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

10-1-1917 Volume 35, Number 10 (October 1917) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 35, Number 10 (October 1917)." , (1917). https://digitalcommons.gardner-webb.edu/etude/640

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. k I THE ETUDE Page 637 OCTOBER 1917

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{Continuedon fiagHor.) 1 THE ETUDE Page 639 OCTOBER 1917 OCTOBER 1917 Page 638 THE ETUDE Thanksgiving Music Guise-BysAM loyd Greatest Educational Work of the Age Famous Violinists in Puzzle THE following selection is made from Ten Prizes for Best Answers ATribute to American Pedagogy our standard publications; it in ___ Mathews’ Standard eludes some new music, especially fo the organ. In addition to these titles Graded Course of which are made up from our own cata logj we have in stock music of all pub StudieshPianoforte 1,000,000 fishers.. We would be pleased to send for your examination copies of any Compiled by W. S. B. MATHEWS music we hav£ The Leading Musical Writer and Copies Sold of These Works Theo. Presser Company Educator of the Preaent Time A COMPLETE course of standard ANTHEMS FOR THANKSGIVING TOUCH AND TECHNIC 5952 And God Said Let the Earth. from the best composers for the tivation of technic, taste and sight By DR. WM. MASON reading, carefully edited, fingered, 6280 Come and Worship the Lord. phrased, and annotated and supple¬ In four books. Price 31.00 each. Schoehel . mented with complete directions for A complete technic from the beginning to the finished artist. 10138 Come Sing Before the Lord. the application of Mason’s “System Two-finger Exercises; The Scales; The Arpeggio; Octave and Bravura Playing. 10062 Earth is the Lord’s, The. of Touch and Technic” for the pro¬ J. W. Lerman.. duction of a modern style of playing. 10733 Great is the Lord. A. -T. Boex 10740 How Excellent is Thy Loving Thirty years ago Music Teaching in Kindness. K. S. Barnes.. . America was for the most part con¬ 6286 X Will Magnify Thee. Do Beef ducted in the most slip-shod and ex¬ 10370 It is a Good Thing to Give THE STANDARD Thanks. Patty Stair.... travagant manner imaginable. The 0082 Let the Righteous be Glad. teachers were not to blame for the C. Darnton . enormous expense of purchasing GRADED COURSE OF STUDIES 10782 Lord God, We Worship Thee! dividual studies and pieces of music (New.) Stults. By W. S. B. MATHEWS 6209 Iiord is My Strength, The. for educational purposes, nor were T. D. Williams. they to blame if they did not have the In 10 grades, 10 books. 31.00 each. 5964 Lord of the Harvest, Thee We experience to select the best studies Hail. P. H. Brackett. A compilation of standard studies progressively arranged, edited, fingered, 10482 Lord Reigneth, The. (New.) for the right time. The Graded Course T. D. 1 illiams idea is an original creation of the annotated, for the cultivation of Technic, Taste and Sight Reading. 10011 Make a Joyful Noise Unto tl Presser House. The Standard Graded Lord. K. A. Mueller. . . . 5953 Make a Joyful Noise Unto tl Course has succeeded because Lord. Simner . built along the lines which years of ex¬ Universally used by the leading educators of America. perience had shown to be necessary. American works for American teachers. Thousands of unsolicited testimonials are being constantly received. CHIEF ADVANTAGES 10582 O Lord, How Manifold. Recommended by the world’s greatest musicians. (New.) Albert Ham. 10788 O Lord, How Manifold. (New.) Pierce . 71 O Lord, How Manifold Are Every teacher should examine a set of these works. Sent on inspection by the Thy Works. Barnby. 10313 O Lord, How Manifold Are publisher to any responsible person. Thy Works. Easthnui.... 10434 O Praise the Lord. Stults. . 75 O Praise the Lord, All Ye PROGRESS SaSSSSft' THEO. PRESSER CO. Nations. Hanks . 10008 Our Country. (Festival 1712 CHESTNUT STREET PHILADELPHIA, PA. Choral March.) Whiting. 65 Praise the Lord, All Ye Nations. Fiske . VARIETY EJ 10358 Praise the Lord, O My Soul. Watson . 10004 Praise the Lord, O Jerusalem. C. Darnton . THE GEMS OF CZERNY ARRANGED AS • 25 Praise^the Lord,^ Ye Servants. taught by any teacher withoul ence or training in this course. There is do arbi- 44 Praise Ye the Father. Gounod A GRADED COURSE OF STUDIES 6289 Rejoice, the Lord is King. INTFRFST Only the most interesting 1 fcKL*51 practical studieshave been sel ed. The course always proves most fascinating to pupils, especially when compared with the old- 10095 To Thee, O Lord, Our Hearts fashioned method of using ponderous volume We Raise. W. Berwald. . by one composer. 5950 To Thee, O Lord, Our Hearts Selected “Czerny” Studies We Raise. Dressier. 10073 Worship the Lord. J. L. MAKE NO MISTAKE Galbraith . Revised, Edited and Fingered, with Copious 10485 Ye Shall Go Out With Joy. A. F. Andrews. Annotations, by EMIL LIEBLING SONGS FOR THANKSGIVING IN THREE BOOKS PRICE 90 CENTS EACH 4485 do. Low 10 GRADES; 10 VOLUMES; 4489 do. Med. $1.00 EACH VOLUME VALUABLE and noteworthy addition to the technical litera¬ 12851 Hymn of Thanksgiving, A. A High. Walter S. Young.. Our usual discount is allowed. Send for ai „ ture of the pianoforte. This work represents a diligent sift¬ 12852 do. Low. all the volumes for inspection. When ordering ing and careful selection of material from the entire works of 1782 O Give Thanks.. Low. L. mention Mathews’ Standard Graded Course, — Feldpauche . there are others with similar names upon t Czerny, including all the popular opus num- 3277 Praise the Lord! Med. (Fr. bers together with many less known, but & Eng. Text.) George Rupes equally meritoriou s studies. Mr. Liebling’s DUETS STANDARD editorial work has been 5193 Be Glad, Ye Righteous. Mez.- of the most exact and Sop. i . Teno CONCERT ETUDES painstaking character from both the technical erpr sides; the annotations --- F. G. Rathbun FOR ADVANCED STUDY are of real practical value and musical in¬ 6468 Song of Praise, A. Sop. and Baritone. G. Goublier ... Price, $1.00 Grades IX to XI terest. The three volumes, which are ORGAN MUSIC These pieces are bound in book form, each se¬ carefully and closely graded, the studies be- lected for some standard technical essential; for 13709 Allegro Moderato in G. E. S. instance, the two compositions by Saint-Saens are ing arranged in pro¬ gressive order, range Hosmer .$o made up exclusively of rapid reiterated chords. 12957 Alleluia! Geo. Noyes Rock- Four of the pieces abound in arpeggio forms in difficulty from the early second to the sev- J -i-'-3rs in extended and arpeggioed chords, enth grade. Czerny’s mastery of technical de- irs in rhythmical puzzles, but all are of Each of the 10 Pictures Represents the Name of a Famous Violinist. Who are They? grade and content, famous pieces, ready tail and his mastery of musical expression are esentation—-" abundantly developed truly remarkable; he 11448 Marche Militaire.' ' ' Roland was a most voluminous Higgle . Sam Loyd, the puzzle-maker, has come to The Etude. To each of the 10 persons who send the best answers to Paderewski (Pad plus Ermine plus Sew minus Mines plus composers of them by composers st writer. The object of :his present compila- 13147 Marche Pontificate. Rene L all of the puzzles, will be awarded a copy of the “Cyclo¬ Ski) : No. 8, Busoni (Bus plus Onion plus Eden minus One living. A< Becker . This month’s puzzle page deals with a collection of famous Graded Cc tion is to present his very best studies of all grades in attractive and violinists of to-day. Each of the ten pictures represents pedia of 5,000 Puzzles, Games, Tricks and Conundrums,” minus Den) : No. 9, Hofmann (Hot plus Ear minus Tear plug 13127 Postlude In G. E. S Hosmer Farm minus Arm plus Man plus None minus One) ; No. 10, convenient form for general use. The success of this work has been 13038 Prelude Militaire. Geo. Noves the name of a famous violinist. published at $5.00. Rockwell . The puzzle page Is not intended for the children alone. By “Best” is meant, in the first place, absolute correct¬ Rosenthal (Rose plue Patent minus Pate plus Half plus of the most flattering character. It is the best work of the kind 12088 Song of Joy. F Frank Fry Sam Loyd’s puzzles appeal to all the family. Work them ness of answers. Then if minor points of merit must be Ace minus Pace). s solicited and filled to all pa ever offered.. It is printed from beautifully engraved special plates 13494 Song of the Angels. T. D. out together some cozy evening as you sit around the table taken Into consideration in selecting the winners, neatness, AUGUST PRIZE WINNERS and substantially and thoroughly bound in heavy paper. In the living room. clearness, etc., will be deciding factors. 11351 Spring Song. Whiting- Mr. Loyd will examine all letters received and his adjudi¬ Miss Mabel Chipman, Redgranite, Wls.: Louise Trow¬ Mendelssohn. TEN PRIZES FOR BEST ANSWERS bridge, Viroqua, Wis.;-. MeAlester, Okla.; 11937 Triumph Song. Roland Digg'le cations must be accepted as final by all contestants. Miss Dorothy Harris, Old Mystic, Conn.; Jeannette Wilson, THEO. PRESSER COMPANY Write your answers out on one side of a single sheet of Answers to Pianists in Puzzle Guise in the September Etude Geneva, Ill.; C. Earl Welchans, Lancaster, Pa.-; B. W. 1712 Chestnut St., Philadelphia, Pa. THEODORE PRESSER CO., Philadelphia, Pa. THEO. PRESSER CO. paper and send by post not later than October loth, to Edmondson, Cbarlotte, N. C. : Mary G. Brown, Lambert- Philadelphia, Pa. SAM LOYD, Puzzle Editor, The Etude, 1712 Chestnut No. 1, Bauer; No. 2, Sauer; No. 3, Goodson; No. 4, Car- ville, N. J.: Mary p. Hume, University, Miss.; Mrs. A. H. Street, Philadelphia, Penna. refio; No. 5, d’Albert (doll bear) ; No. 6, Grainger; No. 7, OCTOBER 1917 THE ETUDE Page 6+1 Page 6A0 THE ETUDE OCTOBER 1917

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S.B. COUGH DROPS

OCTOBER, 1917 VOL. XXXV No. 10

while she was anaesthetized she cried bitterly and thought that she was The Dream-Mind in Music being ridiculed. The editor once recounted this experience to the late Prof. Hugo Miinsterburg of Harvard University, who at that time did not know that the editor and his wife were professional musicians with years of Don’t call it the sub-conscious mind,—call it the dream-mind. It’s training and experience. The great psychologist said that the inci¬ easier to understand with that title. Did you ever have a dream in dent was incredible and that if there had been trained musical observ¬ which you heard entrancing music ? Have you ever had themes come ers present they could not have been so woefully fooled. Nevertheless, to you when you were asleep and then have them vanish like some the fact remains a fact and revealed a wonderful something impris¬ eerie vision when you awoke ? Many of the great masters are said to ^GrExtra Clearness ofVoice oned in the girl’s sub-conscious mind which will probably never be have had musical dreams. Tartini’s “II trillo del Diavolo” was an at¬ liberated. tempt of the composer to recollect the playing of His Satanic Majesty For that extra clearness and brilliance of tone, your There is no moral to this editorial, unless it be that all teachers as Tartini claimed to have heard it in a dream,—possibly after too throat must be perfectly clear. Keep it so with S. B. and parents should leave nothing undone to surround their children much salammi, fromaggio roma and chianti. Cough Drops. They prevent irritation, whether from with all possible means of hearing good music, whether it comes from All dreams are merely manifestations of the sub-conscious mind. the living performer or whether it is reflected to them from the play¬ cold, dampness, wind or dust. They cut phlegm that Psychologists have a great deal to say about this slumbering form of ing or singing of some master artist through the talking machine. causes huskiness. intelligence that falls without the field of conscious attention. While Pure ingredients. No drugs. Just enough charcoal to it accompanies us in our waking moments it manifests itself most forcibly during sleep in some beautiful vision, some ridiculous esca¬ sweeten the stomach. One at bedtime keeps breathing pade, or perhaps some horrible nightmare. passages clear. The savants are all keenly eager to find some way in which this SMITH BROTHERS of Poughkeepsie dream-mind can be used in practical every-day education. Thus far, Hellenic culture associated music with mathematics and sorcery. they have discovered that we are mentally awake to an infinite num¬ Also makers of S. B. Chewing Gum The middle ages still found music regarded as a branch of the study ber of impressions,—impressions that shape our psychic selves un¬ of mathematics. Considered merely as a science involving arithmetical consciously. Thus it is, that children of musical mothers,—such as problems music holds an imposing place. Mathematics has been the Gounod and Mendelssohn, start their music study with their first lulla¬ NEWEST AND BEST science through which much of the world’s progress has been made in bies. If the child is gifted with musical expression, much of this architecture, engineering, chemistry, astronomy, navigation, electric¬ comes back again,—probably not in its original form, but with the ity. As music came to be looked upon as an art rather than as a THE BEGINNER’S BOOK spiritual variations that have clustered around it while it slumbered science the mathematical phase of the subject has been disregarded. flADDON Hall tranquilly in the deeper recesses of the dream-mind. This often leads However, a Bach fugue is quite as much a mathematical problem as School of the Pianoforte to music of new and masterly portent. The editor has frequently anything Euclid ever drew upon the sands of the valley of the Nile. ATLANTIC CITY talked with other men who, like himself, were solo boys in church By THEO. PRESSER ALWAYS OPEN This thought was the inspiration of this editorial. The editor, who choirs, years ago. They all have the continual experience of having PRICE 75 CENTS RIGHT ON THE BEACH AND THE BOARDWALK once taught geometry for a short time, knows no greater intellectual melodies and themes come back to them in more or less jumbled form, pleasure than that of recalling, apart from the keyboard, the four This elementary piano instructor has had an unprecedented the sub-conscious out-croppings of oratorios and anthems they had voices of any Bach fugue that has been previously memorized at the success, being welcomed by teachers everywhere as just the thing sung at an age when their powers of attention had not been suffici¬ keyboard. It is purely a feat of figures and in no sense an artistic ex¬ for the young beginner. Appeals particularly to cultivated people ently trained to impress them with the name of the work, the name It is the next thing to a kindergarten method, covering the rud¬ perience unless you can carry delightful pastime still further in your who seek rest and recreation at the Sea of the composer, or anything more than the mere melodic outline. iments, notation and elementary work thoroughly, all in the most imagination and register the parts as though played by different in¬ delightful manner, with a wealth of interesting material, bound to Shore, Summer or Winter. From every A somewhat remarkable experience in the home of the editor will struments. To hold such a fugue in the memory and hear all the parts prove attractive to the student. section of the country such guests have come probably make interesting data for readers of The Etude who are progress in due order, does not of course solve any mathematical interested in this fascinating subject. A number of years ago, a Send for a copy for examination to Haddon Hall for 40 years—and come problem but it is an intellectual feat as great, in many ways, as the THEO. PRESSER COMPANY, Philadelphia, Pa. mulatto girl from the West Indies was engaged for domestic work. mathematical tasks which the engineer, the chemist or the astronomer back again and again—it is so satisfying, She was exceedingly anxious to be able to sing—in fact had a kind of make much cause for self-admiration. so free from ostentation, so comfortable and mania for music. When the editor was teaching or when his wife was sufficient. Every facility is offered young singing the girl would desert her work in other parts of the house and hang around the studio door. Indeed, it was frequently necessary to A PRONOUNCED SUCCESS and old for enjoyment. The Organ as an Educator reprimand her for this. All of the girl’s efforts to sing were ludicrous in the extreme. She had absolutelj7 no idea of tune or melodic design. THE STUDENT’S BOOK A step and you are in the surf. Fascinating shops Her mumbling, moaning and squawking were very amusing to all who Seven hundred thousand people have attended the recitals given School of the Pianoforte and a thousand amusements are offered along the heard it. by Dr. Samuel A. Baldwin in the Great Hall of the College of the City famous Boardwalk. Privileges of fine golf and yacht After about one year in the editor’s home, the girl was informed by of New York. In one of the best Organ Departments The Etude has By THEO. PRESSER PRICE, 75 CENTS clubs. Rooms are comfortable and attractive—there her physician that she would have to go to the hospital for a slight ever been privileged to present, this distinguished organist indicates Intended to follow THE BEGINNER’S BOOK or any other is delightful music—and always interesting people. operation on the arm. how the organ can and may take the place of a great civic orchestra, first instructor, this volume has met with a flattering reception. It Sympathizing with the girl’s abject fear of the hospital it was when an orchestra is not obtainable. The day is not so very far dis¬ bridges the gap between the instruction book and the graded course arranged to have the operation performed at home. When the girl tant when civic pride will impel communities of one thousand people Make reservations-^write for illustrated folder or the conventional series of studies and exercises. was coming from under the influence of ether she commenced to sing and over to provide for an organ just as they now think it necessary This book introduces the scales gradually and progressively, scales, trills, arpeggii, etc., accurately and with a tone that was to provide for a town hall, good roads, a school house, a library or a each new scale being exemplified with a wealth of charming study amazingly fine. When she became conscious, she tried to sing again post office. Music has become a real part of our daily lives and the and recreative material. and found that, as in all her previous efforts since childhood, she was organist of the future will “play” an interesting role in the great Send for a copy for examination unable to produce any musical sounds. When told she had sung civic drama of to-morrow. THEO. PRESSER CO. Philadelphia, Pa.

Please mention THE ETUDE when addressing our advertisers, THE ETUDE Page 6^5 OCTOBER 1917 OCTOBER 1917 ipjpj? r.1 r.11 u'.nuyjiv t.' t,11 cirnucrcr? nucjcujT’fcn' ran1 n* r,u; leieiet? nuejesm Page 6U THE ETUDE How to Interest Unmusical People in The Value of Polyphonic Playing Music Just What Syncopation Really Is By Leo Oehmler By Mrs. Robert M. Rainey By Daniel Batchellor Thousands of people, not merely thoseinremcJ Some Elementary Truths in To know the meaning of syncopation it is necessary districts, have the problem of .nterestmg so-calM un_ that the normal pulsations of rhythm must be well un¬ derstood The pupil should be brought to feel the musical”’ fs^a miTnomT' Some* of the most musical Song Interpretation ordered movement of the two fundamental forms o ssrsssAisi “ *5 "r.vxrs measure-the duple and the Wpte-otrt: of M developed all the complexities of time relations. iwssrrSiisS:more individualized, much stronger an pie are SSI who have had the advantage of music Syncopation is a disturbance of the measured flow of rhythm. It may be regarded as a discord of time. Xfilr*! wo'ls »< Bach are an k With the average’ so-called “unmusical” person, how¬ A comparison with dissonance in tune w.U help us mine of polyphonic treasures and many of the gre ever, it is sometimes difficult to get the attention at to see this more clearly. The pure concords soon lose virtuosi confess that they owe first and hold it long enough to make » ; Especially Written for The Etude by the Distinguished their effect and lull the ear into a state of apathy and sound musicianship to the constant study of Bach s nression to develop the love for music. Here are some Composer, Singer, Teacher and Conductor From this passive condition it is shocked by a stroke compositions. Many teachers and students fight shy pobts to consider" in selecting music that will appeal of discord which gives a fuller appreciation of the of Bach, shielding themselves with the unwarranted to the “unmusical.” chords which follow. The Assonance threatened to nlea that Bach is too difficult or too dry. This is destroy the harmony, but really established! doubly devoid of truth, for Bach, who was a tremen¬ A CLEAR, DISTINCT, PLEASING-MELODY SIR GEORGE HENSCHEL firmly So with syncopation, the smooth flow of t dously prolific composer, gave to the world a most Do not make the mistake of trying to reach the measures is after awhile taken as a matter of course varied and interesting list of works, ranging from the “unmusical” with queer harmonies, or musical at¬ which leads to indifference. From this state we are profound and serious to the animated and sparkling, mosphere.” The “unmusical” are more easily at¬ brought up with a jolt by an unexpected accent which and as regards difficulty, representing every grade in tracted by a good tune. Psychologically it is the at first seems to upset the rhythmic flow, but which im¬ the’curriculum. For instance, a pupil may commence thing that reaches them first. If the average chef parts a keener zest as it gives place to the established at about grade 3, or even earlier, with Bach s Little exercised the same kind of sense in purveying food Preludes or Little Fugues, passing on in the next that the average musician displays he would soon °rTwo things should be clearly underst°f, br grade to the Two-part Inventions. Prepared by the find his restaurant deserted. Rare dishes_are a The Etude feels greatly privileged to present the when applied to a piece of poetry or a piece of music; ouoil' First that Syncopation is not an added accent, earnest study of these lesser works, the pupil may go right, but what the public demands first is good following article from one of the most gifted men in but when it comes to a thing which is a cofnbination but a'borrowed one, and secondly, that while a stronger IJ J J J J I J on to the mastery of the Well-tempered Clawchord wholesome food. It would starve on sauces, cur¬ the history of our art. Born in Breslau, Feb. iSth, of both music anRoyal College of Music in right over the phrase, lifting it slightly at the end of The first two lines of Heine’s beautiful poem, scan¬ in the face. degree. We may not notice it in a passage like this, Later the funeral song and the glad chant of the London. His life in London has been one of intense each phrase right where a singer would take breath, ned thus by the poet This is very silly. Such occasions also must be marriage party. At last a chorus as the Levites go activity in teaching, conducting and composing. His J ^ ^ J' J | , but with syncopation then he is already on the high road to intelligent musi¬ treated instrumentally. Give that run to, say, an oboe up fo the altar. In this musical climax the melody best known works are his delightful songs and his cal enunciation. ___ player and you will find that he now and then will‘take progresses from the simple form of tune to the choral works "Stabat .Mater,” “Te Deum,” etc. Sir ^ ^ ^ ^ ^ hi I ^ becomes quite^ evident. an instantaneous little breath which enables him to do complex chorus. George has resided in Scotland for several years. ij J , J' ill nl! 'n 11 _ justice to every note and carry the thing through suc¬ *Tffe_inticipation of the accent is sometimes used t( Greater Results With Less Effort To the Editor of The Etude : Die Lo tos blu me angstigt cessfully and without exhaustion. It is generally the bring out a note in strong relief, e. U•> By Charles W. Landon childish fear of being thought lacking in physical , Few “unmusical” people can listen to music in You will be able to appreciate the extent of the pleas¬ ure with which I received your kind and flattering re¬ strength which induces some singers to delay breathing If the pupil can master two pieces in the time it the abstract. It must signify something to them which conveys the idea of nature, poetry, drama, quest to contribute yet another article for your ex¬ until the thought of their bursting a blood-vessel re¬ formerly took him to learn one, he gets double value mains the only one left in the poor listener, rendering etc. The idea of telling a story through music is cellent paper, when I tell you that it was fully equalled ; 11 /); i for the tuition money spent, and also a larger reper- by that of my embarrassment on finding myself con¬ impossible the slightest pleasure in such a performance. A succession of syncopations with lively movement . primitive in its origin. You may have proved to Sich vor der Son ne Pracht fronted with the subject you were good enough to sug¬ may have a very invigorating effect, especially with a In an old cook-book, the receipt for cooking a hare y.o'ur own satisfaction that it is impossible to con¬ gest: “Some Elemental Truths in Song-Interpretation.” in which it will be noticed that there is a slight break One Cannot Breathe Too Often rising sequence. Compare the two examples below, started off with “First catch your hare.” The pupil vey “program” ideas through music. The “un¬ Since the word “element” designates a thing defying between the words “iingistigt” and “sich,” although If you know how to breathe perfectly, i. e„ how to in which the tones are identical, and see how the needs to “catch on to" the difficulties of each passage, musical” think otherwise. Watch the crowds in a analysis, and we are still waiting for a satisfactory an¬ “sich angstigen” is practically one word—any intelli¬ replenish your lungs tin the twinkling of an eye and syncopations in the second give new life to it. and to conquer it before leaving it for the next. If park at a band concert and note the interest which swer to the ancient question “What is Truth?” I am gent, trained reciter would, unhampered by the restric¬ imperceptibly, you cannot really breathe too often, for the passage is a run, its difficulty is generally one of crude “program” pieces always arouse. You maj afraid I must confess myself utterly incompetent to tion of musical rhythm, declaim as follows: by such judicious breathing you increase the chance of fingering; if a harmonic passage, it may be that each not approve of it but the public dloes. Accept ther grapple with the task; indeed, without immodesty I bringing out the meaning of the music. Altogether, for of its parts or voices has notes of differing time-lengths, —the idea of a “story in music” as a bridge tc hope, should be reluctant to accept any mortal’s opinions an intelligent and thoroughly satisfactory interpreta¬ which when combined, make a complicated puzzle in other things. or statements regarding a question of art as “Ele¬ tion of a song it is absolutely imperative that the vocal note-values; sometimes the bass has long reaches or All the early Greek epic poetry was sung to the mush mental Truths.” technic of the singer be developed to a state of effi¬ extensions; sometimes the chords may be chromatic or of the lyre. At a later date the old folk tales becami Taking it for granted therefore that you will raise Die Lo tos blu me angstigt Sich vor der Son-ne Pracht ciency such as to need no more thought than for in¬ unfamiliar. Often single-hand work is a help, but at folk Songs and from these the masters evolved tin no objections to my changing the title of this little essay stance a pianist interpreting .a Beethoven sonata should any rate, one should form the habit of playing each fugues and part music with the simple refrain of th But how comes the composer, places an arbitrary value into “Thoughts on Song-Interpretation and Kindred have to give to the fingering. All technical difficulties passage correctly, and by no means be content to go folk song recurring at intervals. The pianists of to on every syllable, divides the sentences into measures When used in a descending movement, with slow Topics” I shall endeavor to give you some of my ideas should have been overcome once for all and technic through the piece time after time, making the same day are realizing the possibilities of the folk stories tempo, the “driving notes” seem to emphasize despond¬ and there’s an end to all license on the part of the re¬ itself becomes a matter of course before an attempt at legends and fairy tales in which our musical history i to the best of my ability and in as explicit a manner mistakes. citer. Poetry has to step back and yield the first place interpretation is made. ency or lingering regret, e. g., rich. In this way a direct appeal is made to the imag as the extent of the space will permit. After the difficulties are overcome, then one should to music. Schumann in this instance, by scanning the I remember being .asked, years ago, to hear—with a ination, for we feel music more than we think mush Well, as regards interpretation, let us first of all con¬ play the piece with a keen feeling for its rhythm and first two lines thus: view of giving my opinion on her talent and voice—a Its appeal is almost wholly to the emotions unless w sult the New Oxford Dictionary and we shall find that expression, its swing and pulsation coming right from young singer now very successful and famous also in happen to be familiar with the number and know some “interpret” may mean “expound the meaning of, bring the heart. out the meaning of, make out the meaning of, ren¬ your country, and being horrified at her utterly mis¬ Suppose there are four pages in your new piece, it thing of its particular history. In hearing some celt This is but an elementary study of the subject, but it der by artistic representation or performance, explain, J I J J J J I J J * * * I taken idea of breathing. Disregarding ‘all thought of is probable that all the real difficulties are confined to brated artist we especially enjoy the selections in th shows how syncopation serves to interpret different understand.” All these definitions are simple enough Die Lo tos blu me angstigt intelligent phrasing, she actually never breathed until not over half a page, in the aggregate: by conquering repertoire that we have either studied or about whic states of emotion and also that it helps us to appreciate there is some story of interest. the finer and more complex relations of rhythm. these first, you will get results. OCTOBER 1917 Tim ETUDE Page 647 OCTOBER 19 lH „ •. nf the opera, which is practically no Page 646 THE ETUDE “secco recltat‘L. conversation somewhat rapidly de- tion. in the first and my approval of that .ed she could not possibly help it. I stood it as long as I f, £ "u”.al .<™«. There ,=„ „r Uvered in s,jec doubtful note ,nto one above ,t could and then got really angry. I stopped her short ond example on a theory which may s5rVp1fPto teach- students as a guide and even commend itseU to even should change doing so you impart a and ‘'Do you wish to show the people what wonderful ers and singers in the shape of a rule something Uke at every °PP° ‘ * d freedom to the sentences, em- lungs you have?” I asked her, “or what a beautiful song certam spontaneity arm WOrd. it is you are singing? You can only do one of the two thTake the note as to the changing of which into one Tension and Relaxation in Pianoforte Playing things at a time. Supposing even your breathing be higher or lower you are in doubt, and look a good, which, being neither inaudible nor invisible, it is preceding and the note following it; then see tf By the Noted American Composer and Teacher not, you will have to learn in time that an accom¬ note you wish to substitute for the questionable one plishment be it ever so great, in anything pertaining to lies on the way between the note preceding and that the mere technic of singing becomes a fault the mo¬ following it. If it does, you are justified in making the ment the listener’s attention is drawn to it.” change. If not, leave it alone. Here is our first ex CLAYTON JOHNS A singer who after the singing of a beautiful song is . complimented on the excellent management of his ample: The examples below, taken from standard works, A turn is made by relaxed fingers, either beginning breath or on the wonderful articulation of his words, Everybody knows, both in music and in speech, there or ending with a tension note depending upon the should go home and resolve to do better next time, and are meant only suggestions to the student—their must be tension and relaxation. The musical inter¬ significance and position of it in the phrase: not rest satisfied until he acknowledges that the singer s number might be multiplied ad infinitum. pretation, or sense of a composition, demands tension highest aim should be the full appreciation and enjoy¬ A crescendo demands gradual tension: and relaxation, not less than the verbal sense, or inter¬ ment by the listener of the work he is interpreting. The doubtful note is the “c” on the syllable “shep-”, the pretation of phrases and sentences. Without tension That aim being achieved he need wish for no greater preceding one is “g,” the following one c. N°W ^ Beethoven, Op. 10, No.2 and relaxation, music and speech become tiresome to praise for himself. the “d” which you wish to substitute for that c on “shep” lie on the way between the “g” and the c . JNo the listener. The proper treatment of the two brings Coloring the Tone —therefore let the phrase remain as Handel wrote it. about a feeling of proportion. We often hear piano There is one thing which in my opinion is a great In the second example, players straining every muscle, showing that there is gradual ten help towards interpretation, and that is the coloring no balance in the performance, and, unfortunately, we of the tone, which should be made the subject of special hear too often our American voices, in which the And a diminuendo demands a gradual relaxation: study. I have heard many a so-called excellent singer vocal chords of the throat are overstrained, produce the whose singing became exceedingly monotonous through But I am afraid I am near the limit ofthespace allot¬ in the cit - y of Da - vid Beethoven, Op. 10, No. 2 lack of variety in tone-color, and remember one lady in ted to these short essays; so only a word or two or®; same effect. ™ Our subject appertains to piano playing in par¬ particular, the possessor of a beautiful rich contralto where the questionable note is “a” on the syllable Art is long and Life is short, and to learning there is ticular, but as an introduction, let us turn for a moment voice from whose singing—had it not been for the “Da-” the “c” which you wish to substitute for it does words—you could not possibly have told whether what lie between the “c sharp” and the “a”; it is therefore n°Singing, like the playing of any instrument, can be to one or two comparisons. In Exercise VII, the best results are attained she sang was sad or cheerful. And yet, a singer should perfectly legitimate and even good to make the change taught and brought to a degree as near perfection as gradual ratal through a relaxed wrist, the wrist playing in with the An Illustration from Golf be able to produce as many different shades of, Jet .us and the phrase should be rendered humanly possible; that is a matter of techmc, t. . , fingers and bringing out every sort of light and shade, say, the vowel A—and I mean the Italian “Ah as a chanical skill. But what is best, imperishable in any art All athletic training is allied to musical technical A sudden accent demands a sudden tension, followed and, of course, various degrees of tension and re¬ painter of the color, say, of red. By opening, to take defies teaching, and interpretation, even though but training. Each has a good way or a bad way of doing by a sudden relaxation: laxation : that vowel “Ah” as an example, the mouth for a re-creative, certainly is an art or at least part of it 1 o - things. The good way is to know how to control the bright “Ah” and then, without the slightest change in have a chance of becoming an artist in the true and muscles mentally, and the bad way is to leave every¬ Beethoven, Op. 2, No. 1 Beethoven, Op.2, No.l the pose of the lips,'trying to sing an “Oh,” the origin¬ The question of taste enters when it comes to the excep¬ only sense of the word, the student, fortunate in the thing to chance or haphazard. Think of a golf player, ally intended vowel will, whilst undoubtedly remaining tions to the rule. According to that it would be legiti¬ possession of the heavenly gift of talent, should from ■a good golf player: he knows just how to hold his an “Ah;” assume a greater depth, greater nobility, ac¬ mate to say—taking yet a third example from the the outset resolve to strive for none but the highest hands and how to give the club its greatest velocity, cording to the degree of the darkness of the “Oh” which Messiah—the last two notes of ideals, refuse to be satisfied, both taking and giving, letting the club do the work and allowing it to follow you mix with it. with anything but the best, and last, though by no means through of its own momentum at the moment of con¬ I have in. my long experience as a teacher found it least, resist the temptations which the prospect of popu¬ tact between the club and ball; if there be too much A forte staccato touch needs a great deal of tension: of the utmost value to make a pupil sing even a whole larity and its worldly advantages, frequently the re¬ song on nothing but vowels with the object of trying tension the club probably strikes the ground instead ^ ^ and the gU> - ry of ^ sult of lowering that high standard, may place in his to express its character by vocalization only. Take, for of striking the ball or, at least, the ball doesn’t go far. Beethoven, Op. 2, No. 2 instance, a song like Brahms’ deeply melancholy “Die If the club properly strikes the ball at the moment of Ex. IV And now “per il momento, basta.” If in what I have Maruant,” one of the most beautiful of the master’", relaxation, the result is that wonderful “click” which written there should be found, even to a small degree, and see if you can convey the sadness of it by the comes when the stroke was just right. The good click In a trill the fingers should be tensioned or relaxed, some matter for stimulating thought, I should be most voice alone, without the words. If after a while you in golf is, more or less, like a good touch on the piano; depending upon how much crescendo or diminuendo be Lord shone round a-bout them. -bout them succeed, you will have taken a very long step toward gratified. desired. See Exercises I and II. both need training and development. While a pianissimo passage needs almost none: realizing, i. e., toward interpreting, when it comes to In this case, however, it would be decidedly better to The first note of a mordent or a pralltriller should singing the song with the words, the full beauty of that leave the phrase unchanged, for we have had four c From Bicycling have a sharp accent, while the other two notes should exquisite blending of music and poetry. be completely relaxed: flats already in that short sentence and the “a,” coming Bicycling may be instanced as another illustration of It goes without saying that in speaking of songs in pat on the F major chord on the word about, is rather Tension and Relaxation. The grip of the hands on this article I can only mean one kind, vis., the best, and relieving and refreshing. Here, as in many other Bach-French Suite, No. 6 I may as well add here that a song worth singing at the handle-bar of a bicycle depends upon balance and things, “let your own discretion be your tutor.” direction. Too much grip leads often to disaster, while, all should be sung as the composer wrote it. To change Of an exception to the rule as regards the first of the as a rule, a slight grip is all that is necessary for a note, as one can hear even good singers do only too three Messiah examples being either justified or advis¬ direction. A good bicyclist knows just how much frequently, into a higher one with the object of showing able I know no instance. ten rel. ten. rel. the voice to better advantage or of making a phrase, Of course all I have said on this subject refers to the grip to use; the grip depends upon quality rather than generally the final cadence "more effeceive,” “that’s slow, deliberate, serious recitative in oratorio and other quantity, demanding many shades of pressure. Both villainous,” as Hamlet says “and shows a most pitiful the bicyclist and the athlete controls himself muscu- In modern pralltrillers and mordents the accent is sacred music only, and not at all to what is called usually reversed, the first two notes being relaxed and ambition” .... larly and mentally, while the pianist controls himself the third note ends with tension: Traditional Alterations muscularly, mentally and emotionally. The shades of pressure in bicycling are not entirely removed from This altering of notes brings me upon a question Curiosities of Notation which has ever been the subject of much controversy: emotional piano playing. Think of the sudden, turns Are there any rules as to singing of recitatives, or It is quite usual for teachers, after explaining cor¬ any kind of time in use. In the days when they were in and curves made by an expert bicyclist. A hill de¬ mands more tension, while down hill needs practically rather to the substituting, in the singing of recitatives, rectly that the sign C stands for “common time,” to use, bar-lines had not been introduced, so this objec¬ of notes now and then for those written by the com¬ none except for direction. add that C stands for “common.” While there can be tion had no weight. Nowadays, when we have occasion poser? Should, for instance, in Handel’s Messiah, for such long notes, we simply tie one whole-note to A musical composition abounds in turns and curves. no objection to this as a help to the memory, still it is The pianist expresses himself- emotionally in all of be rendered thus another. In an old Psalm Book of 1688 a breve is said very far from agreement with the real historical origin these by changes of tension and relaxation. Think of to be “about the duration of eight pulses at the wrist of of the sign. It dates from about the twelfth century, Chopin’s curves. The soul of his music is a succession The first of two notes, the first being a sixteenth, and and was originally intended for an imperfect circle. a person in good health and temper.” Franco of Co¬ of graceful tensions and relaxations. the second a longer note, should be relaxed and the The sign for triple time was a perfect circle, triple logne, and Marchettus of Padua, in the fifteenth and second be tensioned: time being considered “perfect,” through some mystical sixteenth centuries, define the length of a breve as “the How Applied to Piano Playing association of ideas, as referring to the Holy Trinity. shortest time in which one is able to produce the voice Chopin Prelude, No.4 Double or quadruple time, on the other hand, was in its entire fullness.” At the present day, it would be The following examples show how tension and re¬ deemed “imperfect.” quite aside the mark to attempt to define the positive laxation may be applied. The relation of tones must A stroke through the time-signature indicated double length of a note in such a way, as all depends on the be the guide, just how much tension and relaxation, in speed, and our present sign for alia breve (£ is exactly tempo. a broad sense, is to be used; they may be qualified by the same as was used in these early centuries. In Schumann’s Carnival, the “Sphinxes”—a quaint various well known musical terms, like crescendo, In English books on music, we find what we call a little mystical conceit of the composer, probably not diminuendo, etc., etc. The musical person naturally “half-note,” spoken of as a minim. This word is de¬ intended for actual performance, are written in certain expresses himself musically, but it is amazing how The first note of a phrase, beginning at the last beat in the -cit - y of Da - vid rived from the Latin minimus, meaning “least,” this of these obsolete long notes, in the original Breitkopf many false quantities, particularly in piano playing, crop of a measure, should be relaxed and the first beat of note having been at one time the very shortest in mu¬ and- Haertel Edition, a fact which resulted in greatly out unconsciously. the new measure be tensioned. See example, Chopin My answer as regards the first of these two examples Characteristic accents in composition, like Schu¬ is as decided a “No” as my “Yes” is in regard to the sical notation. What we call a whole.-note was a semi¬ puzzling certain musicians of very respectable profes¬ Nocturne, E Major, Op. 62, No. 2: breve, which indicates a half of a short note, while the sional standing who were not posted on musical antiqui¬ mann’s, -for instance, and in much of folk music, follow no rule. SCThis' may perhaps be considered somewhat arbitrary very longest note known to our modern notation, (and ties. In another edition, printed at a recent date here in that, very seldom used, and then only in 4/2 time), was America, not only are breves substituted for the an¬ It would be impossible to indicate the various shad¬ and entirely a matter of taste, but I venture to. hope ings of each note of a phrase. Abbreviated terms: that after wh?t I have to say cn the subject it will be known as the breve, meaning “short.” The still longer cient longs, but the same notes are written below in notes, now known as the large and the long, are now to¬ the form of half-notes in octaves, evidently with the ten. and rel. in this short article are applied only to found to be a matter of taste only partly, and of arbi¬ the salient notes of a measure; judgment and musical trariness not at all. I base my objection to the altera¬ tally disused, being too long to exist within a measure of design of making things fool-proof. feeling must do the rest. THE ETUDE Page 64-9 OCTOBER 1917 OCTOBER 1917 Page 648 THE ETTJDE How We Got the Flat and the Natural The first chord of a chord group may be either ten¬ sioned or relaxed, depending upon the beat of the measure: only alloyed ™ k That is there were no other notes sharped or flatted Schumann Papillons J was expressed in two forms. What we now term b The Etude Master Study Page flat was known as round b, (b molle, or b rotundum), A GROUP OF MODERN ENGLISH COMPOSERS

ten.rel.%ten.,i)t»n ten. >'2ten tytei Mr. Scott is an able and original writer upon musi¬ ter Glee Club, which made a specialty of singing the However insular England may have been in its musi¬ cal subjects. Many of his articles have appeared in excellent works of old English composers. At twenty- cal past, the little group of British islands has been so Schumann Papillons two, Elgar became conductor of the Worcester County The Etude. It is very easy to see how the flat sign (b) could closely tied to the musical activities of the Continent Lunatic Asylum band, where he taught the attendants have come from this. What we now call b natural during the past century that London, during its inter¬ Sir Charles Villiers Stanford was called hard or square b (b durum or quadrum) to play for the inmates. Much of his time was spent esting season, presents very nearly the same attractions Sir Charles Villiers Stanford, Mus.D, D.C.L., in making arrangements of trifling Christy minstrel that Paris, Berlin, Munich, Milan, and Petrograd may LL.D., is the most distinguished composer of the songs for the band. At-fifteen he had five lessons present dav, of Irish birth. He was born September boast. from the famous violin teacher, Politzer. Lack of 30, 1852, at Dublin. His father was a jurist, who took A triplet, followed by a longer note, should be re¬ funds prevented Elgar from going to Leipsic- to study. a keen interest in music. The boy’s teachers in Ire¬ laxed and the longer note have tension: L At eighteen he succeeded his father as organist of St. land were Arthur O’Leary and - Sir Robert Stewart. From this came our natural sign (H). This also sug¬ George’s Roman Catholic Church, in Worcester. In Later he went to Cambridge University, where after Beethoven, Op. 2, No. 2 gests the origin of the terms used on the continent for 1889 he married the daughter of General H. C. Rob¬ four brilliant years, he graduated in 1874 with honors. major (dur) and for minor (mol). erts, K. C. B., and went to live in London. Thereafter he continued his studies with Reinecke, in In the English capital Elgar continued his great activity Leipsic, and with Kiel, in Berlin. In 1876 he wrote Schumann Papillons ten rel. in personal research in the technic of his art. In isarf ms the incidental music for Tennyson’s Queen Mary, at first work of note, The Black Knight, was produced m Remarkable Cures of Melancholia Worcester Then came a rapid succession of significant com¬ the poet’s suggestion. About the same time he wrote rl- positions, leading to The Dream of Gerontius, The Apostle* a Svmphony (B flat), which met with decided favor. 'P r i — and other works. Elgar’s compositions are for the most part A grace note should be relaxed, followed by a tension Through Music in the larger forms and therefore do not appear especially In addition to great activity in the work of composi¬ numerous He has written nothing that does not show line tion he worked indefatigably to interest the British musical feeling, constructive genius and masterly orchestral igiJy gfg treatment. Even in his popular march, Pomp and Circum- musical public in the compositions of Brahms and By Clara C. Sterling, M.D. Beethoven, Op. 10, No.l cc, there is a dignity and splendor which is as warmly other contemporary Continental musicians. In 1885 he appreciated by the4-vi/x rrononuigeneral audienceunriionpA asmst it is bvby tliGthe trained Ex. XIV ten. rel. rel. ten. rel. rel. musician. Rich coloring, strong melodic lines, well-marked became conductor of the Bach Choir, and in 1887, rhythms, unanticipated harmonies and absence of mawkish¬ Professor of Music at the University of Cambridge, An article in the May number of The Etude, “How ness are the characteristics which make the work of this British composer distinct and apart from that of many upon the death of Sir G. A. Macfarren. When the Music Helps Us Stand the Strain of Everyday Life,” music workers of the present day. Elgar has received the Royal College of Music was founded Stanford became Beethoven Sonata, Op.2, No.l, Finale interested me greatly, and the following may interest degree of Doctor of Music from Cambridge, Oxford, Durham and Tale. He was knighted in 1004. the Professor of Composition as well as the conductor you. of the orchestra, which is one of the finest of its The last note of a phrase is usually relaxed: f )jh f >Tf if 1 fiJuf About a year ago, I was making a professional call Granville Bantock kind in Europe. He was knighted in 1901, and in the on a woman of forty-five years, who had been melan¬ P'rel. 1 ftm- Prel. ’ Granville Ransome Bantock was born in London, same year received the conductorship of the Leeds Beethoven, Op. 2, No. 1 cholic for three years, from no apparent cause. Every August 7, 1868, the son of an eminent London surgeon. Festival. In 1904 he became a member of the Royal Ex. xv method of healing known to science, from mental heal¬ Although the boy commenced the Study of piano at Academy of Arts of Berlin. ing to manipulative, had been tried and abandoned, the age of six, it was not until ten years after that His best known works are his opera, Shamus O’Brien, Irish and the consensus of opinion of the various men who time, when his parents were insisting upon his entering Rhapsodies and his Irish Symphonies, although Savonarola had attended the lady from time to time was "the the Indian Civil Service, that he conceived a strong and the Canturbury Pilgrims were very highly praised wt“n the»- were given in London. Stanford has written far more case was incurable.” As I was leaving I remarked, "1 desire to be a musician. Finally he overcame his voluminously than some musicians are aware. His work long Unless the last note of the phrase comes on the first am going to a piano recital; don’t you want to come father’s ambitions, and after taking a few private ago passed the 100 opus mark, and many of these are com¬ along?” She refused, of course, but I persisted, chiefly positions of length and moment—not merely collections^ a beat of a measure, when it has tension: lessons in composition from Dr. G. Saunders, he en¬ ongs and to give her daughter a couple of hours’ rest and tered the Royal Academy, where he studied with Fred¬ -arilr tech_ change. After considerable urging she consented un¬ distinguished success. Schumann Warum.Op. 12 A Postscript erick Corder. After the first term he won the Mac¬ graciously. farren Scholarship. During the time that he was at Relax before a phrase. The pianist, a man of tremendous force, was playing the academy he produced many works of decided merit. Relax after a phrase. a modern program. During the first few numbers, the Sir Charles Villiers Stanford. For three years he edited and published a very useful Relax during a phrase, whenever and wherever the lady sat in melancholic depression, but when the pianist little magazine known as The New Quarterly Musical meaning of the phrase may demand it. finished a Scariabine number she was flushed and With the founding of the Royal Academy of Music Review. At the same time he became affiliated with Use every possible degree of tension depending upon excited, and said, “How lovely!” It was the very in 1822, and the Royal College of Music in 1882, we the famous George Edwards, of Gaiety Theatre fame, The second and fourth beats of an accompaniment in the emotional contents of a composition, from pp to ff- first word of interest I heard from her in two years. find England returning to those aspirations for musi¬ and was the conductor of the noted musical comedies 4/4 time should be relaxed, while the first and third When properly applied tension may be used, even in a The rest of the program did not affect her apparently, cal supremacy which made it foremost in the tone art produced at that time. In 1894 and 1895 he toured beats have more tension: pp passage. but I decided to try again. Each time I saw her I during the time of Dunstable and Purcell. Thus; from the world with the Edwards companies. In 1897 he would purposely lead the conversation to matters musi¬ the labors of such pioneers in British musical educa¬ became conductor in New Brighton, at first having a Chopin, Op 56, No. 1 cal, but the only thing she showed the slightest interest tion as Doctor Crotch, Cipriani Potter, Atwood,_Great- military band, but later having a fine concert orchestra, Not Good Enough! in was that one particular number. giving excellent concerts of the works of such British orex, Sir George Smart, Macfarren, Barnby, Sterndale Young composers who are anxious to rush into print A few days later I took her to another recital, and composers as Parry, Corder, Stanford, German, Elgar, Bennett, Grove, Parrett, Martin, Prout, and others, with their first attempts at composition should con¬ this time she showed dissatisfaction at the perform¬ Hinton, and Cowen. He also organized a highly suc¬ sider well the example of some of the great masters, ance, and made comparisons between the two pianists. new heights have been reached in musical composition. cessful Choral Society at New Brighton. In 1900 he who wer.e sternly self-critical. I took her to a number of concerts after that, and The following biographies include only a few of the became the principal of the Birmingham and Midland The second and third beats of a waltz accompani¬ Beethoven wrote three separate overtures for his one what proved to be a recovery, began the day of the foremost British musicians of the present. Institute School of Music, and in the next year became opera, which are known under the titles of Leonore I, first recital. the conductor of the Wolverhampton Festival Choral ment should be relaxed, while the first beat has more Edward Elgar II, and III, the third being the best of all. He also The woman’s mental condition is now as normal as Society and the Birmingham Amateur Orchestral Soci¬ tension: Singularly enough, the best known English composer wrote still another overture for the same work, under it ever has been, and her interest in music has con¬ ety. He has also done much to exploit the works of the name Fidelio (the name finally chosen for the tinued. is not an “academic.” Sir Edward Elgar, almost en¬ British composers on the Continent. Chopin-Waltz, Op.42 opera). tirely self-taught, ranks easily at the head of the Realizing I was getting wonderful results in the fore¬ Bantock’s compositions have a strong tendency toward Mendelssohn confessed to having written several going case, I decided to try the same experiment with English creative artists in the tone world. He was program music. Many of his works are based upon oriental entire symphonies which were never produced or pub¬ subjects, such as his JugarVaut and his setting of the others. There were three women and two men under born at Broadheath, Worcester, June 2, 1857. His Rubaiyat. There is much striking originality, harmonic lished, because the composer did not deem them quite my care, who from various causes, were passing father was organist of St. George’s Roman Catholic strength and distinctive character in everything this notable up to the mark, and it should be remembered that to through periods of great mental depression. In ages Church in Worcester, for many years, and was also a composer has done. In 1908 he succeeded Sir Edward Elgar score a symphony for orchestra represents several as Professor of Music at the University of Birmingham. As a rule waltzes should be played in 6/8 time, and they ranged from thirty-eight to forty-eight. One of months of hard work. This patient self-discipline good violinist. The elder Elgar established a success¬ the first beat of the first of the two measures should the men has interested himself in a player-piano; he Cyril Scott doubtless found its reward in the skill with which he ful music-selling business and the son reveled in oppor¬ have a little more tension than the first beat of the plays it well and it has become an absorbing interest Cyril Scott, born at Oxton, Cheshire, September, later composed the immortal "Scotch” and "Italian” tunities to explore the shelves and become acquainted second measure. for him. One man and two women are taking music 1879, is the son of the well-known Greek scholar, Symphonies. with many masterpieces. Here follow a few additional examples of tension lessons. Music lessons at forty? you ask. Yes; why Henry Scott. This composer has been described as Brahms, whose various chamber-music for stringed Edward went to a local school, where he had some and relaxation: not? They amuse themselves that way, and in each “the English Debussy.” At the age of seventeen he instruments is among the finest in existence, told his case the concentration necessary is the thing that is elementary instruction in pianoforte playing. A friend went to Germany where he studied under the radical friend Kalbeck that he had written twenty string quar¬ of the family gave him a few hints on violin technic. Chopin Etude bringing the patient out of the “slough of despond.” Prof. Iwan Knorr. Abandoning in a measure distinct tets before he succeeded in creating one that seemed to One of the men has become a “concert fan,” but his He had no instruction in harmony, counterpoint, canon, and separated strains in his melodies he employs a him good enough to publish. Sir Edward Elgar. relatives say they would rather buy concert tickets fugue, orchestration, form, or anything of the sort. continuously flowing melody with chromatic harmonies #'•1II1 fri f.l rl, n rn r-rrff-hr-rM Dvorak, finding his opera, "The King and the Col¬ than pay doctors’ bills. All that he learned he dug out of books and personal and very slight key stability. His orchestral works, Frederick Corder \ttn. ten.rel %ten.rel'. %ten.rel. ^ten.rel lier” to be impracticable at rehearsal, owing to the Please do not think I recommend music as a pana¬ experience. At fifteen, his parents placed Edward in a wildly unconventional style of the music, had the pluck such as the Christmas Overture, Princess Maleine, Few musicians of the present generation have had cea, but for mental depressions, due to external causes, solicitor’s office for one year. The boy then went into Pelleas and Melisande, are not so well known as his and patience to rewrite it altogether, preserving scarcely music is the “King of Remedies.” his father’s business as a clerk, at the same time study¬ a stronger influence upon the music of England than a note of the original score. many charming pieces for piano and for violin and has Mr. Frederick Corder. Original in the extreme, Music certainly is an aid to a state of mental equi¬ ing the organ, with some assistance from his father. Think it over, ye hasty ones. piano, such as Danse Negre, Valse Caprice, Song invested with splendid common sense and blessed with librium. I keep copies of The Etude and other musi¬ In addition to the organ he also learned to play the From the East, Leuto and Allegro, Asphodel and The humor, he has inspired many of the younger men to cal magazines (current issues) on my table, and it is violin, the piano, and the bassoon. Finally he was free themselves from conventionalism and strike out All new phenomena in music are the works of the usual thing to find waiting patients absorbed in admitted to the violin section of the Worcester Fes¬ Jungle Book, all representing genius of the highest genius.—Schumann. them. tival Orchestra. He was also a member of the Worces¬ character. for a newer and more characteristic mode of expres- THE ETUDE Page 651 OCTOBER 1917 OCTOBER 1917 ~ ^ Page 650 THE ETUDE studied violin and was a chorister in St. George’s Church, Croyden. In 1890 he became a pupil at the life, together with the "^^^LScSSaraSw make his compositions works of hne music* Roval College of Music, studying the violin and also composition under Stanford who conducted^ sym¬ phony bv his pupil at St. James Hall, n 896 Al¬ Sir Hubert Parry though the composer of much excellent choral and The Mysteries of Music In attemptin'* to appreciate the splendid amount of orchestral music. Coleridge-Taylor is* now best known serious musicaf accomplishment in Englan^Un"® Je bv bis verv beautiful setting of Longfellow s Hiawatha, By LOUIS C. ELSON last fifty years, no name comes more readdy to he in three parts: I. Hiawatha’s Wedding beast, II. The mini than that of Sir Hubert Parry The son of^a Death of Minnehaha, and 111. Hiawatha’s Departure. distinguished painter and art patron, Parry d in The first section of this work was first produced in Baffling Musical Questions that Interest Student, Teacher and Music-lover Alike at Bournemouth, February 27, ^ and educated 1898 at the Royal College of Music. direct or backwards, or upside-down forwards or back¬ the English public schools (Malvern Twyford, Eaton), ish holiday, and is called “Kol Nidrei. I have Among all the various musical topics that have been wards, and at any time-distance, one voice from an¬ and at Exeter College, Oxford. He was so advanced aroused quite a hornet’s nest by asserting that the mel¬ other, and it will be seen that the possible combinations in music in his youth that before entering Oxford treated in The Etude there is one which, I believe, ody, which is appended, is not extremely ancient. It went to the millions. Small wonder that there are some he was able to take the University Examinations in has not been touched upon, nor, so far as I know, has probably comes from Spain, in the time when the it ever received any attention as a separate topic. The puzzle canons in libraries in Italy, which have never music and receive his degree of Mus. Moors ruled the southern part of that country, and been solved, and, in these days, when our time is pre¬ teachers in music in England were Samuel Sebatien history of our Art has many vague epochs, personali¬ the Jews lived there honored and happy. If those cious, probably never will be. Wesley, Sterndale Bennett, and G. A. Macfarren. f or ties and compositions, and the Mysteries, of Music may rabbis who insist upon this tune coming direct from the form quite a chapter by themselves. There are plenty of mysteries connected with the a time he went to Stuttgart, Germany, to study with J. Edward German ■ Temple of Jerusalem, will consult the great Jewish En¬ They begin, naturally enough, with the earliest development of our notation, a process which extended H. H. Pierson. After leaving the university he was cyclopedia, they may alter their views, but even that The greater part of German’s music has been directed over many centuries. We do not know who first drew employed at Lloyds, London, for nearly three years. epochs, and the old Greek music is in itself a decided work does not dwell upon the .Arabian characteristics toward the stage and in this way he may be considered mystery to all researchers. Terpander’s songs caused an F-line through the old neumes of indefinite pitch, a Parry was fortunate in having his pianoforte con¬ which peep out of the melody. There was no definite the lineal successor of Sir Arthur Sullivan, who was men to burst into tears, reconciled enemies, quelled proceeding which was the beginning of our staff. The certo. produced under the influential baton of Edward notation used by the ancient Hebrews, therefore this Dannreuther, at the Crystal Palace, in 1880. From twenty years his senior. German was born in Shrop¬ political quarrels in Sparta, and did other unheard-of establishment of the sharp, the division of music into 1882 to 1889 he produced four symphonies. He has shire in 1862. His early education came from organ¬ feats; Pythagoras had music played at the beginning must ever remain a mystery. measures, the invention of length-notes, are all ascribed izing a band and teaching himself to play the violin to different inventors and still disputed about been criticized for depending more upon well-worked- of the day to fortify his disciples for the battle of hfe, Fig. t out musical ideas • than upon orchestral color for his and compose for his players. Later he went to the and again at evening to calm their minds to serene re¬ effects. It is as a choral composer that he has reached Royal Academy of Music, where he took up the organ pose; Solon’s song caused an entire army to volunteer The “Good Old Days” his greatest heights, Prometheus Unbound, Blest Pair as his principal instrument. His first successes came and win back the island of Salamis,—a kind of music Among the various changes of music one thing stands of Sirens, The Pied Piper, are works that will endure, in 1888, when he was the music director m Richard that might be of use in these days of recruiting, if we forth clearly. Composers always looked backwards as they are not made of transient tonal idioms. Mansfield, in London. In 1892 he made his famous could only resusticate it. for the zenith of Art, and regarded the present with musical setting for Henry VIII. He has written comic Wh.at was this music that was seemingly powerful be¬ pessimism. Just as we to-day look back longingly to In 1900 lie became the Professor of_at Music al Oxford, and operas of great melodic interest, including “A Princess in 1894 succeeded Sir George Grove ar,s Director of the Royal yond all modern symphonies and operas? We do not the “classical period,” so Henry of Veldig, in the 12th College of Music of London._ He w~„_s knighted in 1898 and of Kensington” and “Tom Jones,” and much charming know. It was probably somewhat like the Gregorian ,n 1903. No inconsiderable part of Ms century looked upon the preceding centuries as superior _.. .s most interesting and informing literary music in smaller forms. scales of the Catholic church service, generally minor in Music and Poetry; and Rameau, in 1722 .exclaimed Sir Hubert Parry. musical discussions of various phases of musical history. in effect, and probablv without any harmony—unison that all the combinations possible in Music had been No better book on music has ever been written than The or octave work only. From the fact that Sumphoma sion. Mr. Corder was born in London January 26, Evolution of the Art of Music. His work as a composer Percy Grainger employed, that nothing new could be invented in Art, has been very voluminous in every branch of the art. (whence comes our word “Symphony”) meant united 1852. At first he was destined for a business career. that it was moribund and could thenceforward only re¬ As Mr. Grainger is at the time of present writing, sounding,” it is possible that different parts may have His employer failed, however, and Corder went to peat itself. In contrast with such an opinion one may John Frederick Bridge an oboeist in the United States army, and therefore been united together. I venture to suggest also that the Royal Academy of Music, where he manifested a citizen-of the United States, he might not he classed since the modern Italian word “Zumpogna” means a place the prediction of Busoni (“New Aesthetics of Sir John Frederick Bridge was born at Oldbury, such unusual originality in his work in composition as a modern British composer, but since he was born bagpipe with drone, it may be a survival of an ancient Music”) that we have as yet only touched the fringe of near Birmingham, December 5, 1844. His early educa¬ Only recently the readers of The Etude had an ex¬ that he was given the Mendelssohn Scholarship after at Melbourne, Australia, July 8, 1882, and achieved custom, and the Greeks may have had a drone bass to the possibilities of Musical Composition; that new tion was received when he was a choir boy under cellent account of the old English canon—“Sumer is one year and a half study. Accordingly he went to most of his triumphs as a pianist and as a composer some of their songs. But the Greek notation is so scales, smaller intervals, unheard-of rhythms, may im¬ J. L. Hopkins and John Hopkins, at Rochester Cathe¬ icumen in.” This is the earliest scientific composition Cologne, where he studied with Hiller for four years. in Europe, it is difficult to know how to class: ly this primitive, (alphabetical letters and fragments of let¬ measurably increase the tonal material of the coming dral. Thereafter he studied with Sir John Goss and extant. It is in a parchment volume, of about the size Upon his return he went to the Brighton Aquarium, rare and brilliant artist. After study in Australia with ters merely,) that it indicates that anything like Har¬ centuries. This most important of all musical mysteries also took the degree of Mus. Doc. at Oxford (1874). of Cooke’s History of Music, in the British Museum, is where he conducted the orchestra and improved both Louis Pabst, Grainger went to Germany, where he mony or Counterpoint did not exist. We have a very must, however, be left to the future to unravel. For six years he was organist of Manchester Cathe¬ came under the tuition of James Kwuast and F. L. clearly painted and entirely legible. A few years ago the organization and the character of the programs. dral, and in 1882 became the organist of Westminster few authentic specimens of this notation, but authori¬ One of the strangest of the tributes to music of the Busoni. Grieg took an immense interest in Grainger, the Curator allowed me to take it into a private room His opera, Nordissa, was given by the Carl Rosa Com¬ Abbey. In 1903 he became the Professor of Music ties are still disputing over their interpretation, and past was made by Jean de Muris, about 1350, who in fact became his musical foster-father. It was this and examine it minutely. The mystery regarding this pany in 1887. He is the Professor of Composition at at the University of London. He, was knighted by Chappell has written a large volume to prove that the whips himself into a fury about the state of Music in interest which induced Grainger to endeavor to con¬ is_Who composed it? And when? The best antiquar¬ the Royal Academy of Music, and has also held the Queen Victoria in 1897. His best known works are Greeks had harmonic combinations,—a belief in which his time. He says— serve the rare British folk music, which for lack of ians consider the style of the lettering, the English and position of Curator in that institution since 1890. An his vigorous and spirited anthems for church service. Jie stands almost alone. “But alas! in these our days, some do strive to gloss modern treatment was falling into disuse. the Latin words, the ornamentation, all point to the ardent admirer of Wagner, he wrote the English text His numerous choral works, notably his oratorio. over the lack of skill with' silly sayings. This, cry Music of Biblical History thirteenth century for its origin. Did John of Forn- for most of the Wagnerian operas. In addition to his Mount Moriah, are very highly regarded. This resulted In the composition of such distinctive pieces they, is the new method of discanting. Howbeit they sete write it in the monastery in Reading, in 1215? One numerous works for the stage, orchestra, and chorus, as Molly on the Shore, Hamlet of the strand. Marl Horns. What was the Scriptural music? Another mystery. grievously thereby offend both the hearing and the un¬ His pianoforte arrangement of Tschaikowsky's Flow r Walts, can only say to this—“Not proven.” And it also re¬ he has written excellent books upon Composition" and Frederick Hymen Cowen from the Casse Noisette suite, has been verv much played. But we may be certain that it was often very loud. derstanding of such as be skilled to judge of their de¬ Instrumentation, and has contributed extremely instruc¬ As a pianist Mr. Grainger has met with distinguished sue- There is much cumulative evidence that most of the mains a mystery that England should have been so far Frederick Hymen Cowen was born at Kingston, —- His keyboard methods are in many ways different • ' “ fects ; for where we look for delight they induce sad¬ tive and entertaining articles to many foremost maga¬ thosi ancient music was fortissimo. The Athenians had in advance of all other nations in the 13th cen¬ Jamaica, January 29, 1852. His talent for music devel¬ ness.O! if the good old masters of former zines, including many to The Etude. Several of the some songs altogether upon long-sustained high notes, tury. To this mystery may be added the vague figure oped at a very early age and two years after he was time did hear such discanters what would they say or which could not have been sung softly, and Plu¬ of an English composer who seems to have been the most brilliant English composers of to-day have been brought to England (1858) he published a waltz, which tarch, one of the ancient singing-teachers, warned his best of his time, John Dunstable, and the fact that do ?” pupils of Mr. Corder. was said to contain much musical merit. At the age And so good Master Jean De Muris scolds on to the pupils not to over-strain in giving these, lest they bring the origin of Counterpoint is ascribed to England by of eight he composed an opera called Garibaldi. He extent of two pages of rather doubtful Latin. But to on internal injuries. There are instances of perform¬ the oldest Musical Dictionary extant—“Johannes Tinct- Alexander Campbell Mackenzie then became a pupil of Sir John Goss and Sir Julius praise “the Good Old Times” is but human. I suppose ers actually dying from an attempt at a tremendous oris, Terminorum Musicae Diffinitorium,” written not Sir Alexander Campbell Mackenzie is the son of a Benedict. In 1865 he was taken to Leipsic by his that the only ones who did not do it were Adam and fortissimo. “Play skilfully and with a loud noise” was later than 1477. musician, the grandson of a musician and the great- parents. There he studied with Plaidy, Moscheles, Eve, and perhaps even they did, in their later years. the ideal of vocal charm in ancient Jerusalem. There are other mysteries connected with ancient grandson, of a musician. Born in Edinburgh August Reinecke, Richter, and Hauptmann. Later he became One more mystery of English Music in these early Yet it would be wrong to suppose that all the an¬ canons besides that spoken of above. The composers 22, 1847, he was sent to Schwartzburg-Sondershausen a pupil of Kiel at the Stern Conservatorium. In 1869 days may be here mentioned. In the 13th century the Cowen, when only seventeen years old, produced his cient music was unisonal. We meet another mystery, were generally monks, and their monastic duties left when he was ten years old. There he studied with theorists made a great deal of fuss about Consonance Symphony in C Minor, and played his Pianoforte Con¬ which contradicts this, at the other end of the world. them plenty of spare time which they were glad to em¬ Ulrich and Stein. He became the second violin in and Dissonance, but had very vague rules about them. certo in A Minor at a concert given in St. James’ Hall, In New Zealand, the old Maoris sang mellifluous two- ploy in the making of musical puzzles of great com¬ the ducal orchestra and was drilled daily for years in The empty fifth was a consonance, so was the fourth, London. Thereafter his fame as a conductor and as part music, some fifty years ago, and the words to these plexity. Most of these were canons skilfully concealed. the great music of classic and modern masters. In but the most melodious progression of all, a succession a composer greatly increased. His choral works, The duets were so ancient that their meaning was entirely I give an example of a Canone per recte' et retro, 1862 he returned to London, where he won the King’s Corsair, St. Ursula, Ruth, The Transfiguration, etc., forgotten, although the singers maintained that they of thirds, was held to be dissonant. Yet in the Bod- Scholarship in the Royal Academy of Music. Return¬ made from an exercise by Richter. lein Library, in Oxford, England, there is a manuscript have been given performances at the great English had come down to them by tradition. That the Scrip¬ ing to Edinburgh as a violinist and conductor, he which contains some of the progressions most boldly Festivals, while The Rose Maiden has been performed tural music had plenty of dramatic action may be ac¬ Fig. a __ _ rapidly became the leader of musical life in the Scotch by almost every small choral society on eartn. cepted as certain. One has only to read the Old Tes¬ used for that epoch. Who this mysterious Wagner metropolis, making regular trips to play at the Bir¬ tament carefully to find that many of the songs were of the 13th century was may never be discovered. I mingham festivals for many years. His health broke Four of his operas have been given with success in England and Italy. Many of his songs, of which he lias accompanied with dramatic gestures, and were prob¬ append his composition— down through overwork and for ten years he resided written over three hundred, have been verv popular. As a in Florence, Italy. ' There he found the treasured time conductor, Cowen is one of the most distinguished in Eng- ably sung as solos, with chorus interspersed, very much land. He has directed nun.t__ —,—festivals and has like the music at a modern colored camp-meeting. to complete many projected compositions. His serv¬ been conductor of the London Philharn onic Society upon FylTf^mTflTTT^ two occasions, for several years a" *— In 1900 the Remembering this point, and the prevalent loudness, ices as a conductor were so much in demand in London This looks like an ordinary bit of tune, but if the . was conferred upon him by Cambridge and recalling the fact that “Dance” in ancient times that he was forced to return to England, where he s knighted in 1911. reader will imagine it in the G clef, with the signature meant posturing and gesticulation (see Lucians De has since resided. There he produced his opera, Col¬ of one sharp, and play it from beginning to end with Saltatione,” for full details) it will be readily seen that ombo, his oratorio, The Rose of Sharon, and his Samuel Coleridge-Taylor the right hand, and from end to beginning with the left when the enthusiastic clergyman, in his Sunday sermon, Scotch Rhapsodie Burns. Upon the death of Sir It is a poor compliment to refer to Samuel Coleridge- hand, simultaneously, he will find it a two-part composi¬ grows ecstatic over the music that was heard in old George Macfarren he became principal of the Royal Taylor as the greatest composer of his race, as his tion, and if he will write it out he will find that it is Jerusalem, “the wish is father to the thought. Academy of Music (1888). For seven years he was work, like that of our American, Harry Burleigh, exactly the same from beginning to end or from end Is none of the old Hebrew music left? The oldest conductor of the Philharmonic Society, in London. He ranks far superior to that of many white composers. Jewish melody is also a mystery. It is the one song to beginning. has received many distinctions, academic and other¬ Coleridge-Taylor was born August 15, 1875, in London. This is a comparatively easy example. Imagine, how¬ wise, from British and Continental bodies. In 1895 of the Jewish ritual that is sung in an almost identical His father, a physician, was a pure-blooded negro, ever, the old puzzle canons in which any voice could he was knighted. Mackenzie has written over eighty manner in the synagogues all over the earth, at present. native of Sierra Leone, Africa. His mother was a be read in any of seven or eight different clefs, either works of great musical interest. His varied and busy It is sung on the Day of Atonement, the greatest Jew¬ white English woman. In the boy’s childhood he Sir Alexander Campbell Mackenzie. TEE ETUDE Page 653 OCTOBER 1917 OCTOBER 1917 ■ character Finally the discovery of the Shs oiX manuscript in his own handwriting settled part of the mystery.bmno >s death and he hadss. a hand in it) is greatly praised in many co The work »ncompJrte *. ^ directed h'spnP*lSussn y ^ d()ul)tful in somc c^lt^fifst^f—^^llffThas disappeared suggestions for th Mozart and what is Sfissmayer. The Value of Versatility in Teaching numbers, as towha undoubtedly Mozart, al- The Kyrie an( 1 , est The “Tuba Minim” is doubt- though n°t at h.s 1 • bdongs to Sfissmayer, and By DR. THOMAS TAPPER

‘"SrSf .dd «h. .... « .< y«di', leg* A famous English schoolmaster visited a room one “Because,” the boy replied, “she will explain a thing stroked at his command) and the chest of S day in charge of a young teacher. He found a rather works which was seized by the Russ.an pohee two ways to a fellow and not get mad.” xz#*-'*?*** overgrown boy in tears over his Greek. never re-discovered, to the list of lost works. Of these Mysteries Multiplied What is teaching? Blessings on that boy, for he discovered for us the What, in its essential simplicity, is this art so fa¬ “Do you know,” he said to the boy, “that when I be¬ two one would much prefer to recover the Verdi one. whole secret of the teacher’s versatile art. The subject of musical mysteries might be pursued gan Greek I felt lonely. I felt that the whole lovely Of Schubert’s compositions undoubtedly some impor¬ miliar to us all as our daily activity? THE TEACHER MUST BE VERSATILE much further. What was the inspiration of Beethoven s Does it demand that teacher and pupil shall travel world had slipped away from me and that I was alone tant ones have been lost. When one bears in mind the muen lurui • , Which are the stolen melodies ENOUGH TO EXPLAIN A THING TWO WAYS the Road to Arcady together with eyes fixed upon tnc in ,a world of Qreek that I could not understand. And narrow escape which the C major symphony and the AND STILL BE SERENE AND RESOURCEFUL. in Handel’s oratorios?. What Croatian melody was flic feeble motion of their plodding feet? Or does it in¬ what do you think,” he said, his eyes shining into the “Unfinished Symphony” had from obliteration one ... r TJavrltr*; Austrian hymn, now sung as And the reason ? tear-dimmed eyes of the grieving boy, “I felt just like spire the elder to speak unto the younger the words Because that which the teacher seeks to awaken is cannot doubt that there have been other of his master¬ Robinson Crusoe—wrecked and alone! But,” he went SS52AV■«?« of fife, saying: ‘Lift thine eyes!’ for this Arcady nothing less than what dear old Epictetus was fond of pieces which have been less fortunate. There are fiber Allies”? Which of Mendelssohn s works were on, “what a fine adventure Robinson Crusoe had on that Among the mysteries of music one may place the ro¬ through which we journey is a delectable land, and the calling a little bit of God tucked away in the body. mance of Lost Compositions. There are more of them some indications that there was another large symphony Island 1 So I said to myself. I’ll go in for a fine ad¬ composed by him, and portions of operas are known to soul must be tinged with its beauty while the day is yet than the average reader imagines. Many of the works of Schoenberg’s iv»»•and Stravinski >" T,n s-' works±d arer:Jr. nuisrcal venture in Greek!” have existed that have now disappeared. with us. IV. of Palestrina are lost because of the unfilial conduct mysteries. . , , { There are great teachers. “Thank you,” said the boy, “for understanding me.” I may properly end this article with an account of Let us visit from teacher to teacher and note their of his sole surviving son, who took no care of his There are men and women who by their keen per¬ National Anthems how a modern composition accidental became a ■ individual ways. father’s manuscripts and made no effort to publish ception and skill reach that Something in . the pupil V. al mystery. The story was told to me by Harold >auer, / Of modern: music teachers perhaps no one, in his them. National music is brimful of mysteries. The best which we may be permitted to call the Tnner Self. Albrechtsberger and Beethoven There is one other mystery connected with Pales¬ and most singable national anthem in existence is comment and conversation, roamed and ranged over These teachers regard that Inner Self as the su¬ I take it that J. G. Albrechtsberger was a gentleman trina, which, so far as I know, has never been touched “God Save the King,” which has been appropriated a vaster world of suggestion than the late Theodor preme, eternal fact. They recognize that the prob¬ of little imagination despite the fact that he composed upon in the pages of musical history. Was Palestrina many times by many different nations. It was used as A Hoax and Its Sequel Leschetizky. By allusion, mimicry, anecdote, exam¬ lems of the day are not met by the physical man, but ple, he revealed within himself a world of infinite va¬ two hundred and sixty-one pieces of music. There¬ one of the founders of Oratorio? Although the ques¬ a patriotic song in at least three guises by our own A few vears ago, before a certain Art Exhibition in by the striving, struggling, seeking, searching, soaring riety and richness, whose materials he was constantly fore he could not be versatile in teaching. For a time, tion has never been raised I think that there is some colonies during the Revolution; it is a German na¬ tional hymn; Danish and Swiss also; it is the most Paris, an article appeared in one of the Art Journ^ entity that makes for freedom; for the freedom which employing in the effort to discover the world within ■’■you remember, he had a pupil named Ludwig van evidence in the affirmative. The recognized founder of popular national tune in existence. But who wrote it? calling attention to a very modern painting by a new comes from an increase of understanding of- this the pupil. Beethoven, in whom he saw so little that he advised this school was St. Philip Neri, who used, on Friday In spite of many reams of good white paper spoiled artist named Boronali which was to he on view Imre magical thing or quality in us called Life. “Oh,” he said to a young man one day, “go back to 1 others to have nothing to do with him, “for,” he said, It was entitled “Sunset,” but the journal explained evenings, to give Biblical representations accompanied in commenting on this subject, and in spite of the America! Do not play the piano like that. Go home “he has learned nothing; and he never will do any¬ that the artist djd not wish it to be viewed as a picture by music, in the oratory of his church—whence came “Henry Carey” printed on many an edition of “Amer¬ II. and peddle sunshine!” Peddle Sunshine! And he thing in decent style.” the name “Oratorio.” But St. Philip Neri was the inti¬ of sunset, but rather as an impression of the emotions ica,” the problem has not yet been solved, Let us now imagine ourselves in the presence of a looked at him as if to say: “If you would only under¬ Not for a single moment did that smug gentleman caused by such a scene. mate friend of Palestrina, and nothing would have “Yankee Doodle” is in similar case. One must not music teacher who conceives his art to be that of the stand that by means of the piano you could supply the gv.er picture to himself the House and the Indweller. Great was the diversity of opinion over this mod¬ been more natural than that he would have asked the trust the cock-sure origins which are ascribed to it by liberator of the thing we have called the Inner Self. heart of all the world with sunshine!” Never once did he strive to reach into the mystery ern painting. Some found in it a veritable soul-picture. “Why make it so hard for these young artists?” I aid of his great musical friend. It would be natural different writers. “A Hungarian folk-song,” said And let us further assume that he (the teacher) works called Beethoven. He was then, and he forever re¬ Kossuth; “A Dutch Harvest-song” said a bold, bad Then there came the terrible explanation. Some art- asked him once after a class. also for Palestrina to have worked at this new school with and for the Inner Self of the pupil as the eter¬ mained, a peddler of information. There are thou¬ journalist; and one might quote many other careless students (how Murger would have delighted in them . ) “Hard!” he exclaimed. “How can I ever begin to without claiming any credit, for he was one of the most nal and enduring reality. sands like him to-day who spend their lives in passing statements in the matter of the origin of the tune, had tied a donkey with the rear end towards a blank make it as hard for them as the public and the critics modest of men, who wrote many of his works solely Here, I take it, is the beginning of Versatility in finally, however, coming to the only true answer—“We canvas, dipped his tail in bright colors, held some will make it in Vienna, Berlin, Paris and New York? packages of stones to hands groping in the dark, to “for the Glory of God,” and it is not at all unlikely Teaching. Here is the necessary basis of it all; namely, apples just out of his reach, and the frenzied swishing How are they to be prepared for that ordeal? They hands that implore food for their soul-hunger. don’t know.” the perception that we are not to train the bony frame¬ that he worked thus anonymously in this sacred field. Mozart’s Mysterious Visitor of his tail had produced the painting. They also called must not go upon the concert stage as innocent lambs Then there was Haydn who had already encoun¬ Many of Bach's compositions have been lost in a attention to the fact that the painter’s name was ' H >r- work covered with flesh, but that we are to call into tered this same Beethoven. One can feel in the youth One important work in the sacred repertoire was for to the slaughter. They must step forth empowered to manner similar to that ascribed to Palestrina’s son. onali,” while the donkey in Lafontaine’s fable was the Indweller of that wonderfully contrived Physical from Bonn that lordly defiance of his, even in these a long time a very great mystery and still remains mys¬ do the work of the artist. That power must be dis¬ But Bach had several sons who survived him, and one House called the Body. early years; while he was seeking his way into a terious in some of its portions. I mean Mozart’s “Re- named “Aliboron.” covered and raised up in them PIERE IN THIS of them, Philipp Emanuel Bach, took the most precise Now for the musical sequel. At a concert a short What does the real music teacher desire to secure ROOM, by me; or by someone else who also tries to clearer understanding of himself. We can see him ,quiem.” care of such of his father’s manuscripts as came into for that Indweller as most beneficent and essential? It is unnecessary to repeat here the story of its time after a piano sketch by a new composer named peer into their future and to see what is to be de¬ going humbly to Haydn with his book of exercises The answer to this must be: He seeks to give it his hands. He catalogued them, he published some, and origin save in its outline. A mysterious man in black Kodaly was given. It was very modern, and therefore manded of them.” and getting nothing but scanty corrections. Heavens greater freedom through the perception of truth ex¬ he gave nearly all to museums and institutes which ordered it; Mozart became superstitious, thought that very vague. The audience was on the alert for an¬ (Note that Leschetizky did not say anything about above, why didn’t Haydn open his eyes and look within . have preserved them. But Wilhelm Friedemann Bach he was poisoned and that the requiem was for him¬ other trick. They remembered Boronali; Kodaly i re pressed in and through music. He is then to make power being put; into them, but “discovered and raised that shaggy-headed, sombre-visaged youth and see the the pupil a perceiver; to give him a perceiving tech¬ did the opposite of this. He was improvident and self, and that the man in black was a celestial mes¬ a family resemblance to the name. “Coda” meant up” in them). glory that was shining there 1 And so, one day when nic which shall manifest through music because that thriftless, and he lost and dissipated such part of his senger. Some cheap writers have made a ghost story Tail, ... and they drew their own inferences. Beethoven showed his exercise book to Schenk, they out of this, but it was only an attempt of Count Wal- Wild shouts of laughter accompanied the work. Mr. is the main stream of the pupil’s power. discovered together that Haydn had not half cor¬ father’s works as came into his heritage. Oh. you Five-finger Exercise Teachers of the young! It may be well to remind the reader that compara¬ segg to steal the work and palm it off as his own. The Bauer himself was at first deceived, but he told me rected it. that M. Ravel, who sat beside him, was impressed with Of the young with dirty hands, with slow minds and tively few of Bach’s works were published during his critics at one discredited his subsequent claim. But Versatile? the work. It proved to be a genuine and earnest com¬ vacuous countenances! Do npt throw up your hands own lifetime. Even the “Well-tempered Clavichord” who had written it? For a long time this remained Yes, as versatile as the Cardiff Giant and if I re¬ a mystery. Good critics claimed that it certainly was position of one of the moderns, which a suspicious au¬ and exclaim; This isn’t it! For this is it, so fully and member aright, that Vaudeville attraction was ma.de of (both volumes, 1722 and 1742) were not published until so completely, that once you know the truth about the not Mozart since it was quite out of his style. But dience had turned into a mysterious attempt at trickery, granite. long after Bach’s death. Probably the first printed poverty of the Indweller, these very symbols of dirty his deeming himself under the shadow of death caused an unexpected lesson in musical criticism. A distinguished piano teacher here in New York had edition was published in London. If one desired the hands, and slow minds, and vacuous countenances be¬ a talented pupil of whom, in the beginning, he had work while Bach was alive, it was customary to write come a call to you to look upon them in understand¬ great expectations. The teacher was neither a Haydn ing; a call to seek and find what dwells within the to him for a copy, and he or one of his sons would nor an Albrechtsberger, so he began to train the young sell the applicant a manuscript copy. I append the title- Little Houses of flesh and bone called Children; and to bless each according to its needs. man thoroughly. Things, however, did not develop page of one of these copies, in the handwriting of the How to Help Your Pupil Remember Your Corrections quite to his expectations, and one day after a per¬ master himself. III. functory lesson he said to the pupil: “Don’t come Teachers often mark up a pupil’s music with black Joking aside, however, there is a way by which marks again. No,” he continued, “do not ask why. Take a The Master Teacher Avoids Negatives or blue pencil marks, each one designed to call atten¬ for the pupil may be surely understood and remem¬ month and think it over. Paderewski plays next week, tion to some error to be avoided, and fail to see evi¬ bered. The secret is simple: make him tell you what As we watch the master music teacher what do we go and hear him. Then think it all over again.” dence at the next lesson that the marks have accom¬ each mark means. What you tell the pupil, he piay perceive to be his method of work? So the youth went off, on a month’s forced leave of To begin with, he does not deal in negatives. His art O^roL Lee ofc cu 94, plished anything. remember, but probably will not: what you can succeed absence. Perhaps it was the hardest test that could be is to knock on the outer portal of a personality that One reason for this is, that if the marks are numer¬ in getting him to tell you, he is almost sure to remem¬ given him. However, he came back at the appointed ous a pupil of ordinary mentality simply cannot re¬ he may awaken the Indweller, that he may speak ber. time bearing the marks of having thought it out. member what all the marks were for—in some cases, to it, reason with it, appeal to it. He knows that this “Well,” said the teacher, “what is the verdict?” . lJUu. /ZV 9n-e-£&s Suppose in the playing of a piece, the pupil has for¬ has never understood. is the first step in teaching. And just as he would “It is. this,” said the boy, “I am going to get out of A certain earnest teacher recently devised an ingen¬ gotten to observe an accidental, and you have corrected not harangue before an empty house so he will not my talent all that is in it.” ious system of mnemonic signs for this purpose. This him, at the same time marking the place lightly with harangue before a house whose inmate is dead to the “And how did you happen to arrive at that con¬ was well meant, and showed a proper insight into the pencil. Not at that very moment, but before the les¬ world in slumber. clusion?” the teacher asked. First, then, he will gently bring it to consciousness. cause of the difficulty, but like most mnemonic systems son is over, point to the mark and ask the pupil what In reply the boy related this experience: “I went with To do this successfully he must employ every possible was not practical because itself too difficult to remem¬ that was for. If he answers correctly, you may pass mi, my father this morning to the factory. One of the men device; searching all the while for that order of ap¬ ber, and too cumbrous. It reminds one of the case of but if not, explain it over again, and for a time pass <>n had not been doing very good work on the road and peal and suggestion which means most to the pupil. A to other points, a few minutes later returning to the father called him in to talk it over. Even I was the policeman who had to enter in his report, that a schoolboy, once asked by his mother how he liked the ashamed to hear that salesman excuse himself for what horse had fallen dead on Kosciuszko Street, but feeling place and asking the same question. Continue this new teacher, said : he had not done. Finally, father said to him, ‘My weak in his spelling, obtained help—not in spelling, but process until you get a satisfactory answer. “She is the finest I ever had.” This is really teaching, which is quite a different friend, you have salesman qualities, splendid qualities; Among the most important lost compositions is the in dragging the horse just around the corner, into a “And why do you think she is the finest?” asked the Thomas Tapi’er. you have a good field; you work for a good company; manuscript (it was never printed) of the very first street that had a name easier to spell! thing from merely telling. mother. OCTOBER 1917 THE ETUDE Page 656 OCTOBER 1917 i, • What in its essential simplicity is music Page 65\ THE ETUDE ing farafaSZs h‘reply we may say this: .— YAWN, BUT TO BRING HIM TO FULL CON teaching. »P ^ & human being the help and the ■and you have liberty of action. And yet you don’t get SC7IOSomeS'hers help thc .jWjJ/f, ^ £*£ “ ‘Do you know why ?’ *V? ”a “ ‘No sir,’ the salesman said, ‘I do not.’ ■ me/najtd ffthe art and science of helping another “‘Well, I do,’ said my father. ‘Your trouble is tins: traveler on the Road to Arcady to make h.s way in con- fails to discover the other thiee. I d be true How to Get Artistic Effects in Touch YOU HAVE NEVER SOLD YOURSELh 1HL teach him.” 1 have always wondered, if IDEA OF BEING A FIRST-CLASS SALESMAN. whether Liszt did not cry out “Bravo too often fid(cieit is establishing a human being as a working BEFORE YOU CAN EVER WIN YOU MUST new pupils and to visiting pianists. entity in life at a point a% pear one hundred per cent. Staccato, Legato and Marcato THINK OUT ALL THAT IS IMPLIED IN A 8. Great teachers use the law of associat.on to the SALESMAN’S WORK, LEARN WHO THE fullest extent. I once had a Latin teacher wli great traffy Kfe GREATEST SALESMEN IN THE WORLD ARE, ducted us through the Gallic War. He rermn s m is found in those who have never become fully awak¬ An Analysis IDEALIZE THEIR XVORK AS A CONCRETE AIM now of Boyer of whom Charles Lamb speaks At the ened never thoroughly framed; who bmp along the FOR YOURSELF, AND THEN GO AFTER THAT .first recitation he read the opening chapter of thej road of Eternity using ten per cent, of their total By LOUIS ARTHUR RUSSELL IDEAL.’ • ... Book so wonderfully that it “ kve Lahn™ nower instead of a hundred because no one has ever “When the salesman left the office, father said to spot. Then he began : “GALLIA EST DIVlSA^ Wha thought it worth while, or knew how, to arouse, de¬ me: ‘You are going to see your teacher to-morrow, I velop and direct the other ninety per cent. see the sharp dash (Staccatissimo symbol) used in else, he demanded of us, is divided? And so we pent To realize the artistic effects of “touch” in piano¬ Detached Tones believe?’ , . , . , the hour dividing all the things of our world: Petunia, pianissimo or piano passages by the masters of com¬ forte playing, one should know somewhat of the me¬ A stroke of a pianoforte key produces a single tone “ ‘No,’ I said, ‘I am going to see him to-day. America, Pomum, Fructus, Casa, Hortus, and so on. position and I am convinced that the real virtuosi never “All at once, like a Hash, I sold myself the idea 01 Seek Clearness of Musical Outline chanical principle of the pianoforte and the character¬ which if not in any way connected with another tone is At every turn in the Latin road he made us wander called detached or “staccato” (the word staccato attempt to sustain in any degree, a tone marked becoming a musician. So here I am ! Give me some- the universe over, testing the strength he developed in By C. P. Laister istics of the “tone” of the instrument. The key is a Staccato, whether marked with a dot or a dash, ex¬ means detached or separate). Detached tones are of. There is a certain faulTm which many players are lever acting upon a “Jack” which trips the “hammer- cept the symbol be modified by another symbol or word thingheard°a pupil one day play for a world-famous two general varieties. 1st, Short, a percussive tone US9. It is desirable to store up every fact, suggestion wont to indulge: It is the sacrificing of shank” and thus “throws” the hammer against the (see Marcato). piano teacher, a Theme and Variations by Rameau. The without measurable duration. 2d. Sustained, a single sharp, clear-cut outline, in favor of accu¬ wire, causing it (the wire) to vibrate. The “key- teacher heard it through, not irritably, tone prolonged by the freedom of the wire (upheld racy of detail. Such pianists will spend lever” at another part of its surface raises a, wire rod Portamento, Non-Legato, Etc. but certainly not happily. When the pupil | damper). All sustaining of tone at the pianoforte is hours in perfecting the “coloring” of this which rests upon it and thus lifts a felt “damper” from had finished the teacher picked up from due to the continued opening or freedom of the wire All attempts to define touch varieties by numerical the wire upon which it rests. Both of these mechanical or fractional terms result in a relentless angularity en¬ a table a water glass, filled it from the little passage, or the unusual fingering of by raising of the damper. actions accompany or are the results of the pressure tirely apart from the real artistic nature of this item pitcher, put his foot on a chair, passed that. In so doing they quite lose sight of of the key by the finger at the keyboard surface, and Normal Pianoforte Tone Quality in piano playing, and as far apart from the habits of the water glass under his bent leg and, the true framework on which the whole is finally, the hammer at once, instantly following the •the master interpreters of pianoforte, music, hence the stooping down, attempted to drink. constructed. Let us consider, for a mo¬ When tones are connected by immediate contact ment, any composition of merit. There striking of the wire, drops back to or near its resting (i. e., by synchronous stroke and release of two keys classifying of touches as Non-Legato, Marcato, Porta¬ Then, without changing his position, he place and the damper held off of the wire by the must be a definite idea, an underlying in rotation, or by the close (not overlapping) connec¬ mento, etc., defining them as fractions (%, Vi, etc.) said to the pupil: "Can you imagine a pressure of the key lever by the finger, returns to its of the length of the written note, falls far short of theme, threading its way through the vafi- tion of tones in rotation by the use of the pedal con¬ man really thirsty for a glass of water resting place upon the release of the key pressure, thus true terminology and leads away from the better ous movements, and the changing bar¬ trolling the “hum” of the vibrating wire, we have the attempting to get it in this way?” opening the string for future use. All of this simple thoughts of interpretation. The great variety of onies, otherwise, the work will be without Legato or connected quality). Of the two normal ‘‘No,’’ said the pupil, “I cannot.” machinery should be seen and understood by the qualities of pianoforte tone the percussive is the artistic touch processes results from the combined use "And yet,” said the teacher, straighten-' shape and cohesion. pianist who pretends to have mental control over his nearest to the instrument’s “nature,” the sustained hum, of the pure piano stroke (Percussive) and the sus¬ ing up, “that is precisely how you take It is the power to grasp, understand instrument. being a resultant and the less positive tone character; taining influences of the pedal. Any manner of playing hold of this music. Be a thirsty man, and interpret this fundamental idea that which detaches tones in rotation, is, strictly speaking, Mechanical Facts yet, a mark of a player's art, is his power to reduce moving happily, pleasurably, and with the is the making of all great players. Could , the percussive quality of tone to a minimum, reserving non-legato, therefore all grades of Staccato are in fine anticipation of one who loves to sat¬ you intelligently recite a poem, the subject With these mechanical facts known, it will readily be this character of tone for special emphatic movements. fact non- (not) legato. Portamento (to carry) has a isfy the appetite for cooling water. Never of which you did not understand? No, seen that: After the hammer has been thrown to the The sustained, connected quality of tone is sought by distinct meaning in vocal music, but in pianoforte fail to move directly upon the thing you because you would not know what was in wire and rebounded to its resting place, further all as the artistic quality, and even in the various music it is but a Legato. Any audible overlapping of are about to do. And never be an acro¬ the author’s mind when he wrote the pressure of finger on the key surface will have no grades of emphasis for rhythmic articulation and ex- tones is intolerable to the keen musical ear, and, bat. Be a straightforward gentleman, an poem. You would be ignorant of his in¬ effect on the wire or the quality of the tone elicited pressional impulse, the artist, is ever seeking as far as further than this, the carrying of one tone into another artist, a poet, a pleader, an orator, a re¬ tentions, and of the points he wished to from it, unless the hammer be again “tripped” and is possible and compatible with the expressional con¬ in singing is impossible for the vocalist. former. Be whatever the music message emphasize. Neither can you correctly thrown against the wire by the finger; and, second, tent of the passage, to avoid or conceal the harsher There are but two Portamento proceses possible demands. But never be an acrobat.” render a piece of music until you have that: The prolonging of the tone depends upon the percussive effect of the pianoforte tone. The Legato without offence to the ear. First, in vocal music the No one could witness a finer piece of searched beneath the crotchets and quav¬ continuance of finger pressure upon the key lever, the is the connecting characteristic of tones in rotation and carrying of the vowel over from one tone to the next, pedagogy in action. ers for the spirit by which the entirety release of which allows the damper to drop back to "its strictly speaking has nothing to do with the thought with a perfect tonal “legato” as resting place on the wire, muffling, damping or “cut¬ of more or less of the percussive element, for indeed, VI. is animated. In the simpler forms of music, the so- ting off” the wire’s vibration. the tones in rotation may be perfectly connected though Twelve Important Points called “Popular” style, this spirit is easily So, briefly re-stated, the stroke or pressure of the each tone is of a harsh percussive nature. Therefore a And so I conclude about Versatility in found—is, indeed, too plain to be missed, key causes both the hammer to strike the wire and pro¬ Legato passage may be either loud or soft in all grades Teaching. in most cases. But, the nearer we ap¬ duce tone and at the same time raise the damper from of force,- yet with the most forceful passages, the 1. It must be based on a comprehension proach to the Masters, the more intri¬ the wire to allow its full vibration regardless of artist, knowing the limitations of his instrument, •of St. Paul’s statement, which says, in never exceeds the power of stroke which will produce This delivery marks the anticipation of the second THE LONGEVITY OF THE MINUET. cately blended wifh the surrounding har¬ further key pressure. While the hammer drops in¬ substance: Know ye not that the Body monies and melodies do we find it. stantly back to place after the wire has been struck, the the desired “loudness,” without forcing the wire and tone during the time of the first note. Second: The is the temple of the Spirit. This is the From the t of Lully, Bach and Handel to that of Paderewski minuets The best remedy for the fault before damper does not drop back upon the wire until the inducing the noise of percussion, for this noise is a only possible Portamento for the pianoforte or other by practically all of the great masters. The word itself distraction, destroying the beauty of the tone. instrument is through this process of anticipation or beginning and it is absolutely indispen¬ comes from the French term menu, meaning small. The steps of the minuet are mentioned is a careful study of Bachs key is released from the pressure of the finger. sable. short despite the stateliness of the dance itself, and from this the title was works. They will teach you to look at So, to fully understand the artistic distinctions in by a sort of syncopation, by retarding the entrance of evidently derived. An excellent type of minuet is the famous one from Mozart’s The striking of the wire is therefore an instantly 2. The faculty may be described as one opera "Don Giovanni,” as it follows the lines of the old dance very closely. the length and breadth of a composition ; completed act, while the sustaining of the tone is ex¬ tone character, we must realize the true nature and the second tone, thus: which finds and applies just the right The most, remarkable thing about this form is its longevity. It was first intro¬ to view it as a whole. A complete mas¬ the limitations of these two general tonal varieties and aueeuduced in theme symphony by",v Haydn,"“o-— it is said. Its grace, combined with dignity, tended at the will of the player, within the limits of means to reach the pupil; to make him naturally made it the most desirable of the dances included-- tery of Mendelssohn’s Songs Without the vanishing nature of the vibration of a wire held in also know the accepted meaning of the terminology of to transport to the symphony. While practically all of the other dances of th Words is a good step in the right direc¬ perceive himself clearly in action. A ancient suite have become obsolete the minuet still survives. Haydn and Mozai tension and “struck” by another object. The quality of tion. It was the clarity of outline revealed young girl once played Schumann’s . were particularly fond of the minuet. the tone elicited is varied by the' manner of key stroke. While all detached (single) tones, of whatsoever Bittc, from Opus IS, to a teacher who lis¬ in those little pieces which made them duration, are Staccato, yet by common consent we What the lifting of a single damper by the key lever tened nervously. When she had finished so famous. Say to yourself, while study¬ have come to understand the term Staccato to mean a does to a wire, or a group of wires in unison, the ing, “Am, I giving my attention to this tone of percussive nature without measurable duration. A most objectionable process (the second tone must she said: . “Damper Pedal” does to all of the wires in sympathy “Bitte? Please! Is it molasses you want? Play it and illustration that may be of value some day. Save work sufficiently broad scale; or am I squandering The various terms Staccato, Staccatissimo (ex¬ enter upon the strict time of the second note.) with the wire set in vibration. The single key acts upon as if you were hungry for something good for your them as you would money for they are the wealth of it on divers minor points?” tremely Staccato), d'emi or half Staccato, mild Staccato, The possible manner of carrying one tone into a single damper and opens a single wire or a unison soul not merely good' for your stomach.” your profession. etc., really do not define the tone character clearly, for another is by misuse of the pedal, running one tone Do You Know This Minuet? group, the damper pedal opens the entire lyre of wires 3. Therefore, illustration, comparison, suggestion are 10. And most valuable of all, learn to see in the in fact all Staccato tones are without measurable into the other. This is, of course, an intolerable effect, The little Minuet printed here is one of the curie and all wires struck or in sympathy with wires struck necessary. And often these should spring from fields pupil not yourself but to see his own future in his duration and while some may find satisfaction in the except for special non-beautiful expressional moments. ties of musical literature. We wonder how many re are allowed their full vibration duration. foreign to music rather than from music itself. Noth¬ present. Remember what Kalkbrenner suggested to thought of a Staccato and a half Staccato, or a ers of The Etude know or can discover just wh\ This very incompletely states the mechanical elements in^ is more suggestive and valuable to the teacher than Chopin, already the composer of the two Concertos and Staccato and a Staccatissimo, yet as a matter of fact The Marcato is counted curious, and who is the composer? of tone production and sustaining at the pianoforte. familiarity with Science, let it be whatever branch it the Etudes Opus 10; that he (Chopin) bind himself to in final analysis all Staccati are of the same original The true Marcato touch is a combination of the mild We will print the names of the first ten who si The study of the laws of acoustics applied to the may, for here are exactness, poetry and suggestion of Kalkbrenner for a term of three years as a sort of ap¬ nature, a percussive tone of instantaneous stroke and percussive tone with the pedal sustained tone. in the correct answers. pianoforte and also the principles of the action of the the highest order. prentice pupil. Think of that hollow-pated Kalkbren¬ release without measurable duration, the various All artists in pianoforte playing have under control 4 The teacher must learn by repeated experiment pianoforte pedal will discover the fuller facts of the ner standing in the perfumed hall of genius and still grades of Staccati being a difference in force, and all a perfect Legato without aid of the ped'al, but the just what avenue of approach is the most favorable and' matter. See The Spirit and Technic of the Pedal by smelling with delight the grime on his own hands. efforts to make a half or extreme Staccato through pedal Legato is a legitimate touch and the only means potent for each individual pupil. A sizer is indispens¬ the author of this essay. 11. And the greatest talent of the versatile teacher? through which we can obtain “connected” effects with , able for sorting grape-fruit but it is not ideal for hu¬ less or more of duration is an angular and inartistic Is to tell the Indweller forcefully and kindly, once you There are two general characters of tone which we manner of playing. ‘ the Staccato impulse. man beings. , . , , , have awakened him, that the great stream of active life may call pianoforte qualities. First, Percussive (or 5 The teacher should cultivate the faculty of ob¬ My conclusions are therefore, that although we have The signs t-- or • • • • indicate the Staccato for him is not music. Sopetimes we know it is not, serving workers and teachers in other lines. He should harp-like) ; Second, Sustained (or organ-like). The long believed that degrees of Staccato were determined or Percussive tone combined with the sustained tone. read and study, not omitting his own experiences and still we keep on giving lessons to one who should Percussive quality varies with the instrument and with by the duration of the tone, yet the determining ele¬ By the stroke of keys in rotation, it is impossible to 6 According to the demands of the individual pupil be doing something else. Why do we do it? Are we the manner of touch or stroke; the sustained quality ment is degree of force and all attempts to extend the both connect and separate the tones, as this duplex afraid of losing a pupil? And if so, why are we afraid ? one may present the illustration or suggestion in the (the “hum”' of the piano) varies with the instrument duration of a Staccato tone lead us away from the ’ symbol indicates, we therefore have to add the pedal What has fear to do with us? Can we live only by form of encouragement, of reproof, or of sarcasm. and is controlled by the dampers at the manual key or true Staccato effect, which in all degrees of force influence to the stroke of the, key, and therefore we fearing Fear? THF OBTECT IS TO AWAKEN THE INDWEL- the pedal. should be of quick percussive character. We never have a Pedal Legato indented or marked’ by the per- LKR, IT IS NOT MERELY TO MAKE HIM 12. And finally, we revert to the question of thc open- THE ETUDE Page 657 OCTOBER I9i7 OCTOBER 1917

Finger Power and Weight Page 656 THE ETUDE of this “touch” manner The fingers have no dependable playing weight, nor nciderable force; their strength and power is of cussive stroke of the wire by the hammer, a true prove very harmful, leading Marcato-legato or marked Legato. T is qua 1 y resistance^ withstanding without flinch or curl the play. passage playing, i. e the keyJ”ay T ary 'for the trip- often misnamed Non-Legato or Portamento S pressure of the muscles of the arm or the mere The pure finger stroke or pressure stroke touch will weight of the arm and hand. The Teachers’ Round Table not do for this touch, which requires the bounding Conducted by N. J. COREY hand and arm action at the key surface Elemental Playing Impulses When we have come to understand that all primal The two prime means of tone production at the key¬ Teach,” etc., and not technical problems pertaining to musical qualities of pianoforte tone depend upon the manner This department is designed to help the teacher u pon questions pertaining to “How to Teach,” “What to haveW°enddetrofUthedkeyboard action which will “r<^ board are: First. Pure finger action with quiet hand belong to the Musical Questions Answered department. Full name and address must accompany all inquiries. of “tripping” the hammer and throwing it to the wire nressure stroke directly at the surface theory, history, etc., all of which properly , and arm, F and the further fact that there should he no half¬ of1Ctherkey without raising the finger, the muscular im- the key fall must IBS* *■***- . _ preliminary exercises. Excellent preparatory exercises way or sluggish "trip” of the hammer; that regardless the iack or tripper of the hammer. For the Notation Troubles teaching of grace notes was the same as this I am for such a pupil may be found in Preparatory Touch of the delicacy of touch, the lightness of power the action, all classes of detached tones may be produced “1. I am finding trouble with grace notes. presenting, and there are others. In time there will be speed of the passage, the emotional content of he i:fofCdeepqSi!ng ifneTeV^t^fie'd whh'ffiis superfi¬ except rapid skips, in which the elastic arm plays an Kindly explain the following. still more. Your second example is a tie. Ties will and Technic by Shimer. The Standard Graded Course, phrase, the rhythmic or expression^ emphasis, the cial touch, he seeks the full dip of the key an^® be considered in connection with your fourth question. and the Czerny-Liebling studies will be almost indis¬ connection or detachment of the tones, o satisfactory sensation of a resting place on ■ ^THE^EGATO TOUCH is primarily pure finger 2. The example in your second question is meaning¬ pensable. For an ambitious student use Sonatinas of else we may desire to do at the pianoforte, the key (too many) develop a fondness for caressing the key ^ less so far as the notation is concerned. A measure dementi and Kuhlau, and select pieces of a high surface must move deep enough down to raise tnc at this resting point and making of the smoo Second “Bounding Touches” in which the active in 4/4 meter cannot hold so many notes as you have quality. “back-end” of the key lever and trip the hammer; this grace not* . by itself, surface a place for various gyrations of the hand, as if forearm and hand aid the finger action, through the “I was taught to play th represented. As you have marked them with the trill 2. In this case you must give a good deal of atten¬ striking of the key must be quick (direct) enough and blit I see by some editions tt t the lowe r note of a to coax, cajole, squeeze or wriggle out the tone, all weight of the playing members bounding along the key¬ chord is played with the g ace note. Directions sign, do you not mean in your question, how many tion to training the muscles. ’ The practice of five of sufficient force to throw the key to the wire and to are given to play the secoi of which exercises in acrobatic art are as use*ess board, marking each key stroke with an elastic action notes to each beat,instead of the reverse? This would, finger exercises on the table will help loosen the liga¬ strike the wire with power enough to set it in vibration. been accustomed. Which is they would be in the air, since no action on the key (down and rebound) at close key surface, the finger “2. In the following exa lple state how many of course, depend upon the tempo, but a moderate ments, and the pupil can more easily Jix the attention At this point the finger on the key has completed' its heats each note should get, i id what kind of note3 surface avails in playing, after the wire has received its “reaching” the active key and “playing upon it The speed would permit eight 32d notes to the quarter on the muscle training, not being distracted by trying part in the act of tone production, for regardless of in 3/4, 6/8, and 5/4 meter. blow and responded with vibrations. hand and arm “float” along the key board surface in note. The whole note would have four times as many, to play. Presser’s First Steps, and the Standard Course how this result has been accomplished, the hammer as I repeat these facts thus that the matter may be con¬ oerfect freedom of bounding action, the playing finger the half, twice; the eighth, one-half as many; the six¬ will answer all needs for the start, except such supple¬ it strikes the wire at once (instantaneously) rebounds sidered from many angles, in the hope that we ma> takes the action and firmly withstands the teenth, two notes, and the thirty-second note, none. mentary pieces as you may select. and drops back to its first place, the slight possibility pressure as it strikes (press. -) the key The time signatures you mention would have no 3. This pupil also may take up the work suggested in of a difference in time occupied in this re¬ ami reaches through the depth I key fall. bearing on the relative values of the notes. A quarter the answer to the first question. bound as between a pianissimo and a for¬ ■'3. Is the following measure correct as regards The special impulses of graded power, time? note in 6/8 time would have the same number of divi¬ 4. If the work has been well done she will be ready tissimo stroke is not measurable nor even metrical or expressional accent, arc from sions for the trill in moderate tempo. to enter the third book of the Standard Course, and appreciable; in both cases, where the m- . the arm in either of these m< ans of key strument is properly constructed the 3. Your third example is incorrect as to time, and the second book of Czerny-Liebling. The Kunz canons stroke (pure finger action or bounding hammer blow and rebound are as a flash you have copied it inaccurately as well. The whole are mostly in the second and third grades. They do touch). From this delicate flexible bound¬ and the wire is at once free to vibrate or note in the bass should be a half. In the treble, if not interest the average pupil. The ingenuity of their ing touch through all grades of power, subject to the control of the damper. The the first note is an eighth, the D in the bass should construction does not appeal to the undeveloped mind, we reach another class of touch, which in Singing quality, the sustained hum of the come exactly under the A in the treble. The five fol¬ which can be better led by more interesting material. wire’s vibration is a matter of damper the playing of detached tones . r forceful lowing notes would then have to be all 32ds, and Your older pupils might find them interesting, however. control; whatever happens to the tone tones at the close of a passage calls for marked as a quintuplet. The second group of notes is an “up-spring” of the hand ami arm. All “4. Is this k tie or a slur In the following? a quintuplet in 16ths. after the rebound of the hammer is due to What is the difference between a tie and a slur, and the control of the damper or dampers. Let of these means of “touch” should be de¬ how can they be distinguished?” 4. Again you copied badly, and your example was An Outline veloped without the pedal that a perfect confusing. I have rewritten it correctly for you, be¬ it not be understood that this physical “I use Mason's Touch amt Technic, and Mathews' fact in any way contradicts the other fact, realization of these processes of touch cause one of your first endeavors in your work should Graded Studies for technical work and phrasing. that, while the percussive is always with and their tonal result may be acquired. be accuracy. If you are teaching it is very important. In addition to this, of course, popular, classical an instantaneous blow and rebound of the With such inaccuracies you would confuse your pupils and semi-classical pieces. Do you consider a course hammer, the quality of the primal tone, badly. In indicating time values the rests are of equal like this sufficient for a good musical training, or Good Taste of Audiences importance with the notes. The two E’s are tied. A should other studies, such as Czerny, Loeschorn or including its power, is- due in its artistic Heller be added?”—W. F. character to the manner of the “touch Harold Bauer, the eminent pianist, has tie indicates that a given note is a continuation of the at the key surface. a very optimistic opinion of the growing one preceding it, which must, of course, be of the good taste and discrimination of Ameri¬ same pitch. A slur may indicate the legato playing of Your fundamental study is excellent. The Mathews Physical Processes of Tone Production can audiences. In a recent interview, 1. In my own opinion the manner of rendering grace notes of differing pitches, although its most usual series is not intended, however, to be all-embracing. The various means of touch at the key given to Musical America, he says: notes is in a transition stage, and there is considerable modem function has come to be that of showing the It is more a compendium that shows an outline of surface is not an item for our present full “I like to know the tastes of an audi¬ confusion regarding it. There are many who hold phrasing. A tie may be necessary when a note is necessary kind of work, and by its thorough mastery strictly to the traditions which prevailed in playing them analysis, though it may with profit be THE STORY OF THE MAGIC MUSIC. ence, and while I would not change my carried from one measure into the next, or may carry the progress of the student is shown. It does not con¬ added here that artistic tone production program in a large city, I might for a on the predecessors of the piano, upon which grace a note occupying a portion of a beat into one occupying scene in the entire Ring of Ttie Kibclung in the Wagner tain sufficient material, however, but should be sup¬ at the pianoforte requires first of all a di¬ smaller town. I often enquire what num¬ notes were the only means of producing an accent. a full beat, or both notes may occupy incomplete beats. music dramas may be seen than that of the sleeping Briinhilde and the Magic Personally I am one of the radicals who does .not plemented by such etudes and pieces as best fit the rect (quick) tripping of the hammer, J®* The'maJeKtic* Valkyrie (Walkiire) Briinhilde in her divine power takes bers they especially want to hear; and I All three instances are indicated in the following ex¬ peculiar talent of any given pupil. The Czerny-Liebling whatever power of tone may be sought. the side of Siegmund in his sword duel with Hunding and thus wins, the di believe these primitive principles should be applied in favor of the God Wotan. Unable to subdue Wotan s wrath T am frequently surprised at the excellent ample. A tie is easily recognized as it must be placed Studies cannot be surpassed, for this purpose, and Hel¬ No “creeping” on to the key, caressing, magic sleep at the base of a hugee mountain rangeri Th” their strict interpretation on the modern piano, which between notes of the same pitch. It must also run from _*?_t_i..,nni. i™ nicicrl/* flnmos tn cmat’d th musical taste and eagerness to learn of the ler has always been considered indispensable. Loe¬ ■wiping or pushing of the key or any grad¬ best music, which is found in small places. has so far outgrown many of them. The subject is each note to the next, and cannot be drawn under i sleeping I hilkyr schorn is held in high favor by many teachers. ual, hesitating or other sluggish manner enough1* to ^tss Through9 the magiT Are!" WagSer, inspired by this wonderful Sometimes they write: ‘Please don’t play too extensive to discuss here. Tradition says you several notes. situation, wrote music so rich in melodic suggestion and yet so simple that it must play the grace note in your first example with With every pupil you should determine the purpose of approach to the point of actual trip¬ is always exquisite when effectively played. Great as are the effects which Beethoven’s “Appassionata;” we had that ping of the key, will answer the real pur¬ Wagner was aide to produce upon the stage he could not have given his two years ago; give us another sonata.’ the lower note. Written out it would appear as of study. A course of study may need to be modified pose of the player, for when the lever has audiences anything like the highly idealized image which the artist’s picture so follows: by this. A student that aims for high musicianship beautifully p'rotrays. This may appear somewhat absurd at reached the tripping point there must be a first thought; as though one could hear | coupled with a desire to enter the profession, should direct quick pressure, else the hammer the ‘Appassionata’ too often! On second receive different treatment from one who only wishes will not reach the wire with a blow suf¬ thought one appreciates their standpoint. From Twenty to Thirty to use music as an accomplishment. The professional ficient to set it in vibration. dismiss some, if not all of the utterly untrue, incon¬ They found this Sonata so beautiful that they want to aspirant should take up every sort of study, and should, This (to step aside from our real subject moment) “1. A young man of twenty, playing second sequent theories regarding keyboard action and the hear another. for future use, be made familiar with various standard is a vna* ..the training of the child or any grade pieces fairly well, has thick fingers and poor i vital thought manual energies “playing” upon it. “A rather amusing incident occurred after one of my action. What technic and pieces would you sug¬ etudes. Although this is also the best training to give other beginner with light weight and frail fingers, As it is not the purpose of this analysis to discuss recitals in which I had played a Beethoven sonata. A gest? He is ambitious to become a good pianist. an earnest amateur student, yet many of them do not 2. What work is best for a young lady of twenty- hands and arms; we gain in power of blow in the closely the processes of touch variety, I will only add a young man came up to me and asked—‘How long do desire it, and the attempt of many teachers to force instant of contact of hammer and wire by quickness five who has very stiff ligaments and is a beginner? few thoughts as to the physical (manual) manner of you think it would take me to play all of Beethoven’s The reason I do not like this is that it falsifies the 3. Also, for a young lady of thirty, who is almost it upon them is not always advisable. The amateur of finger or hand action at the key; weak hands and producing pianoforte tone of various colors or tonal sonatas by hand?’ The question arrested my atten¬ melody note, which in this case is G. To the ear it through Beyer's Book? She has a good finger should be urged to do his or her work thoroughly, frail fingers can master this action though power of characteristics. tion. I entered into conversation with the man. His seems to be A. Trying to accent G. does not help however, but there are even cases where this will not 4. Name suitable material to follow Beyer's Book the playing numbers may be very slight. business was to secure advertisements for mercantile matters, as it makes a double accent as well as a forced work, but only result in your losing a pupil. The con¬ Finger, Hand and Arm Action for a young lady of twenty-two. In what grade are This “quickness of action” is a vital principle in all concerns. He found it required a great deal of imag¬ syncopation, which is disconcerting. Play the sequence Kunz' Canons}”—J. H. tention made by many, that they love art and wish The sources of power in pianoforte playing are of artistic playing of the pianoforte and as the child hand ination to prepare these in such a way that they would of notes at b, without the grace notes. Then let the to make themselves familiar with its fundamental prin¬ muscular pressure at the arm, the contraction reaching 1. Such fingers are apt to be a puzzle to the young has but little weight (another of the fundamental de¬ ‘hit the bull’s eye every time.’ So he began to look grace notes drop in by accident, as it were, very lightly ciples, and be able to practice it in a humble way for through the hands and fingers to the tips at the key teacher who attempts to teach that fingers should rise pendences of the pianist in his control of touch va¬ about for means to cultivate his imagination. He went and' with an almost inappreciable amount of time. their own pleasure, and sometimes that of their more surface. This tension (contraction) of the muscles of Piquancy is added to the melody. Play it as at c, in high at the knuckle joint. There are some hands, and rieties), and as the child is also lacking in muscular to the art galleries, but did not get much out of pictures. intimate friends, is a thoroughly laudable one. The the arm must be under such control as to allow the accordance with tradition, and it immediately sounds the young man you mention seems to have such hands, power, we must give him instruction in directness of Then he went to the theater in his search for imagina¬ answer made to this by many teachers that in these complete freedom from “stiffness” of all joints, the clumsy, as if fitted with wooden shoes. Furthermore that do not permit any action upwards at the knuckle touch, that he may soon get a true pianoforte tone, tive impetus. Here he was occasionally moved and shoulder, elbow, wrists and finger joints. the melody is no longer G, F, E, D, C, but giving the joint. I have known some very fine pianists, however, days reverses often come with great suddenness, and thought it be of very little loudness. Directness and secured some ideas. He began to read good plays. grace notes a false importance makes it seem A, G, F, who have struggled against this drawback. The first that every pupil should do his or her work with suf¬ free use of hand and arm weight are the vital agencies Hand and Arm Weight Shakespeare especially appealed to him. It gave him a E, D. Playing as at c gives two accents on each beat, thing for you to realize is that such fingers must strike ficient thoroughness to be able to fall back on it as a contracting the tendency of pianists to produce tone by The weight of the arm and hand in perfect freedom ‘tingling sensation down his spine’ he said. Then came for the accompaniment in the bass must strike exactly downward from the level of the back of the hand. means of livelihood in case of necessity, is also per¬ sheer physical force, directness and freedom leading to is sufficient (especially with adult players) to depress music. He heard fine orchestras and procured a vic- on the beat, and the lower notes of the thirds will come The tips of the fingers must therefore be held about fectly true, but no teacher can dictate to any pupil artistic control over “color” of tone. the key, for many grades of power in playing and in trola. Here he came to enjoy good music from the with it, and forcing an accent on upper notes after the the height of their own thickness above the keys. what shall be his conduct. Getting ready for future An item worthy of deep thought is the fact that all grades of power the connecting centers must be records. He became acquainted with some of Beet¬ grace notes makes a second or delayed accent a little This will afford sufficient stroke. He will need, how¬ emergency rests entirely with the pupil. Hence ama¬ some artists play with an action which does not at all kept free for action, notwithstanding the tendency of hoven’s Sonatas. Such music gave him the same sen¬ off the beat, which does not even produce the effect of ever, to concentrate much on his technical exercises, teur study from its own standpoint deserves every times carry the key down its full distance of_ dip or the arm tensions to stiffen the wrist, finger joints, etc. sations as a fine Shakespeare play. Thus he thought syncopation, but merely of misplaced accent. Instead and will need to work for flexibility. If he is in the encouragement and consideration as regards outline of “fall” and this seeming key-surface touch is some A basic rule in playing may be stated, that no playing if the mechanical performance gave him so much pleas¬ of the passage lightly and airily descending, it seems second grade he ought to be ready for Mastering the times advanced by theorists as a special manner of force should be used, which exceeds the limits of free¬ ure, he would get much more out of that music if he to come clumsily clumping down the stairs. MacDowell’s Scales and Arpeggios, giving careful attention to the instruction and work. developing “color.” A fact must r be borne in mind dom of the playing joints. could play it ‘by hand.’ Hence his question.” OCTOBER 1917 THE ETUDE Page 600 Page 65S THE ETUDE Do You Know? OCTOBER 1917 of meaning lies in any good composition. _0 y Do vou know that the song, “Annie Laurie;’ supposed Interpretation Is Not Merely you have done this, only when you fed that1 you Do y°u “n°w ient f0lk song, is now just eighty A FAIRY DREAM Performance derstand the composer’s mood and intention, y ^ by mail? It waswritten by Lady John Douglas HUMORESQUE be able to give an interpretation of Scot (Alicia Ann Spottiswood), to whom “The Bank to be said that the result more than justifies the trouble. And this little dream was a funny one! y By D. C. Parker For by this means you will gain the conv.c ion hat It came to Mollie O’Lear; you know the full significance of what you are play She thought she rode on a great green goose Unfortunately the word interpretation has for ing and, more important, you will give to your hearers That bucked like a Texas steer; many people a vague significance. To them it is a term the impression that you have sympathy with and unci I--» pTckeTup what the peasants thought were old worn It flopped about’till it knocked her off, associated with the “higher criticism” of the art, and, standing of the writer whose music you have chosen fiddles He would, Aladdin-like, give in exchange bright And it cackled“Jihgerbread Joke I” as such, fills them with something like awe. But the to interpret. new fiddles and take the old ones to Pans and London And Mollie wondered what that could be, „ student of music, however humble, cannot afford to And while she was wondering,woke. W. E. H AESCHE disregard it for the very simple reason that it stands and sell them for fabulous prices. He died in miserably r • 1 n.isirters in Milan, leaving his relatives a for something extremely valuable. Let me demonstrate A Musical Inventory fortune of 300,000 francs, made entirely from the sale what I mean. Some enthusiast, let us say, hears a virtuoso play a of rare violins. Nowadays, so many, many fraudulent piece at a concert. It takes his fancy and, without By T. L. Rickaby Stradivarius labels, are found in worthless violins that delay, he rushes off to procure a copy. Then come thousands are deceived into imagining that they have discovered a fortune when they turn up a three-dollar hours of assiduous practice. He has got it note-perfect. At regular intervals every merchant “takes stock, or, He knows every phrase, and yet, when he plays it, the as the more modern phrase is, “takes an inventory. ^Doyou know that the American historian, Alexander impression is different from that produced by the This means that he thoroughly examines his merchan¬ Wheelock Thayer (1817-1897), worked for fifty years virtuoso. Instinct tells him that this difference does dise to find out just what he has, and what he does not not arise merely from his more or less inferior tech¬ have, with special regard to what he does not have collecting material for his great biography of Beet¬ nique. Probably he does not argue the matter long Similarly, at regular intervals students of music should hoven? The first volume of the five-volume work was enough to discover that he is comparing his own per- do the same thing. At the end of the term or season published in German in 1866. formance with another’s' interpretation. they should endeavor to get a clear idea of what they Do vou know that the price of sheet music, even in It is a sad fact, but a true one, that a vast number have that they did not have at the beginning of the album form has gone down enormously during the last of people believe that when you have memorized every term or season, and, above all, try to discover what fifty years? In-1861 a famous collection of piano music measure of a piece, when it holds no surprises for you they do not have that they ought to have. Let them published in Paris as the “Pianist’s Treasury." and you have got out of it all that is in it. Nothing ask themselves a few questions—for example: then represented as the cheapest in existence, sold for could be more erroneous. When you have settled every “Have I increased my technic? If not, in what par¬ five dollars a volume. Similar books containing even difficult technical problem, when you have decided upon ticular is it faulty?” ' more music with better printing, can now be had for the fingering of every passage, there is a great deal “Have I improved my knowledge of harmony? It ' one-fifth that price. still to be learned. You cannot say that because an not, why not?” actor knows every one in Hamlet he necessarily under¬ “Do I know more of musical history and biography stands the significance of . the play. Similarly, you can¬ A Common-Sense View of Hand than I did last year?” not say that a musician understands a piece of music “Is my grasp of theory and musical knowledge in Position at the Piano because' he is familiar with every measure of it. Every general stronger and clearer?” There has been untold harm done in the past, and to reader must surely remember performances which he “What have I added to my repertory, and are the a less degree, even at the present time, by the pedantic has heard which were technically perfect, but which, additions of permanent worth?” idea that there is a certain “correct position” f r the nevertheless, were failures. “Have I spent as much time and thought on my work hands and fingers, which must be acquired at all cost, The explanation of this apparent phenomenon is to as I might have done?” even before the pupil has learned anything else at the be found in the emotional nature of music. After the If these questions can be honestly answered in the technical part has been mastered it is necessary to keyboard. The too great insistence on this is mie of affirmative the pupil is to be congratulated. If they the chief sources of the fault known as “stiff wrist,” ponder over the emotional side of a piece. At first must be answered negatively it may be the means of there seems to be little in this point. In reality almost and even where this evil does not result, the player is stimulating the delinquent pupil to better things. At hampered in the matter of variety of tone. everything is in it. A player or singer should always any rate, try it once. Do not work blindly by faith remember that lie is the channel through which the A rather flat.position of the hand, the cushiony part or by guess, but look into your musical affairs clearly of the first joint of the finger pressing on the keys, is composer is being made known to his hearers. If the and thoroughly and see just where you stand. player be dull and unimaginative, Chopin with his favorable to a sweet, mellow, song-like tone:—a rounded poetry, Liszt with his brilliance, Schumann with his position of the knuckles, the fingers striking on their depth and tenderness, Grieg with his romantic glamor tips like little hammers, is favorable to a hard, park- will all seem dull and unimaginative. What would we Home Teaching ling, brilliant tone. Why commit yourself exclusively say of a conductor who knew his scores but directed to either? Think first of the effect you wish to pro¬ duce in the particular passage you are executing, and his orchestra in such a way as to make Beethoven and By Cora Young Wiles Wagner cold and uninteresting? And yet, this is what let the hand act accordingly. countless performers are doing every day, in their own If a young man, seeking information as to proper way, simply from want of a little thought. In the Quite often it is a serious mistake for parents to deportment, should ask, “What is the correct position present day we suffer from a surfeit of merely clever have one of the family try to teach music to another for a gentleman?” one could scarcely answer except players. There is nothing wrong with the heads of member of the family, unless in a studio with a regular with a laugh:—of course, there are several things he these people, but such musicians lack the qualities of schedule. A mother often hopes to get some return would not do in polite society—for instance, walk on the heart. Music can be handled successfully only if for the money and time spent on her own musical edu¬ all fours, or stand on his head—but in general, he the head and- the heart are brought to bear upon it. cation by passing her knowledge on to her children. would move freely and without constraint in whatever And herein lies the difficulty of interpretation. To The child does not appreciate the real value of the manner his immediate surroundings might require. Just interpret you must cultivate the imagination. A phrase lessons, because no money is paid for them; so many so with sensible piano-technic. may be written in one way, but a composer cannot things interrupt—a caller, a household duty, play¬ • The writer was much amused at a comment he once write down all that he means. It is quite impossible mates; the lessons become irregular, being adjusted to overheard from a fourteen-year-old girl whose musical to express in black and white all that the creator feels suit family conveniences; the practice lags, the novelty education up tq that time had consisted in a course of when he pens his compositions. Something of what is and interest wear off and failure is the result. lessons from a correspondence school and a couple implied must be brought forth in the interpretation. Sometimes an older sister attempts to teach her of terms from an old-fashioned sort of music teacher. This is best illustrated by reference to time. You sister or brother. Disagreements, arguments, lack of She was much disappointed at her first hearing of a will find that good artists will caress a tender passage patience and proper respect on both sides, make it noted pianist “because he did not hold his hands cor¬ even when there is nothing on the page in the way of difficult to achieve success. rectly”—her idea of correctness being derived from the As an elder sister failing to teach my younger sisters direction. But the recognition of the legitimacy of cut on the first page of her instruction book, which she such a proceeding should not cause the student to dis¬ and brother, and as a mother having a like experience, deemed an infallible authority. tort the rhythm or spoil the contour of a melody. For I have sent my own children when possible to the best you will also find that good artists take liberties within teachers in a neighboring large city and in my small limits Were these limits exceeded the progress of the home town. Music In Merrie England music would be impaired. Temperament must never be In the latter place I once asked a teacher of fine The expenditure of large sums of money for music permitted to distort the shape of a piece. As regards musical culture and teaching ability, how he was suc¬ is by no means a practice of modern origin. Queen songs it is essential to pay close attention to the mean¬ ceeding with his children: “Oh! my poor children,” Elizabeth, who was noted for her parsimony, spent ing of the words. When the music is the same for he exclaimed, “they set me crazy. I cannot do anything nearly ten thousand dollars a year for music at her several verses, but the mood of each verse is different, with them.” They were talented children, five in court and it is likely that other more lavish olden it is obvious that the manner of performance must vary number. I myself had five, so we exchanged our times courts spent far more. in each case. We have arrived at an age when great pupil-children with beneficial results. The children all Among the instruments of the court orchestra in technical feats are commonplaces of the concert-hall. learning eagerly and well until the families were Elizabethan times was one of the reed type, known The fact has blinded us to the other side of the ques¬ separated by change of residence. as a shawm. The largest of the shawms was tion Technical accomplishment is by no means to be An exchange with a young school teacher of theory nine feet eight inches long and ii street parades it was despised. But it is not everything. lessons for mandolin lessons for my young son was carried by two men, and played by one of them. At all times you have to remember that the true another instance. John Dunstable is given the credit of being the first musician is also a poet, and that the interpreter must Several times I sent a child for lessons to some composer brave enough to break the silly conven¬ also be something of a poet. Catch the emotion of a former pupil of my own. tions of the early music theorists and compose from the piece, penetrate its secret, extract the beauty as the bee If a mother cannot teach she can use her musical standpoint of beauty rather than set laws. He spent extracts honey; look, not once but a hundred times for knowledge in creating a musical atmosphere in the °n tbC European continent. He died in hidden charms, and you will be surprised what a wealth home. OCTOBER 1917 OCTOBER 1917 THE ETUDE Page 661 Page 660 THE ETUDE MAGIC FIRE MUSIC. MAGIC FIRE MUSIC. fl'om“DIE WALKURE" from “DIB WALKURE” R.WAGNER. Edited by Preston Ware Orem. SECONDO

cl) The notes of the motive,indicated by the accents,must be strongly brought out and well sustained. Copyright. 1902.by Theo.Presser.4 OCTOBER 1917 THE ETUDE Page 663 OCTOBER 1917 PRIMO Page 662 THE ETUDE SECONDO OCTOBER mi HUNGARIAN DANCE No.7 JOH. BRAHMS pi‘°o8oio!bi'.,“d" One ofttemwt melodious of Brahms’ celebrated arrangements of the Hungarian ,ot Philip. Grade VI. Allegretto

A modern impressionistic piece, to be played in a sonorous and dignified manner. Grade IV. CARL MOTER

Copyright 1905 by Theo. Presser. OCTOBER 1917 Page 667 OCTOBER 1017 THE ETUDE ON THE HOEY MOUNr TomwoiiK Ofsj Bu)

iB in the style... of a <7Aor«/,the pause at the end of eachTr-^7shs'sx‘~" stram berng | style of writ! g .... prolonged by the use of the light descending arpeggios,The ^time may Pqco lento.

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Copyright 1910 by Theo. Presser Co. Copyright 1917 by Theer.Presser Co. British Copyright secured OCTOBER 1917 Page 668 THE ETUDE GAVOTTE D’AMOUR THE ETUDE Page 671 OCTOBER 1917 OCTOBER 1917 Page 670 THE ETUDE TWO MISSISSIPPI SKETCHES What Shall I Teach in the Second Grade? - K.m l„. attained a high Inspirational plane- The “*“*** *” ‘ In these interesting characteristic pieces M things Mr. Kern has done. Grade IV. A SERIAL ADVERTISEMENT OF REAL HELP TO TEACHERS Watch for Next Month’s Installment SAINT FRANGIS DB SALE^S^^ ^ _ lonely ehapel in thewilder. FOUR HANDS SOLOS slowly gliding from human view. Its fading rays gently bathed g __ _ Trr^AT ^ OOQ „ No. * The autumn sun _ ... no. Key 7476 Baschinsky, P. One Year ivhile nature bade farewell to the dying day. 6679 Spaulding, Geo. L. Sway¬ in the Life of a Child. ness. Hooded monks chanted vespers ing Trees . C Beginning the Second Grade 9327 Fink, W. By the Wood¬ 8452 Necke, H. Think of Me —Waltz. Op. 7, No. 6 C land Spring. Op. 492, 7836 Rohde, E. Think of Me. C Practical Suggestions for 8443 Sartorio, A. Festival March. Op. 859, No. 4 C Wide-Awake Teachers 7372 Heins, C. Flying Doves 7237 Lawson, Paul. The Paper —Galop . C Chase—Caprice . C 3647 Neumann, F. Cheerful¬ 8230 Anthony, Bert R. Rob 1. The pupil should now have a well-defined knowledge of correct ness. Op. 1, No. 6.... G Roy—March. Op. 21, hand, arm and body conditions. Don’t worry if the knuckle joints break 3648 Sartorio, A. Picnic in No. 1 . G in now and then, as the exercises which you will give in this and the next the Woods. Op. 406, 8392 Necke, H. Parade March grade will strengthen the hand. The teacher should examine “On Sale’ all No. 5 . F of the Tin Soldiers... C 6374 Seeboeck, W. C. E. 3585 Zimmermann, J. F. Hay¬ of the books of studies listed below as some are especially suited to very Spanish Dance.A Min. makers’ March . F young beginners, while others, such as the “CZERNY-LIEBLING book 6371 Seeboeck, W. C. E. 7687 Crosby, Marie. Waltz of 1 is better for older pupils. Fairy Tale . C the Flower Fairies.... C 4398 Burty, M. Two Juve- 8233 Anthony, Bert R. Fairies’ 2. The pupil by this time should be able to pass a little examination Carnival . C in all the elements of notation. This can easily be made up from the list 9067 Gibs, A. A Historical 8232 Anthony, Bert R. Arrival of questions in the “NEW BEGINNER S BOOIC. Notes, clefs, time, Pageant . 1 of the Brownies. Op. rests, dotted notes and rests, legato and staccato, sharps, flats and natu¬ Koelling, C. Teacher 21, No. 3 . G and Pupil. 2 Books ^ 11162 Sewell. S. Gay and ^ rals, triplets should now be “Second Nature” to the pupil. 3. Scales may be taken up in this grade. The "STUDENT’S Harthan, H. Young 3819 Engelmann, H. To the Duet Players . Dinner — March. Op. BOOK’’ introduces them. A fuller treatment with tonality exercises of 1178 Presser, Theo. School of 556, No. 5 . D especial value to older beginners will be found in “MASTERING THE Four - Hand Playing, 8279 Cramm, H. L. Good SCALES AND ARPEGGIOS.” Vol. II . Night, Little Girl. Op. The Juvenile Duet Play- 14, No. 3 . G 4. The student should now have his work with the STANDARD Various Composers 8771 Bugbee, L. A. March of Sixt. the Giants . Bb GRADED COURSE of studies well under way. With very young pupils Neumi 9732 Kern, C. W. The Lady¬ some teachers start Grade 1 of the graded course when the “BEGINNER'S bird . C BOOK” has been completed. In any event. Grade I will supply a most Goose Duets . 9047 Geibel, Adam. Cones¬ excellent fortification of all that has been learned in the “BEGINNER’S toga .EMin. BOOK.” By all means investigate "STANDARD COMPOSITIONS" COLLECTIONS 8770 Bugbee, L. A. At the Grades I and II. Standard Compositions. Vol. II, Fair . Bb Gd. 2. Compiled by W. S. B. 7779 Forman, R. R. June 5. Don’t neglect duets. Nothing advances the pupil at this age Mathews . Morning . F quicker than duets. Mathews, W. S. B. Standard 1202 Zeisberg, F. J. Bagatelle G First and Second Grade Pieces... 7403 Bristow, Frank L. The Goat Ride—Polka .... C 6. Attention and interest are still the great assets of the teacher in Mathews, W. S. B. First Lessons this grade. Use the most interesting material you can procure. Watch 9461 Moter, Carl. Village MacDougall, H. C. Studies in Festival . C the pupil’s facial expression intently for signs of eagerness or dullness. Melody Playing. Vol I. 11179 Ferber, R. Slumber Song D First Dance Album. 3807 Brown, Arthur L. Sim- 7. Don’t be a one-piece teacher! There is no need for it, as the plette—Valse . F Theo. Presser Co. “ON SALE” system gives the privilege of having a First Recital Pieces . Sight Reading Album. Compiled 8372 Brounoff, Platon. In¬ generous supply of pieces, studies and books right in your own music room by C. W. Landon. Vol I . dian War Dance...EMin. ready for immediate use. Inquire about this. Thousands of teachers 7235 Lawson, Paul. Rose Easy Parlor Album. Petals—Romance . G have been using it successfully for years. Harker, F. F. Six Forest Sketches 8183 Sochting, E. When the 8. The pupil entering this grade should, in nearly every case, be el¬ Young Players’ Album . Leaves Fall . C STUDIES 6850 Forman, R. -R. Folded igible for the elementary study of the History of Music and Harmony. Wings—Lullaby . G 3656 Engelmann, H. Students’ 9820 Sartorio, A. I Think of Selei Thee. Op. 1004, No. 1 C Parlow, E. First and Second 5927 Parlow, Edmund. In the Lindsay, Chas. Home¬ Seeboeck, W. C. E. The Grade Study Pieces . Train . C ward March . D Dream Fairy . Bb Vetter, H. 24 Melodic 6674 Lindsay, Chas. Noontide ; Armstrong, W. D. The Brown, Arthur L. Hya- Studies. Op. 8 . Reverie . C Elf’s Story .A Min. cinthe—Valse Melodie. F 6644 Pendleton, R. H. The Williams, F. A. The Bugbee, L. A. Juggler . Bb Jolly Cobbler. Op. 70, Engel, Heinrich. Way- . GradrGrade Book“ ’ of Melodic 5928 Parlow, Edmund. In the Np. 1 . F side Flowers — Idyl. Studi, Rathbun, F. G. A May Op. 5 . Bb 4243 Wolff, B. 20 Short Exe Blacksmith’s Shop ... F Spaulding, Geo. L. Vani¬ cises for the Equal Trail¬ 7236 Lawson, Paul. Ripples— Day . C ties—Valse Vive . C Valsette . F Armstrong, W. D. Rondo ing of the Hands. Op 9470 Gael, Van-Henri. The —Etude .:. D Suter, Rufus O. Sim¬ Cuckoo. Op. 64. C Lindsay, Chas. The plicity Waltz . F 1031 Duvernoy, J. B. Ecole Pri 6847 Forman, R. R. Dance Betrothal March . D Reinhold, R. Shadow maire. Op. 176, Book II Holzer, Julius. The Pictures. Op. 58, Gurlitt, C. School of Ye of the Wood Sprites... C Royal Hunt . D No. 2 .A Min. ocity for Beginners. ~ 3771 Read, Edward M. Sun¬ Hewitt, Hobart D. In Reinhold, R. The set Nocturne . B Sweet Content . F Brownies. Op. 58, 8801 Anthony, Bert R. Spark¬ i Horvath, Geza. Neapoli¬ ling Eyes—Valse . C No. 8 .EMin. tan Street Scene. Op. Thome, F. Cradle Song 5919 Greene, C. W. Playful 130, No. 1 .A Min. —Berceuse. Op. 58.. Ab Rondo . G i Kaiser, P. The Younger 9541 Moter, Carl. Evening Set—Waltz. Op. 2, Rogers, James H. Giants Song . C No. 4 . D DMin.

Why the Theo. Presser “On Sale” Privilege is Adopted by Thousands of Teachers

Notwithstanding the fact that the "On Sale” privilege as originated by “On Sale” system have just the piece or book the pupil needs. No waiting— the Theo. Presser Co. has been in successful operation for a quarter of a cen¬ no delay—no disappointed pupils. The teacher merely adds the cost of the tury there are still many teachers who do not know fully what "On Sale pieces to the pupil’s bill and settles with us at the end of the season. The really means. It is not merely the opportunity to look over works for a few “On Sale” opportunity applies not only to such materials as may be found days and see whether you like them before you buy them. It is something on this page and on pages 640 and 641 of this issue, but to a catalog of far bigger and more important to the teacher. 11 means that you can keep in fifteen thousand musical works. your studio all the music, hooks and studies that you really need for your pupils for your Send for a selection, stating material desired, number of pupils and entire leaching season, paying then only for what you use. Teachers who use the their grades.

THEO. PRESSER CO. 1712 Chestnut St. : PHILADELPHIA, PA.

# For Second Sketch see page 675. Page 673 TUE etude'■ OCTOBER 1917 Page 672

“We Chose The Plays All Records Brunswick Any Make BW —Our Reasons Why” Yet Costs No More “.chiefly because it plays all With each Brunswick conies two repro¬ records. That feature is the most.impor¬ ducers. Use any needle, play any record. tant of all. One reproducer is for the world-famous “Of course we had to he convinced 01 Pathe Records. Pathe, as you know, is tone. And we were. The all-wood soum one of the. greatest record makers. Some chamber is built like a violin. The tone i of the foremost singers and musicians soft and natural — never metallic no perform exclusively for Pathe. Not only harsh. American artists, but the famed ones of “And we liked the nature-way tone con¬ Europe. trol. It diminishes or expands the volume Jt does not take a trained ear to appre¬ like the human throat. ciate the superiority of The Brunswick. “We wanted many Pathe Records Once you hear this instrument you’ll have among our collections. Brunswick makes a new appreciation of phonographic art. it possible. For 75 years The House of Brunswick “These and other Brunswick features lias been pre-eminent in fine cabinet work. commanded our admiration when we For the past few years one group of went from shop to shop making compar¬ Brunswick craftsmen have made phono¬ isons. Finally in our own home we com¬ graph cases. pared The Brunswick with another. Hear it today—before you decide on “The Brunswick won. Not only by our any instrument. Have it sent to your own choice but upon the advice of friends. home for tone demonstration. Note also the price advantage. Then judge. You “And now we’re all glad we chose The will be glad you chose a Brunswick. Brunswick.” The Brunswick-=Balke=Collender Co. The Brunswick=Balke=Collender Co. Chicago San Francisco New York Cincinnati Branch Houses in Principal Cities Branch Houses in Principal Cities of United States, Mexico, France of United States. Mexico, France CANADIAN DISTRIBUTORS: CANADIAN DISTRIBUTORS: Musical Merchandise Sales Co., 80 York St., Toronto isical Merchandise Sales Co., 80 York St., Torontc DEALERS: Write for our profitable plan DEALERS: Write for our profitable plan with all the sales details.

W- : WjFM.S: , mmm OCTOBER Page 67^ TEE ETUDE TEE ETUDE Page 675 OCTOBER m7 METOSWA RAPIDS “Through moss and through brake, And thence at departing IMPORTANT EDUCATIONAL MUSICAL WORKS It runs and it creeps Awakening and starting For a while, till it sleeps' It runs through the reeds Selected from the Latest Publications of Theo. Presser Co., Philadelphia In its own little Lake; And away it proceeds.... _ CARL WILHELM KERN, Op.338, No.4 PIANO INSTRUCTORS—FIRST AND SECOND GRADE TEACHING NOVELTIES Allegretto m.m. J-=m STUDENT’S BOOK MELODIES OF THE PAST JUST WE TWO SUTOR’S NOTE SPELLING SCHOOL OF THE PIANOFORTE FOR THE PIANO By GEORGE L. SPAULDING BOOK By THEO. PRESSER Price, 75 cents Price, 50 cents A Writing Book for Learning the Note* By M. GREENWALD Price, 50 cents To the thousands of gratified teachers By ADELE SUTOR Price, 30 cent* The good old tunes are always welcome Mr. Spaulding always has something new and students who have used Presser’s Be¬ ThisThls Is the up-to-date way of teaching and always In request. Each of these melo-meio- ginner’s Book, this new volume will need and Impressing the main principles of nota- dles i(Si flrst 0f an, presented with Its orlgl- to present. No writer of the present day no introduction. The Student’s Book is .» is more popular with cfiildren. These are nr°lnw fUemC“,dr tlnif1™’ the* XvS: nal harmonies, and accompanied by a verse suitable for any student who has done the printed In music notatloi interesting very easy, flrst grade duets, with words. work of the flrst grade up to, but not in¬ Then the pi-._—_,_ud printed variation or paraphrase. Easy to play. They can be sung, or be used only as piano cluding the scales. It may directly fol¬ letter words are to be spelled on the staff pieces. We are sure they will prove a de- low Presser’s Beginner’s Book, or any simi¬ In notes. In addition to the spelling __ light to the little ones as well as to the lar work. The Student’s Book takes up a sons, there are story lessons In which systematic study of scales, arpeggios, and ______printed words are interspersed ,/ith notes CHILDREN'S SONGS & GAMES listeners. whose letters spell the desired word. At wrist motion, containing a wealth of ma¬ the end Is inserted a page of blank music By M. GREENWALD Price 50 cents terial for second grade and third grade paper affording opportunity for the child’s study. Progress is possible only if the original work—a valuable adjunct, -- —- All the popular traditional children’s NEW PIANO METHOD pupil is kept continually Interested. This children delight to express themselves in songs and games arranged as piano pieces work has been prepared with that aim in tunes as well as In words and stories. (words.• ad lib.). ' ■Each '- numberr— is*- followed-* By A. SCHMOLL constant view. There is not a dry or un¬ by a variation. Directions for the games interesting study in the book. Every PLEASANT PASTIMES FOR are Included. IN TWO BOOKS Price, $1.00 each number is a musical gem. Indispensable for the teacher and student of to-day. THE YOUNG PLAYER Our edition of this celebrated work has By H. L. CRAMM Price, 75 cents MASTER AND SCHOLAR been specially translated from the original PICTURES FROM FAIRYLAND This book was prepared In response to French, and has been carefully prepared. requests from many teachers t_. _ —r By C. KOELLING Price, $1.00 This is one of the most melodious piano FOR THE PIANOFORTE plementary volume to the very successful What teacher does not recognize the _ Instructors that we have ever seen. It is By DAVID DICK SLATER Price, 75 cents New Tunes and Rhymes for Little Pianists of educational by the same author. Both works are begin¬ due of four-hand playing, even for little full of the very best A most agreeable and refreshing set of ner’s recreation books suitable to be taken folks? Master „„„and R__Scholar is perfectlyr__ material, time all the twelve pieces by a talented modern writer. studies and pieces are of the most attrac¬ Although none go much beyond the second Sn.WlVS5w3^k, rttffltah*11adapted for ,the amalle!‘beglnners’ a? T tive character, and all are original, grade, these pieces have real musienl value. mic feeling as its fundamental principle, primo part is within the compass of five Each one is in characteristic vein and each presents new problems In progressive orde notes. The’ secondo’ part‘ ’ been’ made Schmoll’s Instructor is one of the most has something new and interesting ' ‘ enlarges u,__ more interesting, as it is Intended popular European music books of the Its variety of keys, much n Ing. All the material is mi played by the teacher. present day. PIANO COLLECTIONS VOCAL WORKS STANDARD ADVANCED PIECES GODARD ALBUM FOUR SACRED SONGS MOTHER GOOSE ISLAND FOR THE PIANOFORTE By DAVID DICK SLATER Price, 75 cents OPERETTA Price, 50 cents These songs are of moderate length and By GEO. L. SPAULD ING Price, 50 cento just right for church use. They are devo¬ This volume contains such pieces as the tional in character, but they display the A bright, up-to-date work, suitable for good player delights to turn to continually, very best musicianship, together with a boys and girls of from 8 to 11 years. compositions of this distinguished modern wealth of original melody. Mother Goose characters are introduced in not pieces of the virtuoso stage, but real French writer, including such successful addition io modern boy and girl parts. advanced pieces by standard, classic and numbers as 2nd Valse, 2nd Mazurka, Au The story is lively, the dialogue crisp and modern writers. An unusually large num¬ Matin, Valse Chromatique, Pan, En Cou- GRADED STUDIES IN SIGHT the music abundantly tuneful. Scenery ber of pieces in one volume, printed from rant, Venetiene Barcarolle, and others. and properties are easily prepared and the special large plates. Such composers as AU are carefully revised and edited. Paper, SINGING entire production may be put on with a Haydn, Mozart, Beethoven, Chopin, Men¬ printing and binding are of the very best. By G. VIEHL Price, 75 cents minimum of study and rehearsal. delssohn, Moszkowskl, Liszt and MacDowell A complete and up-to-date sight-singing being represented. method. Sight-singing in all its phases, ENGELMANN FOUR-HAND presented in the most interesting and thor¬ THE CECILIAN CHOIR ough manner. There is a section devoted Sacred Two-Part Songs for to miscellaneous selections of all kinds for SUNDAY PIANO MUSIC ALBUM amusement. Just such a book as is needed Women’s Voice* for schools, colleges and for classes. A Collection for Church or Home FOR THE PIANOFORTE Compiled by JAMES C. WARHURST Price, 75 cent* Price, 75 cent* A REVELATION TO THE VOCAL Price, 50 cents Pieces of the highest type, but of mod¬ All the best of Hans Engelmann’s orig¬ A very useful collection for use in church erate difficulty, admirably adapted for inal piano duets, together with effective WORLD or at religious meetings where a mixed four-hand arrangements of Borne of his most By E. J. MYER Price, 50 cent? choir cannot be had. This book contains church7 services8 or* at* religious gatherings popular solo compositions, including: Mel¬ Years of experience, not only in singing anthems and hymns, both original and ar¬ where it Is not possible to have an organ. ody of Love, Concert Polonaise. Over Hill and in teaching, but in examining first ranged, all for women’s voices in two-part The best composers are represented, both sources, wilting books upon the subject, harmony, with an accompaniment suitable Classic and modern, some of the most ex¬ listening to great singers and talking with for organ or piano. The selections — alted inspirations of each composer being them, have placed E. J. Myer, the author Included. A most useful volume. -of this book, in a position all his own. VIOLIN THEORY AND BIOGRAPHY n c ORGAN INDIAN MELODIES HARMONY BOOK FOR CHILD’S OWN BOOK OF GREAT ORGAN MELODIES FOR VIOLIN AND PIANO BEGINNERS MUSICIANS Gem* from Classic and Modern By PRESTON WARE OREM Price, $1.00 By THURLOW LIEURANCE Price, 75 cent* Composer* compiled and arranged This book is “brief, simple, vital, prac¬ In this attractive volume Mr. Lieurance tical, new, and distinctive.” It presents for the Pipe Organ presents some of his most successful trans¬ the groundwork in the plainest possible Price, 15 cents each manner, covering thoroughly the flrst year’s criptions of Indian melodies, arranged as These give the stories of the lives of the By C. W. LANDON Price, $1.« violin solos. These melodies are genuine, work, and affording ample preparation for great composers in very simple language, advanced study according to any method. and Instead of having the Illustrations A veritable mine of good things for the taken down at flrst hand by Mr. Lieurance Provision is made for writing all the exer- busy practical organist. Not a dry or and duly recorded. They make most In¬ cises directly“ the.. book, thus keeping a printed In the book, sheets are supplied to - ork. u lg be cut and pasted in the book by the child tedious number in the book. Some of the teresting violin numbers, real novelties, and permanent record greatest melodies ever written arranged adapted for either class____■ private In- Itself. Facts and Quotations are Included, will prove real additions to any recital preludes, postludes and offertories. All struction. It is an admirable work for self- as well as a place for the child’s own story of moderate difficulty, suited to the average program. to be written. player and adapted for two manual organs.

The Convincing Test To afford you a better opportunity of judging for yourself of the genuine value of the books listed on this page we will gladly send you any of them for examination. Send a postal card request, and your order will be filled the same day. To further assist you in the selection of music, we have catalogues covering every classification. We will gladly send you any of these gratis.

THEO. PRESSER CO., 1712 CHESTNUT STREET, PHILADELPHIA, PA.

British Copyright secured Copyright 1917 by Theo.Presser Co. THE ETUDE Page 677 OCTOBER I9i7 OCTOBER 19T7- Page 676 THE ETUDE

KIRMESS DAY WALTER WALLACE SMITH

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JUVENILE BIRTHDAY PARTY I W. BERWALD Moderato grazioso m.m. J = OCTOBER iQij Page 680 THE ETUDE

SUMMER IS GONE

British Copyright secured Copyright 1917 by Theo.Presser Co. OCTOBER ioi7 THE ETUDE Page 683 THE ETUDE ObTOBER 1917 ROSE OF KILLARNEY Words and Music bv JAMES FRANCIS COOKE LOVELY SPRINGTIME OCTOBER 1917 TlfE ETUDE Page 685

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* from here go back to % and play to Fine, then play Trio. Also published fot Piano Solo OCTOBER 1917 THE ETUDE Page 687 OCTOBER iy17 What Makes Hungarian Music Interesting Page 686 THE ETUDE The most important part of the ,na- tional music of Hungary is that of the BERCEUSE Magyar race. The remainder of the population is made up of Slavs, Ger¬ from “JOCELYN” mans, Wallachians, Jews and Gipsies, NICH the second time. and out of all these races, the Gipsies A very effective new transcription of this favorite number. Play it through twice, changing the regis seem to be the privileged musicians of the country. Transcribed for Organ by BENJAMIN GODARD There exist a number of traditional -BACH EDWIN ARTHUR KRAFT Magyar melodies—not folk songs, but mostly fiddle-tunes, either dances, or weird, melancholy musical meditations, which have in turn been adopted. by Those who are familiar with Liszt’s Gipsy fiddlers and embellished with a Hungarian Rhapsodies, Joachim’s Hun¬ number of original and characteristic or¬ garian Concerto for violin, Haydn’s naments. These tunes thus ornamented Gipsy Rondo, Brahms’ Hungarian have been, so to speak, taken home again Dances, etc., will easily recognize these hy the Magyars, and considered by them ornaments. We might here appropriately as their proper national music. Indeed, name a number of most talented com¬ there has been such a complex series of posers, themselves Magyars, who write give and take that it would puzzle the in this idiom, but it is rather the purpose most learned musical historian to tell of this article to deal with the influence exactly where Magyar ends and Gipsy of Magyar music on outsiders. For in¬ begins. stance, Schubert’s C major Symphony, Among the salient characteristics of his A minor string quartet, his Diver¬ this music, we may name first, a very tissement a la Hongroise (Op. 54), and peculiar form of the minor scale : certain of his Impromptus show a strong Magyar influence.

Remenyi’s Curious Slip f .1 - W-j |J *r r;l The Hungarian violinist, Remenyi, played so much of this music that traces Secondly, syncopated rhythm, and the of its style used to crop up occasionally prevalence <>( duple and quadruple time in his renditions of the classics. It is (triple rhythm being rare, and found only said that on one occasion when, he was in slow time). playing Beethoven’s Kreutscr Sonata with Liszt, he inadvertently applied one of the Magyar ornaments to that calm World’s If and chaste melody which forms the theme of the second movement. Smallest fi Ultra Quality Grand Piano W' (A theme used by Haydn in his D min. quartet.) THrile /or- JBoolcfet Third, and most important of all, the various embellishments which give .the Main Office, 235 E. 23rd.St.,New^ork peculiar tang to the Magyar music: Chicago Wareroom, 235 S.Wabash Ave.

•(In Remenyis Magyar dialect.)

To the musician adept in various schools of composition, and able to ap¬ preciate distinctions in style, this was excruciatingly funny. AN IMMEDIATE SUCCESS Harmony Book For Beginners Mechanism Not All By Preston Ware Orem By Le Roy Johnson Price $1.00 Brief, Simple, Vital, Practical, New and Distinctive Music began with mechanism, carried “A girl who had been put out of the on with mechanism, will end in machine- singing-class at school because she could Admirable for Self-Help bke playing every time. It is a well not sing the simplest melody at sight, was known fact that men like Paderewski, pushed in her piano work because she had Lays a strong foundation for future musicianship by giving the main Hofmann, and innumerable other artists ‘good hands.’ A teacher who realized essentials of the subject in such simple, understandable and interesting manner of our time, practice many hou*s a day; that the child must hear before she could that it will prove invaluable in the class or for self-Kelp work. but how do they practice? That is the ever really play gave her lessons one This is not a re-hash of the old “cut and dried” harmonies, but a fresh, new, question! It must be borne in mind that summer, and this started a new process sound treatment along modern lines. these men came into the world with that in her mind—she was finding herself. gut of God, which inspires and enables Just as the inner work was having its ef¬ Hundreds of enthusiastic letters have been received them to play technical exercises with a fect on her development, what happened? from delighted users of this book, showing it to be tone and musical expression that carries She went to a boarding-school, under a joth mechanism and spiritual conscious¬ very technical teacher and practiced “just what has been wanted for years.” ness hand in band. scales by the hour every day. She was Read this letter from Charles Wakefield Cadman, Paderewski says': "In plaving the piano ‘getting technic.’ This summer she has Successful American Composer and Specialist in Indian the fundamental factor is technic, , but not opened the piano (last year you 'at word technic includes everything. It could not get her away from it—music Music: ■ncludes not dexteritv alone, as many was killed in her.” Allow me to express to you my sincere congratulations mistakenly think, but also touch, rhyth¬ Mechanism and spiritual consciousness on your new “Harmony Book for Beginners.” mic precision and pedaling. That com- must go hand in hand—each one, as it I have never seen anything just like it and it fills a long- ination is what I call technical equip- were, subconscious of the other’s pres¬ felt want. Few learners of harmony can instantly grasp pei?t- So it is very evident from Mr. ence. If more students would remember the first elements of the subject because they meet with aderewski’s statement that he simply that music is the outpouring of the soul a maze of useless words and puzzlements. It seems to ans, in other words, that the student of man, and not the mere juggling of a me you have simplified things tremendously in this ust not adhere to mechanism alone. series of sounds, we would have less little book and I am sure it will meet with ready response. , ...e Literary Digest gives to us a acrobatic stunts and more universal mg example of the result of mech- harmony. Music that is not from the THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. amsm m the following story: soul is mechanical. Please mention THE ETUDE when addressing our advertisers. OCTOBER 1917 THE ETUDE Page 6S9

this line will, suggest any number of ut¬ .caused either by constraint in.the throat terances that may be employed as ex¬ or in the soft-palate—usually in both. ercises for inducing involuntary tone. Rigidity in the muscles of the breath The essential thing is to secure a repro¬ organism will surely extend to the throat. duction, not a mere imitation, of natural, The direct result of throat muscle inter¬ or involuntary, utterance, without physi¬ ference is an unnatural thickening of cal strain or muscular interference. the vocal bands (which in that condition From Speech to Chant—Then Melody require an abnormal breath pressure to vibrate them) with consequent loss of When the desired freedom of speech power in the fundamental tone and total utterance has been realized, the student IVERS & POND loss of the higher overtones. Soft-palate may profitably begin to chant monotone interference will rob the tone of a large sentences. Poetry lends itself admirably portion of its legitimate resonance. The Vocal Student’s Problems to this treatment. The words of songs For a thorough and scientific elucida¬ may be utilized. Keep the same tone as PIANOS in suggesting this panting breath exercise tion of this matter of' interference, the prevents the involuntary adjustment of when using inflective speech. Do nothing We who write articles for such edu¬ justification for unreasoning confidence writer recommends “The Natural Method the vocal organism. we have conformed to the natural, or consciously different so far as making cational magazines as this, are for the A sincere teacher will not resent the involuntary, vocal impulse. of Voice Production,” by Floyd S. desire of a pupil to know the “why” The student is more accustomed to the tone or taking the breath are con¬ most part, professional teachers. It is Having succeeded in emitting these Muckey. natural enough that we should speak as well as the “how.” Vocal students use the voice in speech than in song, and cerned. Merely eliminate inflection. It short mildly exclamatory syllables on will be a good plan to alternate inflected fiom the standpoint of the teacher, that are, for the most part, of adult age is therefore less conscious in uttering Complete Physical Release the freely released panting breath im- and monotone sentences until you are we should analyze the problems of the and at least average intelligence. They speech sounds. Furthermore, the inflec- When preparing to vocalize either pulses, the same or other syllables may quite sure that you are employing pre¬ studio from our own point of view. will work with more enthusiasm and tion of speech is more natural than the song or speech, the student should en¬ be inflected with a gradually widening cisely the same tone impulse in both. This student has his problems, also. make surer progress if they are made to arbitrary intervals of song. deavor to assume and maintain an atti¬ range of pitch. Use the rising and fall¬ Having learned to chant words with We teachers should not assume that we understand the principles upon which The first step to induce an attitude of tude of complete physical release from ing inflections of question and answer, the naturalness of speech, melody phrases all tension, local or general. Letting the have a monopoly in the perplexities of the teacher bases his instruction, and even non-resistance. With no attempt at any alternately, through the easy-speaking with words become the next logical de¬ jaw hang loosely, as if it were quite the studio. Instead of taking the stand the specific results which may be ex¬ localized control of the breathing mus¬ range. Also employ sentences which vice for practice. Here again it will be heavy and fell of its own weight, will that we embody all virtue and all wis¬ pected to follow the use of prescribed cles, use the panting breath. Let the bring into use the various vowel wise to alternate with the spoken (in¬ do much toward freeing the entire throat dom and that the student is usually a exercises. , jaw drop loosely and the tongue “loll. sounds. Here arc a few suggested sen¬ flected) sentence fpr a time to make sure tract. It will also help to, walk about stubborn young person who may only be There is no mystery surrounding vocal Try to pant exactly like a dog. Do this tences, although anyone may compile that a different tone impulse is not being while vocalizing, making free gestures hammered'into some semblance of vocal study when directed by rational intelli¬ until there is a sensation of release (non- used for the melody utterance. This hundreds just as effective by merely tak¬ with the arms, and in every way keeping culture by our own persistent domina¬ gence. I f there be mystery to the resistance) throughout the entire body. brings us squarely up to the singing of ing thought of the various vowel sounds, the body from becoming set in any fixed tion/ suppose that we try to put our¬ teacher he is not fitted to teach, and if Where the difficulty is experienced in songs. If the specified conditions of position or attitude. selves in his place, for a time, and see if there be no mystery he should be able securing an attitude of complete non-re¬ and of the natural inflective shades: physical release (non-interference with “Oh! I see.” Entertain no notion that the breath we may get his point of view and ap¬ to make his processes clear to the student. sistance, it is usually helpful to let the the involuntary functions of the vocal must be consciously “managed.” When “Yes, indeed!” preciate his problems. head fall loosely forward and then roll organism) have been maintained, the there is complete release of tension in “Far away we’ll go to-day.” (This one The young pe*son who decides to be¬ The Pupil Who “Wants to be Shown” it around in a complete circle, slowly, student will have found the common the throat muscles, the vocal bands will gin vocal study must first of all make spveral times. Let the head “go” so employs all five basic vowels.) meeting ground, of speech and song. vibrate with a very gentle breath im¬ his choice of teacher. What an important I have the greatest sympathy for the completely that all stiffness is eliminated “Front whom then did you come?” Speech should be musical with the free pulse, and comparatively little breath will step that is! The most crucial year in student who is open-mindedly “from from the neck. Let the arms hang (Resonate the nasal consonants defi¬ resonance of the “singing tone” and song be required for singing even long all his period of study, no matter how Missouri.” Considering the fantastic di¬ loosely and the whole body sag to the nitely.) should have the natural freedom and phrases. Continued practice under this far it may be prolonged, is the first year. vergence of existing vocal “methods,” knees. This is, of course, a somewhat “You came too soon this noon.” (Re¬ spontaneity of speech, When both condition of non-resistance will auto¬ speech habit and song habit are correct, How is the student to decide between the dogmatic, empirical, illogical, pro¬ extreme preliminary relaxation exercise. sonate the nasal consonants definitely.) matically develop the breath capacity and one may make the transition from in¬ the several teachers of his community ? cedure of scores of past and present Eventually, one must assume a more “Now I see exactly what you mean.”, control of emission to meet every need flective speech utterance to melodic song of sustained singing. Any effort to One friend will urge him to go to Mr. teachers and the pitiful results of their alert attitude, with the body in balance “It is all perfectly clear." utterance with no change whatever save localize control of the breath will surely A. Another assures him that Mrs. B. is teaching, it behooves the student to be (or poise) with the weight mainly on “Oh! what a wonderful sight.” “Oh! No, No, No, .Vo, Vo, No!” the change from an informal inflective result in interference and, in some meas¬ the only one who may safely be entrusted alert to understand the why and where¬ one leg; but this poised release of the “Meet me by moonlight alone,” etc. pitch line to a formal melody pitch line. ure, impair the purity of the tone and with his vocal development. There will fore. He should not be stubborn and body is often impossible to secure until Until this transition may be so made, place a strain upon the vocal organism. combative, nor suspicious; but he has be equally ardent and positive champions resistance has been eliminated by such a Speak As In Actual Conversation either the speech habit or the song habit The value to the voice user of breath¬ ' rineedj ^7iianP every right to demand that he be for Sig. C., Herr D. and Mile. E. general relaxing drill as is suggested Remember that you are not to sing is imperfect. ing exercises, disassociated from vocal¬ “shown.” The teacher who resents a How is the student to make an intel¬ above. these sentences. You are merely to All this sounds so simple—and is so izing, is often under discussion. Habit¬ ligent selection of teachers in the face sincere request for explanation of his Next, utter some speech sound, as speak them, with released tone, precisely simple in the telling and in one’s com¬ ual deep breathing is indisputably good A Piano of Accepted Worth methods or theories should revise his of this confusing advice? Is that not a “Ah,” “Ah” or “Oh,” “Oh,” on each ex¬ as you would utter them if they occurred prehension—that the student might infer for everyone, since only through this own attitude toward his vocation, and real problem? piration of the panting breath. Do not in an actual conversation and you were that little or no help from a teacher is practice may the blood be thoroughly No piano short of a grand satisfies the trained his patron. try for any conscious pitch; let the sound sufficiently animated and free from self- necessary in following these instructions vitalized. Insofar as specific breathing- musician. Of our small grands offering the The First Teacher Having, first of all, used intelligent come at the pitch that you would natur¬ consciousness to allow spontaneous ut¬ for fundamental voice training. exercises contribute to the vital health “irreducible minimum” in size and price, the There is one supremely important discrimination in the selection of a ally use in animated conversation. Do terance and inflection. At the very be¬ of the singer they indirectly help his teacher, and, second, given him confi¬ Where the Teacher is Needed singing. I have never been able to con¬ Princess is the most popular. In design, construc¬ thing, it seems to me, for the prospec¬ not prolong the sound, and let the un¬ ginning of study, disabuse your mind of Correct use of the voice in speech and vince myself, either, through logical rea¬ tive vocal student to make sure of in dence that is justified by his sincere and vocalized breath follow the tone as you the notion that there is any essential tion and tonal charm it has that touch of distinc¬ intelligent elucidation of his teaching song is, indeed, simple; but the simple soning or actual observation, that breath¬ selecting his first teacher; namely, to release it, so that the expiration is as difference between the speaking and the thing is rarely the easy thing to do. The tion which always marks an Ivers & Pond. It is methods, your study should be a source ing exercises disassociated from phona¬ choose an instructor who proves by his complete as when the panting breath ex¬ singing voice. Use the imagination and process of expert target shooting is easy not an experiment born of the present-day popu¬ of constant joy and gratification. Steady tion help the singer in any direct way pupil product that he may be depended ercise was used without vocalizing. Other create in your mind a situation wherein to comprehend, but the marksman must growth and development should be the to adjust his breath to the requirements larity of grands, but a resume of our broad experi¬ upon to develop voices without forcing vowels may be employed in one-syllable these spoken sentences would constitute shoot thousands of times before he may result that will stimulate you both and of vocalization. Capacity and control ence of years. Refinement after refinement has and to instill a simple and natural atti¬ words as “See,” “See,” “Say,” “Say,”’ a natural and spontaneous utterance. secure that co-ordination of mental and establish that relationship of interest and are very different things with relation to tude in his students. Any teacher who “Who,” “Who,” etc. Gradually extend the range of inflec¬ physical impulses which will insure him the singer’s breath supply. Control is been added to the Princess until it has developed respect which is the student’s inspiration can pass muster on this intelligent test It may be well, right here, to call the tion until you reach both the lower and a “bull’s-eye” at practically every shot. automatically secured through non-in¬ into one of the world’s standards of grand piano and the teacher’s best reward. is likely to be capable, also, in matters attention of the reader to the fact that higher pitches. The sentence: “Oh, No, Let him stiffen one muscle involved in terference with the involuntary vocal im¬ value. of musicianship and song interpretation, the breath impulse and the manner of No, No, No, No, No!” may be easily the act and he will never, under that pulses. Any other type of breath control insofar as these elements will enter into The Right Beginning phonation in this simple exercise are the adapted to a wide pitch range. It may condition, acquire the accuracy of aim is bound to interfere with these involun¬ When you take up the matter of a new piano, you will the first year or two of study. Later on. which, in his case, is the manifestation “What is the proper beginning of vocal same as when one makes an involuntary be uttered playfully, impatiently, angrily, tary impulses and thus impair the qual¬ want a grand. Why not start now by letting us mail you a of poise. So it is with the voice user; when the student has acquired a depend¬ instruction ?” exclamation. mockingly, pleadingly, with varying ity of tone. Capacity is developed catalogue showing the Princess and all our grands, uprights ably free habit of tone emission,, he Let him retain an atom of muscle inter¬ through repeated practice of tone-mak¬ In my judgment, the spoken word or To illustrate: Should you enter a pitch and degrees of intensity with each and players. ference and he cannot acquire tone per¬ ing under conditions of non-interference. may, if desirable, seek the help of dic¬ syllable. room and unexpectedly find there some¬ imagined emotional impulse. Other ut¬ fection. Since the result of his effort It all harks back to the basic principle tion and repertory teachers. But he one whose presence caused you great terances may be utilized to induce, higher Wherever in the United States we have no dealer, we “WHY?" is manifested in tone, which his own ears that Nature, through involuntary re¬ should not confuse the issue: The first surprise, you would likely exclaim, “Oh! pitch than is used in normal conversa¬ ship from factory on approval. Liberal allowance for old may not accurately judge because they sponse of physical organism to the will- and all-important thing is to acquire a The same organism is involved in both where did you come from?” or some¬ tion. Imagine that you see a frient pianos in exchange. Attractive .easy payment plans. cannot hear it in perspective, disassoci¬ impulses of the human brain, will operate habit of free, unforced tone emission. speech and song. The first step in train¬ thing of the sort. Should you analyze across the street whose attention ;yPu ated from other sensations coincident our bodily functions (among which the All other matters may very wisely be ing the voice is to induce some sound Write us today your vocal process you would discover wish to attract and call: “Hello! or with the tone, the vocal student must vocal function is included) far more held in abeyance during the first year that is free from all muscular constraint, that you first drew the breath in sharply “Oh-ho!” exactly as you would do were depend upon an instructor to score the successfully if we do not interfere than of study. This is foundation building. or “interference.” The sound-producing and then immediately released it with the situation real instead of imagine;- bull s-eyes” and “misses” until the singer we can hope to do through conscious The superstructure may be erected later. organism in the human being acts in¬ the impulsive “Oh,” precisely as in the Or imagine that you see an accident m bas coordinated his sensations into a management of the organism. Ivers & Pond Piano Co. Where it is not possible to hear sev¬ the street and make an exclamation voluntarily. Under normal condition vocalized panting exercise suggested in dependable basis of judgment. 141 Boylston Street eral pupils of a teacher and thus form one’s involuntary utterance, in speech, is a preceding paragraph. Under varying (“Oh!” or “Ah!”) expressing the shock. The ability to detect even the slightest “There is a reason why the original an opinion as to the average result of natural, and the vocal organism acts cor¬ circumstances, your exclamations of You will, if you observe accurately, <1S interference and to lead the pupil into a cover that every one of these involuntary thought, the original word, the original BOSTON, MASS. his work, the would-be student must rectly, or without interference. The surprise, fear, anger or pain—the voicing habit of tone utterance that is free from deed, makes an impression'on the world’s find some other basis of judgment, but student who attempts to sing, or to use exclamations springs from the sanl, such interference is the teacher’s basic of any emotion that induced a spontane¬ work, while the doings of the Conformists he should always adhere uncomprisingly a sustained “singing” tone before the breath impulse—a quick inhalation - an' qualification. Without this ability, no ous, involuntary utterance—would in¬ arc weak and motionless. It is because to the standard of unforced tone. teacher is usually so self-conscious at immediate release with the phonated amount of musical erudition can qualify volve precisely the same action of breath clamation. There will be a difference ’ mm to undertake the training of voices every original act has a- thought behind Having selected the teacher, the pupil first that his nervous reflex sets up an and voice, varying only in degree of in¬ the degree of intensity, but never a 1 °r either speaking or singing. it. and vitally interests the performer in should, of course, follow his instruction interference in the extrinsic muscles, tensity and in the emotional quality of ference in the physical process. Interference with the involuntary func- that it is his own creation.”—E. W. with confidence. There is, however, no thus causing a localized contraction that the tone. It is therefore apparent that A little thought and experiment aio “Ons of the tone-making organism is Martin. Please mention THU ETUD3 when addressing our advertiser*. OCTOBER i917 OCTOBER 1917 THE ETUDE Page 691 Page 690 TIJE ETUDE be Developed? Interesting Musical Questions Answered thfaWHtfto^c^S JoundstitS

Always send your full name and address. No questions will be answered when this has been neglected. to^'ltek‘set^r^lvS^f^ voweT sound of all ^"S^gcs may be mation made with this position of the soft-palate Only your initials or a chosen nom de plume will be printed. Make your questions short and to the point. The statement has often been made by and ^without £ loss^of the^asal^re-en- Questions regarding particular pieces, metronomic markings, etc., not likely to be of interest to the greater number of ETUDE readers will not be considered Q. What is “Chamber Music”t—I. K. R. of thumb-position, the thumb being placed on A. Chamber Music is that designed for a the string at the place indicated. NaUire. In'^literal sYns^thi^pronounc^- the following on a monotoneen^fate"The small hall and a select musical audience, 3 rather than the general public. More specitt- Q. How long should one hold the empha¬ cally, the term is applied to music of a high sized note in chanting t—Mbs. L. R. ^eento StheUeful^t thextentgehisCarensonanc1e mTnd upon the humming sound of “m” character, composed for a certain definite A. It depends on the number of syllables Make Children 1 combination of Instruments ; as, for instance, between the accent and the next bar-line. cavities until he has perfectly co-ordi- ^oughout^thi^£. string quartets, trios for piano, violin and If the accented note is the onlv one. it is violoncello, etc. Love Music io^ofbpadent' amMnteliigent practice6 is trol^et the humming sound expand into Q. 1. Is there any definite rule for the use They teach the child to build—to of wrist and Unger staccatot tiOTmy ebeeSSirbedf°re “ °rdma lArstTn'maktag this test not to define construct—music. They show how each The Emerson 2. Docs an "S” appearing below a bass note note, added to every other, produces The most scientific investigators agree the vowels too fully; rather let them designate that an octave below shall be that the h™ voice* produced bytoe ^JZZt Short Grand (STYLE B) 1^11 is a noteworthy achieve* § ment in the making of Blocks.1 They a true GRAND.

DIMENSIONS: sensation of the humming “m" 5 feet 8 inches in length ibly the most tangible guide that the singer may follow in a conscious 4 feet 10 inches in width study of resonance. It is hardly an ex- WHEN SHADOWS Dealers in Principal FALL Cities and Towns Emerson Piano Co. DARLIN’ SS cco. 5 Merely think toe"’a souml^v BETTER TEACHING Brings a out any attempt to physically place, JUST OUT LARGER INCOME rect or control it. Yield to the so The Head Voice and Other Problems

SYSTEMATIC VOICE TRAINING union NAIAD A text-book for student and teacher. DRESS SHIELDS throughout the year. Address leased and lowered during a yawn. The bands becomes more perfect. Intensity, 617-18 KIMBALL HALL, CHICAGO, ILL. yawning suggestion should be used with or power, of tone depends (first) upon ae^gusjcjggffisr great discretion, since, when carried to the free swing of the vocal cords extreme, the -throat is stretched into under which condition. of freedom the such tension that a free tone is impos¬ vibratory waves are generated in a way Frederick H. Haywood sible. The condition of muscular re¬ to give to the, tone its strong funda¬ TEACHER OF VOICE lease coincident to the first impulse of mental and proper complement of over¬ Author of “UNIVERSAL SONG” the yawn may help one to free the tones; and (second) by such release as SUMMER CLASS beginning JUNE 4th throat and thus to secure a released will permit of the greatest re-enforce¬ te; but the throat-stretch of the de¬ ment of these tone-elements by the reson¬ 331 West End Avenue, New York City veloped yawn is anything but helpful ance chambers. All this adjustment is : freedom. involuntary and the ability to utilize it If you let the lips close loosely, barely is gained through practice under condi¬ Walter L. Bogert touching each other, and make the hum- tions of non-resistance. BARITONE Teacher of Singing A REMARKABLE SONG SUCCESS

A Worthy Successor to the Composer’s Famous “O PROMISE ME” Arranging' and Correction of Mss. . ... A SPECIALTY • The Old,Old Love A. W. BORST, Presser Bldg., Phila., Pa. Composer of Cantatas, Sonus, Pianoforte and Church Music Tindale Cabinet Co. KMC; New York By REGINALD de KOVEN Hugh A. Clarke Mus. Doc. Published in Sheet Music Form in Three Keys pAG^’s No Vocalist can afford to miss this splendid New Song Price, 60 Cents K CHINA ^ THEO. PRESSER CO. t: :: PHILADELPHIA, PA. CEMENT

h addressing our advertisers. OCTOBER 1917 OCTOBER 1917 THE ETUDE Page 693 THE ETUDE Page 692 most are prone to use them and must thing in it for him. By using transcrip- needs use them on occasions. So far as tions I do not believe that we are lower 2^^>SElK5S31giSi- A VS COOl'^s jjustin Qrgansj our audiences are concerned no one cares ing the standard of our programs; on the in the slightest degree whether a piece contrary we are enriching them, and are that lie hears was originally written for opening a wider field of culture to those Department for Organists THE steadily growing the organ or not, so long as he finds some- to whom it is our privilege to minister. Edited for October by SAMUEL A. BALDWIN reputation of Austin Organs is one of the features of the musical his¬ Hints on Technic of Pedaling tory of America. Other writers in this department have days, all passages of the nature being More than fifty large four- emphasized the importance of poise and played with alternate toes. The purpose •so idiomatically expressed that it is un¬ Mission of the Public Organist manual Austins in use in this rhythm. They cannot be mentioned too of this use of the heel is to eliminate si The Organ of To-day translatable into another medium. I The public organist can and does reach country. often. Poise leads to a mastery and au¬ perfiuous motion, gaining greater sure¬ should not think of playing a Liszt rhap¬ By Samuel A. Baldwin many thousands, who for the first time Equal quality and workman¬ thority in all that one does, and elimin¬ ness and ease. Play the following pas- are brought to realize, the value of music sody, a Chopin ballade, or an overture by ates all fussiness and uncertainty. Rhythm Berlioz on the organ. ship in smaller instruments. There is nothing more striking and in their lives, and his mission is to open is more than the ability to play notes My master, Gustav Merkel, was fond The mechanical and tonal significant in the musical life of to-day to these thousands new vistas of beauty in time; it is the swing, the pulse, the un¬ of saying that Mozart could tie played qualities of Austin instru¬ than the rapidly changing position of the and of culture. He must make his appeal derlying heart-throb of the music, which upon a barrel-head, and there is many a ments has become an axiom is so often lost sight of in organ playing. organ, and the very great enlargement to an audience made up of all sorts and conditions of men—the college professor, composer whose thoughts can be ex¬ in the musical world. One must think of it along broad lines, as sage, first with alternate toes, then with of the field occupied by the instrument. the banker, the broker, the music student pressed in any language, and many a pertaining not alone to the measure, but heel as indicated, on F and the upper D While the organ still holds, and will and the. shirt-waist maker from the East- composition which has been made more to the phrase and sentence and composi- in the right foot, and on the middle D in always hold, its time-honored and revered side. glorious by being transcribed for the Austin Organ Co. tion as a whole. the left foot. place in tlie church as the handmaid of organ. The people are hungry for good music, 165 Woodland St. Hartford, Conn. I wish to mention two technical points It will' be found that by the latter worship, it is no longer associated alone but they must be interested before they It is supposed that Guilmant was very which I consider of importance, “cover- method the feet swing into position with with the atmosphere of religion, groined can be educated, and the organist must much opposed to transcriptions. Be that ing” and the use of the detached heel in greater ease and grace, and there is less arches and a dim religious light, but has see to it that he sends none empty away. as it may, he certainly made some and New York* 1851 8t. Louis, 1878 pedaling. probability of stiffness than in using toes published them. I have in mind two taken a new and independent place in the There must be music for those educated GEO. KILGEN & SON By “covering’' we mean bringing the alone, is the Jen outside world. It is standing, more and in the art and for those, as well, who exquisite ones: “Soeur Monique,” by finger or foot directly over the key be- I give two illustrations from pedal solos Couperin, and “The Swan,” by Saint- — the crystal-clear more, as a powerful musical force and a can grasp only the plain and obvious. Pipe Organ Builders fore striking it, rather than attacking it by Bach Satins. Do either of these compositions means of popular education. Of course, I do not mean that the ST. LOUIS. IVIO. with a side-stroke from a former post- glass jar to ornament suffer because the medium is changed, and I do not refer to the organ as an organist’s standard should be a low one, tion. The following simple illustration (Little Fugue in B flat major.) but if his message is to be for the many would any one prefer in the first the thin will show what I mean. a lady’s dressing adjunct to the homes of the very wealthy, plucked tone of the harpsichord for which nor to-that of the moving-picture theaters, rather than the few, he must always have in mind the man whose ears are not it was written? table and to fit easily important as the latter is, but I have in trained to hear complicated polyphony, A composer’s thoughts very frequently mind the organ as a solo instrument, the The Hall Organ Co. and comfortably in her but who will sit patiently through Bach transcend the medium he employs. One New Haven, Conn. organ of the concert hall, as found in the or Rheinberger, if at last there is some¬ could easily make a long list of piano Samuel A. Baldwin. hand—a fine jar for rapidly increasing number of municipal pieces which are better and have more to thing which comes as a blessing to his fairly familiar. Such a work as the Fan- halls, in our colleges and universities. soul. It is never necessary to descend to say when played' on the organ. One ex¬ The 5th finger starts orr G, but must tasie and Fugue, in G minor will fre¬ a superfine talc. Here the organ as an educator is second the cheap and tawdry, nor to forget the ample is the Prelude in C sharp minor come into a new position to play the last only to the orchestra, and its greater high purpose to educate and uplift, rather by Rachmaninoff. On a large organ this quently receive a recognition from a note C. This position is taken in ad¬ popular audience beyond anything else vance and the finger is directly over the availability and the small expense at than amuse, for it is altogether likely that composition reaches a climax of stu¬ [—ESTEY CHURCH ORGANS—, which it can be maintained, compared to the composition which sends our musically pendous, tragic import, which the pianist, on the program. upper C, while the thumb is still on the an orchestra of the first rank, make it a uneducated friend away happy and con¬ hammer with his two fists as he will, can But what other composer of the first lower one. The stroke then becomes ver¬ force to be reckoned with. tent, may have attached to it the name of never achieve. rank has written for the organ?—Men¬ Highest grade of product tical. This is a very simple proposition Arto Even in cities where large orchestras Pioneers and leaders always. but if carried out logically will add very Handel, Beethoven or Wagner. One naturally should be judicious in delssohn. Whether we place Mendelssohn wonderful reedless exist, the organ has its purpose to serve. The organist who holds in his hands the the selectiori of transcriptions. In my in the first class or not, his organ sonatas Oboe, Saaoph.ii greatly to one’s accuracy. is a soothingly smooth talc, Our orchestral concerts reach a compara¬ education of the multitude must offer judgment the first movement of Beet¬ are certainly inferior Mendelssohn, and ESTEY ORGAN CO., Br.ltl.boro. Vermont, U. S. A “Covering” is quite as important, or tively small proportion of the population. delightfully perfumed with them a rich and varied feast; his reper¬ hoven’s Fjfth Symphony is not advisable, are becoming more uninteresting every even more important, in pedaling. In the In a city like New York it would be a following example the right foot ad¬ toire cannot be meagre, but must include, though the Andante is superb. Nor day. Merkel, Rheinberger, \\ idor, Guil¬ Arborea odor—a bouquet liberal estimate to say that all the con¬ vances to a position directly over the new not alone the best of all schools of organ should I attempt the first movement of mant and many others have produced certs of our three first-class orchestras composition, but every variety of compo¬ Moller Pipe Organs key immediately upon leaving the first one, scent that brings to mind Tschaikowsky’s “Symphonie Pathetique,” sterling works, which we play and shall are supported by one per cent, of the sition that can be adequately expressed but the Finale is colossal on the organ. while the left is still playing, and the at¬ continue to play for some time to come, the fragrance of roseleaves, people. upon his instrument. The “Largo” from Dvorak’s “New tack is made by a light, vertical stroke hut no one would be so bold as to claim Though concerts of a more popular World” Symphony is quite as good on s. Satisfaction guaranteed, from the ankle. violets,heliotropes and car¬ that these men rank with Bach and the ind estimates on request. nature may reach many others, it still A Good Word for Good Transcriptions the organ as with the orchestra, and many M. P. MOLLER nations. Ask your dealer remains a fact that a very large propor¬ a page of Wagner is given a sustained other immortals. Hagerstown, Maryland tion of our people never come under the I should by no means neglect strict for Arborea Talc in the organ music, but the transcription has its power that the orchestra can never accom¬ Organ-Composers of Real Greatness, influence of serious music. plish. In fact, there is no composer place, and the organist, while playing Few tochSTEEREi ORGANS^ ^ beautiful and convenient from all that has been written for the whose works I play with more satisfac¬ tion than those of Wagner, except, of It would. be possible to count on the Ii;,|1(,yNOTA£ ORGANs'rECENTLY BUILT The advantage of this idea is particu¬ Jar de Boudoir—25 cents organ, may well enrich his programs by fingers of two hands, if not on one, the including much other music, possibly to course, our immortal pafron saint, John larly noticeable when the feet travel long the jar. Mr. Samuel A. Baldwin, the Sebastian Bach. works for organ, aside from Bach, that ■vioolseyHalt Yule Uillvcrsityl^tOlfe.1916' editor of the Organ Department the extent of one-third of the pieces distances, as does the right foot in this approach real greatness. I do not count the We also build the smallest organs for the present month, was horn played.- But one says Wagner should never be * twX "KUAN COMPANY previous exercise, and both feet in the Send us 25 cents for a at Lake City, Minn., January 25, played apart from the dramatic stage. Handel concertos, as they, when played following. In each case bring the foot di¬ 1802. After manifesting marked We have heard a great deal against the week-end box with minia¬ ability as an organist as early as cheap transcription, but not all transcrip¬ That would be true if his music were not on the organ alone, are transcriptions. rectly over the key while the previous the age of 15, he went abroad tions are cheap. Cheap music will make so supremely great that it can stand alone At the start I would mention two works, tone is sounding. ture Jar de Boudoir of four years for study and became as music. While detached from the en¬ the pupil of Gustav Merkel, a cheap transcription, and noble music —Theme andi Variations in A flat, Thiele Arborea Talc, and samples Nicodc, Rischbritcr and Dr, may still remain noble when translated vironment for which it was created, in and Sonata, “The 94th Psalm,” Reubke. FOR SALE IVminer. gteat tonal pictures it brings to mind the After these I hesitate, and it becomes a On his return he held suc¬ into the language of the noblest of alf nirl°-w Price and on easy terms, a $5000 =g= of four other Arborea prep¬ cessively several important posts instruments. For instance, I do not re¬ scenes which are no longer before our matter of personal opinion in regard to PIPE ORGAN used for about one year eyes. arations (Face Powder, as organist and as choral direc¬ gard the transcriptions of the Preludes this, that or the other work. I will leave tor exhibition purposes. Write us for Play these passages first with alter¬ tor in Chicago, 8t. Paul, Minne¬ to “Parsifal” or “Lohengrin” as cheap, you to fill up the list. You ask, “how photograph and specifications. Sachet, Toilet Water and apolis, New York and Brooklyn, Bach’s Unique Place as a Composer By the “detached heel” is meant the nate toes, then use the heel as indicated. and in 1907 became head of the but these compositions played on a large, about Cesar Franck”? I admit his great¬ HOOK & HASTINGS COMPANY use of the heel by itself, the note immedi¬ One who has become thoroughly used department of music in the Col¬ modern concert organ, with its wealth for Organ ness, but Franck even more than Bach is Extract), and of Lund- lege of the City of New York, "lain Office and Work*, Kendal Green, Mass. ately preceding or following being played to the old style may find this awkward at During the past ten years he has of tone color and varied resources, may Btft why play transcriptions when we the musician’s musician. His mystical by the other foot. The toe precedes or first, but the advantage lies in getting rid borg’s Peroxide Massage given no less than 550 public re¬ be made quite as effective and moving as have Bach, we are asked. I am second qualities, his indirect and diffuse style follows the heel, either before or after of a great deal of unnecessary motion, citals on the large organ in the we hear them at the Metropolitan Opera Cream — a vanishing Great Hall of the College, winch to no one in my admiration for Bach, make him tedious and uninteresting from the intervening notes. Such a type of which works towards greater naturalness hare met with unprecedented House. Then why not play them, par¬ and have.studied and played him assidu¬ the standpoint of the general public. I pedaling was unknown in my student and poise. cream recommended for popularity, total attendance to ticularly as most of our auditors never ously from my youth up. play him conscientiously and am quite date, being over 700,000. The 500th sunburn and windbum. recital, on May 28, 19.16, was the see the inside of the Metropolitan Opera I am not satisfied to give a recital with¬ willing to run the risk of occasionally occasion of a public demonstra¬ House. out playing Bach, and no organist can boring my audience thereby. A New Book on the Organ Ask your own dealer tion, on which Mr. Baldwin was Theoretically, I quite agree with the afford to neglect him, as there is no music Then there are the thousand and one fittingly honored, men who say that a composition should be The Modem Organ, by Ernest M. Skinner gans and Control of Acoustic Conditions; the Mr. Baldwin’s compositions m- which will educate both the organist and lesser works by minor composers of all f. W. Gray To.). probablyt theM^is no Console and Its Convenient Dimensions. All for large-size packages of etude songs and anthems, the played upon the medium for which it was his public like that of Bach. When Bach schools, in a more or less pleasing style, and authoritative manner, and the book will 18th Psalm for voices gndorehes- written, but practically it frequently hap¬ is understood and appreciated everything e subiert in question than is Mr. Skinner, Arborea toil et preparations which we all use to give vaiiety to our f„ I.lu liras evnerieuco as a practical prove highly valuable to every organist who Dresd n 188i; a cantata, “The pens that the musical thought may be else becomes plain. I am convinced that programs. But why not use as well the t standing. Among wishes to keep up to date iu Ills knowledge of and Massage Cream. Triumph of Lore”; two concert quite as well expressed, or even better all that is needed to make Bach admired overtures, a suite for orchestra better music, the music with the deeper following: Evolu- inadvertent discrepancies between the text and a symphony. He has also expressed through a different medium. by the people- is to keep his music con¬ ,,,'pneumatic and Electric Actions: the and certain of the diagrams: for instance, message, that we find in available tran¬ Guilmant Organ School Modern Organ Distinguished by Higher Wiud- figure 5 represents a series of fans in a made numerous excellent tran¬ There is some music that is more stantly before them. There is nothing jftmhSozq —Perfumer scriptions for the organ from scriptions from such giants as Beethoven, Fall TERM, OCTOBER 9TH Pressure: the Augmented Pedal : Recent Dis¬ blower, increasing the pressure by steps of noted symphonies and overtures. “medium” than music, and the external that stands out more strongly in my expe¬ Wagner or Tschaikowsky? Well! enough coveries in Acoustics: Why Old Pipes are five inches, while the text speaks of steps of 237 W. 17th Street, New York effect is more important than the inner ^C««log ready 44 W. 12th St„ New York Unsatisfactory in New Organs : Old and New three inches, but these slight blemishes may rience than the growing appreciation of in regard to transcription 1 They are with Specifications’ Compared; Locations for Or¬ substance. Then, again, music may be certain works of Bach which have become us to stay, and even those who decry them Please mention THE ETUDE when addressing our advertisers. OCTOBER 1917 OCTOBER 1917 Page 6U THE ETUDE THE ETUDE Page 695 iillll* Electric Actions Electric actions are rapidly taking the know how to play the organ, but I have Interesting Musical Clippings place of all others, and there is nothing found that they are always ready to Keep Youthful! carry out anything that organists can from “Everywhere” Don’t Go By finer and more thoroughly reliable than “A woman can be young There is Beauty a good electric action. The fault lies in agree upon. but once, but she can be *- r- the spring touch, which is heavier at the These are things I would suggest. The The Rise of Military Bands The Singers of Japan youthful always.” It is the dip of the white keys should be reduced The rise of military bands may be traced face that tells the tale of bottom than the top, and consequently is' The geisha arose naturally out of the to five-sixteenths of an inch, and the Heht to the Crusaders, who brought back »e<^!SS conditions 0f Japanese society. In time. Faithful use of continually pushing againsc the fingers. trttle-drums and other instruments from the The ideal action should offer the greater contact should not be too near the sur¬ oast • and in Chaucer is to be found mention women tharurewas0nnfotithoumht° „ e ted face. The height of the black keys above of "pipes, troinpes, nakeres and clariones. them to appear at gay°or public functions^ Ingrtmi’s resistance at the top, and little or nothing That ii e bataille blowen bloody s £™.i,1?mons of men, the need of the eter¬ the white may be reduced as much as t prior to the seventeenth century there nal feminine was nevertheless felt, as a wait¬ when the key is fully depressed. How¬ ress, if tor no other reason; and if a wait- ever a good builder can adjust this mat¬ practicable, and they should be given am¬ were no real organized military bands. Gen¬ ress was essential to the comfort and cor¬ MilKv&cd erals commanding armies who desired music diality of a feast, why should she not be a ter so as to give a comfortable resistance ple free play before contact is made. The were expected to provide it. The terrible woman of grace and accomplishments? CtSarn to the fingers, without the spring being width of the' black keys may also be re¬ janissaries of Turkey, exterminated in 1826, Moreover, the rooms of a Japanese gentle¬ too much in evidence. exercised a wonderful influence on European man s nouse are not designed for banqueting : will keep the skin fresh and duced by shaving the sides. These two martial music. Their regimental bands were so that a host is usually obliged to take his youthful. Sarah Bernhardt There is nothing more tantalizing th n things will add materially to the distance formed with no musical intention, but merely guests to a restaurant where the company is a sensitive electric action, one that is orth ; •dant noise naturally waited on by the maids of the began its use twenty years between the black keys, and there is no establishment. The Japanese code of man¬ liable to speak at slightest brush of ? the e—with “flfe- ago—today she is proclaim¬ danger of their speaking when the fin¬ shriek, eyml and trumpet-blast,'' as ners, especially the etiquette of feasting, is ed “young at seventy-one” SOc and 31 linger or cuff, and on which it is im¬ punctilious to a aegree, and few wives are gers are brought between them. Browning says- <•"* capable of proper ceremonial service on such possible to play certain positions of teenth century complete Janissary bands were occasions, even if they were permitted by n Milkweed Cream is a time-proven prepa¬ I have given no measurements other ration. More than a “face cream” of the chords which force the fingers well up be¬ presented to the kings of Poland and Prussia. tional custom to attempt it. The women c. than for the dip, as they are altogether These were adapted to the national require: the upper and middle classes in Old Japan ordinary sort. A skin-health cream. There tween the black keys, as for instance the ments, and iu a very short time military never appeared at feasts with men. Their is no substitute. chord it, a, d, fir in the right hand. too fine for me to take. bands had made their appearance in almost place was in the home with the children, '.live idea of their silting down with a com¬ Don’t KeepThat Com “ Just to show the proper glow ” use Ingram *s There are certain very simple things With an action adjusted in this man¬ every European army. They were first offi¬ ner an organist no longer feels that he cially recognized in France by Louis XIV, pany of their husbands guests, and singing Rouge. A safe preparation. Solid cake—no that any builder can do to get rid of this and in England during the reign of Charles or dancing for their entertainment, would be porcelain. Three shades—50c. is skating on thin ice, and ordinary cau¬ preposterous from a Japanese standpoint. Every drug store that you pass has Blue-jay waiting sensitiveness. If he has not done them II, The chief wind instruments were oboes, And as for the idea of having one's wife Send us 6c in etamps for our Guest Room Package already the organist ■ should see that he tion and accuracy are all that are re¬ . bassoons, horns and trumpets, and the per¬ (lance a polka with a guest of tue male per¬ for you. containing Ingram's Face Powder and Rouge in novel cussion instruments—bass drums, cymba.s, purse packets, and Milkweed Cream, Zodenta does do them. Organ builders do not quired. suasion, it would be intolerably immodest to Stop and get it, and it means the end of any corn. Tooth Powder, and Perfume in Guest Room, Sizes, triangles and crescents—were often beaten by a Japanese mind. The Japanese are content (11) gigantic tmbailed negroes, three or four of with less diverting amusements. Not caring Pass it by, and the corn will stay. You know that Frederick F. Ingram Company whom were attached to each band. To Fred¬ to dance themselves, they prefer to have it erick the Great is due the first attempt to done for them. All their dancing is by wo¬ from experience. Windsor, Ont. 43 Tenth St., Detroit, Mich. Organ Lore organize military bauds on a definite model; men, and the geisha is the ideal exponent of but the French Revolution had perhaps the Blue-jay does more than end a com. It proves that The first organ keyboard on record can imagine the organists—all men greatest influence on them in the artistic . ...‘rtainmentc--- „„„ „„„ corns are needless. dates from the eleventh century and was picked for their physique—darting madly sense. The orchestral members of the many is accompanied by her songs and her samisen. to and fro at the keyboard, screwed up opera houses having no employment com¬ The voice of this fair singer is not always Apply it, and the corn pain stops. Leave it on two Your Music Is Torn! in Magdeburg, Germany. It had sixteen bined together to incite and amuse enthralling to Western ears, but it ever keys. Each key measured three inches to the excitement of smiting the right lutionaries. They were impressed into ■ strikes a delicate chord in the native heart days, and the whole corn disappears. Only extra stubborn It will Take One Minute to key at the right moment- and attacking tary service; and soon artistic effect I and stirs deeply the emotions of the Japanese corns need a second application. Repair it by Using wide. compositiou were qualities cultivated in • soul; so much so, indeed, that the guesls are Practically all or the early organ key¬ it with all the force of their bodies tial music, to tile exclusion of mere i , not infrequently moved to venture a ditty ip As a result tile Napoleonic bands weri response. Her soft syllables, so gracefully Prove that once, and corn troubles end forever. You Mu!tum-in-Parvo Binding Tape boards were lettered with the name of gathered into their thickly gloved hands; chanted, fall deftly on the human ear with will never again permit them. the toiling, moiling crowd of blowers "i appeal to universal sentiment that excites the pitches which the keys operated. To those who admire the supreme art instrument.. ...„-- . every bccidental mind a desire to know th behind, treading away for dear life to of the Grand, and yet who think of the To millions of people—users of Blue-jay—corns are a Transparent Adhesive MendingTissue Cecil Forsyth in “A History of Mu¬ owing to llic initiative of a civilian, Wil¬ ug she sings.—Dr. J. 1. Bryan. ' sic,” gives an amusing picture of the keep the wind-chest full; the frightful Grand as necessarily a large instrument, helm Wlepreclit. in 1S28 he obtained per¬ pest of the past. we recommend Schomacker Style F— mission to reform the bands of the Prussian The Steel King on the Organ Bench organist playing one of the mediaeval din of the heavy timber mechanism, Dragoon Guards, and as a result a gradual "Mr. Schwab's earliest and strongest lov only five feet two inches long. revolution in the organization of the infantry is for the organ. It dates back to his boy¬ Do what they did — try it. See what a Blue-jay does. Theo. Presser Co., Philadelphia, Pa. (tenth century) organs.' creaking and groaning like a four-decker 's of Europe took place—A. P. Hatton hood days when he played for bis grand¬ Learn why so many millions are now used each year. . “The Winchester Organ had four hun¬ in a heavy sea; above all the diabolical Sold in New York and Philadelphia n The Mus l Opinion (London). father, who was a leader of a church choir blare of the wind suddenly poured into Exclusively by John Wanamaker at Williamsburg, Pa. The steel master tells Lay aside the old-time methods. Use this modern way dred bronze pipes and two manuals of At An Orchestra Concert in Paris an amusing story of how, when he was 624 Arch Stre< twenty keys. Each of these keys, fit in the huge metal diapasons and letting ten years old, he incurred the displeas tonight. You will wish that you had started years ago. Those who sit in the gallery at these con¬ his grandfather, a stern man. While b size for the hand of a giant, gave the loose their appalling series of empty, Schomacker Piano Co. certs (of tile Colonne Orchestra) at the playing during a service the boy's nose stony fifths; while in the church the ESTABLISHED 1838 Chatelet Theater in Paris are notoriously _ __.ching became i: wind to ten huge diapasons tuned in opinionated. There the battles of Richard X congregation cowered with a terrible as¬ ing but he kept his hands dutiful BAUER & BLACK octaves or perhaps in octaves or fifths. Philadelphia, Pa. Strauss ami Debussy have been fought. The organ keys. Relief came with a - 25c Packages at Druggists What a picture of dark, relentless medi- tonishment, wondering perhaps whether, gallery crowd always comes early because age in the music. So vigorously did the boy Chicago and New York seats in the top of the house are unreserved. before the next Christmas or Easter then rub his itching nose that the other boys Also Blue-jay Bunion aevalism this mere catalog summons up They cost a franc or two; I forget exactly in the congregation noticed it and laughed for us! Surely the world can never came round, the Danes would not have how much, but I have often sat there. To out loud. Whereupon his grandfather c""’~a Plasters Music typography in all its Branches pass the time until the concert begins, and have known such a strange holiday as put their long swords over the organ the young organist soundly overr the 1head. HYMN AND TUNE BOOK PLATES also to show their indifference to musical When Mr. Schwab told the pres_ Winchester knew every time its organ men and set the red cock crowing on the literature and the opinions of others, the about this, sitting on the bench of his grei was played, one thousand years ago. We gall eryites fashion a curious form of spill, organ in his New York home, he rubbed his, ^Dudley T. Limerick: with one end iu a point and the other like ncse reminiscently and then his head. a feathered arrow, out of the pages of the “Asked about the current stories that it —GOSPEL SONG PLATES-- annotated programmes. These are then sent was his organ playing or,'as some versions sailing, in most instances with infinite dex¬ have it, his singing, that • first attracted jHo. io S. FHchs Street, Philadelphia terity and incredible velocity, over the heads Mr. Carnegie’s attention to him, Mr. Schwab The Organist of the arriving audience. The objective point said there is not the slightest basis of truth Liquid Silmerine Market above Fifteenth ) is the very center of the back cloth on the in such accounts. It is a fact, however, that s applied at night with a clean tooth brush. !a I wonder how the organist At times they’re soaring high, stage, a spot somewhat above the kettle¬ his handling of the violin, in which he had leitner sticky nor greasy. Perfectly harmless, Can do so many things; Like angel voices, singing far drum. A successful shot always brings forth some skill, greatly pleased his first employei serves also as a splendid dressing for the hair. a round of applause. But this is (or was) in the Braddock works, Captain W. It. Jones, He’s getting ready long before Off, somewhere in the sky. an episode incident to anv Colonne concert. of whom the chairman of the Bethlehem The choir stands up and sings; —From Music and Bad Manners by Carl Steel has said ‘he knew more about steel than van Vechtex. any other man in America.' Captain Jones STUDY HARMONY He’s pressing buttons, pushing stops; For he. can take this structure that’s and other early associates took huge delight and COMPOSITION He’s pulling here and there, As big as any house, Be Buoyant in Mr. Schwab’s organ performances. One by MAILJS«M And testing all the working parts „ There are two prominent families in the of these was, after rendering classic numbers, And make it squeak as softly as THE ZEPHYR ELECTRIC the Glads and the Blues. The Glads to entertain bis friends by playing the While listening to the prayer. A tiny little mouse; ORGAN BLOWER COMPANY “ ■altll-v minded and the Blues are sick. ‘Fisher's Hornpipe’ with the right hand and Roth parties act systematically, on principle, ■Yankee Doodle’ with the left, at the same And then he’ll jerk out something with and from habit. Mr. Blue sees the evil in time singing ‘Home, Sweet Home.’ ’—Ray¬ He runs a mighty big machine, A movement of the hand, JJffJ ¥,r- Glad sees tile good. Mr. Blue pre- mond Walters in The Musical Courier (New It’s full of funny things; ?“-e events nnd revels in the prospects York). And make you think you’re listening to ‘heir coming; Mr. Glad says, "Never trou- A mass of boxes, pipes and tubes, . A military band. ie tiouble until trouble troubles you.” The Standard of Virtuosity And sticks and slats and strings; Cultivate Your SctJDO savs that when Sigismund Thal- 9 Grouchiness is a disease of which there berg plaved, his scales were like perfectly There’s little whistles for a cent, Si? tw° varieties, the acute and the chronic. He plays it with his fingers, and acute is sudden and of short duration, strung pearls; with Liszt the pearls bad be; Faust School of Tuning In rows and rows and rows; Natural Beauty come red hot. This extravagant image is ot He plays it with his toes, and the reaction is often beneficial. The value. We have gone back to the Tbal- I’ll bet there’s twenty miles of tubes type is progressive ; it gets worse and The standard school of America. And if he really wanted to in tigueUc eves pretty e; bergian pearls, for too much passion in piano As large as garden hose. YE.“ hai,?t rpuR bodily basis is a physiological playing is voted bad taste to-dav. Nuance, Piano, Player-Piano, Pipe and Reed He’d play it with his nose; beranV T,1ere is Iittle hope of recovery, then color, and then ripe conception. Tech¬ 1 s°on develops complexes with Organ Courses. Year book free. He’s sliding up and down the bench, nique for technique’s sake is no ' longer a OLIVER C. FAUST, Principal. There’s scores as large as stovepipes, and ti,„ dlseases. it is generally recognized by desideratum; furthermore, as Felix Leifels. 27-29 Gainaboro St., Boston, Maa( He’s working with his knees, the rir‘’TUce of a butdelusion to'the effect that has wittily remarked, “No one plays the There’s lots so big and wide essotit-?viroument is bad. This delusion is piano badly;” just as no one acts Hamlet He’s dancing round with both his feet linhi7,t. 'l iy.,an external projection of the bad That several little boys I know tablts of the patient. disreputably. Mr. Leifels, as a veteran con¬ The only organ blower to recei. As lively as you please. trabassist and at present manager of the Coud play around inside; giem^dldess. on the other band, as a hy- Philharmonic Society, ought to be an au¬ THE MEDAL OF From little bits of piccolos cintaaii lnciple' lf,nds color to life. It is thority on the' subject: the old Philhar¬ HONOR I always like to take a seat WeatlSr UV ,,a cheerful word about the monic has had all the pianists, from H. C. That hardly make a toot, dieeatS at the breakfast table improves the Timm, in 1844—a Hummel concerto—to There’s every size, up to the great Where I can see him go; to8 am”’ a,n■ 2 , * V*>0! rapid swings. For the elbow joint, hold I will tell you violin will ever agree on all details the upperarm against your body and T holding and fingering, but it surely bring the hand to the shoulder with a How to Reduce 0 _to hear arguments on the Department for Violinists js surprising ... very--j rapid movement.uiuveme Do not tire the OR To' fundamentals of manipulation, muscles much; the Edited by ROBERT BRAINE Some instructors advocate tying a pupil’ mu . — > »*“• is suppleness, the left arm, too, should be allowed . ht arm to his side, while others be¬ Put on Flesh some liberty; that is, no pupil should be How often have you said, “If I could only lieve in any degree of freedom that orced to hold it a certain way because briBgs the desired effect. Neither is put on 25 pounds!” or “My! How I’d like to three very advanced pupils out of i tnat position suits the teacher or some be rid of this Fat!” Do you realize that you vertising Castoria and Sapolio and yet be saved the expense of renting a there agreement on the left arm’ Getting Business moving pianos and the numerous ar¬ large class, it is a good idea to have Po- other pupil. Ordinarily, pupils are can weigh just exactly what you should by follow¬ the manufacturers of these articles do ing my easy, scientific directions in the privacy of rangements which would be necessary if- one pupil give an entire recital, or ond taught that the left elbow should be di¬ By the time this issue of The Etude not consider they are well enough known pupil might give the entire first part S1T;y close observer will find that ef- rectly under the center of the violin’s your room? And you will be stronger and look the recital were given outside his own younger as you change your figure. is in the hands of its readers the great to stop, advertising, but go on spending and another the second part. Violin fort to keep the bow arm close to the back, but this should'‘ be' modified*by studio. I .recall the case of a piano . Physic army of violin teachers and pupils'will millions more. teachers, who have only a few pupils i Spoihng many players.^ Reason individual conditions. If one’s hand is be ready to take up “the fiddle and the teacher of very mediocre abilities who Famous teachers in the larger cities, built up a good-sized fortune in a town ready for public performance, often for such ‘ requirement is entirely lack- short, and fingering' seems to c bow” for the season’s work. and especially in New York, are great form an alliance with a piano teacher, by simply one of those ultra- pecially hard t< No Drugs—No Medicine A very large proportion of violin of 100,000 in the Middle West purely by believers in publicity and spend thou¬ which they give the recitals in partner¬ technical rules^which instructors^ respect perfeedy' co‘rrect“Tor ‘him ^ hold the teachers do not possess the business in¬ means of these studio recitals. He rented sands of dollars advertising their busi¬ ship, each sharing the expense. This because of precedent. Naturally, the elbow under the inner edge of the instru¬ stinct, in other words they do not know a single room in a centrally located gives the opportunity of more frequent is close to the body in bowing the E ment, so that his fingers go around the how to market their talents. If such ness. They think nothing of buying building, giving him a studio 20 x 60 feet. recitals and forms a pleasing variety to string, but to try to hold it in the same neck easily. teachers could put in a -“sales manager,” whole pages in music journals of na¬ There was a platform for the performers the programs. position while playing G is both inartis¬ such as make the success of factories tional circulation, which they fill with at one end of the hall and he had the The left hand should form a straight tic and illogical. It ic just as** reasonable line with the forearm and never bend and commercial enterprises, they would pictures of their pupils, or press notices room fitted up with ninety opera chairs. The Teacher’s Concert Playing o use the shoulde joint as it is the backward to make a “bed” for the violin find their business doubling and trebling .about their work. Many teachers of this elbow joint, and the latter every player neck. The neck should be held very in short order. In a large manufacturing class attract pupils from all over the The third and a very effectual method . least slightly. Full latitude of lightly between the side of the hand and enterprise a good “sales manager” is of of getting new business is concert and world, and as they charge from $10 to movement should 1 the first importance, and live concern? allowed the bow the thumb. Many beginners "find violin $25 a lesson, they can afford td spend recital work by the teacher himself. Many arm and the do not hesitate to pay almost any price involved should be practice very trying on the left arm large sums if the publicity attracts many teachers rely almost exclusively upon this cultivated. The biceps muscle, which Susanna Cocroft in the way of salary to a hustling “busi¬ ' -’.They tense the muscles and it is really new pupils at these prices. method. A successful concert artist, bends the arm at the elbow and the del¬ Dept. 29. 624 S. Michigan Blvd., Chicago I“‘ ness getter. this static contraction that tires the arm. whose playing is received with enthu¬ Leading conservatories can afford to toid of the shoulder which lifts the arm Calling the pupil’s attention to this un¬ Time to Advertise outward, should be supple and respon¬ nay large salaries to energetic business siasm by large audiences, is a musical hero conscious tension and reminding him oc¬ managers, and the result of their work If a teacher only advertises occasion¬ to most people, and there is a certain sive. In most pupils the bend of the casionally to relax will soon show good arm gives little trouble, but stiffness of is apparent in the hundreds of pupils ally, the best times to advertise are in glamor in being known as the pupil of lesults. THE PIANO OF INSPIRATION which are attracted to such schools. August, September and October, the such an artist. Moreover, many people the deltoid is ver> common, particularly The fingers of the left hand should in adult pupils. Massage of these joints An instrument* worthy of your skill means the realization of your musical Private teachers cannot, of course, afford months when most pupils are planning are doubting Thomases about a violinist's overhang the strings. Beginners with olive oil and light, fast exercises ambitions. Your piano will be a lifelong source of inspiration to you if to employ a manager, but they can all for the season’s work; in January, just abilities until they hear him actually do variably want to withdraw them when investigate the methods by which large without apparatus are advisable. Hav¬ not in use, and as perfect stopping i after the Christmas season, when many the work himself, which he is trying to conservatories get business and can also people receive instruments as holiday ing known a violinist to leave an or¬ very difficult when the fingers are nc teach. It is also true that hearing mas- . chestra on account of a bad shoulder, get many ideas from studying the meth¬ gifts and wish to commence instruction, ready in their place, teachers should Jesse French & Sons terly violin playing sets up a desire in I am sure attention to this joint pays. ods of any large business enterprise. and in June, in the case of teachers who watch this tendency from the very first. the minds of many in the audience to Standing erect, hold the arm extended at conduct summer classes for the benefit Only the ends of the fingers should be GRAND Delivering the Goods learn the violin themselves or have their your side, palm of hand against thigh. of pupils who wish to take advantage used in stopping. It has been found that “Unquestioned Excellence” Without bending the elbow, lift the hand At the outset it must be clearly ap¬ of the summer vacation season to study children or relatives learn, and it is also long finger-nails are inimical to correct straight out to the side. Keep same rela¬ obtain the result of forty years successful exper¬ parent that the teacher who would make music. natural that they should seek for in¬ fingering. The pupil instinctively 1 tive position of the hand, and carry the ience of a thoroughly reliable organization. a success must understand his business, In addition to direct advertising, a struction the violinist who has cast the the inside of the first joint to prevent Free Illustrated Catalog on Request. Easy in other words he must be able to “de¬ successful teacher has many opportu¬ spell. The concert player also secures arm nearly to a perpendicular above pressure against his nails. See that each shoulder. liver the goods.” nities of securing valuable free advertis¬ a great amount of free advertising from Make the movement slowly pupil keeps the nails of his left hand No amount of advertising or good ing in the music columns which so many the criticisms of the daily papers, and at first, speeding up as the joint warms short enough to avoid the habit of flat management can make a permanent suc¬ papers make a weekly feature. The the recommendations of the members of and finish with fifteen or twenty very finger stopping. JESSE FRENCH & SONS PIANO CO cess of a business unless the public is American press is very generous in giv¬ the audience who have heard him. As a getting value received. The factory ing space to the doings of music teachers The electric lighting and decorations general rule the teacher who is a public Chafing the Neck must turn out high-class articles and the and their pupils, and the teachers should were artistic and the room made quite performer can secure higher fees for his Thousands of violin players are teapher must be able to turn out high- involved in holding the violin is that of make it a point to furnish his local a handsome little concert hall. Recitals lessons than one who is not. The public troubled with the violin chafing the neck. class pupils. For this reason the violin were given every week during the sea¬ the jaw on the chin rest, and this should paper with accounts of his own and his soloist can a'lso count on increasing his I he Etude violin department is in re¬ teacher must have a good foundation to son, with printed programs. Each per¬ be very moderate. The softest substance pupils’ activities, provided they are of a out-of-town business by pupils who hear ceipt of many letters on the subject start with and must constantly strive, to former had the privilege of inviting a in the world will chafe the skin if It is legitimate news nature and do not savor him play in towns in the vicinity of the similar to the following: “If it would improve the quality of his teaching, by certain number of friends and every rubbed violently over it long enough, un¬ too much of direct advertising matter. city where he is located. n°t be too much trouble, I would be keeping up to date in .teaching methods. chair was always filled. After each re¬ less possibly it were dipped in oil every The metropolitan press can, of course, Too many teachers settle down to greatly obliged if you would publish cital the daily papers published the pro¬ few minutes. It is to a quiet holding of only find room to chronicle the news teaching and give up their concert work, something concerning what to do for a Getting New Pupils about the more noted teachers, but in gram and a pleasant little paragraph when, if they would keep up their prac¬ the violin, without pressing it tightly There are four ways by which the the smaller cities the teacher of more about each performer (written by the rnKk ?eck’ as 1 llave used various tice and appear in public occasionally? ner chin rests to no great benefit.” against the neck, that the player must teacher may attract new pupils. First, modest attainments has a chance to se¬ teacher). The recital plan kept this bey would greatly increase their pres¬ ■ ne trouble is not with the chin rests. look for a remedy, and not to various direct advertising; second, pupils’ re¬ cure t-his publicity, which is the most teacher busy giving lessons all day long tige and the size of their teaching ™ with the player. If the violin is held kinds of chin rests. Of course a chin citals; third, concert and recital work valuable of all, since it is published in at two dollars per half hour, when better business. operly, and is kept stationarv while rest should be used which is comfortable by the teacher himself; fourth, social teachers in the same town, who gave re¬ the news and not . in the advertising and is adapted to the player’s jaw, length work and personal solicitation. Success¬ citals only once or twice a season, could The Personal Touch d r,g; *ere wil1 never be the slightest columns. of neck and general build of the chest, ful teachers employ one or more of these only get one dollar per half hour. This nerpU|y from cl,afiHg. and sores on the Recitals The fourth method of gaining business and after this is secured, a perfectly methods and some employ all four. Let teacher always numbered his recitals con¬ is through social work and personal solic¬ tishtkb,UVf the player grips the neck stationary position of the violin in play¬ us consider the advantages of these, The. surest and easiest way to attract secutively, and I remember that when I anH *' and saws tbe violin up and down methods one by one. new pupils is the pupils’ recital, and if first made his acquaintance I attended itation, The personal touch is a great aud kandufr0 a" t,le time he is playing, ing will do the rest. I have never had the slightest soreness Direct advertising is always a help to the teacher really understands his busi¬ the one hundred and ninety-sixth recital. thing in any kind of business. The as hi "uVhe vio,m tightly toward him any business if done in the right way. In ness and can show results in his work, A good recital is worth two or three violinist who is prominent in church tion JJ11^ Vpwards- the constant fric- of the neck from playing, no matter how- many hours I played, and all violin the large cities a neat card in the music his business cannot fail to grow by this columns of advertising, for it is a prac¬ and community work and goes in society in the d rubbl?g' of the softest chin rest players who hold the violin quietly when journals, or in the smaller cities in the means. The large conservatories under¬ tical demonstration of what the teacher a great deal will naturally secure many sore- W°r d ,S hound to produce these stand the value of the recital as a “busi¬ playing will testify the same, hut I have daily papers often brings business. can do. The pupils who take part are pupils in this way'. I know a violin Newspaper and music journal advertis¬ ness getter” and make it a point to give seen players who had constant patches pleased at their success and gratified teacher who gets, a great deal of his new the hthumim mjSt be he1d hghtly between ing bring more results to the teacher in one or more recitals every week. Many of inflammation, sores, and even lumps over the congratulations of their friends, business through his work as leader of finger u and the base of ‘he fore- the large city than to his brother teacher private teachers have built up large the size of a bird’s egg on the neck, com¬ and they look forward with pleasure a large Sunday-school orchestra and a the n’ert muSt not be Pressed against in the smaller town, because in the large classes by giving recitals monthly, fort¬ ing from the constant rubbing of the to playing at another recital. The Y. M. C. A. and Y. VV. C. A. orchestra. downor\n°r al,owed to sway up and city there are always many strangers nightly or even weekly. These recitals to and fro. The only pressure violin while playing. friends who are present see what the As-soon as his pupils are sufficiently ad¬ and new residents who do not know any are held in small halls, music stores, teacher has accomplished, and if they vanced, they are placed in these orches¬ teachers and have no musical friends churches, Sunday-school rooms or the do not decide ’to take lessons themselves, tras, and many people become interested Use and Abuse of the Mute who could recommend one to fhem. In studio of the teacher. recommend him to their friends. The in having their children study the violin . mute is used principals to give the violinist is wakeful and feels like prac- “S?ablc Christian Science Church the smaller cities the teachers are uni¬ Conservatories and Colleges of Music performers also get an increased idea of by hearing these orchestras. Many a !d peculiar tone quality, of a soft ticing. The fact is that using the mute Still, Still with Thee—Ward-Stevens versally known and almost any citizen have their own recital halls of course, the importance of the teacher who gives teacher has made his fortune by inter¬ ly’ tmeknchdy character, and not constantly is injurious. In the first place This is an impressive church solo, a convincing setting of these beautiful verses. can recommend a teacher. Still adver¬ but the private teacher often has to rely frequent recitals and recommend their esting social leaders in his work, by get¬ Oanv fe |UCC-tbe volume of tpne, as if is bad for tone production, and the Price 60 cents. tising is a great help even in a small on using his own studio if he gives fre¬ teacher far and wide. ting their children as pupils. In tbe The Power of Prayer—E. R. Kroeger •city, for no one is so well known but quent recitals. It is a good plan for Many teachers give informal recitals at >y of the lLamateUrS Seem t0 think- violin student is much more liable to ac- choice of a teacher it is often a case of A devotional song of more than usual merit. Price 60 cents. what he can become better known by ad¬ the private teacher to secure a rather their studios, at which tea and cakes, ice ),d be used liLaT™ ‘ Tr Quire faulty intonation when practicing “follow the leader,” and the fact that a Send for our list of selected songs suitable for Christian Science church. This vertising, and the better known a good large studio, which can be fitted up with cream or some other light form of’ re¬ list also includes announcements of interesting organ collections for church use violinist gives lessons to the son of Mrs- teacher is, the larger business he will a platform at the end and folding chairs freshment is served. d7',,,cs«. i* «* "r ,ha[d7 THEO. PRESSER CO., Publishers 1712 Chestnut St., Philadelphia, Pa. B. or the daughter of Mrs. S. often have. Millions have been spent in ad¬ for the audience. In this way he will In case a teacher has only two or brings him a flood of new business. Vlease mention THE ETUDE addressing our advertisers. OCTOBER 1917 THE ETUDE Page 701 OCTOBER mi Page 698 THE ETUDE The World of Music Scores of Teachers Are Starting History Classes Now Great Grove Dictionary The Keystone of Every Musical Library The Standard History of Music or Students at All Ages Grove’s IIP FRANCIS COOKE Told in the Most Fascinating Dictionary Practical Text-Book 40 STORY LESSONS 250 PAGES 150 ILLUSTRATIONS of Music and Musicians l-VeisIer,T Emil'saner, I.idor, Philipp^ %afirsVladimir Five Large Volumes Bound in Red Cloth and Gold. Price, $25.00

See these splendid musical Schutt, Chaminade/etc.). The red cloth, stamped with gold. books in your own home. What the Encyclopedia Britannica is Let Us Help You Form a Musical Club to General Information the Grove Dictionary is to Music. Jf=5fi?4=r as ssM&tts sties Violin There is no better Musical Refer¬ Teachers ence Library at any price in any language. Unabridged in any THEO. PRESSER CO. S&SSr Philadelphia, Pa. etudes, scafes^hundreds^of^olos^con- This is the latest revised and certos, etc.—from the catalogues of enlarged edition of Sir George Grove’s masterpiece of musical AN IMMENSE SUCCESS scholarship. There are 4,000 pages and over 5,000,000 words from great authorities upon all By the Waters of Minnetonka phases of musical learning. The dian Love Song By THURLOW LIEURANCE books are liberally illustrated with cuts, half-tones and notation | E-3L.ngth«, 60c. | gjgSsI ss-seisis,, MILLIKEN-WHITE BAY CITY examples. Thousands of subjects cents Also for Pia MUSIC STUDIOS Michigan disced:

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sively by Theo. Presser Co. CHILD’S OWN BOOK LF GREAT MUSICIANS e Complexion Beautiful The Purchase of a Lifetime QOFT AND VELVETY. Money A charming series of useful books for little folks These books are of such high O back if not entirely pleased. By THOMAS TAPPER

— you will get from SH^?£EsF”l”=,": cut out and pasted in the book. After writ No Advanced Prices the books. The early editions is own book with a cord provided for that pi cost 325.00.

PUBLICATIONS This greatly enlarged THEO. PRESSER CO., 1712 Chestnut St., Philadelphia, Pa. Uon^ orS0thSwiseel'and>rberreadly^0foreiAe latest edition costs We can furnish the best only $15.00 YOU HAVE A BEAUTIFUL FACE BUT YOUR NOSE!

EASY VIOLIN MUSIC Theo. Presser Co. Sole Agents E. T. ROOT & SONS, ISIS E. 55th St., Chica PHILADELPHIA, PENNA. Uase,neutron - ~ - OCTOBER m7 Page 708 THE ETUDE OCTOBER 1917 New Standard Four-Hand TEE ETUDE Page 70S Christmas Cantata Collection The Wondrous Light Wohlfahrt’s Melodious Studies By R. M. Stults This new duet album for the piano, for the Violin Standard Parlor Album which is now in preparation, is an addi¬ This work will be ready for distribu¬ Op. Books This Cantata will be ready in time to be tional volume in the series printed from 74, I and II tion to those who have subscribed for it in taken up for the present Christmas. It is special large plates. It will contain a These studies are among the most popu¬ How Much Can You Teach? advance during the present month. It quite short, making less than fifty pages. large and varied number of four-hand lar and useful of their sort, being melo¬ will be what the name implies, a parlor It is also quite easy and within the range pieces, both original and specially ar¬ dious enough to interest even the untal- • HALF-HOUR LESSONS A WEEK means that the teacher is album of standard compositions. We of the ordinary choir. It is replete with ranged by standard, modern and contem¬ ented pupil, and good exercise for even with the pupil one hour in 168 hours-—less than one per cent, of the have been issuing a great number of works the most talented. With many teachers solos and duets for all voices. Mr. Stults porary writers. The duets are in all total time. of this kind during past years, and they thev take the place of Kayser’s well-known is by no means a new composer in this styles and well contrasted and of inter¬ have been very welcome. About one half mediate grade. It is convenient to have studies, being equally instructive, but more THE PUPIL S REAL PROGRESS depends upon what he does line. He has had a number of wonderful of the pieces in this volume will be copy¬ on hand a volume of this sort for pur¬ agreeable. Book I is entirely in the first dUniiI,i hours as much as what he does during the one hour. rights, and the other half non-copyrights. successes in Cantata music. This work poses of recreation, for sight reading, and position, Book II in the third position THE BEST TEACHER IN THE WORLD can not make a success of All are of the kind that have proven suc¬ represents him in his best vein. Those for practice in ensemble playing. Our and first position combined. The various the pupil who forgets all about his obligation to study and to prac¬ cessful. Only our very best compositions who are in search of a Cantata that will modes of bowing also have their due at¬ special introductory price in advance of tice the moment the lesson is over are placed in these albums. Our aim is NEW WORKS. the teacher’s studio; and not any ordinary take about half an hour to perform will publication is 25 cents, postpaid. tention. . to make them standard. You will not go music store, either, but one that is pre¬ find this very acceptable for a holiday Book I may be used m connection with ONE HOUR A WEEK—how much can you really put into that amiss by ordering a sample copy of this Advance of Publication Offers— any standard" violin school to give addi¬ hour in the way of instruction ? How vastly greater must be the pared to supply all the odd and varied concert. Our special advance price to New Standard Collection album. Our special advance price is but Spc wants of the music teaching profession. those ordering a sample copy in advance tional material in the first position, be¬ sum of the pupil s musical knowledge than all you can possibly teach 25 cents, postpaid. October, 1917. Of All this is done promptly and with pains¬ for Violin and Piano fore going on to the study of the third him during that hour. of publication will be but 26 cents, post¬ position—(which u’ith the majority of Artistic Vocal Album for Low Voice.... ! taking care, without any embarrassing This new collection is largely made up paid. experienced teachers precedes the second HOW CAN THE PUPIL ACQUIRE THIS KNOWLEDGE ?-The great Heins’ Album Bel Canto Method for Violin, Watson.. preliminaries. The Presser catalog of of the most favorite of those pieces for the position in order of study)—and simi¬ fund of musical information and entertainment which the teacher For the Pianoforte Brahms’ Three Intermezzos, Op. 117. . educational music, combined with the violin which have appeared in The Etude. De Beriot's Method for the Violin, Presser method of sending music “On 24 Brilliant Preludes All styles are represented, and the diffi¬ larly, Book II furnishes excellent ma¬ can not possibly crowd into the lesson and which the pupil must This Volume is now about ready, but we Sale” (returnable if not used) relieves terial to confirm the pupil’s knowledge of will continue our special introductory Fifty-One oid Hungarian Melodies, Hart- By Concone, Op. 37 culty is kept within a medium grade. acquire sometime during the 167 hours spent apart from the teacher. the teacher of an immense amount of the third position before going on to the offer during the current month. The This work of late has grown in popu¬ A collection of this kind is not only a witJH0USANDS 0F TEACHERS HAVE ANSWERED THE PROBLEM Heins Album ! worry, bother, and unsatisfactory buying. most convenient and economical form in higher positions. The advance of publica¬ piano compositions of Carl Heins are so Master Study in Music, Cooke. It is only necessary for the customer to larity, so much so that we cannot refrain tion price is 15 cents for each book. tuc ut^E ETUDE, and insist upon their pupils subscribing for popular among students that an album which to purchase new music, but saves Message Eternal, Cantata, J. Truman give a fairly definite outline, and the from bringing out an edition in the Presser 1 HE ETUDE when the season begins. of this nature scarcely needs any intro¬ the inexperienced amateur from many Wolcott . needs as explained receive immediate at¬ Collection. These Preludes take the player duction. Our present compilation will lie Mississippi Sketches for the Piano, blunders and disappointments which are De THE ETUDE EXTENDS, SUPPORTS AND ENDORSES THE tention, even if it is only a request from through all the major and the minor keys. Beriot’s Method found to contain all the most admired sometimes incident to an unguided choice TEACHER’S WORK by supplying knowledge all the month long, fill¬ Modern Sonatina Album. a teacher for catalogs and terms. They are very short, not any of them oc¬ for the Violin, Part I pieces of this popular writer. All are of unknown pieces for himself. The pres¬ Moszkowski Album. cupying a full page. They are written in De Beriot's Violin Method is a well- ing the pupil with enthusiasm in every possible way and providing given complete and all are of intermedi¬ New Standard Collection for Violin and free style and are rather technical and ent collection will be found admirably fit¬ known stand-by with those teachers who an abundance of splendid music to keep up the pupil’s interest and ate grade. For purposes of general study, Piano ted to have on hand for home music, as On Sale Music brilliant, most excellent work for mem¬ incline to the graceful French style. One fire his ambition to go ahead. recreation, or recital, scarcely anything New Standard Four-Hand Collection... ory practice. It is one of the least known well as to furnish material for recitals. New Vox Organi, Pipe Organ, Buck. . . . Returns and Settlement of the many reasons why it has been so LOOK OVER YOUR LIST OF PUPILS. See how many are actual better can be found. The special intro¬ Pianoscript Book, Jonas . of the works of this interesting writer, The advance of publication price is 25 popular is that the exercises are nearly all ductory price for this volume is 25 cents, Six Airs Varies for Violin and Piano. There are very few of our patrons, those and you will not be disappointed by or¬ cents. subscribers to THE ETUDE. It only takes a few minutes to intro¬ dealing with the music publishing and melodious and agreeable, without detract¬ postpaid. Dancla, Op. 89 . dering one copy in advance. The special duce to a pupil, a few enthusiastic words of friendly Spelling Lessons in Time and Notation, dealing house of Theo. Presser Company, ing at all from their pedagogic excellence. THE ETUDE Bilbro.. introductory price will be but 15 cents, The BelJCanto Method Even the scales. (as far as four sharps or advice which will in the end help you produce a vastly better in¬ who do not take advantage of our very postpaid. Master Study in Music Standard Parlor Album. liberal method of sending sheet music and for the Violin flats), appear in the early part of the formed and interested pupil by putting to use some of those 167 Standard Song Album . book fitted wit h a musicianly second-vi»> . By J. F. Cooke Twenty four Brilliant Preludes, Concone, ■music books On Selection, that is what is By Mabel Madison Watson hours which may now be wasted. Op. 37 . termed in the trade “On Sale,” a package Modern Sonatina Album Iin part, and varied rhythmic treatment. Interest in master study in music is by This new Method fills a long-felt want Part I goes as far as through the fifth EVERY PROGRESSIVE TEACHER should have a set of ETUDE no means confined to musical clubs and Volunteer Choir, Anthem Collection.... sent at the beginning of the season to be We will issue during the fall a volume Wohlfahrt, Op. 74. Melodious Studies for the increasing number of teachers who position. As it is rather rapidly pro¬ Circulars at hand, on the desk or piano, in case a pupil comes in who to conservatory teachers, but is of great used from, returns and settlement to be of educational pieces in the form of Son¬ for the Violin, 2 Books, each. made at the end of the teaching season. believe that a very young pupil’s early gressive for the average pupil, we would does not know what a great help THE ETUDE can be. Of course value to the private teacher as well. This wond’-ous Light, Christmas Cantata, atinas, and other pieces of like nature. new work by the author of The Standard We desire the return of music of our There is always a demand for fresh ma¬ efforts should be directed toward real recommend the introduction of Wohl¬ we shall be only too glad to send any teacher gratis all needed melody-playing, rather than to the mere History of Music may be used to supple¬ own publication once every year, in fact terial of a substantial nature along edu¬ fahrt’s Melodious Studies, Op. 74, Book I, circulars, application blanks, premium lists, etc. Perhaps you have our arrangements with regard to returns dry bones of technic. This does not imply at the close of the pages devoted to the ment that work or it may be used quite Opening of cational linesi We propose making this been wondering why your pupils do not practice, why they seem to independently. It will be one of the most are even more liberal than that. If a one of the most valuable of modern edu¬ that the book is a mere collection of first position, and of Op. 74, Book II, at the Year package has been sent during the year pretty tunes—on the contrary, the author¬ the close of the pages devoted to the third lack interest. Why not try the plan of many successful teachers, comprehensive and practical collections of cational works of an easy nature. It will biographical musical material, written with Despite unusual conditions, the teach¬ 1916, for instance, and is of such a char¬ ess, who is herself a violin-teacher of long position, before going on through the rest who are not content until every last pupil is an ETUDE en¬ contain only compositions by the foremost the educational and “human interest” ele¬ ing season of 1917-19X8 has opened with acter as to be of continued value during writers. It will be carefully chosen and and most successful experience, has intro¬ of the book. I’sod in this way, De Beriot’s thusiast? Just a postal request to us—that is all that is needed. every prospect of increased activity along the season of 1917-18, it is not necessary duced at the proper points such technical Violin Method will be found most satis¬ ments in view. It will contain informa¬ carefully edited. Our patrons may ex¬ tion and details not to be found in several educational lines. This is as it should be, that the returns be made at the end of pect in this work one of the best volumes exercises as are indispensable, and has factory both to teacher and pupil. The as there is no consideration so important that first teaching season, but the pack¬ given uncommonly clear and full direc¬ advance of publication price is 35 cents. very much larger works. Much of the we have yet issued. The book will con¬ matter has heen secured and translated as the continuation and development of age can be kept for another year on the tain in all nearly a hundred pages, and our tions as to their exact manner of use. Three Intermezzi for the Piano Spelling Lessons condition that the music that has been sold from original continental sources hitherto projected training, whether of the brain or special advance price will be but 30 cents, Part of the material embodied in this Artistic Vocal Album By Brahms, Op. 117 In Time and Notation the hand. or used is paid for at the end of the first postpaid. method is fitted with piano accompani¬ This celebrated opus will be added to By Mathilde Bilbro inaccessible in the English language. year. ment, and part with second violin. In the Low Voice There are, for instance, over twice as Schools of all kinds report full quota the Presser Collection. Our new edition There is nothing that is more cultivat¬ There are many of our patrons whose latter case, the second violin part is kept The si f the Artistic Vocal Album follows the editing of Sauer, but it will many biographies in this work as are to of pupils, and the interest in various spe¬ ing to the beginner than a good spelling cial branches of study is apparently as accounts are in this condition. Returns Mississippi Sketches within the same grade of difficulty, in for high voict turally created a demand ]|e printed from specially engraved plates, be found in the noted work by R. E. keen as in any past season. It is con¬ have not been made and a settlement has for the Piano order that it may be used for class work for a similai >ok for low voice. The aj| carefully revised. The Intermezzi of book. This one of Bilbro’s has all the Streatfield, the famous English musical bi¬ ceivable that in sustaining a continued not been made for what has been used. By C. W. Kern in ensemble playing. whole matter tessatura, or the adapta- Brahms are among the most interesting good features of a book of this kind. It ographer. The size of the biographies are Let this be an invitation and a notice has been made by an active, practical proportioned to the prominence of the and growing interest in the study of special The Bel Canto Method will be found one*that'Int*'"" fU'f|CS f.OT .cert“in *onS* is and pleasing of his shorter piano pieces subjects, preparedness and the enthusi¬ that the keeping of the package will be most admirable as a preparation for al¬ ests the singing teacher im- and should be in the library of every good teacher. The pupil becomes acquainted master; great men such as Bach, Brahms, asm of teachers is chiefly responsible. perfectly satisfactory to the Theo. Presser set of characteristic piano pieces by Mi most any one of the larger standard vio¬ mensely. of the songs in the Ar- player. The music of Brahms, instead of witl) a11 phases of notation, and what has Beethoven, Gluck, Handel, Haydn, Mo¬ Teachers who depend upon classes of their Company on the condition that a payment C. W. Kern to be published complete ij lin methods, especially in the case of young tistic High A' - Album when transposed j)ej„g onjy for the few at first, is con- troubled a great many students is the lack zart, Schuhert, Wagner, etc., being dis¬ own creation must needs be alert to all be made at the present time fully equal to one volume. Two of the pieces will b children, or even of older pupils whose for the lower e are really more suitable stantlv gaining in the estimation of seri- just the things that are taught in an cussed in detail while the more modern found among our music pages in this issu opportunities to maintain their standing the value of the music that has been used, musical perceptions are not yet well de¬ than in the original key, but. in otherI“’' easescases ous---mjnded music■— '--lovers. The special-!-i elementary work of this kind, such things composers such as Schoenberg, Richard of The Etude. In this set of pieces, Mi in the community. This is particularly otherwise the return of the unused part veloped. The advance of publication price fuller knowledge of the added lines Strauss, Saint-Saens, Elgar, Grainger, of the package is to be made at the pres¬ Kern has reached his highest mark, a tW .-ugS Were, ,so < learlT hi8h voite sonSs troductorv price for this volume will be i true as regards music teaching. It is not is 50 cents. that they could not stand transposition. centS) postpaid. and spaces in both clefs. The work is all Reger, Mascagni, Godard, Bizet, etc., are ent time and a full settlement for the bal- these are veritable tone pictures of hig] the rival teacher who takes away the pu¬ ■men we have inserted low voice successes done by writing words on the staff, so the given sufficient but correspondingly less quality, melodic and well contrasted. Ai space. The advance of publication price pils, but the lack of some form of business ®ir placei”'"'.; .T,le* result is »a bookiJOOK which,which. The Message Eternal, Cantata pupil has something definite in every exer¬ promotion on the part of the teacher who of the pieces are good. In difficulty the Pianoscript Book lke the first book, containing the best of the work is 50 cents. The book is rap¬ are chiefly in the fourth grade, just pas By J. Truman Wolcott cise to write out. The work goes even as idly approaching completion. fails. This lack is sometimes tempera¬ A New Series of By Alberto Jonas songs of such men as Shelley, Galloway, It is far as preliminary chord writing in vari¬ mental, more often accidental, and in any the intermediate stage. The volume wil This Cantata is for general Anthem Collections be gotten up in attractive form. Th Here is a book so new’ in its conception sk’tt"StePhens’ l*artlett, Cadman, Borow- replete with solos for alto, baritone and ous scales. Why not start the fall teach¬ case is never beyond help. The will to do ing introducing a new work of this i carries us not only through the almost There are few volunteer choirs who special introductory price in advance o that the author was forced to create a new Year Book for Music Teachers automatic processes of life, but also the have not used one or more of our first publication is 30 cents, postpaid. name for it. “Pianoscript Book” suggests We have a little handbook for music piano writing book and that is just what most difficult undertakings. anthem series. This series started with they should have. The advance of publica¬ teachers which we shall be pleased to send it is. Sefior Jonas, the teacher of many ksywrei-jijs y—et-ls asirgi1 Keeping one's music class together de¬ Model Anthems quite a few years ago and Six Airs Varies tion price of this book is 40 cents. It will - , ■ complimentary to any teachers who might pends upon several factors, one of the continued through by the publication of distinguished virtuosi, always employed in changes, and we now look forward to 51 Old Hungarian Melodies apply. It is a book to fit the pocket. for Violin and Piano most important being the selection of seven collections, each one slightly more his own teaching a music blank book in havTVtnJ-^nave a copy and 1at? bthe„e ° nesame °f thetime firSt t0 1wonderful■rS.fl, success with the work There is no objection to keeping it in the proper teaching material, such as Meth¬ difficult than the previous one. By Chas. Dancla, Op. 89 W’hich he wrote down various important present form. If you have a church £>r ,th«* Pianoforte secretary’s care. The little book contains through the introductory price. choir that is looking for something worth By Artnur Hartmann ods, Studies, “Pieces,” Songs, etc. The An enormous quantity of these books bits of advice as it became necessary to a great deal of valuable information. It This celebrated Op. by Dancla will be mould the pupil’s work along special while for the present season, why not send There have ’been a number of additions has, first of all, a number of pages fo, most experienced teacher is always on the were sold for the reason that the collec¬ added complete in one volume to the New Vox Organi alert for fresh, unhackneyed works to tions were not padded, every anthem con¬ lines. These he carefully preserved from 25 cents for a sample copy of this work, to this book 2 it was first offered, the pupils’ addresses and telephone num¬ Presser Collection. These six Airs Varies time to time and now he has made this, which will be out some time during the There ' that is richer in folk bers and the dates when they began supply current needs or to supplement tained in every one of those books was are almost universally used by violin ijjhjs "ew edition of the Vox Orgai those in regular use. one that had been tried and found fairly “Pianoscript” book embodying the prin¬ 'ted by Dudley Buck, will be in one vvolume,tau„,c. fall? melodies than Hungary, and Arthur Hart¬ lessons. It also has lesson schedules for teachers just as soon as students become ciples which apply to all pupils and leav¬ mann, being a Hungarian, has delved very the teacher, which show how each half To facilitate the question of suitable popular to those who had used it in sheet sufficiently advanced to take them up. frn COntain best pieces taken supplies it is necessary to be in close touch music form, and further than that the ing sufficient blank pages for the teacher the four large volumes in which this Standard Song Album deeply into these original melodies that hour in the day is occupied from Monday They mark the progress of the beginner to write in special advice and exercises to This is another volume in the series quaint and full of character, ” to Saturday. It has a number of pages with a music house specializing along those price was $1.80 per dozen, 16 cents each from the elementary to the intermediate kf* originaily published. Some of fit special pupils. The idea is interesting printed from special large plates. It is transcribed them freely for the piano. He for sheet music account, and also pages lines. Sometimes this is possible without by the dozen. stage of violin playing. The six melodies wtiters for the organ are rep- and especially valuable for both teacher and miscellaneous collection of songs, both has also quite an introduction, which gives for cash accounts. There are also blam: going far from the studio, but more fre¬ We have decided to begin again and ac¬ are respectively bv Puccini, Rossini, Bel¬ 8e]p„tte? and tbe pieces w’ere all originally „ -- - pupil. The pupil is left with some tangi¬ -ected for this work and edited by the sacred and secular. The sacred’ songs are a very excellent account of many of the memorandum pages. Best of all, it ha; quently the contrary is true. cept orders for the first of another series lini, Donizetti, Weiirl, Mercadante. Each ble directions instead of vague advice soon DmV|US ^mer‘can organist and composer, such as are suited for church_ use, or for numbers, and which also throws in an in- an excellent pronouncing dictionary of To meet the needs of teachers in this to be entitled “Presser’s Colleetion of An¬ of these tuneful arrangements has been forgotten and rarely effective. The book full7 BlIck- A11 the pieces are care- devotional occasions, and the sectsecular direct way much light on Hungarian mu- celebrated musicians. It gives the name;, regard, the house of Theo. Presser Com¬ thems,” the first one to .be known as the embellished by Dancla with a series of will serve to raise the teacher in the esti¬ XL registered. They are equally well songs are varied in character, including ' - in general. In fact, the introduction is of prominent musicians who have died in pany has carefully planned and has built Volunteer Choir. An advance copy will brilliant but not difficult variations. Our mation of every pupil who uses it. The separate work by itself and most valu¬ the last three years. Besides all this, a up a mail order music business of vast be sent to any of our patrons for 15 cents new volume will be carefully edited and man„oi either for two manual or three home songs, encore songs, recital songs, work is now in press. Fifty cents is the erate i-*ga,ns' Most of them are of mod- and concert selections. This will make a .able. We take pleasure and satisfaction■------great deal of the book is taken up with a proportions, extending everywhere and op¬ postpaid, not less than 64 pages of bright, prepared. The special introductory price erated in such manner as to bring the easy, singable anthems will be contained special advance of publication price for u»t i ®cu tf- This volume will prove valuable book for all-round use, either for in offering this treasure-box of folk (ore. list of selected graded pieces, with de¬ in advance of publication is 25 cents nW for teaching purposes for church the teacher, student,, or the professional On account of the increased size of the conveniences of a music store right into in this new volume. postpaid. those who want to get the first copies at a scriptive lines about them. If you desire reduced rate. It pays to be progressive. duct ng’ or for recitals. The special intro- singer. The special introductory price in book it will be necessary to chcrge 50 one ot these for the coming season, please SO price in advance of publication is advance of publication is 25 cents, post- cents- ' for sample’ copies ordered in ; let as know and we will send you one by ents> postpaid. paid. of publication. return mail, free of charge. OCTOBER 1917 OCTOBER THE ETUDE Page 705 Page 701> THE ETUDE azines, together with The Etude, -- Moszkowski Album able premiums are given by us to those =S3= of our readers who secure subscriptions. promptly as possible. Perhaps a consulta¬ For the Pianoforte Our 32-pagc premium catalog, sent free tion witli friends will result in the get¬ We will continue during the current on request, will surprise you by the lib¬ ting .together of clubs that will save New Etude month the special offer for this new vol¬ erality of the offers contained in it. Be¬ money for all concerned. ume. The piuuo pieces of Moszkowski low we list a few premiums, to give you Send ail \ m m gazine rdi rs direct!} have probably attained more popularity some idea of the value of your spare time, to us, and we will enter your Etude sub¬ Schools and Colleges among good players than the works of any when devoted to Etude subscription scription promptly, and forward the other Prize Contest other modern writer. They are melodious getting. subscriptions to the publishers without de¬ -for- NEW YORK and forceful, always original and display¬ lay, thus saving you time, trouble i Indispensable Music Works ing a rare knowledge of the resources of money. , , ... „ THESE TEACHERS ADVERTISING the instrument. In this new compilation Album of Favorite Pieces. Engelmann. See third cover page for complete list ot Secular Part Songs ON OTHER PAGES OF THIS ISSUE international sms only the very best works of this master 1 subscription. Beginner’s Book for the Pianoforte. VOCAL TEACHERS MRS. BABCOCK will be found. The volume will be as good For Mixed Voices QFFERS Teaching Positions, Col- as it is possible to make it. The special Theodore Presser. 1 subscription. Mathews’ Standard Compositions. Vol. EASTERN .. leges. Conservatories, Schools. introductory price in advance of publica¬ For Women’s Voices WALTER L. B0GERT, 114 W. T2nd St., Hew Vork City. Also Church and Concert Engagements tion is 30 cents, postpaid. 1, Grade 1, to Vol. 7, Grade 7. Any FREDERICK H. HAYWOOD, 331 Weet End Ave.. Sew one volume, 1 subscription. For Men’s Voices OE0TCHAD^i0K STOCK, Y. M. 0. A. Bldg., New Haven, CARNEGIE HALL, NEW YORK Advance of Publication Modern Dance Album, 18 Piano Selec¬ Offers Withdrawn tions. 1 subscription. OUR previous contests have all been Standard Opera Album for Piano, 15 ORGAN SCHOOLS The following list of works which have highly successful. The interest dis¬ pieces. 1 subscription. GOETSCHIUS’ been on special advance offer for quite a played in these past contests and EASTERN the frequent requests for contests have GUILMANT ORGAN SCHOOL, 14 W. 12th St New York few months past have now appeared from Masterpieces for the Piano; 25 best City. SYSTEM OF HARMONY known pieces. 2 subscriptions. inspired the institution of a contest of a Counterpoint and Composition the press, and hereafter the advaned price taught through mail by is of course withdrawn. The books are on Mathews’ Standard Graded Course of different nature. Undoubtedly competi¬ VIOLIN SCHOOLS the market, the advance orders are being Studies, any five grades. 2 subscriptions. tions of this kind will awaken a wider EASTERN E. KILENYI, M.A. sent out to the subscribers, and anyone Mozart Sonatas, 2 volumes, either vol¬ interest in composition and stimulate to 64 E. 90th Street New York City who desires to examine these works with ume, 2 subscriptions. effort many composers, both those who are Endorsed by Dr. Goetschius. Individual attention the idea of purchasing will receive them Songs without words, complete. Men¬ known and those who are yet striving for on selection, the only responsibility being delssohn. 2 subscriptions. recognition, bringing to the winners a for transportation: Sacred Songs, high or low voice. 2 desirable publicity in addition to the im¬ CLAUDE Learn Harmony and Composition Octave Studies, J. Low—Price $.7S. subscriptions. mediate financial return. It seems un¬ WARFORD Lyric Studies, E. B. Perry—$1.00. Harmony Book for Beginners. Pres¬ necessary to note that the fame of the Wrist Studies, E. B. Perry—$1.00. ton Ware Orem. In flexible cloth bind¬ composer will in no way influence the Tenor Teacher Melodies of the Past, Greenwald—$.50. ing. 3 subscriptions. selection and that the pieces will be Metropolitan Opera House Twelve Gem Pieces, Handel—$.50. Leschetizky Method of Piano Playing. selected by absolutely impartial judges. Building Wilcox School of Composition Standard Advanced Pieces—$.50. 3 subscriptions. 1425 Broadway, New York Box E. 225 Fifth Aye., New York City, N. Y. Just We Two, Geo. L. Spaulding—$.50. Standard History of Music. J. F. Sight Singing Book, Viehl—$.75. Cooke. 3 subscriptions. 375 Dollars The American Institute of Applied Music Children’s Songs and Games, Greenwald A year’s subscription for The Etude, 3 will be divided among the successful l (METROPOLITAN COLLEGE OF MUSIC)IUSIC) —$.50. subscriptions. composers in the following manner: EDWIN HUGHES 212 West 59th Street New York City Child’s Own Book, Beethoven, Tapper— will resume Instruction lor advanced pianists October 1st Mason’s Touch and Technic, all 4 Class 1. For the best Secular Part Complete courses in Voice, Organ, Piano, Stringed Instruments, Public $.10. volumes. 4 subscriptions. STEINWAY HALL :: 109 EAST 14TH STREET, :: NEW YORK School Music, Theoretical and Historical branches Songs for Mixed Voices, with indepen¬ 32nd Season—October 1. 1917. Send for circulars and catalogue A Revelation for the Vocal World, E. Sheet Music, from our own catalog, to dent or supporting pianoaccompaniment: J. Myer—$.50. retail value of $9.00. 4 subscriptions. JOHN B. CALVERT, D.D., Pres.KATE S. CHITTENDEN, Dean The Organ, Stainer—$1.00. First Prize - $75.00 “Last Chance” BURRO WES COURSE of music study Second Prize - 50.00 Etude Premium Rewards Magazine Bargains For a third of a century THE ETUDE has championed the cause of good music. Fora third of a century THE ETUDE has championed the cause of good teachers as opposed to charlatans. for Spare Time Work Kindergarten and Primary—Correspondence or Personal Instruction The Etude offers many attractive bar¬ Class 2. For the best Secular Part Hippy Pupili—Satisfied Parenli-Proeperou. Teachers. Classes are doubled by use of this method For a third of a century THE ETUDE has constantly done everything in its power to stimulate the If you have never worked for Etude gains in magazines for the special “Last Song for Women’s Voices (in Two or premiums, you may not realize how Chance” period—October 1st to Novem¬ Three parts) with independent or sup¬ appheahon^to KATHARINE BURROWES It is one of the greatest inspirations for the Editors and publishers of THE ETUDE to know that valuable your spare time really is. A ber 10th. Most of these prices will be porting piano accompaniment; D. 178 FIFTH AVE., NEW YORK CITY, c they have the confidence and loyalty of the teacher body as well as that of students and music lovers. 6 HIGHLAND AVE., HIGHLAND PARK, DETROIT, MICH. half hour a day, devoted to getting sub¬ withdrawn and higher prices become ef¬ First Prize - $75.00 scriptions for The Etude—the world's fective immediately after November 10th, leading musical magazine—may earn for and we therefore advise our readers to Second Prize - 50.00 you a worth-while reward. Many valu¬ place their orders for their favorite mag¬ Class 3. For the best Secular Part for Beginners Song for Men’s Voices (in Four parts) DUNNING SYSTEM with independent or supporting piano VIRGIL PIANO CONSERVATORY Has over 800 Teachers—Classes Larger Every Year—Teachers Earning $2500, $3000 and $4000 a Year with the Dunning Work Alone—Why is This ? accompaniment: Of importance to you if you wish to study Because its standard has never been equaled or such phenomenal results obtained NEW PUBLICATIONS ISSUED SEPT. 1917 First Prize - $75.00 Piano, Theory or Harmony by any other plan for teaching* beginners. Second Prize - 50.00 THEO. PRESSER CO., PHILADELPHIA, PA. The “Tek” MRS. CARRE LOUISE DUNNING NORMAL CLASS FOR TEACHERS, New York City, Sept 20th. Results tell Mrs, Addy Yeargain Hall, Normal Classes, September 17th, Musical Art Bldg., St. Louis, Mo. ANY OF OUR PUBLICATIONS CHEERFULLY SENT FOR EXAMINATION Mrs. Oscar E. Busby, Normal Class, Nashville, Tenn., Oct. 15th, Washington, D. C., July 15th, E THE NUMBER ONLY A 3 MENTION PUBLICATION WHEN ORDERING 1918 Address Marshall, Texas. 19 reasons why the Mrs. Anna Craig Bates, Normal Class, San Antonio, Sept. 3rd. Address 3303 Coke St., Dallas, PIANO SOLO PIANO SOLO SIX HANDS Texas. ASTENICS, A. O. T. Gr. MOTER, CARL. Gr. DURAND, CHAS. ( Mrs. Harriet Bacon MacDonald, Normal Class, Dallas, Texas, Oct. 22nd, Chicago, Jan. 7th, 1918. 14074 Patricia March . 3 14704 Ballade . 5 14769 Love by Moonlight.: “Tek” excels the Address Bush Temple, Dallas, Texas. BABMOTINE, S. 14624 Spanish Bail Scene. 3 PERRY, EDWARD BAXTER. Miss Nettie Beth Davis, Normal Class, Oct. 15th, Nov. 19th; Whitman University, 14689 Berceuse, Op. 5, No. 3... 5 ORGAN Walla Walla, Wash. CHOPIN, P. 14810 Jumping Rope . 5 ROLFE, WALTER. GILLETTE, JAMES R. piano for practice Mrs. Harry A. Prentice, Normal Class, Nov. 15th, New York City. Address 78 W. 103d St., N.Y. City. 14002 Butterfly Etude. Arr. 14695 The Whistling Yankee. 2% .25 14560 Epilogue . Hans Harthan . 3 14696 Highland Laddie . GODARD, II. Miss Clara Winters, Normal Classes, Oct. 1st, 1917, and Feb. 4th, 1918. Address Wichita Col¬ FELTON, W. M. Sailor Boy. . 14626 Berceuse from “Jocelyn.” lege of Music, Wichita, Kansas. 14830 In Quest of Butterflies.. 3% . 2% 2 y E. A. Kraft. . Send for Literature and “Tek” Catalog Mrs. Carrie Munger Long, Normal Classes, Nov. 1st, 1917, Ft. Worth, Texas; June 5th, 1918, Birming¬ FERRER, RICHARD. 9 Jolly Soldier Boy.... SLHtllljiRT, F. 14734 Miariquita . 3^ 1649 Ave Marla. Arr. by G B ham, Ala. Address 812 W. 7th St., Ft. Worth, Texas. FONTAINE, I.. J. OSCAR. Nevln . 3 A. M. VIRGIL, President Mrs. Jeanette A. Fuller, Normal Classes, Nov. 15th, 1917, and Feb. 1st, 1918. Rochester, N. Y. If main . 2 V, .25 Address 50 Erion Crescent, Rochester, N. Y. 14755 In Step . 4 VOCAL A graceful march movem< 1740 The Matinee Girl. 2% .30 11 West 68th Street NEW YORK Full information and booklet of Foreign and American endorsers. 8 West 40th St., New York City also published for four hand: 1741 Plantation Waltz . 2 % .30 BROUNOFF, PLATON. FORSYTHE, VV. O. 1742 Little Dog Gone—.Worm,« 1776 Song of the Fairy. 3 14683 At Parting. Reminiscence. 4 Caractenstique . 2 % .25 1775 There is- Ever- --> Song..<=- “ DANCY, CHARLES E. FRANZ, ALBERT. 14794 Hear the Harp of Tara .. 4 25 14748 Moonlit Nights—Serenade 3 145 Terrible Turk . GALLOWAY, TOD. B. CRANBERRY PIANO SCHOOL 14749 Dance of Spring—Uorceau 3 tjb Eventide Lullaby . 2 V2 .so 14738 The Gypsy Trail. High 14750 Soldier’s Song—Canzone.. 3 A lively set of teaching pieces, Voice . 4 i6|) Teachers’ Training Courses 14751 Gilda.—Morcean . 3 introducing some familiar tunes. edition, in the Key of-A, THE von ENDE SCHOOL of MUSIC 14752 Wedding of Red Riding SMITH, WAITER WALLACE. of this famous song. Hood—March . 3 14756 Kirmess Day . 3 .50 • •The Foremost Musical Institution of America” SEND FOR i STRICKLAND, LILY. DeKOVEN, REGINALD. | A HOME FOR YOUNG LADIES FAELTEN SYSTEM. Booklet HOLST, EDUARD. 14834 Themv._ Old Loye ILLUSTRATED BOOKLET § 14816 The Charmer . 4 14804 Night on the Waters— | UNDER proper chaperonage Barcarole . 3 .25 High Voice 3 NEW YORK CITY CARNEGIE HALL - - NEW YORK KERN, CARL W. TATE, ARTHUR F. ® do Low Voice 3 14687 Love and Life, Op. 325... 3% Dreaming of Loye and A splendid new song hit 14733 Valse de Columbine, Op. DELI/ A ( QUA, EVA. 339 . 4 * i Song of Provence. Sigh LANGE, O. Voice . 14872 Flight of the Swallows, WINKLER, C. P. Newly trai.e.o.cu,;d, revised,CVJO and Op. 30, No. 2. 2% 14820 The Herdsman’s Call. 4 edited by Nicholas Douty 14827 Moonlight Serenade . 21/, NEW YORK SCHOOL OF MUSIC AND ARTS LISZT, F. FOUR HANDS Central Park West, cor. 95th St., New York City RALFE LEECH STERNER, Director 14747 Love’s Dream—Waltz. Arr. HARKER, F. FLAXINGTON. SPAULDING, GEO. i„ by Felton . 3 ! March of the Flowers. ... 2 Our new buildings give us the most beautiful and Unsurpassed beauty of scene facing Central Park, LANSING, A. W. 690 Moonlight Nights. Duct.. 3 MORRISON, R. S. WARD-STEPHKNS. homelike school devoted to Music and the Arts which is the finest location in New York City. _ J6 Dance Entrancing . 3% 14564 Joy of Spring. 4 792 Ah! Senorita Rare. 14758 Frolic of the Frogs. 3 ROLFE, WALTER. High Voice 4 Piano—Arthur Friedheim, the Great Virtuoso; Liszt’s Greatest Pupil. Voice—Ralfe Leech Sterner, Celebrated Vocal Teacher. Violin—Clarence MOSZKOWSKI, M. 1759 Merry Hunting Party. ... 3 14793 do Low Voice 4 The Etude 14596 In Autumn, Op. 36, No. 4 8 SCHNEIDER, E. 14757 Lullaby . 3 DeVaux Royer, the Eminent Violinist. Harriette Brower, Harold A. Fix, S. Reid Spencer, Frank Howard Warner, Blanche Mabelle Kelley. An educational exercise, cai 14791 The Swing. 3 THEO. PRESSER CO. fully edited. ree very artistic songs by PUBLISHERS dormitories in school buildings and proper chaperonage. open the entire year. pupils may enter any day. two public concerts every >f Americas best writers. PHILADELPHIA, PA. WEEK. TERMS, INCLUDING TUITION, BOARD, PRACTICING, ETC., ON APPLICATION. :: SEND FOR BOOKLET AND BOOK OF VIEWS. X MEHLIN PIANO USED EXCLUSIVELY Please mention THE ETUDE w Please mention THE ETUDE when addressing our advertisers. our advertisers. OCTOBER OCTOBER 1917 THE ETUDE Page 707 Page 706 THE ETUDE

Schools and Colleges Schools and Colleges . Schools and Colleges . Schools and Colleges MICHIGAN. MISSOURI and WISCONSIN CHICAGO PENNSYLVANIA SOUTHERN “An artist of great Intelligence and superb equip¬ THESE TEACHERS ADVERTISING ment."—N. Y. Staats Zeitung. ST. LOUIS, MO. Atlanta Conservatory of Music THE FOREMOST SCHOOL OF FINE ARTS Mrs. CROSBY ADAMS ON OTHER PAGES OF THIS ISSUE HAROLD HENRY VOCAL TEACHERS Accepts a Limited Number of Pupils, KROEGER . fiber 3rd, 1917. Private and Class Teaching in Chicago Students may enter at any time. Send for Musical Technique Interpretation MIDDLE WESTERN For terms address B. WILLIAMS, Sec’y SCHOOL OF MUSIC Catalog. GEORG FR. LINDNER, Director E. R. KROEGER, Director COMBS D. A. CLIPPINGER, 1208 Kimball Hall, Chicago 613 Lyon and Healy Bldg., CHICAGO MUSIC Peachtree and Broad Streets, Atlanta, Georgia Address: MCNTREAT, NORTH CAROLINA ALL BRANCHES OF MUSIC TAUGHT ;rs courses in Piano, Voice.VioIin.Organ, HARMONY BY CORRESPONDENCE _.ory. Public School Music and Drawing, Oral Interpretation, etc. Work based on | The Maurice Rosenfeld SEND FOR CATALOG best modern and educational principles. Louise Burton Piano School Musical Art Building Numerous Lectures, Concerts and Recitals consbi^ory Music Shenandoah -ghout the year. MACKICE :h Studios. Excellent Dormitory Ac- Hahn Music School ...lodations. Teachers' certificates, dip- Collegiate Institute Chas. D. Hahn, Director A SCHOOL OF INDIVIDUAL INSTRUCTION , and School of Music ■ tin 800 Lyon A Healy Bldg.TK Milwaukee-Downer College The School for your Daughter bash & Jackson Blvd., Chlcaj Milwaukee, Wis. Our catalogue tellu why Department of Music 3919-s Junius Street, Dallas, Tex. 9 Offers Piano, Or$an, Violin, Voice Training, Theory of Music and a Teachers’ Course m Public School CHICAGO COLLEGE Music. The degree Bachelor of Science in Arts is NORMAL TRAINING COURSE FOR TEACHERS A complete and thorough course OF MUSIC Centralizing offered for music specialists. A diploma course is r Modern System of Scientific Instruction our pupils are enabled to grasp clearly am ic principles in logical oi ESTABLISHED 1857 All branchesof music taught. 23rd S‘VeFor catalog U address REGISTRAR “ udeots may enter at any School of ' "^ ' ^jshe^1faculty,* original m ree catalog. Address: PEARfinV CONSERVATORY ESTHER HARRIS, President Music BALTIMORE, MD. Dept. 23, 1234 Kimball Hall cC7ie only Conservatory in the State with Dormitories for Young Women rtHDUU 1 Chicago, III. A School of Inspiration, Enthusiasm, Loyalty and Success HAROLD RANDOLPH, Director Write to-day for our illustrated Year Book-Mailed Free One of the oldest and most noted Music Schools in America. Lucille Stevenson Centralizing School of Acting GILBERT RAYNOLDS COMBS, Director THE DETROIT INSTITUTE OF MUSICAL ART 1319-27-29-31 S. Broad St. Philadelphia, Pa. Soprano. Teacher of “Strongest Faculty in the Middle West" voice. Available for con¬ Students May Enter at Any Time o ver 50artisi'leach broad certs. Address Room N, 9th Floor, Auditorium For catalogue and full information address Building, Chicago, Ill. H. B. MANVILLE, Business Mgr. :: :: :: 1117-21 Woodward Ave. ZECKWER-HAHN SCHOOLS SCHOOLS % Normal Consegmok? Philadelphia Musical Academy 1617 Spruce Street, Philadelphia LOUISE ST. JOHN j^Was/u/^? . . consolidation of the Hahn Conservatory witl ie Philadelphia Musical Academy. Modern equip SOUTHERN CONSERVATORY 0] ■ S Music department of the % WESTERVELT BROS. EPSTEIN ALLEN « BRYANT Soprano. Teacher of Voice. One of the oldest and best Music Schools in the United States 4525 Olive Street, St. Louis, Mo. Pr°CHABIiT0N U “IS MURPHY, Managing Director Director Columbia School of Music Chorus. Address AMERICA CONVERSE COLLEGES Room W, 509 S. WABASH AVE. PITTSBURGH MUSICAL PROGRESSIVE PIANO SC Chicago, III. t AMERICAN PEABODY MINNEAPOLIS INSTITUTE, Inc. SCHOOL OF MUSIC 4259 Fifth Avenue Pittsburgh BAKER"”' S.C.I.S MINNEAPOLIS SCHOOL OF MUSIC, ORATORY Catalog and Bulletins upon Request Effa Ellis Perfield Music School Incorporated and Accredited AND DRAMATIC ART BARTEL”” MIDDLE WESTERN 218 S. Wabash Ave., Chicago, Ill. 60-62 Eleventh Street, So., MINNEAPOLIS, MINNESOTA WILLIAM H. fONTITTS, Director of Music CHARLES M. HOLT. Director of Oratory and Dramatic LARGEST SCHOOL OF ITS KIND IN THE WEST AMERICAN: ALL BRANCHES OF MUSIC AND DRAMATIC ART 50 ARTIST TEACHERS AMERICAN Fall Term Opens Sept. 3rd. Private Work Entire Year. Beautifully Illustrated Year Book Free on Ret, CANADA combs:; CONSERVATORY BILLS EVERY PIANIST, ORGANIST, TEACHER, CONDUCTOR DANCY I should understand the principles upon which his art is based. BROWN /MUSIC The Study of Harmony is Essential to Success My correspondence lessons arc a well-graded series for systematic study. t. Leading School Prepare yourself to teach harmony. The need is growing and the importance of CHICAGO SSi the subject becoming more fully recognized. FLETCHER DANA’S MUSICAL INSTITUTE Candidates Prepared for all Degrees and Diplomas COLUMBIA WARREN, OHIO CINCINNATI SCHOOL OF F- Linforth Willgoose, mus.bac.,a.r.c.o. HAWTHORNE THE SCHOOL OF DAILY INSTRUCTION IN ALL LONDON CONSERVATORY OF MUSIC OP MUSICAL ART OF CITY OF MUSIC ^ BRANCHES OF MUSIC LONDON :: CANADA INSTITUTE COLUMBIANS CLARE OSBORNE REED, Director Address LYNN B. DANA, President Desk E, WARREN, OHIO CONSERVATORY. All Dept*, of Students May Enter at Any Time LOUISVILLE 214 W. Broadway,Louisville,Ky! DANA'S ““ CINCINNATI CONSERVATORY of MUSIC CONSERVATORY OI NEW ENGLAND DETROIT CLARA BAUR, Foundress MOULTON Half a Century in the Front Rank of American Music School Pa< Open Throughout-the Summer the courtright system of musical kindergarten NEW ENGLANDGROFF BRYANT Elocution—MUSIC—Languages KNOX' WESTERN CONSERVATORY vea* PUBLIC SCHOOL MUSIC Private Lessons, Class Exercises, Sight Reading, Ensemble Piano Drill (Four Pianos, Sixteen Hands), For Catalogue and Circular Address Bctm ^hk.- OREGON Lectures, Chorus (150voices), Recitals, Etc. Diplomas and Certificates by State Authority The Fletcher Music Method gg^Special Facilities for Boarding Pupils_E. H. SCOTT, Pres., Kimball Hall, Chicago MISS BERTHA BAUR, Directress, Highland Avenue and Oak St., Cincinnati, 0 TOMLINSONgSalS HAS JUSTIFIED EVERY CLAIM MADE FOR IT 'S&i&szjz? *— ** -■ INDIANA

CHICAGO MUSICAL COLLEGE SCHOOL OF MUSIC •dited VIOLINISTS The leading and largest School of Music and Dramatic Art in' America: 100 teachers of world¬ wide reputation. Courses and private lessons In Piano, Voice, Violin, Organ, Theory, Public TheTTnv-VtvUrhnnlnMVlVALPARAISO • ff UNIVERSITY. VALPARAISO,_. - INDIANA. VIRCIL r.;:1., ,-.-.„ . School Music. Movie Picture, Dancing, School of Opera, Orchestral Instruments, Expression, The UmTYtOrgan, Theory and Public School Music. School of Acting. Normal Training School for T eachers In all Branches. Teachers’ Certificates, Diplomas, Degrees and Medals, Public Recitals, Unrivaled Free Advantages, Supplies Teachers Tuition *36 on ner EXPENSES ARE THE LOWEST^ “ thC Universit>’' and Artists to Colleges and^Schools^ Students enro Uedat any time. Dormitory Accommodations. VIRGIL KRIENS Catalogue wi’ll be mailed free. Ad'dre'^Hen^^Brown, pieeidenLorOUw P^KinMy’viceTreeideni EVELYN FLETCHER-COPP 44TH YEAR-STUDENTS ACCEPTED AT ANY TIME. ’ n‘,d.trs! P EHDE'gggg-i^ SINIGALLIANO “SS Please mention THE ETUDE when addtessing dur advertisers, OCTOBER Page 70S THE ETUDE

GREAT OFFER Useful ETUDE Gifts as Rewards TO for Obtaining Subscriptions LAST CHANCE BARGAINS Teachers and Music Students A few minutes of your spare time, devoted to visiting your friends and the Special 40-Day Offer of the Leading Magazines at Exceptionally Low Prices musical people in your neighborhood, will enable you to get enough Until November 10, 1917, ONLY, you may get your favorite magazines at prices lower than they will ever be again. The high Sherwood’s Normal Piano Lessons Etude subscriptions to earn these premiums. and constantly rising cost of making magazines compels publishers to increase their prices, to become effective immediately after

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