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

1-1-1920

Volume 38, Number 01 (January 1920)

James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 38, Number 01 (January 1920)." , (1920). https://digitalcommons.gardner- webb.edu/etude/664

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 Etude Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. SiAU Ulae 111 mm • , ***v«*«f > , • f - THE ETUDE PRESSER’S MUSICAL MAGAZINE H Pafl« Devoted Teaching Works for Elementary Instruction

OLD RHYMES WITH NEW TUNES VERDI—CHILD’S OWN BOOK to the most By Geo. F. Hamer Price,"60 cents OF GREAT MUSICANS The six easy pianoforte compositions in this little Price, 20 cents volume comprise the best set of Mother Goose Melodies the publishers have ever seen. They can The latest of a series written by Thomas Tapper be played or sung and, will delight the child pianist to furnish the child music student with interesting Recent Me facts about great composers. After gathering these or the little singer. The teacher of children will be interested to know that these numbers are also pub¬ facts the child is to write a story of the composer lished separately in sheet form. on the blank pages and there are also pictures to paste in as well as material to bind the book when Publications PICTURES FROM HOLIDAY LAND all is ready. This is one of the most successful works for the child music student. THE PROGRESSIVE MUSICIAN IS By David Dick Slater Price, $1.00 HERE GIVEN A RESUME OF THE Although the composer of these little piano num¬ SUNNY DAY SONGS bers ranks as one of the leading composers that Great By Helen L. Cramm Price, 75 cents NOTEWORTHY MUSIC WORKS PUB¬ Britain has produced in our time he has shown a great aptness in producing pieces for children. Each A delightful book of a dozen and one bright, easy LISHED DURING PAST MONTHS piece has an appropriate verse under the title, adding piano numbers with words between the staves. These BY THE interest to the piece itself. The compositions arc vocal or instrumental pieces furnish excellent recrea¬ about grade two. tion material for little players and singers. This work is the latest of Miss Cramm’s popular books Theodore Presser Company BIRTHDAY JEWELS for little pianists. PHILADELPHIA, PA. VOCAL OR INSTRUMENTAL LITTLE TUNES FOR LITTLE PEOPLE By Geo. L. Spaulding Price, 75 cents FOR THE PIANOFORTE An attractive new volume of little pianopieces with verses which may be sung ad. lib. The verses are By Francesco B. DeLeone Price, 75 cents Vocal \ pleasing and of the type that appeals to the juvenile. This new work consists of a set of a dozen studies, 1 As the title of the book indicates, there is a little each of which has a characteristic title, all of these piece for each month of the year with verse for the being so tuneful as to be considered a real piece. CELEBRATED RECITAL SONGS appropriate birthstone. The numbers are easy to They cannot fail to interest the student. The Studies Compiled and Edited by David Bispham Price, $2.00 play, very melodious, and similar in style and grade are graded and carry the student through the keys, to those in Mr. Spaulding’s successful book, Tunes major and minor, and lead up gradually to the Third A distinctive compilation of good vocal numbers. and Rhymes. Grade, but start iff the Second Grade. The work of an artist is clearly indicated by the excellent type and variety of the forty-four songs together with the well written preface, and the copious annotations. The volume is a handsome Albums of Piano Music of Unusual Worth one of 184 pages and the songs are just such num¬ bers as will be found needful in the preparation of recital programs as well as being extremely fine CELEBRATED COMPOSITIONS for every vocal teacher and vocal student. In fact, AMERICAN COMPOSER’S ALBUM it is just such a volume as every singer will find FOR THE PIANOFORTE BY FAMOUS COMPOSERS Price, $1.25 Price, $1.00 to any profes ’ We were inspired to bring out an album of pieces This collection is the result of careful selection by the best American composers of music. Excellent with the aim to incorporate in one volume such com¬ material for this purpose was available to us, and this positions as every good pianist delights in. The best is a volume that is a credit to American music. We description is the following, which are included in the did not include any of the difficult pieces, but only thirty-three numbers in this volume : those of medium grade and of special merit. Fur Elise, Beethoven; Intermezzo, Brahms; Scarf PEDAL BOOK Dance, Chaminade; Nocturne, Chopin; Humoreske. By Dr. Joh. M. Blose Price, $1.00 Dvorak; Second Valse, Godard; Butterfly, Grieg; This is an excellent work offering foundation SPAULDING ALBUM Largo, Handel; Gipsy Rondo, Haydn; The Mill. studies for acquiring artistic piano effects. It can For the Pianoforte Price $1.00 Jensen; Idilio, Lack; Spring Song, Mendelssohn; be taken up by a student in the second year of study Prelude, Rachmaninoff; Polish Dance, Scharwenka; and it is at about this point in the pupil’s work that A new collection of intermediate grade, Spauld¬ Traumerei, Schumann; Reverie, Schutt; Simple disagreeable and unmusical effects arising from ing’s work is so well known that it needs no intro¬ Aveu,Thome; Chant Sans Paroles,Tschaikowsky,etc. incorrect use of the pedal should be avoided by a duction here, and the many lovers of his music will clear understanding of the purpose of the pedal welcome the opportunity to possess so many of his FAVORITE COMPOSITIONS and then adequate drill such as that for which this successes all in the one volume. FOR THE PIANOFORTE book endeavors to provide a foundation. Remem¬ ber that although it has been said, “The pedal is the By Carl Bohm Price, 75 cents soul of the piano,” a student should not depend on PAUL WACHS’ ALBUM Bohm’s music supplies the kind of material which “soul” or “inspiration,” but be guided in using the For the Pianoforte Price, $1.00 is invaluable in teaching pupils who demand melo¬ pedal by systematic and intelligent practice. dies. Many of Bohm’s compositions contain melo- All lovers of good drawing-room music will be does so near the folk song type that they necessarily THE ART OF THE PIANO delighted with this excellent collection. It has been have become extremely popular. There are twenty- prepared with the greatest care and contains nine¬ four brilliant and popular gems in this album that By Theodore Lack Opus 289 Price, $1.50 teen compositions carefully chosen from the best have been carefully edited and revised. They are This is a modern system of technic for piano play¬ and most popular numbers of Wachs. They are chiefly of intermediate grade to moderately ad¬ ing by a leading French composer and virtuoso. chiefly of intermediate grade (Grades III-V). vanced. There are one hundred special exercises in mechan¬ Wachs is one of the foremost French salon com¬ ism of medium difficulty. All the various points of posers, and this collection is, indeed, a notable one in technic are covered in the modern manner and in music publications. 1 Violin \ addition to furnishing extremely fine material for teaching purposes this work supplies material for any pianist’s daily practice at the keyboard. COMPREHENSIVE VIOLIN METHOD An Opportunity to Ascertain By Mr. and Mrs. Frank T. Benjamin Price, $1.25 the Real Worth of the The one method among all violin instructors which | Piano—Four Hands | is really adapted for “self-instruction.” A complete Publications of the system of diagrams and pictures shows the exact FOUR-HAND EXHIBITION position of each finger on each string in all the Theodore Presser Company scales. A book which does something toward light¬ PIECES FOR THE PIANO ening so pleasantly the labor of routine instruction. Price, $1.25 To afford a better opportunity of Judging the Besides the usual scale > and exercises, the book con¬ This is the duet album offered in advance of genuine value of the books listed on this page we will tains 100 easy duets for violin and piano, including publication under the title of Difficult Four-hand gladly send any of them many old-time favorites. The more advanced ( Album. The numbers are both original duets as well as arrangements of compositions by such for examination. To fur¬ writers as Rachmaninoff, Grieg, Tschaikowsky, ther assistintheselection Moszkowski, Dvorak, Gottschalk, Brahms and others. It -is such a compilation of four-hand num¬ bers as to be regarded as valuable to all good play¬ ers. While this compilation offers excellent material for recital or concert work it is at the same time useful for profitable practice and recreation playing. JANUARY 1920 Page 3 THE ETUDE Page 2 JANUARY 1920 THE ETUDE A List Selected for Aiding Every Music Buyer to Obtain the Best and Most Used Instructors, Studies and Collections for Piano, Voice, Violin and Organ A Careful Study of This List May Bring to Your Attention Just the Type of Work of Which You Are in Need

VOCAL COLLECTIONS PRIMERS—RUDIMENTARY WORKS PIANO TECHNICS AND STUDIES PIANO COLLECTIONS ALBUM OF DESCRIPTIVE PIECES 81 ARTISTIC VOCAL ALBUM FOR HIGH V BACH, J. S. Lillie Prelude, and Fugue.. Characteristic piano pieces, depictingjms- “ Invention, for Ihe Piano . MEN’S CLUB COLLECTION sctical and easily understood pre- “ Fir.l Study of Bach (Leef.on). Scales; Part III, The Arpeggios; Part IV, NEIDLINGER. Little Folks’ Song Bool >n of everything writable in musi- The School of Octaves. 4 Books, each.... $1 MATHEWS. Standard First and Second Grade SACRED DUETS. For all Voices " Well Tempered Clavirhord, Vol. I. AMERICAN*COMPOSERS’ ALBUM. 1 Pieces. 1 SINGER’S REPERTOIR. 36 Songs BERTINI, H. 25 Studie. for Pianoforte. Op. 29 . BACH, J. S. Album of Favorite Pieces. “ Standard Third and Fourth Grade Pieces 1 ’’ 25 Studie. for Pianoforte, Op. 100. CHOIR BOOK FOR WOMEN’S VOICES SLATER, D. D. Four Sacred Sor g- MARKS, E. F. Y BEETHOVEN. Selections from Piano Work.. I “ Standard Fifth and Sixth Grade Pieces. CHURCH AND HOME. Sacred Songs, High Vo STANDARD SONG TREASURY. 43 1 :he principles of Harmony in t BIEHL, A. Elements of Piano Playing, Op. 30 ... Easier Piano Compositions. “ Sacred Songs, Low Voice. STANDARD VOCALIST. SO Songs BILBRO. MATHILDE. General Study Book. BOHM, C. Album of Favorite Compositions GALLOWAY. TOD B. Seven Memory Songs TWO PART SONGS. Women’, voices MATHEWS, W. S. B. First Lessons in Phrasing.. 1 BUGBEE-DAVIS, L. A. Merry Rhymes for Child¬ " SlSd'compositioni! Voi! I," Grade I to GLEE SINGERS’ COLLECTION. Mixed voic WOMEN’S CLUB COLLECTION. “ Studies in Phrasing, Book 1. 1 hood Times. Vocal or Instrumental Vol. VII, Grade VII, each. CELEBRATED COMPOSITIONS BY FAMOUS EVANS, M. G. Priir “ Studies in Phrasing, Book II. 1 MENDELSSOHN. Songs Without Words (Com¬ Bl.OSE, JOH. M. Pedal Book. 1 “ STANDARD GRADED COURSE OF STUD¬ plete). I Beginner learns the rudiments of music by BUGBEE, L. A. First Grade Studies. Easy, IES. 10 volumes, 10 grades, each. 1 MODERN DANCE ALBUM. ORGAN WORKS original, melodious study piece.. 1 MODERN DRAWING-ROOM PIECES. 1 SUTOR, ADELE. Note Spelling Book. “ Second Grade of Melodic Studies. 1 MOSZKOWSKI, M. Favorite Compositi.ns JOUSSE’S MUSICAL CATECHISM (PAPER) A volume to succeed “First Grade Studies” of imitators! stilTThe *one'universally "used KILLOUGH, G. C Gibbon’s Catechism of Music course of piano study, combining and suggeit- MOZART, W. A. Sonatas, 2 vols., each . 1 AMERICAN ORGANIST... ^ 499 Questions and Answers. Notation, TAPPER, THOS. Children’s Biog ing everything essential for acquiring a perfect cted Works (I. Phillip). 1 “ ' s, Complete Bach, Mozart, Schubert, Schur BURGMULLER, F. 25 Studies, Op. 100. knowledge of, as well as finished skill in, piano ' Album of Favo “ 12 Brilliant and Melodious Studies, Op. 105.. playing. embelUshments^etc.3 *’ 8C4leS’ ch°rd8’ del, Chopin, Beethoven, M “ 18 Etudes de Genre, Characteristic Etudes, CLEMENTLm’’ Sonatinas for Piano NEW AND MODERN SONATINA ALBUM 1 BACH. J. S. Eight Short Preludes and Fugues REED ORGAN PLAYER. Collection of classic LANOON, C. W. Writing Book lor Music Pupils, Haydn, Verdi and Wagner. Ea Op. 109 . MORRISON, R. S. 10 Characteristic Studies in COMPOSITIONS FOR THE PIANOFORTE BY OLD FAVORITES’ ALBUM. CLASSIC AND MODERN GEMS lor Reed Organ and modern pieces.. The child, by doing a little pj Rhythm and Expression. 2d Grade. WOMAN COMPOSERS. 1 PARLOR and SCHOOL MARCHES. 1 LANDON. C. W. Organ Melodies.. ROGERS, J. H. Graded Material, for Pipe Organ. Complete. CHORDS AND ARPEGGIOS (Orem). CRAMM, H. M. New Tunes and Rhymes for PIANO PLAYER'S REPERTOIRE OF POPULAR “ Writing Book lor Music Pupils, Book I. CLEMENT!. M. Gradus ad Parnassum. 1 Fresh and original teaching materially a PIECES. 39 Popular Pieces. CONCONE, J. Selected Studies. 1 POPULAR HOME ALBUM. 46 Pieces. STAINER, Dr. J. The Organ. as Streabbog. P ^ POPULAR PARLOR ALBUM. STANDARD ORGANIST. Pipe Organ Piece. “ Twenty-four Brilliant Preludes! Op! 37... . POPULAR RECITAL REPERTOIRE. 31 Pieces School of Reed Organ Playing, WHITING,GEO. E. 24 Progressive Studies forth. PIANO INSTRUCTORS COOKE. J.F. Mastering the Set- PARLOW, E. First and Second Grade Study Pieces 1 ROGERS, J. H. Toy Shop Sketches. PipeOrgan. To follow the elem Enables the teacher to a PERRY, E.B. Lyric Studies. 1 ROWE, DANIEL. Tone Stories for Boys and Girl. ’’ The Beginner's P’ ~ " ’ KOHLER, LOUIS. Practical Piano Method, Ot with very young pupils and c “ Wrist Studies. 1 Large notes; suitable for young pupils or •cal pr 249, Vols. I, II and III, each. highest degree of proficiency with advanced PHILLIP, I. Exercises in Extension. Unique DUTTON, THEODORA. The First Progres kindergarten work. Lively and Blcastng. BATCHELLOR-LANDON. Music; students. Practice material fully written out. studies. Strengthen and stretch ihe hand.. SALON ALBUM. Favorite Parlor Pieces . LANDON, C. W. Foundation Materials lor Piano Many original features found in no other work. “ Preparatory School of Technic. Daily practice SCHOOL AND HOME MARCHES. solid musicianship through an CRAMER, J. B. Fifty Selected Studies. 1 SCHUBERT, F. Impromptus, Moments Musicals. MUSICAL THEORY, REFERENCE :d, pleasant and interesting CZERNY, C. One Hundred Studies, Op. 139. 11 School'll” T^ch'l SCHUMANN, R. Selected Works. BEGINNER’S METHOD! Theo. Presser. “ 100 Recreations. dium ol model Album lor Ihe Young, Op. 68. Intended for the youngest beginners ai PRESSER, THEO. School of the Pianoforte. Stu- “ 101 Short Exercises in Passage Playing. Op. room pieces, including “Melody BOOKS, GENERAL MUSICAL perfectly adapted to their needs and insurii dent’s Book... \ 0( FIRST DANCE ALBUM . “ Scenes from Childhood, Op. 15. not only pleasant but rapid progress. Ph FIRST PARLOR PIECES. SLATER, D. D. Picture - “ • ■ ’ Book I, Left Hand Technic; Book II, Right •y Land LITERATURE nomenally popular with teachers who instrui popular Beginner’s Book, but * adaptedU*to FIRST RECITAL PIECES. 1 Pictur m Storyland . succeed any elementary instructor. The ma- Jctave Studies, Op. 553.!.’.....! Hand Technic; Book III, Hand. Together; ■ : BEYER? F.“' Elementary School of Piano Playi Book IV. Arpeggios; Book V, Double Notes; ■st Pianoforte Instructor, Op. 599. Book VI, Octaves and Chords; Book VII, FIRST PIECES IN THE CLASSICS OREM. P. W. Harmony Book lor Beginner. . FIRST STEPS IN PIANO STUDY eliminary School ol Desterity, Op. 636... GODARD ALBUM SONATA ALBUM, Vol. I, 15 Sonata, by Haydn. SCHMOLL, A. New Piano Method. In Two The Trill; Book VIII, Various Difficulties; GREENWALD, A" .." Books. Each. 1 25 SnTwp«?

MUSICAL AMERICA A New The leading International Musical Weekly Newspaper Devoted to the Musical activities of the world. Edition ! Profusely Illustrated Subscription Price; for One Year: Domestic . . $3.00 =GR0VE’S= Canada . . 4.00 Foreign . . 5.00 DICTIONARY THE ETUDE VOL. XXXVIII, No. 1 OF JANUARY, 1920 Single Copies 20 Cents ARE you satisfied with your out¬ look in the profession—don’t ^ MUSIC TRADES you feel that you could estab¬ The Psalm Singers Three Centuries Ago Music in Politics The Leading Weekly Paper devoted lish yourself in a position of greater The jollity of “Trial by Jury,” with its melodious plain¬ to every branch of the Musical In¬ MUSIC Every now and then some musical wiseacre points out that responsibility and incidentally enjoy tiff, defendant, jury and judge, has amused thousands. Gil¬ dustries. Contains all the News. a better financial future if you spent AND we cannot possibly be a musical people because our Puritan Is Constructive and Educational. bert’s inimitable wit and Sullivan’s jingling tunes are hard to a little time on brushing up your own forefathers abhorred music. Then this pessimistic thought gets Profusely Illustrated knowledge? forget. Naturally, the European cartoonists have had a happy An ounce of proof is worth a pound the impetus of print and it is passed on from musical club to IT IS A VALUABLE ASSET TO THE melee in picturing the musical Premier of Poland, Mr. Pader¬ DEALER IN THE RETAILING OF of promise. Making claims is easy— MUSICIANS musical club like a row of tumbling dominoes. Papers are read MUSICAL INSTRUMENTS “making good” is the real test of ewski, but. Mr. Paderewski is by no means the first musician to merit. Many readers of The Etude THIS Greatest Effort in upon it and club members yawn and nod and seem pleased to hold an important State post. As long ago as 1696, the Abbate Subscription Price; for One Year: —teachers and students, have been 4 Musical Literature has have it settled at last, one way or another. greatly benefited by our courses— Steffani, an able composer and one time the Court organist Domestic . . $3.00 been reprinted to supply the As a matter of fact, that famous voyage of the “May¬ others have seen our announcement in at Munich, and later Capellmaster at Hanover, became a fine Canada . . 4.00 as yet have no direct personal knowlec demand, but before going to flower” was made endurable for many of our forefathers because diplomat and ambassador. In the youth of Bach and Handel, Foreign . . 5.00 press typographical errors of there were “several musicians aboard.” We have this on the previous editions were cor¬ Steffani’s operas were considered second to none. His orches¬ written word of one of the voyagers. rected and the dates of trations were very rich for the time and church music was very Sherwood Piano Lessons Picture yourself, if you can, starting out to spend the deaths that have occurred highly regarded. Yet this musician and priest (later a Bishop) winter in an unknown uninhabited country, where death lurked The for since the last revision have was considered one of the most astute statesmen of the day. Piano 6 Organ been inserted in this latest and all life was to be a terrific struggle. You are to spend- The present Lord Mayor of London, Sir Edward Cooper, edition. weeks in a little vessel crossing the North Atlantic in October. is an enthusiastic musician. For over twenty years he sang in Purchaser’s Guide Students and Teachers Wouldn’t you have blessed these musical folk who, from the the choir of St. Paul’s Cathedral. He is chairman of the Royal For 1919 FIVE LARGE VOLUMES quaint speckled pages of Ainsworth’s Psalter, sang those cour- They contain complete, explicit instruction on every phase of BOUND IN RED CLOTH AND Academy of Music, Vice-President of the Royal College of piano playing and teaching. No stone has been left unturned to make STAMPED IN GOLD age-giving words of God, first sung by King David. The music The Twenty-third Annual Edition Organists and Master-elect of the Musicians’ Company. Lloyd Now Ready. Contains complete this absolutely perfect. It would surprise you to know that Sherwood heard at such a time must have swung itself into the soul of the authenic list and grading of Pianos devoted to each lesson enough time to earn at least $100.00 in teach¬ George, the greatest of British Premiers, the brilliant, patient, ing. It is possible for you to get all this time and energy and devo¬ There are 4,000 pages and over nation. They were beautiful hymns of Inspiration. Let no one and Organs manufactured in the tactful English master of the situation during the whole war, United States. Also some account tion to the art for almost nothing, compared to what it cost. The 5,000,000 words from great cavil at our musical beginnings. of the leading Phonograph and lessons are illustrated, with life-like photographs of Sherwood at the authorities upon all phases of is a devoted lover of music. He reads the tonic-sol-fa notation Talking Machine Manufacturers, piano. They are given with weekly examination papers. To be a musical learning. The books readily and loves to sing the tenor part at Welsh gatherings. Music Roll Makers, Supply Houses successful teacher one must be able to give, not only the proper in¬ & Musical Merchandise Concerns. struction, hut to ask the right questions at the right time which will are liberall y illustrated with “Palma Non Sine Pulvere” . To be Welsh and not to love music, is as inconceivable as to be develop the students’ use of the knowledge imparted. The Sherwood cuts, half-tones and notation “Don’t expect the palms unless you can put up with the Italian and not love chianti. Price 25 cents per copy Course is available to every teacher throughout the country. No examples. Thousands of subjects need to give up your present classes and leave home for private dust of the race,” that is, in substance, what the old Latin Music Education for the “Masses” InTaluable to the Dealer in Protecting Standard instruction. are discussed: Biography, His¬ proverb means. The dust of the race in musical success is often Makes of Pianos and Players in Competition. tory, Musical Science, Theory, A supercillious British essayist once wrote: “America fine, penetrating and very disagreeable. It is impossible to Musical Industries, Instrumenta¬ is the only land without Masses,” this upholstered brick inti¬ ——Special Offer. make it enjoyable at times no matter how much some enthusi¬ tion, ^Esthetics, Musical Terms, mating that having no masses we could not possibly have any Harmony astic optimists may prate about it. Once we asked a great etc., etc. The work is the most aristocracy. Such a state of literary snobism is detested quite notable musical compendium i:i pianist how he came by such pearly scales—scales that were the A knowledge of Harmony is necessary for every student and as much in England as it is in New York. In America we all teacher. You can study the Harmony Course prepared especially any language. admiration of thousands at his recitals. “Easily,” he replied, like to feel that we arc akin to both the masses and to the aris¬ for us by Adolph Rosenbecker, former Soloist and Conductor, pupil Have these splendid musical “I came by my pearly scales through playing about one hun¬ of Richter, and Dr. Daniel Protheroe, Eminent Composer, Choral Con¬ books in your own home. What tocracy, and thank the Lord most of us are. We find our THE MUSICAL AMERICA CO. ductor and Teacher. You will receive the personal instruction of dred miles of them a j'ear for ten years.” Piano technic is the the Encyclopedia Britannica is aristocracy in the masses. Taking America by and large— THE MUSIC TRADES CO. Herbert J. Wrightson, Theorist and Composer. You need Harmony race track upon which the races are run. The trouble is that m and this is your chance to study the subject thoroughly. to General Information the excepting the little social cesspools of our large cities—the SOI Fifth Avenne, New York so few are ever willing to even try to raise the dust. Grove Dictionary is to Music. aristocracy of brains and honest work is still the basis of our There is no better Musical Refer¬ economic society. Harmony Teaches You to ence Library at any price in any Strike a New Pace, This is also true in England, and the great broad spirit 1. Analyze Music, thus enabling 4. Detect Wrong Notes and faulty language. Unabridged in any you to determine the key of any progressions in printed music or way. Pace is a habit. You can mope along at a slow speed or bred of the war, makes the mother country more democractic composition and its various har¬ during the performance of a com- ‘ THE PRESSER monic progressions., position. you can quicken your step and form the habit of going twice than ever. The working men and women of England—that 2. Transpose at sight more easily 5. Memorize Rapidly, one of the THE EARLY EDITIONS cr three times as fast until you have established a new pace by is the real workers who honestly want to work and rise l;iy their accompaniments which you may he very greatest benefits derived from called upon to play. the study of Harmony. SOLD FOR $25.00 habit. The change may be made in one or two weeks and if work, are “strong” for education. The Workers' Educational COLLECTION 3. Harmonize Melodies correctly 6. Substitute other notes when for you have any life purpose worth while which enables you to fill Association in London, for instance, has accomplished wonder¬ and arrange music for bands and any reason the ones written are An edition of standard studies inconvenient to play. The Price of this ycur time you will find that you can get over twice as much ful things. Its interesting field includes music and the arts. and classical collections in ground with hardly any more perceptible effort. It has 14,697 members, and is constantly growing. It conducts book form at low retail prices. Latest Edition Unprecedented Special Offer! Progress in piano study or almost any other kind of study classes, study circles, lectures, educational propaganda, etc. WELL EDITED AND CARE¬ The London Musical Herald in commenting upon this profitable Will you take advantage of our offer of 6 lessons which we offer is $17.00 may be accelerated in much the same way. Of course nothing FULLY PRINTED ON THE work notes that “The essentials of a college or a university are FINEST PAPER AND AT¬ to Etude readers without charge or obligation on their part? We should be sacrificed for thoroughness, soundness or accuracy, TRACTIVELY AND SUB¬ will send you 6 lessons from the Normal Piano or Harmony Course Notwithstanding the low price but many students are what the actors call “slow studies.” They neither land nor buildings, but groups of students associating ! STANTIALLY BOUND. or 6 lessons selected from some other subject, if you prefer. We made for cash we accept orders subject have courses in Piano (one for students and one for teachers), Har¬ to part payments. Write for terms. have never attempted to speed up and strike the pace enabling .together for purposes of study under the tuition of competent All subject to a liberal dis¬ mony, Voice, Choral Conducting, Public School Music, Violin, Cornet, The set is also given as a premium them to keep up with others in the great race. The result is teachers.” This is merely another way of expressing the oft- count to the profession. Guitar and Mandolin. Select the course you are interested in and for obtaining subscriptions to The quoted remark about the great New England educator, Mark write now for 6 lessons and catalog. You will receive full details of that they never “get there” or that they get there so far The teacher who writes for a catalogue of the course and he under no obligation to us. The cost is nothing behind all their competitors that they are virtually failures. Hopkins, “A log, with Mark Hopkins on one end and a student this collection and the discount offered will and you will benefit much. REMEMBER What New Year thought can we give you better than on the other, is in itself a university.” THE HOUSE OF THEO. PRESSER CO. effected by the use of this edition. Write for the conviction that pace is a habit, and that it lies within the The following is the classification of workers among the STANDS BEHIND THIS TRANSACTION catalogue today and request details of plan IN EVERY WAY. 3,000 and more music students receiving instruction under the whereby we gladly send any of these works province of almost everyone to strike a new pace—do things a I University Extension Conservatory SEND YOUR ORDER TO little better, a little quicker, so that he may have more time “W. E. A.,” as it is called in London; Clerks and telegraphists, 623 ; teachers, 308 ; textile, 235; u THEO. PRESSER CO. Clarence Eddy, Dean for real leisure and more opportunity to help others in the THEO. PRESSER CO. world. domestic, 193; engineers, 177; shop assistants, 160; miners. 1712 CHESTNUT ST., Phila., Pa. 6217 Siegel-Myers Bldg. Chicago, III. Sole Agents Philadelphia, Penna. Please mention THE ETUDE when addressing our advertisers. 1 if' JANUARY 1920 Page 7 THE ETUDE ——--—~ — - ' " - ; _:T r- ' l ,, etc., 148; printing, 144; metal, 95; building, 83; carpenters Rotate Your Studies and joiners, 82; various factories, 65; railway, 63; tailors and Have you ever had a music lesson from a really fine teac lei dressmakers, 61; insurance, 59; postmen, trams, police, 58; made dull and stupid because that teacher has been so inoculated potters, 57; boot, shoe and leather, 52; warehousemen, 47; with the bacillus of system, that every lesson was as like another The Indispensables in Pianistic Success laborers, 51; foremen and managers, 26; food, 25 ; bookbinders, lesson as it was biologically possible for the teacher s brain to :bbj 9; miscellaneous, 234. make it. The courses run from one to three years and the cost per There is a great principle of rotation that seems to affect An Interview with the Eminent Piano Virtuoso session is only two shillings and six pence. The interest in all things, even the spheres in the firmament. Students of all music is said to be very remarkable, and the seriousness of the people need constant, but well administered change, precisely as JOSEF HOFMANN work excludes frivolous applicants. crops need rotation. If the student has been studying a sonatina Of course, study under such conditions implies that the by Clementi, when that sonatina is mastered the work should be Secured Expressly for THE ETUDE worker must do a great deal for himself. But, as we have said, rotated so that something very different indeed will follow- it. time and again, all study is of value in proportion to the effort If the student has had a series of scales, follow them with in¬ [Editor’s Note : No pianist of high distinction has one who is thorough, painstaking, conscientious, alert of the individual student. Match some of the rich men’s sons teresting pieces of the chord type. “The Indispensables in Pianistic Success? Are not played for more years before the American public, and yet and experienced. The foundation is the part of the the indispensables in all success very much the same. Mr. Josef Hofmann is still to be regarded as a young man. who wriggle languidly through Harvard, Yale, Princeton, Part of the work of the International Harvester Company In 1887, as a child of ten (after four years’ public experi¬ house in which the greatest strength and thoroughness Nothing can take the place of real worth. This is es¬ Pennsylvania, against the struggling young men of some of the Extension Department, under the direction of Dr. P. G. Holden, ence in Europe, touring Germany, Norway, Sweden, Den¬ is required. Everything must be solid, substantial, pecially true of America, in which country I have lived mark, England, France and the Netherlands'_ he made h has been to issue pamphlets in enormous editions designed • <> American debut, playing forty _, in two and one- firm and secure, to stand the stress of use and the lesser known colleges, and you will soon find who will lead in longer than in any other, and which, I am glad to call was professor of harmony .(■a test of time. Of course, there is such a thing as the race. Ohio Northern University has contributed several remedy educational conditions in various parts of the count r \. my home. Americans are probably the most traveled and composition at the Warsaw Conservatory and orchestra leader at the Royal Opera House (in Warsaw, then Russian employing a teacher with a big reputation and excep¬ particularly in rural districts. One circular, for instance, -people of the world, and it is futile to offer them any¬ Governors to its State, and yet this is a college where the Poland), then withdrew the boy from public work for tional skill, who would make an excellent teacher for thing but the best. Some years ago a conductor special study. After a year spent with Moszkowski, Josef greater number of young men and women work their way designed to help in raising the salaries of teachers. Another Hoffmann went to Rubinstein (piano) and Urban (musical an advanced student, but who might be incapable of brought to this country an orchestra of second-class devoted to this important subject of rotation in educate' theory) for the completion of his musical education. In laying a good foundation for the beginner. One wants through. It really does not make so much difference how you character, with the idea that the people would accept 3.894i oa/i “"he modomade B?ghis debut as a mature pianist in HamburgHnmbiire (Rubinstein leading the orchestra and Hoffmann performing get your education—the main thing is to get as good a one as Here are some extracts: “It has been clearly demonstrated i: it just because it bore the name of a famous European strength at the foundation—not gold ornaments and the piano part of Rubinstein’s D Minor Concerto). He was marble trimmings and beautiful decorations, fretwork, possible and work lxard for it. Many a fine one has been ac¬ many districts, especially in Missouri, that children are lie city which possessed one of the great orchestras of then eighteen. Since that time he has played in most of the great music centers with ever-increasing success. His carving. Just as in great cities, one finds firms which quired without the shadow of a university. Think of Wagner, interested—teachers’ work is more vital—and the entire co the world. It was a good orchestra, but there were fine poise, sympathetic and sensitive musical appreciation, better orchestras in American cities, and it took high intellectual attainments and rich technical endowments make a specialty of laying foundations for immense Lincoln, Shakespeare, Edison. Chances for the so-called masses munity is vitalized educationally, industrially and socially, American audiences just two concerts to find this out, buildings, so it is often wise to employ a teacher who in musical education are increasing every day. If you, who read rotation of subjects.” resulting in a disastrous failure, which the conductor specializes in instructing beginners. In European mu¬ this, are a worker, know that if you will only make a start and was man enough to face and personally defray. The sic schools this has almost always been the case. Codfish and Fox Terriers It is not virtuosity that is needed in the makeup of the determine to work hard in your spare hours you may, even when American people know the best, and will have nothing positions I studied after I was thirty. The child who teacher of beginners, but rather sound musicianship, as Here is an idea—a comparison—that is worth more t! but the best. Therefore, if you would make a list of is destined for a musical career should receive as much working alone, do more and better work than hundreds of rich well as the comprehension of the child psychology. money to the student, the music lover, the teacher, who < the indispensables of pianistic success in this country musical instruction in early life as is compatible with men’s children who have thousands of dollars thrown away on Drill, drill, and more drill, is the secret of the early make use of it by practical application. The first and greatc at this time you must put at the head of your list, the child’s health and receptivity. To postpone the expensive teachers. REAL WORTH. training of the mind and hand. This is indicated quite essential in learning anything is attention. Without conc< i work too long is just as dangerous to the child’s as much in games such as tennis, billiards and golf. Clearing Up Confused Pedaling trated attention all learning halts and stumbles. Once attci: Musical Gifts career as it is dangerous to overload the pupil with Think of the remarkable records of some very young tion is assured, the path to knowledge is blazed, and progn more work than his mind and body can absorb. Chil¬ players in these games, and you will see what may be There is no need for great confusion, however, over the “Naturally, one of the first indispensables would in¬ dren learn far more rapidly than adults—not merely becomes possible. accomplished in the early years of the young player. matter of the pedals. There is great need for pedal drill. The clude what many term ‘the musical gift.’ However, because of the fact that the work becomes more and this is often greatly misunderstood. We are, happily, student who thinks that he can get off without this is making How can we cultivate attention? How can we make om more complicated as the student advances, but also Meeting Obstacles and Complications past the time when music was regarded as a special • selves more continuously attentive? Some psychologists hn\ because the child mind is so vastly more receptive. a great mistake. He will need quite as much foot drill as he kind of divine dispensation, which,, by its very posses¬ “In all arts and sciences, as one advances, complica¬ The child’s power of absorption in music study be¬ will need finger drill, if he expects to be a great artist. The insisted that it is literally impossible to concentrate the mb sion, robbed the musician of any claim to possible ex¬ tions and obstacles seem to multiply in complexity pedal is the color palette of the piano. Mark Hambourg some upon any one thing for more than a very short time. They t cellence in other lines. In other words, music was so tween the ages of eight and twelve is simply enormous; until the point of mastery is reached; then the tendency it is less between twelve and twenty; still less between years ago gave his opinions on the pedal in the following very us that we may be acutely attentive for a few seconds, but tin special a gift that it was even thought by some mis¬ seems to reverse itself, until a kind of circle carries one twenty and thirty, and often lamentably small between succinct manner: the truant mind will wander off on thought excursions in m guided people to isolate the musician from the world— round again to the point of simplicity. I have often to make him a thing apart and different from other thirty and forty. It might be represented by some such liked to picture this to myself in this way: manner of directions. We arc then supposed to bring it back I. Pedal no two harmonies with the same pedal continued. men and women of high aspirations and attainments. diagram as: II. Pedal no two phrases with the same pedal continued. by repeated efforts. We poor mortals are not allowed by on “It is true that there have been famous prodigies Point ssf (areatest: Complexity III. Pedal long melodic notes in phrases, but do not introduce psychological wardens to be continuously alert for more' tha in mathematics, and in games such as chess, who have 30 °f*Se : Limited Receptivity Limited Results the pedal in the middle of a phrase or at the end, unless a few- seconds. given evidence of astonishing prowess in their chosen work, but who, at the same time, seem to have been £fcUl Less Accomplishment you can give a good artistic reason for so doing. Did you ever watch a fox terrier sitting at a rat hoh ? lamentably under-developed in many other ways. This (T% IV. Pedal with judgment when approaching the climax of a Did you ever try to coax that fox terrier to do something eh is not the case in music at this day at least, for, al¬ 1Z to 20 \ yeax&oiagf C Less Accomplishment piece. while he w-as bn that particular job? Did you ever note hh Slarlln^PoInUSv jjJ/^ EytAre mC though a special love for music and a special quickness tofgaAgst-^implidgN* .Simplicity V. Pedal by pressing down the foot after a long melodic note tenseness, the gleam in his eyes, the steady, unmoving postim. in mastering musical problems is indispensable, yet the musicians are usually men and women of broad cul¬ has been struck. This often avoids the blur caused by with.every atom of his slick little body intent upon one thing 8 L12. I Greatest Receptivity tural development if they desire it and are willing to putting down the pedal and the note at the same time. and one thing only? On the other hand, did you ever watch c yejg-3 k "It is encouraging for the student to know that he work for it. Grfutest Accomplislimcnr must expect to be confronted with ever-increasing dif¬ Of course, all the foregoing remarks refer to the damper codfish swimming around in a tank apparently inhaling hi- “Nor can I concede that a very finely developed age j ficulties, until he reaches the point where all the in¬ nourishment from the invisible animal life in the water? Or sense of hearing is in all cases essential. The pos¬ pedal or, as it is sometimes called, the “loud pedal.” tense and intricate problems seem to solve themselves, session of what is known as absolute pitch, which so did you ever watch a mollusk anchored in one place waiting dissolving gradually into the light of a clear understand¬ many seem to think is a sure indication of musical i Chamber Music Festivals for the food to float into his vicinity? ing day. This is to me a general principle underlying genius, is often a nuisance. Schumann did not possess “Of course, these lines are only cofnparative, and From time to time The Etude has given small notices in almost all lines of human achievement, and it appears Attention, after all, is controllable by the will power. it, and (unless I am incorrectly informed) Wagner did there are exceptional cases of astonishing development to me that the student should learn its application, not its “World of Music” department relating to the annual cham¬ You can be attentive if you want to he, and you can be not have absolute pitch. I have it, and can, I believe, late in life, due to enormous ambition and industry. ber music festivals held in Massachusetts through the benefac¬ attentive as you are willing to make yourself. It may be a distinguish differences of an eighth of a tone. I find Yet the period of highest achievement is usually early only to his own but to other occupations and attain¬ ments. This universal line of life, starting with birth, tions of Mrs. F. S. Coolidge. Mrs. Coolidge is the donor of the good thing to ask yourself in your study periods if you are it more disturbing than beneficial. My father had in life. This is especially true in the arts where digital absolute pitch in remarkable fashion. He seemed to mounting to its climax in middle life, and then pass¬ festivals, the hall in which they are held and the prizes for which skill is concerned. like the codfish or like the fox terrier? It is purely a mental have extremely acute ears. Indeed, it was often im¬ ing on to greater and greater simplicity of means, until exciting contests are waged. The first prize this year was won state. One hour of “fox terrier” attention—with any kind possible for him to identify a well-known composition Early Drill at death the circle is almost completed, is a kind of by Ernest Bloch, the Swiss composer, and the second was car¬ of study, particularly music, which demands keenness and alert¬ if he heard it played in a different key—it sounded “All teachers are aware of the need for the best, human program which all successful men would appear ried off by Miss Rebecca Clarke, an English woman composer, ness more than almost anything else—is worth a year of “cod¬ so different to him. Mozart had absolute pitch, but possible drill early in life. The idea one so often hears to follow. Perhaps we can make this clearer by study¬ who nearly succeeded in defeating as renowned a master as fish” attention. music, in his day, was far less complicated. We now expressed in America: ‘Since my daughter is only be¬ ing the evolution of the steam engine. live in an age of melodic and contrapuntal intricacy, ginning her studies—any teacher will do,’ has been “The steam engine started with the most primitive Bloch for the $1,000 prize offered for the best chambermusic Indeed, the very attention condition of the mind shows in and I do not believe that the so-called acute sense of the source of great laxity in American musical educa¬ kind of apparatus. At the very first it was of the composition. The whole plan is one of lofty idealism and de¬ the countenance. The passive state in which some virtuosi hearing, or highly developed- sense of absolute pitch tion. If the father who has such an idea would only turbine type. Hero of Alexander (Heron, in Greek) serves the enthusiastic interest of all American music-lovers. appear on the platform, is by no means that in which they has very much to do with one’s real musical ability. transpose the same thought to the building of a house made the first steam engine, which was little more than The physical hearing is nothing; the spiritual hearing— Some one has said that chamber music concerts must have pri¬ originally studied their works. Your editor in his own teach¬ he would be surprised to find himself saying; ‘Since a toy. According to some historians, Heron lived in the if one may say so—is what really counts. If, in trans¬ vate assistance. This has been true in, all but a few instances. ing days always found it profitable to look at the pupil’s face. I am only laying a foundation, any kind of trashy second century before Christ, and, according to others, posing, for instance, one has associated the contents his work was done in the latter half of the first Some of the quartets have made money. The Kneisel, the Flon- If the pupil had the expression of a codfish, not much could bo of a piece so closely with its corresponding tonality material will do. I will use inferior cement, plaster, zaley and others have had numerous successful concerts and expected; but if the expression was that of the fox terrier, all that it is hard to play in any other tonality, this con¬ stone, bricks, decayed wood and cheap hardware, and Century. He was an ingenious mathematician, who employ the cheapest labor I can procure. But when often startled the people of his times with his mechan¬ other quartets such as the Zoellner quartet have been popular eagerness, all alertness, then there was attention. And atten¬ stitutes a difficulty—not an advantage. I get to the roof I shall engage the finest roofmakers ical contrivances. It is difficult to show the principle success entirely without subsidies. tion is the greatest factor in learning. “Too much cannot be said about the advantage of an early drill. The impressions made during youth in the world!’ of his engine in an exact drawing; but the follow¬ seem to be the most lasting. ' I am certain that the “The beginning is of such tremendous importance ing indicates in a crude way the application of steam lllfliP ", / * ' pieces that I learned before I was ten years of age that only the best is good enough. By this I do not force something after the manner in which Heron first applied it. _-J remain more persistently in my memory than the com- mean the most expensive teacher obtainable, but some¬ THE ETUDE JANUARY 1920 Page 9 THE ETUDE Records that Help the Music Teacher

By Edwin Hall Pierce

It sometimes happens in this world that things work accustomed to give weekly programs, usually illus¬ out much better than is anticipated. At the close of trating some particular composer or school of com¬ the war of 1812, the treaty of peace between America position. preceded by the reading of an essay on the and England was a very incomplete and unsatisfactory subject.' The membership being overwhelmingly rich i- document in the eyes of many statesmen, in that it in pianists, with a slight sprinkling of singers and a made no mention of or provision for rectifying those still slighter trace of violinists, it was hard to avoid a Don’t Be Too Awfully Dignified matters which had been the occasion of dispute, yet it certain monotony in the character of the programs, proved to answer the purpose, and there has been peace broken occasionally by the appearance of a “guest” By HENRY T. FINCK “A Is a retort containing water, which is heated to between these countries ever since—over a hundred from outside. This year it was determined to give the steam, which issues from the tube at B and is caught years. programs a new cast, the subjects being, for instance, The eminent New York Critic tells why and how we should musically unbend M in the wheel in such' a manner that the wheel revolves. When the player-piano and the various types of “Opera,” “Oratorio,” “Chamber Music,” “Church The principle is simplicity itself; and the noteworthy sound-producing machines came into vogue, music Music,” “The Orchestra,” etc., and were in the form of teachers were greatly concerned, believing their occu¬ lectures by various professional musicians engaged from fact is that—primitive as it is—it has the characteris¬ hesitate to select the best movement of a great sym¬ pation in danger, and they assumed a pose of hostility outside, illustrated by programs prepared under their Incalculable harm has been done to the cause of Poor fools! Composers as widely apart as Wagner tic principle involved in the turbine engine of to-day. phony and play that alone in order to give the people not unmixed with contempt. One very eminent mu¬ direction. music by the notion many high-class musicians have and Brahms had one thing in common: their admira¬ After Heron many others attempted to use controlled a chance to digest it. Pedants abused him therefor, sician coined the phrase “canned music” and wrote a The present writer was engaged to cover the sub¬ that they must be always solemn, dignified and pon¬ tion of the waltz-king. Everybody has heard of Mme. steam to produce force, until, in 1764, Jame Watt made but he knew, if the pedants didn’t, that not much more scathing magazine article in which he deplored the ject of The Orchestra. He desired to present a brief derous, heavy to the point of dullness, avoiding all Strauss’ fan on which Brahms had written the opening than half a century earlier Viennese orchestral con¬ discoveries which paved the way for the modern steam growing prevalence of the same. In course of time, history of the development of orchestral music from approach to levity—to lightness of humor or tempera¬ bars of the Blue Danube waltz, with the words: ductors actually used to interpolate vocal numbers be¬ engine, constituting him virtually the inventor of the however, it transpired that the fears of musicians were the time of Haydn and Mozart up to our own day, but ment, as if it were unbecoming to one of their pro¬ “Alas, not by Brahms.” tween the several movements of a symphony, in order type. Thereafter, the machinery became more and groundless; the effect on the number of music-students it was a matter of considerable perplexity how to pre¬ fession. •The New York Philharmonic, the oldest orchestra to make it easier for the audience to assimilate the more complicated and enormous in size. Double, triple was negligible, and the general interest of the public pare a program with the means at hand, other than to One summer, when I was spending a few weeks at a in America, and in my opinion, the best in the world, orchestral pabulum. and quadruple expansion types were introduced until, in music was actually increased. The fact is, if one make large use of piano transcriptions, especially four- certain hotel in Switzerland, a talented young Eng¬ has a pleasant habit of providing its subscribers every has a hankering to make music with his own hands, lish professional pianist was among the guests. She For many people, listening to an elaborate compo¬ at the Centennial Exposition at Philadelphia, in 1876, hand ones. This, however, would be practically putting year with one or two extra concerts at which only these mechanical devices do not quite fill the bill, yet was asked by some of the girls to play a waltz for sition in four movements is as difficult as mountain a giant engine was exhibited by Corliss—a marvelous the club back in the same old rut from which they were Strauss waltzes and Sousa marches and that sort of they are a great blessing to those who, on account of them to dance to, but seemed offended at the request. climbing. They need an occasional rest, time to engine, with many elaborate details. Then, having intending to escape. The answer came clear at last when thing is played. These are relished as much as the age, lack of musical education, or pressure of occupa¬ She didn’t know, poor dear, that some of the greatest breathe, and if they don’t get it they conclude the game reached the maximum curve of complexity, engine con¬ he saw the program of the lecture on Church Music, regular “dignified” programs. But why not give those tion, are unable to acquire practical techincal skill on which was delivered by the professor of that depart¬ composers delighted in playing waltzes for their friends isn’t worth the candle. Concert givers and solo recit¬ struction become more and more simple, and now we who are not regular subscribers a chance, too, to enjoy any instrument. ment in a certain Theological Seminary, where the to dance to. In the days of Chopin and Liszt there alists too often forget this. Their bread is heavy and have turbine engines, such as the Parsons engines, this light music, superbly done, by including such a The writer has never, during the last ten years, met available local talent was not sufficient to give the illus¬ were social gatherings in Paris at which these two indigestible because they put no yeast in the dough, titbit on each program of the season? which are all far smaller and simpler than their grand¬ any music teacher who was prepared to claim that he trations desired, used records on a sound-reproducing geniuses played dance music together, and the guests and that is why so many persons, particularly men— fathers of the seventies, but at the same time vastly had lost pupils, either actual or prospective, through machine of well-known make. made the best use of the opportunity. conclude that the usual concert fare is too heavy and the competition of “canned music.” The Cornerstone of Theodore Thomas’ Success dignified for them, and stay at home. more powerful and efficient. The result proved so satisfactory that we determined Schubert was never so happy as when he was play¬ It is surprising, too, to note how many skilled mu¬ Theodore Thomas, the pioneer conductor, who did Shakespeare is frolicsome and facetious, now and to illustrate our own lecture entirely in that manner, ing waltzes for his friends. There were regular meet¬ sicians find pleasure in the possibilities of the sound- more than any other musician to educate the American then, even in his tragedies. Richard Wagner, in an and set about making up a suitable list of illustrations. ings in Vienna called Schubettiads, because he was the (Mr. Hofmann’s extremely original and reproducing machine. No public to an appreciation of the best music, was wise i excel personally o The selection of available records was not quite as soul of them. “Occasionally” (I quote from my. occasional merry mood, used to astonish his friends by ir two instruments, but the pianist often in his day. When visiting Vienna he often went to suddenly standing on his head or climbing a tree. I interesting interview will be continued ample as we had hoped, and we were obliged to re¬ “Songs and Song Writers”) “the ladies were invited, enjoys listening to violin “records,” the violinist to vise the lecture at. some points, to conform to what and there was dancing as well as singing, Schubert hear Strauss’ dance music as conducted by the great am not advising pianists or singers to indulge in that those of singers, the singer to orchestral music, and Johann himself, so that he might reproduce its best in The Etude for February) we were prepared to illustrate, but in the end the re¬ sitting at the piano and improvising those lovely valses sort of thing on the stage. Pachmann’s pranks verged so on, ad infinitum. Much may be learned, too, and sult proved quite satisfactory. The records actually and other dance-pieces of which many were afterward effects at his own concerts in New York. “No one,” on foolishness, and they did not particularly redound that very pleasurably, by listening to the records of used were as follows :— written down. One evening a policeman entered and writes his widow in her admirable “Memoirs,” “knew to his credit. What I wish to emphasize is that there great artists in the line of one’s own specialty. Again, the value of a good piece of popular music so well as are times and occasions in programs, as in life, when One or two movements each from Haydn’s Military commanded the dancing to stop—because it was Lent— the writer once met with a professional violinist who Thomas, and he was always on the lookout for such it is desirable to come off the perch. That’s not a Irregular Rhythms Symphony; Mozart’s G minor and Jupiter Symphonies; greatly to the annoyance of Schubert, who exclaimed: made an occasional practice of playing his violin ac¬ dainty musical titbits and would take infinite pains to dignified expression, but slang often expresses a writ¬ the Andante from Beethoven’s Fifth Symphony; Men¬ ‘They do that just to spite me, because they know how companied by a player-piano, and was considering the make them effective.” er’s meaning better than the most carefully chosen By T. L. Rickaby delssohn’s Midsummer Night’s Dream Overture, an I love to improvise dance music.” purchase of such an instrument, merely for his own She recalls his arrangement for orchestra of words. My experience with great men has been that enjoyment. excerpt from Wagner’s Tristan and Isolde; and the This same prince of melodists used to amuse his the greater they are the more they arc inclined to Largo from Dvorak’s New World Symphony. It was friends by singing his highly dramatic song, The Schumann’s Trdumerei, ending with muted strings Years ago, as a student, I struggled mightily and Help in Club Programs indulge in slang and puns. I know that John R. Paine originally intended to commence with a number from Erlking, through a comb, in the most tragi-comic man¬ “piano, pianissimo, pianississimo,” as he said. He But it is more particularly of the educational pos¬ and Edward MacDowell were irrepressible punsters. (fruitlessly) with study 26 of Czerny’s op. 299. This Bach’s Suite in D major, for orchestra, and close wi: 1 ner. It is said that he was annoyed when Hutten- instructed his violinists, in order to emphasize the sibilities we wish to speak, and the easiest way to illus¬ study has an even left hand part in six-eight time, examples of the modern French school—for instance. brenner arranged this song as a waltz; but from all effect at the end, to continue drawing their bows over So were Beethoven and Shakespeare. trate them will be to give a concrete example. A certain we know of Schubert, we may be sure that this was the strings without making a sound. The audience with thirteen, sixteen, eighteen, nineteen, twenty, Debussy’s Afternoon of a Faun. This would now be Why Chamber Music is Not Popular twenty-one and twenty-three notes in a measure for YorkMiavim/a tfl®.smal,®rcitles °.f central New possible, and would serve to round out the historical not because he considered it undignified, but because imagined it still heard the sounds floating off to an York, having a membership of fifty or sixty, had been the right hand. Many teachers spend too' much time outline. it was badly done. immeasurable distance, till Thomas broke the spell by The most intellectual, serious and dignified form of the tonal art is chamber music. It is usually played on these irregular rhythms, which, after all, are not All the great masters, from Bach to Beethoven and quietly laying down his baton. Brahms, wrote dance music in abundance. Even Wag¬ Maybe it wasn’t very “dignified” to do such a thing, by two violins, a viola and a ’cello, which gives but common, and are only met with in compositions of ner has a waltz in one of his music dramas—The but, as Mrs. Thomas relates, when her husband began limited scope for coloring, or for stirring dynamic ef¬ advanced technical requirements. To play two notes Qu-est-ce Que Vous Voulez? Mastersingers. Tchaikovsky introduced a valse in one to travel with his orchestra, his little arrangement of fects. That being the case, one would think that the against three, or three against four, is not particularly of his symphonies—and think of the glorious valses Schumann’s exquisitely dreamy piece “created such a composers of chamber music would try' to atone for difficult when players have reached a point where their By May Hamilton Helm written by Chopin! Many of Grieg’s pieces are Norse sensation with the public everywhere that it might al¬ these disadvantages b£ providing variety in other ways. rhythmic sense has been developed considerably, dances. The waltzes of Johann Strauss may not be as most be called the cornerstone of his success.’’ Instead of doing this, they go to the opposite extreme. Take what you will—but pay for it. Emerson though at best it is not possible to make such combi¬ Do you want to be an accompanist? Then quick, ac¬ “dignified” as Bach’s B Minor Mass, but they are none Another thing that Theodore Thomas did in his Of all dull', dreary, unimaginative, repelling programs stressed that eternal truth, but we “terrestrians” are those of chamber concerts are the worst. First num¬ nations more than approximately correct. But by slow learners. curate sight reading is an absolute necessity. the less works of true genius, which deserve a place on shrewd efforts to enable the general public to glimpse the beauties of the best music, was that he did not ber : Quartet in C minor, opus 315, by Mozart. Sec¬ much repetition with each hand separately the pass¬ A teacher, prominent in the musical circles of Indi¬ A middle-aged woman once came to me saying she classical programs. ond number: Quartet in B major, opus 49, by Bee¬ ages become automatic—(and all performances of dif¬ ana, is reported to have said, “I know exactly what I wanted to take about half a dozen lessons, as she was Raisins But No Grapes thoven. Third number: Quartet in F sharp minor, ficulties must be automatic to be satisfactory)—and want, so I’m going to Godowski for this, and to going back to visit her old home and they’d expect opus 719, by Rachmaninoff—or something like that. in playing them the Biblical injunction of not letting another for something else.” Well, if the great teach¬ her to play. She said she knew her technic was old- Schopenhauer used to scold the Germans for their Each of the three numbers has four movements: Al¬ the right hand know what the left is doing must be ers sell their wares like open stock china, she probably fashioned but if I’d take her she’d “brush up” a few habit of abusing their men of genius and not paying Sensible Musical Education legro, adagio, scherzo, allegro. Only this and nothing carefully observed. Five-four time, seven-four time got what she wanted from each. pieces, if I d criticize and help her. I did so She was homage to them till after they were dead. “Why,” he The word education comes from a Latin more! It is horribly monotonous, monstrous, asinine. and alternate measures of different irregular time are A pupil once applied to my former teacher for “that satisfied with the result, and so was I asked, “always eat raisins and never fresh grapes?” root meaning “to lead.” People who are And then musicians wonder why chamber music isn’t pearly touch.” Now, if I’m wrong I’m willing to be set I often think of him when looking at orchestral pro¬ musical riddles, for the solution of which the allotted I consider that a very different case from another engaged in education have one great task popular 1 right, but it seems so plain that music is a growth, grams. Their makers never hesitate to include in them three-score years and ten make no provision, and they woman who came to me for French lessons. (My and that is to lead people to better things, Some of the greatest gems in music are in the form a means, of expression of what is in each soul. “raisin” suites by Bach or other masters made up of may be left out of ordinary courses. We are told that s^udy of French at a language school was valuable to better thoughts, better ways of living. of quartets, trios, or sonatas for two instruments. \Nhy else is individuality so apparent in touch, even old-fashioned medieval dances like courantes, alle- music has said all that it can say along regular rhyth¬ me pedagogically as well as otherwise, and so con- Mr. Finck’s article has a great signifi¬ They could be made as popular as other kinds of among those who use the same “method”? mandes, sarabandes, minuets, pavanes, gavottes, gigues, mic lines, and that in the future we must look for ad¬ cance to “The Etude,” particularly in the the best music if they were not thus smothered in “The “public” still holds strange ideas about taking I‘uTe iHn mu • tC°rueCtneSS of the “direct method” and so on; but they draw the line at modern dances vancement in the way of variety of rhythm. That music lessons. Some think a music lesson can be de¬ I use it in music teaching also.) This applicant la- case of our music section. If we were to pedantry and formalism. The sonata form, instead of still in use in our concert halls, apparently because they accept the valued suggestions of some of livered like a bushel of potatoes. If they do not see bored under the delusion that all one had to do to being a great achievement in music, has been its dead¬ modern composers are traveling along new rhythmical consider these undignified. Are fresh grapes, pray, less our friends this music section would be a the immediate results of each lesson they change teach¬ liest enemy. In innumerable cases it has tempted com¬ paths is very evident from what they are offering us. bnarv' HoagerniaS b T™* t0 memory the di<> respectable than dried raisins? kind of catacomb of musical bones. Thou¬ ers. That class also feels cheated if the teacher fails posers who had good material for a movement or two In a composition of Debussy’s (just to mention one nfinH Tf S Va ^ k"ew °f the laws of sands who have been attracted to “The to measure out the exact half hour. mind. If she had ever observed a child learning its Hans von Biilow was a notable exception among con¬ to spoil everything by adding the other two regulation case) we are required to play one to a count, two ductors. One of his principles was that just as a well- Etude” by the lighter pieces have as a It is well enough to have an understanding about native tongue she would have seen the falseness of matter of course developed a taste for movements, in which they had nothing more to say. to a count, three to a count and six to a count all in what they want or have a right to expect. her position. So, in trving to give her “wW cb made bill of fare includes olives and ice cream and higher music by reason of the better, the The result was failure; the more so because, inva¬ the same measure. These tasks can be undertaken Every pupil cannot eventuate in an artist. Why, then, cake, so a concert program should always be lightened more serious music sandwiched between. riably, the less a composer has to say the longer it takes only by the elect. They cannot be taught to anyone. ™“d:;M - "«i-S. by a delicacy like a Strauss waltz. For many years I should all be required to take an artist’s course. Psychologists say that the two process nt * • “The Etude” has thus led a multitude to him to say it.' have been preaching this same doctrine, but it is seldom better and better music year after year. Players either can do them or they' cannot. So," If one needs a house dress, should she be required to ing and sight reading are exactly onnosite 9 A symphony is an orchestral sonata, and there are while developing rhythmic perception and feeling as get the child material for a ball gown “she mav some that it is adopted by conductors. Read Mr. Finck’s comments upon the at¬ few symphonies all four movements of which are good. Pils can do both, but why deprive^the one wb PU' titude of Fritz Kreisler, whom violinists all day need? If the child of only average talent (and When Paur was at the head of the Boston Sym¬ Mrs. Thomas writes, regarding her husband’s early much as possible, do not waste time on difficulties that recognize as the master of technic and “<■> °<‘1“ phony Orchestra he once put two Strauss waltzes on are of doubtful benefit even where there is a possi¬ a good teacher can soon tell) wants “pieces” to play finish. That Mr. Kreisler introduces the days: “To the average concert-goer the word ‘sym¬ bility of their being well done, for this possibility is simply for pleasure, why “in the name of common E"" WP°»»8 a child cannot do either his sketch for a New York program, possibly to pacify lighter numbers for educational reasons phony’ was a synonym for ‘bore,’ and it repelled rather frequently a slippery and elusive quantity. sense shouldn t he have them, without hours of drudg¬ me; but, although these numbers were announced, they oes without saying, as his artistic ideals than attracted an audience.” It does so to this day, ery to acquire “tehnic” he may never use? were withdrawn because, as I was told, men in authority ave always been very clearly defined. with few exceptions, so far as the general public is ation of music, it is time well spent. were convinced it would be undignified for an exalted concerned; and these exceptions are the symphonies orchestra to indulge in such levity. which are good in every section. THE ETUDE JANUARY 1920 Page 11 Page 10 JANUARY 1920 THE ETUDE

Program music, which has helped so much to make ing and enjoyment. I consider that it is the great The Three R’s of Sight Reading symphonic music popular in the form of symphonic artist’s duty to make converts for music, and if he can By Elizabeth A. Gest poems, was bitterly opposed for generations as being accomplish this by the subtle allurement of the lighter undignified. It was not till Beethoven endorsed it by grades of music which are within the comprehension of When reading at sight we are always doing one of writing his Pastoral Symphony, with its imitations of the man-who-knows-nothing-about-it, what difference two things, and constantly alternating from one to the bird calls,-its scene by the brook, and its thunder storm, does it make so long as the results are satisfactory?” other. We are looking at the keyboard while playing that it was accepted as a serious species of music; but The short pieces which make Fritz Kreisler’s pro¬ the printed notes, or we are looking at the printed The Inter-relationship of the Ear to this day some conservatives speak of it disrespect¬ grams so alluring are partly of his own composition, notes while playing the keyboard. fully. partly chosen from the neglected treasures of the past. That sounds strange, but it is quite true, neverthe¬ To come back to chamber music: If the givers of it His own pieces are gems ranking with the jewels of less. We are doing either one of these two things and the Eye were not afraid to be considered undignified they would Chopin and Grieg. They are as inspired and as racy continuously, and the faster and smoother the con¬ select only the best movement or two of each quartet of the Viennese soil as the waltzes of Schubert and nection is made from one to the other the more or trio. Foolish critics, of German training, would Johann Strauss; exquisitely melodious, and appeal¬ nearly we approach the state of seeming to do both By WALTER RAYMOND SPALDING accuse them of “mutilating masterworks”; but this atti¬ ing to the tenderest emotions. Small and light at once. tude is ridiculous, because in the vast majority of they are, but so are diamonds compared with huge Professor of Music at Harvard University Playing from notes, whether reading by sight or existing works in sonata (cyclic) form there is no symphonic boulders. There are professionals and not, develops the muscles of the eye so that they Professor Spalding’s appreciation and understanding of the aims of THE ETUDE and his organic connection between the movements. They are critics who talk as if boulders were more valuable than long continued interest in our work has been most encouraging and stimulating. That he merely suites. diamonds, but the public does not think so; and th'at is can jump from the printed page to the keyboard and back quickly and focus instantly, and if one’s eyes are Never has there been a more ardent and sincere lover why Kreisler always plays to crowded audiences, usu¬ regularly advocates the use of THE ETUDE for study and, reference purposes among the of chamber music than the late E. J. De Coppet; a ally overflowing onto the stage. normal we have no particular trouble in making this students at Harvard is in itself a very flattering endorsement of this publication. connection. However, good sight-reading demands statement which is proved by his spending a fortune The neglected treasures of the past on Kreisler’s that the number of times this connection is made shall to organize and float the admirable Flonzaley quartet. programs prove my contention that if c mcert-givers These are days, as everyone knows, of great activ¬ its startling contrasts between snow-capped mountains Vet this Mtecenas once told me that two of the usual be minimized. So it is the two situations mentioned smashed the dignified and dull sonatas and played only ity on the part of psychologists and aestheticians in and radiant fields, is a constant delight to the eye, just three quartets on a program were all he cared to hear above—looking at the notes while playing the keys, the inspired parts of them, their business would im¬ regard to the inter-relationship of all ,the senses. It for the sheer pleasure in seeing such a wealth of color; at one sitting. If this was the case with an enthusiast, and looking at the keys while playing the notes—that prove tremendously. Many of his treasures are taken is alleged of the famous French novelist Guy de Mau¬ and so the Italian people have a highly developed color how foolish and suicidal is the regulation program of need practice. from cyclic works of seventeenth and eighteenth cen¬ passant that at the end of his brilliant' but checkered sense. It is perfectly valid to say that the Italian musi¬ a chamber music concert 1 It is not difficult to play without looking at the key¬ tury composers. Kreisler is a great scholar. He delves cians, Monteverde, Zarlino, Merulo and the two Gabri¬ board. While a knowledge of harmony is a ureal help, career he became so subtle that he could smell sound, among the dust-covered piles of forgotten music and elis in their significant works were merely introducing Percy Grainger and Fritz Kreisler it is not absolutely essential, but one must have a clear see touch, and so forth. Whether we shall in time be¬ rescues from them nuggets of gold and precious stones, into music the same elements as a fascination to the to the Rescue mental picture of the keyboard, and a sure grasp of all come so far advanced that we can touch smell may be which he exhibits to the dazzled ears of music-lovers— open to honest debate; but it is fair to say that for the ear, which their great painters, Titian, Giorgione and The Kneisel Quartet used to put life and go and chords, scales, arpeggios and key-groups, etc., con¬ and others who never knew they were music lovers till average human being “this way madness lies.” Veronese had employed so wonderfully in'their glow¬ variety into its programs by playing Percy Grainger’s they heard him. trolled by the sense of touch unaided by sight. We are, however, on solid ground when we say that ing canvases. Molly on the Shore, to the delight of its audiences1. In a way Kreisler is doing for the violinist what For this, practicing with closed eyes is very good; there is a relationship between the workings of all our Ever since that time the chief progress in music on This piece is not dignified, but it is tuneful, sprightly, Liszt did for the pianist, except that while he chiefly and in The Etude for January, 1915, another > ifiod senses for the simple reason that they are all means the harmonic side has been involved with the chromatic entrancing—everything that makes music worth while. favors the seventeenth and eighteenth centuries, Liszt was suggested, that of holding a piece of slui music of registering on our brain and imagination impres¬ element; that is, to introduce more and more dis¬ But the Kneisels played this winsome piece only on the preferably exercised his skill in setting jewels by more over the keyboard with one hand while playing with sions derived from outside sources. For example, sonance as a stimulation to the instinctive desire of road. For metropolitan audiences it was apparently modern masters. His name is more prominent on the other. everyone knows in relation to the senses of taste and the imagination for warmth and color. We see this ten¬ considered too undignified. A queer world, ladies and pianists’ programs than that of any other composer In the other situation—looking at the keyboard while smell how closely they are interlocked in the enjoy¬ dency in Bach’s Chromatic Fantasy, in the coloristic gentlemen 1 except Chopin, and yet audiences of our day have been playing the notes—we must carry in our mind the ment of our food. It is surmised, in fact, that cooks modulations of Schubert and Chopin—which often ap¬ If Grainger were given as prominent a place on pro¬ familiarized with only a fraction of the Liszt things notes we are about to play. This faculty n lie peal to our imagination through the ear in the same grams as Beethoven and Brahms, chamber music would that wo1 Id enchant them. greatly developed also, and it must be remembered derive a certain nourishment from the aroma of the delicious dishes which they are preparing, so that they way in which a kaleidoscope or the changing hues of be more popular, and more people would therefore hear I have in mind particularly his amazingly clever and that the notes also include the rests and rhythm. Look Prof. W. R. Spalding need a minimum of nourishment taken through the a sunset appeal to the eye—in the orchestration of Ber' Beethoven and Brahms. See? effective operatic fantasies. Each of these ingeniously at a measure for a moment and then try to play it ordinary channels; it is certainly true that they often lioz and Liszt with its emphasis on those colorful Grainger is never boresome for one moment. If he —and with interspersed flashes of his own genius— correctly without referring again to the printed page. our powers—it being assumed that all musical persons become too stout. There are also very subtle associ¬ .instruments, the wood-wind group, in the sensuous or¬ ever penned anything tiresome he would cut it out. brings together the finest melodies of a whole opera Take very simple things at first, and each hand alone have a certain amount of oral and visual power. ations, with which everyone is familiar, in regard to chestration of Wagner and Rimsky-Korsakoff, and in He doesn’t believe in the Teutonic method of “the¬ and sets them off with consummate art. Not a few of if necessary. As one improves, two measures may lie Let us now discuss certain distinct gains which will the sense of smell in recalling past associations which the pianoforte pieces of Debussy, perhaps the greatest matic development”—in plain English, padding. these operas are now obsolete, but their melodies are taken as a unit, then three or four. result in the use of two of the universal media for ren¬ oftentimes were originally connected with other senses. colorist of modern times. Fritz Kreisler is another very prominent artist who as lovely as ever. The public would love to hear In broken chords it is not often necessary to look dering music, i. e„ the voice and pianoforte. We all never bores or tires. There is a world of useful sug¬ To take up the subject of this present article, the them and the pianists to play them. Why, then, are at more than the first three or four notes, bn: notice know how many people sing merely the notes, their gestion in what a San Francisco manager, Frank W. inter-relationship of the ear and the eye as means of re¬ they not played in public? Because some stupid, pedan¬ the position or “pattern” of the whole pass.me. and Do Keys Suggest Color? tone being hard, dry and cold, and certainly lacking Healy, said about him the other day, in speaking of ceiving impressions of sound and sight, there is doubt¬ tic critics cry “undignified.” Dignity be hanged! Ladies the stopping point, so that you will not run I< nd it. That famous French opera composer, Gretry, who in¬ in color. Yet the human voice abounds in wonderful him as one of the important factors in making new less a great deal more in this matter than is often and gentlemen of the piano, it is your privilege, as The same is true in arpeggios and scales anti \ Huts dulged in all kinds of speculation, has some very suggest¬ shades of color, and singers should quicken their color concert goers in that city: “By introducing a certain believed; the subject should also be one of vital im¬ well as your pleasure and profit, to revive the Liszt rapid passages. ive comments on this subject in his “Essaies sur la Mu- sense, open their ears, listen to the tones they are number of the lighter pieces on his programs he has portance to any welhequipped musician. The relation¬ fantasies and transcriptions and defy the class of critics In repeated figures notice the first group, and at sique,” going so far as to assign definite colors to the producing, and see to it that the sound of their beau¬ made friends for music among those who have had ship is a natural and obvious one for the simple rea¬ referred to. It is infinitely more important for you to what intervals the figure is repeated. In - ken various keys and to the different orchestral instru¬ tiful instrument delights the ear as much as the color neither the training nor the experience to jump into son that both sound and sight, in physical terms, are please the public than those dullards. They can’t do octaves or figures repeated on the same note it is ments. Although this is a purely subjective matter and scheme of an artistic painting delights the eye. What¬ the higher grade of recital programs with understand¬ the result of wave motion—waves of sound striking on you any harm if the public is with you. necessary only to look at the first figure, and notice one which cannot be treated specifically there is no ever the pianoforte is or is not, by means of its mass the tympanum (thence registering their inner impres- how long it is kept up, giving the attention to the doubt that the difference which actually does exist be¬ of vibrating wires, its large sounding board, and, above sons) and waves of light acting in a corresponding way other hand. tween keys in pianoforte and orchestral music can be all, the two pedals, it is certainly one of the most col¬ upon the retina of the eye. more vividly expressed in terms of color than in any orful instruments ever invented. Taking Stock printed page, and can carry a mental picture ; ,h The subject is of practical concern to musicians for other way. It is also deplorable that auditors and even notes while looking at the keyboard, and whose eve the reason that we are constantly using our eyes in conductors are so insensible to these distinctions, for Piano a Colorful Instrument reading scores, in practicing upon any instrument, or By Emil A. Bertl focus, instantly in going from page to keyboard am the difference in color of keys should always be con¬ It should always be played with a constant realiza¬ back is a good sight reader. in singing; and the real and final impression of any sidered in arranging the order of pieces on a pro¬ work of musical art is received through the ear; for, tion of the fascinating shades of tone which can be pro¬ Teacher, take stock of yourself. of your pupils. We must vary our language, adjust it . C°"versely. if one is not a good sight-reader. 1 • >1 gram. Often the real poetic effect of a piece is largely duced. Too often it seems as if the player were simply to one or more of these three points for the reason. as St. Saens so eloquently says, “The ear is the sole dependent on just the appropriate setting with refer¬ Are your pupils getting out of you all you have to the needs of the pupil. avenue of approach to the musical sense,” although attempting to make up for its deficiencies by forcing to give them, or are you neglecting little details? The If the pupil does not seem to understand one form ence to the key of the piece which preceded and of that it to become something which it is not; for that the the eye is an accessory help of great value. which is to follow. mere fact that you know your subject will not do of expression try another until you are sure that he Truly, it is an open question how much a great pianoforte has limitations is impossible to deny. It is Let us now consider some practical inferences which everything. You are paid to make the pupil share in comprehends your meaning fully-. many people would get from a symphony concert if a not, for example, a rapid instrument in comparison may be drawn from the inter-relationship of’the ear your knowledge. Fit the lesson to the pupil. The tailor fits you with By Nannette van Alstyn screen were placed before the orchestra so that they with many others, such as the violin, flute and clarinet, and eye. The matter i? summed up in the statement, a coat he has to sell you. Do not be less sensible than could not see any of the motions of the conductor or and it certainly is not a loud instrument in comparison Remember that you cannot talk in the phrases to all the tailor. As everyone knows, bete noire is the FreneV, , well-known but seldom lived up to: “A well-equipped the impassioned efforts of the performers, and had to with such overpowering sound producer? as the organ, for, literally, “the black beast.” They give it a signil musiciari must hear with his eyes and see with his rely upon their ear alone. trumpet, cornet and trombone. Its dynamic effects are ears”—the two senses working hand in hand in their purely relative, as is implied by the term “pianoforte.” effect upon the imagination; that is, when we look at Color and Tone Unless pianoforte tone abounds in subtle effects of Musical Embellishments a printed page of music, actual sound, with all the light and shade, of delicate gradation? of color, the Whether we are ready yet to grasp all the mysteries effect of dissonance and color, must be heard in our instrument is dull and monotonous; but when its in¬ of so-called color-audition, or to endorse the experi¬ brain. Conversely, when we hear music, unless the By Ira M. Brown has Thfack h/«t ' S.tronger: Xow each one of . nate possibilities are realized it is worthy of the poetic nas a black beast—perhaps several. As annlied tr , • ments of the Russian composer Scriabin—who, after harmony is extremely complicated or the modulations thoughts confided to it by such masters as Beethoven, composing a symphony in which during the perform¬ Many teachers do not understand the principles musical life, it may be scales, or a peggios or regu very exotic, the notes should pass before our eyes as Chopin, Schumann, Liszt, Brahms and Debussy. We must restock constantly, precisely as the merchant ance the various colors were thrown on a screen, was vividly as if we were seeing them on a printed page. which govern ordinary embellishments well enough to ■ty of the practice hour, or punctuahty^n giving r may say in passing that the pianoforte should be kept restocks. If the merchant fails to restock he fails. If receiving lessons, or patience, or-well, it mav be an planning one in which delightful perfumes were to be Certainly the musician with a keen ear for pitch— explain them satisfactorily to their own pupils. In in better tune than is generally the case, for the writer the teacher fails to keep up-to-date he may fail. There" released in the auditorium—need not be settled; but and this may be cultivated to a high degree—should similar manner there are many, many things which can “4J*" °< *!*»■. B« ivhatevi is convinced that the lack of development in the color fore, he must either receive fresh instruction from a liv¬ that there is a real connection between color and sound always be able to tell in what key the orchestra is sense is chiefly caused by the fact that people are gen¬ be mastered quietly at home by the teacher at the sacri¬ ing teacher or he must refresh himself constantly from . f ,hat s is proved by the word “chromatic,” one of the oldest playing, and children should be trained early to write erally playing upon instruments not in perfect tune. fice of a little time and the purchase of an inexpensive books. Here are four books that the teacher will find wordg in musical terminology. This word—the Greek down simple melodies and chords from dictation. In A good pianoforte, when it has just been tuned, sends book. Make a plan to buy at least one authoritative most useful in restocking. Try them on some such s’s.’Sr1 derivation of which is plain from our English word this way only may the standard of musicianship be yearly plan as this: January, February, March, L. A. forth waves of colored sound which delight the ear book once every three months or every six months, and chromo—first came into vogue among the composers raised so that notes cease to be mere hieroglyphics and and stimulate the imagination. On the other hand, no devote a little time every day to special study which, Russell's. Musical Embellishments; April, May, June! of the Venetian School. The Italians are a very become symbols of living sound; so that when we play Great Pianists on Piano Playing; July, August, Sep¬ one can make a pianoforte out of tune produce any¬ with the assistance of papers like The Etude will sensuous people; that is, rather than apologizing for music or listen to it, something beyond a pleasing mix¬ thing but a dry and disappointing effect. If players keep you “up-to-date.” The teacher’s commodity is tember, Harmony for Beginners, by Orem; October the senses, which have been bestowed on us by the ture of tones is registered within our brains. If the November, December, Principles of Expression for were more sensitive on this point, instruments would be information. His shelves must be filled with the latest Messe Salennelle can be applied to Creator, they believe that sight, hearing, taste, touch necessity of this connection between the ear and the Pianoforte Players, by Christianni. Such investments kept in better tune. and most authoritative information. To do this he always pay. from the heart; may it go back t and smell should be developed to their fullest effi¬ eye be acknowledged, the faculty for interlocking hear¬ To sum up: the foregoing observations have made CARTNEg. ciency. Italy, with its gorgeous colors of nature and ing and seeing can be cultivated like any other of plain, we trust, how vital a part is borne by the imagi- THE ETUDE Page 12 JANUARY 1920 THE ETUDE JANUARY 1920 Page 18 nation in rendering music. This important factor in Some Practical Hints on Pedaling our intellectual and emotional equipment is sensitized by impressions received through the ear, eye and even By Ernst Eberhard (T” ~' the touch, for we may go one step further and say that 1 l ' Musical Pot-Boilers 1 a person who plays the pianoforte really well has ears The manner in which a passage is pedaled has much sides the dim mingling of tones, the C sounds pre¬ and a color sense in the very ends of his fingers. to do with its beauty. Even the clearest technic may dominantly. 1 ^ By the Well-Known Musicologist | Color means warmth, life and variety, and without a con¬ 5. A melody or passage will require different pedaling mzj' lose its distinctness if the pedal is used incorrectly. LOUIS C. ELSON stant recognition of these qualities music becomes Therefore special attention should be paid to this sub¬ according to the speed at which it may be played. r 5 * atrophied and fails to reveal its complete possibilities. ject before a piece is played to an audience. 6. Generally, the pedal should be lifted just after Facts about the Menial Tasks which Great Masters have been Forced to Musicians should nourish their color sense by the study There are no set rules for pedaling. Certain prin¬ each melody note, so that the tones of the melody 1 of fine paintings and by frequent communion with ciples are, however, well recognized as fundamental to may stand out distinctly, except when it is desired to | *■-- Undertake to Earn a Bare Existence & .. . the glories of nature. That such famous composers as good playing. A few of these are explained in this hold the tones of related harmonies together. Beethoven, Schubert, Chopin, Tschaikovsky, Wagner, article. 7. Related—even unrelated—harmonies may often be I Brahms and Debussy were passionate and persistent As a general rule, it may be said that a good knowl¬ connected to secure a most artistic result. Try such a Even the greatest composers sometimes are obliged so this composition, so vastly above the average merit of the members. The following memorandum in one lovers of nature is surely a fact of great significance, edge of harmony is necessary for good pedaling, so passage with different pedaling, and see which one is that related tones may be intelligently connected. Like¬ to write a work, not from inspiration, but from some of pot-boilers, was not pecuniarily remunerative. Mo¬ of Beethoven’s note-books shows what he thought about for the beneficent results of that love are vividly re¬ most agreeable. flected in their works. All musicians who strive for wise, the ear should always be alert to catch good or ulterior motive—to stock an empty cupboard; to gain zart seems to have been a believer in the old conun¬ pot-boilers: close interrelationship of the_ ear and eye and touch bad effects when you are playing. In other words, 8. After the pedaling has been fully decided upon, a position; or to curry favor with an important patron; drum, “What sounds worse than a flute?” “Two “The oratorio for Boston. I cannot write what I play the passage without pedal. It is very possible and such works form a larger repertoire than the average will find their work and enjoyment strongly vitalized form the habit of listening attentively to every note flutes!” for he wrote some letters to his father com¬ should best like to write, but that which the pressing that important notes have been blurred and that inat¬ musician would dream of. A story is told of Ockeg- and will be doing their part to bring out in music the that you play. plaining of the instrument But we must remember need of money obliges me to write. This is not say¬ tentive listening has prevented the fault from being hem that Louis XI had half promised him a certain sensuous delights inherent in its nature. 1. Study the character of the instrument itself. Find that the Boehm flute had not then been invented, and ing that I write only for money.” out its capabilities and limitations. Know what the noticed. advancement, but when it was hinted at generally Fortunately he gave up the idea. One can only sur¬ replied, “Laissez-moi faire,” or “Leave it to me.” the old flute seldom strayed far from the key of D piano is best fitted to express, and seek to bring out 9. A passage may often sound better without pedal major without getting out of tune. mise what the Handel and Haydn Society would have its peculiar qualities. For instance, the lower register than with it. A virtuoso’s clarity and lightness in Finally the composer jogged his memory by sending done with a Beethoven oratorio in 1823. “Dressing the Part” him a Mass, beginning, “La, sol, mi, fa, re,” suggesting of the piano is more resonant than the upper; a pas¬ certain passages may be remarkable; the secret may One would imagine that the author and composer of the accustomed words and this succeeded in landing When Quantz Climbed Up the Chimney sage perfectly pedaled in the treble may be blurred when not be his use of the pedal but his non-use of it. Some the Marseillaise, the universal song of Liberty, would the fish it was cast for—the earliest recorded pot¬ Since I am speaking of flute compositions I may By Constanza M. Foster sequentially treated in the bass. Again, the last few of the best pedal effects are gained by not u.-ing the be. very far removed from writing anything like a pot¬ boiler ! add that Quantz wrote a large quantity of flute music keys of the treble have no dampers, so that the damper pedal. boiler, but exactly the reverse is true. After the res¬ Bach was less successful in gaining the advantage for Frederick the Great, about 300 concertos and some To those who purpose the career of public singers pedal does not affect them save through the medium of 10. The pedal should generally be lifted just after the toration of the Bourbons, and during the subsequent that he sought for in writing his B Minor Mass. His 200 sonatas, which were ground out to order to please or instrumentalists the subject of “dressing the part” undertones. playing of a chord, seldom with or before it. > called political changes in France, he composed Royalist, Le¬ object in beginning this greatest of all choral works the royal flute-player. He had taught Frederick the should be of especial interest. The appearance of an 2. When'you lift the pedal, be sure that it is lifted staccato and legato pedaling may be unders: .] from gitimist, and Imperialist songs, turning like a weather¬ flute in secret, when he was crown-prince, in defiance artist on the platform has much to do with his success, all the way up. It too frequently happens that the the following: was to win the favor of the Roman Catholic ruler of cock to whichever party was in power. But we may of the old king’s orders, and once, when that king came or hers, since, in this article, we shall speak only of the player lifts the pedal only half way, or depresses it too (a) Legatissimo; keep the pedal down for some time Saxony; and a letter exists in which he presents the well assume that the Marseillaise came from his heart to the room in the wing of the palace of Potsdam feminine gender. Milady’s frocks are so much more quickly for the dampers to entirely stop the vibration after a chord has been played. The tones the pre¬ Kyrie and the Gloria of the work to King Friedrich (he received no pay at the time for it) while the later where the secret lessons were going on, they saved his of an item than the masculine “habit de ceremonie.” of the strings. This half dampening effect may often vious chord will mingle with it, and if the tin , rs are August with the following words: effusions were inspired by an empty pocketbook. The life by climbing up the chimney with flutes and music, The writer once saw a world-renowned singer ap¬ be of artistic value, but is more generally a blemish. held down, the tones of the first chord will be hi ird to “I lay before your kingly Majesty this trifling proof best tribute to the power of an inspired song such as and hiding there just as the tyrant father entered. pear on the stage dressed in a fashion so absurd that 3. The pedal may be used to obtain a legato effect, die out as the pedal is slowly lifted. of the science which I have been able to acquire in the Marseillaise was the left-handed compliment paid to When Frederick was king he made it up to Quantz it no doubt had a great deal to do with her cool recep¬ when the required effect cannot be secured by the fin¬ (b) Legato; the pedal is lifted just after the chord music, with the very humble petition that you will be the composer-author by Klopstock, the German, who, pleased to regard it, not according to the meanness of by helping him much more than Graun, who was also tion, She was attired in a yellow satin gown, more gers alone; but never trust to the pedal for a legato is played, connecting the chords enough to g< t a legato when introduced to Rouget de l’lsle, refused to shake under his protection and much the greater composer. suited to a young budding girl, than to a woman who which it is possible for the fingers alone to secure. A effect but not enough for the tones to mingle. the composition but with a gracious eye, as well befits hands, with him and exclaimed: “Monster, your music your Majesty’s world-famed clemency, and condescend Several of Quantz’s pot-boilers still exist, monuments was at the latter part of her professional career. It was good finger legato leaves the pedal free to obtain pedal . Non-legato; the pedal is lifted just as the chord has killed fifty thousand Germans!” to take me under your Majesty’s most mighty pro¬ of an amazing fertility to order. so short that her ample “underpinnings” were conspicu¬ effects, thus enabling one frequently to enhance the is played, the fingers having previously rol. ;..< 1 the ously displayed. And it “hiked up” in front, and sagged beauty of a passage. first chord. tection.” Whether Haydn’s twelve English symphonies belong Wagner’s American Pot-Boiler in the back, whether because of the manier of stand¬ 4. When the pedal is depressed, all the notes played, to the pot-boiler class may be doubted, yet they Avere (d) Staccato; the pedal is used so that a distinct Three years after he was made Court-composer to In Wagner’s early career one can find the clearest ing or not, we cannot say. She wore white slippers before it is lifted keep on sounding, much as if they separating of the chords is noticed. King August III; though it does not seem to have certainly manufactured to Solomon’s order. That type of pot-boilers. Most pathetic are the pieces by of ancient style. The slippers were without heels, had been played all at the same time. In order to un¬ astute musician and manager had seized upon Haydn You should play a few chords, so as to rea.I : under¬ bettered his position or income to any degree. But which he tried to keep his head above water in the which made her feet look part of a yard long. derstand this, play the C major scale for one octave t' e moment that his patron prince died and the Ester- stand the foregoing and appreciate the diffen t effects the B Minor Mass is far removed from the uninspired days of poverty in Paris. He began setting French She was a beautiful woman, even though not in the very slowly; then play it with pedal very slowly, keep¬ hazy orchestra was dispersed, brought him to London which may be secured in chord playing. It - jm - list of pot-boilers, and it was finished with a magnitude poems to music, in the hope that they might be sung first flush of youth. But her dress extinguished every ing the pedal down until the last note has been i.. 1791 and again in 1794, and contracted for six possible to describe such effects; they must be heard, which made it impossible to use in the Catholic service in concert and make him known. He was finally re¬ good point she possessed. With her ample proportions sounded; then without pedal very rapidly; then with of the mass. symphonies at each visit. But with the promise of an 11. Passages played with pedal have a different tone duced to sending some of these to the publisher of she resembled a fishwoman on a holiday Her voice pedal very rapidly; and lastly'rapidly with pedal, lift¬ excellent orchestra, an admiring and aristocratic audi¬ color from those played without pedal. One can detect Handel in a similar case of compos¬ “Europa,” a society journal in Stuttgart, which paid the had stood the test of time well, and she was an artist ing the pedal after the final note has been sounded, ence, as well as a substantial hororarium, I cannot 12. Finger staccato is impossible when the pedal is ing a work with a definite pecuniary object in view. sum of from three to four dollars for an accepted song, beside. But her appearance so prejudiced her artistic but sustaining the final note with the finger. If you This was his so-ealled Water Music, Handel’s most think that pecuniary advantage was the chief incentive and the chansons L’Atlente, Mignonne and Dors, Mon do this, listening attentively, you will notice that be¬ down. This hint would seem unnecessary w< e it not case that her solos fell flat, and her recital was a com¬ important purely instrumental composition. He was in the production of these works, which were the best Enfant were thus published. At this time Wagner also plete failure. that so many students do not realize it. in the service of George, Elector of Hanover, when symphonies that Haydn ever wrote, and first and last set. a German version of a French patriotic subject. On the other hand, Ellen Terry, the famous English he begged for a furlough to visit England, which was he wrote almost one hundred and fifty such works. Heine’s Two Grenadiers, but this fell flat, and it is not actress, had the art of dress down to a fine point. Stout granted. But he became such a favorite at the court one of his worthy works. Yet it is interesting to note as she was, she yet contrived to look superb by the The Lines and Spaces of Queen Anne, that he did not return. His dismay Masterpieces at Twenty Cents Apiece that both he and Schumann, neither of whom knew of simple means of drapery. Most fat people wear skin¬ when, at the death of the queen, the Hanoverian Elec¬ With Schubert, even the works that he composed the other setting, both ended their compositions with tight clothes, in the vain hope that so they may de¬ tor became King of England may well be imagined. from financial necessity can scarcely be called pot¬ the Marseillaise as the most fitting climax to the mili¬ ceive.the beholder. But Ellen Terry looked like a god¬ Various attempts to obtain forgiveness for the truant boilers, for he was incessantly impelled to composi¬ tary picture. dess in her rich, sweeping draperies, and her size was failed. At last, when the king was making an excur¬ tion, whether there was a recompense in sight or not. But. in these works at least Wagner was not lower¬ The teaching of the lines and spaces, particularly sion on the river Thames, a barge followed the royal Yet he used some of them definitely as pot-boilers. Thus, wonderfully concealed. In movement, she managed her when the two clefs are taught simultaneously, often nbre hi.TZ stanj. it he understands this, ing his gifts, since he indulged a certain freedom of boat discoursing excellent music. When the king asked for example, he would often dedicate a song with a view draperies with ease and grace. One caught an occa¬ presents a difficulty to the young teacher. expression. His other Parisian pot-boilers were much to clav the8£r °n UlC ? ab°Ve midd,e C and tdl him who had composed this music for his excursion, Baron of a pecuniary return. In this manner he dedicated the sional glimpse of the point of her slipper peeping from I think I shall not be alone in rejoicing when the more like drudgery and slavery. This was the arrang¬ staff St™ S.uWhrCh rePresent the spaces of the Kielmansegg told him that it was his old servant Han¬ Wanderer’s Night Song to Ladislaw Pyrker and gladly under the edge of her gown—a glimpse that gave no hackneyed "Every Good Boy” etc. has sunk into ob- ing of popular melodies and transcriptions from operas del who was most contrite for his past offence. The accepted twelve ducats as a quid pro quo. At the end hint of its size. bvion. That the straight line is the shortest distance cle„ h£,' ITto fhe" T' for the piano, and even for the cornet, for the house Modes change. But there are certain broadly con¬ king was in a good mood; he sent for the composer of his career he was thankful to sell some of his of Schlesinger. Fancy Wagner making a piano score between two points, is a truism musically as well as Sd dT ™ii SC.rtSdhc’S t* songs at twenty cents apiece. The reader can imagine ceived laws that one must follow if one would present and thereafter gave him his patronage. of Donizetti’s La Favorita! geometrically. We want the child’s mind to assimilate what those twenty-cent manuscripts would be worth the best appearance before the public. Let your dress pS b! Ti i"idd»Ci <*•>» <£t£2 „nfs: . These direful days ended with the Dresden produc¬ the relation of that line or space on the staff, to this to the autograph collector to-day. Mozart’s Flute Concerto tion of his Riensi, but Wagner composed a very dif¬ be up-to-date—this goes without saying. But choose key on the keyboard; not to have consciousness gro- ' this(S is F)Hr,., fifth line”. ’ '(U«■pa-s A) s’first line above. A; that style which has no hint of the comic or grotesque. ping aimlessly about, trying to associate that particular If all pot-boilers were of the character of Bach’s Schubert was too unbusinesslike to make his pot-boil¬ ferent pot-boiler after prosperity had come to him, ers count financially. He lived with a coterie of Bo¬ “Line” is of the utmost importance. Study your figure, place on the staff with a certain word in a certain and named simihrly^In pHyint'theT5 7 ' B Minor Mass or Handel’s Water Music one would and he was recognized as the chief composer of his hemians, whose ways would have delighted Henri Mur- and find out its defects and its beauties. Then consider meaningless sentence. I have tried many devices for prize the school most highly, and the noddings of epoch. It was at about the time that his Triology was ger. It was a happy-go-lucky sort of Commune. Hats, what style will bring out the latter while concealing the simplifying the learning of the lines and spaces and Homer, the emergency pieces of some other great approaching its first performance in Bayreuth that the masters, sustain the high level. Mozart wrote a dis¬ coats, and cash were generally held in common, al¬ former. Color comes next in importance. An audi¬ have found the following plan most successful. upon'^it higTc afl hCrm7 ^ In”“ American Centennial Commission engaged him to write these kevc , 3 , . and ^ow C being said when tinct pot-boiler when he composed his concerto for though of the latter there was seldom more than a ence likes to look at a pretty color while listening to We will assume that the little beginner knows the a march for the opening of the great exhibition in Phil¬ Taueht in ,Payed; lt wil1 Prevent confusion later, flute and harp. He rather disliked the flute, and even negligible quantity. In one of the periods when the a song. No detail will show from the distance, so names of the white keys, the definition of the word in his opera of the Magic Flute made little use of it, treasury was at the lowest ebb, Schubert sold some adelphia This was a very different matter from the • confine yourself to effects that will count at long range. • staff, and the difference between the clefs. I have a years of ave wilt '7’ 7 ordlnary Pupil over seven and in his day the harp was such a diatonic instru¬ eighty songs to Diabelli, the publisher, for eight hun¬ Parisian efforts at barring out the wolf at the door. Rich materials are indispensable, for they drape better sheet of white cardboard (12 by 24) on which are printed the treble and bass staffs, with their lines and ment that few composers wrote for it. But when dred florins. The Wanderer was one of the set, and Theodore Thomas instigated the request, and the sum and fall more gracefully about the figure, thus contribut¬ spaces lettered and numbered. This is placed on the piano Mozart was in Paris in 1778, Baron Grimm recom¬ this one alone netted the publisher over 30,000 florins. demanded for this work was five thousand dollars. ing a line value to the whole effect. But eight hundred florins in the Bohemian circle was before the child, who names the treble lines and spaces, mended him to the Due de Guines. The duke was a Spite of all this it was definitely a pot-boiler, a work The last word is this: when you have done your best unheard-of wealth. Schubert’s friends, then, all went saying the number first, then the letter. I then proceed: passionate flute-player, and his daughter was a good which was entirely inspired by the sum to be paid to look pretty” forget the whole thing, and devote to hear Paganini in concert at five dollars per ticket! We are going to find those lines and spaces here on the performer upon the harp. Mozart taught the young for it. Wagner himself once said: “Do you know the yourself to your artistic task. Do not preen your thePlPeySboardraerired v the linCS and spac« on It is needless to say that they were soon upon the keyboard. Between two lines of the staff, there is lady composition, but complained distressedly to his best thing in the Centennial March? The money I re¬ draperies or show an undue solicitude about your least a year They a~ fu 7 1° daily practice for at father about her lack of ideas. During this time he usual famine basis again. a space, and between two spaces there is a line; there¬ ceived for it!” He had nothing to guide him, nothing, trail—if you have one. Walk gracefully to the center hoped to win favor from the duke by writing him a Beethoven seems to have held himself sternly aloof fore, if this key represents a line (pointing on key¬ on the keyboard^and^are^no^ne0^46 7^ ” ^ of the stage, and when you turn, your trail will ad¬ and spaces if thev ha k 0t perP'exed by added lines from writing pot-boilers. The nearest he came to com¬ to turn his thoughts into American channels. He him¬ board to midde C), the next key must represent a concerto in which both he and his daughter might just itself to the movement. If it hampers you, a little prescribed * ^ been faithful 1" doing this as posing one was when, in 1823, the Handel and Haydn So¬ self says that finally the remembrance of some beau¬ space (pointing on keyboard to the D above middle C). appear as artists. The result was the above-named twist of the body and a slight movement of the foot ciety, of Boston, sent him an order to write an oratorio tiful American women that he had met turned into the Now (to child) play the keys which represent the lines concerto. Unfortunately Mozart, as far as recorded, will put it into place, and so relieve you. since they must’ bT learned fIimin®te the letters, but for their chorus. There is no record of this order in graceful triplet figure which plays a prominent part in of the staff.” (Start him at' middle C and stop at A never received anything for. the work, and had some the Handel and Haydn records, but it is absolutely the work. But of Liberty, of winning freedom through duce them at the beginning ’ 1 prefer to intr0' trouble in collecting even for the lessons he had given; certain that it was given, probably personally, by some sacrifice, of Pilgrim, Puritan, or western pioneer, there THE ETUDE Page 14 JANUARY 1920 THE ETUDE JANUARY 1920 Page 15 It will be seen from this discursive essay that many is not a suggestion in the work. It remains a very Foster s Humble Surroundings composers have at times written without waiting for expensive and totally uninspired pot-boiler. Our chief American folk-song composer, Stephen C. actual inspiration. With some, as with Schubert, Joachim Raff must be added to the list of those Foster, wrote many a pot-boiler during his days in the inspiration was seemingly always present, and I who wrote many pot-boilers. Miserably poor in his New York. His chum and coadjutor, George Cooper, can imagine his twenty-cent songs worth more than younger days he was obliged to grind out every kind has told me of his often seeking to excite his muse by Wagner’s five-thousand-dollar march. Some of the of popular music for the remuneration it would bring. riding up and down Broadway in one of the five-cent pot-boilers may take rank even with the more inspired He acquired so fatal a facility at this that it certainly busses. Cooper often furnished the words for Foster s art works. Such works must exist so long as the lowered his talent at times and made him a mere rou- songs, and they sometimes, when funds ran low, would privations of a composer’s career exist. There would tinier. One rather odd fact about his early works may sit together in a corner grocery and Cooper dash off be no musical pot-boilers if Beethoven’s wish as writ¬ ‘ here be mentioned for the benefit of teachers. He was some rhymes on a bit of wrapping paper, while Foster ten to Hofmeister in 1801 could but be realized. Clairvoyance, Spiritism and Occultism in Music unable to afford a good metronome, using an old and sat by until something to his satisfaction was evolved. IB “There ought to be only one large Art-warehouse in imperfect one instead. This had a beat somewhat slower Then in a very short time the tune and its simple The Etude the world, to which the artist could carry his Art-works Written expressly for by the Noted English Composer than it should have been. As a consequence many of accompaniment was made, the pair would start off to Raff’s early compositions have their metronome marks a publisher and the song would be sold within the hour and from which he could carry away whatever he As it is. the artist must be half a tradesman." CYRIL SCOTT too fast. and the financial panic relieved.

Since the great war no subject has created a greater interest than that of the possibility of human beings communicating in some occult Difficulty in Piano Music manner with life after death. The serious interest taken in the subject by Sir Oliver Lodge, Sir Arthur Conan Doyle, and Sir William Crookes, indicates that men of science and understanding in Great Britain are inclined to believe—if indeed they are not entirely convinced—that we are By Francesco Berger upon the verge of some great revelation. The Exude takes an entirely neutral attitude in the matter, as usual, offering its columns to the exposition of new ideas from eminent men, whether it is convinced of their correctness or not. This is certainly one of the most “thought pro¬ It is a blemish if a pianoforte piece, in the course difficulty of memorizing the requisite number will not ring grace-notes, and I am hoping that there are but voking" articles we have ever printed, and we have no doubt that it will result in hundreds of discussions. of its length, contains bits here and there which, arise—and a musical interest will have been added to few pianists left who would be guilty of so gross a in point of difficulty, are out of proportion with what otherwise would be but a dry, mechanical exer¬ mistake as to speak of a long and a short appoggia¬ the rest. It would be better that every piece were cise. Th minor scales should, of course, be studied tura. To do so would be as reasonable as to speak of Since the great world-conflict,, the interest in esoteric the reverse. Anyhow, after telling me she was so she admitted they could not, and inferred that fac¬ of approximately uniform difficulty throughout, so on the same analytical principle. a long mile and a short one, or of a heavy pound and philosophies, and the occult generally, or to .put it more musical, she had been, to use her own metaphor, “born ulties over which one had no control were of a higher that it could be classified as easy or moderately so, But to return from this digression. There are some a light one. colloquially, the hidden side of things, has grown to at the piano,” she proceeded to inform me I did not order than otherwise. And here from the scientific oc¬ difficult or greatly so. I wonder that pianist-com¬ passages which will always be found difficult; frequent A special difficulty arises when one hand (generally, proportions greater than has ever, I think, been ex¬ look like what her knowledge of my music had led her cultist’s point of view she stamped herself at once:— posers have not more generally recognized that a Piece but not invariably, the right) is required to keep up repetition will diminish but never quite remove this. perienced in the western world hitherto. Nor is this to imagine. This would have been distinctly discon¬ but of that anon, for I must finish my anecdote first. which conforms to some particular grade of virtuosity, a continuous “shake” while bringing out a melody at They lie awkwardly for the hand; and the hand, how¬ to be wondered at, seeing that proof (rather than mere certing had she not gone on-to say, she expected me After having shown her admiration for herself at great comm'ends itself thereby to a much wider circle of ever pliable, is but human. They have been evolved the same time. This happens in two ways: either the belief) respecting the unseen spheres and the all-im¬ to look of a sad cast of countenance; but as it is both length, she then gave me a specimen of her clairvoy- players than one that does not. A piece which com¬ out of the brain, but not with the concurrence of the “shake” is to be executed with fingers 1 and 2, leaving portant question of immortality can afford the only unphilosophical and unpleasant to look and hence be powers; she told me a lady named Isabel would mences in smooth water, but has hidden rocks and finger;, by a composer who was not an expert pianist. 3, 4, 5 free for the melody notes, or the “shake” is to efficient solace at a time when millions of human come into my life, but she could not tell me whether sad, I was somewhat pleased that her expectations had quicksands ahead, is doubly handicapped. The player He may have been a fine musician, but he lacked the be executed with fingers 4 and S, leaving 1, 2, 3 free. beings have sustained bereavements on an almost un¬ the said lady would appear in the guise of an who undertakes it because it looks easy, will, when he not been fulfilled. special knowledge which would have made these pas¬ A well-known instance of this occurs in the Finale of precedented scale. But although scientists like Sir Wil¬ amour, a friend, or an enemy; she could tell me, how¬ encounters the difficult bits, either skip, or fearfully sages pianistic. Or, possibly, possessing it, he did not Beethoven’s Sonata appassionato. But von Biilow liam Crookes, Sir Oliver Lodge and others have dealt After this unflattering display of disappointment on her ever what colored dress she would wear when the bungle them; while the advanced player who revels in condescend to employ it for the benefit of the per¬ and others have explained how this difficulty is to be with and proved to their own satisfaction this burning part, she told me how she had heard I was interested wonderful event came to pass which should bring us the. difficult parts, will find the rest flat, and stale, and former. met. The explanation acts as a perfect “open sesame” question of post mortem existence, yet the many other in occultism, and on my stating that she had heard together. For the rest I am still waiting for Isabel; indifferent, and will give them only his second-best On the other hand, the majority of difficulties yield which unlocks the closed door. It consists in not mak¬ matters which go hand in hand therewith have not correctly, she sprung upon me that she herself pos¬ and as there are several thousands of “Isabels" in the attention. to practice; when once the correct fingering has been ing the “shake” truly continuous, but interrupting it been popularized to the same extent. In other words, sessed second sight. This, she said, was “the real world, the chances are I may meet one sooner or later, TJiese remarks are not intended to supply recipes for found, repetition will gradually remove them. All well- at every occurrence of a note of melody. The pace although the hidden side of death has come before the thing,” and she had given up everything for it—she only either as a mere passing acquaintance, friend or enemy; overcoming the difficulties which fugues present. But written difficulty is of this nature. We encounter it in at which the whole thing should be taken will cover 1 public at large, the equally hidden side of literature, ate enough to keep her body alive, and had no longer but with all these alternatives whether she will be the I venture to advise all who make fugues their study Chopin, Liszt, Raff, Thalberg, Moszkowski, Schumann, the gaps, so that the ear cannot detect them. The same to provide themselves with a modern edition. In these, painting and music has not received the attention which any material desires of any sort—and so on and so Isabel, who can say? Mendelssohn, and others. It might appropriately be solution applies to the “shake” variation in Thalberg’s unlike the older ones, it is clearly set forth what each forth. She talked at'great length all about herself, called “surface difficulty,” for it melts away under the famous arrangement of Home, Sweet Home and other is its due; though the one exists with as much cer¬ When the Spirit of Cherubini Came hand has to do; everything, without exception, which and the wonderful person she was; though I feel sure influence of persevering practice. similar cases. It is the notation that is at fault. tainty (to those who will only investigate the sub¬ We have here, then, of those types of either the right hand has to play is printed on the upper Some passages may be greatly facilitated by being ject) as does the other. Many, for instance, have read she was blissfully innocent of her egotism. When, spurious or very primitive second sight, which as it stave, and vice versa for the left—to the saving of In this short article it is not possible to allude to broken up into sections for the two hands, instead of Sir Conan Doyle’s and Sir Oliver Lodge's books, but however, asked, were her psychic faculties'under her serves no purpose whatever, cannot come under the much valuable time, the saving of eye-sight, and the other difficulties which most advanced players en¬ employing only one. Lis^t has himself done this for us comparatively few have studied the works of Mr. C. Wt control, and could they be turned on or off at will. head of scientific occultism at all; for I need hardly saving of temper. counter at some time. And besides, the expressions in many instances, but not in all. His example justi¬ “difficult” and “not difficult” vary according to indi¬ Leadbeater, that remarkable psychiq investi¬ mention that the information offered me by A second piece of advice is: do not commence prac¬ fies the application of this procedure, without laying the gator who has laid bare the occult side of ticing a fugue until you have analyzed the whole com¬ vidual ability. What A may find difficult may not the said lady was utterly valueless to me, player open to the charge of being an “artful dodger.” prove so to B, and vice versa. Piano playing is a seri¬ scores of subjects, and shown that practically and moreover I am getting beyond the age position. Not only analyzed it, but marked your analy¬ In a bravura passage for the right hand, the interven¬ ous occupation, not by any mcan$ a diversioh for fools. everything of importance possesses such a (a fact of which her clairvoyant faculties sis in the copy: subject, counter-subject, answer, epi¬ tion of the left with a note or possibly more, in each Much of what every pianist (even the greatest) has side. failed to apprise her) when I can look for¬ sode, inversion, augmentation, diminution, codetta, octave, or in each recurring group, will much simplify accomphshed, he has had to discover for himself. No Latent Powers ward with any very intense excitement to stretto, etc. This will prove of the greatest assistance, matters; and, besides serving a technical purpose, seems preceptor can possibly teach all there is to to learn. the arrival of romantic figures in my life. not only in the early days of your practice, but at all to have a moral justification. Why should not the left Now I propose in the present article to Many of us know what a rude man once replied to No, real clairvoyance must firstly be reliable; times. Unless the construction of the fugue is famil¬ hand “do its bit” for the common good? Of two part¬ deal with music from the occult point of and secondly under the control of the will: iar, the player cannot, possibly give a satisfactory ren¬ a fond parent, who had informed him that the Piece view; but to that end I must first to some ners, why should one slave while the other takes his —nor does the true psychic ever exhibit his dering of it. ease? his daughter had just played was very difficult. “I extent show how the occult side of things wish,’ said the boor, “she had found it impossible!” or her powers uselessly for the mere pur¬ To know the construction of the scalps, before at¬ . There is, alas, that further difficulty arising from is perceived; for only by this means can I It pianists would content themselves with placing a pose of showing them off; and above all to tempting to work at them, is also of paramount import¬ imperfect notation. The older masters were deplor¬ hope to carry any iota of conviction to my moderately difficult piece beautifully, these rude per¬ absolute strangers who do not request such ance if scale-playing is to be of any substantial use. ably lax in the marks they used for their many “orna¬ readers. There are in the brain two mys¬ an exhibition. The scale of C major should be considered the normal ments.” Even in the “common or garden” matter of sons would have less occasion to make cutting re¬ terious glands called the pineal gland and marks. And, after all, a good chop, well cooked, and one, its formation should be analyzed, the where, and the appoggiatura and acciaccatura, they often confused the pituitary body; glands which for many Thus in relating of the hidden side of well served, is far more appetizing, and far better in music, I need hardly say that I am not bring¬ the when, and the why of its occurring semitones closely one with the other. They marked them so indiscrimi¬ years have considerably puzzled doctors, its after-effects, than a badly cooked, badly served rag¬ noted, and indelibly impressed on the memory. With nately that it takes some time to find out which of the though some of them are now beginning to ing psychics of the aforementioned type to out. And music is the food of the soul. our aid, but such as have had special training C major for his model, the student will be able to con¬ two is really intended. And here, again, modern editors get an inkling of their significance. These struct the remaining eleven major scales for himself, have come to_the rescue, and students have no excuse Give me the good music that does not entail slavery glands in fact are nothing less than the under a teacher, and so have developed the and will not require the aid of any printed copy. He n its preparation. I don’t like you to pant for breath, physical organs of psychical perception al¬ for not providing themselves with corrected copies. organs of psychical perception in the physical will discover, in making each correspond to the normal ready alluded to. I am presuming, of course, that they have been taught ?°PJ°ur f8Ce’ a"d cal1 out f°r water when you have brain. But although they certainly exist in one, why it needs “sharps” here, or “flats” there—the the important difference between these two oft-occur¬ wl. Performance- From the Monthly Musical all of us, their powers are merely latent and But I shall not have narrated my psychical can only be brought to function by the aid experiences (connected with music) to the of highly specialized exercises acquired un¬ full, if I fail to make mention of my friend After the Novelty Has Gone der a competent teacher. It is true that a the late Mrs. Milligan-Fox, who did so much goodly number of people are born with a in connection with Trish folk-song, and who lectured some years ago in the States. This By Madeline P. Brook tendency to become psychic, which simply lady, in fact, was extremely psychic, and I means these glands already show signs of The principal difficulty in giving a child music in¬ board. When any one of the above phases of the les¬ functioning naturally, so to speak; but train¬ had many interesting adventures with her along that particular line. For Mrs. Fox struction lies in keeping alive his interest after the son is poor, a line is omitted. ornittbiJ jYvf E 5ro.ss over the note with my penc ing, even for such people, is necessary, other¬ novelty has gone. There are, no doubt, as many differ¬ was certainly both clairvoyant and clairau- The child soon becomes very interested in securing a ea™s m Zt e lntm'al is inc^rectly named H wise their powers will be unreliable and ent methods of doing this as there are different teach¬ GOOD with the three lines which represents a perfect eagerness to get a cross over every note keens Ii often associated with hysteria and other un¬ dient, that is, she could both see spirits and ers, but kinks that have worked well with one child sense what they said. I remember on one subiect0nandCUSed wou,d ordinarily be a d desirable qualities. One may fintl this type may well be passed on to others. Here are two that lesson. The book is something which gives her pleas¬ of unscientific psychism in almost any occasion, how the “spirit” of the late Swatni have worked splendidly wiith my five-year-old daughter ure to show to Daddy each evening for his comment. species of person from a gypsy to a rushing Vivekananda came into my room—though I who takes daily pianoforte lessons from me. In case of an outside teacher such a book may be kept, society woman, though the gypsy shows usu¬ myself could not see him—and how he sent We have a small note book and a red pencil. This is by the mother, of the child’s daily practicing to be p“ S !”,o, ally the better of the two, as I have reason me a certain message connected with Indian depends on the mother I am sure tW *** Th her daily report book, in which I write the date, the shown to the teacher on each lesson day. The effect to know. I may, in fact, here relate how I philosophy, which although Mrs. Fox re¬ duration of the lesson, and—most important of all— on the child is the arousing of her pride which, after was once accosted and not a little embar¬ peated it to me, she herself was unable to the word “GOOD” with one, two or three lines under all, is necessary to the successful carrying out of any rassed by a “psychic” society lady in a hotel, comprehend. Now. this may. of course, work. Sn period” J ° th\dai,y Practice wil> make th it, based on the following rule. One line relates to the rather ?han a1W b°th to herself and the chil who made my life a burden to me through seem strange, but the fact is I had studied pupil’s attitude in coming to the lesson and deportment Here is another kink which works well in connec¬ the schemes I was obliged to contrive in Indian metaphysics for a number of years, tion with interval reading. Using staff paper I write often'is.^To prove^that* h ^ha Yl task throughout. Another line relates to oral and written order to avoid her: for she literally perse¬ while she on her part was totally ignorant notes, while little five-year-old names the distance from work. And thejthird line pertains to work at the key- tittleSdta” SY0: twenty-fourYuccessivelayrn cuted me; though in all charity I will say of the subject. Thus she delivered me the note to note. For each interval which she correctly she probably thought she was doing quite message, but added, “I really haven’t the Page 16 JANUARY 1920 the etude JANUARY 1920 Page 17 faintest idea what it means, have you?” I, then of Blazing New Trails THE ETUDE course, explained it to her as best I could; for to me the message was perfectly clear and very illuminating. By Gerard Tonning This, however, is only by the way, since it was not connected, with music in any sense. But on one occa¬ to their pupils against singing in a chorus or singing When the history of Women’s Musical Clubs of sion we had the visit, not of an Indian Swami, but of America is written it will be proved and admitted, that in groups, but should not, and ought not, concerted the composer Cherubini. A fact we ascertained through the greater burden and honor of advancing knowledge singing be cultivated to a very much larger extent, purchasing a picture of that departed musician, seeing and taste in music have been borne and earned by the than it is now? Who has ever heard of a violinist or the gentleman did not tell us his name, but led us to women of the country. a ’cellist objecting to play trios or quartets, or even to Will Richard Wagner’s Battle Never End? conclude who he might be by the language he spoke While the eastern cities with their compact build and play in an orchestra if the chance offered? Is not this and the type of dress he presented himself to us in. relatively close communications, had an established the reason that the player of an instrument, as a rule, By EUGENIO DI PIRANI We were sitting conversing on quite ordinary topics musical culture quite early, the western three-fourths of is a better reader and all-around musician than the average singer, because in the course of his study and one evening at my house, when Mrs. Fox suddenly re¬ our country was musically, more or less, a wilderness. The following article was mitten by Signor Pirani in his instructive and entertaining series, “The Secrets of the Success of Great Musicians”. It is marked, though without evincing any surprise—“A The last twenty or twenty-five years have seen a musical associations he has learned to hold his time somewhat different, however, because of the effect of the war upon the way in which the music of Wagner is received. The previous funny self-effacing sort of little man has just come wonderful change. Almost every community of any and tune in playing duets and the like? contributions to this series were: Chopin {February); Verdi {April); Rubinstein {May); Gounod {June); into the room.” size now have their musical clubs, and their work has I know many singers “who never sang a duet with Liszt (July); Tschaikowsky {August); Berlioz {September), and Grieg {October). “What does he want, I wonder,” I said, also with¬ told, even if the handicaps were many, and environ¬ anybody in their lives,” and who, consequently, were out much surprise, for I, too, was somewhat used to ments unresponsive or unappreciative. Musical knowl¬ debarred from the delight and privilege of knowing the In my last article (on Grieg) I remarked that we to bring about a more homogeneous fusion of music he composed the great part of the Meistersinger, Sieg¬ these visitations. edge has been disseminated, interest in and reverence for pleasures which Mendelssohn, Rubinstein. Brahms, love the work of art the more if we love the artist, and poetry. These are positive enrichments which fried and Gbtterddmmerung. Well, he talks a language I can’t properly under¬ musicians living and dead has been stimulated, and com¬ Goring-Thomas, Kjerulf and many others have given not only as an artist but as a man as well. . But also everybody, even if he be averse to Wagner, must From early youth he was inclined to eccentricity in stand,” she said. “I think it’s Italian of a sort.” munities have come to realize that music is an integral to the world. Duos and trios, that will give the great¬ the reverse is true. If we do not fully sympathize readily acknowledge. art. At the age of fourteen he began a grand tragedy, part of universal human culture, representing the noblest est pleasure and gratification, abound in the older “Ask him if he speaks French?” I suggested. with the artist as a man, we involuntarily transfer Few artists have had such an eventful life as Rich¬ of which he says that it was a mixture of Hamlet expression of exalted sentiment and intelligence. operas. ard Wagner. To-day a conductor in a German pro¬ and Lear. So many people died in the course of it And it turned out he did speak French, though rather our dislike to his works. So it is with Richard Wag¬ Having lived for many years in various sections of the Things of this nature require a little more trouble ner. If we compare the noble, altruistic attitude of vincial town, to-morrow at the point of destitution that their ghosts had to return in order to keep the fifth brokenly. Well, the long and short of the matter was, west and having had communications with many teach¬ and circumspection in their preparation, but no musical some of the great musicians with the egotistical, self in Paris. To-day a court official of the King of Sax- act going. he had two requests to make; one was that I should ers and musicians from sections outside of the larger club should operate along the lines of least resistance indulgence of Wagner, we cannot help being some¬ only, to-morrow a fugitive in a strange country, with a When he was seventeen an overture of his was per¬ write a requiem for the soldiers killed in the war, and centers, I have come to the conclusion that our pioneer and expect fine results. Wherever possible, and truly what prejudiced in our estimation of this master. Of warrant of arrest against him; to-day without a ray formed at the theater between two of the acts. Wagner the other was that I should leave one of my orchestral period is about over; that new and better work should it is possible in most every larger community, stand course the success of his works is to-day unquestion¬ of hope, to-morrow declared friend and protege of a says: “I chose to aid the comprehension of anyone who scores open on my desk all night (darkness seemed to be planned for the future; that new trails should be behind and encourage actively the formation and main¬ able; but one should not forget that this was gained mighty monarch. His persistence and his unshakable would study the parts by writing them in three dif¬ be no obstacle to his vision) as he wanted to study it. blazed by the musical amateur workers of the nation. tenance of choral and community singing ties in through a colossal apparatus such as never before belief in his own mission are certainly to be held as an ferent inks—the stringed instruments red, the reed in¬ He was, in fact, desirous.of keeping in touch with mod¬ The aim and object of this article is to offer some choral singing, which has had such a hard time to was — and probably never in the future will be — example worthy of imitation by every ambitious struments green, and the brass, black. Beethoven’s ern music, and especially looking at modern orchestra¬ concrete suggestions lot planning the work for our flourish all over the West. employed. Wagner himself wrote many volumes,to musician. Ninth Symphony was to be a mere trifle beside this tion. As to the latter request, I, of course, complied musical adolescence and in all humility talk to all the I would also strongly recommend the club t . form explain his views; friends used their wealth and Wagner’s musical training was never very thor¬ wonderful overture! This was the culminating point with it, deeming it very kind of him to take an inter¬ faithful musical workers throughout the land, through symphony groups for the study and performance of their greatest exertion to foster his cause; patrons ough. His relations to music were, at the beginning, of my absurdities. The public was extraordinarily est in my “poor strains,” but. as to the former—well, The Etude. the classic symphony and larger instrumental forms. supported him with their influence and generous gifts; quite superficial, as his inclinations were more for puzzled by the persistence of the drum player, who I confess that the requiem is not written (may the A very curious condition exists in America in direct In almost every city there are enough ino umental societies were formed everywhere to procure for him poetry. His dream was to write a tragedy in the style had to give a loud beat every four bars, from begin¬ souls of the heroic soldiers rest in peace without it) for contradistinction to old Europe, where music culture amateur musicians who would be delighted to yin such the means to put his works into scene and build the ning to end. People grew impatient and finally has been a matter of slow and natural evolution, going if I paid attention to all the requests from the other a movement. Within the clubs there is usually any Bayreuth playhouse. One should compare this mighty laughed at the thing as a joke.” through the various stages from the beginning. In side for me to do one thing or another, I should have number of members who can play the piano nr organ host of “shock troops” with the simplicity and unob¬ It came to the point that his music was generally America we have, so to speak, commenced at the end, my work cut out. I have had requests to write a mass, acceptably. The classic symphonies are all available in trusiveness with which other famous composers left criticised as being irrational, and it happened in many and we have to catch up with the middle and the begin¬ a ballet, a cinema, a play, an opera and several books; arrangements for piano, reed organ, with strings and their works to fight their own way, by virtue only cases that both libretto and score, which were sub¬ ning. I mean by this, that it is the modern and ultra¬ and so far, well, though I am the author of some liter¬ other instruments added as available . of their intrinsic merit, without compulsion, without mitted to publishers, were returned unopened. modern music, that is best known and popular in “frightfulness.” With no income, Wagner turned to Liszt for aid: “I ary works and poems, as regards the other things, only These arrangements are very effective. The organ the opera has been composed. America. To be sure Wagner’s music was not of the kind should once more be a human being,” he wrote, “a represents the wind instruments; the piano supports The beautiful music of more remote periods is much to be easily and immediately understood and appre¬ man for whom existence would be possible, an artist Of course, my readers may deem me to be over-cred¬ and strengthens the harmony; and with strings added, less known or appreciated. To prove this. I would ciated, and the mere fact that his admirers engaged who would never again in his life ask for a shilling, ulous in believing that Cherubini really visited me in and, perhaps, a flute and a clarinet, one may have a the spirit, and I sympathize with them. But the fact only mention that of all the symphonies that might be i.i a regular campaign to force public recognition is in and would only do his work bravely. Dear Liszt, with result that is musically gratifying, and much superior is I am not so convinced of the matter as they may played by an orchestra on a western tour, the Tschai- itself a proof of the importance of Wagner’s art; some money you will buy me out of slavery! Do you to the usual two-piano eight-hand arrangement which suppose, for I know too well how easy it is for “spir¬ kowsky Pathetique will be demanded in preference to but the one who wins affection and love by means think I am worth that sum as a serf?” E(June, 1848). must, of course do, if nothing bettpr can be ha 1. In its” on the other side to masquerade as people they are any other; of all the operas, La Bohemc, and other only of his own charm and attractiveness is surely a “I cannot live like a dog. I cannot sleep on straw and this way way the people might become acquainted and not—therefore, there is no proof in this instance—I modern Italian and French emotional works; and no more sympathetic figure than the other who tries to drink bad whiskey. I must be coaxed in one way or even familiar with the great classics, without having to only give the story for what it is worth and no further. pianist s program would be acceptable without a impose and compel admiration. As a matter of fact, another if my mind is to accomplish the tremendous iszt Rhapsody or similar compositions of exceptionally travel to the great centers, where the big orchestras I confess to never having read a life of Cherubini, and sojourn. love cannot be enforced. It grows out of the heart task of creating a non-existing world. As the year ap¬ hence I know nothing of his character, and whether he ond or exoUc nature. The mission or task of extend¬ of its own accord, or not at all. proaches its close I realize that I shall want much, very was the self-effacing little man that Mrs. Milligan-Fox ing and widening the country’s musical horizon naturally Permit me also in this connection to mention that it much money.” is very, feasible to have each community become famil¬ Wagner’s ’Theories described, 1 have, however, truthfully related exactly and primarily falls to the women’s musical clubs every¬ In another letter to Liszt he writes: “You must get what happened, and must leave it at that; this article where, and along this line it is that I will venture some iar with the orchestral instruments, their characteristics Wagner himself contributed ten stout volumes in me an Erard grand. Write to the widow and tell her suggesting thought. being merely a narration of some of my occult experi¬ and their employment in the orchestra by the means of support of his theories. Few, even among his most that you visit me three times every year and that you ences connected with music. One must admit that the average club program very the sound-reproducing machine records that were de¬ ardent admirers, are familiar with these writings as must absolutely have a better piano than that old and signed for this very purpose. Whether I shall have succeeded in awakening or fur¬ often is somewhat cut and dried, in every place of a whole. His system can be explained in far more lame thing in my possession. Tell her a hundred thou¬ thering an interest in occultism and music through this course limited by the amount of real talent available; Let us make this nation a music-loving nation and concise language than he has employed. His lan¬ sand fibs and make her believe that it is for her a point very inadequate sketch, I cannot say, but if so, I hut the main part of every program invariably con- a singing nation, not alone a solo-singing nation. In guage is often prolix and verbose and mostly offensive of honor that an Erard piano should stand in my house. to other composers, critics, Jews, etc. For this reason strongly advise my readers to study a book called S'l u fruT . In faCt’ the craze of every one the great war, it suddenly struck home that we were In brief do not think, but act with the impudence of Thought Forms,” by Mrs. Annie Besant and Mr. C. who has dabbled a little in music, is to sing a solo, "°.a SmAgm,g pe°Ple in comparison with even- other never did an artist awaken such irreconcilable hatred genius. I must have an Erard." W. Leadbeater, for in this book they will see admirably p'tht!S craz? has become an abomination and a farce. ^nd we havc during the past two years real- against himself, or resentment which rose to such a Richard Wagner Target for Unending set forth the far-reaching effects music has, not only Put the brakes on that. It does not bring the musi- zed for the first time, what a wonderful exhilaration pitch of frenzy. He was made the target of ridicule Wagner’s Poverty on its actual hearers, but on people far beyond its ac¬ cal results desired, and while it may serve as a pretty he singing 0f songs together is. And the singing in and mockery. A Berlin paper of 1870 wrote: “Since Abuse, and Unending Applause. Another time he begs Liszt -to forward to Mme. Wag¬ tual range of sound. Such a powerful work as Wag¬ individual, gratification, it does not materially advance capital punishment has been abolished no one is obliged ner (the first) some money to enable her to join him in A few weeks ago, at the Lexington Ave. ner’s Overture to the Mcistersinger, for instance, or the the. knowledge of real musical art. Think of some makif ^ b°yS CampS contribu‘ed marvelously to to hear Meistersinger more than once.” The Scene Zurich. Liszt forwarded to Mme. Wagner 100 Thalers. Opera House in New York, a serious riot rrelude to Tristan and Isolda sends out radiations in to Eurgopae m0geneOUS bQd* of our young men going of Rheingold, in which the Rhinedaughters appear, And in another letter: “If nothing else will answer, you uterf 4 du,b ,for instance> that would devote was caused by the attempt to produce Wag¬ form and color which purify the mental and emotional was called an “Aquarium.” Heinrich Dorn, the Ber¬ must give a concert ‘for an artist in distress.’ Consider as afwhnW R7 °f i ‘best ^lers” ignoring literature ner operas in German. This is simply a atmosphere for, I might almost say, miles around. In¬ as a whole! Remember the admonition of Schumann, wish That'k^th’ alI°W agai" t0 express the fervent lin composer and critic, called the Kaisermarch an in¬ everything, dear Liszt, and before all manage to send me deed, I can hardly do better in conclusion than quote a that no one can become really musical, without the thino-c fp* tb'S great rccollstruction going on in all sult to the emperor of Germany. Truhn, another Ger¬ repetition of similar conditions which caused some money.” the Wagner riots in Paris years ago when it paragraph from the book just referred to. For it runs, learning to sing in harmony with other voices and hold man critic, wrote: “It is a well-known fact that 99 “Anyone who has the slightest real knowledge of the was necessary to call out the cavalry to sup¬ vjJS We" *°r lIS ever to bear 'n ro'nd that there is a ones own part true. Of course I have often heard per cent, of Wagner’s admirers are unmusical.” Ber¬ nature of my works,” he writes to Liszt, “who knows and press them. No musician has ever been more hidden side to life—that each act and word and thought of the ridiculous injunction of so-called vocal teachers lioz and Wagner were called “the two enfants ter- admires its special distinctive character, must see that ridiculed, more lampooned, more insulted, has its consequence in the unseen world which is al¬ ribles” of Beethoven. When Joachim, the famous a man of my sort can never on any terms consent to and more outraged, than Richard Wagner. ways so near to us, and that these unseen results are of violinist, refused an invitation of the committee of treat it as merchandise.” No musician was ever poorer and none ever infinitely greater importance than those which are vis¬ the Vienna Beethoven Festival because Wagner had One sees, conceit was not an unknown quantity to at the zenith of a career was received with ible to all upon the physical plane.” Thus may it come Sensations in the Spotlight been requested to cooperate, a Berlin paper, the Echo, Wagner! He was not burdened by bashfulness. On the to us musicians as a beautiful and comforting thought remarked caustically: “No one will question the such wild acclamation. Despise him as a man, for his human frailties, as many have other hand this unlimited belief in his own merit en¬ that our efforts are not only giving pleasure to those By Sidney Bushell privilege of private persons to avoid the society of dowed him with a tenacity able to overcome any ob¬ of our listeners who really love music, but that we are suspicious characters; in the case of an artist this and must, his marvelous music, nevertheless, will rank him among the immortals. stacle. doing a further-reaching good in the world than per- I had often wondered how it would feel to be the right should be denied least of all.” Heyse, the Ger¬ Nothing is good or high enough for him. “Padeloup haps many of us are aware. center of that brilliant spot on the darkened stage man poet, called his music “a pathetic cancan." Wag¬ made every effort to acclimatize me in France,” he Many a time, viewing it from the audience, I had ner himself was called “the great cacophonist, “a writes, “and I thank him. But no one can become speculated upon the sensations of the performer literary, poetical and musical humbug,” “the hangman of Shakespeare. Only when his mother established acquainted with me through concerts. I must be in¬ made so conspicuous by its rays. of modern art,” “the noisiest man of our century,” The beautiful picture on the cover of The Etude for herself in Leipzig (1829), where his sister Rosalie was troduced at the theater, for to appear properly I need December has aroused flattering interest. The Etude Opportunity came. I was to sing Beloved, It Is “Richard, the Great, the Infallible, the Divine!” engaged at the theatre, did he begin to think of a not only singers but scenic effects and the entire dra¬ is greatly indebted to Mr. John Clyde Oswald, of the Morn, the opening number of a gypsy encampment It would be unjust, however, not to recognize the musical career. He took music lessons with the organ¬ matic apparatus. In my compositions all the parts are Oswald Printing Company (239 W. 39th St, New beneficial influence he has had on musical art, mainly closely related, one conditioned by the others; and if my song, and, contrary to mv atm°spllere c ist Mueller and counterpoint with Weinlig. In later York), editor of The American Printer, for permission concerning. the intensity of dramatic expression, the one of these is omitted, the unity of my work suffers. mcreased my confidence a hundredfoW n0t'°n: life he developed an astounding working power. Dur¬ to use this picture. concordance of music with poetry, the wealth and nov¬ My work, however, will never receive recognition in The “spot” found r ing the quiet years at Triebschen, in Switzerland, he «» one, elty of harmony, the characteristic of rhythm, and the France. My music is too German. / strive with all tep ln my v°cal education. immense power of instrumentation. Furthermore, generally worked without interruption from eight the power,given me, to be the child of my own father- being the author also of his libretti, he was enabled o’clock in the morning until five in the afternoon. Here THE ETUDE JANUARY 1920 Page 19 Page 18 JANUARY 1920 the ETUDE ' He was right in that. The reception accorded to The complete darkness must still be mentioned. I “The Gymnasium of the Soul” Tannhauser in Paris on its first performance proved am not talking here of semi-darkness, but total ob¬ A Musical Education is Essential for All the truth of his statement. In 1861, through the inter¬ scurity, so that only the stage holds the attention of The Making of Melodies and Tunes t ’’’• cession of the Princesse Metternich, the Emperor the listeners. By Julius Koehl I ipigif | ordered the production of Tannhauser at the Paris IT the physical obscurity of the opera house in By PROFESSOR FREDERICK CORDER Grand Opera, commanding that the work should be Bayreuth compels the attention of the public, the “It is hard to discover a better method of education mounted in the most magnificent style and that Wag¬ mental gloom of the city of Bayreuth contributes to of the Royal Academy of Music of London Sh than that which the experience of so many ages has ner should choose his own singers and have as many the same end. The stranger waits with impatience for evolved; and this may be summed up as consisting in rehearsals as he saw fit. There were IS3 rehearsals the performance to begin, not only on account of its gymnastics for the body and music for the soul.” This in all. The production is said to have cost something merit, but also to escape from the everlasting tedious¬ statement of truth we find in the form of a footnote like $40,000. He rewrote the opening scene entirely ness of the town. to Edgar Allan Poe’s beautiful essay, entitled "The A witty French philosopher has said that you may Accent in Melody and as a sort of educational campaign published a Of course, that forms only the framework. I do Colloquy of Monas and Una.” be sure that every popular belief is wrong, because it As regards the accent of music we all know without translation of his libretto with a prefatory explanation not need to speak of the “picture,” as all Wagner’s A musical education is not only good for the soul has satisfied the unintelligent majority. Certainly the telling that this must either consist of a stress and a of his aims and views. In spite of the elaborate prep¬ works have been performed everywhere (with the ex¬ of the individual, but is one of the greatest developers popular ideas of “musical inspiration” and “the gift non-stress or a stress and two non-stresses, just as in arations, the failure was one of the greatest on record. Robin Adair ception of Parsifal). of the mind, character and personality known. Let us of melody” are cases in point, for the belief in these is verse we must have a long and a short foot, or a long Three performances were given, of which it is difficult We have seen that Wagner had always to complain see how the study of music may be classified as a all but universal, although nothing is easier than to and two short feet. Useless to bore us with the Greek to say whether the performance was on the stage or about “lack of funds.” After his return to Zurich mental developer. prove their falsity. The fleeting nature of musical terms—to complicate this simple fact by distinguishing J l i^cj-r iAAJ-i p-i in the auditorium, for the uproar in the house drowned (1850) the question of trying his fortune in America sounds prevent the immature intelligence from perceiv¬ between Tambus and Trochee, or between Dactyl, Am¬ whatever sounds came from the stage. The members was agitated. The prospect seemed, however, to 1. Mental Development ing that what is true of pictorial verbdl art must phibrach and Anapoest. AH that we need to know is All popular tunes, especially those called Folk-tunes of the Jockey Club, who were prejudiced against the alarm him. He wrote: “America is a terrible night¬ Any great piano composition will do as an example be equally true of musical art, that if you go back to which note bears the accent—all that we need to feel (because their composer is ignored) have undergone performance, were armed with shrill whistles, and the mare. If the New York people should ever make up the beginning of music (which very few do) you find this trimming or embellishment, sometimes beginning din and confusioh were appalling. but we will use one of the Beethoven Sonatas here as is -that that accent or pulse must occur like the .tick their mind to offer me a considerable sum I should • a basis. The many intricacies in rhythm and changes clumsy and crude attempts, which improved with prac¬ of a pendulum, whether there be one or two non¬ as hymn tunes and turning into graceful airs or the 1869 Wagner was already planning the building of a be in the most awful dilemma. If I refused I should in tempo that we find in these masterpit . s make the tice and experience, and finally, that it was oiily natural accents before or after it. One need hardly point out reverse. God Save the King has been so knocked theater devoted only to the representation of his own have to conceal it from all men, for everyone would student shrewd in calculating and in perceiving the that melody should be evolved to its fullest glory while about by different hands and exists in so many shapes works. The cost of the Bayreuth Theatre was orig¬ that where the music is quick we measure the accent charge me in my position with recklessness. Good relative value of time qualities and their divisions and yet harmony was in its earliest infancy. These consid¬ that all inquiry into its actual origin is baffled. It inally estimated at 330,000 thalers, and was to be raised off with a coarser rule, thus: gracious! Such sums as I may earn in America, peo¬ sub-divisions. No less than three of tie senses are erations cannot be grasped, I know, by those to whom would seem to have been only developed from a con¬ upon 1,000 certificates, each entitling the holder to a brought into acute activity during the practice hour— the word evolution has no meaning—to whom every ventional Saraband, an old dance, of which hundreds seat at three performances. As this scheme came to ple ought to give me without asking anything in re¬ Sight, Hearing and Feeling. When three the senses musical experience is a separate event, unconnected exist. So when you come down to the bedrock of a standstill, it was- suggested to fqund Wagner socie¬ turn beyond what I am actually doing. Besides this are centered on one subject, the result must Con¬ with all others. To such persons it would not seem things you find that we do not invent, we only re¬ ties. At last, 28 years after its first conception, I am much better adapted to spend 60,000 francs in arrange. Where invention comes in is at the other centration—that greatest of factors, to v. h all emi¬ impossible that a human being brought up alone in a August, 1876, the Ring of the Nibelung was performed six months than to earn them. The latter I cannot end. Out of the well-worn and simple rhythmic, melo¬ nent men in all walks of life attribute d r success. desert island should be capable of producing a poem a at Bayreuth under the direction of Hans Richter. In do at all, for it is not my business to earn money, dic and harmonic material the man of culture and Then again let us take technique into i.-ideration. painting or a pianoforte prelude. The musician knows spite of the sacrifices readily made by each and all of but it is the business of my admirers to give me as imagination will always be able to astonish the world Muscle control is nothing else than im .1 control, that everything that he invents (or thinks that he in¬ the artists concerned, there was a deficit of $37,500 much money as I want to do my work in a cheerful by producing new effects. Just as Charles Dickens could because every movement made with the ti: ; s is first vents) has a direct and traceable ancestry. Knowing At different times I have seen all of Wagner’s works enchant all hearts and minds in a long series of books prompted by the mind. So you sec that s. id us musi¬ that indisputable fact he yet professes to believe in performed in Bayreuth. I have also examined the To be sure, an artist has the privilege to be above Much confusion is caused to the learner of music by with hardly a novel plot or incident, so can Puccini cal study is bound to be a great developer > the mind, inspiration, just as all people profess to believe in interior of the playhouse, and must readily recognize any monetary consideration, but, especially from the there being no constant unit for the measurement of make the dry bones of Italian opera live and seem new, if the student puts the best he has into ho work while “luck,” though with the vaguest ideas of what they the great advantages of Wagner’s innovations, some American point of view, it appears inconceivable that practicing. time, the tick of the pendulum being sometimes repre¬ so has Elgar done with Oratorio and so will the men mean by the word. If you really tackle one of these of which have been introduced into the most modern this man refused to make any effort to earn his money sented by a whole note or semibreve, and sometimes, by of real insight be able to do till the end of time. 2. As a Character Developer loose-thinking gentry he will say something to this theaters, but which we, nevertheless, will summarize, in a legitimate way, and insisted on obtaining it as a the sixteenth part of this, or semiquaver. But this I have defined a tune as corresponding to a quatrain as they are of great importance. gift. Any student of the piano can talk for hours about effect: cannot altogether be avoided, owing to the non-uni¬ of verse. Two points here immediately arise: 1. There The advantages of the sunken and concealed orches¬ Some of Wagner’s views: the amount of stick-to-itiveness necessary to become “I don’t deny that musical ideas can be invented— formity of speed, which necessitates the shifting of the are such things as stanzas of 3, 5, or even 6 lines in tra are threefold: musical, dramatic and aesthetic. ‘'I believe in God, Mozart end Beethoven, and in a truly fine pianist. Honest, self-criticism is another, ideas of a sort; but the really vital ideas—those that standard of measurement. The first thing to remember verse. Is it the same with tunes? Yes, such expan¬ often dormant,” quality brought into plav. \ ; curacy,’ live—come unprompted and spontaneous, and are of sions or contractions of the normal form can occur in Everyone must have noticed that if we listen to their disciples and apostles." about melody is that though the skeleton of it—the precision and a great deal of “plugging'' an quite a different quality from the manufactured article music, as in poetry, why not? But 4 lines is the nor- music at a certain distance the tones will be somewhat "Let me establish first of all the fact that the one recurring accent—must be regular, we instinctively when striving for the goal. —just as composers themselves are.” If you take every rtftl, just as duple time is felt to be more normal than veiled but idealized, and that it is difficult to distin¬ true form of music is melody; that without melody desire to conceal this by making the subdivision irregu¬ If a student brings these finer points of In character statement in this speech and disprove it entirely it is triple, tKe ground-cause being that our heart has two guish by what instrument they are produced. If, how¬ music is unthinkable, and that music and melody are lar. This irregular subdivision is what we mean by the into play for six or seven hours daily, lie is sure to breath wasted. You can show how all Beethoven’s valves and our limbs are all in pairs. 2. The corre¬ ever, we go nearer we discover that we mistook the inseparable. possess them as a definite and abiding asset .hen deal¬ ideas were evolved, hammered and chiselled out of term rhythm. The most primitive form of tune is a spondence of verse and music would seem to indicate timbre; for instance, piano tones for those of a “In instrumental music I am a reactionaire a con¬ ing with his fellow-men during the remainder of the inferior material and revised and rewritten till they hymn-tune. In this the utmost simplicity is desirable that the tune and the poetic quatrain must have come violin, violoncello for the human voice, etc. At the servative. I dislike everything that requires a verbal day. So you see that music helps to make one a better became splendid; you can show how Wagner’s Prize- and hardly any artistic embellishment is felt to be in into existence together, or at least that the former same time one will notice that before he could deter¬ explanation beyond the actual sound.” (What would good taste; consequently there is no variety of rhythm, wo ffl61” S°Ciety’ *be cornrnun'ty. country and song was deliberately invented to be a counterpoint to owed its invention to the latter. History corroborates mine with certainty the timbre of the sounds they say the partisans of “program music”?) the old master singer’s theme; you can point to Gou¬ the tune merely follows the accents of the words. this. The melody of the early troubadours and music were so full of charm and so mysterious that we were Monarchy he always considered as the “indispens¬ 3. The Personality nod’s Ave Maria as a manufactured tune better than But in secular tunes few will be found, even in earliest allied to unrhymed verse was almost of necessity shape¬ loath to break the strange spell of this incorporeal able center of all social organization.” any so-called spontaneous production; and, of course, times, in which variety of pattern is not attempted. less. In the dance there must always perforce have music. Wagner’s sunken orchestra brings about a Religion he loved, but hated priests. uJ bell?!f that one’s personality reflects .lie's soul. you can instance just as many musicians whose powers Tunes which were of too bald a character at first were been regularity of accent and an ever-increasing ten¬ similar effect. A kind of veil covers the orchestral An anecdote: r~ga[ AIIa" Poe writes this about the effect music developed with painful slowness, as you can those who dency towards the eight-bar period, but in the earliest has upon the soul: “It causes harmony and rhythm soon unconsciously altered and varied, thus: tone waves, and by this means the excessive sonority seemed to require no assistance. Your baffled inspira- dances that we can find written down there are some¬ “When Wagner was conductor of the London Phil¬ to penetrate most intimately into the soul, taking the of Wagner’s instrumentation is muffled and softened. harmonic concerts, he rehearsed a Beethoven sym¬ tionist will then dart off at a tangent and declare that times odd departures from the normal, clumsy strains It gains, moreover, in delicacy and harmoniousness as strongest hold upon it, filling it with beauty and mak- phony from memory. As Mendelssohn had always True Melody is only to be found in the Folk Song, of 7 or 9 measures occurring occasionally, and in the the tones reach the ear, as it were, chemically amal¬ beautlful minded; he will praise and ad- lei from a score, the directors thought there must be which everyone admits, he says, to be a perfectly spon¬ Previous Articles in This Series courante, or Coranto, as we find it used by Bach and gamated, and we are almost unable to distinguish the something radically wrong in Wagner’s method of soul- !',ibla“tlful: w‘n receive if with joy int° his taneous product. This is tantamount to asserting that others, the dance is in slow triple time, but the last bar elements contained in the fusion. In this way Wag¬ [Editor’s Note :—Many of The Etude readers procedure, and remonstrated with him so strongly £n wffhff” iP and a?simiIate hi5 own con- Mr. Nobody is a greater genius than Mr. Somebody, in duple, which sounds wrong. Still, this may be a ner enriched his orchestral palette with new color acter Za «' -f ,™e possess integrity, a staple char¬ an absurd argument. As a matter of fact all tunes, who followed Professor Corder’s Instructive and at whim of the composers, like when they turned a jig effects. that he promised to conduct from the score at the the.same time always entertaining articles on musical ing nersof«rpSICiPb*ed'' soul—tlle result is a charm- whether the author be known or not, have appeared in composition will be delighted to have them resumed. into a fugue; the actual dance may not have had this .The players of the Bayreuth orchestra were not only „ACrfngl5; tha‘ CVening he had a ““sic info rnntP yi F°r proof of this statement, come countless variants; and the only generalization you can There are literally thousands of people who have a feature: one cannot tell. hidden from the audience, but the whole disposition of book on his desk and turned the leaves from time to EvePhlu n P °f 0Ur real'y 8«at artists. make, upon a really extensive acquaintance with them, strong desire to construct a little musical composition the orchestra was an entire departure from the usual time as he conducted the symphony. After the con- It is I d should have a proper musical education, —if they “only knew how to go about it.” Profes¬ When the Amateur Writes a Tune cert one of the directors came up to him and said- is that the later the version the better the tune. This sor Corder’s articles have been so plain that anyone one; they were disposed amphitheatrically. The or¬ see to tM.reniS duty t0 the chi1d and t° society to When the amateur of to-day writes a tune it is so Now, Herr Wagner, you must admit that the sym- brings us to the point we have to consider. playing third or fourth grade piano pieces who has chestral arena consists of six steps; upon the upper to bjin with P0int-“Any teacher” won’t do. had a good drilling in scales and keys should be able symmetrical that it suggests the product of a ma¬ one are the violins, which can still be seen from the .?n^,}vent much better with the score than without to appreciate them. In connection with this course chine, which is pretty much what it really is. The stage; the conductor is still higher, indeed, on the same it. Wagner ironically pointed to the score he had What is Melody? as it has been running in The Etude we can confi¬ lyi^hdorrnanthlnks °f P enormous amount of talent first phrase being given to twenty young composers, level with the stage. The noisy brass instruments used. It was Rossini’s Barber of Sevilla. It is curious how difficult the writers of theory books dently advise a good beginner’s harmony, such as that —because of inaP’ Perhaps even genius undeveloped the other three phases would probably be furnished occupy a space on the lowest step which descends into find it to give a definition of this term. They mostly of Preston Ware Orem. Indeed by procuring the pre¬ As most salient elements in Wagner’s artistic career cannot w s adequate and erroneous instruction, one ceding and the succeeding articles in connection with with scarcely any difference by any of them; if the a kind of grotto spreading under the stage. The we find: rest content with saying “Notes in succession” or “Notes tance0t0Pmen;hf P'sbeautif“> essay on the impor- self-study in the elements of harmony, many might first half of the tune were given I should expect to sound waves which' rush forth from this depression 6 °t a musical education has been written in vain! in well-ordered succession,” which conveys no idea to easily learn enough to essay a few simple pieces. To The unshakable faith in his own genius, which was find no difference at all. But this is the best pre¬ must first strike a large shell that rises above the the one who can compose, but who is not yet sure of so deep-rooted that no failure-no seemingly insur¬ us. The answer is “A rhythmical succession of his ground, Professor Corder’s articles will be found liminary exercise in composition: given th.e first half orchestra, and before they reach the auditor they mountable obstacle—could deflect him from his aims. sounds.” Without rhythm (i. e. pattern) this “succes¬ invaluable. The previous articles in this series have of a tune, to make the obvious second half. There have lost their violence and roughness. The other His truly radical reforms of the music drama. sion of notes” is pointless, and the more definite the are now numerous books which give such exercises, instruments are distributed over the intermediate Two Songs of Great Wars rhythmic pattern, the more striking is the melody. but I believ.e that I was the first person to publish ranges, the violas above, parallel with the violins, then thT1T SCen'C 3nd aC0UStic innovat!°ns of the Bayreuth January, tqtq—How to Compose. Melody corresponding to a simple quatrain of verse, one. The next stage would be to furnish a continua¬ the violoncelli, encircled by the contrabassi, among A Contrast March—How to Use the Three Chords of the having symmetrical accents and phrases, is called a tion to the given fragment making a cadence in some these the wood _ instruments between the harps, and The bold adroitness he used to interest people in his Key, and to Make Cadences. Tune, and is the only kind of music that is complete in related key, e. g.: then the less important brass instruments. Con¬ April—Inversions and Part Writing. ductor and players enjoy complete freedom in the The “ready pen” which in his hand became a pow¬ of DiTwacht'H^'pu1'- tbou.ght. so much of the v; itself, provided the end cadence is a Tonic one. Out¬ choice of their clothing, as they cannot be seen from erful offensive and defensive weapon against his tary situation hot Rhe,n'n its influence upon the n side this, just as with poetry, there is every variety of May—The Dominant Seventh. the public. No evening dress, but shirt sleeves, and enemies. pensioned the ween France and Germany, that irregular stanza—every degree of less definite rhythmic June—Ornamental Notes. often still less. The angel-friend, Franz Liszt, who with unheard of of the song was^P^’ Karl Wi,helm- whose ven melody, so that at no other stage can you say that an July—Uncommon Chords. A still further advantage is that we are spared the $700 a yearSand A SU"g in 1854 Wilhelm recei assortment of phrases is a melody, or merely “melo¬ generosity tried continuously to quench Wagner’s in August—The Minor Key. by no means esthetic sight of the conductor exerting extinguishable thirst and unblushing demand for George C Cohen6 Tnument In bis nativc town dious.” I think it is best to keep the term “Tune” for himself in the guidance of his host of singers and money—Money—and again MONEY 1 Catholic descent6”’ Amencan composer of Iri the melody that is as symmetrical as a brick, and the September—Part Writing. instrumentalists and reminding us every moment that A GREAT ARTIST WHOM WE ADMIRE BUT he sold th word Wr°!f °Jer There- r" a few mor term “Melody” for the less definite kinds—indeed most December—Borrowed and Fancy Chords. we are witnessing a mere play. WHOM WE CANNOT LOVE. this and subsequent*^ thf music for 52S OOO and g people instinctively adopt this classification. purposes. ’ TEE ETUDE Page 20 JANUARY 1920 Page 21 TEE ETUDE JANUARY 1920 This would make the given portion become a quar¬ forgetting that the greater should contain the less and ; ter of the tune instead of half; and now what should that no man is fit to write a Tone Poem or an Impres we have for the second half? We could have the sionistic Mood Picture (whatever that may be) if he opening phrase a third time, but this would be dull. cannot also write a tune. Our third phrase would want to be quite new and I know full well it is quite hopeless to reason peopie our fourth could be anything, provided it came back out of any belief by exposing its falsity Belief is and made a tonic cadence. So you see that far from dependent of human reason, the history of many a re¬ every tune being an inspiration it has to have a defi¬ ligious movement shows us that. . If anyone does me nite, logical shape and this shape cannot vary much, the honor to read this article and comprehend the argu. The Teachers’ Round Table any more than can the shape of a quatrain of verse. ment it is ten to one he will say, “This man doesn’t A tune will have two phrases, as the quatrain has believe in melody being a gift. Well I do!” And he two rhymes, and these can hardly be disposed in will consider the controversy ended. Allow me to point Conducted by N. J. COREY any other order than (1) a, b, a, b; (2) a, b, b, a, or out that all people call a picture a “creation of the art¬ (3) a, a, a, b. The third of these would introduce ist” and ignore the ten thousand calculated brush-strokes us to the idea of Sequence in a tune. The popular which brought about the perfect result after perhaps This department is designed to help the teacher upon questions pertaining to “How to Teach,” “What to Teach,” etc., and not technical problems pertaining to air, Marlbrook or We Won't Go Home ’Till Morning, is several abortive efforts. That a beautiful female cos¬ Musical Theory, History, etc., all of which properly belong to the Musical Questions Answered department. Full name and address must accompany all inquiries. a typical example. This shape of tune is common in tume is commonly called “a creation,” though it has dance music, where invention is rather shunned than been modified a score of times and required several Memorizing sought, e. g.: different hands and minds to accomplish. Still more Missed Lessons portion (to take a familiar example) of Moszkowski’s Serenade in D is a grade more difficult than the open¬ “I have a student who is doing first year college Ex. 4 absurd, that we all think of a man—especially a pro¬ work In piano. She is a good student, with the nounced individuality—as having been directly cre¬ ing and closing sections. There are many more aggra¬ exception of memorizing. She memorizes and plays in concerts without her music, but she says she ated as we know him, instead of having attained to this _, _ _ _ . Although they vated examples than this. In some of Beethoven’s so¬ contract to take one or two lessons a week, yet cannot visualize the notes, but is guided entirely state from childhood through gradual stages. So we natas there will be one simple movement and one, and by her fingers. I will appreciate any help you one of the greatest problems I have had to con¬ can give.”—G. M. think of the child, and forget that it was erstwhile a front is the hnissed lessons.’ Many pupils take ad¬ perhaps two, difficult ones. Furthermore, some compo¬ vantage of my way of teaching, and seem to think sitions that are technically simple, are emotionally very I am afraid you are laboring under the impression a well-known Polka, of which I need hardly quote repulsive infant, and we think of “dear baby” as “a if they do not wish to take a lesson, for any difficult, and can only be attempted by advanced pupils that there is one conventional manner of fixing the the remainder, it is so trite. It is obvious that by gift,” as the newspapers prettily put it, and ignore his reason whatever, It is all right to call- me over the earlier stage. ’phone and tell me not to come. Very often when of experience, who have shown themselves capable music in one’s head for memorizing. But along this making our end-cadence not a tonic one we can join I am out on the road filling a regular schedule, along this line. Every piece you take must be consid¬ one tune to another, or one section of tune to an¬ Ex-9 English The unthinking mind dislikes admitting that every a lesson period is left vacant. It is too soon to go line the great artists have agreed to disagree for many to the next pupil and too far to go home. So I ered with all of these things in view, if you would deter¬ other and so make a musical piece of considerable effect must have a cause. It is much prettier to think moons. Some say they see the page before them as have to walk the streets, no matter what the mine where it really belongs as to grade of difficulty. length. Schumann does this; it was his usual method of tunes having been dropped from heawu into any weather, until time for the next. I have lost a they progress in their playing. Others declare they good deal of tuition in this way, and it does not Your wisest plan will be to send to the publisher for A of writing, but it muk be owned that it is not a very silly mind that would like to have them, than to admit would be completely lost if they should try to memorize seem fair to me. If a pupil engages my time Selected Graded List of Pieces, Studies and Books (in satisfactory procedure. It prevents continuity of the truth—that we have just imitated other people, as we so I cannot give it to another ought 1 not to be the notes by the eye. It seems to be a matter of indi¬ paid? It Is difficult for me to make good missed which there are listed 600 representative pieces) which thought and makes the piece seem like a collection do all the time; so of course we cherish tin- idea that vidual temperament. I am inclined to the belief that lessons, as it makes them come too near together. was prepared by experts who spent months at the of short poems rather than one long one. Is there music is a gift. After all, it is a harmless belief—ex¬ The pupils seem to think they ought not to pay for the process in which the ear and the hands work in missed lessons. Is there no redress?”—M. T. task. Use this as a working basis, take note of the not a better way? cept for the person who is trying to learn It. conjunction is the most reliable. The brain retains the pieces with which you are familiar and their grades, If we make the separate phrases of a tune not Paying by the lesson for a given term contracted for music long after the music page is forgotten. Indeed, add more to your list from it, and gradually you will match so precisely a. they do in a folk-song, such as Embellished versions of all these are very numerous, is like buying furniture on the instalment plan. It is the mind can memorize music of which it has never acquire the experience you desire, and will be able to Home, Sweet Home! we get at once a superior kind of and it is curious to observe how, in some places, a tune represented that people would not save the money for seen the music, as for example the rote memory of determine approximately the difficulty of any piece with thing but it at once ceases to be a tune in the old has been quite pleasingly elaborated and then has been furniture if expected to* pay in one lump sum, but that both children and adults. In the latter case many can¬ A Few Thoughts on Technic which you come in contact. sense. Take Gounod's Salve, dimora: (presumably by a duller set of minds) made to revert they prepare in advance for weekly or monthly pay¬ not even read the music page. This memory is very to a balder form, just as has been the case with folk¬ reliable, however. To carry in the mind indefinitely Ex.& ^ ments. This may be true. M. T. does not seem to Scales, Scales, Scales tales and ballads. By Norman H. Harney realize, however, that many teachets have the same the printing of the music page, and many hundreds of Poetry and music are subject to the same influence— “1. How do you manage scale contests? pages of them, I should think would be a Herculean trouble even when tuition is paid in a lump sum, either “2. How Is class work conducted? task. And yet some maintain that it is the simplest that of the popular imagination, or the lack of it. Given Technic is only a means to an end, but without ade¬ before or after. In any case, however, it is all wrong “3. What is the best method for grading chil¬ the words, which are often mere doggerel, a tune be¬ quate means no worthy end is ever achieved. to make the teacher lose his or her time. If pupils con¬ dren ? Should the grade cards be given at the end for them individually. Meanwhile I should not insist of each month, or at the end of the season. on the pupil you mention learning to visualize the gins by following them slavishly. If it is a good tune A fourth grade technic playing a third grade piece tract for ten hours of lessons at one dollar each, and “4. Should scales in contrary motion be given in it catches on, gets modified to fit other words, mal¬ of music will give your hearers more pleasure than a three lessons are postponed, they do not seem to real¬ connection with practice In similar motion? Is it printed notes, if such is not the manner natural to her. treated to form a dance or even a hymn! Its best best to give all the majors before taking up the sixth grade technic struggling with a seventh grade ize that they are thereby compelling the teacher to give minors?”—B. C. It seems to me that no cut-and-dried manner can be phrase gets annexed by a (frequently unconscious) composition. them thirteen hours for the ten dollars. And yet not devised for this. The general response of the whole robber or a plagiarist, and turns up thereafter in the one of these people would ask the dry goods dealer to 1. The scales should be learned for rapidity, equal¬ musical system seems to me the best. Leave her to Here is our quatrain, right enough, but the 3d and most unexpected situation. How surprised would Bee¬ ♦ Tu?«C.1S ot!e of tke few thinKS of which it can truthfully be said, that the longer you have it and the give thirteen yards of dress goods for ten dollars at ity, smoothness and shading; in single octaves, third, her own devices along this line, for by trying to force 4th lines instead of being the mere consequence of thoven have been to know that his famous tune in the one dollar a yard. It seems impossible for people to sixth, tenth, and in contrary motion; finally for group¬ her along a line incompatible with Nature’s endow¬ the first two show a fresh impulse of invention, m<^"e y°n use it the better it becomes. Finale of the Ninth Symphony, which took him half learn that music teaching should be regulated by good, ing and accent. Properly qualified judges should be ments you may do her more harm than good. which is maintained through the continuation and ,.d? bird '? t.he hand is worth two in the bush, and a his life to write, was practicaliv identical with a trou¬ honest, commercial principles. Art never has thrived, selected, and the pupils should play behind a curtain enhanced by a beautiful counter-melody for a solo badour song of the early thirteenth century! little technic in hand in worth as much as a n eat deal From Across the Sea ot it on the player-piano. and never can, except on business principles. Teaching or out of sight of judges, so that no favoritism can violin. The musical mind needs no training to en¬ 1. What instruction books should be used with is the business side of the art. When any of these peo¬ be shown. The pupils should play in rotation, and at able it to construct a square tune, but though it may The reason why a student must give so mud! t nought adult beginners? ple send a child to college, they never question the ad¬ the close of the meet the judges will render their 2. Is it advisable for moderately advanced players admire a more extended melody, such as the above to technic is to enable him in time to play without giv- to memorize? tng it any thought whatever. vance payment or tuition by the semester, but prepare decision. it cannot possibly produce or understand how to set 3. Is It advisable for beginners to use the for it in advance. If the child comes home for a week 2. In piano study a given number will be assigned metronome?—M. W. about producing one until after considerable musical thih± techn.ic a dangerous thing, but it is better they do not ask the school to return one week’s tuition. for the hour's lesson. If there are four students, each education. Can anybody tell me who wrote the once 1. There is but little difference between an adult and more “d Sh°U,d serve as a stepping-stone to The music teacher should have equal consideration. receives fifteen minutes of personal instruction at the popular melody of Dixie Land? Its singular rhyth¬ a child insofar as the absolute beginnings are con¬ This problem has been discussed for years, but so far keyboard; if six, then there are ten minutes for each. mical variety makes me suspect that the words were cerned. Each has to go through the same processes in intii^S lYeme,mber that while the “original cost” as I know, few have gotten any farther with it than With some famous European teachers taking only the written to the music (as they certainly were in the getting hands and fingers ready for the keyboard, and “uokTen” b! ab°r °f • g?°d technic is considerable the you have. Many take a position of independence and most advanced students, a morning or afternoon would English adaptation In the Strand) but it is an unique The first fitting together of the component phrases a / s, comparatively inexpensive. each must begin with simple exercises and pieces. maintain it, but there are certain communities where be given up to the lesson with an indefinite number instance of what may be called "extended tune-form” ot a tune is so simple a process that it can be achieved There is one curious difference betwen the two, how¬ wo^k ner:tb,e thlrd °r ,fourth grade technic in good this seems to be difficult. If you could make your present. Perhaps only one or two would be invited to without any repetition. This could nev.er have been by anyone possessing the most elementary form of mu¬ ever, in the matter of progress. The matured mentality grade techni c m°rC va!UabIe than a sixth or seventh pupils come to you it would save you a good deal of play, and all would profit by the instruction. Each one made by an untutored negro, though Old Uncle Ned sically, and, indeed, achieved better by him or her than Technic iflh Somet!mes fails to function, of the adults will lead them rapidly through the ele¬ by a more educated musician, who would be apt to get time and help you to establish a prestige that would was expected to be prepared any time he or she was and Why Did My Master Sell Me? could be, and draw on whJ. m°ne}' 10 the bank—a good thing to mentary stages, while children will make slow progress perhaps were. an inferior result in the desire of avoiding what has make you more independent. The missed lesson cards, called upon. I -have heard it reported that some whose at first. Later this condition often is reversed. The been done ten thousand times before. Publishers know bank ,°„n reS^taf- “ b Un,ike m°"ey in the which may be procured from your publisher at slight talent the teacher did not rate very highly were but fixed muscles and ligaments of the grown-up pupils cost, are very helpful. Tunes the Result of Variations this, and when they want ballads or simple pieces not exhaust ;t by rarely called upon to play. One musician, who studied sometimes come to a sudden stop, as if against a adapted to the comprehension of the great uncultured harmony in class with a famous European name, told ratchet, and make but slow progress afterwards. The All tunes, then, have been evolved by variation public for and by which they live they go to the ama¬ wittbiS^ that while yon can do nothing What Grade? me that the teacher would pb.y a theme over once on from the simple accents of stress and on.e or two progress of the talented child, however, gathers greater teur rather than to the instructed composer; to the lat¬ you will be just alone “How may I learn the way to determine the the piano, and then ask this or that student to write it momentum constantly. The New Beginner’s Book or non-stresses. The variations have been generally ter is given the humiliating task of correcting the spell¬ grade of a piece?”—L. K. > on the blackboard, when the lesson would proceed. I the First Steps, together with the Standard Graded influenced by the accent of the words to which the ing and bad grammar of his successful rival. asked him what he did in the case of students who tun,es were fitted and these, of course, differ in the This is one thing that cannot be done with a measur¬ Course, are excellent books. When pieces begin to were unable to instantly write a melody they heard for be selected, of course you will need to avoid the little various languages. Most English dissyllables have "Jerry Building” ing rod. Indeed, it is one of the things for which judg¬ Rossini and the Asparagus ment and experience are absolutely necessary. Neither the first time. He would ask them to erase the exer¬ numbers so dear to small children that concern them¬ the stress on the first syllable, most French dissylla¬ cise when it was finished, was the reply. I doubt if bles have it on the last. Most German and Italian ^ The superior ability of the unsophisticated in the is there any way of laying down definite rules for selves with Dolly’s wardrobe, Teddy Bears, etc. Older jerry building” of tunes is also felt by the public- such methods would “go” in this country. verbs end with a short syllable; most English ones By E. diPirani another to follow in deciding in what grade to place a students do not like such infantile titles. The Sugges¬ with a long one and Hungarian has accents like no friends always warn the amateur: “If you learn har¬ given composition. There are two general categories 3. If you use the Standard Graded Course, when a tive Studies of Caroline Norcross is a book designed other language. These peculiarities must be re- mony you will lose your gift ( !) of melody.” And that must be considered, the one technical, the other pupil has satisfactorily completed any given book, he especially for adults. fleeted in the shape of the tunes. Scotch and Irish this is perfectly true. When the musician learns the thf'temptinirS(hdnt?» y abf?Jked contemplation of all aesthetic. Then from a strictly technical standpoint, will be ready to be graded as in that represented by 2. It is a good plan to introduce memorizing from the folk-songs find their tunes much influenced by the larger delights which his art has to offer he no longer players vary so in their abilities, due sometimes to the the book to follow. If you do not use this book, you start. The longer the pupil waits to begin this the more scale of the bagpipe, Welsh ones by the harp and has the inclination—he loses actually the power—to in¬ with tlm words°‘‘Ha^e jI^^^l”tjI”ady6 accessed °him manner in which they have been taught. Some pupils, will have to use your judgment as to ‘he point a pupil difficult it seems. At the start it is comparatively easy. bwiss ones by the mountain horn on which the dulge in mere brickmaking. He finds that cadences are for example, are far behind in playing double thirds; has reached. I should think it would be better to assign Always select the most interesting pieces for this pur¬ composers” have evolved their phrases. the cheapest goods in the market, and he instinctively and a piece that would be in the fourth grade for one the grade cards at the close of the teaching year. pose. breaks the corners of all his bricks—thinks of his har¬ This is aptly illustrated by the following four tunes, might be in the sixth or seventh for one of the sort 4. It is a good plan to let the pupil practice contrary 3. I have not found it advisable to use the metronome mony in gliding inversions instead of bumping root- which are not so much local variants of the same tune KZ" “ £ .S“c«S”;o'“Sy just mentioned. This cannot be considered in figuring motion when learning to play parallel motion. In the with small beginners. The first use of the metronome positions; learns presently to think of his bass as a as local evolutions from the same harmonic species, out a grade of a given piece, but must be considered by first learning of the scales it is better not to confuse is to ascertain the correct tempo of a composition as melody instead of as a series of supports to the struc- tro said to her- “A„d bereUJP°n the facetious maes‘ that simple alternation of Tonic and Dominant-har¬ have admired me at Vour°M de3r ^adame’ tha‘ y°u the teacher in selecting from a list of pieces. One com¬ pupils’ minds with too much, but confine their first indicated by the composer. Next it may be used to mony which has been the basis of most musical ideas tlf >Var!d fi"ally gets ,to think of melody, such as that position may be very simple and innocent looking, un¬ practice to major scales only. They will learn the grade a gradually increasing speed for exercises and of Mackenzie’s Benedictus or Wagner’s Prize Song as me that bundle of JLd r ?’ WOn * you- PIease- b°y and always will be. til suddenly a seriously complicated passage confronts minors better when they know the majors well enough etudes. If a student’s sense of time is very bad it may the model to fix his aims upon—sometimes, it is true was only to0 glad ! !! ,“' asparagus?” The ,ady quest. comply with the humorous re- you, and may prevent your being able to learn the to understand how the minors are derived from them, sometimes be used in the endeavor to correct this in piece properly for another year or two. The middle and their mutual inter-relationship. Page 22 JANUARY 1920 THE ETUDE How Much Purpose? Page 23 THE ETUDE JANUARY 1920 By Thomas Tapper MELODY AT DUSK “The ’cello throbs its brooding song A banker, invited by a merchants’ club to speak While Baby sinks to sleep.” FREDERICK KEATS upon Business Development, said so much that should be addressed to music teachers individually, and in as¬ A very entertaining characteristic piece, with chime effects, and ’cello solo. Grade 3 sociation that we venture to bring the gist of his talk before the readers of this magazine. The club is of merchants, in a small way, in a city of a few thousand inhabitants. The broker was talking to the average run of small storekeepers. How much purpose, he began, is there in what you do? Do you store men of this town wait for busi¬ ness to come in at the front door or are you forever planning and working to make it come in at the front door? There is a vast difference. between these two conditions. Then, going on to develop this idea of purpose, the broker said this (Note how every word applies to the music teacher). A year’s business is largely accidental unless it is planned a year ahead. Have you ever thought of figur¬ ing out how much gross you might do with effort in a year? The average merchant takes business as it comes. Aside from a little advertising, he thinks the very presence of his store building, with its trim win¬ dows, will attract customers. It does attract them. But not the one hundred per cent, of customers he Etude Prize Contest should have. Beyond a certain amount of business We take pleasure in announcing that the final awards by official appointment, a recital at the Jamestown which he secures more or less automatically there is a have been made in the contest recently concluded. The Exposition; also received appointment to give recitals large margin he could have if he went out for it. labors of the judges in connection with this contest at the Panama Exposition; recitals at Chautauqua, If you did four thousand dollars gross in your little were unusually heavy, since over eleven hundred man¬ and one hundred and thirty-eight recitals at Lincoln, store last year you must do five or six thousand this uscripts were received, representing composers from all next year. Study your town. Learn the number of Neb. Over one hundred published compositions for portions of the United States and from abroad. The the organ, piano and voice have been played ami sung families in it that should trade with you. Compare this interest shown in this contest has been a source of all over the world. Mr. Frysinger's prize-winning number with that who actually do trade with you. much gratification. Improve your service to the highest point. Be sure composition, Dance of the Dewdrops, will be found in The general excellence of the manuscripts submit¬ you are an actual service benefit to your town. Then this issue. ted was noteworthy, and the decided improvement was keep on creating ways to secure new business. noted in the technical details of composition. A large ALBERT LOCKE NORRIS It number of manuscripts survived the various siftings Albert Locke_Norris, organist and composer, was and were reserved for the final adjudications. born at Glen Falls, N. Y. At the age of fifteen he Does not all this apply to the music-teaching profes- We wish to take this opportunity of thanking all of was appointed to his first organ position at the Glen our friends who became participants in the contest and Falls Methodist Church. Later, Mr. Norris went to Inasmuch as business and teaching are synonymous to congratulate those to whom the final awards were New York and studied with Prof. Robinson. Subse¬ and both aim for service benefit, would it not be worth made. while to determine in what ways we may increase quently he became a pupil of George Coleman Gow teaching service? Among the prize winners in the various classes are: (professor of music at Vassar) and Dr. Blodgett. He Albert Locke Norris, of Northampton, Mass.; Edward But in our application of our professional means grew very much interested in the fundamentals of F. Laubin, 0f Hartford, Conn.; Ernest R. Kroeger, of are we not more or less like the old-fashioned store¬ study and pedagogy, and went to Berlin and t<> Leip¬ St. Louis, Mo.; J. A. Fermandez, of Mexico City, Mex.; keeper who did what business there came in at the zig to investigate the methods in use at the foreign front door, but took no active part in stimulating it? Irene Marschand Ritter, of Philadelphia; Wallace A. conservatories. Upon his return he published a book Again, are not the merchant and the music teacher Johnson, of Pasadena, Cal.; Mary Helen Brown, of for beginners in music, which has been very successful. Short Hills, N. J.; J. Frank Frysinger, of Rock Island, alike in this—that stock, whether of goods or ideas, He has composed a number of melodious pieces f r the must be always up to date, always a little better and III.; Theodore Dutton, of Brooklyn, N. Y.; Lily Strick¬ piano and for the organ. Mr. Norris’ prize-winning land, of New York City. more attractive than ever before? composition, Desir d'Amour, will be found in this Now, if business (including teaching) is service, Three of the prize-winning compositions will be found in this issue of The Etude together with por¬ may we not drop the foolish old idea that it is unpro¬ traits and sketches of their composers. Other prize- fessional to regard art in the light of business, and so set about doing more teaching (or business) in order wmning compositions will appear in later editions. Edward F. Laubin, organist, composer and teacher to be of more and better service to the community was born in Hartford, Conn. He studied with Tuliu Baier, N. H. Allen and T. P. Warren, afterwards be where we labor, as in a vineyard? J. Frank Frysinger, organist and composer, wa coming a student at the Royal Conservatory of Musi, There are a few artists and musicians who combat born at Hanover, Penna., in 1878. He began to stud the joining of the word business with any of their at Leipzig. He has held many important positions a ™us.1= at the age °f eight. He studied with P. V) organist and choir director. In 1911 he accepted th< professional activities. But most of them are keenly Wolff, Baltimore; S. Camillo Engel, Edgar Stillma position of organist and choirmaster at the Asylun alive to the best interests of themselves. As a matter Kelly, Richard Burmeister, Ralph Kinder, W Wol of fact, it is not until the music teacher appreciates stenholme and W. A. Boyd, London, and Dr. Hugh A Hill Congregational Church at Hartford, Conn. Th, the practical basic business principle in the teaching Clarke, Philadelphia. He has held many important po monthly musical services at this church have becorm profession that much more than accidental service can sitions: Director of Hood College, Conservatory o well and favorably known throughout New England be rendered. Music is a human necessity. If you can Music, Frederick, Md.; head of organ department, Uni Mr Laubin is Director of the Treble Clef of Hart teach it well you fulfill a decided want. If you are versity School of Music, Lincoln, Neb., and organis ford and the Choral Society of New Britain. Conn sufficiently organized to enlarge your teaching field, at prominent churches in these localities; has played Mr Laubin s prize-winning composition, Twilight, wil be found in this issue. doing your work well and efficiently, you are certainly a public benefactor. The banker said another thing to the Merchants’ Club which seems worth while quoting: Over-Ambitious Efforts Don’t fail to read the special journal that comes nearest to your line of activity. In fact you cannot be a real up-to-date merchant and omit that reading. It is so in the music-teaching profession. The pro¬ In your practice it is often well to try music that is just a wee bit too difficult. But when you are play¬ fdl rendered than a more difficult one play fessional journal is an essential part of your actual raggedly and with evident effort. tool equipment. It is as indispensible as reference or ing for an audience, no matter how large or how muav'fw a uirge- repertoire of .music to choose fro text-books, for it contains the best current thought. small, keep your program well within the compass of your powers. You will gain in ease by looking ™11 glve, y°u Pleasure to study and pit The music journal is the advanced sheets of all new Lrt/r aud,ence pleasure to hear. And beware he music books of another decade. out for this point, for when you are playing music that is out of your proper capacity you will be a prey ™ rePart mere personal ambition holds in your pla Hence this order of thought cannot be found in books. to uneasmess, and, if you should make a mistake, it can n rfn™ wish t0 show how finely YO The pages of this magazine, for example, are a univer¬ can perform regardless of anything else, you are sity training in the best that men and women are think¬ will be hard for you to catch yourself up again. ing and saying about music as a professional activity. Also, when you are playing music that taxes your he ahZnTVv jUf\8’er throwing g'«s balls up technic, it will be harder for you to do justice to the Here we meet distinguished artists and writers who nseitffself is• not> art, ubutmg mechanics.them behind h!s back. This, foregather nowhere else. They do not speak casu¬ meaning and intention of the composer. And this is ally, but in the most careful and studied manner, so an injustice which none of us would willingly do. You ure theref°re’ t0 pkr music for the plea that we may receive from them the very best they have will find that your playing will give more genuine chancef 1S rrn°‘t0 eXploit y°ur technic- And tl pleasure if you are quite at your ease in the delivery get more • that/ou-as as your audience-w of your pieces. Better a comparatively simple compo- madr ‘‘J. Vndr pr?gress out of music than if yc made a stunt of it instead of an art.

Copyright 1919' by Theo.Presser Co. British Copyright secured JANUARY 1920 Page 2 5 Page 24 JANUARY 1920 THE ETUDE Prize Composition TWILIGHT Etude Contest LB CREPUSCULE EDWARD P. LAUBIN A fine example of a melody-played by the thumb against a harp-like accompaniment. Accent these figures as sextolets,not triplets. Grade 6. Andante,sostenuto M.M.J=63 „ „ . . « , * 6 t I ' |' I 1 i ; ;i.

British Copyright secured Page, 26 JANUARY 1920 the E TV Eg

DESIR D’AMOUR the etude JANUARY 1920 Page 27 ROMANCE a tempo. Prize Composition An expressive and veil-balanced without wortt*. A fine study in tone production and the use of the ped- Etude Contest ALBERT LOCKE XORRIS, Op. 42 Lento serioso m.m.J^76 a tempo

Prize Composition DANCE OF THE DEWDROPS Etude Contest A charming little fancy dance, richly harmonized. Further mention of Mr. Frysinger and his work will be found on another page. Grade 3^ j FRANK FRYSINGER, Op. 189, No. 2 Tempo di Mazurka m.m. J= if6 v z 4 4 2k 2 1^.5 4

British Copyright secured

itish Copyright secured THE ETUDE Page 28 JANUARY 1920 THE ETUDE JANUARY 1920 Page 29 WITH THE CROWD WITH THE CROWD March March A jolly march movement by a popular writer. Brilliant,but e-isy to play CHAS. LINDSAY Vivace = 120 SEOONDO

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Copyright 1919 by Theo.Presser Co. British Copyright secured THE ETUDE JANUARY 1920 Pag* 31 HUNGARIAN MARCH

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5 3 r-* LLU1 Tempo I. the etude JANUARY 1920 Page 33 THE ETUDE Page 32 JANUARY 1920 A RIYER ROMANCE BARCAROLLE A graceful boat song with many excellent study features. Good for recital use. Grade 4. ERNST C. KROHN, Op. H

Copyright 1919 by Theo. Presser Co. British Copyright secuxe^d Page 34 JANUARY 1920 THE ETUDE JANUARY 1920 Page S5 THE ETUDE THE ETUDE MULTUM IN PARVO

Everybody likes short articles embracing distinct, helpful, informative ideas. We often wish when we see an otherwise excellent article, that we might put it under a kind of editorial press and squeeze out one-half o the words. The ETUDE invites contributions for this page,—contributions with real ideas and real informa¬ tion with the useless words squeezed out. Lots of thousand-word articles could be written in two hundred or one hundred words if the writers were skilful enough.

Try This on Your Chauffeur Opera Idols Resolutions and Resolution But oh the smell of that jasmine flower, And oh the music, and oh the way, iy Thomas B. Empire By Sarah E. Hitchcock That voice rang out from the donjon New Year resolutions are a standing Who was it who said that nothing- The boy who likes to drive his car may Non te scordar di me! Non te scordar joke. Not because we make them—that no, absolutely NOTHING should inter¬ play his scales “in low” (lento), "in inter¬ di me! isn’t where the smile comes in—but be¬ fere with practice for the next twelve- mediate” (moderato), and “in high” (al¬ And Mario could soothe with a tenor cause we break them. If we could keep month ? Who was it who foreswore pro¬ legro). He notes involuntarily anything note the Souls in Purgatory! even half of out high and lofty resolu¬ fessional jealousy?—unpunctuality at wrong with the regular purr of his mo¬ lessons?—carelessness in teaching and You know the old Meredith poem that tions they would become a subject for tor; he must listen as keenly for an ir- all elocutionists of thirty years ago used epic poetry of the most heroic kind. study? It’s up to you—you can make tegular rhythm in keyboard exercises. He for the exposition of their hysterial art? It is easy to make resolutions. (This these resolutions peter out till they are must know that all good sight readers You remember the thrill that was sup¬ i9 why we do it.) And it is even easier food for the joke-twirler. Or, con¬ keep their eyes “fifty feet ahead”—or at posed to come when the lines told of to break them. (This is why we do it.) versely, you can make them arch to a least several measures! He must not ex¬ how Mario sang from the tower, and The hard thing is to have sufficient reso¬ stirring strain. All you need is a little ceed the speed limit set by the metro¬ some village tenor, carefully hidden be¬ lution to keep our resolutions. Just the RESOLUTION to keep that little reso¬ nome. And if he anticipates an “exhibi¬ hind the parlor door, broke out into the difference of pne final “s.” lution. There’s the trick! tion run” on his recital p:ece, he must Miserere from Trovatore? give his little racer a general overhauling inside and a new polish outside. Encour¬ Ah Che La Morte Little Helps to Memory Who, then, was Mario? What! you What is Regular Beating ? age him to appreciate a machine of stand¬ don’t know Mario? In his day he was of Signatures ard make: Chopin for luxury, MacDow- as well known as any tenor of the past By Michael Q. Ryan c.11 for high power, Grainger for speed, or present. The great Mario—the hand¬ By G. H. Konarsky etc. Don’t let him waste good gasoline some Mario with the golden voice and the The child mind is a comparative on flivver ragtime. grandiloquent manners! It was Mario mind. In order to lead it to see new Order of the "Sharp" Keys: whom all the ladies in crinoline adored. things we must hold up old things for Go Dig And Earn Bread First It was Mario who set hearts a-fluttering comparison. For instance, if you are Order of the “Flat" Keys: The Fingers That Failed from A L all the way back to X 99 in trying to let the little one know what Farmer Boys Eat Apple Dumplings I lie top gallery. Mario was not only a regular timekeeping is, he must think of Greedily m eat singer, hut a kind of operatic mati- things that beat regularly. Order in which the sharps enter the sig¬ By Arthur S. Garbett tue idol. Grisi, who sang at the Acad¬ Here are some comparisons that I natures: ia my at the same time with him, was . Frosty Christmas Gives Delight And have used: Ten little fingers from practice in decline; wildly in love with the tenor; but so were Entertains Babies The clock. One struck a wrong note and then there others who had never met him—would Order in which the flats enter the signa¬ The sound of soldiers’ feet when were nine. never meet him. Indeed, one of his ad¬ marching. tures: mirers came to the opera every night and The mill wheel going around. Boys Eat Apple Dumplings, Grapes, Nine little fingers failed to concentrate, sat in the same place until Grisi went On The beating of the pulse or a drum. Candy, Fruit the stage every time with a scowl of rage One struck two keys at once and then on her countenance. This admirer had there were eight. previously paid theatrical court to Charles Father Gets In Some Fine Work Kean, hut on meeting him was disillu¬ Eight little fingers to desperation driven, sionized and turned to a new idol. By L. D. Eichhom One lagged behind the rest and then The history of these mysterious theat¬ there were seven. rical affections can never be written. All “If I can’t sing in the duet, I’ll—not— Reaching home, the spirited little eight- artists know that they exist. Many re- year-old told mother all about it and Seven little fingers in an awful fix, ceive the most endearing letters from sing—in—the—chorus.” These words were spoken staccato delivered her ultimatum in the words One failed to cross the thumb and then admirers whom they will never even see. there were six. Perhaps it is best that the beautiful illu¬ spiritoso by a very little girl. She had above quoted. sion of the stage, the romance, the pic¬ been chosen by her teacher to have a spe¬ When father came home and heard the ture beyond the proscenium shall never cial part in a school entertainment. Then story, he also ultimatumed, declaring to Six little fingers too scared to be alive. i p broken. We knew of one artist who she became ill and was necessarily ab¬ his highly temperamental daughter: “O One bent the knuckle back and then received a bunch of violets from an un¬ sent from several rehearsals. The yes, Alice, you—will—sing—in—the— there were five. teacher, therefore, found it expedient to known admirer before every perform¬ chorus.” select another girl for the part in ques¬ ance. He never had the slightest clue to Relating the incident to a friend, her Five little fingers, wishing they were tion. On her return to school, this was who the donor might be, but the violets father added: “I think Alice will be an came as regularly as dock work. Then carefully explained to Alice with the re¬ One split his finger nail and then there artist!” the violets suddenly stopped—why, no quest that she sing only in the chorus. were four. one ever knew. Did the mysterious ad¬ mirer die? Did the artist do something Utilizing Spare Moments Four little fingers in the scale of D, on the stage to spoil the illusion? Did One hit a G sharp and then there were the affection just flicker out like some By H. Timerman three. smouldering flame? Who knows? rushed to do any real practice you will Three little fingers, feeling all too few, Pay Attention It oftens happens that owing to a press of engagements one is tempted to let the devote your spare moments to conscien¬ Failed to play a triplet and then there day go past without practicing. With a tious work on the thing you do least By Elise van Marck look at the clock one is apt to say: “No well, you will find yourself gradually Two little fingers, far too stiff to run, use trying to do any practice to-day. At conquering difficulties which now fill you Most of us go'through life like a child Couldn’t play in octaves and so there was with its head turned to look over its most I’ll only get in fifteen minutes or with apprehension. Octaves, perhaps, shoulder. When we stumble, we are so, and what good is that? Barely time are your particular “bete noire;” or rather surprised, just as the child is. to limber up my fingers.” And so an ex¬ chromatic scales. If you are a violinist, One little finger, bereaved and all alone. The fact is that it is impossible to under¬ cellent opportunity to brace up the weak your special failing is probably passages spots in one’s technique is lost. For Slipped beneath the keyboard and then stand any problem acutely, if we give in springing bow or two-octave glissan- while fifteen minutes, true enough, are of there were none. only half our mind to it. little account when applied to the things dos. Whatever the difficulty, however, Pay attention is a good slogan. The work at it a bit every day. For in the problem confronting us is well on to be¬ one does well—or to the daily practice If your hands you would preserve from Copyright 1919 by Theo.Presser Co. words of Shakespeare, ‘‘Many strokes, ing solved, if we pay attention to it and routine—fifteen minutes rightly used can such a dismal fate, British Copyright secured not allow any extraneous matter to di¬ be made of inestimable value. though with a little ax, will fell the Practice, practice, every day, and learn to concentrate. vide that attention. If on the days when you too stoutest-hearted oak.” JANUARY 1920 Page 87 Page 86 JANUARY 1920 THE ETUDE THE ETUDE

The Brunswick Scientific Get Full Beauty Out of Method of Reproduction THE Brunswick Phonograph is the creation of Your Record Music the highest type of phonograph-building genius. Added to that is its famous Method of N every one of your records lies hidden an in¬ I Reproduction. Making possible the Method are herent beauty. A beauty put into it by the two exclusive features. They are the ULTONA niaster hand of some famous artist. and the TONE AMPLIFIER.

It may exist there as a beautiful note, an exquisite The ULTONA — a scientific Brunswick creation tone or dazzling rhythm. — is universal in adaptation and simple in structure.

In other words, the individuality — the heart and It plays all records infinitely better. A patent head — of the artist who made the record is con¬ that involves genuine fundamental principles of cealed in it. And it never comes to life until properly sound. reproduced. With but a slight turn of the hand it presents the proper needle and diaphragm to any make The Brunswick Phonograph interprets with record. greater accuracy the hidden beauty in your records. The TONE AMPLIFIER is part of the Bruns¬ Rare indeed are these Bruns- r wick Phonograph Models De Marks New Phonographic Era wick Method of Reproduction. It solves an old Luxe — reproductions retninis- problem in acoustics. It is oval in shape, and c e n t of bygone centuries. moulded of rare hollywood. Like the sounding Ask your dealer for a free Where period furniture is A new era in the Phonographic World began with copy of “What to Look For in used they play distinct roles The Brunswick. board of a piano or a fine violin, it is built entirely Buying a Phonograph.” You in the composition of the dec¬ of wood. It is absolutely free from metal. will want this interesting in¬ orative scheme. In Brunswick Before that records and exclusive. artists were structive booklet before you De Luxe Cabinets we are not By this method of projecting sound, tone waves buy because it is authentic. It denied our art heritages, for , the thing. The instrument determined the range was written by Henry Pur- are unrestricted and allowed to unfold ipto full by them is reflected the Italy , of musical selection. One had to forego the mort Eames, LL.B., Concert of the Renaissance, the France rounded tones that are rich, mellow and, above all, Pianist and Lecturer, Director of the Louis, the England of pleasure of hearing all other records. Then came natural. Pianoforte Dept., Cosmopoli¬ Fine Furniture. tan School of Music, Chicago. The Brunswick that played all make records. A An interesting booklet in Ask to hear your favorite colors treats of all models in new and wider world of music was immediately detail. Write for it or ask any opened to all. Besides, it played those records at record played Brunswick dealer. their best. Ask to hear your favorite records played. Put The Brunswick to the test. There will not be the slightest obligation on your part.

THE BRUNSWICK-BALKE-COLLENDER CO. Branch Houses in Principal Cities of United States, Mexico and Canada Canadian Distributors: Musical Merchandise Sales Co., 819 Yonge Street, Toronto the etude JANUARY 1920 Rage 39 Page 3S JANUARY 1920 THE ETUDE THE NYMPH WALTZ M.L. PRESTON A graceful waltz movement, to be played in rather slow time. Grgde 3. Tempo Valse di m.m.J=144 T~~gx a tempo.

—

iCHIRMER’S \CH01ASTIC

'Material for vocal and instrumental Studr~fmm the per,y easiest to the mst difficult,’

'Volume'51 First Solo Book For the Piano

(g ANGELA DILLER Kj 1 , ' and Mr | X ELIZABETH QUAILE W fi The Diller and Quaile Books FOR PIANO first solo BOOK FIRST SECOND duet book duet book 90 cents, net $1.25, net By Angela Diller and Elizabeth Quaile

■ '"“ca, - M“k ot “*

rop.e.e™?^^^ “*» *"<• ■»!"<>■• keys, and are

Solos—Ilthough'each ^ M ** ^ of Mechanically, the books are up to the best Schirmer standard. Ask your dealer about The Diller and Quaile Books G. SCHIRMER I

Please mention THE ETUDE when add^sing advertisers. Copyright 1919 by Theo.Presser Co. British Copyright secured Page 40 JANUARY 1920 THU ETUDE JANUARY 1920 Page 41 AMERICA W4IT„ . GRAND TRIUMPHAL MARCH WALXER_rolfe A f ine,heroic march in bravura style. Very desirable for exhibitions or as an^oponing-CMcert^number^Gr^ae^o Tempo di Marcia con fuocoM.M.J=

Copyright 1919 by Theo.Presser Co. British Copyright secured Page 42 JANUARY 1920 the etude INDOLENCE Not to be played fast like a waltz, but in the reverie style. Grade 3 Andante m.m.J=76 , .1.1 GEO. L. SPAULDING con espress.

BLUE BELLS FR ANCESCOB .DEXEONE, Op. 30, No.l A charming flower piece which will require careful pedalling and strict attention to the dynamic markings.Grade 3^ -g- In a sweet Scottish way m.m. J.=54 , , aC l nivthL r i jnJTKTttl

Copyright 1919 by Theo.Presser British Copyright secured A dainty encore number in the modern French ^ BALLET Allegro con spirito m.m. J= 144 IRENE MARSCHAND RITTER

British Copyright secured Copyright 1919 by Theo.Presser Co. British Copyright secured Page 44 JANUARY 1920 MR ETUDE CAPRICCIOSO A brilliant solo, not too difficult for the average player. Jj] Allegro ma non troppo m.m. J=loo T.D. WILLIAMS kri s3" > - \\ ^-^ -V Rage 47 THE etude Dedicated to Mme Amelita Galli - Curci JANUARY 1920 Page 46 JAN UA BY 1920 THP ETUDE Otl CAR’LINA An American folk song in the style of Stephen Foster, with an appealing refrain, especially useful for Community Singing. IOLA GAVOTTE Words and Music by In the modern gavotte style, graceful and pleasing. Grade 3.

British Copyright secured ***« 48 JANUARY 1920 THE ETU/>p

THE etude JANUARY 1920 Page 49 poco nt.

t) for - est are still. The 1 brook-leits ar< held in an i - cy |?rasp,There’s no

-0 -* ♦ ~~f r -3 " rit. 1^5 J -Z T*

sound from the wheel at the mill.—iT/^The moon socoldinits beam - ing, Makes shad - ows in the

v snow,_ The s tars thi at shine in the blu e a - bove, are but'-nish’dby front, I know. > -1 - )=- ■0 •U cresc. 1 j :•> 7 JU T T p d olla voce - LJU 7 r PP ®

m If LQ 1 —(Pw • “■.“Ws ■» j> S“;““'I'",-MnANTB PASTORALE registration: JChoir. Dulcianii and Concert Flute ' Pedal: Soft 18'coup, to Ch. GERHARD f. ALEXIS A charming and melodious study in registration. . Moderato m.m.J=73

MANUAL

British Copyright secured

GKOKGENA WHITE HO USE SNOW TIME

British Copyright secured

Copyright 1919 by Theo.Presser Co. British Copyright secured the etude JANUARY 1920 Page 51 the ETUDE What s in a Name Composers—Performers—Take Note By Denison Fish

Have you ever stopped to consider any other name would smell as sweet” how much difference the name of a does not apply to musical compositions. musical composition makes? If you The average hearer appreciates a definite have had long experience in making pro¬ program with his music. This is the grams and watching the reaction of reason for the tremendous appeal of audiences to them, you must surely have opera. The music is “about” something. noticed that the name of a musical com¬ It is attempting to describe places, things, position may either arouse the interest of persons, or states of mind. your audience or it may leave it in a per¬ There are two kinds of music which fectly neutral frame of mind. In other do not belong to this class. First, purely words, that the names of musical com¬ physical music which makes its direct ap¬ positions may be divided into two dis¬ peal to the senses. This includes dance tinct classes; those which appeal to the music, music used for therapeutic pur¬ imagination and those which do not. poses, and, I regret to say, almost all Of course there are many titles which instrumental church music heard nowa¬ lie in no man’s land,—such as Reverie, days. The other type of non-descriptive Melody, Nocturne for instance; but for. music is purely intellectual music, includ¬ practical purposes we must class these ing most fugues, sonatas and chamber titles among those which do not appeal music. This category, however, does not definitely to the imagination. They are include all concertos and symphonies. too indefinite. Many such works are pure program mu¬ No doubt many composers purposely sic with the name omitted or undiscov¬ choose titles which shall not appeal to ered. Sometimes a name is supplied la¬ the imagination. They desire to hold ter by some one other than the composer. their works in the realm of so-called Most of us have been acquainted with the “absolute music.” They wish to make titles supplied to Mendelssohn’s Songs an appeal to their audiences directly Without Words. These titles have of¬ through the ear. It is perhaps a high ten been condemned by critics and super¬ and laudable ambition, but it leaves out ficial archeologists as spurious, but they of consideration the common average per¬ are correct in principle, for they call son who holds no prepossession in favor attention to the fact that each song, while of music for itself. If one is able to it may be without words, is not without write so portentous a composition as the thought or subject, and that each one has a subject—a definite subject—all its own. Ninth Symphony certainly no title can do much to add to or detract from the work, Mendelssohn may not himself have dis¬ covered, or determined what these sub¬ but, gem as it is, how much wiser for jects were, or he may have withheld the MacDowell to have called To a Wild names on purpose to make listeners Rose what he did than to have named it think, but it does not matter. The titles Prelude in A. of compositions are never final; they are With the great majority of human supposed to be in opera, but there will beings the eye is a much more developed always be some one to turn the most ar¬ avenue to the brain than the ear. Most dent operatic love song into an Ave of us appreciate and gratefully make use Maria. Music is a subjective matter at of a nail on which to hang our aural best. To one born on the Wyoming impressions. How many hearers have prairie, who had never left his native gone home from an evening of violin state, a symphony entitled The Sea Some Day I Shall music carrying a more definite and last¬ might mean something very different ing impression of Saint-Saens’ little mor- from what it would mean to a man who Hear You Calling ceau, Le Cygne, from the Carnival des had crossed the Atlantic forty times in Words by Gladys Lacy Music by Arthur F. Tate Animaux, than of half a dozen other con¬ stormy February. The man from Wy¬ certos, preludes, melodies, minuets, im¬ oming would be justified in renaming High Voice, E fiat Low Voice, C promptus, etc.? the piece for himself. He might call it Price, 50 cents Suppose Paderewski were to say to an The Cyclone, Forest Fire, The Stampede The words of the first verse and the melody of a portion audience. We will take a vote as to of the Herd. Music, as I have said be¬ whether I shall play Beethoven’s Sonata fore, is a subjective affair; each listener Oft in the twilight when shadows are falling, Op. 27 No. 2 or the Moonlight Sonata,” must, perforce, interpret what he hears in Faintly come stealing from over the sea; what would be the result? “A rose by the light of his own past experience. Faces long vanished and voices now still, Voices I loved and so dear once to me. A New Dance for Everybody Do you yearn for the two-step? Does after that you improvise. The dancers the moaning saxaphone in a jazz band gather in a circle—any number, from thrill you not one particle? Does it only four to a few hundred—and clasp hands. make you long for the good old days of When the orchestra, with the “reeds” the Paul Jones, the Rye Waite or may¬ dominating the “brass,” begins the dan¬ hap the stately quadrille? cers start to circle. Then the fun begins. Try the Kola. It’s the only sure cure Do you jig? Then you can jig for for those dancing blues. Good for tired awhile, and when you get tired of that feet, lonesomeness and the seven deadly you can do a buck and wing or a neat sorrows. No, it does not come in bottles bit of interpretative dancing, while or pellets—it’s a dance. It comes from others in the party may be performing an Serbia, and the American Red Cross airy skirt and ballet. Everybody does girls on duty there say it’s not a bad Some day when the clouds have vanished. dance, either. Anybody can do it, and exactly as he pleases, and that’s why the Stars will shine again; everybody has to—no wall flowers per¬ Kola is so fascinating that American Red Then shall daibn hope’s glorious morrow. mitted in the room when the Kola is in Cross workers here have to stop the musi¬ Love be our refrain. action. cians to feed the poor, who on festive O Theodore Presser Co., Phila., Pa. Easy ? Why, it’s as easy as eating. All days would rather dance the Kola than Singers Everywhere are Beginning to Use this that is needed is a drum and two feet— eat. Number. Get Your Copy Now and Enjoy the Flattering Reception an Audience Always Gives I Resolve to-! Those First Introducing a New Song Success. VES, it’s a fine thing to make NewYear’s Resolutions to do wonderful work in your 1 music. It is quite another thing to keep your resolution. The Etude— Theodore Presser Company through regular subscription—helps you keep the resolution by means of monthly 1710-1712-1714 CHESTNUT STREET messages of inspiration and instruction—to say nothing of giving you the materi¬ PHILADELPHIA, PA. als—the music to work with. Better renew that subscription to-day. <£ ®

Please mention THE ETUDE when addressing our advertisers. Page 52 JANUARY 1920 TBE etude the ETUDE JANUARY 1920 Page 52

Is it possible for the teacher to study the calizes. He doubtless thinks he does, but : pupil with such accuracy and adjust his in the beginning he does not, save in a teaching to the individual need so per¬ general way. He hears himself making fectly that all may improve with equal tone, but there are many things in the rapidity? I believe this is what every live tone which he does not hear. Of this I teacher tries to do, but so far no one has have absolute proof daily. Hearing is IVERS & POND succeeded. Pupils go to the teacher with mental, and the student will hear all he is Department for Voice and Vocal Teachers a variety of wrong ideas and habits, men¬ able to hear, that is, to the limit of his tal trends which are the result of envi¬ experience, no further. As better models Edited for January by D. A. CLIPPINGER ronment, opportunity and racial charac¬ are presented to him and his experience enlarges he begins to hear more in de¬ A Splendidly Instructive Department from the Eminent Chicago Teacher teristics. These are the things that con¬ PIANOS front the teacher in his efforts to form a tail until he finally becomes completely conscious of what he is doing. This musical mentality. If the problem were “ Thank You for Your Most Sweet Voices."— SHAKESPEARE makes correction of his faults easy. physical it would be comparatively sim¬ A great prophet once said: “Ye shall ple, but when it consists of mental ten¬ know the truth and the truth shall make dencies which, perhaps, have been handed you free.” There is a vast difference be¬ down for a thousaud years it assumes a tween theory and absolute truth. Voice The Eye and Ear in Voice Training far more difficult phase. Every student teaching has been theorized almost to the What is there in or about voice teach¬ knows what he likes. What he likes may limit of the human imagination, but un¬ of it in the general disagreement among cuiisuiiciiiis,consonants, theme piuiiiuieiaiiGuipronunciation uiof words.w they are wrong concepts manifesting ing that is difficult? Any problem is be bad, but it is the best he knows at that derneath all of these over-exercised fan¬ themselves on what the laryngoscope dis¬ for style, interpretation, mood, etc themselves. One may have a perfectly difficult if one can’t solve it, and it is easy time. It satisfies his ear, which is his cies there are certain eternal truths that closes. Each one sees the vocal mech¬ find in every instance the appeal is to uie normal vocal- organ and still be doiti if he can. ’Therefore the difficulty is taste, and he will do nothing better un¬ base all artistic expression. They are a anism doing certain things and he takes everything wrong and he will continue not in the problem, but in the individual; ear and the judgment depends upon what til his taste changes. When a taste of definite concept of the beautiful, and free¬ it for granted that all vocal mechanisms to do so until he learns to control it this kind has been pampered a bit and is hence the individual becomes the prob¬ should be made to do what he thinks he the ear hears. dom of utterance (technic). These are with right concepts. associated with a dash of egotism you lem. When one has mastered the princi¬ sees that particular one doing. But all To proceed, one or all of the things habits of mind, and they are the things “But,” says someone, “look at that stif¬ have a real problem. Talking mechanics ples of mathematics he has not changed vocal mechanisms do not do the same mentioned above may be imperfect in which free the vocal student from all fened tongue, rigid lower jaw and throat to such a one might affect his temper, but mathematics, he has only changed his things in the same way nor can they be this voice, in the beginner’s voice they false doctrines. Voice teaching should be Do you mean to tell me there is nothine not his taste. understanding of it. When one has mas¬ made to do so ; therefore all of the look¬ all will need more or less remodeling, musical training, and as music is some¬ physically wrong?” That it just what I It is of primary importance that the tered a Schubert song he has done ing at the voice that has been done in thing to hear it must necessarily reach and every voice will present a different mean to tell you, and the proof is short nothing either to Schubert or the song, the past fifty years has done nothing to pupil learn to hear himself when he vo¬ the. student through the ear, not the eye. combination of imperfections, for the and decisive. You see a rigid tongue, but the work has all been done on himself. help the vocal teacher, but it has resulted voice is an expression of individuality you are looking at effect, not cause. We This forces us to the conclusion that the in incalculable harm to many teachers and in this the variation is infinite. difficulty in learning to sing is not so and students. It has raised a callow never see cause for the reason that causa¬ much in the art as in the one who is try¬ brood who look upon the wonderful dis¬ The transforming full of imperfections tion is mental and cannot be cognized by Condensed Methods ing to learn it. coveries made in the laboratories as so irrto a pure musical organ is the problem any one of the physical senses. This is Truth neither makes concessions nor much pure science to dissent from which confronting the teacher. It is a problem the weak spot in so-called scientific sys¬ Is there any such thing as a short¬ thinking entirely distinct from every tems of voice training. They work with cut in voice training? The only one I imposes difficulties-. It is the same to all in the slightest degree is to strike at the for the psychologist raher than the other. It is a medium for the transfer men. If one does not find its mastery very foundations of polite learning. physiologist, because every one of the what they see, consequently they are know anything about is finding out of feeling, hence a language. If one working with effects and leaving causes exactly what the pupil needs, and giv¬ would express himself in this language he easy the obstruction is in himself. Teachers with this attitude of mind al¬ things mentioned above and a large num¬ untouched. ing it to him. In this way some time must learn to think in it. It has a Why mortals are born with different most invariably resort to direct control ber the mention of which space forbids, talents, tastes, and trends I do not pre¬ of the vocal mechanism and unless they There is nothing physically wrong with might be saved in getting started prop¬ grammar, a rhetoric and a logic which undeniably exist first as mental concepts sume even to offer an opinion. I only see it doing what they think it ought to this student, but there is something men¬ erly, but beyond that it is a matter of require a vast deal of time to master. and the success of the teacher will de¬ know that they are not born equal, the do they are not satisfied until they have tally wrong. He has directed a mental growth, and an attempt to shorten the Its substance is mental. Its boundaries pend altogether upon the quality of his constitution to the contrary notwith¬ whipped it into line. They hope by this time by forcing the growth means failure. are yet to be discovered. Its source is musical concepts, for he can demand impulse of tension into the tongue until standing. No two people have exactly means to produce a good tone, but it is The phenomenal growth of American in the infinite mind, of which man is a nothing better from his Student th-.n his this impulse is working automatically and growing expression. the same gift for anything. That this is doubtful if sueh teaching ever resulted industry has worked a hardship to Amer¬ own ideals. When the student vocalizes has become what we call a habit. But true in music no one will deny. Some in a good tone or a good singer. If it ican art. The spirit of American enter¬ It was a favorite saying of Mr. Plu¬ the teacher must hear two tones, the one there is no such thing as a physical habit. tarch that “Perseverance is more prevail¬ begin where others leave off. No two- did it was because the singer was great prise has taken possession of the Ameri¬ the student sings and the one he ought Habits are mental. In this instance the can student and follows him on his ex¬ ing than violence;” but the student who approach it in the same way. It does not in spite of it. It usually means going to sing, and the one he ought to sing must habit is wrong, but how shall we right it? cursions into the realm of art. The re¬ has read somewhere that “The kingdom Multum in Parvo make quite the same appeal to any two. back and doing the work all over. Each one responds to it according to his be as definite in the teachers mind as To change the effect we must change the sult is that he is in a hurry. He wants to of Heaven suffereth violence and the vio¬ gifts. To develop a musical mentality in the one he does sing. It is the same in cause. This is the only scientific way. work fast and get through with it. If lent take it by force” is inclined to storm HE fine Grand shown above, our newest and Relative Importance of Eye and Ear interpretation. The teacher hears the per¬ it is possible to shorten the process he the citadels of art and have done with it. T each of these widely differing individuals To tinker with the effect and leave the What is the relative importance of the He chafes at delay, and wants to reap all is what the teacher undertakes to do. fect interpretation as well as the imper¬ cause unchanged is. not scientific, it is wants it done. Modern machinery and smallest, represents the utmost quality that eye and ear in voice training? The ratio fect one offered by the student. Other¬ of the rewards of the finished artist with¬ That he must have something more than merely stupid. To get rid of rigid tongue, methods have reduced to a minimum the can be condensed into a length of but five can scarcely be more than one in a hun¬ wise he will be of little value to the stu¬ effort of producing almost everything, out going through the long process of a formula with which to effect it goes lower jaw, and larynx an impulse of re¬ dred. To prove this let us go into the dent. and it seems only natural that the same development necessary. feet. Small enough for the tiniest home, it has the without saying. laxation must be directed to them until studio where vocal problems are solved, The development of a refined musical principle should be carried into educa¬ Many lasting failures have been made What is the first step? Inasmuch as not to a physics laboratory. nature is the result of a wide and inti¬ the habit of perfect freedom is formed. tional processes. When a man becomes a by going before the public too soon. A charming tone and delightfully responsive action- the singer must use his voice when he Suppose a beginner comes for her first mate acquaintance with the best in music Then they make no further trouble. millionaire over night it is easy for him considerable amount of cool judgment touch distinctive of the Ivers & Pond. Every sings, the first thing to do is to train his for music in its highest aspect deals only Some teachers make endless trouble for to believe there is a similar method by and self restraint are necessary on the lesson and we ask her to. sing the second detail of design and material shows the touch of *ne G. Instantly a large number of with what is pure and beautiful. It is themselves and their pupils by trying to which he may have his voice trained. part of both teacher and student to There never will be sufficient time to tlungs call for judgment and decision. impossible for me to associate beautiful gain direct control of the mechanism To meet this demand various condensed counteract this tendency. Many students the specialist. tell the lengths to which the human in¬ Is it a pure singing tone? Is it resonant? music with coarseness, crudity or vulgar- through working with what they see. The methods have been evolved with the evi¬ expect the teacher to push them forward tellect has gone in its efforts to perfect Is it sympathetic? It is steady? Has it ity m any degree, nor can I see how these tesult. is all manner of mechanical in- dent intention of catching the unwary. and get them opportunities to sing. If he an unfailing method of voice culture. sufficient power? Is it too white? Is it opposites can exist simultaneously in the Sirijctions about placing the voice, most I always associate condensed methods does not do it and is inclined to hold them Nothing of which we are aware presents back until he feels that they are thor¬ too dark? Is it breathy? Is it throaty? same personality. Either one would be of which, if carried out, would prevent with condensed milk, and I abominate Ivers & Pond Pianos such evidence of human frailty and the oughly prepared, he is very likely to be Is it properly sustained? Is it emotional? uncomfortable i„ the presence of the the voice from ever being placed. them equally. worthlessness of human opinion. other. The teacher, of all people, should The condemning feature of the con¬ misunderstood, and it oftentimes costs Is there evidence of imagination in it? Why make this matter of forming the are now used in over 500 leading educational institutions and Not an argument has been advanced be of pure thoughts and ideals The at densed method is its deception. Pupils him the pupil. Is it produced with the right mechanism? voice so difficult when it is inherently that has not been contradicted, and not a mosphere of the studio will attract or are led to misapprehend totally the nature American music will be as good as 65,000 discriminating homes. The insistent demand exceeds Is it alto or soprano quality? On not simple. It is not developing muscles, but contradiction that has not in turn been repel according to the quality 0f the and substance of music. They come to American musicians; no better. The the capacity of even our liberal manufacturing facilities, so one of these points can the eye aid in ideas. It is forming habits of mind argued out of existence. The endless teacher’s ideals. The teacher uncon¬ think of it as a problem in mathematics, thing that should concern every one of rendering a decision. They are all prob- which, when exercised, result in beautiful that prospective buyers are urged to anticipate their require¬ pro and con of it ought, by the laws of“ sciously gives out something 0f himself the solution of which is the end. Two us is hofv to make better musicians of Iems for the ear. ^ne- 'Ll right idea of tone will control ments. logic, to create an eternal equilibrium 16 and two are four. When that conclusion ourselves and our students. In this proc¬ Let us go further and ask her to sing a the mechanism unerringly if it is free or deadlock, but it doesn’t. This particu¬ S? J* is reached that particular subject is ex¬ ess there is no place for condensed meth¬ enough to be responsive. lar war is still on, and at times it can scale. Here another list of items calls I have spoke of what I consider essen- hausted. Music is a problem, the solu¬ ods, short courses, “music made easy” Leading dealers throughout the U. S. display and sell the for judgment. Is the scale even? Is it scarcely be called civil war. The good tone you hear coming from tion of which is eternal. It is a form of systems. Ivers & Pond. If none is convenient to you we can arrange the same power throughout? Is it the your student is effect. The cause is a cor¬ What is the cause of this vehement to ship from the factory on advantageous terms. A catalog disagreement? The answer is not hard same color throughout? Are all tones rect tone concept. In making a good smoothly connected. Does the tone be¬ describing all our Grands, Uprights and Players mailed on to find. The skirmish that has attracted voice out of a bad one we do not change most attention in the past fifty years was come brighter or more somber toward the instrument, but we do change our The Pupil’s Recital request. Write us, to-day. precipitated by that class of inquirers the top? Are the upper tones as free way of playing on it. When the instru¬ as the lower ones? Are there evidences Opinions differ as to the value of the whole thing is wrong; that it is doing who look at the voice instead of listening onewithamazement that ther“nyo!.e ment is free enough to be responsive then of .change of register? Is there evidence with such a concept of teaching It pupil’s recital. Some believe in it, others the pupil an injustice. That when one is to it. Their birth dates from that of the ttie matter of how well one produces his do not. Some teachers think it is good far enough advanced to sing in public he laryngoscope. They have gone to the of-forcing a mechanism beyond its legiti¬ tone and how intelligently he sings will publicity, others think it helps to keep should not be billed as a pupil. That it limit of believing what they see, not¬ mate bounds? Is this scale equally reso¬ he governed by his concepts of tone and nitely without offence.^If 'such pupils interested by giving them a defi¬ gets people to thinking of him as an ama¬ withstanding the unreliability of vision nant throughout? Does it indicate a interpretation. Ivers & Pond Piano Co. nite objective. The craving to get before teur (which he is), rather than a profes¬ is very generally understood. If proof ync or dramatic voice? Is the intona¬ The Pupil tion perfect? Further, if We test this the footlights makes many pupils look sional (which he is not). They argue of this statement were needed these in¬ I have been speaking of teaching and voice for flexibility, for the messa di upon the recital as an interesting and val¬ that a singer should keep off of the stage 141 BOYLSTON STREET, BOSTON, MASS. vestigators have furnished an abundance the teacher, but we must not forget that voce, for the enunciation of vowels and uable part of their study. until he is prepared to go on as an artist, .. .h. the pupil is the problem. Why do not all Still others say the principle of the instead of some man’s pupil. Perhaps of our pupils improve at the same rate? Please mention THE ETUDE when addressing advertisers. Page 54 JANUARY 1920 the etude THE etude JANUARY 1920 Page 55 there is some truth in this. It is at least down to three minutes of insipid com¬ a high-minded attitude and saves the monplace conversation, delivered in a trouble and expense of recitals. But like pale, sticky, chills-and-fever style. What most things the subject has two sides. became of that speech heaven only ilL_^-' 'K.4f x It recalls my first youthful experience knows! It was never heard of in that You Are Welcome as a debater. In a certain literary club of locality. I had no more control of my¬ which it was my good fortune to be a self than I had of the north wind, and it Question and Answer Department member for a number of years, we were was only after repeated attempts that I Conducted by Arthur de Guichard To This Ten-Day Test much given to debate. We attacked the learned to think on my feet, a thing most gigantic subjects with the utmost which to my mind is a professional man s Always send your full nami Clear Notes Depend on and address. No questions will be a red when this has fearlessness. We shied at nothing, and a most valuable asset. been neglected. All Statements Approved, by High Dental Authorities proposition involving, the whole of phi¬ I have seen singers, young and old, go Clear Throats Only your Initials or a chose losophy, history and ethics was a tooth¬ through the same experience. Self-con- Luden’s aid singers, speakers and Make your questions short a some morsel. all who use the voice. Clear the ■ sciousness, fear, anxiety resulting in >t likely to be of Interest brushing, it may do a ceaseless On a certain occasion I had prepared nervousness causing the throat to become head; soothe the throat. No col¬ oring; no narcotics. damage. Teeth are safer, whiter an address which was intended to dis¬ dry; a complete loss of breath control pose of my adversary completely and ef¬ Look for Laden yellow package and cleaner if that film is absent. whereby all semblance of artistic phras¬ 0 How should the following measure from An Ideal fectually, in other words to publicly ing is destroyed, throw the singer into a Lis’t’s “Hungarian Rhapsodic, No. B” he humiliate him, and make him resemble nlahrd? does it mean that the Git shall he panic and he stands with a glassy stare trilled, or all four, notes trilled and the Gjt Medium-Size Grand the proverbial franc-and-a-half. It was and an expression which seems to say, sustained.—C. A. G. Science Now Combats it to be a gatling-gun effect, punctuated “Isn’t this awful?’’ And it is. with heavy siege guns. It was bristling If professional singing is to be the Dental science, after years of with oratorical climaxes and sagging joyous thing it should be such a condi¬ down in spots -:tfi the weight of pon¬ tion must be overcome. Here enters the searching, has found a way to com¬ derous facts. y big guns were trained pupil’s recital. It is true the audience is bat film. Years of careful tests and I had his range to an inch. I in¬ invited for the sole purpose of being D. A. CLIPPINGER under able authorities have amply tended to demolish his works then and practiced upon, but they pay nothing, and proved its efficiency. Now leading there. I would teach him not to be so it does give them an opportunity to prac¬ presumptuous in the future. tice some of the Christian virtues, while See What it Does dentists all over America are urging But when I arose, like Bob Acres, I the pupils is practicing self-control. Muck impressed by its soundness and its adoption. It is now used daily This beautiful instrument seems felt my valor leaving me. I rested my In preparing a singer for an artistic sanity—Clara Kathleen Rocers for Your Teeth on millions of teeth. as nearly perfect as skill, experi¬ weight on the right foot, when suddenly career, it is the business of the teacher to The best presentation of the modern voice A. It is not possible to strike the octave ence, and manufacturing facili¬ my left began to beat a tattoo on the take into consideration everything neces¬ method for the student—David C. Taylor This is to urge a ten-day test of This film combatant is embodied floor. I shifted to the left and the right Ought to be read by every student of and chords simultaneously in both hands ; but ties can make it. sary to success. If he can work out of it can be done nearly so, by striking the oc¬ a new, scientific tooth cleaner. in a dentifrice called Pepsodent. foot immediately took up the refrain. self-consciousness and fear in the studio, singing—Herbert WitherITHERSPOON taves together, and then proceeding as Its tone is purely that of the My tongue stuck fast to my teeth and I quickly as possible to strike the chords. This You have found, no doubt, that And a 10-Day Tube is offered to very well. But there are some things is the manner in which' the composer him¬ Concert Grand, having great lisped, a thing I never did before. My that can only be worked out in front of self played it at a recent recital, in Symphony brushed teeth still discolor and every home for testing. speech vanished like a dissolving picture, an audience, and here the advocates of Hall, Boston. power and sympathetic qualities. decay. The methods you use are Pepsodent is based on pepsin, and what was intended to be thirty min¬ the pupil’s recital certainly have an Q. Grace-notes have always bothered me. inadequate. There is now a better Dealers in Principal Cities utes of heavy-weight eloquence dwindled «argument A m I to understand that it is always the rule the digestant of albumin. The film iere is the following (see below): Please tell Look in Ten Days | marked success of the Summy “Edition" is line, or arc of a circle (--- )■ As a gen- ic whether the tied acciaccatura notes in the THE PEPSODENT COMPANY, Henry Carey’s Romantic Career owing to the fact that the utmost care is given eral rule, the initial note of the slur nas a e to be played again, or how the Make this ten-day test. Note stronger accent than the others, in order to is to be played. Is there a general Dept. 955.1104 S. Wabash Ave., Chicago, Ill. No name in musical history has at¬ to the selection and preparation of the con¬ mark tue beginning of the Phrase^etc.^while .j covering this? I have taken The how clean teeth feel after using. I tached itself more securely to romance :r; “ uuw ne was inspired to wi tents of each volume; they express musician- me otuer notes are played smoothly, lego.to, etude for years 'hibut this is the first question Mark the absence of the slimy • Mail 10-Day Tube of Pepsodent to ship that is educationally wholesome and without particular accent, unless so marked. this department.— than that of Henry Carey. He was born that famous piece is very refresh film. See how teeth whiten as the I when read at this date. musically attractive. In the example given, there are two con¬ about 1665 and was reputed to have been Time and again we have received junct phrases; or, if you prefer Jt, oDe fixed film disappears. In ten days | “A shoemaker’s apprentice making phrase repeated—the repetition commencing the natural son of the Marquis of Hali¬ letters from teachers in the East claiming that let your own teeth tell you what holiday with his sweetheart, treated 1 on the final note of the first exposition. The fax, George Saville. For many years it was they could not procure our publications from last note of a phrase being the least 1 impor¬ is best. | believed thac he was the composer of w'th a sight of Bedlam, the pi taston dealers. We are glad to state that tant, this final note would have no accent whatever; but, in order to preserve God Save the King, but this has been shows, the flying chairs, and all the e we have now established an agency with disputed many times. He did, however, gancies of Moorfield’s; whence nm, Harold Flammer, Inc., 56 W. 45th Street, itial note of the repetition (the first eigntn- mg to the Farthing PieHotree, hT'ga New York Gty. If your regular dealer does note of measure three) must be A. The acciaccatura octave should be struck during his eccentric career, write numer¬ not supply you with Summy publications, without, however, lifting the hand. The pas immediately before the chord for the right ous operettas, and plays. He is best re¬ her a collation of buns, cheese cak sage, therefore, is played thus; hand, just as though the octave was written send your orders to Harold Flammer direct, as a thirty-second note at the end of the membered, however, by his song, Sally fled al°n f°h baTn’ Stuffed beer and be who will be glad to serve you. tled ' through all of which scenes t preceding ‘measure (see measure marked In Our Alley, which was not only im¬ Very respectfully, •played"). The effect is somewhat similar mensely popular in its day, but was said author dodged them.” This it was that ? to that produced by indifferent performers, spued a song which has lived for t who persist in playing the left-hand a frac¬ West of New York to have been the great vocal hit in that sr CLAYTON F. SUMMY CO. tion of a second before the right-hand—a very ,/\NY PUBLISHER famous pasticchio, “The Beggars’ Opera.” Publishers „__ ,J ,.o strike the single had habit, as a habit. This department is OUR REFERENCE Jf— all processes Please mention THE ETUDE when addressing M E. Van Buren St., Chicago, III. net arcs and chords in both hands at the same very glad to welcome R. 3. R.’s question to its our advertisers. time? Or is the single octave “C” played columns, with the hope that the good habit RaYNFR DALHEIMfcCor -•^54-2060 W.Lake St.. Chlcaqo,lll. alone, and the chord to follow on the next will be continued. Ce n’est que le premier pas addressing half-beat?—E. T. qui coUte. Page 56 JANUARY 1920 TEE ETUDE TEE ETUDE JANUARY 1920 Page 57

condition those who select the music for the church, interspersed with distinctively the Sunday-school are directly responsi¬ ve. And there can be no improvement Sunday-school music of an elevating and until the present objectionable music is churchly character, take its place.—From eliminated and the standard hymns of The Continent. EASTER MUSIC . A Selected List for Choirmasters Organ Music THE following selection is made up of new and standard Department for Organists By Alfred Hollins numbers from our catalogue. Every number is a gem. Solos, Duets and Anthems all have the true festal ring The question of what is legitimate or¬ that these schools are not legitimate and In addition to our own large and comprehensive catalogue we have gan music is open to much discussion. Practical Articles from Church Musicians of Wide Experience just as true to the genius of the organ. a complete stock of the music of all publishers. We will gladly My object to-day is to bring before you I have never heard it said that, because send for your examination copies of any music we have. a side of organ music which has not yet Chopin and the modern pianoforte com¬ The eloquent organ waits for the master to waken the spirit.”—DOLE been thoroughly developed, namely, orig¬ posers availed themselves of the improve¬ inal compositions for the organ more ments in their instruments, those mas¬ UPLIFTING EASTER SOLOS BRILLIANT EASTER ANTHEMS suitable for the concert room than for ters who preceded them were the only 12948 Christ Hath Risen. High. (Continued) the church. I do not agree with those composers of ideal pianoforte music. (Violin Ob.).Rockwell 14798 Christ the Lord is Risen 10796 Alleluia, Alleluia!.Stubs .15 who hold that the German school is the The prejudice against arrangements for 15626 As it Began to Dawn. Med.Delafield R. W. Martin .12 Is Our Sunday-School Music Deteriorating? only ideal school of organ music. Eng¬ the organ is happily dying out. In fact, 12530 Christ’s Victory. High. Neidlinger 6085 As It Began to Dawn.Norris .20 lish builders were the first to give at¬ they are an absolute necessity for the 10474 As It Began to Dawn.. Stubs .12 12531 “ “ Med. 10513 Awake 1 Glad Soul.... Bridge .12 By George Whelpton tention to improvement in mechanism concert room; but I want to see more 12532 “ “ Low . 8924 Come Ye Faithful. Med. 10910 Awake, Thou That Sleepest. and the invention of the swell. The Morr: It would be less difficult to write on actual concert music written for the or¬ this, but to provide for himself music French followed suit, but they have been gan. Why should not dance rhythms be 12534 Death is Vanquished. 10033 Behold, I Shew You. .Camp the subject of Sunday-school music if I and when he closes a religious campaign While this may seem amusing on the N 10009 Behold, I Shew You. .Solly that would be most helpful in the work far slower in adopting improvements. employed? We often hear it said of had a clearer conception of the modern in a city a good supply is left with the surface it is a serious matter at the root 12536 Mi d 10920 Break Forth with Joy. Dale. he had before him; and it is worthy of With this development of mechanism certain passages played on the organ, Neidlinger - - ' is Risen.Brackett purpose of music in the Sunday-school. church and Sunday-schools to continue and should cause anxious reflection on 16162 Easter Dawn. (New.) Med. _ _is Risen.Morrison notice that the work done by him at this and the introduction of fancy stops, it “Those are pianoforte passages,” or Is it educational? Is it' for the elevating the demoralizing influence so auspiciously the part of those who are responsible C. P. Scott 10221 Christ is Risen.Wolcott time gave to music, as a means of wor¬ • begun, is only natural that English and French “those are orchestral passages,” and peo¬ 12721 EasterTriumph. High. Shelley 10984 Christ is Risen, Hallelujah! and refining influence of music upon the ship, a new aspect and was of permanent for it. ‘Whatsoever ye sow that shall 12722 “ “ Med. “ J. T. Wolcott Another source of corruption no less organ music should have a style of its ple are scandalized to find modern mech¬ 12723 “ “ Low. “ 6086 Christ Our Passover. Shackley .. developing taste of unfolding life at its benefit to the church. ye reap” applies to the affairs of the 6330 Glory to God. High.. A. Rotoli disastrous to the churchly musical educa¬ anism and fancy stops taken advantage of. 6251 Christ the Lord is Risen. most impressionable period? Is it for church as well as to the affairs of the 6321 .. Med... Gilbert . the purpose of familiarizing young peo¬ tion of young people is the catchy Surely, then, because the style of our What does this signify, if the passages 6362 “ “ « Low... “ 10504 Come See the Place. ..Avery Gospel Hymns Grew Out of Moody’s Work organ music and that of the French has can be played on the organ and sound 8046 Hail Glorious Mom. Violin 10655 Come Ye Faithful. .Percippe ple with the great hymns of the church, rhythmical ragtime music now finding its Children go to Sunday-school for re¬ Ob. High.Geibel Mr. Moody^s appreciation of music in grown out of the development of the in¬ wellf 8047 Hail Glorious Morn. Violin 6040 Day of Resurrection. developing a churchly musical taste, and way into many Sunday-schools. With ligious instruction and churchly train¬ Newcomb connection with his work was no less strument, it is hardly reasonable to say (From an address delivered at Glasgow.) Ob. Low.Geibel preparing them for future service in the scarcely an exception, the text is without ing; not to sing cheap gospel songs and 12748 Hail Thou Risen One. High. 10801 Death is Swallowed Up. than that of Luther’s and his dependence Ward-Stevens Marks . musical life of the church? Or is it, literary or educational value, and the light, catchy music for the enter:,linment 10237 Easter Even.Bohannan upon it even greater; but, unlike Luther, 12749 Hail Thou Risen One. Low. chiefly, to enliven the Sunday-school, add' music of a decidedly cabaret character. of their elders. The Sunday-school has Ward-Stevens 10114 Easter Triumph.Brackett he could not create it for himself. He, 6891 Hail to the Risen Lord. High. 16507 Glorious Morn, The. (New.) crispness to the opening exercises and It is a psychological fact that the nerv¬ no more right to deprive them of the Don’t! Don’t! Don’t! W.rHinv W. H. Jones . make them entertaining to the adult ele¬ however, possessed the power of arous¬ ous system of both human beings and 8077 Dawn of Early Morn- 10391 Glorious Mom.Bird opportunity of learning the important By Yorke Bannard ment of the church? Judging from the ing others, capable of doing this, to an animals is acutely sensitive and respon¬ High. Violin Ob. 10163 Glory, O God.Brackett appreciation of his needs and inspiring hymns of the church than our educa¬ Shackley 10487 God Hath Sent His Angels. predominating character of the music in sive to rhythmical impressions. The use tional institutions have to deprive them To point out that which should not be organists cannot do so. It is a difficult 8078 In Dawn of Early Mom- Hosmer . them with the enthusiasm necessary to of music in the circus is not so much to Low. Violin Ob. . .Morrison . most Sunday-schools of to-day, I am led of the privilege of acquaintance with the done is contrary to modern educational art, demanding as it does both theoreti¬ Shackley meet them. The result was the birth entertain the people as to stimulate the to believe that the latter is the case; standard literature of the day; no more canons. By so doing one is apt to sug¬ cal knowledge and technical skill. But 5337 Lord is I that the relationship of the music of the of the gospel hymns which created a nervous system of the animals and make Ob.Lansing right to put into their hands’ senseless gest to the mind of the student some it is well worthy of study. 6372 Lord is Risen. Low. Violin Sunday-school to that of the church is new era in church music in this country. them more responsive in the perform¬ doggerel poetry and ragtime music than form of wickedness with which other¬ Don’t pretend to extemporize without . .Granier-Adams lost to consideration. The music now in Ministers, laymen and Sunday-school ance of their tricks. In a greater degree 8061 Light of'Hope."High.‘.Geibei and Beautiful. have our libraries to force upon them wise he might never become familiar. previous preparation. A sketching-out 8062 • “ *r Low... “ prevalent use in Sunday-schools does not workers, whose emotional feelings had is the nervous system of human beings Schnecker the demoralizing yellow peril literature is necessary at first, and can only be dis¬ 16241 Lord < Life and Glory. it My Redeemer. inspire devotional feeling nor reverence been thrilled by these hymns in Mr. similarly affected by the rhythmical On the other hand, a word qf warning F. A. Clark. Med. that springs 4rom the same source. pensed with after considerable experi- ' Life and Glory. Brackett for the church, and does not lead to Moody s meetings, urged them upon their movement of a composition. The more can generally be concisely expressed—a 10629 Jesus Christ is Risen. churches and Sunday-schools and their The best of the modern revival hymns fact which must be allowed, in these Neidlinger familiarity with the hymns of the church. pronounced the rhythm the more the Don’t ramble along your keyboard in ng of Glory.Coombs use soon became almost universal. They serve only a temporary purpose and'only days of paper shortage, to overrule other ft Your Glad Voices. nervous system is excited. It is not the order to “fill in” the unavoidable gaps Risen Lord. High. eibel did not appreciate the fact that such tew of them can be used to advantage in considerations. A Generation Ago Music Was Churchly melody or harmony of dance music that which occur during a service. Whatever 10242 Lord, My God.Steane hymns as “Go Bury Thy Sorrow,” “Al¬ the Sunday-school. They appeal to a Everything depends upon attention to Sing With l 11 the Sons of 10162 Morn’s Rosr— ”- Forty years ago the music of the Sun¬ sets the feet in motion, but the rhythm, you do, do it on definite lines. Glory. ’—.Mueller most Persuaded,” “It Is Well with My mature emotional sentiment and do not details. The successful church organist They Came to the Sepulchre. day-school was on a far more churchly me less knowledge people have of Don’t lightly regard improvisation be¬ 10376 Mom’s Rosi Souh and “Where Is My Wandering come within the experience, taste and seeks to produce the most, artistic ef¬ High.Solly basis. It was a part "of the worship. music as. an art and science, the more cause of its transitory nature, for it is 5206 Victor Immortal. High. ^ ^ Boy To-night?”—hymns that Mr. Moody imagination of childhood. Young people fects, even in the minor details of .the _ .... is Christ Risen. .Clark .'l2 While the hymns of the church were they are influenced by the rhythm. This (properly conceived) the highest form of 4716 Voice Triumphant. High. 10115 Passion and Victory.Dressier .15 used with such wonderful effect at the need to have emphasis placed on the idea service. His first concern is his volun¬ 15595 The Resurrection.,R. M. Stubs .12 much used, there was no lack of dis¬ i* c5I6f th°"Sh ^recognized reason musical culture. Stults psychological moment—did not express of praise, gratitude, reverence, service tary. If, then, you would be successful, 6202 “ “ Low. Stubs 15598 The Risen Lord. tinctively Sunday-school music by such for the demand for such music as I have The business of accompanying is the R. S. Morrison .12 the normal sentiments of Christian life, and heroic living. Every model Sunday- writers as Bradbury, Woodbury, Per¬ described; yet it is this musical taste that if you would achieve even a passable re¬ most serious of all— 15595 Resurrection, The.Stubs .15 or come within the vision and experience school hymn is a word picture, set to 6025 Sing, Gladly Sing_Wodell .12 kins, Root, Emerson and Palmer—music is m a position to dominate the music sult in this direction— Don’t allow your choir to accompany 14467 Christ 10689 Sing, Ye Heavens.Starr .12 of the youth of the Sunday-school. Mr. music to develop its perspective and en¬ 10801 Song of Triumph...Morrison .12 of good character that appealed to the ol the Sunday-school. When a new Don't select your music after a cursory you. Most organists do. Don’t you. (Alt Moody clearly foresaw that such use of hance its effect. Our first, clearest and 9447 Every 10575 Thanks Be to God ..Hotchkiss .12 musical taste of the young and trained book is to be selected people of such reading of the publisher’s catalogue. The Don’t be noisy. It is your concern to Alt.; 10874 Thanks Be to God ...Lansing .12 these hymns would demoralize the music taste are appointed to select it. Edu¬ ■most beautiful view of heaven is ob¬ publishers will generally send you a 14381 I ar the Resurrection, 10120 Thanks Be to God ..Marchant .15 it in the direction of the music of the support the voices, not to drag them 10401 ’Tis Glorious Easter Morning. of the church and did everything in his cated musicians are not consulted be- tained through the singing of such bundle of music on approbation. Go (So, d Alt.) .Stubs church. In those days the average child over difficulties and bolster them up 14403 Eastel "ressler .15 power to prevent it. I never heard him through each number carefully. Find .°.rn.’... .^.fchoebel erwald .15 in his early ’teens knew more of the im¬ hymns, and they afford the finest kind of when their intonation is faulty. Once speak more earnestly than when he said: Theihe Secchildrenhidrr ta$teSare notarC consultedt0° classicaI be- out what will suit you and your instru¬ portant hymns of the church than the religious instruction. If, therefore, done, always expected. Therefore stick BRILLIANT EASTER ANTHEMS ’Brackett .15 these gospel hymns are intended for cause they are not supposed to know children can get so much theology ment, and decide accordingly. Happy Morning. average church member of 40 to-day. to the principle, even if a catastrophe or 10999 All Hail the Glorious Morn. G. N. Rockwell .12 the work I am doing, not for the church, what they should sing. The educational Don't play voluntaries that are tech¬ Another striking contrast is that in those through hymnology, why not permit two result; it pays in the long run. R. M. Stults .12 10309 Why Seek Ye the Living. value of music and its influence on un- nically beyond you. 10240 Alleluia, Alleluia!. ..Brander .15 W. H. Eastham .05 days it was the chief ambition of young prayer meeting or Sunday-school, and them to study more the riches and Don’t use your reeds too frequently; folding life receives no consideration. Don’t select pieces written to display church people to sing in the choir of the no one regrets more than I that they are beauty of our best hymn books, instead they are opposed to good vocal tone. The effect of the Sunday-school music “fancy stops,” nor pieces reminiscent of WOMEN’S VOICES church. Consequently, every church ever used there. Church members have ol forcing upon them hymns that mean Let your selection rest rather with the no right to spend their time singing these ot to-day upon the church of the next the orchestra, as voluntaries. As far as diapasons and flutes. 10803 Alleluia, Alleluia! (Three Part)..Brander had a large volunteer chorus choir and nothing to them and have a demoralizing 10805 Hosanna! (Two Part)...Granier generation is of no importance. The possible make the most of genuine organ hearty, inspiring choir and congrega¬ hymns and they certainly have no place effect upon their developing literary and Don’t regard a combination of stops m the Sunday-school.’ If this be true ttn amtution is to get the latest sensa¬ musical taste? music. as indispensable. Frequently allow your MEN’S VOICES tional singing was the rule. This was Don’t neglect Bach, Buxtehude, of the gospel hymns used by Mr. Moody tion of the coming evangelist, or a book Every musical instructor of children stops to be heard singly. 10804 Alleluia, Alleluia! .....Brander the prevailing condition of music in the Rheinberger and Wesley on the ground 10807 Behold, I Shew You a Mystery. how much more true must it be of the knows that they prefer to study and sing Don’t be forever pedaling; 16-ft. tone church and Sunday-school when the late Sim!)"1" an Cl!aracter foiled at some of classicality. People will always listen 10241 Christ is Risen.... .Minshall-Nevin inferior imitations that. have appeared Sunday-school convention. good music. In a New England village soon becomes monotonously irritating. .Granier Dwight L. Moody, the greatest of mod¬ to the classics if they are carefully 10806 Sing With All the Sons. .' .*.**.*.* ----Brackett since his day? Revival hymns have fol¬ Vary your tones, of course, but with a ern evangelists, began his work in this ™ l°ng Since 1 heard a rendition of played. country. lowed one another with remarkable Boys Mistake Theater for Sunday-School 1'he Messmh by 150 school children from preference for the 8-ft. ones. EASTER CANTATAS rapidity, until the whole country seems by Music Don’t forget that the modern com¬ Don’t attempt word-painting. You There never has been a deep religious t0 16 years of age. They sang the THE GREATEST LOVE VICTORY DIVINE to be flooded with them. As the musical poser needs your support. cannot imitate the grin of a dog as it awakening that has not made music its Not long ago the superintendent of a soprano and alto of the choruses, the Don’t contribute to the efforts of sec¬ By H. W. Petrie 75 cent* By 3. C. Mark* $1.00 taste of the people who have created a runs about the city; nor “caterpillars handmaid. When Martin Luther began country Sunday-school, an advocate of other parts being supplied by the or¬ ond- and third-rate composers. There innumerable,” nor “sharp razors,” nor demand for this kind of literature has DAWN OF THE KINGDOM THE WONDROUS CROSS his great work of the Reformation, one musm of this character, took his two chestra. The solos were sung by some ■s no room for them in the domain of “hot thunderbolts.” Rather go to the deteriorated, its quality has declined to little boys to town one afternoon and let By J. T. Wolcott 60 cents By I. Berge 60 cents of his first steps was the adaptation of °,t.]t“e best soloists of the State. These art. And having selected your music— other extreme and leave descriptive such an extent that the enterprising hem amuse themselves while he trans¬ scriptural texts to some of the best music children had met. voluntarily, twice a Don’t neglect to practice assiduously, work alone. IMMORTALITY compilers of these books have to rake acted some business. They had not gone By R. M. Stults >0 cents of the Roman Catholic Church. It was wee for rehearsals for six months pre- and don’t fail to see that you have your Don’t make a practice of using fancy the gutters of the vaudeville and concert far when they heard a phonograph voluntary thoroughly in hand before stops when accompanying, especially the not his purpose, he said, to abolish music paring for this concert. As I heard them Any of the above Publications will gladly be sent for examination halls of our large cities to find music bad grinding out ragtime melodies at the en¬ Performing in public. celeste, vox humana and tremulant. Spar¬ in worship, but to show what was sing these great choruses I was filled enough to satisfy it. For this demoraliza¬ trance of a cheap picture show. They Don’t test your pieces from the organ- ingly used, the effect may be good. churchly and how it should be used. with shame for the church when I tion the traveling evangelist is in no looked at each other i„ surprise, as it loft, but from the body of the church. Don’t introduce appoggiatura, arpeg¬ A practical knowledge of the science of thought of the great multitude of her small degree responsible. It is, chiefly, Get a friend to play for you and test for gio, etc., into your accompaniments. THEO. PRESSER CO. music enabled Luther not only to do sffid n“Ietlnday’-anT-°ne 0f them fi"a% children in the Sunday-school who never this kind of music that he makes use of,’ said Lets go in, Jimmie; they’re hav¬ yourself. Don’t add to the swell with the swell- 1712 Chestnut Street :: Philadelphia, Pa. ing Sunday-school." heard anything better than a revival It is to your decided advantage if you box open.—The Organist and Choirmas¬ hymn or a ragtime melody. For this ean extemporize, although the bulk of ter (London). Please mention THE ETUDE when addressing our advertisers. Page 58 JANUARY 1920 THE fBE ETUDE JANUARY 1920 Page 59 The Fascination of the Organ

By Sir Charles V. Stanford The study of the organ is one possess¬ sert the seventh into the common chord Schomacker ing a great fascination for the young in order to get what old-fashioned or¬ Fail to maintain a correct position at Play in a careless manner. student. The obstacles to its cultivation ganists used to call a "good rolling Style F piano. Imitate; always be original. have, to a great extent, been removed. effect,” or to insert an acciaccatura be¬ Wrap your feet around the ^iano stool. Forget, fast practice means FAILURE. The touch is now as light as that of a fore the first note of a phrase, to antici¬ Lay hands on keyboard in a careless Forget, slow practice, sure road to Broadwood pianoforte, the alternative pate the first chord by giving out the grand manner. SUCCESS. slavery and tyranny of the blbwer has treble note a beat too soon, or to pro¬ | As beneficial Fail to keep the hands in correct posi¬ Study and practice without the MIND tion. made way in most places for the uncom¬ long the last passage by holding on the The quality of its tone as a hot directing. plaining water engine or electric motor, pedal bass. These ingrained practices Fail to relax shoulder, arm and hand Fail to get the spirit of a composi¬ water bottle muscles. and the multiplication of choral services which, alas! are not even yet out of enraptures the heart as its tion of a study. date, and in which many organists in¬ | Because Piso’sts a real I Omit phasing, musical terms and marks. Forget that theory and practice go to¬ is giving increased employment to a beauty of construction de¬ | help—day or night, in JJ1KING or resting — the Fail to place accents on proper beats. gether. numerous body of young organists. dulge from mere habit and without a preventing winter’s I wind through the woods thought, are in their nature as ridiculous lights the eye. I f most frequent ills. It 1 Overlook key and time signature. Forget conscientious study and prac¬ and the draft thiough the But although it is easier to obtain a as to begin a performance of the Mcis- I allays coughs and hoarseness and Fail to count loudly and evenly. tice makes thorough musicians. room may mean the same skin deep mastery over the organ than tersinger prelude with an anticipated 1 soothes irritated “tickly” throats. 1 Play heavily, always lightly and grace¬ Forget without these essentials there kind of a cough. Stave it over the violin or even the pianoforte, Schomacker Piano Co. 1 Keep it always in the medicine cab- off with Dean’s Mentholated key-note on the flutes and trumpets or, I inet. It may save a weary trip to fully. is no MUSIC. it is quite as important that the beginner Established 1838 1 Cough Drops. Get them to end the C minor symphony of Bee¬ the drug si should be carefully trained and guarded anywhere. thoven with a long C held out indefinite¬ Philadelphia, Pa. I 30 c at your druggist's. Containsno i from tricks of style as in the instruments ly by the double basses and the bass 1 opiate. Coodjor young and old i aforesaid. There is an especial danger trombone. What we should hiss in the at the present time arising from the concert-room as a vandalism, we accept fact that organ-playing in England is in without a protest as an appropriate ad¬ a state of transition. The solid old style junct of the church style. An instant’s has, from the undue prominence of some impartial consideration would convince The ETUDE wants to share with its readers some of the very interesting letters of its more glowing absurdities, given the player of the silliness and ugliness of PISO'S that come to it. We can not, of course, allow our correspondents to indulge in place to an equally reprehensible flimsi¬ lengthy, polemical discussions of articles. We do, however, enjoy reading terse, 'mentholated such tricks, and it is of still higher im¬ for Coughs S, Colds interesting remarks from our supporters. Therefore we shall bo on the look¬ ness of execution which, like so many of portance that our younger musicians out for short, pithy letters from practical people on timely topics and shall our plays, has been “adapted from the should be brought up ignorant of such print them now and then. CopchDrops French.” It may be hoped that the wis¬ bad habits. Equally should they be re¬ dom of teachers will keep each style for strained from overdone staccato, over Tickets for Students the school of music which is suitable for rapid pace, and the pump-handle use of To The Etude : id, is a special gift from the Almighty, it. It is possible to be solid and weighty \ EYEBROWS In reading the “Rachmaninoff Number” of given to urge us onward that we may attain the sw.ell pedal. It is not uncommon to The Etude, October, 1919, the article greater proficiency amongst ourselves and (AUSTIN ORGANS in the rendering of a Bach fugue and hear crescendos and diminuendos pro¬ \ and LASHES pointed out the fact that the Conservatories for humanity.—Joseph Bond Roose, Canada. THE super-eminent place given to the effective and brilliant in the execution ceeding from an organ with the regular¬ in Russia gave their advanced pupil portunky to hear ““—“final1 rehearsals—- of Keep It Up work of the Austin factory is con¬ of a Widor symphony; but it is not ity of a steam engine, without regard to the orchestral eonct. stantly revealed in the number and im¬ necessary for the sake of solidity to in¬ If a sum of money could be provided To The Etude : the sense or meaning of the composition. make arrangements in isical centers Keep it up! Keep up tbe good work of portance of contracts, a large propor¬ ■ f&x&A-SS/bwShe booming the teachers’ Interests. Music can¬ ' / applied nightly, will nourish, tion of which come with no competition. stimulbte and promote growth cert before the symphony concerts began, re¬ not get ahead as an art or anything else gardless of being private or conservatory ' teachers and good teachers. When the Organ Cyphers pupils, each to play a composition previously we teachers’ know’ low thattha' if we go A Charming Organ Number advertised and the pupils showing the most we are not going to get to be One of the most frequent occurrences artistic ability to receive free admission to Carnegies,, . Rockefellers and the like. That solidity of work obtains. the pipe is a large one, the noise of the For Church or Recital the symphony concert, it would be a step in •o aa~a. what we are seeking. We want to do causing trouble in any organ is a cypher. wind escaping through the pipe hole will the right direction and also a great adver¬ all the good that God will let us through our Usually, in modern organs having indi¬ tisement of the pupil’s teacher or conserva- talents. But because we have ideals or be¬ (AUSTIN ORGAN CO. be almost as annoying as the cypher itself. irt with the Rot*. It’. on every box. tory.—Douglas ( . Stewart, Massachu- cause we are unselfish in proper measure is vidual valve sheets, the cypher is confined A better plan is to lay several thicknesses At Evening no reason why the public should not “come 1165 Woodland St. Hartford, Conn. to one pipe. Sometimes, if any of the down” with the right amount of the world’s of paper or card-board over the pipe hole, —By RALPH KINDER- To The Etude : goods to make us comfortable and prosperous. valve springs are a little rusty or weak, then set the pipe in place, the weight of If we want more and more good teachers in PRICE, SO CENTS I certainly deprecate what was written the pipe keeping the paper in place and pro and con on the subject of playing from music let us have more and more money in several touches of the key controlling the AMERICAN ORGANIST memory—for several times have I heard these proportion to what we can give to the world. pipe will stop the cypher till a tuner can preventing the escape of wind. One of the best soft voluntaries by great artists play without score, and marked We know that The Etude is the friend of Price, S2.00 GUILMANT As a rule,, these things happen just at a any American writer. An appealing my copies at the then time, following their the right kind of teachers, and we know that be reached. Sometimes the temporary rendering to the best of my ability: S. you will, do all you can to help us, but it disuse of the stop of which the misbe¬ time one would wish they did not—while melody, richly harmonized, with Thalberg, Arabella Godard, Harold Bauer, seems to the writer that it is up to the tasteful registration. Also published Annette Esipoff, Josef Hofmann, Sir teachers themselves to take the ideas and Organ School having pipe is a member will stop its the picture is in progress or during an mediate difficulty and cover practically all styles. as a piano solo and in song form: A wealth of moderate length Voluntaries and^Re- Charles Halle Sophie Mentor, Carreno, materials that The Etude works up and go Dr. William C. Carl, Director noise till a repairer can be called in. important musical number. The writer Paderewski, Godowsky, Tito Mattel, Dr. out to the public with them. I wouldn t recently heard of a New York organist “Sweetheart, I’m Dreaming of you.” wiu be'foundln g^uS^‘n*e*volume is d Hans von Buelow, Rosenthal, de Pachmann, want to see the music teachers organize in a 150 Students Holding Positions Often neither of these two methods of Alexander Sklareoski, and Rubinstein. And union to raise prices. That would be a little procedure will avail, .then the usual who improvised for fifteen minutes THEODORE PRESSER CO. last, but not least, my esteemed and inti¬ too much like trade. Yet in some districts around a cypher as an “organ-point,” Theodore Presser Co., Phila., Pa. mate friend, the late W. T. Best, organist to the school teachers strike individually. That Arranging and Correction of Mss. Practice Facilities method resorted to is removing the of¬ PHILADELPHIA - - PENNA. he Corporation of the City of Liverpool, is, when they find that there is no chance keeping the interest of the music up all in that school district for a raise, they lift A SPECIALTY fending member. Sometimes this is a execute whole programs of intricate works, The Individuality of Each the while.—Rollo Maitland, in The --1 e a, I. S. Bach’s organ fugues and similar up their stakes and go to another State. A. W. BORST, Presser Bldg., Phila., Pa. good thing to do, but often, especially if works upon that wonderful instrume"'- Thev say that in some States in the Middle Composer oj Cantatas. Sonus. Pianoforte ana Chura. Music Student Studied Console. West we get the pick of teachers from the rge’s Hi” East because the teachers go where the low coin school boards pay twice what they used to get in the East. Who is going to blame the Weigh, what The Test of Time music teacher who sees that in his district THE FAVORITE OF STAGE PEOPLE __t^useful "works for piano students, there is no hope for a raise in tuition fees if you Should Even better than I get in Paris,” has written: he cuts out for the city where tbe people what the beautiful actress Anna Held “Cultivate early the habit of playing by don’t want everything for nothing? Keep rote of Magda Cream. Stage folk: heart, as in later years it becomes more and up the fight for us. I want all my pupils You can — I know it. - jow the advantage of using Magda more difficult to acquire.” to read The Etude, so that they will get the For what 92,000 other wo¬ We hear much of the beauty of mod¬ ents of Buononcini as opposed to Handel. before applying powder, and for rubbing This I write with full knowledge as a right angle on the situation.—L. D. M., ernist music, as the music of the future. ""t incipient wrinkles in the nightly piano student for the past 60 years; also Oklahoma. men have done you can do. And again we are amused, in the knowl¬ ssage. M usicians use it to keep their hands I teach you how to sit, stand By modernist music we mean the form¬ edge of a later day, at the feuds between and walk correctly; give less music that corresponds to the vers the admirers of Piccinni as the rival of you grace, abundant vital¬ libre which floods the magazines and is the great Gluck. Bring Out the Hidden Beauty Beneath the soiled, discolored, faded or aged com¬ ity — courage to undertake, trumpeted as the poetry of the future. plexion is one fair to look open. Mercolized Wax grad- courage to do things. Yet in their day these rivalries were nally, gently absorbs the devitalized surface skin, re- Now the fact is, all music—whether sincere. But Time—that merciless sifter veahng the young, fresh, beautiful skin underneath, I build you up or reduce you written one hundred years ago, or two— of wheat from chaff—has tried the music, natnrafness ' women who prefer complexions of true to normal—all in your own is as much the music of the future as it and only that which could withstand his Mercolized Wra home. In a few weeks you ixtolling the power can surprise your family was of the past. The only test of it all tests has survived the little personalities M , „ _ _ess of the Which! and friends. is this: Will it stand the test of time? that made it. mat cuiue lu u„ -u SHURL.^ . that „ c take it for granted that readers in replying we have to cut them out and of The Etude find inspiration as to the The fugues and canons of the great Of the great welter of modernist music paste them on the envelope leaving it to the beauty and poetry of music elsewhere, and some will undoubtedly survive. Not_ that thev come to our columns for practical Bach have never been approached in all postman to puzzle them out. aid, and not for lovely generalities. Be Well primarily—because it defies all rules and Catalogs, specificati _I__ the long years that have rolled by since 7. Be so lcintl as to have patience displaces all harmonies-but because it the *exact***tiUe”o”* y o ur Vanwscript, he penned them. The harmonies of the when inquiring for one sent, or in submitting M. P. MOLLER Hagerstown, Maryland immortal Mozart are as fresh and expresses sincerely some phase of those one for publication. This will expedite mat¬ once. There sick, when you know how. If ters in locating it, and you will hear from us ing the appear: you are troubled with any of piquant—the structure of his symphonies subtle affairs of the spirit which make its subject, its ineral character, the following — or any other ailments — write me. up the life of to-day, as it will index liness. Often article must wa: as marvelous—as if the ink were not yet space—the Indigestion Torpid Liver Poor Circulation those of the life of to-morrow. For this Capitalize YOUR Ability siderable time mm/ejssizz.sg dry upon them. Beethoven still thunders or it is delayed because Nervousness Constipation Malassimilation // Eyet- K they Tire, Itch, reason—and no other. the world pays for skill matter along the same lines, nd it would This profession now offers unusual opportu- the task of reading them easier and quicker, My 16 years’ work has won the endorsement of leading Tor Smart or Burn, if Sore, his message in terms of Today. Yet there when they are plainly typed. not do to fill up The Etv_; with repe- physicians. Write me. Your letter will he held in absolute were living, when these masters spoke What music Time will choose to sing . nlties for making money. It is uncrowded, your „... ,. __ „ „ certain balance. confidence and you will be under no obligations. Writeto- Yfllin EVf ^rritatfd’ Inflamed or its way down the dim aisles of the day- time Is your own. Our Correspondence Course 4 Let your article l»e as terse as Rest assured that vour article will be printed day, before you forget. I wifi gladly send you my illus¬ IUUK E.T EO Granulated, use Murine scores of other men who made music , with tools, and the wonderful Tune-a-Phone, our possible. The readers of The Etude are as soon as it can make the best entry to the trated booklet telling how to stand or walk correctly, free. often. Soothes, Refreshes. Safe for and who were famed in their day. to-come no one knows. But this one patented instrument of precision in sound, make busv people, and they like things boiled readers. SUSANNA COCROFT thing is certain—only that music will last the seemingly difficult easy to understand by any¬ down, and shorn of all superfluities. Give u« 624 S. Michigan Ave. Dept. 29, Chicago Infant or Adult. At all Druggists. Write for But their compositions failed to sur¬ one. Diploma given graduates, lfiyearsof success¬ 8. Never sen<1 your manuscript or the practical articles. The Etude is written and letter pertaining thereto, with any other let- onally n Free Eye Book. Hnrine Eye Remedy Co., Chicago vive. And we smile when we hear of the which is sincere. Pose in music-as in ful correspondence teaching. Write for free book. published for practical teachers and students. Miss Co croft is NILES BRYANT SCHOOL OF PIANO TUNING irdering music, asking ques- Please mention THE ETUDE when addressing famous controversies between the adher- a]. Art—is as shortlived as the mood that _, _ _your letter pertain strictly our advertisers. invites it. 1207 Fin. Art* Institute BATTLE CREEK, MICHIGAN to the manuscript and write about other Please mention THE ETUDE when addressing necessary matters in other communications. Please mention THE ETUDE when addressing our advertisers. Page 60 JANUARY 1920 JANUARY 1920 Page 61 THE etude fUE ETUDE Dots and Dashes Violin students, especially those who bow either up or down. The notes are are trying to get a knowledge of the played short and not sustained, and the violin without a teacher, frequently effect on the ear must be as if the notes write to ask for the significance of dots were written as sixteenths, with six¬ or dashes placed over notes under a slur. teenth rests between. However, writers Department for Violinists Fundamentally, in violin music, a Sousa your instruments have had a st___ - - B, m| of violin music often write dots when n their merits, and they have fully demonstrated thi straight line placed over a note means they mean dashes and vice versa. SaUS the Grand Prize and Gold Medal of Honor given t Edited by ROBERT BRAINE that that note is to be sustained for its J Awards at the Panama-Pacific International Expc i „ ■*! The mark (') placed above a note in¬ During ourjpleasant engagement at the Exposition I 1 il tt a full value, and the bow is to be pushed dicates that it must be played more bands and orchestras there engaged, Jand_ the Conn mstnmiim s se “If All Would Play First Violin We Could Get No Orchestra Together.”—R. SCHUMANN along the string until that full value has staccato than in the case of a dot. A I still maintain that the been reached. A dot placed over a note ^ and ie“me‘mbera“of my organization Lily accord with me . . passage marked as follows usually indi¬ organization to a marked d a high standard of excellence for Band Instruments, a standard worthy of emula- means that the tone is to be shortened The Conn Ltd., has crex„- - cates that the bow leaves the string at lation, if possible, by other mak< Very slnc|gj|^ PHILfp SOUSA one-half; that is, if a series of quarter each note: “Scordatura” notes have dots over them they are to (Mistuning of the Violin) be played like eighth notes with eighth rests between. In playing notes with By Edwin H. Pierce dots above them in violin music, some¬ times the bow leaves the string between the notes, and sometimes not. It de¬ The standard tuning of the violin in The tuning at (d) was employed once used the scordatura effectively, but only fifths; namely, G, D, A, E, is doubtless string is occasionally tuned a tone lower pends on the nature of the passage being by Nardini; that at (e), which is in¬ on the G string. De Beriot in his Air In his bowing exercises, Sevcik uses the best possible tuning that could be de¬ so as to secure added compass downward, played and the kind of bowing which is tended to imitate the effect of the "Viola Varie, No. e, in D, tunes it up to A, thus the sign (') to indicate “jerked or hop¬ vised. It is now so thoroughly taken for though at the expense of resonance. On used. d’Amore,” was used by Barbella and giving it an almost trumpet-like reson¬ ping staccato.” The violin student who granted that many fairly well-informed Campagnoli. the violoncello there are two classical In the case of dashes above the notes ance. He writes the part for this string is studying without an experienced players are ignorant of the fact that in examples: Bach, in his Fifth Violoncello under a slur as in the following: The organization and successful training of the “Jackie Band” is one With the passing of years, the tuning as if in the key of C; the fingering thus teacher is often handicapped by the un¬ the early days of the art, abnormal and Sonata requires the A string to be tuned of the most remarkable of Lieutenant Sousa’s achievements. Its of the violin seemed to become more remains the same and the unusual tuning certain manner in, which writers of violin exceptional tunings were quite common to G, and Schumann, in the slow move¬ members were recruited from all wafts of life—many of them wholly rigidly standardized and these abnormal of the string transposes it automatically and were often used with great ingenuity ment of his Piano Quartet, Of. 47, calls music mark their compositions. A dot unfamiliar with music and musical- instruments—and yet in a few tunings less and less common, although into the key of D. is often used where a sustained tone is months, Lieutenant Sousa was able to develop them into a world for special effects. The following tunings they have never fallen quite into disuse. for a tuning of the C string down to B fTTr flat. This last, by the way, is done in the required. For instance, a passage is renowned organization. , . . . are all to be met with in the works of Paganini employed several exceptional The Jackie Band of over 1200 mepxbers was equiped throughout with old violinists: course of the movement, while the other often marked: tunings, sometimes in quite a sensational the bow is pushed or pulled in the Conn Instruments,—a most significant fact when one remembers the players are playing, and, although a suffi¬ manner. His Concerto in D major, which same direction four times, either up or success achieved. And yet, good music is no mystery. It is the ciently long rest is allowed the 'cellist, is is still in the repertoire of many virtu¬ down, as the case may be. The tones expression of skill in both the artist and the maker of the instrument. exceedingly awkward to manage. It’ is osos, has the solo violin part in the key are sustained practically to their full of D, but the orchestral accompaniment done for a good and legitimate reason Music in Other Organizations namely, to furnish a low B flat for an value, except that there must be four a semitone higher, in the key of E flat. distinct impulses of the bow. This is John The power of music to inspire and bind together was well illustrated For its performance, the violin strings "organ-point,” but one cannot help wish¬ I Philip Sousa -n the Jac]c;e Band. Hundreds of organizations and institutions are The tuning (a) is favorable to simplic¬ ing that Schumann had thought ,,i some essentially a legato passage. when the following is intended: recognizing the same fact and are using it to the mutual advantage are all tuned a semitone higher; viz.: f In the case of dots over or under ity of fingering and great sonority in the other way out of the difficulty. and the profit of their members.. A flat, E flat, B flat, F. When the Con¬ notes, beneath a slur, as in the follow¬ key of A major. It was employed at certo was still in manuscript, and Paga¬ This article would not be complete Large manufacturing industries, Fire and | Composers are not uniform in their ing: least once each by Tartini and Castrucci nini himself the only person who played without mentioning the interesting fact in Italy, and very frequently by dance- usage in this matter; some write the notes it, he kept this fact a secret, even from as they sound and leave the player to that certain scordatura effects seem to be fiddlers in Scotland. Some old Scotch well known to that now rapidly vanishing the members of the orchestra, and it was figure out the proper fingering, others (as Many remarkable Bands and Orchestras have reels demand it almost imperatively. supposed to be a concerto in E flat, which race, the old-fashioned country fiddler The tunings at (bj and (c) were oc¬ in the above example) write the notes been developed among the members of such greatly increased the wonder at his per¬ who plays by ear. In his youth, he once Violin students should make it a ptint organizations with the aid of Conn Instruments. casionally employed by Biber. Who was as fingered and make the violin a “trans¬ formance, because, as every violinist posing instrument.” heard and committed to writing an old to buy editions which are marked by Unusual benefits of no small proportions Biber? Frankly speaking, we fear knows, E flat is a much less favorable traditional tune, known as Snow-bird on violinists and not by people who do not await other similar organizations who are THE INNES BOY SCOUT BAND OF DENVER In our own day Saint-Saens has used a the notes are played in a staccato man¬ This band wks personally trained by Frederick Nell Inne8 present-day musicians would find little key for brilliant passages on the violin, the Ashpile;— understand the technique of the violin. interested in the creation and development thecelebrawd.Band^Leadero^ New York.^In^ pereornal satisfaction in attempting to resurrect his most unique scordatura in his Danse Ma¬ ned with four distinct impulses of the of a spirit of harmony in thought and action and there are many effects possible in the town. The boys—63 In aU—are wildly enthusiastic In the old compositions, yet he was quite a cabre—a. symphonic poem in which Death within their organization. key of D which would be out of the ques¬ is described as a fiddler, summoning the celebrity in his day. He flourished from tion in flat keys. 1638 to 1698, was conductor of music at skeletons from their graves at midnight Essential Tonal Qualities Spohr employed a similar device in his for a dance. The E string is tuned a Instruments. The. results h the court of the Prince-Archbishop of duets for violin and harp, but from an Helpful Handicaps in Violin Playing A Characteristic of Conn Instruments Salzburg, and the Emperor Leopold pre¬ semitone flat, giving a dull and uncanny entirely different motive; the harp sounds effect. The proper rendering of this calls for The Test of an instrument is its tonal quali¬ sented him with a gold chain and a large the G and D strings to be tuned to A and much richer in keys of several flats, the Abnormal tuning of the other bowed ties,—its perfect intonation,—its symmetry of sum of money, besides raising him to the E, respectively, exactly as in the example violin more brilliant in sharps. string-instruments is uncommon. The proportion,—its proper balance,—its embodi¬ rank of the nobility. Sic transit gloria Several French violinists, including De from Tartini and Castrucci. The three ment of Art and Science as expressed in mundi! writer knows of no example whatever on opening notes are executed with a sort of appearance and performance. Beriot, Mazas, Prume and Baillot, have the viola; on the double bass the lowest Many handicaps—devices or schemes it will touch the wall, as a reminder at rough ricochet staccato. the end of the down stroke; reversing Conn Instruments are the product of a calculated to overcome certain difficulties patented method impossibleof attainment else¬ the position of the body will cause the —incautiously used may result disas¬ where. An intimate, scientific knowledge of point of the bow to strike the wall at requirements, plus a mechani¬ trously; certain others, however, are at the end of an up stroke. Long slurs, in¬ cal skill in production that The Violinist’s Dynamo the same time highly effective and abso¬ cluding an unusually large number of approaches the Artistic and lutely harmless. notes in the same bow, are usually diffi¬ Ideal, gives a guarantee of By E. W. Morphy The violin player’s problems may be cult; try to play these passages twice in quality and uniformity in tonal one bow; this is preferable to trying to elements that is unsurpassed. divided into three groups: first, position; The universal recognition of Next to listening to the product of the so long as pupils neglect ear training we play the passage in a half bow. Strength pleasure, he directs his fingers to places second, the left hand; third, bowing. this superiority of Conn Instru¬ average amateur violinist, there is noth¬ and ease in bowing may be acquired by will have players 'who clutch, bungle with that will produce the sounds he hears in of mental power, for if it is not in the Perhaps the most important thing for ments by all great Band ing worse than to watch him at the task. lying upon the back on the edge of a their shifting and scratch with the bow. his inner ear. Naturally, the talented mind it can never come out. If one the violinist to learn is a good position Leaders of International Fame The noise he draws forth, and his phys¬ firm couch, with the violin raised ver¬ To train the ears, instructors are com¬ player may, at first, miss the correct fails to put things into a box how can of both the body and the instrument. As is the best possible guide and ical bungliness are. painful to those who pelled to keep pupils so long in one posi¬ things be taken out? If one end of a tically. This position is a severe one, and assurance for the beginner or love tone-beauty, gracefulness and poetry spots on the strings a few times because an aid the following “handicap” is sug¬ tion (usually the first) that when a hose is coupled to a tree how can we requires considerable determination, but ■eteran purchaser of band of motion. Such a one has failed to ob¬ the fingers are not likely to respond at gested; stand with the back (left heel, change is necessary there is worry and it has great possibilities in the all-around instruments. ^ serve that the artist works with ease and once to the dictates of his will; but with eXmtWateut0 gUsh from the no^? left shoulder blade and the head just inconvenience. I think it is Goby Eber- What is the all-impressive thing about mastery of violin technic. about forming a band in complete relaxation and commands us the thing he wants standing out clearly back of the left ear) touching a pro¬ hardt who states that shifting should the playing of a great artist? Is it not For the left hand stretchers and with his thought-power and the absence in his mind, it is not long before the jecting corner of a wall or a door jamb ; begin at once in order to impress the the mental poise and power of the man? strengthening devices should, if used at of physical effort. The mental pygmy correct results are forthcoming. With five or ten minutes’ practice a day in this student with the fact that the entire all, be adopted only after certain proof labors rigidly attempting a work which the ear constantly alert, a musical stu¬ e knows what he wants, he is greater position will bring excellent results. If fingerboard is used. Mr. Eberhardt is than the task he is performing; like a of their harmlessness. The following ’ is too big for him and struggles as if he dent does not dread to let go of any the violin has a tendency to droop, as right, providing the student has an acute beam in a building he is stronger than suggestion is so obviously without dan¬ were killing snakes. He demonstrates fixed position, for he knows that he has is always the case with young players, sense of pitch and an inborn appreciation the power to find it all again easily. He necessary, to assure safety. The student suspend a weight of perhaps a pound or ger that there need be no hesitation in the saying that the one who tries hardest trying it out: take an old, rather close- of violin tone; but when there has been has a skill akin to that of the cat which who is anxious to win must keep at the so from the peg box; after five or ten always makes the best second man. fitting glove (left hand); clip off the no preliminary ear training and no spe¬ lands on her feet regardless of how she thought-forces; he must know his work minutes’ practice and upon removing the First of all, the trouble is a mental finger ends , and the thumb back about cial talent for the violin in particular, the is thrown in the air. If one ever acquires better and the doing of it will be a weight, the instrument will almost seem one; that is why it is so hard for teach¬ one-half inch from the end; trim the only course is much practice with a per¬ dexterity in violin playing he must ac¬ physical pleasure. To improve the mind to have acquired a slight upward pull; ers to be of assistance. Students are too wrist also in such a way that the metal fectly quiet left hand until the ear is custom himself to throwing a position it is understood, of course, that a rea¬ and make it more musical, whistle—sing fastener is removed; five or ten minutes’ The Darling Saxophom often of the opinion that if they take les¬ aroused. away and finding it again; in fact, left- sonable effort will have been made to —Play slowly, and let the tones sink in. practice—especially for loosening up the is all that the nai sons the teacher can administer some¬ hand technic is just that very thing— keep the violin in a horizontal position A violin student with faulty hearing Doubt and test yourself in every possible fingers, particularly in cold weather—will ~ thing that will make artists of laggards, the ability to perform in tune unusual while working with this handicap. is like a person shooting at a mark with manner to be convinced that you “know, give most desirable results. mtertainers in hlgh-c and this in lieu of all thinking or study combinations with ease, to change accu¬ To correct the fault of a backward vaudeville. They too, closed eyes; the aim lacks positive direc¬ and know that you know,” and physical Undoubtedly the best “handicaps” one their dependence in Conn In- on their part. Teachers agree that the rately from one position to another at a pull of the bow as it approaches the tion and control. The person equipped ease will be yours because you have de- basic trouble is faulty thinking; incor¬ rapid tempo and without fatigue point, stand with the right shoulder might use are a critical mind and a' de¬ 261 Conn Bldg. fir:” ... with an accurate ear does not force him¬ v eloped the mental prerequisites and rect hearing; lack of observation. Just Clutching, therefore, is the result of touching the wall, the angle between the termined will; but while these are being ELKHART, IND. self; but, relaxing with a feeling of started the dynamo that operates the using too much physical force in place back and the wall being about 45 de¬ cultivated, the suggestions given above whole process. grees; if the right hand draws backward will prove effective if given a fair trial. THE Page 62 JANUARY 1920 fllE ETUDE JANUARY 1920 Page 68.

“The Violin Price Problem” Lesser Lights A Pamphlet for Violin Students and Advanced Players Violin Questions Answered We are ready to mail copie* of this pamphlet, one of “By Far the best m our series of Educational Pamphlets, to any By MR. BRAINE By Jo-Shipley Watson beginner or advanced player who will ask for it. It wifi aid greatly in arriving at the solution of the ever impor¬ tant question of obtaining the best violin for the price one There lived in Beethoven’s time and in hoven a short time before the great expert, the finished player, the beginner— We specialize in student instruments, the prices rang- Beethoven’s city a brilliant pianist who master’s death. It was through Hum¬ IJ everyone who delights in tone purity out of the ina from th« cheapest that are possible for instruments of might have received more attention had > to the neighborhood of $1 10.00—at legimen mel’s duet arrangement of Beethoven’s ordinary owes it to themselves to investigate this have outfitted many professional players. Fake Violin Labels a his fellow musicians, been less noted. VIOLINS fi $15.00 to $110.00 symphonies that many people became ac¬ magnificent instrument. The BOWS This was Johann Hummel. He lived quainted with them, and it is pleasant to CASES Cruel Fraud School of the Pianoforte during the time of Beethoven, Cramer, remember that Humtpel made it possible Education.1 pamphlcti i > all phases of the violin prob- r with latest quotations on best Kalkbrenner, Weber and Field, and was for every pianist to enjoy these master¬ mporiea ana domestic strings, sent free on request Volume One Jesse French & Sons Grand Many letters continue to reach the Etude from owners of violins, who, on the strength of the fact a pupil of Mozart, dementi and Al- pieces. HUGU5T GEMONDER S SONS that their violins contain labels, bearing the names of famous violin makers, jump to the con¬ By Theo. Presser brechtsberger. He also had the advice You might not like Hummel’s playing, represents an honest and successful endeavor to produce Exp.rt. in Violins 141 W. 42nd St., N.w York clusion that their violins are genuine and worth fabulous sums. It has been repeatedly explained of Haydn and Salieri. Master Hummel it was light and graceful, brilliant, of an instrument as near artistic perfection as is possible in the Etude, that it has been the custom of a hundred years or more, of violin manufacturers to Price $1.00 was a quick witted hoy. He profited by of attainment. paste facsimiles of the labels of Stradivarius, Guamerius, Amati, and other famous violin makers, course, but rather superficial; and you m their violins, the idea being more to show the type of model used than a deliberate attempt to his lessons and made immense progress. might not like the piano he used, it was, delude the public into the belief that the violins had been made by the great masters whose names This elementary piano in¬ Mozart was so impressed by the child’s however, the best of that day, an instru¬ OUR “SPECIAL” appeared on the labels. These labels are often found in violins which retail for as low as $5.00. structor has had an unprece¬ playing that he offered him lessons for ment of light action without much depth 10 Tested Lengths, *)Cc It cannot be too emphatically stated that it is impossible to judge the identity of a violin by a dented success, being wel¬ nothing. These lessons were informal of tone. If you have studied the history ^O'-Silk Violin E, for^0C copy of the label sent us by mail. There seems to be no law against using these labels in this comed by teachers everywhere and irregular, and the young artist of piano making you will see that piano Send for Violin and Cello Catalogue manner, so we find any kind of a label in any kind of a violin. It is a pure waste of postage as just the thing for the gained more from the lyrical or musical technic has kept pace with the instru¬ for people to write us concerning their violins which they expect us to value on the strength of side, than from the technical side of ment, and to-day we hear artists who try MUSICIANS SUPPLY CO. a copy of the label in the violin. The advertising columns of the Etude contain the names of youngbeginner; the next thing 60 Lagrange St., Boaton, Man. music. to make the piano sound like an orches¬ a number of reputable firms dealing in old violins. Readers who possess violins which they to a kindergarten method. believe are genuine products of the old masters of violin making, should write to one of these After two years, Hummel appeared in a tra; such a thing would have been im¬ firms and arrange to send the violin for an examination. Written descriptions and photographs concert given by Mozart, and his success possible in Hummel’s day. Do you know of the violins are of little use in telling whether they are genuine or not. The violins must Hummel’s Sonatas? I think you would If You Have Never Used This Work was so decided that the boy’s father took be actually seen and carefully examined. like them, there are sweet melodies run¬ Order a Copy Now for Examinatiot him on a concert tour of Germany and Violin s Piano Holland. ning through all of them, and fine well- polished themes or sentences, they are His next teacher was dementi, the works of refinement but wholly lacking i. W. A.— i-called “__n shake," composer of so many interesting studies. arked “Ti- ” above the r.„.^ „ s freely. Use a chin in that “something” that touches the Collections shoulder pad, and do not over-do the" The change from the melodious school so-called “dose shake” Is ebin t 5 Both the Lup'ora Theo. Presser Co. heart. Piano students should remember what Is known the vibrato, or “tremolo." father and si of Mozart to the serious one of dementi These Books Offer a Goodly Number American writers do on, made excellent violins. Lupon Hummel for his Piano School which was violins have_advanced. In the past five years. Philadelphia, Pa. was great indeed, but Hummel needed and Variety of Pieces at Prices that and “close” shake, r could not estimate the v! a decided advance upon any previous England. ‘ e of your violin this thorough preparation for his career piano methods. Among the important Are Most Reasonable as concert pianist. Hummel made many vtoffn must—r0 indicated,1 a maSng1ik“e changes he made was a more rational tours of Russia and of France. His method of fingering, another change was - concerts were brilliant affairs and he had the manner of playing the trill. Hummel Violinist’s Popular :rse STM- sisssss triumphs wherever he played. The insisted that the trill should begin upon strongest point about Hummel was his Repertoire Harmony Book the principal note and not upon the Price, 75 canta = force.^SFZ ^ ^ extempore playing. A great deal was auxiliary note. The influence of Hum¬ passages are bowed in different ways accord- M „ expected of extempore players in those An Rlbtim that contains twenty-nine ing to the passage being played, but where nnnVi. the requirements of the mel’s method was far-reaching, he was miscellaneous pieces for the violin. They possible a blow on the string at the frog with Pup;,* you would be likely to get in the days; the player had to know every kind the teacher of Czerny, who, in turn, was are of a grade and type as to be appeai a hammered effect, produces the best result. “XiVty, you sPeak of, the following course for Beginners Ing to the average player. These num of elaboration and every art form, from the teacher of Liszt, and Liszt is looked bers are selected from the best copyright 3. Where a sliding effect or gllssando is de- Si?,4 d°„as 88 anything. For the be¬ violin pieces in the Presser catalog. ared, an ordinary slur is used to indicate it, ”se WoMfahrt’s Easiest Elementary By PRESTON WARE OREM a simple melody up to a complete fugue. upon as the father of modern piano frequently with the word gllssando marked j / Begmners, Op. 38; this might In this field Hummel had no rival but above yiraasc.-ssage. min sinishifting, ting, wnerewhere a sin¬sin- i by the Ka«aer Studies, Op. 20, technic. Let us try to remember the Student’s PopularAlbum gle finger is employed, a sliding effect Isis pro¬nro- i;00-— For- puoiLiuuPosition workworn you could urp Beethoven. Hummel held no narrow pianist Hummel who lived bravely by the duced as in the following ; the Herman Violin School, Book 11 After for Violin and Piano prejudice against his rival; but Beet¬ side of the giant Beethoven and won ffonsP?P \ haS “aster''d the fir8‘ posh hoven bore Hummel a grudge, which was applause and success in spite of the fact I and IIiyc^ ,tbe KVJscr 8tudie°' B°°ka n and III, could be employed with profit to¬ ADMIRABLE not made up until Hummel visited Beet¬ that he was “a lesser light.”—J. S. W. gether with Srhradiecks’ Scales. There is a IMMEDIATE FOR SUCCESS It is a brlgh't and interesting SELF-HELP &(f/f/o/i Wood volume throughout, containing material F. D.—The which will be found in no other collec- by Bach, are tions. Students of the violin will find The Child Prodigy In this volume material for recreation, ^?ii>,Cla*8*CS wueoiguea co for improvement in style and musician- without accompaniment. Separate moveiuen.s Brief, Simple, Vital, ship and for recital work. are often played in public By Victor Blondeau 900 VOLUMES by concert violinists without accompaniment p—There are mar ft-handed vlo- 2. As your letter gives no hint of your age or linists. The technic Is the Practical, New Operatic Selections for 1 cannot advise you as If 2™ ?? W°mS, for. learnlu« sight riding, and Distinctive The musical child prodigy has always would seem that the child prodigy pos¬ ftbe JB. 3F. Moot) HQustc Co.’s Violin and Piano fii/ are sufficiently advanced, you would Pf P sesses an exceptionally highly developed tod the sonatas of Haydn, Mozart and J-violin lm whichS'hlch Is normally strung. The dosI been something of a mystery to scientific By F. A. Franklin sense of muscular control, which is Beethoven, written for violin and piano ad- tionstlor!3 of theth" bass1 bar and sound post are also Lays a strong foundation for inquirers and others who seek for the Price, 90 cents mirable for practice in sight reading esne- exchanged.?xe,ianged. Any good violin teacher coufd further enhanced by purposely conducted ly » you are lucky enough to find a * ift-handed pupil, since the prin- future musicianship by giving the cause of things, partly for the reason CLASSIC ALBUMS Nothing has proven more interesting planist to play them with. Playing vionn f*pIeR involved practice. The same explanation applies o violinists than operatic selections for duets, trios, quartets or the violin n.r, in A would be pr main essentials of the subject in such that music seems to be the only art nolin and piano. Mr. Franklin, recog¬ the violin pa It* would be preferable' to* get al,teacher0lwho' to the “bowing arm” of the violinist, for (GRADED) •Ing quartet. Is excellent practice for sight has had experience in teaching left-handed simple, understandable and interesting which produces them to any noticeable nizing the necessity of a super’-- ‘ — inv is playing in orchestra. The most the wonderfully varied effects which can Book I. Preliminary Edition Wood No. 861 of this kind, has produced this your manner that it will prove invaluable in number. Some precocious children may cellent work. The violin part Importantthlng'-,--observe in practicing sight eight years of age . would strongly ady.oc be obtained by the bow are due in a great Book II. Elementary “ “ “ 862 reading, Is to play music a grade you to have him taught the class or for self-help work. be found who are able to draw, to paint, Grade 3 hnlllinfr + V, /-,-rrr —tn, XL . measure to muscular control of the right Book III. Higher Elementary “ “ “ 863 than you are able to play. If the music is or even to make carvings in stone or so difficult that you have to stop every arm and fingers. The essentials of other Book IV. Lower Intermediate “ “ “ 864 THEO. PRESSER CO., Phila., Pa. measure or so, to practice It out, you will wood with some accuracy of technique, get ahead i..i ~«.i. — artistic pursuits are more along intellect¬ Book V. Intermediate “ “ “ 865 r sight OUT f puX^lvIr but there, are very few, if any instances, reading. R?£.M?,!Jettor {rom JOHf ual lines and usually require a maturer meUnSched nTs v1fft-han?ed’ but a8 «be com- P{H I L I P SOUSA, Famou, of children displaying extraordinary PRICE, EACH, 60 CENTS. Subject to the usual professional discounts cu 1 tyIn'*bowIng^with^the'right Zld° X Composer and Conductor: mentality, only obtainable through years knowledge, or outstripping their talented of general worldly experience, hence the ‘5™ld b« staled. Is because both forms are a^Sfecfs11^ rDdpaI Pcenol The system adopted in you: VIOLIN STRINGS ciders in any of these arts. On the other precocious performer in these arts is A choice selection from the works of Bach, Beethoven, Chopin, fn^m ™ WKlth the muste you pIay Bltter cert stage 1 kG a 8nccess on tbe con- Harmony Book is admirably adaptec Used by the leading artists of the Philadelphia Orchesti b? Studied first, but possibly it hand, there are quite a number of chil¬ Haydn, Handel, Mendelssohn, Mozart, Schumann and others, in would be best to begin with the melodic form for the student who requires ar almost unknown. R. T. H.- dren—a good many more than ever It is sometimes claimed, though erro¬ because the Intervals of this scale are often of the instructlon_book that is “as plain a progressive order as to technical difficulty. ;hs, good intonation an more easily grasped, and It Is more frequently appear in public—who seem to be en¬ neously, that most child prodigies do not, “f?,,1” constructing the melodies of a com- --o lucid tha A glance at the contents will show the value of this series. At case9Petrlnimings,O^etyl0lhaveaiii^rrmnv'”bO7’8' dowed with extraordinary talents for in¬ in later years, redeem the brilliant prom¬ Posjtlofi.^than the harmonic. 2. No rule can as may read”—a decidet an early stage the pupil can be introduced to the works of the Thaistl?s11duedtobteh’ flDrefhhe War atarted! terpreting music; talents which in some ise of early youth, hut disappear. from be bef°ce they* losef their proportion of these good's wtr'e made^n^Eu ue in any text book. great masters,—with the compositions of the various composers in tone and become lifeless. Change your strings 6 6 respects are as great as those displayed the musical firmament. This view is due duPrinentdh trade ln them PraetiSSly ceased each book, thus making the study interesting and valuable. they Io8e, tbelr tone- AnV Rood I congratulate you on you: by the mature artists. Child prodigies to a failure to realize that youthful vir¬ music house can supply steel E and Aluminium An excellent series of Graded Classic Albums to use with all THEO. PRESSER CO. - Philadelphia, Pa. work and commend it to the studeni stem to be restricted more or less to two tuosity does not at all imply continued Pnw"88- Tber" ar,‘ maI>.v good brands. 3. of harmony. your pupils, offered at an extremely attractive price. l mess you have classes In theory and instruments, the violin and the piano, both development to a mature age, as in the ba™ tny' or y«ur P«P|,S take several iessons n^week, you will not have time to teach much of which require great digital dexterity case of the average artist, but rather the ofi thesei ,,e branchesoranenes in rnpthe first and secsecond year Procure through your regular dealer, or if he cannot supply you, VIOLINS of violin playing. However, you cai as one of the essentials of a highly devel¬ fact that a wonder child is merely one order direct from the publishers fBESTSTRING^— find time Jo give your pupils a fev vof. t oped technique. who has reached artistic and technical f„un/’an!0'>tal ™les or tneoryheory anaand harmony.harraon; theo. presser CO. maturity earlier in life than others. He SEND FOR CATALOG OF CONTENTS OF “EDITION WOOD,” Is absolutely necessary to teach enough tin Almost anyone familiar with a piano Also THEMATIC CATALOGUES “TEACHER’S BOOK OF SAMPLES” 1 JOHN FRIEDRICH &BR0.1 to make the pupil understand SHEET MUSIC is not so much a greater as a younger vir¬ VIOLIN 3 279 FIFTH AVE , keyboard or a violin fingerboard can OUTFITS / lour trouble with the vibrato no doubt' with is .Te,ry, Important t tuoso. The case of the great pianist, -3 caused, as your teacher save Many?of ^la4ri al„at tbe very MUSIC BOOKS niove his fingers over either at the tempo relaxation. This is why your ar Josef Hofmann, as well as those of Mo¬ required for the most rapid passages ever tlbe 3B. f. Moob music Co. tense. Try practicing it silently (that Is though s_ PHILADELPHIA, PA. zart, Liszt, Rubinstein, Chopin, and !? Abe b«w) for a few minutes written, but very few possess the con¬ 246 Summer Street BOSTON, MASS. th the wrist Joint relaied, s ' violinists. others, are indications of what may be Method Is a trol which enables them to move them Also at New York and London accomplished when precocious talent is at that speed in the order and manner properly developed.* indicated by the music. From that it Plea»e mention THE ETUDE when addressing our advertisers. tee etude Page 6^ JANUARY 1920- JANUARY 1920 Page 65 a THANKSGIVING STORY (Prize Winner) . Junior Etude Competition This is a story that happened overseas. The Junior Etude will award three pretty prizes each month for the best and A number of our soldiers were gathered VICTOR RECORDS neatest original stories or essays and an¬ EjKil in a recreation hut on Thanksgiving Day, swers to musical puzzles. vrn^w^^wy r^'^J K)fwwO and they were more or less doleful as Red Seals that We Recommend Subject for story or essay this month, they were thinking of home. There was i Garrison, Khaki Sammy. 1 My favorite instrument.” It must con¬ 64259 n0 Victrola iff the hut—only a piano on : Gluck, Bring Back My Bonnie tain not more than 150 words. Write 64302 McCormack, At —.__. to Me . 1 which none of them could play. on one side of the paper only. Any boy 64405 McCormack, Somewhere a Voice de Gogorza, Could I?. 1 Brown, one of the soldiers, suddenly Is Calling . 1 Braslau, Croon, Croon, Under- or girl under fifteen years of age may 64412 Gluck, Little Grey Home in the e Moon. said, “It certainly is dull here, let’s go compete. West . 1 64309 Gluck, The Little Old Log over to that hut farther up front, you 64438 Elman, Vogel als Prophet Cabin in the Lane. 1 All contributions must bear name, age (Schumann) . 1 74489 Mabel Garrison, I’m Fair Ti- “JUNIOR- know the one I mean, and see if we can 64425 McCormack, Little Grey Home tania (Mignon) . 1 and address of sender, and must be sent get a girl to play for us.” _ in the West . J 74511 Galli-Curci, Home, Sweet Home 1 to Junior Etude Competition, 1712 Chest¬ 64479 de Gogorza, As They Sing in Witherspoon, Hear Me! “ So they tramped three miles to the hut Naples . 1 nut street, Philadelphia, Pa., before the 64488 Kreisler, Slavonic Dance etude: and triumphantly brought back a girl twentieth of January. (Dvorak) . 1 Julia Culp, Auf Wiedersehn.... 1 who was only too glad to cheer up the Culp, Ave Maria (Schubert)... 1 Galli-Curci, In Sweetest Accents The names of the prize winners and McCormack, Evening Song.... 1 (Puritani) . 1 boys. She sat down at the piano and their contributions will be published in McCormack, The Vacant Chair. 1 Galli-Curci, Thou Brilliant Bird played the old tunes they all knew and Kreisler, The Old Eeirain.1 (Pearl of Bra2il). 1 the March issue. Elman, Minuett (Hayden).1 Flonzaley Quartet, Scherzo in loved, while the boys gathered round her McCormack, Venetian Song.... 1 A Minor. 1 and sang. Thus a sad Thanksgiving Day Martinelli, Open Thy Heart Flonzaley Quartet, Andante in CONDUCTED BY ELIZABETH A.GEST (Ser) .. 1 D Minor . 1 was changed to a happy one by Music. The Fishing Excursion Kreisler & Stg. Quartet, Elman Stg. Quartet, Andante Cantabile (Tschaikowsky) ... 1 Marjorie Warner (Age 15), Adagio (Bizet) . 1 By Lucretia M. Lawrence McCormack, Little Boy Blue.. 1 74574 Elman Stg. Quartet, Minuet Enjoy Your Practice McCormack, Cradle Song 1915 (Schubert) ...... 1 Princess Puretone and the Fairies Who Knows ? Bradford, Pa. (from Cap. Vennois). 1 74580 Flonzaley Quartet, Molly i You are taking music lessons, most of (Fill in the blanks with musical terms.) Mabel Garrison, Dixie. 1 the Shore . 1. What is a flageolet? Elman Stg. Quartet, Menuetto 74581 Heifetz, Perpetual Moti you, and practicing daily; and probably A THANKSGIVING STORY (Mozart) . 1 ganini) By Aurore La Croix 2. What is harmony? Over the fences and through the-(1) McCormack, Star Sp. Banner.. 1 74583 Heifetz,-, Oi— Wings of Song a good many of you think that you are (Prize Winner) One-(2) day Johnny sped, Alda, Rule Britannia. 1 (Mendelssohn) . 1 thus doing your duty. 3. What is a folk-song? 74588 Cortot, Waltz Etude for Piano It was the day before Thanksgiving To the -(3) of a hill by a rippling Alda, La Marseillaise. 1 But on the other hand, think of the 4. Who was Stephen Foster? McCormack and Werrenrath, (Saint-Saens) . 1 Perhaps some of you have heard Miss La Croix give a concert at some large 5. What is a polka? and Irene and Frederick were out in the —(4) Crucifix . 1 74590 Elman, Nocturne, D flat many, many children who cannot take de Gogorza, Thou Art Near Me (Chopin) ... 1 field trying to catch the turkey. They With his hook and-(5) he sped. lessons and who have no place to prac¬ hall in one. of our great cities. She is a wonderful pianist, hut she 6. How many strings has a guitar? Margaretta ... 1 74591 de Luca, Thou Flow’r Beloved 7. What is the Sistine choir? tried for over an hour, but could not McCormack, The Lord Is My (Favorita) . 1 tice. They would just love to change loves children dearly and likes to send these messages to them Light . 1 74593 Phila, Orchestra, Scheherazade 8. When was MacDowell born? catch it at all. There he would-(6) fora little-(7) Gluck, Darling Nellie Gray_1 (Rimsky) . 1 places with you, and would practice a 74594 9. What is the difference between “I have an idea,” said Irene, and she In a quiet, shady -(8), McCormack, The Rainbow of Galli-Curci, The One of Whom great deal better than you do if they had Princess Puretone had been paying Where many fishes with shiny-(9) Love . I Dreamed (Traviata). 1 “Alas!” cried Puretone, “they have a half step and a half tone? ran into the house to get her violin. 64741 McCormack, idS Me Away 74595 Braslau, Yohrzeit. (Radish).... 1 the chance. another visit to the fairies (Do you re¬ gone,! Are they not going to dance for 10. From what is this taken? “What do you want with a violin when Reflected the light in his face. 87017 Caruso, Woman Is Fickle (Rigo- So you must remember that it is a member the first time she went, in Sep¬ 64774 Martinelli, O Wake Me : letto) . you are catching turkeys,” asked Fred¬ 87107 privilege to take music lessons and tember’s, 1918, Etude?) and she was just (Werther) . , Whispering ( “Oh, yes, indeed!” replied the Fairy. erick in amazement. "Wait and see,” Seating himself on a large -(10) 64778 McCormack, Little Mother something for which you should be about to go home. 87502 I “They have gone to call their Sisterhood, said Irene, and she sat down and began stone, thankful, and resolve this year to do your “Oh, Puretone! Puretone!” cried the 64779 Alda^Laddieo’ Mine! the ‘Allemandes.’ ” to play a tone on her violin. He started to fish at leisure. practicing with this idea in your mind. Fairies, “don’t go away yet! We want And just then, in slow, dignified pro¬ The turkey looked at her in amazement Soon-(11) a dozen fish he caught, Do your very best and enjoy doing it, you to meet our dear little sisters, the THEO. PRESSER CO. cession, they came, with long, stately as the s >fi, clear tones rang out on the Which pleased him quite beyond-(12) and you’ll get twice the good out of it. dancers. Follow us !” they cried, and they THE HOME OF MUSIC movements. still air. Finally the bird came nearer led her deeper into the woods to one of Answers to Last Month’s “Oh, what-(13) sport I’m having,” he “How lovely!” cried Puretone, “and and nearer as if enchanted by the music, I Chestnut Street PHILADELPHIA God’s grfeat forest cathedrals of majes¬ thought, will there be more?” Questions and when only a few feet away Frederick Vidor, Brunswick and Cheney Talking Machines tic pines. Then Puretone heard the fair¬ “With my -(14) hook and wonder¬ “Oh, yes; here are the Courantes.” 1. A pipe organ is an instrument con¬ caught it. Learning to Play ies call to their sisters, a soft cry as of ful -(15); They came with happy, quick, decided sisting of a large number of pines The next day Frederick told how I’m learning how to play and'sing, the very breezes sighing—nature’s mu¬ ‘Til catch-(16) the number I have,” movements of a much different nature through which air is impelled bv Irene had helped to capture the turkey And pick out chords, and everything. sical^ breath. She thought she had heard said he, CALENDARS FOR MUSIC LOVERS from the Allemande, and always so lovely mechanical means. It is played from a and she was given an extra piece for a This note is C " it faintly before in those very woods. Which he did in a very short-(17). 10 CENTS EACH PER DOZ., SI.OO that Puretone wished it might never end. keyboard or manual. reward. And lo! As if by magic, there came The Sarabandes, with a very large These calendars are 11" x 14" in size and prove useful from out of the dark recesses of that en¬ 2. Compound time has three pulsations Anita Potzer (Age 14), band of fairies, came next, and they were is well a: :s for the studio or home chanted place, from the. banks of little for each beat in the measure. Answers to November Puzzle so grand and majestic that little Puretone Hebron, North Dakota. walls of a music lover. They are provided with a silk cord singing brooks, and from neat gently 3. The great staff at one time contained for hanging and the back foundation is an antique finished wondered at their magnificent beauties. eleven lines. 1. Score-e. whispering ferns, exquisite little creatures A THANKSGIVING STORY 2. Pitch-h. white heavy cover stock on which is tipped a linen finished There followed charming minuets, vi¬ 4. Christoph Gluck was an opera heavy paper of a pleasing blue-gray shade. This is died of joy and light. One by one into the 3. Staff-- a - -. vacious passepieds, delightful Gavottes, writer of the eighteenth century. (Prize Winner) out in the center, forming a panel for the musical subjects •center of the pine-carpeted area they 4. Tonic-- - c. and lastly, the jolliest kind of a Gigue. 5. Debussy was born in 1862. One Thanksgiving Day I was very used. A wide variety of musical subjects and portraits of came with graceful easy steps and say¬ 5. Brace— B-. Soon the little Fairies disappeared as 6. A clavichord was a predecessor of lonely, for my family had gone for a long composers may be had. Order early and avoid the dis¬ ing, We have come to dance our many magically as they had come. “Now we Beach. appointment that comes to every one who orders calendars dances to you!” the piano. walk. shall lead you back,” cried the Music at the “last minute.” ' First came the little Prelude dancers. earn Mascagni wrote Cavalleria Rusti- I was very tired so I laid down to wait Fairies. “Are they not lovely, our Sis¬ for their return, and fell asleep. I PRIZE WINNERS Theo. Presser Co. Philadelphia, Pa. Puretone heard a lovely little Bach pre¬ ters of the Dance?” lude which, for the first time, revealed its 8. Tutta forza means with all force. dreamed that I was walking through the Barbara Billerbeck (Age 11), Elsie “They are beautiful,” said Puretone, as charm and meaning to her. 9. A libretto is the book of an opera woods and I met a little lady and spoke Grosse Rhode (Age 13), Osmond, Neb.; she waved a happy farewell to her dear without the music. to her and she said, “Do you know a lit¬ Marguerite L. Stalker (Age 15), Bing¬ TINDALE MUSIC CABINETS “How lovely is the music!” she said to woodland friends. one of the Music Fairies. 10. Hark the Herald Angels Sing, by tle girl by the name of Mildred? I am hamton, N. Y. Your Music Is Torn! “Farewell,” waved the fairies. Just what you Mendelssohn. looking for her.” I asked her why, and It will Take One Minute to “Yes,” answered the fairy. “Our little And further and further away she went she said, “Because this little girl did not HONORABLE MENTION have been wanting Repair it by Using Now, don’t you see ur^5S\SOuls are fuI1 of beautiful music.” from her fairyland of musical delight, A chord ’twill be? With the end of the Prelude the little give thanks to God to-day for having Rosalind Hahn, Corrine Carter, Meri- Will keep your music fairies departed. hearing ever in the far distance the fair- Musical Game to Teach Added MuItum-in-Parvo Binding Tape That’s pretty good ies’ mystic music. learned her music so well, and I am teth Thomas, Burrus Williams, Mary S. in order, free from 5>jard roll of white linen or 10-yard For little me. Lines Below Bass Clef going to punish her. I am the Music Park, E. L. Amabel North, Ira Shirk, damage and where you roll of paper, 585 cents each, postpaid. Fairy.” Marjorie Fuggle, Katherine Byrd, Jennie can easily find it. Var¬ Transparent Adhesive Mending Tissue But when I learn to play a. tune I fell on my knees before her and van Dongen, Elizabeth Klinke. ;sUPBH 3lI ssn«33CJ ; USSOQ 3UO SIIJ£ By Laura Rountree Smith ious sizes, holding 200 10 cents per package I’ll play for you. It will be soon, begged her forgiveness. “Then you If your music dealer does not carry it, send to to 1200 pieces < Because I practice every day; Three children have banners or cards, must thank God,” she said. Oak or Mahogany. Theo. Presser Co., Philadelphia, Ps. And that is how we learn to’ play. one containing the letter c, one contain- Then she disappeared and I awoke and The Note-Folks mg the letter c, the other the letter a. gave thanks to God for my musical edu¬ Send for Catalog / they run in and out between the chil¬ cation. By Ernestine H. Porter TINDALE CABINET CO.. 8 Em I4th St.. New To* 624 Arch Street dren standing in a circle saying, Mildred Carlsen (Age 11), Letter Box I saw a fiddler tune his strings Three little added lines below, Center City, Minn. Dear Junior Etude; And out there leaped queer little things. ui/i? ,e 9ei’ have names y°u know. The note-folks whom he had set free TEACHING PIECES By MRS. A. M. VIRGIL I thought you might like to hear from Where shall we go? Where shall we go? Honorable Mention Ha! Ha httle added lines below. To find a home with you and me. ATTRACTIVE, INSTRUCTIVE—FINE FOR RECITALS Alabama, the cotton State. iMy sister ' j00Hi00g„ For Thanksgiving stories: Helen Queer little folks with queer long legs, ., ,e „first cb'ld to say, for example, 150 for GRADES 1 to 6, ON SELECTION. GRADED CATALOG. has been taking The Etude for four years Howard, Eleanor Hostetter, Lucile A little orphan group that begs, and I love to play the pieces in it very ls. on t*le added line below, Wright, Martha Prescott, Roberta Quial, changes places with the child who has A welcome where they may abide VIRGIL PIANO CONSERVATORY, 11 W. 68th St., NEW YORK much. I like the Junior page especially. Jennie Ziegler, Katherine Pohlman, And tell their secrets, and confide I love to play the piano find enjoy he banner and the game proceeds as Catherine Stouffer, Edith Mitchell, Viv¬ The message that they bring, else they taking music lessons. f(l notes> on added lines below the Base Clef. ian F. Sheals, Margaret Doran, Dorothy Must turn all sorrowful away Zaiski. Hkotiihhn I would like to hear from sotne Junior %e, Genoaffa Sibilia, Ada Johnson, and Etude friend. And wander homeless through the land Marjorie Ranev.___ Because we cannot understand. MUSIC PRINTERS and ENGRAVERS Your friend, There once was a man from Hong Kong So when the music plays let’s keep SEND FOR ITEMIZED PRICE LIST AND SAMPLES Anna Earle Crenshaw (age 12), TKis one Smiles because he had a Good Lei Who played on a very loud gong; Hello ! Our hearts wide open, where may creep Forest Home, Alabama. He made as much noise The note-folks, so that they may tell HAPPY NEW YEAR COLUMBIA AVE. AND RANDOLPH ST As seventeen boys The story that they know so well. And accompanied himself with a song. ETUDE when addressing our advertisers. Page 66 JANUARY 1920 TEE ETUDE fffg etude JANUARY 1920 Page 61 Piano Questions Answered Selected Studies for the Violin Grieg, Ed. First Peer Gynt Suite, By Josef Hofmann For the Second and Third rasv Arrangement of Polyphonic Studies for Keyboard Chart Celebrated Pieces Op. 40. V. • • • •’ We have acquired the publication of Position—Compiled and Edited the Pianoforte The keyboard chart which we have been Mathews. Standard; Graded Courses, this most important work by one of the By Chas. Levenson for the Pianoforte Not enough attention is given to poly¬ advertising for the past few months will ten grades; any one grade. leading pianists of our day. These ques¬ This is another book of selected studies In this new volume will be included phonic playing. We strive to attain facil¬ be continued on special offer during the ' Standard Brilliant Album (27 pieces). tions which Mr. Hofmann answers have by Mr. Levenson, which is intended to of the greatest masterpieces by the ity in every branch of pianoforte playing present month. The purpose of this chart appeared in the Ladies Home Journal, Bugbee, L. A. First Grade Studies, follow the book mentioned above. These Sc writers; all rearranged in a form except part-playing, which is one of the is two-fold. It can be used for silent covering a period of about two years. East. are not difficult studies, but they lie in the fringing them within the reach of the practice of the keyboard by placing the They are so valuable to every pianist that most valuable and far-reaching of any Sutor, Adele. Note Spelling Book. first place in the second position, and verage player. In the making of these branch of technic. There is nothing that chart on an ordinary table. It can also be Four-Hand Parlor Pieces. they are put into this prominent form, finally in the third position; all carefully arrangements no violence whatever is done and we are very much pleased to become requires more concentration and brains used for elementary work from the first Standard Vocalist. graded and arranged in progressive order to the original. All the original harmonies Standard Organist. the publisher of them. Mr. Hofmann more than counterpoint work. Polyphonic study lessons, when the chart will be placed back The studies are selected from practically are retained, but the pieces are brought un¬ of the keys, and gives the position of every Standard Violinist (32 pieces). than answers the simple questions. He all of the violin masters of any note. This is urged on every hand by the best mas¬ gives information that is extremely valu¬ der the hands of the players and all unneees- note on the staff. We are in hopes to book is a most admirable collection in all sary complications are omitted. The ar¬ ters, and we are inclined to do our little For TWO Subscriptions able to every pianist. Here are a few of respects. have this chart during the present month. the questions that have received attention rangers are all writers of note, including part in the publishing of a set of studies In the meantime we offer it at an ex¬ (Not Your Own) The special introductory price in ad¬ NEW WORKS. Fifty Selected Studies in the in this work: Moszkowski, Sartorio, and others. especially designed as an introduction to tremely low rate. Bon Bon Dish. vance of publication is 35 cents per copy Price 20 cents, postpaid, if ordered be¬ Silver Thimble. Advance of Publication Offers— First Position for the Violin The best physical exercise for the postpaid. tv> The special introductory price in ad¬ the study of Bach and counterpoint work. Special pianist. vance of publication is 40 cents per copy, The work will be sufficiently elementary fore publication. Gravy Ladle. January, 1920 nn" Compiled and Edited Berry Spoofi. The best way to improve sight reading. postpaid. for one to take up in the fourth grade. Advanced Study Pieces. By Chas. Levenson Can music be studied in America? Finger Gymnastics January Magazine Sugar Shell and Butter Knife Set. Easy Arrangements ot Celebrated Pieces By I. Philipp Our introductory price is 40 cents. ■White Celluloid Puff Box. Favorite Old-Time Tunes, V & P. . . This is one of the most useful books for Difference between Major and Minor Bargains the violin student that we have ever seen. Standard Elementary Album White Celliilpid Hgir Receiver. Fifty Violin Studies in First Position, We must again apologize for the non- Again and again we have warned our Chopin, F. Lighter Compositions for Levenson . It is a book which may be used to follow Do not injure the hand by stretching it. appearance of this work during the pres¬ for the Pianoforte Standard American Album Finger Gymnastics, Pbilipp. any instruction book or beginner’s method, How best to play the octaves. for the Pianoforte readers that magazine prices are increas¬ the Piano. First Studies for the Violin, Hoffman, ent month. The proofs have arrived from This is one of the latest albums now in ing every week. We have pointed out Compositions for the Pianoforte by Op. 25, Book One. and it contains a selection of the very How to hold the thumb. Paris, and corrected, but there is one preparation in our standard series of col¬ This is a book of teaching and recital Four Octave Keyboard Chart . . . best first-position studies collected from The importance of studying with the that The Etude found it necessary to in¬ Woman Composers. Introductory Polyphonic Studies. page (23) missing, and this will again lections printed from special large plates. pieces entirely* by American writers. It crease its subscription price on December Grieg, Ed. Album of Miscellaneous all the standard writers for the violin; right teacher. delay the appearance of the work a few Left Hand Studies, Sartorio . This book will contain an unusually large is not to be confounded with the book 1st to $2.00 a year, and that this increase Pieces. melodies Without Notes, Hudson.. fifty studies in all. It is so much easier to read flats than weeks. We hope to have it ready, how¬ Musical Theory and Writing Book. These studies have been selected, edited sharps. number of first and second grade pieces, recently published by us, entitled Album does not begin to provide revenue to bal¬ Masterpieces, the 21 best compositions. New Anthem Book. ever, positively during the present'month chiefly by contemporary writers. Every ance the ever-increasing cost of doing Mendelssohn. Songs Without Words. and arranged by Mr. Charles Levenson, Our special advance price before publi¬ The work is dedicated to the American of American Composers. The book now New Indian Song Collection, Lieurance. who is himself a violin teacher and writer cation will be $1.00. one of these pieces is a proven success, business. Wachs, Paul. Album of Transcriptions. Nursery Tales Retold, Four Hands. critic, Mr. James Huneker, a well-deserved under consideration is one of our series Wagner-Liszt. Album of Transcrip¬ Spaulding . of large experience. This book has been honor. and the book will be found to be one of We have just received word from the Part Songs for Men’s Voices. made up of special large plates, and it will following magazines, announcing increases tions. examined in the manuscript by a number Our special advanced price will be con¬ the best beginner’s books ever published. Piano Questions Answered by Josef of well-known violin teachers, who have Melodies Without Notes The pieces ire suitable alike for study, include a greater numher of teaching in price: All Outdoors, Boy’s Life, Chris¬ Beginner’s Method. Theo. Presser. By Mrs. H. B. Hudson tinued during the present month, which pieces than may be found in any similar Intended for the youngest beginners, and Selected Violin Studies, Second and 1 U° paid it the highest praise. is 50 cents, postpaid. recital or recreation. tian Herald, Country Life, Current Opin¬ Third Position, Levenson .35 The special introductory price in ad¬ Mrs. H. B. Hudson’s previous publica¬ The special introductory price in ad¬ volume. The composers are chiefly con¬ ion, Farm and Fireside, Little Folks, perfectly adapted to their needs. Standard American Album. .'50 dementi, M. Gradus ad Purnassum. Standard Elementary Album.30 vance of publication is 35 cents per copy, tion, A. B. C of Piano Music, has proven vance of publication is 80 cents per copy, temporary American writers, writers whose Magazine of Wall Street, Metropolitan, postpaid. Teaching Song Concone, J. Twenty-four Selected Teaching Song Album. 40 extremely successful. It embodies the idea postpaid. names are familiar to all, and whose works Normal Inspector, Physical Culture, Re¬ Twelve Melodious Studies for Acquiring of giving the very youngest beginners Album have proven popular. The pieces lie chiefly view of Reviews, Scribner’s, Short Story, Studies. (C. B. Cady.) Certainty, Sartorio . 25 something to play without compelling Four-Hand Miscellany. Twenty-five Melodies for Eye, Ear and “Oh, for a new song to teach!” This is Favorite Old-Time Tunes in the second and third grades. Outlet. Hand, Bilbro . .30 Musical Theory and them to read from music notation, capital the clamor of many, many voice teachers. How many more magazines will increase Two Pianists. (Briliant Pieces, Grade 4.) Twenty Progressive Studies, Greenwald. .35 Writing Book letters being used instead of the ordinary Artists’ songs there are a-plenty -songs for Violin and Piano Our special introductory price in ad¬ their price in the next few weeks it is Two Students. (Grade 4, Popular.) By Carl Venth notes. The new work, Melodies Without for recitals, songs for effect—but songs This new collection is about ready, but vance of publication is 50 cents per copy, impossible to calculate. Indian Songs. Monthly New Music postpaid. Sacred Duets. For all voices. “On Sale” This work is intended as an introduction Notes, may be regarded as a continuation that make good teaching materials and we are continuing the special introductory Make up your mind now whether or not of the first mentioned. It is a rather are interesting in the home are rare. The During the busiest months of the teach¬ to harmony. It is a writing book and a offer during the current month. All violin¬ you want reading matter for the coming For THREE Subscriptions text book combined. It is written by an larger book and the melodies are more vocal student also needs a great deal of ists like to play the old-time tunes, es¬ Twenty Progressive Studies year. If you decide that you do want it, ing season, from November to May, we varied, but only a trifle less easy. Bar Pin of old gold. experienced theorist, who has been a prac¬ excellent material of the right grade, and pecially the jigs, reels and other old dance for the Pianoforte then act now. Don’t wait until further in¬ send out to all of our patrons who desire Mrs. Hudson is an experienced and suc¬ tical teacher for over a quarter of a cen¬ cannot always afford to pay full sheet music, and all of these are called for fre¬ creases in price become effective. With Standard Dictionary. Size, iy2 in. thick, it a small bundle of either piano or vocal cessful teacher of beginners, and these By M. Greenwald 8 in. long, 6 in. wide. music. To teachers without large classes tury. The work abounds in theoretical music rates for it. This new collection has quently by both old and young. It is very the paper situation as it is, it is impos¬ information, but the main work, after all, books embody the results of her practical been selected not merely with a view to its This is a new and very desirable book sible to guarantee prices more than 30 Combination Scissors Set. these .packages, arriving once each month, work for many years. convenient to have so many of the familiar is writing. It begins with simple intervals pedagogical value. It is a fine collection numbers of this character all assembled of piano studies of about the same grade days. Fountain Pen. furnish sufficient material from .which to The special introductory price in ad¬ and of a style similar to those very popu¬ select. To others who have regular “on of the scales, both major and minor and of songs—fine in every way for its me- in one volume. The arrangements of these Picture Frame. (Non-tarnishable Plati¬ vance of publication is 35 cents per copy, dium grade. If you are a voice teacher or lar studies by Streabbog. This may be THE ETUDE. sale” packages, this small bundle of new chromatic, but the knowledge of intervals postpaid. numbers .ire particularly good. They are Pictorial Review .... ::$ 88-} $3.50 noid. Oval or Oblong.) music arriving at the regular intervals is is the all-important and the one on which a vocal student, it will pay you to get the well made and playable throughout. regarded as a second-grade book in point Cooke, J. F. Mastering the Scales. En¬ most stress is laid. With a thorough collection at the special advanced rate of of difficulty. Each of the studies is of a THE ETUDE . ables the teacher to start scale study with of the greatest interest and assistance. The spn i.d introductory price in ad¬ American Magazine .. 88 } $3.75 The packages can be stopped at any time knowledge of intervals, the rest of har¬ Part Songs for Men’s Voices 40 cents (postpaid), if only to look it over. vance of publication is 20 cents per copy, characteristic nature, having an appro¬ very young pupils and carry it on to the by sending us a postal card to that effect. mony falls naturally into place. The work By W. Berwald postpaid. priate title, and each one is devoted to THE ETUDE . .. $ } $3.10 highest degree of proficiency with ad¬ We should be glad to send them to any conducts you up to harmony exercises Melodious Studies for some particular point in elementary tech¬ Modern Priscilla .... vanced students. from a given base, and even harmonizing A new book of part songs for men’s one who will so order them. The actual voices is always welcome, in view of the Acquiring Certainty nic, such as velocity, broken chords, trip¬ THE ETUDE . Leschetizky Method. The Modern Pi¬ the melodies is touched upon. The work First Studies for the Violin American . description of the various classifications naany quartet parties, glee clubs, and lets, rhythm, scales, dexterity, crossed jo } $4.75 anist. (Prentner.) is one that is suitable for class teaching, By A. Sartorio, Op. 1107 Woman’s Home Compani Mathews. Standard Graded Course of follows: choruses needing material of this nature. in the First Position hands, wrist work, etc. (To one a ddres . 1. _A package of fifteen pieces of piano conservatories and schools. This work consists of study-pieces and Studies. (Any three grades.) In this new work by Mr. Berwald the studies, with special reference to skips, By R. Hoffman, Opus 25, Book 1 The special introductory price in ad¬ music once each month from November Our special introductory price for the majority of the pieces are original, but THE ETUDE . $ } $3.75 Phillip, I.’ Preparatory School of to May. work is 50 cents. aad where the melody is intertwined with This book is now nearly ready, but the vance of publication is 35 cents per copy, Woman’s Home Companion 88 Technic. Daily practice in technical es¬ there are also some new arrangements of the harmony. A most valuable exercise special introductory offer will be continued postpaid. 2. A package of eight piano pieces un¬ some successful pieces, which Mr. Berwald THE ETUDE . sentials. for every pianist. Certainty in hitting during the current month. This is one of McCall’s.. 88 } $2.50 der the same conditions. has made especially for this work. The Orem, P. W. Harmony Book for Be¬ 3. A package of fifteen songs under the What a Postal Request notes in skips and jumps is one that re- the standard books of violin studies used New Anthem Book ginners. • selections are both sacred and secular, by all teachers, and it is practically in¬ THE ETUDE .. ...5 same conditions. Will Bring You quires special attention, and this work is The huge success of our previous collec¬ Christian Herald . 88 } $3.75 Stories of Standard Piano Compositions. grave and gay; all are of intermediate dif¬ dispensable with elementary students. It 4. A package of eight songs under the An outlay of one penny and a few especially designed to overcome the hitting tions of anthems has inspired us to make E. B. Perry. ficulty, and every number is of real musi¬ of wrong notes and thus spoiling the is the book which is usually taken up after same conditions. moments with a pen will bring you that another. The selection was made by an Organ Repertoire. Pipe Organ Collec¬ cal merit and interest. This book will be beauty of the composition. The studies completing any of the first instructors. Spare Time 5. A small package of sacred octavo pleasure and satisfaction that is gained ready in a short time. able church organist who has had years of tion. are all about grade four or five. The special introductory price in ad¬ Rewards music four times during the year. through a knowledge of what is new and experience in drilling excellent church The special introductory price in ad¬ Our special advance price is but 25 vance of publication is 25 cents per copy, It only takes a little of your time to 6. A package of secular octavo music good in the world of music. It is rather vance of publication is 30 cents per copy choirs. Like much of the material that New Year’s four times during the year. cents, postpaid. postpaid. introduce The Etude to a stranger, yet playing “second fiddle” to let some “other postpaid. bears the Presser stamp, it has been “dug 7. A package of music for violin and for so doing you can have any of the fol¬ Renewal Offer fellow” always be the first in your circle out of the rock.” It is not a book which piano four times each year. or community to become acquainted with New Indian Song Collection— lowing splendid premiums, which we offer In order to make it worth while for our left-Hand Studies some musically inexperienced person has many readers to begin the New Year right, 8. A package of pipe organ music four new things and in order that you might Nursery Tales Retold Lieurance By A. Sartorio, Opus 1136 for new subscribers during the month of times each year. know these new things the Theodore (Four-Hand Pieces bungled together. Any organist or choir¬ January. Each new person interested in we are making the following unusual in¬ No wonder the Indian songs of Mr. It is the (d)ject of these studies to focus master will recognize at a glance the pos¬ ducements for sending in their renewals All of the above are charged at our Presser Company has gone to a great ex¬ Thurlow Lieurance are successful. They The Etude will be grateful to you for for the Pianoforte) th ‘ attention of the student upon the left sibilities and savings which this collection during the month of January. regular liberal professional discounts, to pense to prepare matter that will prop¬ are not fabricated. Mr. Lieurance's works putting them in touch with The Etude be used from, and those compositions not erly inform you of new music publica¬ By Geo. L. Spaulding hand entirely, in order that the left hand brings about. The anthems are melodic, service. Thus by using your spare time Add 20 cents to the regular subscription are real Indian music—his songs have the may develop in accordance with the de¬ price, making $2.20 ($2.45 in Canada, used to be returned at the -end of the tions. One can never tell how much it As this book is now ready for the press, color of the plains and the mountains and devotional and most of all practical for you not only do something for yourself teaching season, or at the teacher’s con¬ might mean to know that a certain work this will probably be the last month of the mands of modern piano technic. These the small choir. The advance of publica¬ but you do something for others as well. $2.92 foreign), and we will send yon vour the wigwams and the campfires. He risked studies are of intermediate grade and are venience. There is no method of obtain¬ has been issued or how well a new song, special introductory offer. It is one of the tion price is 20 cents, postpaid. Our new Premium Catalog is now ready. choice of any of the following albums, series of easy four-hand books written by ”'S, j *’me and a£a*n in his search for not difficult to read, but they will afford postpaid: ing music supplies which is so much ap¬ piano, violin or organ composition will melodic material, and now bears perma- If you have not received vour copy; write Mr Geo. L. Spaulding, with accompanying splendid practice in a department which preciated and which furnishes so much fill the need of some special occasion. nent bodily injuries as the result of one Twenty-Five Melodies for for it. Mathews’ Standard Graded Courses, ten real assistance than the above plan. Many These newly prepared circulars are text by Jessica Moore. The two pre¬ is frequently neglected. The following will be sent to you on the grades any one grade. vious books in this series, Just We Two of his trips, in which he was nearly frozen The special introductory price in ad¬ Eye, Ear and Hand Training thousands of our patrons take advantage neat, attractive and of a convenient fold¬ to death. The Indians came to trust him following terms: Celebrated Compositions by Famous of the above during every year. ing size and one could file them for future and You and I, have proven extremely vance of publication is 25 cents per copy, By Mathilde Bilbro Composers. successful. This new book should prove and love him, and this resulted in such postpaid. For ONE Subscription Special Advance reference. New matter will be issued charming things as By the Waters of We are continuing during the current Czerny-Liebling. Selected Studies. from time to time and will be sent those equally interesting and acceptable. The month the special introductory offer on (Not your own) Three books, either one. Czerny’s most Offers Withdrawn words and music are entirely new and Minnetonka (Moon Deer), Weeping who have signified a desire to obtain it Waters, Rue, and other dramatic and ro¬ Advanced Study Pieces this excellent preliminary work. These Paperoid Wallet. Large enough to carry necessary studies selected and arranged. David Bispham’s Album of Songs is the by requesting those now ready. original, but the idea is adopted of mod- sheet-music. Mason, Dr. Wm. Touch and Technic. only work which has appeared from the mantic songs. This new collection will for the Pianoforte twenty-five melodies are in reality studies Send immediately a postal addressed to taksiDS S°me °f the °ld familiar nursery contain a group of the best songs of this of a special nature, each being devoted to Hanger Sets. Something new. Col¬ Part 1, The Two-Finger Exercise. Part press during the current month. This This new volume should prove very 2, The Scales. Part 3, The Arpeggios. Theodore Presser Company, Publicity De¬ composer—songs that are not too difficult some particular point in connection with lapsible coat and skirt hangers. Come fine, new vocal album has now been de¬ The special introductory price in ad- Popular with students of the fourth, fifth Part 4, The- School of Octaves. Any one partment, 1712 Chestnut Street, Philadel¬ and yet sound effective. The advance of eye, ear or hand training. Particular at¬ fitted in leather case. Can be folded to fit livered to all the advance subscribers. It and sixth grades, including as it does a hand bag. part. phia, Pa., and state that you desire to postpaid publication is 30 cents Per copy, publication price for this Work is 50 cents, collection of pieces which are of real tention is given to the matter of sight- should be in the hands of every teacher, receive the latest circular matter covering postpaid. # Lingerie Sets. Presser, Theo. Student’s Book. (School every singer, and every student. Mr. technical value in addition to their musi¬ reading and the consideration of the leger Celluloid Picture Frames. of Pianoforte, Vol. 2.) Intended to fol¬ material in the branch of music in which cal merit; pieces which tend to exemplify Bispham has spent many hours of care¬ you are interested. Practically all of these lines. This book tends to develop true New Five-piece Manicure Sets. low Mr. Presser’s Beginner’s Book. ful work in selecting and annotating the some important point in modern piano musicianship in the early intermediate Engleman, H. Twenty-four Pieces for Concert Duets. Twenty-four pieces; circulars show, by means of thematics, the technic. Such pieces as these prove equally forty-four songs which have been brought actual merits and melodies of the new It is Time to Plan Your Easter Music grades. Small Hands. Album of Easy Pieces; 26 150 pages; classical and popular, medium together in this volume. The marked price useful for study or rpcital purposes. The special introductory price in ad¬ most popular teaching pieces. Album of difficulty. is $2.00. and attractive compositions exploited (See Page 57) thereon. The special introductory price in ad¬ vance of publication is 30 cents per copy, Favorite Pieces. His best drawing-room Standard Song Treasury; (48 srfeeted vance of publication is 35 cents per copy, pieces, including Melody of Love. songs). Postpaid postpaid. fJlE ETUDE JANUARY 1920 Page 69 Page GS JANUARY 1920 THE Ultra-Modern Music Expressive of Modern Psychology

of Improved Music Study By C. H. T. and DUNNING SYSTEM for Beginners Schools Colle^cs< This age might be well symbolized by Has over 2000 Teachers-Clasae* Larger Every Tear - Teachers Earning $2500, $3000 $4000 and various prophets of modernism. It is dis¬ NEW YORK AND NEW ENGLAND $5000 a Year with the Dunning Work Alone—Why Is This ? New Sheet Music Publications an optical toy called the kaleidoscope. orderly music, illogical, unreasonable, Those of us who have seen one, will re¬ Because its standard has never been equaled or such phenomenal rei with a wealth of exotic harmony whose member the hollow tube—hexagonal—in subtle chromatics are like soft, siren whose end were imprisoned little bits of MRS. CARRE LOUISE DUNNING NORMAL CLASS FOR TEACHERS, 8 W. 40th St., New York City Any of These Numbers Gladly Sent for Ex¬ fingers stroking one into forgetfulness. IRGIL PIANO CONSERVATORY colored glass, loosely placed between V amination According to the "On Sale" Terms The writers of the wonderful orchestra¬ Normal Classes, Los Angeles, Calif., Dec. 29th, 1919. two hexagonal plates of clear glass, so (29th Season) When ordering give only Catalog Number and state Presser Publication tion have brought to bear all the mechan¬ "^Pik^Grove A?enCeMChP

Twenty-one broken strings twisted in ance, it will be because the cloth over the DETROIT \ f PVETROIT INSTITUTE and out of the action, hammer felts worn regulating screws at the inside end of [j off so that .wood the strings, the key, or the skin on the lower side of OF MUSICAL the hammer butt, is worn. Regulating II CONSERVATORY of gg? 1 U ART damper felts nothing less than moth beds, “Strongest Faculty in the Middle West" or new material is then required. the rust so thick on the strings as almost GUY BEVIER WILLIAMS, President If the hammers “plop” on the strings, to make them appear as a sheet of rusty MUSIC» I A School which offers every advan- the key-bed felt washers may have “gone Offers courses in Piano, Voice,VioIin,Organ, 11 iron, keys which would rattle like dice in home” with the moths or the mice. Theory. Public School Music and Drawing. I tage incidental to a broad 1 1 a box, the remaining strings from a quar¬ Again, other portions of the action felts Oral Interpretation, etc. Work based on (8 musical education. best modern arid educational principles. ||iI I ter to a whole tone flat, enough dirt and may be worn. Numerous Lectures, Concerts and Recitals If Fifty artist teachers. Highest standards. throughout the year. 1 dust inside the piano to excuse the dust¬ If the hammers “slap” on the strings, Branch Studios. Excellent Dormitory Ac* If man if he wanted to take the piano in commodations. Teachers' certificates, dip- 18 the centers will be found to be loose, and mistake'for the dustbin, not a bit of felt H. B. MANVILLE, Business Manager you would find out that there is a very- or skin on many of the vital portions of free sideward movement of the hammer 1117-1119 Woodward Avenue, DETROIT, MICHIGAN the action—wood clicking against wood, at the butt. rusty, weak, broken, and missing springs, Sometimes the tone becomes “hard” Minneapolis School Music, numerous flies in the spiders’ parlors, or “twaugy,” then the hammer felts need 1 of and—“The master says as how he hopes ORATORY AND DRAMATIC ART (1) toning, (2) refacing and toning, or WILLIAM H. PONTIUS CHARLES M. HOLT that you will make a good job of it this (3) if cut deep by much use, new felt I Director, Dept, of Music Director, Dramatic Art morning, as the piano is wanted this is required. This can easily be seen 60-62 Eleventh St., So. MINNEAPOLIS, MINN. evening!” LARGEST SCHOOL OF ITS KIND IN THE WEST when the tuner removes the action. I f ALL BRANCHES OF MUSIC AND DRAMATIC ART There is absolutely no exaggeration in you see canal-like cuts running down the ^->1 I 60 Artist Teachers Year Book Free on Request thus describing the condition of a piano noses of the hammers you must think of which I recently examined. This was, at having them, seen to. I have met many the least, a seventy hours’ job, and yet people dissatisfied with a tuner's work }SF. OF MUSIC STUDY the piano was played upon every day when really the hammer felt wanted BURROWES COUI whilst in that condition! attention. The ragged noses interfere Care of a piano, yes, it was wanted Kindergarten and Primary —Correi spondence or Personal Instruction with the vibrating strings, therefore the here. A thoroughly good instrument, sound waves are ragged. Happy Pupils—Satisfied Par.nls-Prosp.rous Toad Classes doubled by use of ibis method most shamefully used, or rather misused. Enthusiastic letters from teachers of the Course, lers. are All pianos are built to stand a specific KATHARINE BURROWES If you wish your piano to have an affinity strain between tuning pins and hitch pins, Dept. D. 246 HIGHLAND AVE., H. P., DETROIT, MICH. with you, you must care for it. Why and this strain determines the pitch at stifle it with those photo-frames, Japa¬ which the piano will give its best tone. A nese idols, cups and saucers, and large raising of the pitch tends to make the flower pots with “aspis” in on the top. tone shrill, and if a piano is allowed to Clear everything off, then when the air get much below its original pitch it loses MacPhail School of Music is dry, winter or summer, or when you its sonority, and the tone becomes dull have a fire or the gas alight, you might 806 Nicollet Ave., Minneapolis, Minn. and lifeless, especially the lower octaves. think to open the top to let the air pass PUBLIC SCHOOL MUSIC—THADDEUS P. GIDDINGS, Teacher If the piano will not stand in tune, the right through the piano. Keep a piano Complete Courses in Piano, Voice, Violin, Organ. Teachers’ Certificates, Diplomas. Dormitory for Ladies. fault is at the wrest- (or tuning-) pins. Summer Session Commences June 21st. Students May Enter Now. Catalog Free. from damp draughts. Stay in the room Perhaps the holes in the plank have be¬ for a little while whilst the tuner is there come too large to hold the pins tight. (he should be a regular caller twice, Perhaps the plank is of unseasoned thrice, or four times a year), and when wood, that is, not dried sufficiently, in he comes, watch him, and be sure to VALPARAISO UNIVERSITY 23==! which case it will be an endless bother. The University School of Music offers courts in Piano, Voice, Violin, Organ, Theory and Public School Music notice the “Action” of the piano. As for the pins, it is nearly always possi¬ tu ents may atten EXPENSES'' ArV'tHe' LOWEST* Um'"r!lty- t^ “ ble for the tuner either to “set” them, or Tuition *36.00 per quarter of twelve weeks. Board, with Furnished Room, *60.00 per quarter. Defects—Their Signs and Their Remedies Catalogue will be mailed free. Address Registar. to insert new ones of a larger size. 46TH YEAR—STUDENTS ACCEPTED AT ANY TIME. Much dust might disclose the fact that felts and skins are wearing. Ask the Sometimes the coils of the si rings tuner to dust the action. If reddish spots round the tuning pins become separated, remain on the small wood sections, then and perhaps the bottom one presses on there is dampness. Ask him to rub the the plank against the lower edge of the strings as a test for damp, though very hole, thus causing an outward spring of often til's is quite obvious, as the rust the wire. The coils must be lifted, and will settle on the tuning pins. brought close together, then the pins set. . If hammers stick over, or will not re¬ peat easily, it may be a sign of a tightness Tuner and Teacher at the hammer butts, at one or other of Let the tuner know that you look upon the flange centers, or of worn-out him as a physician and surgeon. There springs. are divisions as in the medical • faculty. If the keys stick down, it will no doubt There are (1) tuners, (2) repairers, and be due to the damp having caused the key- (3) tuners and repairers. wood or the key-bushing to swell, and If a tuner suggests a repair, do not easing is required. When the felts and think that he is asking you for money. the skins, which are on the different He may be a real live piano mechanic, lie Music Masters sections, wear, there is sure to be an ef¬ may be a musician, he at least knows fect on the “Touch.” that if your piano is in imperfect con¬ If there is a rumble as if the “Damper” dition a satisfactory interpretation of any Old and New! (or right hand) pedal is continuouslv work is impossible. down, then perhaps the pedal has been ill- A player and a teacher should under¬ By JAMES FRANCIS COOKE used and the springs have lost strength, stand Tunc, Tone and Touch, but it is or the damper felts are ineffective, owing really to their ignorance of the last A Series of Educational Biographies of Great Musicians from Bach and Handel to the Present Time to mice, moths, or long resting on the named that most piano ills are due. strings. The damper wires can be regu¬ It is a teacher’s bounden duty to un¬ 'T’HIS collection of unique biographies is one that will be read with de- lated, new springs can be fitted, or per¬ derstand the mechanism of an instru¬ J. light by all. The romances of music, the interesting bits, the human nature, the charm of music itself are all included in the most fascinating haps it will be possible to ease up the ment, and therefore the care of it. I manner. Best of all, the work takes in composers about whom very little felt of the dampers. It may be best to suggest that teachers should become pos¬ is published in current works in America and about whom all active have new felt fitted. sessors of a model action, that is, one musicians want to know. All together there are one hundred and eighty- A side-to-side wobble and rattle of the section complete from key to string, and one substantial listings in the index. keys indicates key wear at the holes just This Work Has Been Prepared for Individual Reading and Self under the finger-touching position. This should deliberately rub away the skins Study as well as for Use in Clubs and History Classes may be remedied by a change from round and the felts, particularly noting the ef¬ pins to cricket bat shaped ones, the holes fect on the touch of each shade of wear PRICE, $1.25 rebushed, or if bat-pins are already in, and tear. How can 'you expect to have then they can be regulated accordingly. an affinity with the piano if you allow its THEODORE PRESSER COMPANY :: PHILADELPHIA, PA. Tf you arc ahle to depress the keys body to decay?—From the Music Stu- some distance before you feel any resist¬ Please mention THE ETUDE when addressing our advertisers.