimo to fortf'. CAESAR ON EXPRESS ORDERS Best way to appreciate the exceptional (One and after his death, stipulating that the replied \ ith II "mile and a deep Wrote "Die Ftedermaus," Benutlful walnut finish. OF THE MAESTRO-FIVE playing qualities of these superb violins is (0 church should "within a year of Illy bow: "You (lid, cher maitre!" But Richard wrote propel'er actually have one in your home or studio for a CENTESIMI. Verdi was greatl y ESTEY ORGAN CORPORATION decease procure a 01> r p rson Thc 1ll1l"Tt:h \\U'I ind d Auber's Opera. full G-day trial. You send no money and you RI·"I,I,·r ..", .. 10, V""moll' amused, and insisted on paying the must be completely satisfied within 6 days or that can play skillfully thereon 0\\ 11, hUI it \\ 0 ... laken from a piano five centesimi in full. This type of poem of four un- there is no sale. Fill in and mail coupon so we with a loud noise." The Manifesto "'Uitf' \\ rill(:Jl b) Auhcr at the a"e can rush complete details of the Wilkanowski Write for "pw PRER folder. even-length lines )s whimsically Rste,Y models for 110mf', 'school, Church could not fulfill the pro· uf 1o, amI nc\ cr publi ..hed.A mit violin and the 6-day NO RISK trial plan. Clnb alltI elm.ref, arp pricpd from referred to as a "Clerihew," which visions of Braille's will, and ]0, nl I.'l!'y aide to \apolcon II/I General • $175 to $1075, pins lUx allli fl'f'if!h,. is the mjddle name of Edmund Lhe organ Lo King's Chapel where \lpJIinct, \\ho \\lIS an ardent music Clerihew Bentley, the invenlor of it remained for eight monlhs. A 10v(:l", founrl the mallU rip! of HEN SO?\'lE ONE asked de 100.Year Leadership church organ was a novelty ill ,\ubcr'~ cart) piece in a Paris W Pachman lor an autograph, the nonsense quatrain, and a mem- ORGANS In Pipe and Reed Organs Puritan Boston, ami a widely !,outiqu on Hut' ~Illznrine. an<1 he recoiled in honor. "Never, ber of the editorial staff of the spread story had iL that the con. hud it tlrran~cd for hand in 1I11(ici· never!" he shouted. "I know )'Oll "New Statesman." gregation at King's Chapel voted pillion of \uhcr':. forthcoming will take my autograph and write Schunwnn wrole in his diary La throw the organ into Boston hirlhe!tl). 'l'h(' epir.;ofleis reportetl above it -'pay the bearer $100; in February 1838: "Composed Harbor because it was "a hox of ill ··I.l~ \rl'nc ..tr 1" of FebrU8f)2, and take it to the bank." Then some pretty little pieces. On Sat· PIAno BOORS for Young Beginners whistles with a devil insid ." This J f:6ft he paused for a moment, made a tale, picturesque as it is, seellls 10 sly grimace: and said: "Oh, I quite urday: the 17th, wrote 'Kinders- by LELA HOOVER WARD be apocryphal. Tn repl) to an ill- forgot! I have no money in the zenen'." Under the date of Febru· • bank." Whereupon he signed his ary 24, 1838, Schumann notes JI~BIDY-~ APo!~A-C-E - A child's firs,t piano quiry, the Rev. Palfre) Perkins. name with a Aourish for the auto- HDas kleine Ding 'Traumerei' book .. Slmpltc.lty and repetition are the key- minister of King's Chapel. \\ rites: TilE F'OU.O\\ J\C nOllense lim- notes In teaching the pupil to read music ac- kotllponiert." The "little thing" ::So f~r as I can find out. rhe' :--tory erick appeor ill the Bab, Bal· graph seeker. cur~tely and easily, and to form good fingering has proved more durable than habIts from the beginning, .75 IS entirely false. The only pos~ihlc lad of \. Gilhrrt: basis for it is the fact that the fir..,t In revolutionary times, musi· many a big thing \Hillen since Teachers THE THREE BEARS A Story in song for the very cians are often compelled to adopt 1838! youn,g. The familiar story presented for easy organ in King's Chapel was orio-_ "They Jlayee! him a ~onata-Iet Attention! readtng, playing and singing. .60 inally offered to the church ~l me see: the florid and grandiloquent style • Brattlc Square. That church vole() of political proclamation: even Why nm see to it that your zoo ~ONGS Collection of easy tunes to play ledl/lln ohlag3ta-ke} of Gj The foll.owing are quotations s[udenrs gC[ a chance to and SlOg. Contents: The Lion; The Monkey; when dealing with simple har- in 1713 'that ~ley did not think it Then the) hegan 10 sing from examination papers in a priv- discover how much bener The Leopard; T~e Bear; The Kangaroo; The mony exercises. Gn::try, who lived dwy will play wirh a Wi!· Elephant; The Hippopotamus.' .50 proper to use the same 'in the pub- That extremely 100'el}thing: ate school, guaranteed authentic: bnowski violin. You risk through the French Revolution, nothing. Send the coupon lic worship of God.' In this way Scherzando ma !lon (rOppOlppp." "A work for five instruments is S~GAR. AND SPICE Rhythms and tunes for be- was caught by the tremendous his- Illustrated: The Wi/kal/olnki CouJerliafory Vio· for our slJeciat prices and gInners. Rhythm is first introduced to the st the organ came to King's Chapel, called a Fiflet." "'The saxophone lin, A slender, graceful model witb welf arcbt'd [erms to teachers together toric upheaval between the first and body producing a s/llooth. ricb tOile-No. 7273- with complcte dctails con- SCI dent by. clapping the hands and countin~: and was lhe first m·o-an to he hearrl was invented by Jimmy Dorsey." Vialill 0I1ly-5125 •.. No. 7234 Complete outfit cerning Wilkallowski vio- . N 0 I ncidentally. the triple pianissi. 048 Th<: m.usic has been kept simple in order that m 1 ew England. The storv ahout second volumes of his "Essais sur "The brass are coronets j the per- iI/eludillg sfre'llI/lined (lise, gtlwille Perllambuco lins and the 6·day NO • ~~O I"l ~aslc tIme may be observed and correer finger- mo is nol the sofl('~1 dHamic used wood bow alltl accessories, $150 (o/her lV'ilkatlOw- RISK Trial Plan. (Note: la musique." The first volume was cussion are symbols; the wood- Qf)ICtr wg encnuraged. .65 !t's being a 'box of Devil'~ ,~histles' by composers. T(;haikO\'~k)' ends ski Modeh to $175). thc plan is especially ap· pealing [0 parents with 13 an old one which have lW8rd published just befnre the Revnlu- winds are picalos." "Schubert was J the Da"~t;e Arabe from the Nut· moderate incomes), tion. In order to get the second ~1 ~ ;;..._~ .:~~~:~..s Write lor "Examination" Copies many times about ·many churches cracker uite WiUl a quintuple born in Poland and died in Paris r-;;;1'::;-~~ ~:~:.~e~ volume out, Gn~try's friends peti- I 60 Broadway, Brooklyn 11, N. Y. 1 -1 I 1& but I think it has no pertinellc~ pianissimo. with five pls. And in of T.B. His best work is the Unfin- tioned the Committee of Public with King's Chapel." tile vocal score of Verdils Ofelia ished Symphony, sometimes known Please rush me without any obligation on my pari comptete information con- I 7ie.BOSTON MUSIC eo, Tn 1756 the Brattle organ was Instruction, testifying to the great as Finlandia." "Chopin's Polish I cerning famous Wilkanawski violins together with full details of your 6-day there is a sexluple pianissimo, in NO RISK trial plan. I have yaur assurance that no sales representative wilt worth of the essa ys. Jn a state- birth appeared in him in Paris." I ~!_~__~_OYLSTON STREET BOSTON i6, MASS. sold to St. Paul's Church, New- Desnf"l1lona's scelle WiUlOtello in I call an me in connection with this offer without my eltpress consent. buryport. In 1836, it was pur- ment made during the month of "This music is of the Italian mod- Ihe first act! D Profe~ionat I Frllctidnr of the Year II, Mi:hul, ern nineteenth.century school which I D Teacher o Student :se!1~-f;;-ih~:~-P;~~-;;~~~------:chased. P for St. John's CIlape I I m ortsmouth, New Hampshire Cherubini, Gossec, and others de- is very emotional." "Schumann's Name' _ Jlluflim; r de ParllllHtIl is reo I where it remains to thi.s day. ' clared: "An artist musician, citizen teacher was trying to break up the membered more by his eccentrici· I ~~L_-l Gretry, has completed a Treatise romance between his daughter and I Add~~ I , ties and well-calculated manner- on the Passions and Characters. his pupil. Knowing this fact helped I City Stale' _ : Addrus '- _ . On Ihe occasion of Ule 86th isms than by his sensitive per· bIrthday of A b h The undersigned artists ask the me to enjoy the composition." , " u er, t e composer formances of romantic music. Here ~------~ j City Zone __ Stole' _ of La Muette de Portici" "F Nation to facilitate the printing of "The selection showed the vitality 1•• ------_ THE FRED GRETSCH MFG. CO. D' I" ' ra are some additions to the de this manusctipt." The Committee of Rossini who lived frolll 1792 to ------Javo 0 and other celebrated op- Pachman lore. As he acknowledged Exclusive U. S. disfributors for Willcanowski violins enlS, llc was serena dec] at I' P . of Public Instruction discussed the 1868." THE END ~ lIS ans the applause at 3 concert. he mo' 4 I ETUDE-JANUARY 1952 5 ~------ETUDE-JANUARY 1952 •

The "NEW" SHEFTE ltlusie Love!"' s RAPID COURSE in MODERN PIANO PLAYING BOOKSHELF • QUICKEST • EASIEST By THOMAS FAULKNER • MOST MODERN By GEORGE GASCOYNE • MOST THOROUGH

Practical Piano Course in Debn ...s~·: Stri,,;,{ Quart.ct ill C ltli"or Becrhovcn : "!UiSSll Soleml/;s" Raw ..l r Strillg Qrwrlet in F One of the greatest works of Opera for the People twenty-four page biographical These two French composers: this master, the '·~1issa Solerunis" Popular Music • • • By Herbert G-ral dictionary of New YOI:k State considered by many as contem- has not been too kindly dealt with Standard Music . • • musical and terpsichorean per· porary (even though Ravel out- in the past in the matter of reo Here is a book that is just sonalities. Quo of Ow l~orld'8fiuest. 8Pi/lots and Semi-Classical Music lived Debussy by nineteen years), corded versions. True. there have about as timely as it could pos· Bureau oj Musical Research, are represented on this record by sibly he; for it deals in a most Authorities are agreed that been several. but the) seemed not $6.00 Bremen artist-type the single quartet written by each, to be outstanding. '\ow comes a detailed fashion with a develop- Gives pianos offer for the this "NEW" SHEFTE you Those \\'ItO have delighted in com- recording in which the distin- ment that is moving forward Music Ior Elcmenmrv Teachers COURSE is SHEFTE'S best No. 300 more studio or home the beauty paring the respective merits of gu ishcd German conductor. Otto with ever increasing momen- 8')' Parks Gram of artistic stvltng-...the beauty of work and the greatest for- each composer are given a finc Klcmperer is the dominating force tum. "Opera for the People" It should be remembered that fo' Complete Outfit your rich, sparkling tone. Built to the ward step in the nation- opportunity with this new record- at the c n lu trial post. The per. tells just about everything there notwithstanding the very wide- with Fed. Excise Tax money! most exacting standards .•• the wide movement to MOD- ing. The performance by the Stuy- is to be told about the opera spread activity of trained music Iorrnanc i notable for its sin. Case, Bremen spinet piano is a superior ERNIZE and SIMPLIFY vcsnnt Quartet (Sylvan Shulman, ccrtty an 1 nobility, The vocal situation In America today supervisors in America, there musical instrument - your key piano instruction. Bernard Robbins, Ralph Hersh, quart t is adcqunie. the t-ingcrs There are three main divisions are still thousands 0.£ children .toa lifetime of musical enjoyment. Alan Shulmun l is a vital one, and in the volume: Part One. Opera in public schools where there VOLUMES1-2-3 bing Honn Str-ingruber, Else in Production j Part Two, Amer- are no music supervisors. In Write for free brochure. the recording splendidly resonant. SchurrhofT. Ernst Ylajkut. and Each volume $1.25 ill U.S.A. (Philhunuouin. one 12·int:h disc). Otto Wein r. The Akademieehor ican Opera in the Making; and such schools the responsibility Bremen offen teach en a spedaT discount. Part Three, Blueprint for the for musical training is in the wrrrc !ornameo!local.Cluthori ..ed 'leale'" On sale at all music stores of Vil'nna and the Vienna ym- Future. The subject matter of Canada: 720 Bathurst 51., Toronto 4, Onto H» 1'1 lila 1'1 II : Syllf/,/rOlly No. 11 phony rchest ra are the ensembles hands of the grade teacher. It WRITE US FOR LITERATURE the sub-divisions reveals the lBremen Piono [orpol'lllion A composer not \ ery well known employ d. [Vox. two 12·inch is to such teachers that Parks LaMonte is a subsidiary of MARTIN FRERES thoroughness with which the Grant has addressed his very Department E in Atnericn is the writer of this discs) . author has penned his story: 3047 W. Carroll Ave., Chicago 12 SYlllfJ!lOIlY. pla~'cd in this record- competent and helpful book. "Opera in English," "The Spon· Any sensible educator with a ing by the l\H. Symphony Or· IlulH"lcI: Oil" for I.. CCilifl', Dtlr chestra of Bru~sels, conducted bv Here is a ~pl(,lIdid recordillO"of sorship of Opera,': "From Re· modicum of musical training Franz Andre. The German-bor;l a choral \\ rk \\ hi 'h Ilrc!oiCnts a hearsal to Curtain," "Opera can get from this work just the Karl Amadeus Hartmann has had little dilliclIlt) in one' attempt to on Broadway:'l "Community kind of information required to considerable success in Germany c1as ify it. The rhoru~c(; and solos Opera," "Opera in the Schools,'l fit him for this important work. and "Patterns for a People's and throughout Europe, and hi~ are chaTlI t riq ic of th ratorio The book is one of 308 pages Opera. I: spllphony contains interesting mo- form I lit the "tended orchestral with many notation illu!:'trations. The author calls upon a vast Appleton-Cenl.ury-Cro!ls $3.00 ments. The recording is adequate. passag 5 arc for ign to lit ora· experience in the operatic field (Capitol Telefunken, one lO-inch torio. Be this as it may. the work and the language used is most The Al,t of O"cheslI'alioll disc) . i an app aling horal pic e llnd is readable and understandable. 8y Bl!rllflrtl Rogers here given a fine performance. Dr. Graf gained his early musi- When Hector Berlioz wrote \~;iJ)ialll Bo~·cc: FOlLr Lit.tle S)'III- The soloi-ts are Lore Hoffmann IJbollies cal training in Viepna: his na· "Traite d:instrumentation" just Use in first This eighteel1th·ccntury compos- and Walter Lud\\ ig. Arthur Rother tive city. Since 1935, he has about one hundred years ago, lesson staff directs the Rudolf Lamf Choir and presentation ... er is gh'en rather belated recog- been associated with the Metro· he produced a book so advanced }Oac/uld /Vlilt the Radio Berlin Orchc'lra. (Ura· and so clear that it remained demonstrate note nition in this fine recordillg of politan Opera Association. At THE BEST IN MODERN progressions. four of the original set of Ejerht nia) . present he is stage director and the foremost work in its field teach rapid note KEEPS ASSIGNMENTS fQr many decades, and still is a TEACHING MATERIAL recognition, in- Little Symphonies.. They ~re artistic director of the "Met's" Schumann: Concerto ill A m;'lOr ORDERLY. Spaces for splell(lidly performed by the Lon- television department. He is also classic which will be long re- tervals, patter-ns, scales and chord This is one of the excellent rec- • Lesson Assignments construction. don Baroque Ensemble, led by director of the opera depart. vered. But enormous changes Indispensable to Music Teachers ords made b' Dinu LipaltiJ row1g • Practice Record Daily home study drills are out- Karl Haas. (V\Testminster disc). ment of the Curtis Institute of have come in orchestral treat· • Scales, Speciol Exercises lined in instruction booklet, "Fioe Rumanian pianist. a pupil of Cor· Music in Philadelphia. ment since the day of the dem- • Record of Music Minutes a Day" tot, who e career was cut short onstrative and sensation·loving WE MAIL Memorized JolUllln Chl'islian Bach: Sin/oil in University of Minnesota Press, Price (With instructions) \ . by his untimely death last Decem· Berlioz ..If Berlioz were to spend EVERYWHERE Price ... 15¢ ~or Double OrcbeJjlru in E-/lfll, 11m- $5.00 JOr. ber at the aoTe'of 33. Hi~ playing a concert season in New York COMPLETE LIST This son of a famous father was had heen compared with that of now, he would be delirious over 5.13 Mozort 1/!JrId-1t'4f Music and Dance in New YOl'k 501 Piano a .composer in his own right: as 5.1A Chopin Horowitz and Gabrilo\\itseh. and Slate the expanded richness of the S.2 Eighth Note 5.15 Schubert award seals Will be at once recognized on hear- S.3 Jon Ployer it is fortunate that these record· Edited by Sigmrwtl S/meth orchestral palette. 5.165chumonn These beautifully col- ~lV'LUS mUSICco. 50A O. K. ing this recording of SOlue beau. This book, from a series is- Mr, Rogers1 who was trained 5.17 Gdeg ings had been made, otherwise 505 Treble Clel ored awards create in- 5.18 TschoikowM tiful music br J. C. Bach as per- nO sued by the Bureau of Musical in music at the Institute of 124 E. 4th St., Cincinnati 1, Ohio S.6 Lyre terest. Use in roLatiOIl America would ha\'e had op· 5.19 Clown S.7 Birds formed on records by the Cillcin- Research, is composed of a num- Musical Art in Ne\\: York and 5.20 Boss Clef as a basis for a sys- portullity to hear him, The hu· S.S Killen on ------5.21 Brownies tematic award nati Symphony under the direction ber of short articles on can· by Ernest Bloch in Cleveland, the Keys mann work gi\-es opportunity for 5.22 81ueBirds SEND CATALOG MT 152 E TO S-9 A~cordionisl plan. of Thor Johnson. The reverse side temporary music and the dance has been the teacher of compo· 5.23 PuPpy a display of his thorough technical S.10· Violinist in New York State written by 5.2A flog Shown full size. cO~ltains Schubert's Symphony No. equipment. He is accompanied by sition at the Eastman School 5011 Boch 5_25 Airplane 80 seals per III numerous New York teachers 5-12 Bee\ho~en 3 D major, also played by the the PhiLharmonia Orchestra di· since 1929. His new book is a pad. Price, 15¢ ADDRESS _ Cincin nati Symphony, ably di. rected by Herbert ,·on Karajan. with an introductory article by splendidly coordinated and illu- Arnold Schoenberg. These are MILO WRIGHT rected by Mr. Johnson .. (LondOll (Columbia) . minating work upon the subject one lO·inch disc). ' followed by a two hundred and (Continued on Page 57) CITY ZONE __ STATE THE ESD 6 ETUDE-JANUARY 1952 ETUDE-JAY ARY I~J -J _ 7 ¥' t'f malhi/de &/tro- OUTSTANDING EDUCATOR, Modern LECTURER, COMPOSER AND AUTHORESS • Studies (confinued) • Methods SPELLING LESSONS IN TIME ANO NOTATION BILBRO'S KINOERGARTEN BOOK The finest book available for helping the Harp Technique One of the vcry best beginners study books for the piano! Writing lessons, finger-on-the- young student learn notes! They learn notes table exercises and rhythmic songs are com- simply by using the letters in the spaces and bined with little pieces to help form a sound lines and thus forming words! Tremendously pianistic foundation. Finger agility and note clever! Teaches notes to beginners faster than Gestures have a vital part In playing the harp recognition are stressed. 410-40063 $.75 any other method! 418--i0008 $.50

BILBRO'S MIODLE C KINOERGARTEN BOOK These are verv first music studies with an in- • Collections troduction suggesting to the teacher how to A VISIT TO GRANOPA'S FARM begin teaching youngsters. The directions, by Carlos Slllzedo llS told to Rose H eylbut notations and fingering are simple enough Amusing words, sprightly melodies. The for the child's mind to grasp quickly. Sorne child's imn zinntion can run wild with such of the numbers have words and titles to en- piano solos as The Fish J ought. killtJil1g tice the pupil to practice. 410·40060 $.75 the Cat, and Lea] Burning. Dtligillfully illustrated. ",I O·"'02"'b $.75 BILBRO'S FIRST GRAOE BOOK FOR YOUNG LTHOUGH the fundamental playing trcl. Once this ascending gesture has been things, it develops the muscles of the upper BEGINNERS arm. Here is the next step in advancement after A position of the harpist at the harp has mastered, the perfectly controlled hands PRISCILLA'S WEEK The proper angle of the elbows brings the Kindergarten Book. The notation is easy remained practically the same for some two are then at your service for all kinds of Seven characteristic little piano solos. Words to read, and although there are a few tech- hundred years, it is nonetheless necessary touches. When the hands react sensitively about the right curve to the wrist which, illustrations! Young Indies can mimic their nical points in scale work indicated, the ex- to the various rhythmical and emotional re- in turn, assures the necessary opening be- mothers in the week's daily tasks. Excellent to formulate one's approach to it in modern planation of the theoretical constructon of quirements of music, there is no difficulty tween the thumb and second finger. When for first recitals! Some of these pieces are pub. terms. scales is left to the discretion of the teacher. We are playing this beautiful instrument in rendering a composition as intended by this opening is correct, the fingers have the 410-40057 $1.00 lisbed in separate sheet form ... 10...... 0193 $.75 in 1952-not in 1750, not even in 1900- the composer. proper curve. The start of the whole pro- This slow, controlled raising of the hands cedure therefore lies in the elbow position. MY FIRST LESSON BOOK 'or stane and, remembering this, we should rid our" Occasionally, the elbow should be a little Just the book for young children above the OUR FIRST OUET BOOK selves of some of the antiquated concep" grows out of complete relaxation-first low, but this is the exception to the rule. kindergarten stage! Both clefs are used from I?uets for two young beginner. Twenty de- tions which are still in favor with too many mental, then musoular-c-aesthetically ac- The question of finger-ourvings brings the start. The half note and half rest, con- lightful pieces with imaginative titles. Words, harpists. complished. For example: to prevent tense- trary and parallel motion, the use of the. tie, too! Supplement any study or method with My own conception of approach to the ness, some harpists recommend dropping an interesting point. Its interest resides in individual work for the left hand duets these entertaining, helpful pieces. harp, technically as well as artistically, is the hand wrist up. This is an ugly gesture. illustrating that harp-playing begins in the small chords, the use of the triplet,' and s~ <30-40 I2l $1.00 based entirely on aesthetics. I cure tenseness by stressing no particular mind rather than in the hand. To prevent on are all completely treated. 430"40021 $.75 Since the instrument does requ ire neces- gesture as law, but by inviting mental reo buzzing, some harpists make it an invari- sary gestures, these gestures should be cor- laxation and, for a while, avoiding loud or able rule always to curve the finger knuckles • Studies IN THE GREENWOOO rect not only functionally but aesthetically fast playing. (first joint) in instead of out: I disagree EASY STUOIES IN EARLY GRAOE A g.rand little duet book containing :1 series Tone volume and speed should be ap- with this! It is ugly and unnatural-no An excellent etude book in the form of as well. Music is meant to be heard, but of pieces about nature. Pieces like The Piping proached only after the young harpist has other musical instrument requires in- pieces. Pleasing to the ear! Pupils actually Thrush, The t\leuage oj the Viola and Elfin also to be looked at-otherwise radio would mastered-or at least grasped-the slow, curved knuckles-and, furthermore, that like these melodic studies. Carefully written! T¥alte are all excellent numbers in this charm- long ago have supplanted the concert stage controlled, relaxed raising of the hands. position is not helpful. It is the outward Well graded! A delight to both student and ing little book! 410-"'0239 $.75 which, fortunately, it has not. Like the teacher, and a valuable supplement to earlier orchestral conductor, the harpist must learn The first technical step is to pull all the rounded knuckle that makes for freer, grade study. 410-40142 $.75 how to externalize music. This he does fingers in the hand so that, after playing, stronger fingers. But-I do not make all • Piano Pieces through his gestures which should be in- the hand is completely closed, fingertips absolute law of outwardly curved fingers! TWELVE PIANO ETUOES FOR YOUNG STUOENTS spiring and not dry; these gestures should touching the palm. This motion must be To eliminate buzzing, I simply call atten- If anybody has composed more delightful PIANO SOLOS, Grade 1 controlled by the hand-joint (that is, the tion to that defect (mentally and aurally). studies than Miss Bilbro, we've never- seen PRISCILLA ON SUNOAY 110-23950 $.30 emphasize-and not negate-the intent of third knuckles counting from the tips of b. general, outwardly curved knuckles can them! Studies in legato and staccato, proper the music. PRISCILLA ON MONOAY . __ 110-23951 .30 overcome the difficulty; in some cases, how- position of hands, dotted quarter note etudes On this basis, I give my students train- the fingers inwards), and never by the first have never been presented quite so attractive- PRISCILLA ON FRIOAY 110-23955 .30 ing which permits them to play aesthetically or second knuckles. When this hand closing ever, it is necessary to curve knuckles in. is accomplished with precision and com- The action of the thumb is necessarily ly as in this book. 110"23468 $.75 PRISCILLA ON SATUROAY • _.110-23956 _30 as well as musically. I explain to them that the harpist should consider himself like mand, clear-cut tone results. different. After playing, the thumb should TWENTY·FIVE MELODIES the orchestra while his gesture-making During the ascending gesture, there instantly be bent over the second knuckle For eye, ear; and hand training! Another out- SIX HANOS, Grade 2 hands are the conductor who calls forth should be a slight relaxed motion of the of the second finger. ", standing series of magnificently written etudes wrist-in, comparable to wrist- motion at a Another example of mental independ- that are essentially the most delightful of DANCING IN THE SUN'SHINE 120-30409 _40 his playing and depicts phrases through piano keyboard. ence! I was taught (as most harpists were. easier compositions in solo form. Pedagogi- motion. or still are) that the right wrist should rest cally sound! Superlatively written! The basic harpistic gesture is the raising The elbows are chiefly responsible for 410-40241 $.75 TWO PIANOS, FOUR HANOS of the hands slowly and with complete con- a singing tone and easy technique. The almost pressed against the edge of the BIROS OF THE FOREST (Grade 2) 120-30234 .50 Carlos Salzedo, distinguished harp virtuoso proper angle of the elbows is .to be abso- sounding-board. As a basic principle, I have Send for the PRES SE R PIA NOT H EMA1I C C A TA LOG. Dept. E-1-52 is famous also as a teacher, a composer, a nr] lutely horizontal, and it is important that departed from this. When I was very young, ROSES ANO BUTTERFLIES an author. He is the founder-director of the this position be thoroughly established for I became suddenly conscious of what felt (Grade 1 V,>. . 130-40429 .50 Summer Harp Colony of America, which in 1951 marked its 21st anniversary. everything depends upon it; among other like rheumatic (Continued on Page 56) THEODORE PRESSER CO. SINGING AND SWINGING Bryn Mawr, Pennsylvania (Grade 2>' ... .120-30232 .50

ETUDE-JANUARY 1952 9 ETUDE-JA.VU 4RY 1952 l_8 _ 1 •

The Flexible Staff-Pianist The ",usical Iuuuiyman of the broadcasting studio-that's the staff-pianist

with as many different combinations as you by Joseph Kahn can, in order to learn the characteristics of the various instruments and the relation HE AVERAGE conception of a pianistic Tcareer 'inCludes playing with a major of the piano to them all. Amateur work of symphony orchestra OR improvising with a this kind can be started as early as the urge jazz outfit. The only' field, I believe, which for it asserts itself and lays a foundation' requires simultaneous proficiency in both of experience before the quest for a job is 'the post of staff-pianist in radio and TV. begins. Every network and most independent And when the j b age comes, go ahead stations employ one or more staff-pianists slowly. Test yourself in your own commu. whose duty it is to provide every possible nity. Organize a combination in a local kind of sound that can be brought out of restaurant r hotel. Play for dance. Try a piano, in better than average style and to get on a local radio station. Try as many at short notice. In my twenty-odd years as .typcs of popular work as y U C3n. All going staff-pianist with NBC, I have played with well, you'll pr ntly be read)! to join a The Joys of dance bands and popular singers, accom- professional outfit. Then try to work under panied world-famed vocal and instrumental 'as many conductors as possible, learning soloists, tapped it out with the Basin Street their individunfiti s of style, trying to an- jazz organization, supplied solo passages ticipate what they have in mind. with the NBC Symphony under Toscanini, Radio and TV have room only for tried, Sonata Playing and joined Paderewski in the Moonlight experienced perform rs. Every broadcast Sonata. These among other chores. carries the possibility of cmergencie or last-minute changes-the program may run To those who might cast a wishful eye The peculiarly fluent jazz technique grows A ztmqu.e place !S occupied. by the sonata among the different forms of musical composition on similar work, I can say that the job is directly out of this knack of improvisation, too long, or too short; the soloist may sud- not one for which you can train directly. of filling-in. If the often-tricky piano parts denly skip a ·ouple of bars-and the pianist You need wide and flexible experience in were written out, like the difficult passages must be resourceful enough to take hold. by UNO FRANCESCATTI many jobs. And the opening wedge is an in a classical work, I doubt if the average Naturally, he mu 11 e able to read any score ability to play good jazz. It isn't all you jazz pianist could master them. In the early at sight, and to transpose ony mu ic by ear. HERE IS no musical form which is like the Sonatinas of Schubert and various mastery and unshakeable rhythmic security. need, but it stands as the test. days of jazz, the most fluent performers Thus far, I have stre d the needs of T more inspiringly and romantically sonatas of Mozart and Handel, which do I recommend in particular, if one does Not every competent pianist can play could scarcely read at all! That is no longer jazz playing be au the stafl-pianist can't bound up with an artistic career than the not go above the third position on the vio- not possess in transcendent degree the jazz. He can read the notes and put down the case, of course; still, the fluency fol- get along without it. But he must also have sonata. It is unique in the place it occupies lin. The classic violin sonatas of Leclair, agility necessary for most of these sonatas, the keys, of course, but it doesn't "sound." lows from the inner hearing of cfTects rather mastered the touch, the technique, and among the different forms of musical com- Tartini, Corelll, Loeillet, written by men the magnificent and poignant Adagio of While good jazz playing can be learned, it than from practiced drills. The jazz pianist above all the integrity of style of the positions. Personally, I adore these works, who were themselves fine violinists, rarely the "Spring" Sonata (the Fifth), and the depends chiefly on an inborn knack which uses no special postures or drills; he prac- classical repertoire. with the instrumentation of a small sym- go beyond the fifth position; but they re- Tempo di Minuelto of the Eighth, Op. 30, in its turn, has to do with the rhythm sense. rices (if at all) no differently from any As has been said, the radio pianist's pri- phony, and with their various movements quire of the performer complete mastery No.3. The jazz pianist works like a conductor, serious piano student. vate practice is the arne as that of any bound together by systematic construction, of trills and double-stops, and perfect co- One can display all his virtuosity in the developing tune and rhythm not as im- The jazz knack depends on doine th inas serious music student. I believe that scales yet differing from one another like a suite ordination between bow and fingers. Among more modern sonatas, those of Brahms, portant-melody-above-obbligato.accompani- instead of on learning about them,o~l1ld ~s are the best drills for perfecting and main- of short pieces, where in turn are found these sonatas, the one called "The Devil's Strauss, Franck, Debussy, Faure, Proko- ment, but as two separate structural values best preparation is experience. I began taining fluency and evenness. Twenty min- Allegros, Prestos, Scherzos and Adagios. Trill," by Tartini, is a favorite of concert fieff and Casadesus. These demand a sov- which offset each other as they blend. playing with little dance bands before I was utes of scales, every day. And I know of I cannot agree with the critic who re- violinists. One must himself possess a dia- ereign mastery of the instrument, facility The jazz pianist also develops a facility l~. M~ father was a violinist who played no formal exercises more helpful than the cently wrote, following one of my enjoy-. bolical trill to execute it properly. in advanced solfege and preparatory exer- for improvising. Jazz scores are seldom WIth hIS OWn orchestra in motion picture Chopin Etudes. The secret of all teehnical able appearances with Robert Casadeus: The ten sonatas of Beethoven are an in- cises in fingerings and bowings which are written out. You get the tune, plus the theatres, and before I was 13, he took me work is slow practicing. Never practice any- HWe are indebted to these artists, who have exhaustible source of joy and travail for very complex and quite different from chords, and the outline of the desired de- on as pianist. During the eight years I thing in its proper tempo until every note, set themselves the arduous task of defend- the musician. The first is. relatively easy those used in the classic sonata. A marvel- velopment; from that, you embellish (fill stayed with him, I had good experience in every sequence of notes. is firmly fixed in ing this ungrateful musical form (the so- to play, but the nine others are studded ous bowing exercise is found in the in) as you go, taking care never to inter- playing all kinds of music, in readinrr all the mind and in the fingers. Don't accel- nata). It reminds us of our years of tedious with passages which would tax the patience Scherzo of the First Sonata of Faure. The fere with the balance of the orchestra. You ki d f . d . b III S 0 mUSIC, an 111 turning out crafts. erate speed until you know in advance ex- and laborious technical exercises, during of a Penelope. The 25th and 26th measures lightness of the sautille, and the precision learn the knack of knowing how little to manlike performances with no rehearsals. actly which keys you are going to put down which the student, like the snake- dancer of of Op. 12, No. 2 with their prestissimo with which it must be executed during play, as well as how much. At the same time, I got my solid piano and exactly where you find them. the music hall, contorted himself in gym· sixteenth-notes, and with the theme an- string-crossings, makes this one of the most You can perfect improvisation first by study and practice in the hours when I Reading is perfected by reading. Practice nastics of little aesthetic value." I suspect nounced by the piano joined by the' violin perilous and difficult works to play bril- listening and learning to associate tones, wasn't needed at the theatre, reading as you practice scales. Read new this critic of having as a child performed liantly and correctly. intervals, and sequences with their places The youngster who has no orchestra in music every day-new types of music, new badly in a Clementi sonata, and of having ----=- I remember well, at one of the numerous on the keyboard. Next, make a careful the family can help himself by snatching rhythmic forms. Try to get to the point had his knuckles rapped with a ruler in and regular sessions of chamber music study of the styles you like best. Copy a at every chance to play~anything, any. where your eyes pick up whole phrases in- consequence. which took place on Thursday afternoons style, for a start-analyze its elements, its where, with anybody. School or church stead of single notes. Practice reading with What a repertoire! What a,n immense in our home at Marseilles, hearing my progressions. Try to use what you find in p~rties are a start. Next, clubs, balls, wed- other instruments so that you get into the choice, both from the technical and musical mother play sonatas of Sylvio Lazzari and working out the arrangement of a new tune. dl.ngs offer good opportunities. Get together standpoint, is available in the literature of Vincent d'Indy with the composers at the second·nature habit of blendinao with them. Then gradually practice improvisation, get- wIth other youngsters in combinations-- the sonata! Every musical epoch is repre· piano. These performances made a deep ting away from models and developing piano and violin; piano, trumpet, saxo- Each of the skills I have mentioned finds its place, at one time or other, in playing sented; every stage of technical develop- in imitation in the following measure, de- impression on me and gave me my first methods and progressiOl~s of your own. phone, etc. Start a small combination. Play for rad;o and (Continued on Page 51) ment can be found. There are easy works, mand of the executants perfect technical insight into the (Continued on Page 49) 10 ETUDE-JANUARY lY;1 ETUDE-JANUARY 1952 11 , l--- I $

JOHN PHILIP SOUSA- "Great Music is Written by the Soul."

not by the dimensions of the canvas, the le~gth. of a poem, or the heieht of a building. Perhaps the best crrterra are the human breadth of the art work's appeal, and the length of its survival, For. tunately, the vast majority of music "dies a 'bornin'." It never reaches the dubious dignity of print. A work that by its own in. herent merits is in wide public demand over a very great number

l of years, is surely of more significance than some "Kapellmeister ' composition which after a relatively few years crawls into the caves of oblivion. In this category we do not include of course, pieces which owe their survival to pol itical and national condi. tions. Stephen Foster's Old Follis at Home and James A. Bland's Carr)' Me Back to Ol' Virginny are unquestionably masterpieces of their type, while Yankee' Doodle and George Cohan's Over There do not survive because of their mu ical worth. hut because of their political and patriotic associations. On the other hand a simple Schubert melody such as his Serenade wr luen on the back of a Speisekorte in that delightful little Weingarten of Grinzing in Vienna, is just as much a classic as is the more complicated Bee. Practice and study-both prime requirements in the student's life thoven Fifth Symphony or the travin ky "Fire Bird." The pro- French horn section of Cincinnati Conservatory orchestra portion. of a composer's work which remain in u varies enor- mously with the individual. Bach, Beethoven. Handel. Mozart, Haydn, Wagner, Brahms, Verdi, Puccini, Tchnikovsky, Grieg, De- bussy and some others are unusually fortunate in this respect. But New Idea in Music Education what about the works of a composer uch as Ludwig Louis Spohr (1784~1859)? As a violinist, conductor and teacher he stood in The Lost Music the front rank. His compositions including his eleven operas. four The Co-op plan of work and study helps the oratorios, nine symphonies and many other works have practically by Kirk Pol king disappeared. But the world is still singing A1r Old Kentucky Hom.e student to help liimselj, of the humble Stephen Foster who was a contemporary of Spohr. of Yesterday One composer, Chopin, stands almost alone in the number of his works written over one hundred years ago. but played with AUL BYRON is a talented ancl ambitious IS·year old piano used a number of co-ops from the University of Cincinnati and great frequency today. Hi A·F1at Polonaise dubbed in to the student who has wanted a career in music as long as he can found them very satisfactory. It's a little premature to know how One is staggered by the thousands of quasi-biographical moving picture "A ong to Remember" with P remember. Now at college age, he wants to start his career by the Conservatory's plan will work out, but we certainly want to Cornel Wilde at the keyboard, but actually played by Iturbi, pro. compositions which have not earning a Bachelor of Music Degree. But it isn't that easy., A c?l- try it." duced sales which put the leading Broadway hils of the day to A notable exception to the plan among employers -were some survived a decade. shame. lege education costs something these days and Paul couldn t rarse the needed funds. His father is a Rushville, Indiana farmer who, banks who feIt that even their clerical jobs required a longer train- Chopin with his incandescent emotional soul and his exquisite reaardless of what the city housewife might be saying about farm- ing period than those in average business firms, and the necessity taste wrote an unusually large number of works in which the flame ers and their incomes these days, still can't afford to put his son for training two workers for the one job would not make the plan of inspiration burns as brightly today as when they were first writ- through college. And because Paul is too young to have been a as feasible for them as for many other industries. LARGE PART of the music of yesterday might as well never ten. His average of survival of interest is surprisingly high. Com- veteran, the G. I. Bill doesn't help. A have been written, as it is either obviously inconsequential or pare Chopin's output with that of the egotistical and pompous But the picture is clearing up for Paul bec~use of a new plan Many Cincinnati firms had already become acquainted with the hopelessly outmoded. Even with the greatest of masterpieces, only Friederich Kalkbrenner (l788-1849) who volunteered to teach set up by the Cincinnati Conservatory of MUSIC. co-op plan through the University of Cincinnati, which introduced those written in the rarest moments of high inspiration, stand a Chopin. He was a voluminous composer of Etudes and other com- chance of .survival. Many of the great composers it has been the To help solve the financial problems of such students as Byron, the idea to American colleges. Their original thought was to give positions for the piano which had wide educational vogue in their the Conservatory established with its fall, 1951 term, the first Co- students in electrical engineering, for example, an opportunity to writer's honor to meet, have stressed their dependence upon inspir- day, but which were hopelessly anemic in inspiration. Few stu- op Plan of work and study to he set up in .a~y ~usic school. . work in that industry for a certain period while they were study. ation. Richard Strauss said to the writer many times, "Music with. dents in this age ever heard of Kalkbrenner. out Begeisterung (enthusiastic inspiration) is worth no more than Under this plan, the student holds a pOSItIOn III a local business ing. The work was related to the degree for which they were work- Many c_omp~s~rs succeed in producing only one inspired work the paper it is written on." . firm and is paired with another student who takes ov~r the wo~k ing. The Conservatory's plan, however, is designed solely to pro- that r::mams vl~lble for more than a few years. They are like the A competent composer may work for a lifetime and ignite the while he is attending classes. The jobs are by necessity those 111 vide financial support. There are not enough jobs in the Cincinnati melodious EnglIsh poet of gentle melancholy Thomas Gra). (1716- sacred fire in only a few of his works. But that seductive chance to 1...... 1 1:1 , which periodic changes of personnel will not. di~rupt the com- area for student musicians in the music field; and especially those 'I ) who produced other poems of distinction. but is remem- gain fortune and immortality is so powerful that it has been the pany's established routine ... selling merchandise III a store, ca:h- jobs which would allow them to maintain the high critical stand- be~ed only by his "Elegy in a Country (lhurchyard.v-c-a kind of irresistible force which has brought about the transcendental glo- iering for a supermarket, typing and gene~al o~~~ work for m- ards which should be theirs while studying for a music degree. bndge between the neo-classicism of the eighteenth century and the surance companies, department stores, public utilities. Surprisingly enough, music students are more than welcome at ries of the tone art-transcendental in the sense of the Emer- romanticism of the nineteenth. son ian school, "the soul's intuitive knowledge of things divine and The current labor shortage is a fortunate partner to the co- a number of firms who commented that they had discovered some Let us take for instance the case of Joachim Raff (I822-1882) human so far as they are known to man." This precious spark of op idea. In fact, 97% 01 the firms contacted by the Conservatory interesting facts about musicians in non-musical jobs. One per- inspiration in a great composition, is like the heartbeat of a human who.se voluminous works were praised by Liszt and ~1endelssohn. were glad to have the opportunity to be assur~d of a future labor sonnel manager reported, "The best darn comptometer operator I being, without which he ceases to exist. No matter how skilled the He IS known today only by his Cavatina, and his Fareioeil March force in the jobs which individually are not Important, but col- ever had was a girl who studied piano. Her sensitive fingers seem creator, no art work can continue to exist without inspiration. The ~om the Leonora Symphony, No.5, Opus 117. Alessandro Stra- lectively spell the difference between smooth management and a to be just made for that machine as well as the piano." Other stu- late John Philip Sousa used to say, "When one passes on, some- ella (1645~1782) wrote six oratorios, twenty-one cantatas and fitful operation. As Mr. J. E. Meehan, Secretary of "the Western dents seemed to be able to handle delicate parts in assembly work five operas. H·IS name IS. best known however through the opera thing we call the soul leaves the body. Great music is written by "St d 11" . , and Southern Life Insurance Company put it~ "We have a number with much greater facility than the average person. the soul." ra e a wntten upon his life by Frederich Flotow (1812. of jobs.in an organization as large as ours t.hat ~an be handled Most manufacturing concerns will hire co-op students for jobs How do you determine the greatness of a work of art? Certainly 1~83); but Flotow is known in these days almost exclusively by easily by co·op students. In fact, the level of mtellIgence of these in their offices, but their factory labor is unionized, with strict regu· hIS tuneful opera "Martha." The famous (Continued on Page 59) college students is more than welcome in this kind of job. We have lations set up governing its member· (Continued on Page 58) l_12 _ ETUDE-JANUARY 1952 ETUDE-JANUARY 1952 13 s

needs to be just as good as, even possibly HE GIRL instrumentalist who looks your pay in terms of having an opening a shade better, than the average man. She are slimmer. The orchestral manager, think- jewelry, glittering decorations) which T forward to employment in a ranking where you'll learn what. you need to know. knows this, -and it has an effect on her ing in terms of full audience enjoyment, would distract the audience by calling at- symphonic organization to-day, win find Later, when you fill out an audition appli- work. Also, she brings a certain innate is reluctant to hire a player whose appear- tention to itself. But this roots in innate that the decisive factors are musicianship cation, you'll have an extra item to write delicacy of tone, of attack, of approach ance at her instrument gives off a feeling good taste-without which she probably and character and not at all the fact of into the Experience column. which improves the ensemble. ' of forcing or of incongruity. wouldn't get into a good orchestra! her being a girL After a period of this preliminary expe- There are other considerations, too. In general, women who want orchestral The big problem for the girl musician The taboo against women if} orchestras rience (which no big orchestra will give Psychologically, when men and women of work do better to avoid anything heavier is bridging the gap from her teacher's is wearing itself out. One reason for this you and without which none will take you) , equal ability play together, there arises a than the 'cello, the clarinet, and the French studio into professional playing. Assuming is the general tendency toward human try to improve flexibility by playing with healthy element of competition which is horn. On the other hand, their natural deli. that she has the necessary musicianship equality based on merit; women are mak- as many organizations, under as many con- absent from the. all-male or the aU·girl cacy gives them an advantage with the and character, what she needs first and ing careers in all sorts of professions (in- ductors, as you can. At this stage, don't orchestra. Consciously or unconsciously, violin, the viola, the flute, and the oboe. most is experience. It is true that the preju- cluding the armed forces) which, a genera- dice against w,omen is .lessening, that the worry about being a rolling stone. Varied tion ago, were not considered "woman's both grou ps hear the war-cry of "the battle The harp provides a surprise. It is the one instrument that women have been tra- major orchestras are- auditioning women experience is an asset to a beginner. Look sphere," and music is falling into step with of the sexes" and keep more on their toes. into the possibilities of your local radio ditionally engaged to play, the old preju- as well as men-but it is also true that an a natural trend. Another reason is the mili- And the presence of women induces a kind station-of any small radio station. Look dice does not attach to it, women harpists organization of standing seldom. if ever why tary situation which makes it hazardous of chivalry in the men which shows itselfin sit by themselves in the group, and look engages inexperienced players of either sex. into the ballet orchestras which offer good for an orchestra manager to take on young the general disposition of the personnel. particularly well while playing-yet most So the first question is, not where to find opportunities; their season is short, much men. The result is a new and excellent field _ When a woman player 'Can bring all this of the top harp posts in the larger orches- a job, but where to get the necessary ex- of it consists of touring, and since the more for women. to an orchestra, she i a decided asset. And tras are in the hands of men! perience to be considered for one. experienced men often prefer more per· To me, this field is by no means new. for this" she must be the right type of Not As regards her manner of dress, the It cannot be too much stressed that mere manent engagements nearer home, ballet My first commercial engagement was COll- woman. In this ense, character is of equal woman player is in rather special compe- playing ability-even excellent solo ability companies are_ apt to welcome younger dueling a large theatre orchestra on the value with musicianship, and auditions are tition with her male colleagues whose for- -simply doesn't hold up in the orchestral players. Look into the seasonal touring West coast, in which the first two chairs calculated to probe the candidate's self as mal concert attire is (happily!) prescribed. routine of reading, attacks, dynamics, fol- orchestras (like the one with which the were occupied by girls. Thus I find .it quite well as her playing. The girl who is out Audiences are accustomed to looking at an lowing the conductor's beat, even turning late Sigmund Romberg toured the country). normal to see women in orchestras-and for a gay time \\ on '1 get very far-neither women array of white shirts and black clothes. the pages. There is no substitute for this List yourself for substitute work. not only in, but heading sections. During will the one \ ith a pugnacious determina- To what extent shall a woman blend with experience, and teaching and playing The time to apply to the big organiza- \Vorld War II, I organized a mixed or- tion to "put th III n in their place." The the prevailing effect, and to what extent chamber music does not impart it. It can tions comes after a period of varied expe· chestra, and as the draft claimed the young right type is neither too \ ivacious nor too shall she deviate from it? At present, the be developed only through playing with an rience. To-day, the major orchestras are men, 1 replaced them with girls-without austere, but a I alnnced. r sponsible. right- • convention is for women players to wear orchestra, and to gain experience any kind giving auditions to women as well as to men, In change in the quality of the playing. At thinking. right-acting human being with becoming feminine evening gowns, but in of orchestra will do. and the requirements are dependable musi- present, the Radio City Music Hall orches- her, yes and her mind on her job. darker colors and without extremes of The best: of course, is an early start in cianship: good character, and experience. tra of fifty playing members (the full roster Ideally, the girl who wants orchestral decolletage or ornamentation. Personally I high school or college orchestras. 1\10st The girl who can supply aU three will of seventy takes in replacements I includes work should be told to piny whichever in- see no objection to white or lovely pastel conservatories maintain fine student orches- not be kept out because of her sex. And six women-two 'cellists. one violinist one strument she like best. 'In some cases, how- shades, but that is a matter of opinion. tras. Organizations like Leon Barzin's Na- once she gets in, her chances for advance- harpist, one clarinetist. 'and one pianist- orchestras? ever, the ideal IllU L be temp red with the • Certain it is that the woman player must tional Orchestral Society could-indeed, ment will depend on herself. I can think, which comes to 12 percent for the ladies. practical. Thi 111 ans that instruments reo remember that she is not an individual, should !-be duplicated all over the coun- offhand, of at least twenty first desk posi- .1 have always employed women: and have quiring physical for ar a dubiou choice, planning an effective ballroom entrance, try. Don't shy away from a small begin- tions in major orchestras occupied by never had reason to regret it. partly becaus worn n lack the strength for but a member of a working group. As such, ning even if you have to organize an or- women (The RKO picture studio orchestra, An orchestra gains certain advantazes them, partly becau e the spectacle of a she does well to keep to her ensemble char- chestra, however humble, yourself. in Hollywood, has a ccncertmietress ) and from the presence of women placers. !\1:si- girl engaging ill u h physical exertions acter, restraining her dress as well as her And don't ·worry about pay! While you the number is growing with every season. Opportunities for cally, a woman represents the· proverbial is not attractive. There are women who playing to fit in with the others. At no need preliminary experience, put in a sea- The field is open and the chances are there new broom. The prejudice against her is play the heavier brass s. the contra-bass, time should she ,wear anything (styling, son with an amateur orchestra; calculate -for the right girls. THE END women players in our so recent that, in order to get in at all, she the big drum. but their employment chances symphony orchestras The distaff side of The Philadelphia Orchestra-Marilyn Costello. harp «left); Elsa Hilger, first woman 'cellist in any major orchestra, Vida Reynolds. violin (center); and JiII- Bailiff, harp. shown chattinC) dur- and Lois Putlitz, violin, veteran members of the Philadel- Ra.ymond Pai?e-born in Wisc;onsin. educated in Colifornia-begon his career as 0 violinist. are on the increase. inC) an intermission back stage at the Academy of Music in Philadelphia. phia Orchestra. Miss Putlitz also plays pia·no and celesta. Widely experienced in various fields, he is at pre,ent musical director, Rodio City Music. Hall.

by Raymond Paige

I ETUDE-JANUARY 1952 15 l_14 _ ETUDE-JANUARY 1952 •

This over-size pupil,

under the magic spell of music, The Power of Concentration

Mental indolence, not technical shortcomings, IS often the cause became truly a of practice difficulties.

by Henri Temionka

of a string player, the matter of intonation. to a full stop. On the surface yOli may start GENTLE GIANT There are only three possibilities. Either thinking of other things, but below that you are in tune, in which case no repetition surface the musical and technical problems should be needed at all, or you are sharp you have been grappling with continue to or flat. Now it must be obvious to any think- churn around in your subconscious mind. He reminded his teacher of Rachmaninoff, ing person that until you have clearly estab- lance had striking proof of this, when I lished which of the two sins you have com- attempted to learn by, heart an extremely milled, repetition can only be harmful. Play complicated modern work. Day after day 1 the way he crouched over the keyboard. a certain note flat six or ten times in sue- slaved at it, but I would break down in a cession and you have accomplished .the very hundred places until I finally gave up in opposite of your intended purpose. You discouragement. A full month later, on a . by CELIA SAUNDERS have actually trained your ear to hear this sudden impulse, I picked up my violin, cur- particular note flat and the chances are ious whether any vestige had remained of yOll will henceforth always play it flat. This my earlier efforts. To my amazement I is what 1 call working in reverse. played the entire piece by heart without a IG JIM looks down upon me from a A music teacher has too little time for is a good word for this sort of pace and You must realize that your ear is a pre- hitch! What I had been unable to do by considerable height. His piano lesson musing; Jim sits patiently waitin ; to be drive. May it continue to I e "per canon- B cision instrument. The intelligent training conscious effort, my subconscious mind had follows that of Diane, a most diminutive unleashed. cl11,"-"according t ACter Jim, I law!" all, of it \\'in make it as sensitive as the finest done for me. pupil. As I watch lim unlimber his great "All right, Jim," I say. A saucy elf sug· e en the sea submits to the law of tide. I Swiss watch. Use it wisely, and within a The more complete the power of concen- frame, arrange his knees with some diffi- gests that a giant should not be thus fa mi l- have to risc and put out a restraining hand short time it will tell you instantly what tration is while practicing, the stronger the culty under the keyboard, and spread out iarly addressed by his first uamer-c-vYour in order to be noticed over the tumult. your shortcomings are. To return to our subconscious mind reacts afterwards. The grgnntio paws over the same blacks-and- Highness" might be more appropnate.c-, But oh, what a joy it i to hear it. remcm- Rend Tcmianka, violin virtuoso and teacher, example of a string player testing his in- absent-minded humming and fingertapping whites that Diane's tiny fingers have just or "Mr. Colossus, pleesc.t'-c-or ~VIinya bering the monoton us mezzo-piano that was a pupil of Carl Flesch. tonation, the practicing proc_edure becomes of which some of my topnotch musician relinquished, I marvel that there is such Tonka, or something else descriptively huge. haunts a music tea her's hours, as the mild, as follows: At the very first try, when your friends are guilty, even at gay dinner par- magic in music that it can draw the same Hush, elf! Not so long ago I called him the timid, or the merely unadventurcsome E Il\STRUlVIENTAL student. and ear tells you you are out of tune, stop and ties, are involuntary outward manifesta- serious homage from a little Diane and a "Jimmy,"-and stop your giggling! among pupil do their little stint, fraught W performers are often inclined to establish clearly in your mind whether you tions of this unceasing subconscious pre- big Jim. "All right, Jim." (I'm still your teacher, with mistakes, Jacking an)' vision! ascribe our difficulties to technical short- were sharp or .flat, if necessary by testing occupation with the clemands of their art. I also marvel that anything so large and I used to tell your mother what a sweet Big Jim has known the hammering, stag. comings when the real culprit is mental in- the note with the open strings. Now make Who said slavery was abolished? It is the could be so docile. . baby you were.} right, then, want to "All gering blows of tragedy in his youthful life. dolence. B,,: mental indolence I mean the a careful menial correction, telling yourself, only possible state for a true musician. 1 used to wonder what would happen if start with the Bach Fugue?" For a while after it happened he did not lack of complete concentration while prac- at the next try you are going to play higher One of the great secrets of good practic- Jim were to look me in the eye and say, "The alleged 'Little' one?" asks Jim come to lessons at all. When he did return, ticing. or lower, as the case may be. I will vouch ing is to recognize your human frailty, your "No, I won't!" amiably. he sat apathetically, his 'hands wandering We all know the phenomenon of the wan- for it that in nine cases out of ten you will human limitations. If, for instance, you There'd be nothing much I could do "The Little one, yes." It won't be little aimlessly over the piano, finding nothing deriug mind. Vt,Te start playing a passage not have to repeat the same passage or pat- have been guilty of a wandering mind, you about it;-perhaps back down meekly and by the time Jim has given it a treatment. that made sense or reason or beauty. Just in the hope of getting control of it in no tern more than a maximum of twelve times. will not: after reading this, suddenly find say, "Yes, sir !" Wouldn't we both laugh at But, though oversized, it will be tasteful, notes, just notes. \Ve worried about him. time. At the twenty-fifth repetition our Beyond this number your fingers begin to yourself capable of complete concentration such a notion! I'd even have to stand on a musical, impressive. Johann Sebastian him. but in my mind wa a persistent picture of thoughts have wandered far away from the go' stale and soun your mind follows. for hours on encl. No matter how hard you chair to take him by the scruff of the neck! self might smile tolerantly, think of the the sublimation of disaster. achieved so subject at hand, and while our fingers are Of course, there are certain passages that try, in the first days complete concentra- -Not that I've ever taken anyone by the great, good organ in the Leipzig Thomas- often by the great among I;,usiciam::. We still mechanically running up and down the ultimately have to be played so rapidly that tion may be yours for only one minute at a scruff of the neck. kirche, and appreciate a 20th-century had talked at some length of Beethoven fingerboard or keyboard, our thoughts are thev are controlled entirely by automatic reo time. Never mind. Face it. Recognize im- Perhaps jim senses that because of the youth's feeling for spaciousness in even a and his deafness ... _ with Mrs. Jones' party or last night's tele- action, Here, more frequent repetition may mediately the moment at which your mind very impressiveness of his mien he can af- "Little" fugue. Finally I called Jim and said I wanted vision show. I remember how, as a student, sometimes be unavoidable, particularly on begins to leave your music and stop play- ford' to be soft-spoken and agreeable. There How does a charioteer feel as he tries to him to try a piece that was too big for my I was one day rudely awakened from my the piano, where fast passages occur more ing. It is infinitely better not to practice at he sits, smilingly, waiting for me to sug- check the insistent tugging of his four own rather inadequate hands. He came. and reverie when a voice down below, which frequently and at greater speeds than on all than to practice badly. Relax for a mo- gest that he begin. I think of Rachmanin- straining stallions? What is it like to be I put the Bach-Liszt Fantasy and Fugue I recognized as that of my teacher, Carl stringed instruments. ment. Walk, talk, smoke, read, lie down. off, who reminded one of a great, kindly the engineer of a super-tr-ain, contr ollinc . ~ before him, asking him to read it. Duti- Flesch, brutally recalled me to reality with However, don't try to see the grass grow. Do anything except practice. bear, crouching over a concert grand as if the terrible inertia of a mile-eating mon- fully, numbly, he poked at it a little, and the remark: HI just happened to be walking You cannot, at the very first try, expect When you think that you have recovered about to envelop the entire instrument in ster with a small valve? took it home. past your house and was interested in the to secure a difficult passage for all time. your mental freshness, go back to your his adequate embrace. And, like a lesser I don't have to wonder very much. The next week he flung open the door way you practiced. Do you know how often Let every day be sufficient unto itself. Be study, and stop again as soon as you begin Rachmaninoff, Jim can summon the thun- There flashes an insistent notion of Jim and stood waiting with tense impatience you repeated that last passage? 137 content to make today's correction just to lose it. Soon your powers of concentra- ders, or enticethe snowflakes from the keys. suddenly scooping out all the black-and. ~vhjle little Diane, dawdling as m:ual. fin· times!" for tocla y, but as conscientiously as you tion will grow. I think the maximum per- As he prances into a Rigaudon, a thousand white teeth of the piano and Ringing them Ished her trickles of small melody. He was I was ne\'-er the same after that 'experi- can. Tomorrow is another day, and if you iod of uninterrupted concentrated prac- ping-pong balls dance rhythmically, so light riotously across the room. It never quite annoyed that Diane should dela),. repeat, ence, fortunately. I began to take stock will proceed methodically day in, day out, tice is perhaps one half hour. After that, if is' his touch. On the other hand, sometimes happens, of course, any !110re than it hap- chatter, do unessential things while he had o~ myself and my methods of working~ and you will soon have covered a great deal of you are at all human, you are bound to start when he accumulates force for the final pens when Willy Kapell takes apart the something momentous in his hands. I began to draw certain conclusions. For ground for keeps. thinking about Mrs. Jones' party. By all statement of a fugue, I glance uneasily at piano during the Khatchaturian, for in- one thing, I discovered that endless me· Don't overlook one enormously impor- means think about it, and after you have the legs of the piano, half-expecting them stance. But it is a preview of the same sort Finally Diane, smiling coyly at her fa- chanical repetition is not an effective work- tant fact: When yOli come to the end of a seen the last guest depart, go back to an. to buckle and collapse under Jim's hercu- of Jovian abandon, and it's exciting! vorite giant, slid down, gathered her books, ing method. Take, for instance, in the case practice period, your mind does not come other half (Continued on Page 64) lean onslaught. The fugue is gathering power. "Flight'~ and melted out through the door. (Continned on Page 62)

ETUDE~JANUARY 1952 16 17 l-- ETUDE-JANUARY 1952 •

Changing conditions demand a new approach to

Music Education In• Elementary Schools

The influence of radio and television on the child's musical taste is far reaching

Policc Boys Band, Iounrlcd U:'T Licutcnant Delmar Evans, who llut'ing the early by RAYMOND GLENN LEUNING 1'011'1H~'hi~em-eer, wns a profcsstouat 11IIIsi(·i"n.

THERE IS a definite need for a re-evalu- rate. The three R's were secondary and through the ages. There were popular tunes ation of some of. the problems facing supplementary. Words like integration and in the days of Bach, Beethoven, or any of elementary school music teachers. Little correlation were bandied about until they the other masters. What we must instill i.n ·Musical COp recognition has been given to the outside became almost meaningless. Fortunately the the mind of the pupil is that our musical heritage is the great works of those masters The [ouruler o] the Glendale Police Boy s' Band is influences which demand a new approach trend is reversing itself and a middle road because they offered something of form and Lieutenant Delmar (Pop) Evans relaxing at tho conoinced that music and iuuenile delinquency do not nux. to that education. is being found. Certainly the child's desires O"gllll in hi~ Caliro"ni~ hOlllc. The elementary school student of today and interests are important, but with the beauty. They have stood the test of time. by Weldon D. Woodson is the product of a radio and television age. present generation of elementary school Since the child of today is exposed to vastly This could be one of the greatest boons in children who can neither spell nor cipher more music than was his father,it is more adequately, it has again been recognized imperative that we teach our children how NGLENDALE, Cnliforoia, ask most any station. As the whistle blew and t.he train to the force, headed th juvenile bureau; the history of music education, but, unfor- that the three as such are important. to recognize that which makes music of its 100,000 citizens "and he will tell started: they all noted with cousreruarion then he was transferred t the detective tunately for those who hold to the ideal R's I lasting. you who Delmar (Pop) Evans is. The an- that their Lass drummer-a big, fat Ger- bureau. During the latter part of 1950, for of teaching an appreciation of what is good During this period many musical text- From the first through the fourth grade, swers, however, will not all be the same, man-with his huge bass drum had not six months he was a watch commander in in music, it has proven to be more of a books were published and aeecpted by the essential idea is to develop in the child for one may reply that he is a retired lieu- gotten fully 011. The lurch of the train sent the uniform division, where he finished out detriment. Good music, in this case, may music educators with the idea of correlat- tenant on the city's police force; another, him sprawling backwards and onto the his career at the age of 65. be defined as that music which has stood ing music and social studies, music and the love of singing, listening, and respond. an accomplished organist, pianist and solo rails, he beneath his drum. Someone pulled Upon entering the department in 1927, the test of time. arithmetic, and music with almost -any· ing rhythmically to music. Let the theoreti- baritone; still another, the community's the cord; the train stopped; and the cha- however, he never rclinqui hcd his interest Radio is essentially a selling medium. thing. Many of these books contain form- cal application of music be incidental to its leading authority on juvenile problems; grined drummer, lugging his instrument, in music, lending his talent to various or- Necessarily then, it appeals to the masses less melodies and meaningless texts on pen- enjoyment. Children through the fourth yet another, a homespun philosopher and puffed his way up to the steps where his ganizations, as well as playing hi rgsn at of the populace for its selling. Unfortu- guins at play, or crossing the street, which grade will respond with spontaneous body alter-dinner speaker; and others, the amused fellows helped hi III on. home. Everyone knew that "Pop was more nately the mass audience, from the stand- purportedly give the child a vicarious ex- movements to rhythms. Encourage them to founder of the Glendale Police Boys' Band. With the nickelodeons growing into mo- than just another cop, and the)' unger men point of the aristocracy of the music educa- perience. Coupled with some of the more feel. Let them do a great amount of sing- Actually, all of the responses are correct, tion picture houses and ill some of the on the force often carne to him for his tional world, is sadly lacking in appreci- puerile radio novelties it is small wonder ing for the joy of singing. Guide that sing- for his life is one of multiple interests. larger cities the films being run in spacious sage counsel. ation of good music. If the mass demands our children have litHe appreciation of ing, however, by choosing melodies of As a lanky boy in Montana, however, he auditoriums, comparable to those in which He found thc city of Glcndalc to be rich and accepts mediocrity in musical fare, music. worth. had planned that he would be a musician, legitimate stage plays were presented, Del- in cultural opportunities. With it- increase radio will bow to that demand and provide There are newer texts being published From the fifth grade through Junior never dreaming that some day he would mar Evans found himself moving Ir0111 in population from 13,356 ill 1920 to 62.- that mediocrity. There is, certainly, much which offer simplified and usable melodies High School, in general music classes, chilo be on a police force "and become kuowu as Montana and into other western states; 736 in 1930, it was heralded in the nation's music of high caliber presented on the air, from works of the great masters. Many of dren can be given the theoretical applica- the "musical cop." There on the sparsely finally, into southern California. Besides press as the fastest growing city in America but little of this is intended for or listened these have' texts "of simplicity and beauty tion of music in much the same manner as settled plains lived an uncle, a country fid- this, there were always b~nds of one kind for its size. Accompanying its phenomenal to by children. which do not detract from the beauty of the they are given theoretical application in dler, who had mastered his instrument by or another with which a versatile pianist metamorphosis from a town to a city in a One unfortunate aspect of the situation music. Not too many of these have found any other subject. There is no need for clut- car. When young Delmar Evans learned to could work. Inspired by his wl le Sannio, he decade were the formation of musical or- then, is that our children today are receiv- acceptance as yet, usually because of a tering up our music teaching with walking play certain pieces on the piano, he and religiously practiced and e-xpanded his ganizations; until today there are: Elks ing their greatest training in music appre· limited budget, notes and running notes. In the primary his uncle made an ideal combination at musical repertoire. Club Band ; American Legion Post Band: ciation through music which has little to A way must be found through which the grades let them walk or run to the music- country dances. During the months of 1927, however, he Community Symphony Orchestra AS50cij- offer but a formless, simple melody, with school music program grows from this en- because they feel that rhythm. There is no From here, Delmar Evans graduated to made the rounds in Los Angeles and vicin- tion ; the Philharmonic & rtists Associ- 100 often completely inane, but momen- vironment and offers a basis of growth necessity for using a crutch for a healthy playing the piano in the nickelodeons, those ity, but there were JlO positions immediately ati~n; and Glendale Police Boys' Band. tarily catchy lyrics. In opposition to this from the child's level. The philosophy must body. Neither is t.here any object in using early-day theaters which offered the first open. In fact, there seemed to be far more 1 he latter, of course, is Lieutenant Del- motion pictures for five cents, or a nickel. the llsllaHy inadequately supplied often in· be accepted that the primary aim of music a musical crutch which must be discarded musicians than jobs. Entertainers were ad- mar (Pop) Evans's very 0""'1. In 1939, he and the material re-Iearned. This explains the origin of the name "nick- j usti ug themselves to the new medium of got word that the local Y.l\1.C.A. band was adequately trained music teacher with a education is not to graduate a generation elodeon." Following the showing of the ~adjo. Soon, "talkies" would replace alto- just about ready to give up because or the limited amount of time is expected, to coun- of musicians, but rather to develop in our There is a great amount of controversy film, there was often a variety show, or gether the silent film_ Already there was lack of enthusiasm and the necc..."Saryfunds teract this evil and at the same time stimu- children the ability to difIerentiate between over the use 0.£ solfeggio or the use of num- vaudeville. When his fingers were not on the fear that vaudeville was on the way out. to keep it going_ As be reflected on this.. it late a child's interest in learning more of what is good in music and what is not. J:he bers in learning scales. Bolh practices are the keys to accompany the performers, or So during November of that year he occurred to .him that the police departlll~llt good mu~ic. ideals of music education may remain the used. There again the use of solfeggio 'I selected parts of the film, he would get a joined the police department of Glendale could contnbute somethulg in a posith-e Another factor against the possibility of same, hut the method of approaching those should not be discarded (nor used in place I peep at the stage or screen. One of his fond- as a motorcycle officer; it to be only a wa~ to .the welfare of the community by achieving success in building an apprecia- ideals must be modernized. of keys). In too many "'hools we find (do) I est memories is seeing that pioneer movie temporary job, he consoled himself. When ta~lllg It over. Engaging youth's plastic alive music group lies in the fact that edu- We cannot condemn popular music or to mean middle C in the minds of children. thriller, "The Great Train Robbery." two years later he was promoted to ser- lll~nd~ to p~rticipate in music definitely cur- cators in music, as well as other fields, fol- cowboy music as such. Rather let us build Cast out that. application. Teach solfeggio About this time, he was with the Mon- geant, he decided to remain. In 1936, he tails Juvemle delinquency. low trends. A recent trend in education an appreciation so that the student can for what it is; a movable scale system which tana State Band. Once the band boarded a was given the rank of lieutenant. Fronl To help finance it, he suggestcdthat .some was the one in which the child's desires and recognize the good from the bad. As adults enables the child to find intervals and tra in as it was on the verge of leaving the 1944 to 194,9, "Pop," as he became known B1o11ey be taken (Continued on Page 62) interest were to be drawn out individually, our children are going to continue listen- melodic lines. and the child was to progress at his own ing to popular tunes just as people have There are other (Continued on Page 51)

18 ETUDE-JANUARY 1952~ ETUDE-/A,VUAR1' 19jj 19 l~-- according to the tradition handed reason the chanter couldn't stick to down to us through Georges Mathias one pitch and every Sunday he HE LAST ROUND of applause could eacher's '-~oundtab'e and Isidor Philipp. Probably even sang the Dumont Mass in a different Il' key. But luckily the little reed organ Tstill be heard in the small concert hall , , he didn't interpret these cadenzas was equipped with a "movable key- where three freckled-face boys were put- twice alike, and let himself be board" that slid sideways and placed ting away their instruments. So Your Child carried on the wings of fantasy by the inspiration of the moment. the "DO" wherever required. It "Gosh, we did all right!" said-Stan, the Here you may suit yourself. Do saved the day, of course, for the eleven-year-old, to his brothers. not feel bound by any editor's second farmer who never had any "Fun, too:" said Gale, a,year y.ounger .~_ ',;Wion't MAURICE DUMESNIL, Mus. Doc., personal idea. Instead, use your idea of how to transpose, though "~' ,.' . Practice. as he tossed his music ,j~to "a folder.~ .. :; )' ~ ~. own! it never made him a real musician. "I say it was n.eat," said Roy, snapping Advises Concerning Technical Prob- A more fitting conclusion is be- lems, a Practice Slogan, and Playing the lock on his half-size violin case. "And FIXED, OR MOVABLE DO~ yond me. now, refreshments." He followed his broth- Cadenzas. I alit interested in learning some- ers out to the reception lounge. Most children hooe to' be told thing about the "fixed DO", but I CHOPIN, A SNOB~ The program for the local Sunday Eve- cannot find any material about it. Recently I heard of a lecturer ning Club was over. My husband and I to go to bed, to take their baths, Will you please give me the nwne who, while discussing the composers of the romantic school, referred to were being surrounded. oj a book or two about the system? Thank you very much for the in- Chopin as "a snob, full of uri-demo- The gentleman nearest my husband to clean their teeth, and to PRACTICE upon anyone. I simply submit it as formation. cratic bias". beamed. "I bet you never have to make TECHNICAL PROBLEMS Say Mister, I take exception to How much time of one's procrice a result of my observations prompted Miss S. E. L., Colorado those boys practice!" he said. that. Chopin was a courteous, re- should 'be devoted to technic? At by long experience. "Indeed we do," replied my husband. served, distinguished gentleman with C. present- I am studying both. Czcrny Sorry tllllt I cannot give you the The pleasure on the man's face changed hy GRACE NASH a generous heart that prompted him and scales. Which is the way to ac- WANTS PRACTICE SLOGAN name of such materials, and this, to surprise and curiosity. "But the way to extend a helping hand to many quire a good technic: through tech- f would like to put up a sign for a simple reason: there is no they play, I thcught-c-" a struggling young artist. Much of nical drills (Czerny, Hanon, et,c.) in my studio that would be an such thing as a "fixed DO system"! Mozart, Beethoven and many others, you the money he derived from concerts "They're regular boys, full of the 'old tial to their happiness. or through fragments from. pieces inspiration to my pupils for their When you learn music the way it has or lessons went to Polish emigres nick'. And practicing doesn't come any "Each of our boys has different hours will find their training wa part of their meeting the various problems as practising. It should be forceful, been and is being taught since time who sought refuge in Paris and more natural to them than washing their for working best. With Gale, the one who daily schedule, and not because they chose they arise? I have heard so many short, and appealing to the imagina- immemorial, you AR)..: studying the were in need. He was a devout ears," answered my husband. "But both played piano for you, it's early morning. it to be. Free choice, in rno t things, is not opinions from reliable sources on tion. However, I am. at a loss for "fixed DO", meaning: the DO or Christian and a man of high ideals. all sides, that I am coniused as to finding the proper wording. Could "C", which is the Tonic in the key are part of their daily schedule:" As soon as his breakfast is; finished, he for children. His devotion to his friends was un- which is the right solution: I would you help me in tliis. I will appreciate of C, the Dominant in the key of F, Others crowded in, congratulating us on practices until school time, getting most We know our boys are not genius mao failing. Could he be blamed for appreciate any advice or help yOll it very much. the Fourth in the key of G, the our three sons' performance as if it had of it done then. He doesn't .like to prac- terial. They're normal, mischievous young- his discreet attitude, for not want- may care to offer. Miss t. W. L., New York Third in the key of A, and so forth. been something spectacular. tice, but twenty lessons marked good in his sters, full of energy and curiosity. And we ing to slap anyone's shoulder and T. S., Pennsylvania It's all very clear and if you fol- I couldn't understand. Was our family music notebook, brings reward. This year want to give them as much preparation for call him by his first name upon You:r idea is a good one, and why low the rational way of studying being introduced, and is it not concert so unusual-s-playing music to- it will be some special fishing tackle. a good and happy life as we Call. This not use Charles Reynolds Brown's music you will gradually assimilate I have always obtained excellent natural that being a composer of gether and in solo? This could have hap- "With Roy, six years old, an hour of means not only opening the doors to the srring of adverbs, advising them to what you call the "fixed DO". results from a division of practice utmost refinement, he had .a horror pened in our living room. most any evening. violin is too long. Two twenty-minute pe- many experiences ahead, but taking them Is the above a condemnation on into three equal parts: 1. Technic for rudeness, incivility, and ill-breed- "How do you get your boys to prac- riods for him. I always help him, and each by the hand and leading them. And one 2. Etudes 3. Pieces. But-in «technic" my part of the Movable DO Method? Plj.ACTICE ing? tice?" The question seemed to come from week of good practicing brings an extra Not in the least, for in certain of these doors leads to the enjoyment of I de not include Czerny, whose Should Chopin be alive today instances and in a limited way it several people. privilege-an afternoon picnic, a trip to music. books ought to be classified among "Quietly, easily, restfully, when vulgarity is so widespread, he does some good. For example, I I looked up at them, wondering how to the Zoo, or a new ball. Music, a language of the feelings, goes the Etudes, together with Clementi, trustfully, patiently, serenely, would have no commerce with those have heard choral music sung by answer, when my husband spoke. "We "Stan, eleven years old, has many after- beyond the printed or spoken word. It Cramer, J. C. Kessler (these should peacefully, joyously, courage- -and they are many-who find it be better known), Chopin, and ously, and confidently." people who had no knowledge of teach them to practice, the same way we school sports; He practices best' after din- holds no barrier of race, creed, or na- "cute" to cultivate the manners and Liszt, though the latter two are music and still did a commendable teach them any habits-by daiLy repeti- ner. Radio and television programs come the jargon of a certain beer garden tionality .. One of the finest forms of self- genuine music constantly featured on. It sums it all up and I don't job owing to its lise. But here a line tion." only after his hour is finished. A composi- expression for all ages, music is relaxing, should be drawn, for-c-as the dis- clientele. recital programs. think anything better could be found. Oh, for ·more Chopins, thousands "Yes," I added, "most boys and girls tion well mastered merits a Saturday movie, uplifting, and always worth while. What Technic, in my mind, is anything tinguished theorist Charles Lagcur- and thousands of them. They are have to be told to go to bed, to take their hamburgers for the gang, or a new base- better means of expression can we give which deals with the purely gym- SUIT YOURSELF! gue points out-"the Movable DO baths, and to practice. Our children are ball bat. was originally intended to enable badly needed in our' day and age. our children? nastical drill of the fingers, such Can yOll let me know the correct If caring for utmost decency in no exception." "If their Saturday practice is finished as the exercises by Aloys Schmitt, children to sing simple tunes at But to teach children music requires pa· way to play the groupings between all phases of a musical career, for Hanon, Philipp, Brahms, Tausig, sight. It was a mechanical device "But they playas if they enjoy it," said before noon, fifty minutes instead of the tience and daily supervision. The latter is right and left hands in the caden- scru pulous honesty at every turn of Pischna, etc. But I also recommend for non-musicians, certainly not in- the woman at my left. usual sixty is the rule. But failure to com- our job, .as parents-just as it's our job zas of Chopin's Nocturne in F an artist's life, for the supremacy that pieces should be taken apart sharp major, Op. 15 No.2. The tended as a foundation for a musical "They do. After all, it's a form of self- plete their practice may prevent a family to enforce a reasonable bedtime whether of soul over mercantilism are what and studied with a technical ap- education. Consequently it would be expression. And playing for others gives outing, a trip to the beach, or a game of grouping is marked differently by constitutes "snobbism", then let us ~ley approve or not. Yet many parents in- proach, that is: hands separately, various editors; still, there must be a bad mistake to try and apply such them an added sense of achievement. But Canasta." try and have more of it. dulge in the belief that it is wrong to hold with different rhythms and trans- a correct interpretation of these a method to more advanced train- that doesn't mean they like to practice. "Do they watch the clock while they a child to a daily practice period. If he positions, very slowly. This adds notes, which is what I would like ing. Those who study sol£eggio do IS THE CHORD CORRECT? It's our job to see that they do practice. practice?" came the question. wants music, he must do his practicing up to the "gymnastics" and works to know. not need anything else: through it I have been running throngh the We help them." "We have no clock in the living room. in a cumulative way which means H. G. L, New York they become musicians." And Mr. on his Own. Is it because they, as parents, Faure Impromptu in F Minor, Op. "How?" came the blunt question. They check the time when they start. And better and faster results. Lagourgue elaborates further: are content to take the path of least 31, No.2, edited by Henri Consett. I thought of how difficult it would be after fifteen or twenty minutes, they cell I know that some teachers dis- There is no absolute rule govern- "No one would consider begin. resistance? . 1f/ould you kindly tell me if the for a child to read and write by himself. out, 'What time is it, Mom?' card exercises and say "Get your ing the interpretation of these ca- ning the study of mathematics by Let's look at it objectively. In a recent chord (see cut) is right? Somehow, Only through daily help and practice does "If they waste time, I simply add an technic out of your pieces." But I denzas and if you hear them played a makeshift method which must survey of our penal institutions, it was be forgotten later, should one wish it doesn't seem to "belong" as is. it become easy and natural .for him. Mu- extra five minutes and tell them it has been am not one of them, for-this is by a dozen concert pianists it is found that only a scattered few amoncr the easy to demonstrate~certain ways to master real mathematics in order sic is no different. But there are ways to added. After the first few weeks it seldom likely that each one will place the ""~ thousands of criminals had ever rec:ived of drilling the fingers in passing basses at a different point. Such to become an engineer. We do not motivate this daily practice. I tried to h;ppens." ' any re~ular musical instruction or partici- of the thumb, lateral action, and passages ought to be played freely, teach a child to walk a certain way explain. "But I thought children should never pated III an orchestra or chorus durinlJ" extension cannot be duplicated by for they are "ornamental" and at one year old and another way "First of all," I said, "we establish a be forced to practice. It might kill their their childhood. Music and delinquenc; anything taken out of even the most typical examples of Chopin's rubato. when he is eight. There is no more I regulation: one hour of practice each day, love for music," said a feminine voice in seldom mix. arduous sonatas or cortcertos. Think Liszt compared this rubato to reason to change the DO than there to be finished before 7 :30 P.M. I feel that the group. of the ballet dancers who spend "the leaves waving gently in the is to call a C on the piano "F" be- Slrould the E perhaps be flat? It ap- II !o make the daily practice period more if children know what is expected of them, Let us look at it this way. Children are much time every morning working breeze"~while the tree itself re- cause the signature has six sharps". pears on Page 9, bars 4 and 5, and enjoyable and worth while to both pupils what they may and may not do, they have not mature in their judgment. We, as at the "bar", before rehearsing on mained steady. Likewise, let your All of which~to finish in lighter subseqnently in bars 12 and 13. and parents, here are some suggestions M. A., California something concrete to hold to. It gives parents, must enforce what is right for the stage. right hand play with the flexibility tone-calls to my mind two sturdy based on the seven notes of the musical I them a feeling of security, which is essGn- them. If you review the early life of Haydn, In conclusion: anyone has a right of soft boughs while your left hand farmers of Normandy who benevo- The edition you mention is wrong, alphahet: (Continued on Page 51) to his opinion and be it far from remains stable. Such is the way lently took charge of the music in very hadly so, in every instance. my thoughts to impose my own in which Chopin himself played, a village church. For some unknown You are right: it's an E flat! I, 20 ETUnF:-/ lVI' rll)' /952 l _ ETUDE-JANUARY 1952 21 Gigue a real pitfall if played too piece even though you may be fast. I think it is much better to tempted to work on the same one !Ouestions.... and Answers Fortunate is the pupil take it a little more slowly and keep so as to play it more perfectly. I it clear and steady, than to have myself played through all the hymn it uneven and muddled as it no doubt tunes in some half dozen hymn- who finds himself under the guidance Condueted by KARL W. GEHR· would be if you were to attempt it books when I was a boy, and I have always attributed my skill in sight KENS, Mus. Doo., Music Editor, at a faster rate. playing to this experience. Webster' s New International The trill must start on G.sharp of one who believes in Dictionary, and Prof. ROBERT (not on Fcsharp}, and should be in As for opera scores, any good A. MELCHER, Oberlin College thirty-second" notes. While it is not public Iibrarv will have at least physically impossible to play it a little operatic material, and if thus, it is very difficult to execute. there is demand for this sort of But it must not be played merely thing they will probably be willing as sixteenth notes, synchronizing to buy more of it. But you will Musicianship with the left hand, for that would have to ask them. Following the Teaching score of an operatic performance create most offensive parallel PIANO OR VIOLIN? ter continue with both piano and sevenths between the two voices. If is excellent, but if you could manage violin for another year, and that you cannot manage exact thirty- to buy phonograph recordings of all • I have an eleven-year-old daugh- next summer you ask her to tell second notes, then just play the or even a part of the opera and com- ter who is taking both piano and you frankly on which one she wants It is highly important that pupils be taught trill freely, as rapidly and as bine looking at the score with reo violin, and both teachers tell me to concentrate from that time on. smoothly as possible, without trying peated listenings, that would be she has great possibilities. I was Don't try to influence her, and by to have an exact number of notes still better so far as helping you her first teacher in piano but she has all means don't allow her teachers musicianship as well as the ability to read notes. to .each beat. The trill ends on the to improve your sight playing. I now been studying under another to sway her in her decision. If she tied sixteenth note Fvsharp, on which should like to warn you, however, teacher for a year. She has also chooses the violin, then it will not note there is no trill. So keep the that such a combination of looking had enough violin so she is playing be necessary to drop the piano trill going all the way through the and listening is not as valuable as entirely even though she does not in the school orchestra, but as her dotted quarter note, but stop im- the half-hour of actual sight playing practice regularly nor take lessons. by FRANK FRIEDRICH school work is getting heavier she mediately on the sixteenth note with- that I have recommended above. But if she chooses piano, that will will not be able to carryon wi/.It both out any closing turn to complete the But do both if it is at all possible probably mean that she will drop instruments much longer. Some oj triIl. -R.M. to do so. -K.G. the time she thinks she likes piano the violin, for in order to become a really good string player one NE THiNG that is probably retarding each tone used in this narrow range. her and understand the musical concept better, but at other times she prefers I LIKE OPERA BUT I CAN'T HOW TO PROOUCE VIBRATO must study and practice indefatig- progress in music education today is As instruments were developed, other forming in the brain. the violin. I would like her to have SIGHT·REAO IN FLUTE PLAYING O equal training on both instrumetus, ably and continuously. The impor- Toscanini has ph tographic In mory and the inability of so many piano teachers to lines were added, probably- as new keys tant thing so far as you are but how can this be done without I am a high school student and I have been told that in playing teach MUSICIANSHIP as part of the music were added to the organ keyboards, for it very poor eyesight. \Vhen he "sees" some- concerned is the fact that you are putting too great a strain on the have been playing the piano for the flute the diaphragm vibrato is the lesson, especially in the beginning stages of is very apparent that the staff and keyboard thing, he rerncmb rs it, wh ther it i P try lucky enough to have a child who child? My daughter's music is very several years. I greatly enjoy Bach, best method. If this is true, will» you instruction. Too often the teacher is unable grew up together. When Guido d'Arezzo or music scores. He "see" and "h ers'' loves music and wants to work at important to me, but her health Brahms, and the other great sym- tell me how such a vibrato may be worked out a system of interlocking scales, with his mind. The sound 1 altern and the it. But whether she decides on piano to make the student see the forest because is even more important, and I feel phonic composers, but my great love produced and developed? or on violin as "her dearest love," of the trees. music and notation began to progress rap- sight pattern become merged into a com- that every child ought to have time is opera and I get great pleasure it should be left to her own feeling Miss R. M. J., Iowa Music is something that is HEARD and idly, but always in relation to the diatonic plete musical concept and he could spend for play and relaxation. This is a and satisfaction from listening to about the matter. It -is after all it can never be anything else. But music is scale tones. hours ill bed reading sc r and memoriz- very perplexing question and any the Metropolitan broadcasts on 1 (10 not happen to play the flute, her life that is being planned, rather not something heard only with the ears. If we can establish the scale tones in the ing them. A wonderful a r, you SAY, but suggestions you care to make will be Saturday aiternoons. Unfortunately but I am lucky enough to know a greatly appreciated. Mrs. J. M., than yours-or even the piano or Tones heard last only for the split second car and mind, we can teach notation as part he has a wonderful ey 01 hi mind's I am not a good sight reader, and man who is an expert in playing and Washington. violin teacher's! -K.G. the ear drums are picking up the sound vi- of MUSIC because it follows the scale and eye. I have been advised to improve it teaching all the woodwind instru- , .~ by following operatic scores. How- ments. His name is George WaIn, brations, but these tones become related the keyboard. Many students in the early Edward Isaacs, famou c n ert pianist WHAT IS THE TEMPO? Congrotulotione on having such ever, the libraries in this vicinity and he teaches at Oberlin but has to a larger concept of the music which is grades in music never come to realize this. and teacher in Mauch ster, England. has a talented daughter, and congrat- do not have many musical scores of just been doing some studying in forming in the mind. The one entrance to They are presented with a complete been completely blind sin e the age of Will you please give me som.e ulations to her on having such a any kind, and I am wondering New York, and he has been good the mind is through the senses and the more GREAT STA FF divided into clefs of five help with the Gigue from the forty. He says the greatest hindrance to wise mother! The problem you pose whether you could suggest any enough to write me from there as "Sixth French Suite" by Bach? The senses used in helping the mind to form lines each. They learn the line names sepa- blind persons learning to play the piano is is an especially difficult one because library or library association from tempo is marked Moho allegro, and follows: "The diaphragm vibrato is such a musical concept, the more definite rately f;om the space names and with dif- their inability to "vi ualize" the music. both piano and violin are "hard which I might: borrow the scores. unquestionably the best and the most the metronome marking in my old the memory concept developed. ferent designations for the two five line Visualizing supplies a way of organizing instruments"-each requires a great Thank you very much. widely used in playing the flute. It Peters edition is J.:I04 which is very We should be teaching MUSIC and not staffs. Many never realize that the GREAT and rememberinc and understanding music deal of practice if it is to be R.W.G., Connecticut is hard to describe without demon- just the symbols that make music reading STAFF is only a picture of a scale which mastered. As it happens, I also have fast. Is there, by chance, a misprint strating it, but the method is some- as a "whole," the way in which the corn- in this metronome marking? possible. Establishing rhythmic patterns, reads GABCDEFGABCDEFGABCDEFG. 1 a musical daughter, and she too I myself like orchestras and string thing like this: Through a relaxed poser conceived it. "The entrance to visual- I also wonder about this trill. pitch change patterns, notation patterns have come across many adults who studied studied both violin and piano when quartets better than opera but if throat one starts by making a single ization in the mind must be through the she was a child. She began piano and the relationships of parts to a "whole" piano for two or three years in their youth you happen to prefer opera to any pulsation of the breath with a 'huh' ears, the eyes, and especially {or the blind. at five, and after a year of it she other sort of music I shall certainly musical idea, should he the most important and never realized that the lines and spaces sound as if grunting. This must be through the sense of kinesthesia or "touch ..' added violin, carrying both violin not criticize you for that. But it gentle and not forced. The metro- things taught. progress upward in alphabetical sequence. If a blind student can establish a mental and piano until she was seven. By is not necessary to confine yourself nome is now set at 66, and this fur- Perhaps we should always speak of They were so involved with EVERY GOOD picture of the keyboard and the notation. that time she herself had decided to opera scores in order to improve nishes a definite measurement into TONES in teaching music reading for the BOY DOES FINE and ALL COWS EAT he can learn to perform. but Braille music that the violin was her great love, your sight reading. As a matter of which one should fit the pulsation as notation is only a picture of tones and the GRASS that they never got this essential so from then on she concentrated notation uses a system of dots that is not fact you would do better to begin described above. When the player purpose of notation, for the performer, is to connection between the scale, the keyboard on it and became an excellent violin- with simple hymn tunes, folk songs, can do it regularly on each beat he essentially different from the way other 1s it considered physically impos- aid the memory of tones. The history of and the staff. ist. She is now a highly successful and easy piano pieces, requiring attempts two, three, and finally six reading symbols are presented and this sible to play the trill in the right music notation indicates this quite clearly. Teachers can avoid all of this if they teacher of violin and viola, but be- yourself to spend at least a half of these pulsations to each click of makes such visualization difficult. We who hand faster than the sixteenth notes Notation started with a single line to indi- will work to make the concept or picture of cause during her many years of hour every single day in sight-play. the metronome. As the proper vi- have eyes are fortunate, indeed. if we \\ ill violin study she did not entirely in the left hand? Does the trill cate the pitch oj one particular tone. The the staff clear and the relationships of ing easy music that you have never brato speed is acquired the control only .learn to use them, {or OUf system of drop the piano, she is now able to end on or before the tied sixteenth notes were read in relation to. that tone, scale, staff and keyboard realistic and in seen- before. Old issues of ETUDE of these diaphragm vibrations irons notation makes a very realistic "picture" play the accompaniments for all note F-sharp? -O.S., Canada are a wonderful source of sight- based upon the distance the neumes ap- relation to the TONES HEARD. The eyes out into a beautiful warmth, and is ?f the. tones, going up when the tones ~o up, but a few of her most advanced reading material, but I advise you governed by the throat. The number peared above or below that one line, as an help, the hauds at the keyboard help, and pupils. This was done incidentally The metronome marking J."'104 Jwnpll1g when the tones jump, repeating to confine yourself to the very easiest of pulsations, that is, the speed of aid to the memory. When organum came singing also helps to establish the music "on the side" as we call it; but appears in other editions besides when the tones repeat, and so on. pieces at first. Compel yourself to- the vibrato, will vary with the mood, into use, another line was added, a fifth symbolism in relation to the musical con. it has proved a most valuable ad- Peters, but this is indeed a virtuoso play through the entire piece with- . My ten year old daughter aud I are read- character, and intensity of the music, above, to start the second voice. Sometime oept forming in the mind. To the perjormer, junct both to her musicianship and tempo. I much prefer the tempo out stopping to correct a single and the player must therefore ac- Ing (not practicing) Valse Caprice for four later someone added the line half way be- notation is essentially a m.emory aid. The her practical day by day work as a that is given in the Bischoff edition, mistake. Now play it once more- quire good judgment and good mu- tween the fifth to give a definite pitch to patterns in the notes help the ear to rel11em_ hands by Grieg. Before we began to play we teacher. which is J. '"92 • The difficult six- with considerable improvement, I sical feeling." looked at the (Continued on Page 50) My suggestion is that your daugh- teenth-note figurations make this hope; - and then go on to anolher I hope this will help you. -K.G. 1 22 ET DE-HVUARY 1'52 rUDE-JANUARY 1952 23 VIOLINIST'S FORUM .•. Condncted by Harold Berkley ORGANIST'S PAGE see Miss Rolande Fulcinelli, playing a ". . _ and I would appreciate it i/ you strange instrument for the first time: exe- will give me your expert advice on these cuting the most difficult yassa?es WIth~ut problems teaching that have con/ranted missing a note-and tins while weanng 0/ me: (1) For technical purposes would hiuh-heeled shoes! She can play absolutely Concerning Scales, The Fine Art of o I scales and arpeggios or the technical works lecato under these diff1 cu It circumstances!. \ OWe realize ~\'hat a pedal technique Miss 0/ Sevcik be 0/ more advantage to students with limited practice time? (2) Is it pre]- Jeanne Demessieux must possess when we \ erable to teach the natural or the controlled Arpeggios, see the difficult pedal parts which she has staccato first? (3) Would it benefit the wr-itten for her Etudes. Playing Organ Pedals student to insert on the printed page nola- These people all use their phenomenal tions regarding the point of contact be- pedal technique as a mean.s to. a~l end. But tween bow and string, or would you teach and Staccato they worked hard to acq u ICC It III the first A sound pedal technique is just as the principles and leave the applying of place. One does not achieve mastery of the them to the pupil's own imagination and needful as dexterity on the manuals. pedals by wishing. understanding?" I. S., New York On the other hand, some of us ill our Bowing student days did just enough work on the We all know that scales and arpeggios hy ALEXANDER McCURDY pedals so Ihat we could put hands and feet are the foundation of a solid technique tozether and from that point 011 let pedal on any instrument-except perhaps the de~elopment fly out of the window. How ukulele! But, for a violinist, so are most foolish that is. and how short-sighted! It of the Sevcik books. -If f knew the stage of I .do advise you to use the Schradieck he can be thankful; if it doesn't, he must THAS AL'VAYS been intriguing to me is less damaging to technique to neglect advancement of the pupils you had in method of starting wkh .the G scales and proceed to Motion B-and be patient. Ito note the manner in .which g~'eat five-finger exercises than to slight our work mind, it would be easier for me to give progressing chromatically upward. It in- Given patience and thoughtful practice, the organists discuss organ playing, particu- at the pedals. you a plain and succinct answer. troduces the higher positions more natu- genuine staccato can be acquired. It may larly with reference to the use of t~e pedals. They lcll me that at Obcrlin College a If they are still working in the first posi- rally than any other method. take a week, a month, or a year; but when Many of these men in their teaching, m~ke Nilson Pedal Playing book is tied to the tion, I would suggest that you assign one (2) If a student has no natural staccato, the student has a good staccato he won't use of certain words or expressions which music-rack 0·£ every organ on the campus. scale at each lesson together with the ar- then it is better to teach him the controlled regret the time spent in acquiring it. immediately make an impression on the If a student is baffled by a problem in pedal. peggio s~quence starting on the same key- staccato at first. While he is working on it, (3) Personally, I would not mark on a pupil's mind. The particular point involve? playing. the Nilson hook is ready for in- note in Sevcik's Op. 1, Book 1. One line a natural, rapid staccato is likely to appear pupil's music whether he should play near seems to be driven home much more forci- stant usc. No doubt this is one of the rea- of the first double-stop section' can be at any time. But be sure to let him learn the bridge or near the fingerboard. The bly by the use of pet words or phrases. SOilS why they produ so many good given at the same time, for the earlier a the staccato gradually. If this principle is matter of tone-coloring is much too subtle, For instance. Edward Shippen Barnes used organists at Oberlin. student becomes acquainted with double- followed, he will not be possessed by the so much the result of the player's innate to say of a .well-execute d passage: "Now, The Nilsen book is a time-tested help to stops the more fluent will be his later mental hazard that prevents many violin- feeling, to be pinned down so mechanically. that was slick," or "That was neat," or pedal playing. Another us Iul book, which technique. _ ists from acquiring a good staccato. And how could you indicate those innum- "That was done with the greatest of ease." has just been' published, is "Pedal Mas- If your pupils are already learning to The Up-bow staccato is essentially the erable occasions when the bow must go a It seems to me that one should have this tery." It is by Howland W. Dunham, Dean shift, you can follow much the same pro- result of two coordinated motions: (A) a half-inch nearer the bridge for a note or feeling about any organist's use of the ped- Emeritus of the niversity of Colorado cednre. For them I would suggest the series of very small Up-bows made by the two and then back to its original point of als. We should never be conscious of ef- Music Department. Mr. Dunham knows Schradieck Scale Studies (Schirmer edi- forearm, and (B) a coordinated series of contact? fort. The organist's control should be so what he is talking about, since he has had tion) and the third book of Sevcik Op. L accents made by the Rotary Motion of the Much better would be to arouse in the complete that he can execute the most dif- many years' experience leaching organ stu- The way the scales are given in chromatic forearm. student an interest in tone coloring, by ficult passages without apparent strain. dents in all stages of development. His book sequence in the Schradieck book makes The student must first gain control of description and demonstration; and then, Otherwise, the organist has a millstone passes along many practical and useful the teaching of shifting and the positions motion A. The bow should be placed on after giving him a thorough grounding in Rowland W. Dunham around his neck and this is sure to hamper ideas which are the result of Mr. Dunham's quite an easy matter; while the use ~f sec- the string not less than three inches from the necessary principles, to let him ex- him, no matter what he is playing. own teaching exper-ience. tions 3 and 4--later 5 and 7-in Sevcik the point, and the forearm turned notice- periment for himself-subject to your It is important that we cultivate a "slick" absolutely unshakeable mastery of the ped- Mr. Dunham's approach to the problem will train the student to move fluently from ably inward, so that the bow may grip the weekly check-up. After he has explored way of playing a troublesome passage (to als. A sound pedal technique is as .indis- of pedaling is systematic and thorough. one position to another. The idea that a string firmly. Then, in a succession of short, these principles for a week or two-scale borrow Mr. Barnes' expression). It can pensable to the organist as the ability to His book begins at the level of the beginner, pupil must learn each position separately, evenly-spaced Up·bows, without relaxing practice, a whole bow to each note, is the make a' great difference in one's perform- playa scale on the manuals. but before the end there are a number of and then, when he is familiar with them all, the preSJure on the string, the bow should best medium-give him one or two purely ance of a piece. Take, for example, thefirst It is true that any technique is' only a ideas which even the advanced player will learn to shift between them, is quite ex- move slowly towards the middle. At first melodic solos to work out by himself. scale in the opening of the Bach Prelude means to an end, and that the organist find helpful. ploded. Nowadays we know that the sooner the notes may not be rhythmic and even; When he brings them to you, you can check in D Major. There are many wrong ways works hard at mastering his instrument in In an excellent and sensible iutroductiou, a pupil begins to shift up to the fifth and in that case, a slow tempo must be con- on his awareness of the appropriate ex- of executing that half-bar, but only one order to play effectively-but one must Mr. Dunham discusses the general prob- seventh positions, given a good ear, the tinued until they are completely controlled. pression and the means employed to bring "slick" way. If it is done correctly, it al- have the technique to start with. lems of pedal playing, This is followed by sooner he will acquire an easy familiarity As soon as a fair degree of control is it out. Then you have your chance really ways comes off well and the rest of the What a pedal technique Bach must have chapters on Alternate Feet-Toes. Crossing with the fingerboard. gained, the student's aim should be to de- to go to town on the subject! But do it by piece is plain sailing. The passage is so had! Those who heard him play said his the Feet, Raised Keys, Use of the Heel, For a pupil who is playing in the posi- crease gradually the amount of bow used means of words and demonstration, not by conspicuous, however, that one cannot af- feet "flew over the pedals as if they had Staccato, Ilepcritlon, Glissando, Substitu· tions but who has limited practice time, for each note, in this way increasing the marks on the music. ford to make a mistake in performing it. wings." The pedal passages in his works tion, Double Notes and Coordination. J suggest that you assign three scales- number of notes that can be played before Similarly, there are many ways of play- require a performer who can play equally Following this detailed outline of the the major, and the parallel melodic and the middle of the bow is reached. Pointers on Summer ing the opening pedal solo in Bach's Toc- as well with his feet as with his fingers. mechanical problems of organ-playing, Mr. harmonic minors-for each lesson, and Motion B is nothing more than a series School Teaching cata in F, but there is only one "neat" way How he must have worked to develop his Dunham gi\'es a number of practical prob. with ",them the corresponding arpeggi.os in of Up-bow accents identical with those "I'm in the middle of my first experience of doing it. Here again, it is an exposed own pedal technique, and also to see that lems taken fTom Bach's organ works. They the Sevcik book. Don't be upset if this made in the playing of the martele. But of summer school teaching, and I'm up passage and wrong notes will spoil it com- his sons had perfect mastery of the pedals introduce the pro hi ems which always occur assignment is not thoroughly learned by these accents must be coordinated with the against some problems. It is a five-week I I also. , I pletely. Also, there are many ways of play- in actual pedormance--rapi.d playing, Ie· the next lesson; if it has been fairly well short Up-bows of Motion A, and therein session, a,nd a number of my pupils never ing the pedal solos in the Cesar Franck Fortunately, this sort of pedal-playing gato playing, the execution of mordcnts and prepared, assign the next key, for the lies the nub of the difficulty in acquiring a studied with me be/ore and won't after the Finale in B-flat, but only one right way- is far from being a lost art. M~n like Pietro other ornaments, the playing of t\\·o parts study of any scale or arpeggio helps all the good staccato. session is over. I find I can't handle them Yon, Lynnwood Farnam, Marcel Dupre and namely, with the notes all played accurately on the pedals, scalewise passages, wide others. By the time the student has gone Very often a clearly· articulated and bril· as I would my regular pupils, the time and in proper tempo. their students have had amazing virtuosity leaps, and so on. through all the keys he will be playing liant staccato will evolve of itself while the being so short. How should I work with in pedal·playing. Organ literature is full of passages like A careful study of the exercises in scales and arpeggios very creditably. But student is working on Motion A. If it does, them? .. J know (Continued on Page 63) For that matter, I have been amazed to these which demand of the organist an l\ir. Dunham's (Continued 011. Page 50)

I ETUDE-JANUARY 1952 l 24 ETUDE-JASUARI' \ 25 PIANIST'S PAGE Behold God exo/fefh by His power;' who feochefh like Him? -Job 36:22 No. 410-41015* Tango unhygienic benches. . 2. Practice with the enure cover of a ("Adios Muchachos") brilliant grand piano closed. To play on a Adventures We ll-m a rked , cl e a n-cu t rhythm should characterize this number. Observe all dynamic markings very carefully. A nice contrast in strident piano in a small room with the touch and tone is called for in the brief singing passage for left hand set against the staccato chords of the right hand. Grade 31/2. cover up invites false, distorted tone qual- ity and quantity. Often it is wise to shut JULIO SANDERS even the front portion of the cover. Take of a piano teacher Allegretto (J,60) out the music rack, close the entire top and 5 put the rack outside over the cover. ~ :>~ ~ I 3 2 3=== 3. Start practicing immediately upon sit- ---3 >3 ~ - - ting down before the instrument instead of wasting ten minutes to an hour "warming .. t =:;;~ I""" ~ we I"~ _ I... -i Rapid rotation, up." Concentrated practice periods should > > mf i r rf -...... be sharply separated from the times in fsenlpre ,~cato >- persistent resisters, > > - > which a pianist just "fools around" or - ~ - and other questions plays. 4. Practice almost always without using 2 -. 1 3 > 2 -. .... •., ~ -...... :l .. pedal. The constant use of damper pedal ~ 2 , , ~ '------' '--' wreaks infinite harm by substituting thick, > 5 3 2 .1=1:= messy sound for finger clarity and by creat- I iJ_ 4 1 , sz:»; =--- =---.. - '==::, ing hazy instead of clean ut image of the - ~ " By GUY MAIER music. To "keep the music clear in your ° o ~ •• ~. ear" (good slogan!) take your foot off that ~ "=' ~~ .'r. ,)~:~ •• :~ 7 > > f~ ... 'P 7 damper pedal. If n ccs ary fast n your '--0 ~ fc > _I"'-- :::> r r right leg by a belt strap to the leg of the .. STUDENT ASKS: "When does a rendition of rapid passages" ... scales, chair. Otherwise it'll creep up to the pedal . every time! pianist apply the attack' by stroke, at- arpeggios, octaves, etc. He thinks rotation -!.S/ --.. 2 ,,----'!" • "lI A 'I , ! , , tack by weight or attack by pressure?" is only practical in slow playing. 5. Practice without looking at hands or ~~ , I I , '-----J <» '------' :> Never! No one should ever attack the Well, that's too long an assignment for keyboard ... If students did this for part 5 4 H 4 H 4 5 piano. Such hideous terms set up ugly im- this page; but almost any good pianist of every practice period they would gain in 2 t t 1 t . "".------2 :-t ages which pave the way for unmusical knows that well coordinated, smooth, fore- security and ease, would not hit the keys thumping. Instead of "attacking" our in- arm rotation makes playing easier, and and would hear the sound they produce. In strument, why not apply weight approach gives better rhythmic flow and longer en- short, practicing without looking gives reo ::>-. > or stroke touch? How many players think durance. Rapid rotation isn't necessarily laxed, listening security to a piani t's play- of pianistic stroke in its meaning of gently visible to the onlooker, but can neverthe- ing. rubbing or caressing? It usually means less be applied in generous quantities. 6. Drop arms frequently to lap between striking or whacking. Yet, the most be- Poor pianists play perpendicularly- measures, phrases, repetitions, to rest there, loved players of the past and present, Pade- that is, their arms and fingers "strike" the and time L' ~_..J' L' __ ..J clear the ears through silence give 45 H rewski, Gabrilowitsch, de Pachmann, Hess, keys straight down from above. The play- to decide why and how a repetition i to be ~ ~3~ ..:- ,.., I "7'~ I. • - • 13 .:. .."'i:l: :1::: 51!:.. Novaes- to name a few-have always em· ing of good pianists, on the contrary, has a made. " 2 t ;;. 2 1 i&. .... ,.~et..~.. 2 3_, I J,~.J ployed such stroking in their matchless slight sideward approach to the key tops, 7. Stand up, walk around the room every cantabile playing ... Out with all those almost like shaking marbles from the sleeve. five or ten minutes, inhaling deeply, exhal~ degrading tenns! Whenever one of those harsh, perpendi- ing sharply. This changes the posture and I~ P cresco Another pianist wants to know whether cular.hitting students hurt his ears Artur relaxes mind and muscles. ;esc.• = f(:i ------: ..,. ~ !: i- ~~ ...-.----;;. .---- II- D or D-sharp is "correct" in the right hand Schnabel used to say, "Your playing will 8. Memorize and practice the hands sep- -- • . • of the last measure of Chopin's B Major sound much better if you approach the arately to hear the divided sound and know Nocturne, Op. 32, No.1 ... This is one of piano this way" ... whereupon he would the texture of each hand. Students refuse to .... 1,...0 • the many disputed spots in Chopin's music. -L I:.- , , make gentle, molding motions over the do this, especially after a piece is learned '----' c;...... , 'i'" L--J Some editions give D, others D.sharp. This keyboard, like kneading dough or patting - '-----' '------' when it is even more important to prac· - stemsirorn Chopin's habit of sending manu- butter. ,.., I I ~~3r'.1] fl""o .....;.~ 5='T-:----..... tice hands singly. Again, this will "keep it 3 scripts of the same compositions to his vari· Pianists should study Matthay's treatises clea r in your ear." 0 piece spoils or be· . ous English, French and German publishers all rotation to learn to apply it for speed. comes shaky if pianists form the habit of . ·with textual contradictions. Then later, to But beware! Excessive visible forearm rota- ~ I , , '", "' R.j.~:> practicing the hands separately. cantabile ...... I.", II. f' add to the confusion, he frequently altered tion tends to substitute arm movements \!! :>:>:> :> "':! »)/ _7 b. !: ~ ...... ~ ...... ~?;:: ~ ~ F copies of these editions brought to hhl1 by for finger tip control. The function of the ATTENTION SPAS . -. .. I his students. So, since there is no final muscles of the forearms and full arms is to It's high time somebody called the bluff authority, you must make your own justi- free and to reinforce the fingers. When -~ of so-called educational authorities on the I t 2 2 , 3 3 2 ...... 2·1 3 32 -.. fication. In this Nocturne I play D natural arms supplant fingers the result is always subject of the attention spans of children. since the sudden dramatic (and tragic) weakness, unevenness, insecurity. -- Why arbitrarlly limit primary school chilo n I - -~3 recitative ·whichbegins five measures from 2 ~ ," ~~,.;. ~. ,.;r.. PERSISTENT RESISTERS clren to brief periods of concentrated enjoy· ... the end completely disrupts the lovliness --- ment? A youngster will listen to music I and languor of the preceding B rnajor key. , Here are a few of the things I have found completely absorbed so long as it is stir· [@ How would anyone want to finish the Noc- T r -.....IT' ...... r that piano practicing stu.dents resist. They ri'~g, stimulating and vital. The ialIae)' of """'7 ~~ P ~7'1 '1~~ I~ turne's harsh, fateful measures with a bland > ~ apply to advanced pianists as well as begin- the theory of short attention spans has been ...... ,r,.... = ')P B Major triad? ners and intermediate graders: ...,..... !: .. proven over and over again in my classes - Pianists refuse to ..• : RAPID ROTATION for young playerso Six and eight year old 1. Practice sitting comfortably in a children take the long sessions completely ~ ~:;j " fl ~ A perplexed player wants to know "how 0...... / 'l:ti ~fii q.. l,.; strong, squeakless straight-backed chair in- in their stride. There are no very (Treatsiuns I > o 0 ur it is possible to use rotary movement in the stead of trying to use those atrocious and . " . l--...-J , l---.J. L---J , I I I ! L' __ -I of restlessness (Continued on Page 63) * From Planorama of the Worlds Favonte Dances·'arr. by Dennis Agay. Copyright 1951 by Theodore Presser Co. 26 ETUDE-JANUARY 1952 ETUDE-JANUARY 1952 27 ~"""' """'iiiiiiiiiiiiIII _ II , I

8························ ~ ', . A Song of India : : a :> non legato , 2 3 3, 5 ,'.- Chanson Indoue ~ u hi h'-;:::-t

" . -- II I r I r I r I to -~ T .. • • .... ·r~p ~p ~ I - ~ ~ r ~ ~ '/-:;- ..--'1,_ --.... 5 , .c;. 5 _ - - II!! 1 '1-_ ------~ ~ , # ~ ;I~ 51~ 1___ ~ --- . . , r I r I I ~ r I r I I '(' ....., .. ... r 12'-.../ 7/ _f- -f I I I ~ I 2 I '---J I I , V ~ 1- I~ ,) - I I I ~p i~P i~~ r ~ ~ ~ • ....- ...... ~ " ------, II u ~I~~ $~ l 4~-> hd~&~ Qd"- _ &~~l_,.....--...... r ,- r r 1 = I r ~ .... I , ~ - 3 1'- eSJJ1'~sivo ~ 5 ______< f'- -r~ I~ ~ I'. 11 . 1..------... 51 ~ - _.....2 ,~ 5 .;;::- ~. ~, • /"1;_ ~---- ""- -' . .. /' - I --- .'~ ------,,- ~ 1 ---- ~ ~ ~ ~ ~ , , r I r I f i~P i~P ~ ~t' ri Hi. • n I I J-' r I ~ .----t. ---#' ~ ./""'-p Ped.simile - - .. --- -h. - ~ r r I l..""j I I r I r 1 .. .. . ~ • 2

2":'" IIU 3 1 2 2 2 1 • , 1 :______'.! • ~ !~ ------. D t':\ . . . . f: '-.../ ~ , -=:::::::: ------"'" poco rit.·'--- Ijp rz·ten. ·V ~ ~ ~ ~ ~ 3 f0 r I r I I r I I rr r I ... 5 oJ ,. •• ~ ... 2 ~ r [. • -2 ' 5-77'__ , 1 Ped.simile - ~t ~ Copyright Hl22 by Theodore Presser Co. - L------'I~ I -28 -' I l...... --~ _ ETODE,JANlJARY 1932 ET(JIJE-JANlARY 1:1ii2 No. 130-40469 .q ~ 3 4 5 2 1 2 2 3 " The Magic Pool-· 4 ~ 3 1~2 ,2 3 '~ 1,,2 > This melodious number provides opportunity for very effective finger work. Wat-ch the dynamics carefully, and follow pedal I , ~, ~.~ I, .. ~ ~ .. ..-:.. :...-17\ marks. Tone coloring is important here. Grade 4.

ALEXANDRE MEDNIKOFF -~ I ...... Allegretto strepitoso aliargando ;,. ~"" fff > ~17\ : jJT1 2~134r I ...,.., 5 ~ ,'iI I",! ..-~ ~- I 21! ~ 1 ~~ I , 7~, 7 D V /' I -- > 4 3 r: 2 1 1 2 2 ~, 1 '~ '~/II'7'V 2 2 4 s 2 2 ~ 4 3 p~======~ _)It qJ " ;) - I- 4 5 17\ -.. . . .' . .""______.. , ~iI .- ::; ~ q~ -~ •• ~ iI '.- ::: - , I >~ - ~. iI 11. n -----> . "U [----:r 5 >-- ~~--~ 3 It! . 5 4 5 Lento assai 2 2 2 ~. ~~t 1~ ~ 2,- r 5 4 S 1'1 ~I ~....., t f9"~~ J .J J ..I ", 41 " 4~ ~ I , flJJ j-J. ~;~:ru"l.~ ~~~f~ ~ : , ~ I I C 7 V II (' l!. It d~ ::==- 2 1 P II II r ~ rt ar "LH p ~ -I 1bt'::j q" ------(:\' . ur "...,. ...allarg. ed espr. riiard, a tempo s~'to calrn ai o ~l._ .. h~j,U\ b~ L" ~ J. >..-- . , ~ . , . ~

5 2 1 1 F'" • ~.DiI· '2 " 5 , 5 ~ r~f 4 5 , 7' 3~~ \...~. 21 t.1I 2 e1f·~·~q~ .~; ...., 5 0 ~Dr r;S I P tl t'-----L " o_~ " 5 0 , j -I ( 2 ; ....,~I "I ,,-, , ~I 2 - JJ .J -- ,---f-l I .J .I .. .J 51 ------~ J 'I 1 " ) J l); j~1 ~ ~ ~ , ~ ~ r ~/' II II /' V /' II'V ::!S- ( , .;-I.> I pr '77' l!. V /' II 7 ~ ,- V f r1!bato dim. poco rt poco . 1 . Y gra~~ P 1\ V -j,. f pochetto ritard. ./ rita rd. 1'1 I : : '- 2 t ~r-I"~. ra,' ~f ~r t -. /;>.' • b.':...... 2 5 o~ ~--:C" qi'q?7 I;---r' - qf==- 1 ~ t ·~..f·~t··~ I~f Allegro furioso a tempo 3 5 4 4 5 3 4" 3 , 5 5 4 1'\ I ~ ~ 4 1 4 5 ______2 5 ~ 2 2 3..--: 2 1~Fr:".. ~\5r!:-~ 1 t 2 I 4 5 .. 4 ~5 ~ " 2 . 1 ------" . 3 :2 /2 ;l!.~.~ , --- . , , ~ '- ..,.... ,-¥ ~~ '~ , .. _#.: .... .~ --=...i I I -.r , I "'p ~ I I cresco f p(~,..J- I ~rJ mp~ 1 I""1""M M"'M ,...,..-r'1 ...... ,- sospiral1do . - volallie J b.n. : 1 ~ "7 ~ 2 :j • .- • .21'~ ... , v.~ 1 -.5 5 .. 1 3 12 '1r'r~1 ~iI ~ 2 #~ " qn~lq'T" b1l' .• b; , .. , (, 2 1. 2 12 -- A A , I 5 4 _- r 1'\ , -, 5 " " "2 1 4 3 4 4 ,,~. ~~ . 3 ;:. , " f1-S ~ L " /5 ~Lb.b .. _ I. ,.. : .. /' .t-\ l!. 0 : : T,V I ' V P I ( :11~- ,-¥. ~- mp _...... ~11 .~ ~ ...... 1::L ....., ! ::sc. ~co rt po~ -~ ( " ... r 1 pp I lI" ...... l.' d,lllendo e rdard. : I :::L~ ( . - ~ "1-=== - -=== : J- ... 2 5 1 : - ~1 ~~ ~- :: ~.... ~ ~ 3 - :> t :) 3 r. ate~ 5: ... ;; r. 3 r. - 2, ., . ! ..\-IIi. I. 4 3 2 3 !I t 2 " 2 -l a 323,5 r. r.~ ~ 2. • ~2t 24 ~5~4 "I I 3' 23 I .-~:f!: 'l- .1i> ... .- 3 • 2 •, I 2 , ~ +-~.~.' 5 " 5 ~ 5 giocoso l!. '2 I - U.U /, ...----'2 ".';' -0-> ==-pp P f ?'it~ -:I I I~~'!w'!f;f '!~ '!\3~,'!3 /. ~ ~ /"'\ ;?\ · · I . A agilafo _r'" . ..- A <; 5 ~ 1 .>: ~ -rr5 a , _ 2 1 .. ,.,~ s Pili animato ~-" s I ~ 2!\ 5 3 ~ S. it 5 b! I ,., I , 2 3 25;0';'· J2 ",2 , j:: ~,.'"'-( =~...... =l I t!.i , -~ f : poch. i'I'I. - Ii;~, 6 6 6 >-P rap, 0 •~.~.1= • r:-.i= - = 6 .d __ ~~===!!:======{.\~.

t 3 2!j 5 1 3 2. 5 1 , 5 i 1 , ~2 1 2 , 2 Tempo I a tempo ,4 Tempo I 3 • 2. 5 5~ i 1 545_ r~~ , ~ r--I 5 5 "..-::----- 5 3f2S32S . ~ 5~fi ~ I , y-~ 'r...'LId.. 2 '- I, I - =~", 3==-', 2 1 I np espy. cresc, poco a poco , I ~.~ 1 I ?'it,

I 1.53212toij 25152525 ~"3 . 2 t 2. t-" 231234 t ~4 2 3 5 , 5 2312341 2 3 3 t 5 4 1 - I"l I, ----;--...,4, ,5 Pilimoss~ " .::::::=::--- '!.~~ .. : ;.: fl- ______fi~f ,,------~; 5 4 t • , I 2 3 1' .... L -'.2 t I . '2 .t 3 , p( ....--...... --.. pp f rit ...f-. --r o...!... ------C-J f . ~:JJJnTI /,.. ~ ~ _. ::s- , '" 5 , ~ ~ 2 , .... ~2 I 5321235t~ 5 5 « 2 3 , Copyright 1937 by Oliver Dltson Company --- ======... 5 2' 3 32 International Copyright Secured ETUDE·JANUARY 1952 r;-- 33 ETUDE-JANUARY 1952 p

No. 110-27158 Sparkles No. 110·26344 Beneath a Southern Moon Agile finger work and careful ped a l ing- are called .fo r in t~is little number, The interpretation should "sparkle." Grade 3 A Serenade 4 Good practice in playing thirds is provided in this number in serenade style. Be ~ure to give a good accent and keep the rhythm steady. Grade 3. 5 3 a FREDERICK A. WILLIAMS, Op. 163 Allegretto (J :80) , 4 4 ELLA KETTERER .. '.--0. 2 t- .,. a 2 · Allegro (J :120) - 2 3 . 1':'1 . I~> 4 --.J 4 2 1 1 3~1 f. - '. - . if ------., Il! qll ~ . 123" "'iiiiiO[ , 2 5 . 5 r; w • w· ' · -... mp =- •• a t .• sl111tle fl'JJ~' L.H. .I 2 F.r L.H. 1':'1 2 3 1..1---I' - - 1:' - - 2 4 :J e I ,. ..;. 1 ----!. r,,,:, . a. 2. t . ;e_ -f"- • · - 5 2 I 3 ~ 1 5 ~ .. I ...... 4 ~ s, 3 2 - , A A f ll. l.-.-J ~ a -- - a - --= L.H. 4~i L.B. - 2 t~ 5 2 - ~._._._4.:: 2 4 2 1 2 . w· ""'-I --or. ""'-I 0 '--I ~ ""-.I •• :-" . :> ••5 3 - ;, 1st time on y II L' s t ti m e 1 '~ ;.. !;i f -.! r--:: ~ '. "ZP ======~ · . . ~ ...... 1,."".:1 I ~ - s 5 ... a -«: 3 2 5 ...... ;~: ... , '------!A'- ~'L__ _' - '-----~'L--- _JA'__ _JAL ...1 · '--"' ~ ...... •• """'-J ..... :> 2 3 5 3 F,ue 3 25;e___ 5~ 2 4 3 2 2• ;, ~ ~ ... a;e_a ... a ... ~~1 I~. 2 I •• 2 , 5 1/ <, ~ I , I ;l ...... !. ' 1"""'::1 3 - - - . . i -..:I . . . I 3 -';. ~ ...... 0.-:; • , f mp - ==-- .ff 3 ;-:. p - f f- _~a a I , I L.H_ ~,,'" --= ... • . ~ :J I~ ...... - - .. . -~ • , "-I .... ~ ""-I 5 2 I :;;; . •• ...... ~ ~. 4 3 1 2 - 2 5 5 •5 5 2 '------J''- -.J·AL__ --J Fine - ., I L' , -----...1AL ---J'L _ - - ....-:l ...... " I . , - - ,., - , , /4 5~ 5 4_ '. ~" s..~ 1 3 5 ~ 5~ ~ 1.....1 -" 0.-:; /' ~ -- "11 -6i- P ~,,!,- .....-:l. • - , .. 4!. ..". -, - - .. ~ ~ 2 =f 2 3 3 ~ 3 L.H. -,;; ;-J . - "-I ...... i".ooio' -+. 2 I "-i . L.H. f ~ ~~1 ~) f . •• •• . t!_ L.H. a . 3 2 -- ~. 4 • 1'1 I 1 1 t ~ . ..;. , 1 r a::J • ..;.l : a 1. - .1 , 5 . . • 1 2 5 1 2 , . . , 5 '5 I 4 5 • '. ....1IL---- __ A' 'L ,, A 5 2.> @ ~ ...... - - '------~,'-- ~A'_ _ mf -==== ~ ;e_ .. ~~ .. fI""""i :J ...... :I -.. ~~ ~ 5~ 5 1 2 5,.;;;::--.. 3 5 ~ . . 1 -- :~ ~ 5~ I~ , " $.5 - .. I-'" • • \00000"'" ~ . --... -. . 1..... :1 4 l! 3 -';. 4 ;j ·3 2 .;... ,2-2 3 3 3 2 I , 'i .: a .. .;. ;;.." ..;, . ,....., ~ 3 - . • l f -;"' \-.{ L.H. . . " . L.H. . " • L.H. Tit. L.H. . f. 10""'" . __ ;e_ nil'------f~ • 1 2 5 w ... ~!l J ~l ...... :I~ 5 ... 5 ~J 5 5 2 • I -" AL ---JA 5 D. S. at F"ze . . '------JAL------..JAL __ ---JAL _JA C 9 opyrig;htl 41 by Theodore Presser Co. .1... - ---.J •• ~ ~ 11 • -e' •• ~ 34 British Copyright Secured D. S. at Fmc Co·pyright 1936 by Theodore Presser Co. British Copyright Secured I ETUDE-JANUARY 1952 ! ETUDE-JANUARY 1952 35 6Iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii _ p

...___-----3--1=:'1=::::::::=-~----!.:...--""':"""~..!...!....----3------'-'--:.--.-.:-'1 No. 130- 41004 Skaters in the Starlight -;;; ~ 2~ , ~ ,~ 2 ~ 3 --""1 - Note the direction, "moderato, with gracef~l rhythm," and let this guide the interpretation.' In the second section the chord 0 c1ust~rs together with the left hand finger work should receive careful attention. Grade 3. , C/o t t 4- :..-4 - I r j' 12 Mod eruf,o, with graceful rhythm (J'116) ROBERT SYD DUNCAN : .-====poco rit. L.H. ~ ==-- ~34ji~~~f.\ ~~~ 3 3r-fj 1!:. 5:ja tempo 2 2 ~ ~ ~ ,~ ~ 1'\ 'IJ.J.J ~ ::. J! 32- • 5 , , , ;; 2 I ...... 2 3 • c;.f2 -31234 2 3 ~ 5 2 - 1 t A A A'- ~AL ~L "______' ~ nif =-- ==-- poco rit. f.\ li~1J-; ) W }"' > >3 W 5 ~...! rubato-::' /1 12, 2 ate';mPj ~2 ~~;r;;;. ~~..#~ +- ... I: ... ,~ 17lf -s:: 5 atempo 5 2~J---"':a ~...., .. = .. - _,3 • - .. I~. J~ ~~ ~I r, ,~31~f .:::f

0 1 2 3 2 2 I I 2 ..; !!.; 5 • • 1 , , A , • '----' e. - >-==-. ~'"I "". Ii 1'2 f:iH. 'I .f. rit. mf ' JJOCO rit. • 0 fL. 5_ 2 11f " . \If > poco rit 1'\ 41 ~I ~3~5 PI m~ -s.:-. .s: ,-• ;9:0 q~) - /' r~~~ ~JFjIJ,.E1 ~ , - IN h:nJ~ , ~J

e. V!i .....- <' e r ' r 2 3 I ~ I ~ q...... 2 I I I 2 f 2 1 2 I! 1 ':'"' 12 I 3 2 2 3 1 • 5 3 3 i---" ~ ~t!~r •-<:::: - 2"fT2 5 2 L--'---l ~ -~ ~ /4 ~J ~~ pOCO r,' t. :::::- pocn ~I. D.S. al Coda ... 3 " .;., .l-- ~ 1 0 'I -R ...-• "2 ~ .. j!" I . •'------'1 ~ L- ---'P.L _ l!.- i..- ~ ,--;;;; 3 'rallen/nndo ql.l-J,-- .--$ ",~ ,~ - - - 2 a tCUlpO ~ I~ 1 /"'..;. " J " • '....--...' CODA ~ I,: .l\ P_ PP I.!:b.~~, l!.- .. • • ...... ~ (. ~ I -J.-,. , : poco 7·i/-"-:. ~ aeee!. poco rit. 2 5 3 1~ " ,aD.,. .. h:' ...... ) J J70CO accel. ...~_ 1,_ :i: 2 . --1I_---.JAL __ JAL J\.A__ ---'A • A

0 2 .-t 3 I 2 I 0 . ---.:.;..f' A A A A A A A , , 'I I ~I .L. ~ 2- ~ 'No. 130-41056 Wild Horses Grade 3. SARA FREED v . Allegro '96) l!.- 1""1 r I_~ ...... - ("I ,-,I r .,. ~. I ~ ~ I ~ 5 u.r_ s / U! ~ ~~~r. 0 7< t'# ~~ -~.ti: POC?rd to ------=-- • • • • ------.:.::. .. • .--v ----...:..::... ..- •• '~ . • !!':"/ 0 mf L>- ~ , , , •, j!~ ~> , ! , , I, , '--'...J 4 Last time 1 ~ aternpo , I I I I , , , 1 I , 1 , , ~ ~ 2- - 5 ted0 0 a -$- 'I - I :;:::I- 2 I J ...... 1 " - ~~ 2 1 1 1~ .~ 0 r 5 __ " --... --,.... 0 ~ 0 l!.- q...... • C/ /> u i . / -- --- poco f/L.H.mf 1 , aceel. P e. . · ~~.~, :; -.@ f · - - , - , , ------. >- 2 3 If • '-' , r • 3 8"': . . A I A A "---.J A "---A , >- 'I I ., 0 ====------, ~,-~I - 0 3 .\~ 0 0 ------...... 5"""": I 3 ---...... 0 0 1'\- 0 0 0 , 0 0 t 0 0 r I. "6P mp p~co ==-- v • 0 e. • j. v _v ~ .--- .-- ~ '-' 7 ~.I· ~.I· •• . • 1'6'- · -.!°f°==- ~ ...... mf { · . . >- - f>

5 2 I , A , I , , , , I , , , , I A A A I ------~A~ A A Copyright 1949 by Oliver Ditson Company 'i 36 International Copyright Secured Copyright 1950 by Oliver Ditson Company ,International C~pyright Se~ed l,. ETUDE- JANUARY 1952 ,ETUDE-JANUARY 1952 37 rilliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiliiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiil__ .... _ __ .... _ No. 410-41017* Scotch Heather No. 114·40003 Ohansonette SECONDO MOLLY DONALDSON Brightly, in strict rhythm (J . 138) 5 2 1 , a ~ ~II If a ~ i ----.... a • · , I .. 4! .. - .... - -~ . . Jlf .. , . • • . · · • • . ~:>· 1 ~ ~:>· ~ ~t' 5 I I I 5 L.L.....J [ I '" I I #t--!' I Illllt a 1 2 v - 2 poco rit: o - 4! ...... ~' I ... ·.J~· < } j 3 jj f~; :r. I" =t L I~ . · . . . . . • · . · . • ~ . • • . • r T! 2 1 ~ , ~. 2 • -p.-4- -.:;: y 1'7' r 9:• [ [ I " L--J 5 L-....J '----l 1 ~ fL-J I I u OGO 'rit. Mit ( "-.---• '----.-J-' ... i ,II a tempo 2 4!J :::>- I, R.N .j $. :> 3 0 2 o I 2 , < 1 . II-----;;']. J. ;J: ~aJ-:- r; 21 ~ I I 1 I~ • . . . · • • • . . · f . . • . · a tempo cresco P" T! t;::-' 1" p. Y 2 I ~ '}I- '----J ?4~ " j9-. · I_~ L--..J' l.--J '----l t ! , L.X2 a I ------/lIlJI u I .. f... a little softer R.X ;> :::>- < :::>- > r- 1 2 ---'l 2.l-c 2}.,.Jl I" Iq2j1-~:;). 2 J----- a tempo v ~ t ...~-J t. J. .~: t ), . 2h.".JJ J.J!) Poco meno mosso I • poco ,-it 3 3 0 ~ ~ · • 3 I 0 3 · . • . . 0 3 . • . . ~1 1 ,8 , P'~15 1 "". ~. . ,5 , ~ I I a 2 ~ I r------P I ,5 I I , r ,5 I I a tempo

;> 2 p 1 ....-1-_->5:>••••..- Pl' po~o Tit. :> 11 • -~. . • • 3 3 3 1 0 <) 2 t 4 3 :I 2 1 0 :I 0 ~ :I 2 2 • ,3 II ~1~2. L--"O 2 . ,r 0 2 21 ~ 2 . I I . 2 1 2 1 5, . /'lllll 2 1 8 , , 1 I@ • -/l • , . II ,- _-c--.... - 4!J ~- ...... < :~re:JJ:' ----- v .. p.., · -~. It • • ~ " " :t' · u I" :I #1: Ii ':: #~ ~ l:t:! ~r ...... , ~ ~ I"- · , · • • ~ ~ ... ~ • • • - 2 2 I I +~. ~ I I I q;:;. ~' .. : \,J ·0 I , ",Y ",Y U ~' ~ 'L! 'VI-I -:>:.. From Plano Partners , -= .. " " " ---....- I 38 Copyright 1951 by Theodore Presser Co. • Copyright 1949 by Theodore Presser CO. British Copynght Secured International Copyrip;ht secured ETllDE-JANlJARY 1952, ~-_...... _------ETUDE-JANUARY 1952 43 'P'

allargando No. 110-18868 v 4 The ~qhaliiot,·R~ce Poco pili MOSSO Grade 2. 3 e t:et:~.t .., I· ~, ~; ! -~~ ROB ROY PEERY, Op, 17. No.5 1\ II ~ ..---:.. 'Allegretto (J: n~) 3 4 5 1\ 1 2 5 , 3 2 ;;, f.f 5 2 t t ~ - - cresco - 1\ II .,...... , .... :> .. '", .. ~ l l 1 f i~ t ~ ~ :j :j ~ ~ .. .. J ~ 1 1 ! ! f.f allargando ~ cresco t 5 , 3 4 f t , 0 5 4- 3 2 2 2 3 0 5 5 5 -6 :Z:;. ~ • -& ?; z ~ ~ 2 = 2 3· I. 5 3 5 4 '2 _ 1 I , 1 , 4 3 1 2 3 suI G u I'j 11 \ 3~ 4 .. 0 0 V r .0 - t *-• - - ,"'- ~ 'U ~ ~ • -j-:.../ a tempo u ~- - F"\ I'j II ------•~ -

:;jj • • . f 1 f ~ i .. -II .. • ~ ~ r£t . 5 1 5 ~ :; nif " 3 scmpre slacc, o 2 2 3 l I: b ..J ~))J > I .-""'1 h. ! q~~~~ bS J J 5 3 2 2 2 1\ f 3 I f 3 3 5 2 , 1 f , r r 0 0 t:; I .. 0 ~= 'l - r p r V ~ ~l-z: ~.., - Tempo I r V 3 ~A • A ~ A A A A A r:i' .~ 2 o 1 t 2 • • , , t t 5 I 5 5 2 5 2 5 1 2 • 3 3

5 3 2 4 5 , 3 I I 3 1 • 2 1

0 p' 0 0 t: r .- ..... -...- r •

V f 2 3 2 r- 2 3 o 2 o . t 5 , 5 1 .. .. 2 3 2 • 0 5 2 4 2 t 5 3- 2 3 - , 2 , •3 2 , 0 0 p l • .0 Fine u u -

.~ 3 , 5 < < 2 3 5 , 5 , :.______f 1 ~ P~". 3-:, pizzo 3 2 ~ 11 1 jL •• iF ~ 1 '- 0 3 ~I2 , 5 , 4 2 3 •3 2 3 ., v 1. I f • 't.-- _ 0" ~ \ II :;:;'sc. f 0"/"_ . - l' •t IT' IP ~ 11 , ., ~ ~ ~ A ---.. ~A. lI. j ~ ~ .~, D'j ... '1 .~ I- ~ ~ . -~1 Iq~ - - cres~ f~ U P2E1, rit. : f 0 I . • 3 5 5 0 ~ -5 5 D. S af Fine I i :;jj i I • 1I Copyrighl1923 by Theodore Presser Co. British Copyright Secured #~ ~ ::: :: .. i .1 ~~= 45 ~------_44 ETUDE-jANUARY 1952...... •

No. 110-26092 No. 110·24$76 Soldiers at Play Dream Tune Grade 1112· Grade 11/2. LOUISE E. STAIRS WALTER ROLFE Tempo di marcia (J: 96) 5 Tempo di Valse :5~) 5 5 (d. r. 1 5 2 2 " 3 1 "1

It. ~ ~ ~ ~ ~ ~ -~ ~ ~ ~ ~ ~ 1!' 1!' 1!' ~ ~ ~ ~ ~ 1'VSun. ny days, hap. py days, lit . tIe sol. diers out to play; Hear the drum, . o · o · 2 ~ 3 1 5 3 1 0 5 3 1 3 1 2 5 1 '" ~ 3 2 5 3, 2 1 3 ~ 1 simile 2 1 ~.0. rt ~ ~ .. ~ l! 1!' 1!' 1!' f • • f' f...:..-:-...thrum, thrum, thrum, come on out and ban-ncr gay, horns are pl ay- ing, o play. March-ing with. a ...... · . i 1=I I 2 3 5 2 1 1 2 ~ :3 2 1 Fzne 5 2 5 5 simile 2 5 3 2 1 3 1 5

It - • • here they come; Come on out and march to· day, come and march to the thrum,thrum,thrum,thrum. o ...... • . · i: i • 1 2 5 2 1 Q 3 British Copyright Secured 1 2 D.O. Fzne Copyright 1930 by Theodore Presser Co. 3 at Copyright1934 by Theodore Presser Co. Bri t ish Copyright Secured

No. 130· 41081 To the Hunt! No.110-40072 To Market! Grade 11/2. MAE· AILEEN ERB· Grade 11/2. ~ Moderato (d. : 52) FRANCES M. LIGHT Moderato (~.: 10~) 5 8······: Last time to Coda ~ ,., 3 1 ~ 2 1 2

() { ~~ iT· • '1 •• pp .. =--.. 1\ f~ 1'11; 17 11tf: To mar- kct, to mar . ket to sell my pet pig, = ==- And 8"': 0 A-:- A A lIif -9 0 0 0 ~ "if/' 0 . · - 1 5 3 1 2 2 5 2 5 2 ~ ~ 3 8·············································: 1 3 5 2 3 5 lIst time on1yll-Last timel

\ ~ .. ~ .. ap. pIe and fig. fig. --- . pp f~ ---.c f I shall come home with an ap. pIe and fig, . f A.___ - A- '!!'To A A ... ~o . 0 A ~ · ~ . · ·• - 2 3 3 1 2 1 5 3 1 2 3 : 2 3 ~ FIne 8······································ 1 2 ~ 3~ 3 2 1 2 5 1 $- :I: H It .. ~ mp ". . • ' .. pp f : And . pp. CODA 17 j,- Fine r:•• r•• r•.;.A r•• r•• A . ~ 'lTff-- · .. · 0 213 Copyright 1951by Oliver Ditson Company lJ. S. al Ooda I ----- dC- O. S. al Fine 46 nternational Copyright Secure Eopynght 1949 by Theodore Presser Co. British Copyright Secured l ETUDE-JANUARY 1952' TUDE-jANUARY 1952 47 It ...... uute them. There are dozens in the literature of violin sonatas which are No. 110 - 4()16~ Viennese Melody immortal masterpieces. The follow- Grade 2. _------A-N-N_E ROBINSON The Joys of Sonata Playing ing arc chosen rather for the mem- Gracefully (d., ~'2) ories they hold and the emotions (Continued from Page 11) which they evoke for me: 3 ------5 2 3 ~ 1/1: ~ i~t ~It ,b Sonatina in D Major-Schubert 1 l 1~ H 1 1 2 interpreting of this form of music. definitely to play our sonatas, that panting with fatigue and pleasure [My first sonata, recaJJing all my One of the first sonatas I played, adorable form of music which en. and dripping like "gargoulettes" youth) and for which I have an enduring abies two souls to join and com. (earthenware pots in which water Sonata in E Minor-s-Mozart affection, is the Schubert Sonatina municate. is cooled by evaporation and which (My first love) mp espressiuo in D Major. It was at one of these Another important date in my al- are always covered with large drops Sonata "in A Major-Casadesus chamber music afternoons, when I ways intimate association with the of water). (The sonata of friendship) was five or six years old, that I sonata form occurrei:l several years It was also during one of these D Minor Sonata-c-Brahms 5 1 2 {rained "the pearl of great price," ago. In 1942, quite by chance, I was .summers, the year his daughter A Majer Sonata-c-Franck 5 2 5 1 5 becoming a new element in our mu- spending the summer at Great Bar- Therese was born, that Casudesus Sonata-c-Dehussy A '---' '------'''-- sical group by playing the Sonatina rington, Massachusetts, where Rob- wrote the lovely sonata which he Sonata in G Major, No. 10- ten. 5..--- with my mother at the piano. crt and Gaby Casadesus were hold- dedicated to me, which I enjoy so Beethoven ------Another tender recollection is ing their Fontainebleau Classes. Two much and which will always evoke A Major Sonata-c-Buch bound up for me with the two- neighboring houses, a violin and a for me the memory of the delightful ~'Deyil's Trill" Sonata-Tartini movement Sonata in E Minor of piano, a mutual love of chamber summers we passed at South Egre- "Kreutzer" Sonata-Beethoven Mozart. My parents had invited as music, and in addition a friend- mont in perfect musical and spiritual I force myself to stop, even though -~======l::te'll. my partner in this work a young ship-thus began a collaboration communion. We gave the first per- I may be criticized {or passing over girl, twelve years old, daughter of which has brought the greatest formance of t.he sonata before an in silence all the others which come a professor of piano in Marseilles pleasure. enthusiastic and discerning audience crowding into my mind, adorned who was a friend of my father. My I remember well the hot and hu- of students assembled in the con- with beauty and eloquence that make mid them a galaxy of masterpieces. 5 2 5 first reaction was one of scorn and summer afternoon when we cert hall of the school at Creat Bar- L- -I"-----....J 'L_ "-----"~ _ _lA'_ __JAL__.....J anger. To expect me, who had joined made our debut with a sonata of rington. The first New York per- And now I urge you who love with adult performers in playing Mozart, consigning to a thousand formance took place at the Bohe- music not 10 deprive yourselves of a tempo sonatas and quartets-for already I devils the temperature of the dog- mian Club. the marvellous joys of sonata-play- had explored all forms of chamber days, and cursing the fire of en- I should now like to list the so- ing. If you do nut play a musical music-to expect me to perform with thusiasm which heated us still more. natas which I love best, either for instrument, learn to play one as an infant was, I thought, to place The Mozart sonata was followed by musical reasons or for the memories quickly as you can, in order to ex- a decidedly low value on my worth. another Mozart sonata. The Mozart they hold for me. What a difficult perience the serene pleasure to be 'r.\ mp ~9==== But it so happened that, after sev- sonatas were followed by Beethoven, choice it is, and how many there derived from chamber music. Those eral rehearsals with the very charm- by Schumann, Brahms, Franck, De- are which could replace those which to whom this pleasure is unknown ing and very gifted young a rtist. I bussy. and our impressive final scene, I am putting in my list! I am not are shutting ofl from themselves a fell completely in love with her and after {our or five hours during which listing them in order of merit, since portion of the earthly Paradise. we had played 15 sonatas, found us I cannot and do not wish to eval- THE END simile my only wish was to continue in. a tempo 5 5 3 ~ 5 5 5 ~ H ~. fI ~.<' I .

.. poco rit. • ~' (1' .. FiJI ..

A little slower .. bring' out melody ----".2 ~:.....:..--'-.:.c.:.;;:;;..,z.-- ~. 15---" 1 3 1<:11. 1903 THE WORLD'S LARGEST HOME STUDY CONSERVATORY OF MUSIC 1951 WHAT PROGRESS ARE EQUIP YOURSELF FOR A BETTER POSITION This is Your Opportunity-Mail the Coupon Today! espressioo A proof of quality is important for one in- I ' YOU MAKING? mfi: =-=- terested in further musical training. Our UNIVERSITYEXTENSION CONSERVATORY. Dept. A-HO = Your musical knowledge-your position and courses offer you the same high quality of 28 East Jackson Blvd.• Chicago, Illinois income today--are the result of the training preparation which has developed and trctned Please send me catalog, sample lessons and full informa- you have given your natural ability. Addi- many successful musicians and teachers in tion regarding course I have marked with an X below. lional training will open up new fields, new the past. Piano. Teacher's Normal Course Voice opportunities. greater income and higher o 0 ~ 1 5 NATIONAL HOME STUDY COUNCIL Piano, Student's Course 0 Choral Conducting 2 standing in the musical world. o 1 The Council is an Association of which we o Public School Mus.-Beginner's 0 Clarinet This valuable training, through our Exten- are a member. It includes the outstanding o PublicSchooIMus.-Supervisor·s 0 Dance Band Arranging ./~t!,.t sion Courses. may be taken at home with no correspondence schools in the United States o Advanced Composition 0 Violin --- --....z. 1 interference with your regular work just by with headquarters at Washington. D. C. Mem- o Ear Training & Sight Singing 0 Guilar I I devoting to self-study the many minutes each bers are admitted only after rigid examination o History and Analysis of Music 0 Mandolin ~ d.ay that ordinarily go to waste. The prcqres- of the training courses offered. o Harmony 0 Saxophone ~ Sivemusician. as busy as he may be. realizes We are the only school giving instruction o Cornet-Trumpel 0 Double Counterpoint ~ '. ------~hevalue of such study and finds the time for in music by the Home-Study Method, which o Professional Cornet-Trumpet 0 Banio I . = f:\ -== It. Well paid positions are available to those includes in its curriculum all the courses ~oco rit. P who are ready lor them. necessary to obtain the Degree of Bachelor Name. . , , Age." ", .. fl Street No. . , . :-. n r.~c YOU can do it loot It's up \0 YOU! of Music. . • ,., D.C. af Fillf A Diploma Is Your Key to Success! City. . , . , . , .. State .. Are you teaching now? , If so, how many pupils have ~ CONSERV ATORY. you? Do you hold a Teacher'~ Certificate? . , , , , , 1 1 UNIVERSITY EXTENSION I A '. Have you studied Harmony? . , .... , .Would you like to earn· 1 I 2 Co pyri ghi 195 1'bY Theodore Presser Co. ----AL __ .J -. 28 EAST JACKSON BLVD. (DEPT, A-740l CHICAGO 4, ll.L. the Degree of Bachelor of Music? .. , , . '---' l----' d 48 I nteroational Copyright Secur~ ETUDE-jL\TMRY J9,2 ETUDE-JANUARY 1952 49 • ~ ...... _------• "

MUSIC EDUCATION TEACHING MUSICIANSHIP his classmates what he has learned If the school music library is at IN ELEMENTARY SCHOOLS of its history. It is a more practical all adequate or if the nearest public (Continued from Page 22) from Century are always good news. approach than that in which the stu- library maintains a record collection, season ... new r-uslc! Each year This season we have the good fortune (Colltinned from Page 19) dent assigned to give a report on as many of them do, devote a period some composer, gives a dry state- of time to a listening program. A for 51 years music teachers have notation for repeated visual patterns, just parts of it. They .left it up to to be a ble to include a useful group ment. of birth and death dates and brief summary of the mood of the found new and interesting mot,!,riol found out how the patterns were me to get the overall grasp of the of Organ Solos as well as a group of the fact· that the composer wrote music, or the story, or an interest- awaiting them at their Century Deaf- repeated in different pitch sequences, composer's intentions. . charming Easy Duets. Be sure to see methodsof finding intervals, such as books. Much is left to the initiative er. This year we should like especially picked out the scale patterns, chord Most piano teachers asstgn so them at your Century Deoler-soon. association with intervals in familiar of the individual teacher. several operas or contatas, and a lot ing anecdote concerning the life of of other biographical material which the composer should accompany to call your attention to the follow- patterns, rhythmic patterns and much material for practice that the melodies. Again we are employing . Here are a few suggestions which ORGAN SOLOS in such an application means noth- such listening programs. ing First and Second Grade Piano really understood what we were go- student bogs down in notes, symbols, the use of a crutch. The do re mi If adapted will yield fruitful results: (Hammond Organ Registration ing more to the student who is giv- The music period must be one material ing to work with. I played the basic fingering, counting, to such an ex systemis good in that the syllables Open each music period with sing- Included) ing the report than that he has com- the child looks forward to, rather rhythmic patterns and the basic tent that the musical values elude are singable. It is good to use as a ing. Teach new songs both by rote PIANO SOLOS· GRADE 1 him. Wouldn't it be better to teach pleted his assignment. than one he dislikes. Give him good melodic patterns, so that she would Arranged by meansto an end, but it is assuredly and note, depending upon grade the student to understand one or Kenneth Walton, A.A.G.O .. A.R.C.O. Through using the materials sup- music, let him be an active partici- 4025 Bagpille Capers. C-1-2. . ... 'nvonne understand them in relation to 3927 Arioso. G ...... J. S. nlcb not an end in itself. level Or ends to be achieved. Sched- two small compositions completely 4005 Consolation. E... .\lendeluollQ plied by the student, the teacher is pant, and consider that this is the 4019 Bareback Rider. The. C Drorlne complete musical "wholes" forming A problem in elementary educa- ule your time. An interesting method 4017 Dreamland. C .... Drorine 3931 Cnrnatinn M.reh, Lfl l'cQptfll, Eb in her mind, and away we went. and in every way possible (excepting Menrbeer uncovering a vast wealth of other- modern age and a new approach is 4024 Han Scotch, C-I-2. Wcdberg 3930 Eleglft. Em Mu~net tionwhich gives considerable trouble ?f adding zest to the music program 4020 La Conga. G...... Dvcrlne Only the last page caused trouble, only harmonic analysis by chord 3932 Evening St.r. TOllnhuer. G. Wagner wise unobtuinnble material. required. THE ENl) is that of the monotone voice. Actu- IS *4021 My Bunny, F Hopkins 4006 March nf the Prlutl, ,tUal/o. F to allow each class definite time not because it is harder to read, but name which is too involved for be "'lelldelnohn 4022 Puzzle Piece No. l, C Wedberg ally a true monotone is rare as it is in which they may have their own ginners), than to assign several 4011 Meditation Irn", Thl •• 0 ...... bucoel *4018 Scissors Man, The. C. Dvorfne because she could not manipulate 4008 Old Cathedr.l, The. G .. 1I000klnl more often merely a less sensitive talent shows in their own class. 4023 Seesaw Up-Seesaw Down, C .. \\"edberg pieces to be figured out by letter 3928 Palms, The. ArJ Faure her fingers fast enough to keep the 4009 SI.vonlc nenee. No.2. EIIl J)forak 4034 Wilson Clog-Jelly Jig, D-F_E_2 ear. The usual answer to the prob- Manv otherwise non-participating tempo going; but she likes the com- spelling, arithmetical deciphering, 3929 Star or tile E'$I, E~ Kennttb· SO YOUR CHILD WON'T PRACTICE arr. Guenther 4007 T.mbourln. Em . Ibmuu lem is to seat those who do not hear members wi.ll be eager to join in position, feels the build-up musical- numlaer watching (fingering) and 4010 Waltzes Irom Ue Flnlerma ••• F Stuu .. pitch too well toward the front of a Iter the first few such shows. Let PIANO SOLOS. GRADE 2 ly, and understands the construction then leave the student to muddle (Conlimbed from Page 20) EASY DUETS • 1 PIANO-4 HANDS theroom and let the rest of the class them sing what they choose, barring of the piece much as Grieg must through as best he can? 4027 Blickin~ Bronco. D. ..Krevitt sing through them. This is probably the ridiculous. It is a. good place have thought it out as he was writing Our spectacles are right on the 4035 cantatn Jinks, A ... an. Guenther 4043 Buglll1 and Druml, G·I ...... Dforlne as good a practice as any. However, to find out wherein their interests SEVEN KEYS THAT WILL OPEN Give interesting pieces, folk tunes 4032 Invention. C .. Ircldea end of our noses if we can only 4044 Congratulation Minuet, F·2 it. 1J~lhDnn-Guenlbel THE DOORS TO MUSIC 4030 Just scuuese. D...... Cadzow it the conscientious music teacher lie. Let it be entirely student di- and musical literature written for Some teachers have always taught learn to use them. Music is some- 4042 Flal'hlp, Thl, C.l. ... Drorlne 4036 Kate Kearney Waltz, C. urr. Guenther 4041 Hay."d, C-I-2 ... Drorillt will take those few children (the rected. children. Each practice period will 4031 Lullaby in the Dark Wind, C .. Cadzow in this way, but I was never fortunate thing to be heard, but jf we can ASSlSl: YOUl" child with his practicing then hold a continued interest and 4029 March for New Shoes, Eb Cadzow teach students to see notation musi- percentage is not high) and give Devote another section of time to enough to have one. I can't remem- PIANO SOLOS· GRADES 3 to S Be gellhoLls with vonr interest and "not so much time will be spent all 4013 Meditation. '/'!rais, snnn., C-2-3 cally, they should be able to hear them a few minutes' ear training, the theory of music from the fifth Masscuet-Orubam ber any teacher ever analyzing a praise one tiresome piece. 4012 Narcissus. Simplified, G-2-3 composition hy patterns in sound." it better musically, and as a result 4015 Conlutlliation Minuet, 0·9 apart from the class, she will be grade up. Teach the fundamentals Km-in-Hopklns 1I~lbofCD·GumIJHol Credit each achievement with some sight or otherwise, excepting in play with more understanding and 4014 Marth. l.ocloJ TIl,ell Orlllll/rI,-4 amazed at fhe re~mltg. Too offen nf music. It need not be dull, as so *4026 On TOil cf Old Smoky. C .. flrr. 'Lambert I'rokofteff-OuMllber {arm of recognit.ion It may take all seven keys to un- 4028 Samba line. D. Krel'itt isolated examples. They never taught musicianship. 4038 Mazurka In F. Op. 68. NI. 3•• 3Cbopln thesepupils are patiently blll"llC with many of these classes are. A good 4039 Mornenl MusEul, 00. 94, HI. 2, AO·4 Develop the habit of daily practice 4033 Witchcraft. Am .Stelner lock your practice problem, but try me the "whole" composition, but Sthuhtrt inthe hope that Ihey will c\enlually. arithmetic teacher can make frac- THE END Encourage note reading, rather thall them before giving up. ·The pieces hove words for singing, if 4040 Momell! MUllul, 00. &4. NO.6, A,·4 by some magic, illl prove. or 1hat tions interesting through application Schuberl playing by ear Music is one thing your child wiH d.sired. 4016 S,brll D.nce, Oa."e Ballel. ·3-4 they will pass on to some other -why not note reading, dynamics "'hl.lchatourl.n Facilitate note reading by a new never thank you for /lot giving him. Century Edition is 20c • copy! 4037 Sonata In E MIJor. ·3" 8<'.rl.U.l teacher. and the like? piece 10 read each day THE END Our graded-and-clossifted and our com- THE FINE ART OF PLAYING ORGAN PEDALS Century Edition is 20c • copy! If the classroom teacher herself Gi\'e another specific period to plete catalog lisfing over 4000 numbers is Century catalogs or. fr•• on nquul 01 is giving the music instruction. cor- music analysis. In this let the stu- free at your dealer or on requesf from us. your dealer ar from us. (Continned from Pa,ge 24) relation often works in quite neatly. dent participate. Grant that the aver- GENTURY MUSIC PUBLI~HING CO. It a special teacher handles only nge student's jnterest lies in current 41 West 63rd St. New York 23, N. Y. musicinstruction it is quite difficult popular and cowboy tunes. Start THE FLEXIBLE STAFF·PIANIST supplement would benefit almost any' and helpful becau.se of its wide scope to correlate the music program with f"om that. Many music educators of us. If one goes through Mr. Dun- and its clear, logical presentation of (Continu.ed fro/l1, Page 10) HOW TO GET YOUR thegrade teacher. It may be granted are horrified at the thought of let- ham's exel·cises carefully and con- the problems of pedal-playing. It i~ that there is value in correlation. ljng children sing such songs, and scientiously, and masters them one a worth-while addition to the litera- BOOK PUBLISHED hut wllether it is as valuable as it maintain that since that is what the after another, he will have acquired ture of OTgan-study books. I am sure Our basic policy is to encouraKe newaUlhon. TV. AnJ alung with the skills them- a hit of that to il highJy il1lpl·ovised If you are looking for a publi!lher of your has been purported to be is .a mout child hears at home, his music pe- selves, you need the flexibility of be- accompaniment. If the question in· sufficient technical facility to cope that llU;ll1Y organists will have reason novel. ahort stories. play. poetry. scholarly question.True, many historical songs with nearly any problem that· may to be grateful to Mr. Dunham for his work. etc., perhaps we can help )·OU. Write riod at school should be devoted to ing able to put to immediate use valved bits from symphonies, I'd today for Free Booklet ET. may he sung when tbe group is a study of the great music. That anything YOLl've ever tl-ied, often on have to auange them fOl" piano. come up in performance. lucid approach to pedal-playing. Vanlage Press. Inc•. 230 W•• 1~ SI., Ne. V.k II. stud~ing a certain era in history, lllay be true, but we can spare a the spur of the moment. Mr. Dunham's book is excellent THE END When ArtUl" Rubinstein was a guest, but J£ the song is good music in it- few minutes of our music time to During my early days in radio, I always did extra practicing. self, it is worth singing anytime. go wbere the child is and grow with when it was nut uncommon for the One of my most thrilling assign- Then,too. the alen music teacher can him from there. Such a COLLrseis sure network lines to break, I had a free ments occurred on the old HCA Vic- quite oIten, with a bit of back- to pay dividends. hour between assignments and went tor Magic Key IH·ogram. The broad- ground,create a correlated learninO' Encourage pupils to bring to into all. empty studio for a bit of cast ill question involved a two-way situation without waitioO' for it t~ school copjes of their favorite music, private practice. Running relaxedly pick-up from Europe. Paderewski, arise as a need of the clliJd. even jf it be puerile. Let them bring through a piece, I happened to look then abroad, began the Moonliglrt Correlation in music has its weak- the brassy, (/jscordant records that up and saw one of the announcers SOl/aUt and canied it to a given WM, S, HAYNES COMPANY nesses. Let us recognize that the are so much a part of their lives. tiptoeing towards me. "Don't stop," point, at which I picked it up and fin- Flutes of Dlstlne:tinn truck driver is not going to listen to Tuell with the student, anaJyze that he ·whispered; "keep on going- ished the Illo\'ement in the NBC STERLING SILVER_GOLD_PLATINUM onlytruck driver's music. nor is the music and together with h'im learn something went wrong, we've opened studio in New York. And in between phY~iciallgoing to list~n only to why it is not particularly good. Great this mike, and ),ou're now on th.e air!" sessions ·with dance bands and popu- ~~r:::!'rlilfimlpthf/hu'l Literafure on lIequed mUSICwith a medical theme. Occu- progress can be made in the study When "In formation, Please" was lar vocalists, I practice for my per- IDS i\Iu!lchull'tts A.-enue. lkIston 15. MISI. You'll find it easier to master pationhas less to do with individual of form: style, and countless other on NBC, I was assigned to th{l show. formances with Toscanini. difficult rhythms if yau practice music appreciation than does the facets of music, through this method. That meant furnishing a piano ver- Since I came to the network, the GREEK SINGING MADE EASY aestheticear of the ljstener. :Many students wilJ bring really sion of any music that came LIp on mechanical perfection of the lines GRE~'KI(lsg~gsb~~r fr;or'~I~r;~t~~oRUS (Gr. text &< Eng. PhoneU""j The aims and ideals of music edu- good music. Analyze it COI~lpara- a question. I was told in advance has reduced the cbance of breaks "Te Skeptisi Mikroull" PoJoynil 25' pu 10PY" "Then Tha X8ha10" Tauopouln 25¢ per sePt' calors are too often couched in too ti\'ely. Whenever a student brmgs a which selections I'd have to play, the old stand-by pianist has becom~ "Oivin8 LiturlY" (Trlditlonal Byzlntine but never knew exactly how I'd play Hymns)-Duby-S2.50 PU 10PY. ~eneralterms. Many music teachers record or a song, make it a part of the .staff.pianist, be works five days ·Group Oill-C.• t 17¢ pet UPY, are frustrated by the lack of can. the assigned requirement that he them till the actual moment of the a week instead of seven on a better GREEK SONGS PUBLISHING CO. s unrehear.sed broadcast. Several times "6018 St. !E'mo D',ve LO'J Anll"'''' 11, ClllifD

50 ETUDE-JANUARY 1952 ______...J...~ETUDE-JANUARY 1952 51 •

....------.From the publisher who gave you the "w.ar6aw L.a-tee/·to/? " 'iolin l(l}uestions ¢»rgan lIt!uestions A THRILLING NEW PIANO SOLO!

III By HAROLD BERKLEY Answered by FREDERICK PHILLIPS THE

• Last rear a gift of Carillonic Bells would be necessary to more or less DOUBLE TRILL IN PAGANINI tive" of hearing in the same way MEDITERRANEAN CONCERTO was made to the church where J am digest this entire study of bell tones that two eyes give perspective in organist: The first set was rather un- overtones and harmonics to properh: Miss K. K., Thailand. I was glad sight, but for all practical pur- satisfactory and was replaced by a understand the peculiarities whicil By Albert Semprini to hear from you, and I hope that poses of true pitch and tone quality second set which doesn't seem to be make the tones seem discordant, and very soon you will be receiving there is no need for you to worry. much better, No matter how they are to explain these matters to others. ETUDE regularly. The double trill (2) Books that would help you are: used they seem to lack something. These books will help a lot. There Already Published: you mention in Paganini's third "Practical Violin Study" by Fred- Originally there was a hymn played would seem to be no reason why the Caprice can be accurately played by erick Hahn, "The Art of Violin Play- on the bells preceding the Prelude. present bells could not be installed in very few people. If. as is likely, you ing" by Carl Flesch, and my own and the" were used for two responses a new pipe organ, and many elec- Themes for Piano Solo .60 Complete Piano Solo $1.00 have a small hand, it is not prob- during the service. Now the con- tronic organs are built with pro. "Modern Technique of Violin Bow- able that you can ever play it. Be ing." But anyone as keen on violin gregcsion. wants to hear them more vision for chimes. so we do not be- Orchestral Version of the Themes from "The Mediterranean [requcnriy, What would you suggest? lieve there would be any difficulty content to trill with the second fin- playing as you are should be taking Concerto" ln spite 0/ the fact that they can't there. As to pitch, both the elec- ger only. lessons. Surely a man in your poai- be played with the organ on account tronic bells and organs are now tion could find the lime t.o take a (may be used cs accompaniment to Themes for Piano Solo). ABOVE, Home Model Hammond Organ, used in more homes thon any other organ. the discord. the majorit-y the being macle on the arne standard TO DISPOSE OF A VIOLIN lesson from a good teacher once in Hammond Organ prices slort at $128S" for ~he Spinet Model (not illustroJed above}. 0/ 0/ congregation can't seem to tell the pitch used by all instruments. so two weeks. As you are not concerned Full Orchestra $2.50 Symphonic Orchestra $4.00 two just don't go together. When I there would he no necessity for spe- Mrs. A. W. M., Michigan. You with a soloist's career, that would use the bells as a response I use cial luning. should take or send your Maggini- be sufficient. The books I mentioned Extra Parts .30 See what #285*prrngr you- i very soft: organ and medium bells, labeled violin for appraisal to Wil- above can all be obtained from t.he publishers of ETUDE. Igenerally using Dulciana with 4 and •. J flIn umndering i/ (lily book lias liam Lewis & Son, 30 East Adams 710llJ andjOr theyean ahead j 16 foot couplers. The donors 0/ the been published giving the pronunci- Street. Chicago. Ill. or Kenneth War- 1 bells take their complaints to other ation 0/ organ stops. ren & Son, 28 E. Jackson Bh'd., Chi- PSYCHOLOGY OF TRUE CHAPPELL &. CO., INC. members 0/ -the church, and I only -K. H.,Michigan cago. For a small fee, either firm will VIOLIN PITCH RKO Buildinq, Rockefeller Center New York 20, N. Y. You CAN HAVE the glorious music Organ can be the beginning of a hear about the matter indirectly. giveyou a reliable appraisal and ad- of the Hammond Organ for $1285. * lifetime career for your children, a ! The)', too, are not musical people JPc Iwve bee" unable to find a die- viseyou on the best means of dispos- B. E. G., New York. Thank you And for this-the lowest price in talent for leisure hours, a reward- and don't seem, to understand a tionary giving the pronunciation of ing of the violin. I should warn you for your most interesting Jetter on years-you can have more than ing hobby for yon. musical answer. We are thinking 0/ organ stops. The Pocket Music Die- that there is very little likelihood the psychology of true violin pitch. music, too: Your home is large enough getting a new organ, and J wonder tionary. by Elson, gives the pronun- that the instrument is genuine. Few and related matters. It is too bad A richer family life The Hammond Organ fits in a four i/ the present bells could be set up ciation of quite a few, but it is by real Magglnls are 10 be found in the that I do not have sufficient space in a new organ. Would the pitch 0/ The Hammond Organ encourages foot square. There are no installa- no means complete. world today. in my columns to quote your letter the bells be the sante as an elec- ENJOY THESE STUDIESI every member of the family to take tion problema: just plug it into an at length. I believe, with you, that tronic organ? Could the organ be a very personal part in creating electrical outlet and play. Practi- • / would like to build a small home E STRING WHISTLES a violin ear can be developed by a tuned to the pitch the hells? family entertainment. cally no maintenance expense be- 0/ organ. Could )'ou send me a list of careful teacher who uses a sensitive PIANO- THEORY-COMPOSITION cause the Hammond Organ is the -E. 111. W., Illinois books on the subject, and the names approach, for very few children who You, your wife, your children can A. J. L., Alaine. It not infrequently Unique, practical, easy to apply home study instruction insures only organ in the world that never 0/ companies who could suppl)' the happens that the open E string are musical have no ear for relative success (our 25th year) worthwhile achievement, rapid progress. create the music you love best on needs tuning. t You. nrc prelly niuch. on the spot necessary materials. whistles when one comes to it quick. pitch. As regards bowing, A. good the Hammond Organ. From whis- TECHNIQUE IMPROVEMENT. ncmarnaute Think about it - seriously because one of the most technical -Po 1., illinois right arm technique is not hard to MODERN POPULAR PIANO. From heginning pering strings to thunderous brasses, [y from the A string. There are two of ['honlusa:;11 llltu 1II0010tli ehords, chord pro- 'Mcntal-,',luscular Co-ordinating Exercises antooJ ;;uhjec!. Equally important, the Hammond mation, mail the convenient coupon. of the libraries to which you might becomes unevenly worn. Some sec- AIrs. S. j. C.• Pennsylvania. The CHCfRAL CONDUCTING. Practical lilstrllction tually, it would take more space INTERPRETATION STUDIES. :-;tandar(l cla$sics ror school. commullity chOrUS"8. Church choirs. have access. The American Organist rolce training. blending. suitahle materials. or- tions of this surface are quite Aat label inside a violin affords no rep.I ill early. Intermediate anu sdnneed grades con- . ganlzatioll leading tcchniflu~s. inteprctinl etTeels than is possible here to even give (a magazine devoted to organ inter- cefll jilirage 1l1Orement. climax. lJal"ncc. Dynamics. while others remain fairly rounded. evidence of the origin or worth of etc. PRICES START AT JUST $1285* FOR THE SPINET MODEl an intelligent summary, so we sug. express;\·e ar{:,~nts. len)])o;; etc. Bring;; a nel\' in- ests) had a series of articles by ~t is not surprising that a string 50 Eight into 1Il1l;;lcRlmeanings. gest that you refer to two books, the instrument. Labels can be MATERIALS SEMINAR. For teachers. What Fonnan whjch might help you to pIeces. studIes. t(l use and ho,,· to present them In this condition will not respond easily imitated. This is particularly which may be obtained either from OIPLOMA. The regular School nf ~Illlic Gradua- to the pupil. Heclla! l>rcllaralioll. Pupil prob- lIAMMOND OIlGAN some extent. They were as follows: quickly. An E string that is in use true of the labels of Stradivarius. tiOl' D;),loIl1President and black keys, and with a ''Va. AVE YOU ever considered how model for violin-making ever since, KODAK CONTEST rate staff for the pedal part on the important your footwork is in and the instruments he made him- Prize Winnct's Bachelor of Music Degree in 24 Fields H music page. music? You may be more apt to self have remained for over three You have, no doubt, danced to Class A, Moster of Music Degree in 23 Fields hear it mentioned in athletics; for hundred years the most perfect Helen R. Bober (Age 17), the rhythm of the drummer in a instance, in a newspaper account violins that have ever been made." Canada Preparatory School Courses of a tennis match, a reporter dance band, who plays a drum. "That's fine, Pete," said Miss Class B, stick with a foot lever while his Melissa Haley (Age 12), Vir. might say, referring to one of the Day, as he finished his paper on IMtitutional Member Notional Association of Schools of Music hands manage the sticks of a small ginia players, "He has a very strong violin making. "At our next meet- Class C, St. louis 5, Missouri drum. 7801 Bonhomme Avenue forearm drive but his footwork 15 ing," she continued, "we will hear Lee Louise Onyell (Age Ll ) , In piano playing the big job for not good." And you would read more about Strndivat-i and his var- Ohio the foot is pedaling, and many Honorable Menlion for kodak something similar about other nishes," \AMERicAN CONSERVATORY many pianists have a lazy righ~ I,ictlll'es (in nlphabettcal order) forms of athletics. OF MUSIC"-CHICAGO But what about footwork in foot when it comes to pedal work. Dillie Jean Bender, Ella Bents, Edna etters courses in all branches of music and dramatic art Critics o lten have reason to say, Mae Black, Emily Cummings, Adrian 66th year. Faculty of 135 artist teachers music? A harpist must have ex- Member of National Association of Schools of Mustc "He has very excellent technic but Letter Box Buck, Agnes Cline, Blanche Carson, Send for a free catalog-Address: Jobn R. Hattstaedt, Pres., "iii Kimball BldJ:"., Cbic3.J:"o Edi'ed by Elizabeth A. Ges£ tremely skillful footwork. Each Merril Dietz, Doris Drake, Marcia string on a harp is connected to his lack of skillful pedaling spoils Drew, Ola Frank, Brenda Goza, Miriam Violin Sound Holes one of seven pedals, and it is by his performance;" OT, "Entirelv Howells, George Jackson, Frieda Jeu- CINCINNATI CONSERVATORY OF MUSIC moving the pedals into notches. too m u h good piano playing i~ Send replies to letters in enre of kens, Amy Lintz, J uanita Moylan, DI'. luther A. Richman, Dean of Felculty Junior Etude, Bryn Mawl', 1>:1., Ceorge Nelson, Sydney Oldham, Evelyn that flats and sharps are produced. r u inecl by be I pedal work." and they will he Iorwurded to Established 1867, Operated under auspices Cincinnati Institute of Fine Arts By Leonore Sill Ashton Olsen, Beth Ponder, Mary Roc, Georgi- affiliated with University of Cincinnati. Complete school of music-Degrees, An organist has a big job ill Don't allow yourself to be criti- the writers. Remember foreili;n ana Smank, Evelyn Swan, Alicia Thorup- mail requires five-cent postage. Diplomas, Certificates-dormitories, to acre campus. For Catalog address, footwork-an entirely separate cized in thi way. Be sure you do son, Allen Walker, Justine Williams, Foreign airmail, fiflecl1 cents. Dept, E. T., Highlond Ave. and Oak St .• C.~. Benjamin, Registrar, CiNCiNNATI 19, OHIO not develop a lazy right foot. Carol \Vrighl, J\[erle Yales. sometimes turned outward and foot keyboard with large white T HE MEMBERS of Miss sometimes inward. Then they were Dear ]IHlior EtJule: THE CLEVELAND INSTITUTE OF MUSIC Day's music class were talking made in the shape of an F, and fin- Recently we had a pupils' piano recital Answcrs 10 Quiz Bachelor of Music-Moster of Music-Bachelor of Science in Education here in Palernbeng, and all who look 1. Frnnce ; 2, Rome; :":1, Eg ypt ; 4. New about their subject for the month, ally like an S. This hole was called : Who Knows the An wer ? (B.S. in Ed. by arrangement with Kent State University\ pari are my mother's pupils. 1L was the York; 5. Norway; 6. Lclpstg ; 7. Lon- "Making Violins." Peter was to the flaming sword hole. Oeograpb y first of its kind ever given here and don; 8. Wales (All Through the BERYL RUBINSTEIN. Mus.D .. Director read his paper at the next meeting, "The greatest violin maker at we had a full house for an audience. Night); 9. Scotlnnd ; 10. Danube (The 3411 Euclid Ave" Cleveland 15. Ohio and it was about the sound holes this time was Andreas Amati of (Keep score. Due I"wtlrt>tl ;/1 perfect) I am enclosing a picture of the ~roUJ1. Beautiful Blne Danube, by Johann Member of 1he Notional Association of School; of Music which give the tone to violins. This Cremona, Italy. He was the one We are going to have a music theory Su-ausa) , is what he wrote, and read at the who best understood what changes 1. Was Saint-Saens born in Bel- what country i this cit)'? (5 exam, and we arc studying hard for it. I thank you for sending me all the let- rrieeting : in tone were made by the different gium or France? (5 points) pint) gO'zdarz College of..5Jiusic -Indianapolis leu that came as a result of your pub- [ am interest cd in serious symphonic What city is the home of the 6. I n which city in C rmany did -58th yeOf- "All musicians know that on the shaped holes. He studied and ex- 2. lishing my letters some t.ime ago in mus.ic unci chamht;l" I1lllsie. I play vio- Baccalaureate degrees in music, music education, radio, drama, donee. Masters in music top of a violin are two holes, one famous Sistine Choir? (15 Bach tea h Latin? (\5 lin ill several chamber and orchestral and music education. Nationally known faculty of artist.-teachers. Member, Notional Associa· perimented to find out how large Junior Etude. tion of Schools of Music. grOUJlS; enjny cnll\l)using and wou]rl on each side of the bridge. These the openings should be and what points) point) Evelyn Yap (Age 12), Indonesia Write for catalog. Address: like lo do a great deal more. I would Director of Admissions, Box E, Jordan College of Music: holes are of the greatest impor- 7. I n what cily i Handel bur· 1204 N. Delaware Street. Indianapolis 2, Indiana shape to produce the best tone, and I am taking piano and singing lessons enjoy hearing from others. tance because they control the air ied? (15 pint) and am working to gain a scholar,;hip exactly where they were to be Eric Salzman (Age 17), New York THE SCHOOL OF MUSIC which me 10 study. which is contained .in the body of placed. For instance, he discovered 8. From ,\ hat ounlr)' does the will take la England Offers accredited courses in Piano, Voice, Violin, I also like to swim. 1 helong to a swim- I always used 10 go to Ollr town library Organ, Public School Music, Theory, and Orches- the violin. folk ng melody. with that the F·hole,. if placed too far (Tillen to read ETUDE hut. now 1 have a suh· tral Instruments. 3. In what country is the scene ming club and am examiner of Life "When the bow is drawn across apart, produced in the violin a very thi quiz, come? (10 points) scription lo it. I think it is a swell Confers degrees of B.M., A.B., Savin,!!:.f do a fair amounl of hicycle Depaul and M.M. of Verdi's opera, Ai·da, laid? the strings the "ibratio.115 are gov- weak tone. 9. J n whal country i Fingal's riding and play some tennis. T would ma:razine. I'vc I,akcn piano lessons for Address Registrar for Bulletin five years and play clarinet in our high UN I VE RS I TY erned and measured by these holes, "Then someone tried covering (5 points) Cave locat d, for which Men· like 10 ,hear from Junior EttHle readers DePaul University School of Music ~ CUICA~O Room 401. 64 East Lake Street, Chicago I, Illinois which enable the vibrations to en- 4. Which was the first city in ahoul my a~e. school hand. the holes with paper to see wpat delssohn named his Oyerture? Shirley Hagopian (Age 15), Calif· ,he United Patsy Boyd (Age 17), New Zealanil ter the instrument. Naturally, they effect that would have, but it made States to have a 00 poin'-) symphony COSMOPOLITAN SCHOOL OF MUSIC are called sound holes. The need it weaker than before, and flat. In orchestra? (15 10. For what rhoer is a famou5 points) Preparatory, College, Special, and Graduate Departments. Courses leading to for sound-holes in stringed instru- the latter part of the seventeenth Waltz named? £5 points) Bachelor of Music, Bachelor of Music Education, Master of Music, and Teacher's ments was discovered longer ago century, after man}' more experi. 5. Grieg was born in Bergen. In Auslcer, on "ex' page Certificates in Music and Theatre Arts. than history is able to tell. On an- Clarence Eidam William Phillips ments had been made, appeared President Member NASM Deon the greatest violin m~ker who ever Edwin L. Stephen-Mgr .• 306 South Wabash, Chicago 4, illinois lived, Antonio Stradivari (1644- 1737) also in Cremona, Italy. He From the Catalo9ue of had studied violin making with HAPPY NEW YEAR OESTERREICHISCHER BUNDESVERLAG, VIENNA Jt Amati. cient Egyptian monuments can'- "Stradivari kept the F shaped PIANO SOLO Jl9 BACH, CARL P. E. ings are sometimes found of what holes ~ut discovered th,at an F hole 52 La Xenophone & La Sybille (easy) ...... •.... ,., campI. .40 look like guitars. These have small with the center cun'ed was the one "Happy New Year to you:' Said old Father Time. BACH, J. S. rou nel holes close to the strings. that. gave the perfect tone. He was "For I bring you a present today· Fantasie in c minor (5.906) (medium) .50 Pictures of later stringed instru· a fine mathematician and through It's the year '52 . BACH. W. Fr. ments show as many as six round more study, he discovered that the 2 Polonoises, in d minor & Eb (medium) .50 I'm bringing to yOU BEETHOVEN, LUDWIG size, shape and position of the .a. holes pierced in the top of a small With its lessons and practice and play. Fur Elise (1808 ) .50 instrument. holes must he governed by the Prelude in f minor (medium) .50 '"Then, about the year 1500, length, breadth, height and thick· 2 Preludes in all major keys, Op. 39 (medium) . .60 If YOU count up the hours Rondo in A (medium) .50 ness of the wood in the body of the someone discovered that the shape The days and the weeks' HAYDN, JOSEPH Jnnior Pupils' Recitnl, Palemhang, Indonesia of the holes made a great differ- violin. In addition to this, he ex- You will lind there are plenty. indeed; Variations (easy) compl. .65 ence in the tone of the instruments, perimented with treating the wood So, do everything well Chan Loan Hiang, Chan Swan Hiang, Lim Siauw Hoen, Lim Ping I-ling, Foe I. on La Roxelane 2. Theme & Variations in C and experiments were made in with varnish to increase its reso- And practice each day; Chan Joe· Hiang, Sjam ha, Asma Soei :Ming, Deetje Gho, Tuui Akib, Wehab, Sti Rohany Soedarlo, Oey Giok l\:fientje Gho, Cho Ah Non, Nani Kas- ASSOCIATED MUSIC PUBLISHERS, INC. shaping the holes. First, the holes nance. His pattern has been the You will have as much time as you need:' Loen, Kay Sheldon, Elly Kassim, sim Bong Ah Djin. Theresia Lim, 25 ~est 45th Street New York 19 were made in the shape of a C, (Continued on next page) Thoeng Khin Van, Chua King Tjoen, Pbiiip Lim, Lis Asaari, Lie Tjin Djun, (or your local dealer) Evelyn Yap, Ernest Yap.

54 ETUDE-JANUARY 1952 55 l---- ETl.:DE-J ~.\'LARY 19;2 MODERN HARP TECHNIQUE OBERLIN CONSERVATORY Outstanding (Continued from Page 9) Music Lover's Bookshelf symptoms in my right arm-not keep right on playing as pianissimo LENTEN AND EASTER CANTATAS OF MUSIC in my left. I asked myself why such as possible, with the fullest action (Conl.inned from Page 7) a sensation should be felt in one arm of the fingers and 110 strength what. For Treble Voices and not in the other. Could the right- ever, With proper guidance, speed and strength assert themselves nat. Distinguished Features Professional hand position, by causing pressure, of orchestration and makes an which he thanks Liszt for his be responsible? Experimenting, I be- urally-as they do in a baby learn. Easter excellenttextbook. It is very kindnesses but at the same time gan to play with my right wrist free, ing to walk. 412·40080 $.7S for its Training in practical-and is filled with tells him that he could not ad- DAWN...... Baines that is, without touching the sound- The piano keyboard is equipped (SA, Sop., All.) mire his compositions. At a ing board at alL The pain disap- with fixed keys, black and white. sensibleadvice. For instance, EASTER LILy Wilson 412·40086 .60 ccmpar. meeting in Leipzig, Joachim (Unison playlet children, 20 minutes) Faculty and • ORCHESTRA peared. Do I ever make use of the The harp's 47 strings are in speaking of French horns, for tlMMORTALlTY . __.. __...... St,lt. 412·40109 .75 old wrist position? Certainly I do! able to the white keys; black key i'lh. Rogers notes the adage, exulted over the divine music (SA, B ad lib, 35 minutes) Facilities The point is that sometimes the right tones are produced through the ;'safetyin numbers" (or "mis- of Bach. Liszt did not like his • OPERA RESURRECTION .. Manney 432·40149 .75 wrist must touch the sounding board pedals. erylovescompany"), ever holds didactic tone and said of a As a rule, the pedals frighten (SA) -and no harm if it does-hut the in the case of this instrument. fugue "Hm,-bones." Joachim 412-40162 .75 • CHAM BER MUSIC people. The proper proceeding is tRESURRECTION SONG Stdirs touching (or non-touching) should snapped back, "I prefer bones (SA with Bar. ad lib, Easy, 45 minutes) to begin their study one at a time. A fewhorns in unison will gen- not be made an inviolable law. to jelly." RISEN KING . Schnecker 432-40 IS I .75 • SYMPHONIC BAND. Such gradual work aids valid prog. erally perform with greater The development of agility at the Henry Holt and Compa.ny, $3.50 (SSA, Alt., 25 minutes) • harp should take place ver-y grad- ress and eliminates feelings of pedal dash and confidence than a VICTORY DIVINE . Marks-Warhurst 412·40188 .7S • MUSIC EDUCATION ually. Unfortunately, the harp posi- fear. singleplayer. But there is no (SSA) tion (with the two elbows out in Mechanical noise can occur when substitute for the beautifully Hurmonlc .....ucttcc By Roger Sessiolls the air, at right angles) is the most the pedals are put from pat 10 nat. subjectiveefIect of solo playing. Lent • CHORUS Roger Sessions, one of Amer- unnatural posture of all musical in- ural (never from natural to sharp) Appletoll.Cellt.llry.Crofts 3.75 CRUCIFIXION. . .. Stainer-Osborn 432-40129 .60 Apply now for odmission for ica's best-known composers and struments! Though the arms are but there should be no noise what. (SSAA, Choruses only) • CHURCH MUSIC supported by the biceps, triceps, soever from the pedal shift. To elim- theorists, was born in Brooklyn, the school veer 1952-53. Cata- ~rusicas a Hobby tPENITENCE, PARDON AND PEACE and deltoids, the support in such an inate it, I recommend pushing the N. Y., in 1896. He received his Maunder-Warhurst 412-40063 .75 log and entrance data sent Br Fred B. Bartol/. • Piano-Organ-Harp-Violin awkward position is at first artificial, pedal vigorously from liar to naturaJ musical training at Harvard (SSA, Lent, Advent or general, Sop .. Alt., This is a revised edition of 35 minutes) promptly on request. and time is needed to make it feel on the outer part of the notch: - Violoncello - Singing - all a bookthat music teachers may (B.A.) and later at Yale (B.M.) *SEVEN LAST WORDS OF CHRIST. Dubois-Osborn 432·40154 .60 natural and unetrained. Thus, we purposely making noise; then bring. where he was a pupil of Hora- (SSAA. Choruses only) David R. Robertson. Director branches of instrumental and have to get support. so to say, from ing it slowly and silently into the . purchaseand read with profit. tio Parker. Later he studied t Words only available @ $2.50 per 100 .. Cannot be sold in Canada Box 512, OberJi'n, Ohio vocal study. the habit of the position. . notch by relaxing the knee and The author has written many This makes it dangerous to at- merely guiding the pedal with the booksof the "tell how" type with Ernest Bloch in Cleveland. tempt tone volume or speed too ball of the foot, without the least andin this volume he recounts Thereafter he held a Cuggen- THEODORE PRESSER CO., Bryn Mawr. Po. ~~~~~~~~ soon. When the' correct position noise. ingenialfashion just the things heim Fellowship, a Fellowship (elbows absolutely horizontal, wrists The full beauty and usefulness of thatthe practical music worker, at the American Academy at TO A WILD ROSE correctly curved in, opening between the harp grows out of the many teacher and amateur need. Rome, and a Carnegie Fellow- thumb and second finger in good varying tonal effect of which it is by EDWARD MacDOWELL Whenwe realize that some of ship. He then taught at the Uni- order, and fingers properly curved capable. \Vhen I composed my versity of California and Prince- out) begins to feel natural, digital the greatest of masters were World Famous now available in. sheet [orm Modern Snuiy o] the Harp (1918), ton University. Surely no Amer- and dynamic facilities must be al- I analyzed 37 different tonal colors largelysell-taught, the field 01 Piano Strings ican is better equipped to write lowed to flow from it naturally, as and effects. By now I have discov- the amateur musical hobbyist Piano solo (with story) .50 Violin and piano. .50 upon the subject of harmony. JOHN JUZEK VIOLINS Piano solo (Simplified) ...... •..• 40 Violin and piano (Simplified ••... .50 it were. We ought to playas fast ered many more. Among these harp. becomesvast. Piano duet...... 50 Piano duet (Simplified) ... _...... 50 Cello and piano . ....• .50 and as loudly as we can-not as we iatic inst rumentations we find, 10 Harperand Brothers 2.50 Mr. Sessions has adopted a Violas ancl Cellos Piano solo with 2nd piano part.. .60 Piano, violin and cello {or viola)... .75 might wish to! name but a few. harmonics, xylo- new approach to his subject. Two pianos, four hands...... 50 The same, simplified .75 Piano and organ ...... • • . • • • .60 Unnatural strainings cause the harmonics. guitaric. plectric. and Tn fact, the volume does not tt: must be some reason why MCJlhisto Wahz 2 yiolins ond piano. Cello ad lib , .60 very tensions which ruin playing. the JOHN JUZEK VIOLINS are in Yocol 1; 2, 3 or 4 violins and piana. Cello xylophonic sounds. tam-tam sounds, lJ~' AIIII M. Lingg look at all like the ordinary ad lib. with all combinations.. .75 Speed and tone begin with the po- such' a great demand all over the Solo. 3 keys .... "...... each .50 tympanic sounds. whistling sounds, This moralized biography of text-book on harmony with cut Duet for soprano & olto . .60 String- orchestra 1.00 sition. The best exercises are scales country. vibrant sounds: and the whole fam- FranzLiszt was wr-itten by an and dried definitions, but more Also publi,hed for orcl,eslra. band, woodwind eu,emble. aud in ('!lorns versions for Unison. and arpeggios practiced rather slow- ily of fluxes '(traditionally known .l ust compare the violins of other SA, SSA, SAB, SATB, TTBB. Complete jist on reqnest. Americanmusicologist who was like a volume intended for cas- ly and softly. as glissandi and sounding like the makes at double or even triple cost to THE ARTHUR P. SCHMIDT CO., Ille~ It is by no means unusual for in- flowing of water) which includes born and educated in Vienna. ual reading, making it perhaps, the superb tone and excellent work- more acceptable to the average 120 Boylston St. Boston 16. Mass. experienced harpists suddenly to aeolian nux. oboic flux. falling-hail Shehas a degree 01 Ph. D. Irom manship of the JOHN JUZEK VIO· develop a sort of cramp in the arms student especially those obliged I".". ". effect. gushing chord. aeolian chord, the University of Vienna. This LINS. while playing. As a rule, they hurry etc.-all of which may be compared is mentioned particularly be- to study without a teacher 3S We have innumerable finest com- to the doctor who generally tells to a kind of orchestration. The pro- causemany "research workers" did Sir Edward Elgar. A good ments from teachers and professional them to quit playing. This is not gressive harpist must, of course, have taken fantastic liberties book on harmony cannot, pro- violinists-many an artist prefers to necessary. When such a cramp oc- learn them all under proper guid- play on a "Master Art" JOHN JUZEK curs, I tell the pupil first to relax with history in making imagi- ceed at too rapid a pace. It ance, but such study must not be nary conversations in works of takes time to absorb the prin- VIOLIN rather than on an expensive mentally; stop worrying about prog- attempted until the basic position this kind. Your reviewer has ciples and apply them practi- old instrument. ress; take a walk; go to a movie' has become second nature; that is, good old established Guild Auditions _get the mind off difficulties-no~ read this work very carefully cally. This calls for voluminous Student outfits from the lowest price to the when an adequate control of dy- . I Master Art grade for putting pupils ahead," say with a guilty feeling of wastin 0" and compared it in memory examples. The book Ilas etght namics and speed has erown out of We are the sole agents for the famous F. N. time, but in a buoyant spirit of doing it, always naturally °and always with several previous biogra· hundred such exercises, about Guifd members everywhere. something helpful. Then, relaxed, Voirin Bows, Bourdain and Greville Clar- aesthetically. THE END phiesof Liszt, although no de· three times those found in the inets. tailedcheck has been made. The average book. Jn the last chap- METROPOLITAN Now is the Time Conversationsare very plausible ters. Mr. Sessions treats upon and the writer feels that Miss line~r impulsion, dissonantal MUSIC COMPANY RIGOLETTO to enroll pupils for springtime events Lingg has handled her subject tension and atonality. The book Wholesalers, Importers, and Manufac- turers of all musical instruments very ingeniously and graphi. has 441 pages (nine and one- by Mabel Lyon 222 FOURTH AVE., NEW YORK 3, N.Y. cally. The book is filled with half by seven incbes). It is one Publishers 0/ the famous books on National Box 1113 of the finest accomplishments ~i~~in that soul where mockery and hate interesting anecdotes. For in- Violin Playing: Austin, Texas stance,in the 27th chapter Miss of any modern writer on the Piano Teachers GU I to Fe sway. one secret place was set apart "SIMPLICITY OF VIOLIN PLAYING," Vol,. I; II rom ~ll the world and kept invi late Lingg presents the very frank subject. "ALL VIOLIN TECHNI9UE" (cor;rtplete, from beginner to aritst) For GIlda, treasure of her father's heart. letter of the violinist Joseph Harcourt, Brace and by Robert Juzek Joachim, always a purist, in Company $5.50 56 I ETUDE-JANUARY J~2 ~------ETUDE-JANUARY J952 57 NEW IDEA IN MUSIC EDUCATION William- J:ewu alu{ J", The Lost Music of Yesterday 30 E. Adams St.-Chicago 3, 111, (Continued from Page 13) Spedolish in Violins, Bows, Repoirl (Continued from Page 12) EST AflLlSIf£D IS 1874. WRITEFORCA' etc. Actually, because the jobs a re ship. Salle factories in Cincinnati m publishers of "VIOLINS ond VtOll~l~ are considering the possibility of those which can be transferred fro $2.50 per 'feor-Specimen Copy 3Sr. i- representing the thousands of works sisted that the thing that made music allowing the students to do light as- one worker to another with the min enor solofrom "Mart~la"-M'appari music to create moods and atmcs- te 'I. a Dream) is said to have sold which the publishers deemed worthy phere, but the thing that lingers in popular, whether it be a recent song sembly work, but this is subject to mum work lag, they are also II JOHN MARKeRT & co = -e- IL~e . d' to put into print, it becomes obvious hit or the Liebestod from "Tristan the approval of their Policy Com- jobs with a minimum amount of 1 141 WEST 15TH ST •• HEW YORK It N' hundredsof thousands III recor mgs the human mind is melody. A sim- es VIOLINS OLD & NEW' . Y. that many of the editors and corn- ple tune such as Marlborough s'en and Isolde," was its frequent and con- aonu- mittees. This same union restraint sponsibility. When the student Jeav Eltoert Repalrln,. S~~ by Caruso,Oigli, John McCormack, men t a I n · hi a Lanza and others. Flotow posers made countless bad guesses. ua {'en gueri'e (Marlborough is: go- tinued repetition. "The public likes ltudy of Bacll applies to bus drivers and telephone work to reenter his classes he ca c IV , and r z t n-f e t h n- 5 anything it hears over and over century music again do so with a free mind to conce wroteoyer thirty.five other operas. How much of the music bein s ing to war) which was believed to operators. Jobs are available to the BALDWIN·WALLACE available. 1800 pages. Whereare they? What happened written today will be heard £ift; have heen brought back to Europe again." Walter Damrosch was of the weighs 7 Ibs. 3 volumes (un. students in the offices of utilities but trate on his studies. CDNSERVATDRY OF MUS~ abridged) bound as 2. Formerly 0- years hence? Possibly ten percent by a Crusader, may bob up centuries same opinion. The gospel of tin-pan cost up to $40. Only 2000 copies in not in positions held by union em- "We feel that the incentive to pI' BEREA. OHID (SUburb If CleYd.U) to the composer's fount of charm- print. Remit $10 to Dover Pub., Dept. duce is most effective in the co-o Amltated willi I tlrn dIU Llbenl A ns and naive melody? Opera COIll- might be a gene-rous estimate. But later as For He's a lolly Good FeL- alley is to have its wares repeated 66, 1780 B'way, N. Y. 19. (Postage free) ployees. eeneee. FOIIr an,1 tlfll rnr f(lurleS JfIdIlli , , . Unconditional 10·day cash-back guarantee. plan," reports Peter Kohl, Busines "S the fascination of expressing one's lour or We lVon't Get Hom~ Until in every conceivable arrangement The course as now planned calls :~f d::::i:.u~a~~II,~f~f~::I~ ~~~lIen.Seft~ osers have been in many mstauces 0 Morning, while a piece of atmos- until all possible hope for their sue- for a five-year program made up of Manager of the Conservatory. wh HAROLD W. BALTZ. Dun, Bern. 0\1, ~erv long lived, but unfortunately thoughts and emotions through mu- twenty-two weeks of school each contacted the Industries about th e theirworks have a very high rate sic is irrepressible. \Vith the kiss pheric music often evaporates in a cess expires. No"..' and then one year and twenty-six weeks of work. new plan and has helped hundrec I. of mortality.John Towers, English of Lady Luck. one may receive sur- few hours like a summer mist." makes a resounding hit. Repetition, The music student would be able of students find part-time work I0 D I L L E.R·CjlUAILE born pianist, voice teacher and prising rewards. Only the public. A wonderful melody such as Han- instead of prolonging the life of a to continue his applied music study help them get their degrees. oiler. (who died at the Presser laking its own time to decide, can del's Largo-Bach's MeLody for the melody, often exhausts public inter- ITALIAN Scllool 01 Music throughout the year, however, tak- The co-op plan is open to talente d Homefor Retired 'Music Teachers in determine whieh composition shall C-sfring~Schubert's Ave Maria- est in a few weeks and the compo- SPANISH Normal Caur .. load III; to leaching Cel jng his voice, instrument. or com· freshmen .who can meet the 01,. Germantown,Pa. in 1922) spent continue to live. Bach's D-Minor Schumann's Trawnerci-Mendels· sit.ions die an untimely but possibly Utica", ObSlrtlOtiOIl 01 childran'l c1l1lm, GERMAN position study without interruption. servatory's entrance requiremenls in Iwenll".fil'eyears of his life in com- Mass, Handel's "Messiah," Beetho- ~ohn's Ani Fliigeln des Gesanges- well-deserved death. The musical ar- WITH A sample year's program would education and applied music. Th e 66 Eost 80th Str .. t, Now York 21, N. Y. pilinga "Dictionary of over Twent.y- ven's Fifth Symphony and the many Rubinstein's Melody in F-Wagner's chives of the world are filled with break down like this: plan offers complete professiona 1 [jaht Thousand Operas" that hud inspired works of Mozart, Haydn. Prize Song-Verdi's Celeste A~d(t untold thousands of pieces that if LlIlGUAPHOILE degree courses leading to the degre e or Debussy's Au Clair de Lune-are played until doomsday might never The World's Standard con~e~:~~~onal JAMES MILLIKIN UNIVERSITY b~n produced. Yet scarcely more Schubert, Chopin, Schumann. Men- 8 weeks at work ,. find a permanent place in musical Another language is Invaluable Bachelor of Music. The B.S. in Ml SCHOOL OF MUSIC thanone hundred operas are in- delssohn, Brahms and some hun- far more significant musical accom- 8 weeks at school DECATUI, ILLINOIS to mus/dans. sical Education is closed 10 co-op:: dreds of other compositions of other plishments lhan all the excellent and history. This is by no means a pes· In your o\lln home you can leal'n any of 29 2 weeks Xmas recess Olreu IbOrCluch Inlnln la .Q~lf. CmtJtIlrtd. cludedin the repertoires of the great LANGUAGES by tile illtn"aliOlwlly oeMp/cll but the students have equal eligibil till 10durrt". f)t; Illrhtlur t/ )tlllif BIl'htI!llf! erudite works of Sechter, Richter, simistic aspect. The opportunities LINGUAPHONE COfliVERSATlOi>lAL operahousesof the world today. Thi master composers, still ha\'e univer. 9 weeks work ~~lI;I~,~~r~:I~~~i~la.lfl of MIUIt: I.Ild )luIII METHOD •.• Quickly, easily. oorrectly. Made ity for scholarships with regula r meansthat unless you arc a super- sal appeal and ha\'e lasted over a Hauptmann, Prout or our own dear for com posers deserving success were by .n~ted language teaChers: endorsed by 8 weeks school M frn btr or Ihr ~all,,"al "._h'I"~lUflillll~ musICians, educators; used in scllools. colleges never greater than they are at the full-time students. nulltlill 5fCll."'" ftclUfJl cent\lry. But one is staggered hy the old Doctor Percy Goetschius. We in and by o~er a '!lillion home-study students. 1 week Spring recess 2eniusin this field your opera st.ands Send for Interesting FREE book. And unless Uncle Sam change w. IT. CLARE MIHTURJrt, Olm!tr thousands of compositions which America, while we have not pro· present time. Allproved for VETERANS' Training 9 weeks work • ;bout a 280·to-1 chance of being his mind a little later. co-op stu duced the volume of musical master- Certain types of music enjoy a 6 weeks school anythingmore than a musicologist's have not survived a decade. llNGUAPHONE------INSTITUTE dents have the same opportunity fo r e"ll"~ .... I.'l pieces on a par with the European vogue [or certain periods and then 3901 Radio City, N. Y. 2D, N. Y. 1 week Summer vacation collectionitem. Yet 'here again the The beautifully etched musical Send me tile FREE Linguapllone book. I 'draft deferment as those students NEW YORK COLLEGE OF MUSI~ ~takesare so high that if you are jewels of the Danish Niels Gade operas, concertos, symphonies and recede in popular favor. The vogue for the Queen's Hall or drawing want 10 learn...... language, The year's classwork ,,,ould comprise in regular degree courses al col A,r".d kurlT, Dlr.dor a Verdi.a Puccini, or a Richard (1817.1890) are. for instance, all works in larger form that have com- Name. the equivalent of three semesters in- leges. Cours •• In 011 brolKhtl of mlllic manded long continued world atten· room type of ballad developed by leading ta Cerllf1c:ole ond Oipllllllll Straus~.you have a chance of be· too rarely heard. The melodies are Address stead of the usual two, so that each Working only 26 weeks in one tjon_ we have however, given the Thomas Boosey of London, founder Catalogue on reqllest comingnot merely an opera ty· chaste and finely finished. On the City class period would be a complete year at a wage rate which in some world an amazing number of beauti- of the firm Boosey & Company (later 114 .East 8S Str .. t coonbut an immortal master. These other hand they do not seem to have unit with no carryover through a New Yor. 21, N. Y. cases will not ])e· much higher IlIUI , threecomposers became enormously lhat (\jstinctive "something" that ful nlelodies that have real signifi. Boosey & Hawkes. Ltd.) produced work period into the next class work numbers of beautiful songs of the the current minimum, is not going wealthythrough their works. marks the haunting themes, with cance. Melodies of the broad popular GULBRANSEN session. Philadelphia Con,erva'ory type of I Hear You Calling Me, The to offer complete financial independ 11 you strive to write operas in deathless charm. of Cade's younger type such as those of Stephen Foster, Even using this method of com- of Music 75,. hllr Kashmiri Song, Macushla, and 011., ence to t.he out·oj-city student. Btll the more popular class of Johann colleague. the Norwegian Edvard James A. Bland, Ethelbert Nevin, pleting classwork at one session be· M.A.fll" EZUilUN Dux&. Direclllr Lovely Night. of which incredible DlacJum.~~ as Dr. Luther Richman. Dean of the Sirauss.Jli1locker, Cenee. Lococq, Crieg. John Philip Sousa. Reginald de fore beginning the work period. the Conservatory points out. "We do Emlnenf FaCility millions of copies were sold. This Gilbert and Sullivan, deKoven, Even the simple folk-song forms Koven. Thurlow Lieurance, Charles student still has the worry: "Will not expect this to he the all-inclu5ive EJtp.rt Child TrotJllllg type no longer enjoys the very great Cample'e Degr •• CoQtWI Herbert.Kern, Rodgers, and others, of Stephen Foster (1826.1864)-the Wakefield Cadman, Carrie Jacobs I be able to do justice to my class- answer to the problems of the stu . 216 S. favor it once did, more's the pity. 20th St. lOnrl 7·1117 your chance of winning quicker Old Folks at Honl-€ type, seem des- Bond, the Irish German-American work with a nine-week break he· dent with limited finances. We do A more serious decline in int.erest lame and larger returns are of tined to survive through the centur- Victor Herbert, Raymond Hunting· tween each session?" Shirley Zent- think it will help offset some of the was that which affected the classical ROOSEVELT COLLEGE course.greater. ies_ as do the waltzes of Johann ton Woodman, Oley Speaks, George graf, a voice student who has ap- high costs involved in obtaining a Gershwin, Irving Bedjn, Ferde Grofe, art song Ol" Lieder type. For over a SCHOOL 01' MUSIC If your opera should be lost to Strauss. and the marches of .J ohn plied for the co·op course looks at thorough musical education." Richard Rodgers, and many others century Lieder recitals were enor- App~ioo and Th~relieal Jlhuie,. CAlmplllii\:ioll, posterity.you most certainly have Phjlip Sousa. In their field they have it this way, "To me. it's the lesser Paul Byron is one of a number of mously popular in the best musicaJ MUSicology. and Music EducaLion. Badleb illustriouscompany. Of the eleven become quite definitely classics as have gained international currency. of two evils, since i can't afford a student.s who started the hall rollincr of Music and Masl~r af Mute dtgrees. circles. Recitals such as those of Max operas of Ruggiero Leonc3vallo they outlive vast numbers of preten· They are the weather vanes pointing full-time course. I've known a lot ) 5( 8,11/,.,-, .. 011 RCqfful at the Conservatory this fall. "Be~ 1.0 our future musical development. Heinrich, Sir George Henschel and 430 o. l\tic:.hiI"IHI Alc., Clua~o5.llliaoi:l {1858-1919) few are heard in these tious works that have evaporated. of student.s who tried working a fore t.his plan was announced." he his lovely wife Lillian Bailey, Dr. d,aysexcept his masterpiece HPag. What is it then. which gives a mu- Is the lost music of yesterday year and then goiilg to school for a recalls, "I t.hought I would have t 'IAND hopelessly buried? Very probably Franz Wullner, Lotte Lehmann, John SWING WADE WT hacci." Pietro Mascagn i (1863. sical work the element of survival? year; and so Blany times it just give up my ideas about college No\~ :McCormack and scores of similar ar· \,"orld·. lPullP.ft .,-,telll tndla DqillWfS • Ad· 1945) wrote fifteen operas but his Certainly it is not mere craftsman· the opposite is true. Mendelssohn, didn't work oul. Many of them all that's changed. I want a de~ree- UIK'ftl 10 plu Uli:~R.lio.Ret.d Al1UU:IallI despite enormous opposition, ex· tjsts, singing the songs of Schubert, would drop out of school completely runt. bn-au_ blUe!!. Irlrks. 1luJn. 8rPI !6l1:l1, name would be ]jterally unknown ship. :Many of the 'finest Illusjcal an~ .this, is .the chance I have been thlm'!'t. Hoe,le Wllllltl~. IDtnlI_ mdf. ~. Iwmed the S1. Matthew Passion of Schumann, Franz, Lowe, Wolf and after the first year." futufbll". trdtd H)"~•• 1Ilt-wklr. r1ltiA1--"'l7, ~,arefor his great emotional outburst craftsmen the writer has known, men waHmg for." THE: EXD Jam·ho)(·"lu~ fl»l'1l~., ell.'. nr~[)R.EDS" e'1lI~ the exquisite works of the great "Cal'alleria Rusticana." Amilcare who have been able Lo solve every Johann Sebastian Bach in 1829 for Send f. Free B.. llk! Nt...... Lt. PricI!l the first time after Bach's death in French, Italian, Russian, Scandi- Music Teachers IMusicians I TEACHERs.-Uw ••• IteM•..., s)5l..... rill! ~onchjelli(1834-1886) composer of rhyt.hmlc, harmonic and contrapuntal 1750. The works of Bach have con· navian and American song writers, SLONE SCHOOL.:toIl1 rwkiSl. Pi~"Il,PL ''La Gioconda," a standard work of problem imaginable, have been in- 0 tinued to grow in public admiration unfortunately do not command large Here is new achievement.,. Iheworld'so!)eratic repertoire, wrote capable of writing one page of in- COIiIS[lVUlIlf audiences in this day. Their neglect grand~like tonal .quality in 0 or MUSIC tenuther operas. Can you name one t.eresting music. They spent t.heir ever since. For many years t.he re· Howto Relieve Left Hand Strain SHENANDOAH L. 1>. B>1I. rr-. nowned Italian composer, G_ Fran- at the present time is pathetic as the 37" piano, formerly available of. them? The incomparable Georges important genius upon text books. ~OUfS« le:.ading to IhlP 8. Mus. atld B. Mus. cesco Malipiero has made an inten· public is deprived of works to whjch only in pianos of much larger by DOROTHY WALBRIDGE d. d~r«s. Mcmbc:. 105M. 10 the heart Bizet(1838·1875) wrote five operas. However. when a master composer of the: h~:ltIdol.h V.aller. D'J1Oll. VlIJ:UlIl. sive study of the works of Claudio some of our grealest masters devoted bUI only one, his classic "Carmen" such as Rimsky·Korsakoff or Tchai· size and higher price. Write Monteverdi (1567-1643) knowing much of their lives. There can be -= beeame Immortal.. Jules Massenet kovsky writes upon the technical ~ for free brochure showing Dltportmltlll of M~ that the great wealth of musical in- no question that they will be restored N PIANO solos such as Chopin's phases of musical compositjol1. his I hand take over some of ti,e [" Golesbvrg. 11(i;ooil (1342.1912) wrote over twenty· five full details of this phenomenal ac I\'lly KNOX vention of one of the foremost pre· to us when the world huh-bub sub- l Etude, Op. 10, No. 12 ("The Revo. ln measures 9 and 10 d .. COLLEGE M.mhB N. A. , •• mOH melodious and theatrically ex. works rarely become popular in 11 nomos w. WiIliOiII Bach composers must command the sides and permits us again to enjoy t development of scale design. lutionary"), the left hand is called in measures 1'9 20 49 50 5"9 agatn ("al.,09 If~t .,.., reveaf CWit_--= ccJl~ntoperas. He was fortunate in classrooms. Hector BerUoz wjth his [ upon for a great. amount of the m k '.'" and 60 "Traite d'instrumentation" is a pos· interest of the musical world. the best in the arts. Spedol reacher's Oisc;ounl- Nome of ar your mUSIC (see cut) to' d' . !lavlllgsome five of these retained work, and is likely to become over- Is it not reasonable to assume t.hat Just to be able to write one little nearest authorized deoleron request, ~hedre. YO~drright hand shoul~n e~Ct:~e ~~ the international repertoire. sible exception. CONVERSE COLLEGE~:r.L M ~ "L . Sir William H. Hadow, one of the in the mountains of lost music, long tune that will last through the cen- . IUghlh'" (Righth'" n mCI entally while tl .' anon,' e Jongleur de Notre &hrin Oencbd!tJ, DeaL 8IJlrtaMlJrl. So C looked upon as rubbish, there may turies, is a kind of immortality given hand plays thes~ left h le right Dam;:" "Don QUlchotte," "Thais" most dislil1guj~hed of British musical !,'~I~ \ be diamond mines of priceless un· only to an amazingly few people. : • I , .. drop your left arm to . and .parts, and ·Werther." scholars once said to the writer: "Of . - - O...... -D,.--D ... ~ relax and . )Our Side to "II\e ~ •• iuJ~ recognized genius? James Francis Cooke DEPT. f, 2050 H. RUBY ST. _ ._ A_II When one scans the catalogs of course, there can be great music Test It completel)'. tai~::: John Philip Sousa however, in~ MELROSE PARK, ,LLlNOIS tired. To relieve it, let the right Telet"ltlon. York appeatlllt'tl pllbli~hers f tl . Editor Emeritus, ETUDE THE END :s_ ~ 0 le past two centunes. without definitive melody such as '&Ppro..-ed fot !';"ell Anlld for CIlJ]dl1L Ifr'Jt );- Ah1pnt'. Ii R·.... ' N. T. ('1tf 1!. I 58 {CrUDE-JANUARY 1952 59 6 _ ET DE-JANUARY 1952 The Metropolitan Upera renee Anderson, Richard Morse, Company opened its 69th season THE WORLD OF Carl Anton Wirth, Harold Brown, An outstanding list onNovember 13 with a perform- WHliam Parks 'Grant, and Robert anceof "Aida" which had been McBride. "taD'edand redesigned along the res 0 linesset forth by the new manager Fred Patton, baritone, former of Major Sacred Choral Selections RudolfBing in his first season member of the Philadelphia Civic lastyear. As in the opening "Don Opera Company and the Metro- Carlo"last season, Mr. Bing again politan Opera Company, died in turned to Margaret Webster to sang last season when the opera chestra, which has attained an in- Detroit on October 25 at the age LENTEN CANTATAS AND ORATORIOS For Mixed Voices direct the production of "Aida" was given in concert form by the ternational reputation. It has ap- of 63. From 1932 to 1943 he was and the result was a streamlined New York Philharmonic-Symphony peared at the principal festivals professor of music at Mich igan TITLE COMPOSER-ARRANGER CAT. NO. PRICE TITLE COMPOSER-ARRANGER CAT. NO. PRICE version which seemed to please Orchestra. in Europe for the past few years. State College. He appeared at TITLE COMPOSER-ARRANGER CAT. NO. PRICE xt*SEVEN LAST WORDS OF xGALLIA (Motet} Gounod 412-40092 .bO CHRiST Dubois-Dollty 41240172 100 the opening·night audience. Two . many festivals and with major BEHOLD THE CHRIST .... Nevin 432·40168 .75, (Sop., 20 minutes. Orchestra on rental) (Orchestra on rental, Sop., Ten., Bar., 4~ . Gian-Carlo illenotti's "Apoca- Sigmund Romberg, Hunga- (Holy Week or general use, Sop., Alt., new singers were in the cast- orchestras throughout the U. S. minutes) Ten., Bar., 40 minutes) LAST WORDS OF CHRIST.Spross 412-40044 .75 ElenaNikolaidi, Greek contralto, Iypse~" the composer's first sym- rian-bom composer of operettas (Ten., Bar., 45 minutes) *SEVEN LAST WORDS OF phonic work for full orchestra, which brought him world fame. BEHOLD THE LAMB OF GOD CHRIST Dubois 432401511.00 and George London, Canadian The late Arnold Schoenberg's Jones-McRae 332-15179 .30 was given its first performance d-ied in New York City on Novem: xtMESSAGE FROM THE CROSS (Sop .. Ten .. Bar., 4) minutes, English baritone.The other leading roles "Ewartung" ("Expectancy") was (Alt., Ten., Bar., Voice speaking choir, BASED ON "THE SEVEN LAST and Latin text) were taken by Zinka early in November by the Pitts- bel' 10. His age was 64,. He was a Solo speaking parts, 30 minutes) WORDS OF CHRIST" Milanov, given its first American presenta- xSEVEN LAST WORDS OF burgh Symphony Orchestra under prolific writer, his operettas num- MocFarlone 422-40013 1.00 CH RIST Monestel 432-401551.00 MarioDel Monaco, Jerome Hines, lion on November 15 by the New CALVARY .Shepperd 412.40061 .75 (Sop or Ten., Bar. or Alt .. 45 minutes, Victor de Sabarn. ' (lent or Easter, Ten., BaL, Bass, 20 (Sop .. AIL. Ten" Bass. I hour. En.l>lish Lubomir Vichcgenov and Lucinc York Philharmonic-Symphony o-, Orchestra on rentnl I and Latin te-xt) minutes) Amara.The conductor was Fausto chestra under the direction of PASSION ACCORDING TO ST. STAB AT MATER (Tragedy of Gregor l::Ji(f,;,go"'sk~y, world CRUCIFIXION .. Steiner 432-40128 .75 MATTHEW ~. Bach 432-40146 1.50 Calvary) Op. 58. . .Dvorak 4)2-402171.50 Cleva.The ballet included as one Dimitri Mitropoulos. Called by famous cellist and Reginald Stew- (Ten., Bass, 1 hour) (Lent or general. Sop .. Alt., Tcn., Bnr., (SoP .• All .. Ten .. Il,l'''. q:z hours, Ene.· of its first dancers the ensational some an opera, by others a can- Bass, English only) . lish lind Latin text) . art. noted pianist and director of CRUCIFIXION AND RESURREC. Negrogirl, Janet Collins, the first tata, it was given in a concert" STABAT MATER fTrib ...latiold the Peabody Conservatory of TION Berwald 432-40130 .75 tPENITENCE. PARDON AND 01 her race to become a member version .. The composer himself (Holy Week and Easter, Scp., Alt., Ten., PEACE ..... Mounder 412-40149 .75 Rossini 412-401751.00 of the Metropolitan COfllpany. Music in Baltimore, joined their Bass, 30 minutes) (Advent and general use, Sup., or Tcn., (Two Sop .. Ten .. Bass. I hour, Englivh called it a "Monodrama" because Bar., 35 minutes) and Luin text} Therewas also a specially engaged talents in a Sonata recital in Bal. of the fact that it contains but one FROM DEATH TO LIFE ... Bartlett 432-40135 .75 RABBONI .... Loveland 422-40014 .75 STORY OF CALVARY .. Sehnec~er 4)2-40156 .15 Limore in November. The program (Holy Week and Easter, Scp., Alt., Ten., chorusof Negro singers for the singing role. Schoenberg wrote (SOp., Alt., Ten., Bass, 40 minutes) (Bar .. 2) lllinuu,; ..} included Brahm's Sonata in E Bass, 40 minutes) openingperformance. the work in 1909. Minor. TTindernith's Sonata (1943), Guy Jllarriner, director of and Rachmaninoff's Sonata. ~fhe National Association fmo EASTER CANTATAS AND ORATORIOS For Mixed Voices music,The Franklin nstitute, was J ~fll,sic Tlwra/JY held a convention NEW LIFE...... Roger! 4)2-401~S .71 recently given a certificate of Clwrles Font-eyn l11anney, ALLELUIA ... Stults 412-40055 .75 FROM DEATH UNTO LIFE .. Stults 412-40091 .75 in Chicago on November 9, 10, 11. (Sop., Alt., Ten., BaL, Bass, 30 minutes) (Sop .• 1'(:n .• 13:l~_. 2) minut(:-.} merit,signed by hundreds of his composer and editor, died October (Sop .. Alt., Ten., Bass, 35 minutes) Under the direction of Ray Green, 31 in New York at the age of 79. PAGEANT OF THE RESURREC· admirers, Oil the occasion of his president of the association, a futI CHRIST IS RiSEN Thiman 432-40123 .75 GLORY OF THE RESURRECTION TION .... , . . .. • Diley 432-40181 .75 2001hpiano leclure-recital at the 1 fc was widely known as a COlll- (Sop., Alt .. Ten .. Bar., 45 minutes) Spross 422-40094 1.00 program of discussions, demon- (Choir. Sund:lY hool .tnd ml::.rtl:).tlOn poser of melodious cantatas, songs (Sop .. Alt., Ten., B3SS, 35 minutes) may particiD:UC) .. Institute.Marriner is also lcctu mr strations and lectures made up the tCON9UERING CHRIST.Keoting 412-40073 .75 and piano pieces. For :i2 years he bering seventy-eight and his songs • III the University of Pennsylvania activities of the three days. (Sop .. Alt .. Ten. and Bar. Duet, Easy, GREATEST LOVE Petrie 412-40097 .75 RESURRECTION ~ORN Keoting 412-40158.1S and conducts the television series was on the editorial stafT of the running over tile 2000 mark. The 45 minutes) (Sop .. AIt_. Ten .. B.•r.• RC:-Adtr with mu\i- (Sop .. Alt .. Ten .. Bass, Easter or general "GreatMusic," a regular Sunday Oliver Ditson Company. most famous of his musical plays use. of moderate difficulty. 40 minutes) cal ac(omp;lnimenl. )0 minulfHungary, and at an early age gave HAIL THE ViCTOR Wooler 432-40137 .75 minule~) ing the first appearance of the THE CRUCIFIXION AND THE (Sop., AIL Ten., 30 minutes) of Berg's "Wosseck" at La Scala. ill the fall of 1952. The trip will evidence of unusual musical tal- orchestra in that city since 192U. RESURRECTION ... Berwald 432-40130 .75 xRISEN KING ... _. Sehneeler 432-«1150J! Ii is quite likely that some of the celebrate the twentieth anniver- ent. He came to New York ]n (Sop .. Alt., Ten .. B,lSS, 30 minutes, Holy (Alto. 2) minules} IMMO~TALITY Stults 412-40110 .75 sary of England's noted small or- Included on the program was the Week and Easter) singerswill be the same ones who 1909: and following several )'P,ars (Sop" Ten., Bass. 35 minutes) first New York performance of RISEN KING ...... •.•... Wooler 412-40166,JS at various odd jobs, he found him- xDAUGHTER OF JAIRUS.Stainer 412-40078 .75 (SoP .. Alt.. Ten •. Bar .. 30 minutb) self engaged by J. 1. Schubert to Roy Harris' Cumberland Con- (Sop .. Ten., Bass, 45 minutes) tKIN~ ALL GLORIOUS .... Stairs 412.40115 .75 certo, which had been commis- bop .. AIt.. Ten .. Bar., Easy, 50 minutes) tTRAVAIL AND TRIUMPH compose for him in 1913. His first sioned by Mr. Johnson last April. DAWN OF THE KINGDOM Keating 412-40182.1\ full-fledged musical show was Wolcott 412-40081 .75 CO~'PETITIONS (For details, write to sponsor listed) tKING OF GLORY Morrison 412-40195 .75 (Sop .. Alt.. Ten_. Bar., B355. EaS\'. 40 "The Whirl of the World." His (Bar., Ten., Easy, 30 minutes) minutes) • (Sop .. Ten. and Bar. Duet, 35 minutes) • Rome Prize Fellowships. S3.000 for one year's study in Home of first operetta was "The Blue Para- Mrs. Crosby A.tlmns, widely- tETERNAL MORNING. Stairs 412-40206 .75 tTRIUMPH OF THE CRUCIFIED classics:-nd the fine arts. Closing date lor 1952-53 scholarships, Jan. dise." He had been guest conduc- known composer and plano teach- KING OF THE AGES Stults 412-40157 .75 (Sop., Alt.. Ten., Bass, Easy, 45 Keot;ng 412-40185.11 1,1952: American Academy, 101 Park Avenue, N. Y. C. tor of many major orchestras in er, died in Montreat, N. c., on minutes) (Sop., Alt., Ten .. Bar., Easy. 35 minutes) (SoP ... Alt.. Ten_. B;lr. OpliotUl. hsy. 4 5 ITIlnUICS) • Maflall Anderson Scholarships for vocal study. Closing date not summer concerts, including the November 9: at the age of 93. She announced. Marian Anderson Scholarship Fund, c/o Miss Alyse EVERLASTING LIFE. .. Formon 412·40089 .75 tLiFE ETERNAL Dole 412-40122 .75 Hobin Hood Dell Orchestra ill was the widow of Crosby Adams Alt. and Ten. Duct, UNDER THE PALMS ...... Rool 412~la7.~ (Sop .. Ten .. Bar., (Sop., Alt., Ten., Bass, 35 minutes) Anderson, 762 S. l\hrtin St., Philadelphia 46, Pa. Philadelphia. \\those death occurred on february 45 minutes) (Pro.~ram . for unday hoo!. Choir anJ ~l C~lonls for male voices by an American composer. Prize, $100. Con,gre.c:atlon participation) 27, 1951, also at the age of 93. N.o~ng date, .Tan. 1, 1952. 1\Iendelssohn Glee Club, 154 W. 18th St., EVERLASTING LIGHT .. Fichthorn 432-40134 .75 LIVING CHRiST Stults 412-40131 .75 Th.e Arum,al SymposiulIl of Together they had made Illusic (Sop., Alt., Ten., Bar., Easy, 30 minutes) tVICTORY DIVINE ...... Morh 412~la9.11 . C. (Sop., Ten .• Bar., 45 minutes) American Orchestral Wgrks of the their life work and they were affec- (Sop .. Ten., fur. or BOl5S.1 hour) • Purple Heart Songwriting Awards. Popular, standard or sacred xFROM DEATH TO LIFE .. 8artlett 432-40135 .75 tMATCHLESS MORN Sta1r. Eastman School of Music was held tionately known throughout a Sop .• Alt .• Ten .• ·S·a·;··B -s £412-41004 .75 ~~ng~.First prize, SlOOO; second prize, 500; foul' prizes of 250 each. (SOp., Alt., Ten., Bass, Holy Week and ( Lass, asy, '0 WONDROUS CROSS Berg; 412..0041.11 large segment of the South. Mrs. minutes) ., osmg date not announced. Order of the Purple Heart, 230 W. November 5-7 with Dr. Howard Easter, 40 minutes) (Easter or general use p.. All", TffI~ Bass) • 5,1t1rSt., N. Y. C. Hanson conducting the Eastman Adams was active with her hus- Send band in various localities. For for the Presser Spring Choral Catalogs. " • Sacred vocal solo, 5·10 minutes in lenoth ,~ith accompanjm~nt of Rochester Symphony Orchestra . . Sacred or Secular, Dept. o)'a-an d I 0 , F I 1 .. Cannot be sold in Canada t Words only ovoilable @ $2.50 per 100 x Orchestration ovoilable E·!·JI I" an one so 0 instrument. Prize, $100. Closing date, 'e). . Twelve new works were given their many years she conducted a music 52 Solos indicated by Sop .• Soprono; Ten., Tenor etc, 1 ,~. W. Gray Co. will publish winning work. ChUTch of the first performances, the composers school in Chicago and for forty • sc~nslOn,.Secretary Anthem Competition, 12 W. Ut,h St., N. Y. C. represented being NIarion Bauer) years held annual summer sessions slcioour.vOl.cesetting for congregational singing, of Psalm 100. Prize Paul Fetler, William Ward, Wal- for music teachers. Til 1913 Mr . THEODORE PRESSER CO ., . Closmg date February 29 1952 Thomas H. Hamilton. Mon· 'ter Hartley, Robert Wykes, Flo· and Mrs. (Conlinncd on Page 64) Bryn Mawr, Pennsylvania mouth College, Monmouth, Illin~is.· . 60 Fru 61 ETL DE-J f\l JRl l'i . UE-JANUARY 1952 l------f::~ For the ELEMENTARY PIANIST CONCERNING SCALES, ARPEGGIOS, AND GENTLE GIANT STACCATO BOWING ~MUSICIANS ~ (Continned from Page 16) Students, Teachers ~t~~i~GF~~~~~f~;i;;~oNND;m: (Continued [rom. Page 25) li~MARCH MILITAIRE • GRAND MARCH gentleness began to play MacDow• WHERE· SHAll I GO TO STUDY? With tense mouth and scarcely a CHA~T of MODERN CHORDS. 204 ("AIDA") • WAR MARCH OF THE ell's An Old Love Story, his hands practical 9th. 11th, and 13th chords.$l.OO PRtEST~. UNDER THE DOUBLE EAGLE greeting, Jim charged into the Bach- • HIGH SCHOOL CADETS· THE JOLLY caressing the phrases. calling back / can't get your answer before this positions, hut the demon of space HARMONIZATION CHART, 372 ways COPPERSM ITH-Iamous mal enes of Sousa, Liszt. to harmonize any melody note $l.OO a lost voice. saying. "It's all rilTht . is over but hope to get some limitation prevents me from dealma 40, PRIVATE TEACHERS [New Yerk Cayl lEOPOLD WOlFSOHN. I wrung my hands, pitying the seSSIOn· , CHORD CHART, 132 sheet music now; it's all right." eo with them here. they interest YOl~ suffering instrument. the reverber- c,,'veideas that I can use next If chords $ .50 Composer, Pianist cod Teacher constTn " A lear went "ping" on my note- write to me again. • POPULAR PIANO TEACHING. Teacher of Aron Copland, Elie Siegmeister ating walls, the patient neighbors, summer, book. Bowing problems are apt to be COURSE, how to teach breaks, runs, CECilE HODAM .B.ENZ and mony orfists and teachers. but I let him go. -Miss A.S.C., California boss, tra~sposing, improvisation by Bachelor Fine Arts-FormerJy a College BEGINNING TO ARTISTIC FINISH For three weeks I let him go. Blessed Music! Dear. blessed more complex, but jf they are ap· sheet musrc chords. Used by success- Instructor Hotel Anson.ia, B'way at 73rd St., New York City ful te ochars in all States. 40 popular ~: __ More Than 30 Excellent Collections TEACHER OF SING.JNG as he pummelled and punished and comforter, voice of Divine reassu-. Your letter brings up a very im- preached from the fundamentals songs Included , , $9.00 Yclce-Plono Studio, 2 Hamilton Place, Merrick, CHAS. H, HANSEN MUSIC CO. Long Island, N. Y. Tet. FRee,porf '1-3764 vent his own anguish upon the Fan- a nee! It's all right now; it is, it is! portant poi~t in. violin teaching: much can be done in a few weeks. WALTER STUART MUSIC STUDIO The first thing to develop is a flexible 1227B Monis Ave., Union, N. J. New Hyde Park, L I , N Y ALFRED JACOBS tasie, the piano. and the tympanic As long as there is one mind to Pupilsstudymg with a new teacher fashion it. one hand. one voice to right hand. This can be done by in- If HELEN ANDERSON Teacher Violin & Viola Coach membrane of all within hearing. 1 forfiveor six weeks only cannot be Concert PianAst Highly Recommended by bit my tongue, and hoped that a re-create. one ear to listen and un- handledin the same way as if they tensive study of the wrist-and-finger Wm. Primrose, Otto Klemperer & M ishe! Piastro derstand-then it's all right. it's all 1110tion at the frog of the bow, Interesting course-plano, harmony Carnegie Hall Call CLoverdale 6-3701 Stein way could "take it." weretaking lessons regularly. right. God be thanked! coupled with work on the whole bow Many Successful Pupils Write to 7510-18th Ave., Brooklyn 14, N. Y. It could. and so. bless them. could It is a matter of selection. The CLASSIFIED ADS 72nd St., N. Y. C. Tel. se 4-8385 166 W. the neighbors. The Giant drops his hands and teachermust perceive at the first martele. At the end of five weeks rises-rises a long way up. "Any. a pup.] who is moderately advanced And so did Jim. And 1. And lessonthe weaknesses in the stu- HAUIUO,,"Y, Composition Orcues na- IlUPOH.'l'EIJ lUUSIC: Allldnds for all M M E, BOXALL BOYD lEilA TYNDAll MOSES tion, Musi ca l 'I'Ireo ry. 'Private or tns tr-uments. Imported r-eco r-ders (in- (Leschelitky) finally the stor-m subsided. and one thing else T can do for you today. dent'sperformance, and must give should be able to play fairly rapid Former Pupil & Assistant of Dr. Wm. Mason teach r? ,. The old gentleness. the Correspondence Instruction. Ma n u- s tr-u me n ts ) . .raecket's Music House, Pion ist- Taccher-c-Ccocb-c-Procrom BALMA FAUST B,S. Music Education Ilas bought $5000 worth of inst ru- revealed ilem" in Ihis \'fin: wood Valley, Calif. Piano Teacher NADINE CONNER HOWARD KEEL shiftingtechnique. when he is playing a study in his S\V1Xf; prllXO-H\' ;'l.,l.-IL. 30 self- Henry Cordy ,nent.s for the youths and paid Ollt "Market mgr, al 201 W. Wilson Learn to Teach or Ploy for Pleasure James Parnell teHchin~ lessons, $3.00. OVER 50 FOR SALE: Conn Euphonium, t\VO Pupils teaching successfullv allover the U. S, and others of ~tage,screen, opera and radio $6000 for uniforms. reports no n Ollnt check. Tilu~. With regard to shifting. Many own home. PUBLrC'ATTD:\TS- cbssicnl and pap- 600 West t 11th, (Corner Broadway) years old. Cost $325. 'Vill sell for .Re~. 2150 N. Beachwood Dr., Hollvwood 28, Calif. pupilshave a habit of swinging the Summer teaching is enjoyable be- ubI'. AtlenLion artist.s and teachers $200, Johnson, 21 Cedar Dl"ive, Toms New York 25, N,Y. MO 2-6772 In addition to this. t.here have "Ofc. D. hrislianllen coming in onl.\': $30.00 of music for ~lO.OO. F'ree River. N. J. been the donations through the handoutwards when they go from C:Iuse one knows that the pupils samples. (Introductory offer.) PHIL wilh three for investigation." BRETO)J PUBLICATIO)JS, P.O. Box thefirst to the third posilion. Some \\ould not be studying during the P1A..'\"IS'l' \\'AX'rED to accompany WilLIAM FICHANDlER )'ears-from a few cents given by a The day thai h look off his uni· ] 402, Omaha 8, Nebr" U.S.A. EDNA GUNNAR 'PETERSON quite advanced pupils will do it. hot weather if they were not sin- music for violinist, concertos etc. for Pianht, Composer, Teacher chubby pre.school boy up to many form. however. Ihere was this ex· PI,\.XO A.CCO)IL"A.NIIUEN'I'S RE- practice benefH. Call evening·s. Sam- 314 West 75th St., New York Su·7·)775 Concert Pianist-Artist Teocher Thismust be immediatelv corrected· cerely interested in learning. It is con DEll. Send music and check for uel Levine, 2112·64th St., Brooklyn 4, published b, 229 50. Haryard Blyd. Los Angeles, Calif. dollars contributed by different traordinary enlfY on the blotter. Recent Compositions $4.10. l'1'1.u ...;ic returned with UN- N. Y. CL. 6-5398. G. Schirmer, Inc. DU. 3·2597 so that when the shift is made th~ also a valuable training for the business concerns. All along. how. written in his own familiar hand: BREAKABLE RECORD. Vincent Re- ever, it has been a struggle to keep fourthfinger is over the string being tepcher, who must develop tile abil- cording Service, P.O. Box 206, Union, RECORDS - Regular listings im- aLi fe is a book in \'olumes three. N. J. ported and domestic, collectors' CHARLES LAGOURGUE 0.1, U it going, and for securing financial the past. the present. and the yet playedon. There are problems con· ity to get his ideas across in a mini. items multi-ling'ual folklore now JEROME D. ROSEN nectedwith shifting into the higher mum of tjme. THE ENI"l HACJ{ POPULA.R SHEB'r UUSIC TO available. Latest Europe'an issues ob- VOICE p,RODUCT10N-SINGING help "Pop" Evans attributes great to be. The past we ha\'e read and 18:-,0. B1l11nds, Rngtime, eyerything. tainable at short notice. Libraries, for information: Violin Recital,-Artistic Violin Instruction institutions supplied. Hoss, Court & Founder "Ancient String Instrument Ensemble" credit to Willjam E. Seidel. its man· laid away. tbe present we are li"ing Cn talog 10¢. ChI s!-;ics exc))a nged for 35 W. 57th St., New York popu1al', Fore's, E3l5l High, Denver Co. (Canada), 121 Simcoe Street, Sfudios agel' for twelve years. Rodney A. Toronto, Ontario, 6508 Delmar Blyd. 2070 N, Kirkwood Rood day b)' day. Ihe third and last we 5, Colorado. St. Louis t2, Mo. Kirkwood, Mo. White now filling that position. RICHARD McCLANAHAN cannot see. Cod onl)' hold"' the key. AUH.4..~'(;IXG for Band-Orchestra- CLASS PL\.l\'O. How to orangize a For its director, Lieutenant Evans "This is the end of another of Pia.no Voculs. Manu;:;cripts con'ected class and hoW a.nd what to teach be- Matthay exponent, formerly his representative. and pl'epal"ed for publication. vVords ginnel's at theil' own age level. A Private Le,sons, Teachers Courses. Forums- Ilas Arthur .T. Beveridge. a violinist ADVENTURES OF A PIANO TEACHER mimeogra.phed 'l'eacher Training Summer class-Southwest Harbor, Me. life's mysterious chapters. To those set to music-school songs. Send ISABEL HUTCHESON a nd theater man in his fifties. from mnnuscl'ipl fOl' est.imate. Prompt Course, NEW YEAR SPl!.:CIAL $15.00, 801 Steinway Bldg., N,Y.C. who follow me 1 ,\'ish continued hap· closing out the present edition, (The (Tues,·Fri.) CI. 6-8950, other days, KI. 9·8034 Refresher CourSe for Piano Teachers: service. Val's Arranging _Studio, P.O. !he Middle West. Beveridge also (Contil/ued from Page 26) Box 21G9, Daytona Beach, Florida. 1952 edition will be quoted at the Modern Piano Techn ic:Coach ing Concert Pion isis: piness and SUCCe5S. I sincerely hope original price, $30.00). Save by send- Group Work: For further information address: C onducts the Los Angeles County ing checl~, money order 01' draft to 1 that when rour lurn comes to hand GRAIJEIJ PIA:\'O JIUSIC for techni- CRYSTAL WATERS Studio 202, 1005 /2Elm St" Dallas Texas Band and the Glendale Elks Band. or squirming simply because these ask. "If there is no restlessness at ca.l !5tudies and recital playing. Con- Mrs. Bertha 1\L Daal'lId's Piano Augusf in New York ' in your badge and la)' down the Studio, 404 S. Ellrel~a, Columbus 4, Teacher of singing. tinental Publishing Company, 4441 From a handful of youths. the young children have not yet been twenty minutes may I continue?" Junction Ave., Detroit 10, Mich. Ohio. Popular songs and Classics. working 1001s. )OU can counl as T,V,-Radio-Stage-Concert. Glendale Police Boys' Band bios. spoiled by constant exposure to they look at me incredulously, and many friends in and oul of the de· FOil SA1,E: Genuine "Amati" Violin. PIANO niOltlES REPLACED by 405 Eo.I 54th St, New York 22, N. Y, s short spans of attention and COIl- reluctantly give permissjon. Result: mail. Top quality pi;tno needs since DR. FRANCIS L. YORK omed until now it has 65 members partment as I do, Lewis Certificate. $1,000. Cost $4,000. centration. Ted lIIarcllertl, 31 E. 11th Ave., Co- 1912. Polish HOC, Molh l(iller 70¢, Advanced Piono Interpretation and the Theory !hat being the maximum permitted I continue often UJl to an hour or Name Bon.rd Shield $1.50. Questions "'Humanity is m}' famiJ).. the lumbus,011io. work required by the degrees af Mus. Bach, 1or it. Their ages range from 14 to On the other hand the ten to even longer, with no diminution of on organ 01' piano conl::ltr'uction an- CAROL ROBINSON and Mus. Mos. Special Cnapin interpretation: swered 20e each, Bledsoe Organ & world is my country and to do good , I ' J,]~_4..UXPIAXO 'rUXI~G ~'r HO~IE. Concert Pianist-Artist Teacher DETROiT CQ-NSERVATORY OF MUSIC 20: only a few being younger than weve year olders, long accustomed attention. Piano Shop, 1202 W. Pawnee Road, is my religion." Course by Dr. Wm. Braid Willte, Wichita 12, Kansas. 'OS East 54th 51. New York 22, N, Y. D.frait, Mich. ,hiS. When a young man reaches to swift changes in their school Recently a six year old boy at· world's leading piano technIcian and Plaza 5-5123 That he Ih'ed up to his creed, teacher. 'Vrite Karl Bartenbach, 2 1, or disassociates himself for other activities,find it much more difficult tended his first concert. "What did FOR SALE: NDVACHORDS, two «to do good.·' be has bundreds 01 100lA 'VeIls St., Lafayette, Ind. r to "t k" 1 demonstrators, CLOSING OUT at bar- easons? there are dozens anxious to . a e t le classes. The sharp vou like best?" he \"las asked. "I gain price. Phone, wire or write MME. GIOVANNA VIOLA (HULL) SAN FRANCISCO CONSERVA· , witnesses. including the boys and SO~'G\\'nl'l'l~ns: Unique met,hod C?f- ake Ius .place. From the waiting edgeof their concentration has been iiked the piece of Chopin best.," fers tune improvement and hlt \yrlt~ CLARK MUSIC CO., 41G S. Salina St., Dramatic Soprano men who as presenl and former Syracuse 2, N. Y., leading Hammond Teacher of Singing-"Bel Canto .. TORY OF MUSIC, INC. r1st a lew are culled. more audi- dulled by school practices. "Why?" "Because it was such a ing Mailed songs free exammed. members of the Glendale police Son'gart, 3031 Edwin IE, Fort Lee, Organ dealers. Experienced European trained Artist 3435 Socramento Street It' 1 Walnut 1·3496 t'IOns held, and the lucky one be. r IS t le same in concerts. Many lovely short piece." The artist had N. J. Coaching Opera, Concert and Radio Boys Band h"e been !Wide

."'~;,•• v _.~,ur voice ~hls test- '". - m ed, .«.",tijiD way. Yes-you mal' now ,hi IW able to Improve tnc POWER of you,. ~111111, Bpenk,n!!: and slnf:"lnl!: vol .." •.. in the i ~'OUI' privacy of own rooITl1 Sclf·tralnin/r lossons, mostly silent. No music required. Write TODAY fOc EUll:ene Feuc\ltlnl!:~I"s ~eot booklct "How to Develop tremendous amount of practice a Succcs6fU! voice." It's abao]utell' FREEt You must work in hand is a violin and piano stat" your age. Booklet mailed postpaid In pl~in hour of conoentrared work in high drudgery at the instrument is wrapI''''', No salesman will cnll. Send ~'Ol"· ll~me and sonata. Some kind of analysis is Hll:e TUGHT NOW! gear, instead of in reverse. PREFECT VOiCE INSTITUTE avoided. It enables one to arrive 210 S. Clinlon st., D"I'I. A·IOO, Chicago 6, III. Another tremendous aid is deliber- essential to an initial understanding of the piece: first subject, second at the practical stage of one's work It is significant that in recent years schools ate mental practicing away from as well prepared as an able lawyer, your instrument. All players, even subject, development section, re- and colleges have purchased many more capitulation, etc. I like to study the who would not dream of going to the best, must recognize sooner or court without having carefully Everetts than ever before ... hundreds more! later that the instrument often acts phrases, sing them to myself, a]- Headquarters far ready establish in my mind the briefed himself in advance. as a hindrance instead of a help to If the composition in hand is one A CREDIT TO THE Yet an Everett school piano is by no means Catholic Church Music the realization of our mental and length of a phrase, its character, its intensity, its climactic note, the that I have already practiced quite the least expensive that money can buy. Estimates on 011 type music printing emotional intentions, Away from the manner in which I am going to in- a good deal, or performed in public MUSIC DEPARTMENT gladly furnished on reques1. instrument. unencumbered by the I am likely to ponder over it, pencil But, it is the lowest priced piano that measures thousand and one details of tech- terpret a crescendo or accent, and in hand. whenever I discover a pas. McLAUGHLIN 8< REILLY CO. nique, we can often think far more t he technical approach I am going • • • up to "Specifications for School Pianos," as sage that is still causing me trouble an inspiration to 45 Franklin St., Boston 10, Moss. clearly about what we are trying to to use in bringing that interpreta- or has done so at the last perform: prepared by Dr. Carter. For full particu- do and how we should do it. This tion to liie. a nee. I swoop down on it with my is obviously true {or phrasing, style In the course of time you will the student lars, send for your copy of "A Factual Re- pencil and mark it with a cross and expression. but more surpris- become so proficient at this manner When I have finished. I Sci my pap;~ port on the Series 10 School Piano." Everett ingly, it is also true where the solu- of 'working without the instrument, graveyard up on the stand. lake my tion of mechanical problems is. con- that you ",HI find yourself putting Piano Company, South Haven, Michigan. violin atld practice exclusilJely the cerned. down not only phrasing marks and mark d: places. If you have never worked this bowing marks, but also the finger- These are ani)' a few suggestions; way, you may find it difficult to ings! SERIES 10 EVE RE TT smOL PIAN~ you will find many more helpful de- start. At first your mind will be even In the case of a chamber music . 'Thne pianos in30days more inclined to wander than when work like a sonata or a quartet, I vices a you proceed. As you begin r-;o musle,,1 knowledge 11ee",,,,,<1. Low cost training by experts. Re"elutlo"ary you play. But persist, and soon you also like to establish, in my pre- new phonogeaph records give t1'ue pi""o IOlle" We fuenlsh professl(}""l tools (recoed player if "eededl liminary analysis, when my part is going stale in practicing. that you Instruction manuals, including spinet tunillg. Fuli will begin to reap the fruits of your training in piano repair_an

ILLUSTRATION CREDITS

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