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

10-1-1921 Volume 39, Number 10 (October 1921) James Francis Cooke

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Recommended Citation Cooke, James Francis. "Volume 39, Number 10 (October 1921)." , (1921). https://digitalcommons.gardner-webb.edu/etude/684

This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. -ANNUAL SUBSCRIPTION, $2.0»- THE ETUDE OCTOBER, 1921 Single Copies 25 Cents VOL. XXXIX, No. 10

The Friends of Moszkowski long as you think success should not be scorned. Success Have you ever seen a beautiful tree standing in a verdant in music is in a large measure the ambition to realize a worthy meadow? Have you ever seen that tree a day or so later with ideal, plus the faculty of working one’s soul away to get it, the leaves burnt brown by a bolt of electricity shot from the never getting it but always having a glorious time at the job. heart of a thunder storm ? The worst kind of failure is the failure after a great suc¬ The great war (which passed by like a hurricane) shot cess. Never was the Grand Canyon so abysmal as such a drop. many te. rible bolts. One of these hit Moritz Moszkowski. The case that Mr. Finck describes of a violinist who was a First the investments of a life-time were shattered; then ill huge success, only to return after many years to. find that the health cai. ?d by worry (at the age of sixty-five) has made audiences that formerly attended his concerts were repre¬ him practically helpless; and finally he has become so seriously sented by a mere handful of people, is not an unusual one. ill that his friends have given up all hope for a permanent On the stage it is even more frequent. The writer once dragged recovery. the famous Mme .Jannuschek—greatest tragedienne of her Moszkowski, invalided, feeble, penniless! Moskowski who time and the favorite of kings—dragged her in her old age has enriched music with many of its rarest jewels! from the gutter, after she had indulged in a spree which lasted Moszkowski’s piano works have proven the most fascinat¬ several days and made her the target for street hoodlums. ing of high class contributions to the literature of the instru¬ “Oh, what a fall was there, my countrymen/” ment, of his time. He combines the facility for pianistic idiom, No one knows until death draws the arras whether one’s fwhich Chopin felt so keenly, and the romantic freedom of Schu¬ life must be judged a success or a failure. In this is the great¬ mann wjth a touch of modernism altogether delightful. est hope of human existence. You may not be a musical success You, who are reading this editorial have played Moszkow¬ to-day but if you marshal your forces, intensify your energies, ski’s works many times without doubt. Is it too much to ask raise your ideals, help your fellowman, and work without that you lay a little tribute now before his genius, to help faltering, to-morrow may usher you through the triumphal gladden his days while he is still w’ith us? arch. _'_ Why weep .pathetic tears over the world’s treatment of Huneker’s Masterpiece Mozart, Schubert, and others who brought beauty infinite and happiness to life and w'ho drank the dregs on their death beds, James Huneker, one time editor of The Etude, critic, while Moszkowski living needs a little of your plenty? Tri¬ essayist, and teacher, was so vivified by rare intellectual vital¬ butes to this great genius will gladly be forw'arded. Send ity, that he gave to his works that touch which makes for stamps, currency, checks (make them out to The Etude),— immortality. anything that your spirit of liberality and your appreciation His literary, musical, artistic, and dramatic mirrors of the beautiful art of Moszkowski suggests. It will all do good highly burnished and flashing with his unforgetable wit, did and will all be appreciated. far more than catch a fleeting reflection of the moment. Time is fleeting, soon it may be too late. We are sure our In a recent issue of the Century Monthly, the younger splendid Etude friends will (ie glad to know' that they may have iconoclast H. L, Mencken writes in an article entitled .James the opportunity of helping. Hlinekcr: “If I had to choose one Huneker book and give up all others, I’d choose Old Fogy instantly.” The Eternal Secret of Success The famous Old Fogy papers, now published in book form, first appeared in The Etude two decades ago. Huneker was There is a friend of The Etude who has long insisted that very anxious to preserve the secret of his nom de plume during one of the chief things in the game of success is to avoid doing his life time, but he did consent to have his name appear as the the wrong thing. “What you keep out of is just as important editor of the book. as what you get into.” In this issue of The Etude you will For years the authorship of Old Fogy was kept a deep find a useful and sensible article by the distinguished critic mystery. Like Irving’s Knickerbocker, Huncker’s Old Fogy Henry T. Finck, entitled “Ten Musical Failures and Why w’as a very thin veil for those who were acquainted with his they Failed.” Sometimes one can learn just as much by study¬ inimitable style. ing the musical failures of others as by studying musical Although their chief interest is to the pianist and to the successes. piano student, they have been read by thousands of music Success is such an evasive quality. Some one has. said lovers with keenest delight. Any one who desires to play that it is an attitude of mind. Certainly what constitutes musi¬ with more interest, taste and skill can read Old Fogy with cal success is largely a mental aspect. Thu man who is profit. happy in playing traps in a cheap vaudeville theatre is quite Huneker died a man of large wealth,—in friends and ad¬ H as successful in his own mind as the melancholy virtuoso who mirers. Of wordly goods he had kept little for himself, dreads every appearance. although his earnings were considerable. Reisenauer at one time was regarded as one of the most Who will explain that personal charm that brought successful virtuosos of Europe. He once told the editor that throngs to his funeral service in the midst of New York’s busi¬ he detested every concert, that he had been a slave to music, est season? Was ever before such a tribute of admiration for and that the incessant grind of concertizing bored him to genius paid to a critic? Colleagues, artists, scientists, poets, death. Notwithstanding his giant technic and his wonderful dramatics, musicians,, politicians, merchants, bankcrs^anitoi's, advantages, it is not surprising that a man with such a vision newsboys, and millionaires were all there to say\ a Irt*’ , word for should die a miserable death attended by the ogres of com¬ “Jim.” The new “Town Hall” of America’s metropolis was plete failure. crowded to *he doors. That told what Huneker meant to the The somewhat trite doctrine that Success is with you as men and women of his time.

t OCTOBER 1921 Page 6S1 THE ETUDE

horn were not in harmony and a tonoscope determined that Good Steel and Honest Work the oboe was playing flat; a singer who has an undersirablc Just now thousands of piano teachers report that nearly fluctuation in her voice detached it and was able to eliminate ✓every day or so they encounter a pupil who makes this pro- it; another who had a tendency to flat, corrected her error, and a group of six players observed that much greater pro¬ “I am very anxious to learn to play—but I don’t want to gress was made when practicing with the instrument. learn to play anything but Jazz." We forsee at once, one of the greatest uses for the instru¬ Gorgeous youth, tlii1 “kitten age,” when the days are ment will be to convince many choir singers we have known, filled with play, has very little in it to suggest serious study. that the time for retirement has come. It may also serve to re Yet the,boys anti girls who cannot see beyond “jazz” should tire some piano tuners and some violinists, who never manage I be seriously lectured by some worthy who realizes that any to live very long in the neighborhood of the key. musical training that is not built right is not worth anything On the other hand we have known countless singers and at all. If you must have “Jazz” for dancing why not let the players who could hit the heart of a high A as surely as a U. S. professional jazzologist supply it on the talking machine or gunner’s mate could hit a target a mile at sea, but the effect via the player piano? Why waste your precious springtime was quite as destructive. Pitch, good intonation, is mighty hours trying to do something which is often accomplished far important, but some of the finest musicians we have met have better in the end by some machine or by some rhythmic per¬ not been absolutely true in pitch. The Editor knows of a cussionist with not half your intellectual and musical capacity? well known composer who could not sing or hum his own com¬ When Henry Disston, eighty-one years ago, founded the positions “on the key.” The tonoscope may prove accuracy 'cdjURuccio BusciNpfcj famous Saw Works in Philadelphia, he went into a hardware in pitch, but we doubt very much it will prove that people who store disguised as an ordinary workman and asked to be shown can sing upon the key must in consequence become- musicians. a saw. He looked it over, hit it on the counter, and the saw broke in a hundred pieces. Then he pulled out one of his own Glimpses of Genius saws and asked the merchant to hit it in any way he chose. Countng Time _ An Interview Secured Expressly for The Etuje, xSf EDVARP OR1EO ~J)y Nothing could break the Disston saw and the young man got When Johan Nepomuk Maelzel stole the idea of the metro¬ ^(TrichaRD StkAVSsJ-^ with the distinguished Pianist-Composer a large order. When asked what he put in his saws which gave nome from the Dutch mechanic Winkel in 1816, Beethoven was PERCY GRAINGER them the secret process making them almost indestructible, still attempting to make Maelzel come to terms in the matter Hop to the neighboring city of Bergen, the conductors “The range of musical genius is so wide that it fact all the folk melodies of the countries mainly popu¬ he replied: “Nothing but Good Steel and Honest Work.” of the more or less clap-trap Battle of Vittoria, which the great were required to tear off the ticket in person. The ticket would be the height of absurdity to try to compass it lated by peoples of Nordic race (such as Great Britain, The result is that there now stands as a monument to this the great master had been induced to write for Maelzels Pan- was supposed to be void if the passenger tore it off. To with a few words. But some light perhaps may be Scandinavia, the United States), are of intense interest, policy a plant covering 63 acres and employing 3600 men harmonic on. The Panharmonicon, was the great granddaddy having reached the highest known degree of indi¬ show his contempt for what he regarded as _ an absurd gained by a few reflections upon some of the great regulation, Grieg, with his characteristic impishness, al¬ the greatest manufactory of its kind in the world. of the modern automatic organ. Maelzel’s father was an organ* minds in music with whom I have had the privilege of vidualization and freedom.- Grieg knew and felt this very keenly. Indeed it was his controlling passion in ways waited until the conductor came in view and then The first thing that music students should understand is builder but it seems that the son must also have been a musi¬ coming in contact. Instantly, Grieg suggests himself, music. Yet the full immensity of his achievments in deliberately tore off the coupon under the conductor’s that it is worthless to do anything at all unless it is going to cian, for there are records of his having spent some time not merely because of my personal acquaintance with the this connection are not appreciated by the average nose, be done in the very finest manner possible. Jazz is always a master but also because of my entire sympathy with his teaching music. musician, even in Norway- Only musicians of the widest The Art of Breaking Rules little-understood ideals. Grieg seems to me to be pre-em¬ waste of time—unless you propose to make yourself a member Maelzel probably met Beethoven first through his manu¬ cosmopolitan Culture, of the most refined critical sense, inently a master of the art of condensation. Grieg’s “Grieg’s independence in this and a thousand other of Saxophone, Traps, and Company, and earn your living are able to fully sound the- depths of erudition and facture of ear trumpets. Some of these Maelzel trumpets may genius lies largely in his power to say so much with so instances was typically Norwegian. But while the Nor¬ subtlety that lie hidden behind the apparent simplicity playing for dances. It has no musical standing whatever still be seen in the Beethoven museum. After the famous law¬ little. The average person, in discussing music, seems wegians, and in fact all Scandinavians, are extremely of much of Grieg’s music. If you devote any time to music study remember the story suit, Beethoven was so enraged that he did everything possible to have the idea that the greatest musicians were those stubborn, daring and manly when occasion demands, yet “Herman Sandby, whom I regard as the greatest of of Henry Disston and his secret, “Good Steel and Honest who wrote in the largest forms; that is, the forms they are the fartherest of all peoples from being fool¬ to break up the business enterprises of Maelzel. However, all living Scandinavian composers, and who was my requiring the most time and the most people to perform hardy, quarrelsome and reckless. They are brave, but Work.” Good Music and Honest Practice and nothing else the great master realized that the principle of the Metronome fellow-student in Germany, knew Grieg and once sent them. To such people a cyclorama would be finer than they seldom take a needless chance. No amount of is the secret of musical success. him some of my choruses unknown to me. Grieg was was a valuable one, and he was among the first to adopt it for one of the exquisite little etchings of Rembrandt. money would induce a Danish coast-guardsman (Life marking his own compositions. Incidentally he was very evidently pleased, for he responded by sending me an boat captain) that I know, to take his boat out in a sea autographed portrait. Later, in 1906, when he was a careless about some of the markings—if the editions that have Grieg a Master of Condensation that he thought unsafe; but if he saw that life was to guest of Lady Speyer in London, his hostess asked him be saved thereby he would venture out without thought Can You Keep the Pitch? come down to us are authentic. In literature no one ever thinks of saying that a man is if he wanted to meet any of the musicians then in the of his own self-interests. They enjoy breaking rules Very few people, if we are to believe the reports coming an inferior artist because he writes poems and does not The first importance of the Metronome is to set the tempo great Metropolis. Grieg surprised her by sending for which they think are needless, yet are observant enough write lengthy dramas. Indeed, one poem like the from psychological laboratories, manage to “keep the pitch.” for new compositions. Its next value is to help students pro¬ one of the youngest and I had the honor of meeting of those of whose real necessity they are personally “Elegy” of Gray can win immortality for the author. In Once, in a while, a Caruso or a Galli-Curci comes along who him for the first time in this way. This was the begin¬ convinced. Scandinavia is personal, individualistic in gress by what might be termed repression. We seem to have music the public seems to regard, a priori, the composer hits the pitch so remarkably that the human ear experiences ning of a friendship which deepened every day until his all things and on that account is not always properly a natural instinct to race ahead. The metronome holds us of symphonies, operas or oratorios as a greater master death in the following year. understood by races that lead a more slavish and namby- the vibrations as vibrations entirely apart from hearing them. back to the slower tempos which, if regularly advanced, afford than a genius like Chopin, for instance, whose- works pamby national life; which reminds me of those scinti- At the Eastman School of Music connected with the Uni¬ a means of practice far more economical in the end than un¬ for the orchestra are virtually limited to the orchestral Grieg’s Love of Freedom lating lines of George Bernard Shaw, ‘Disobedience, versity of Rochester, the newly installed head of the Depart¬ accompaniments to the two concertos. Yet in Chopin controlled practice. If overdone it might make the playing “At this time (1906—1907) Grieg was very tired and the rarest and noblest of the virtues, is often mistaken and in Grieg we find a kind of artistic condensation of ment of Psychology, Dr. Hazel M. Stanton, formerly assistant mechanical but there is so little danger of this. very weak; but he instantly became animated when we for negligence, the commonest and meanest of the vices.’ thought, means and materials which is often entirely to Dr. C. E. Seashore of the University of Iowa, has insisted discussed the subject of folk music in which we were “The manner in which Grieg’s genius led him to give Our experience has shown us that at the very start it is wanting in the interminably lengthy works of some of both so greatly interested. The same spirit of indepen¬ upon the installation of a tonoscope. The tonoscope is a large best not to use the metronome. The teacher task at that time the writers of the so-called larger forms. This does not attention to details may be indicated by the following dence, the battle with man-made, artificial conventions, anecdote. I explained to him in our conversations in and expensive apparatus to determine whether the individual or is to build up a sense of time, beat, and accent. The usual mean that composers of the larger forms do not at times soon became evident. His love for Freedom and Inde¬ Norwegian (Grieg spoke English and German, but pre¬ the instrument is accurate in pitch. Here is a description of it: employ great condensation of means. In Wagner and blunder of the student is to count faithfully, but make the pendence was perhaps one of the finest characteristics of ferred to speak in his native tongue) that many of the Debussy can be found numberless splendid examples of “The tonoscope consists of a revolving cylinder covered counting follow the playing instead of the playing following his genius. He detested useless regulation and restraining translations of his songs were very inferior. He accepted with aluminum in which are rows of holes ranging from 110 to condensation. influences. Here is one amusing instance of this trait. the counting. It often takes at least a year to establish the “In music, as in all the arts, it is desirable that every¬ my services in trying to better these translations. He 219 in a line. The surface is lighted by a .mail flame which On the little railway which ran from Grieg’s home at time sense with some children. It is a fine thing to explain the thing should be pruned down until only the necessary re¬ would often spend one or two hours of intense thought fluctuates according to the number of vibrations in the sound metronome to a child and then tell the child that the tongue mains. Grieg was never led astray from what he wanted over the proper meaning and significance of just a few (EDITOR’S NOTE: Percy Aldridge Grainger, whose words. Indeed his concentration and persistance were leaves produced by the voice of the singer or the instrument. is to beat with the regularity of a metronome. to say. He turned his attention early in life to the compositions and pianoforte playing have won him inter¬ national recognition as a genius, discusses for the readers such that they would wear out the average person. His When the number of vibrations in the sound waves corresponds study and adaptation of the Norwegian Folk Tunes- of The Etude the characteristics of some of the great musi¬ application to detail was limitless. Nothing was too to the number of holes in any line, the fluctuations of the light, These settings of his native folk music (wherein his cians he has known. Born at Brighton. Australia, he was harmonic originality and unfailing taste and sense of first trained by his mother, then Louis Pabst of Melbourne, small to merit his closest attention. reacting to those vibrations, cause that line to appear to stand “Step on the Gas” then six years with the great Dutch piano teacher J. Kwast proportion can fully rank alongside the workmanship of Frankfort, later, a short time with Busoni. He made his “To Grieg, the artistic end took precedence over every¬ still, and, each line being numbered, it is immediately apparent Slang is coined so rapidly in America that we can hardly professional debut at London in 1900, when he was seven¬ thing else- Once in Bergen a great festival of Norwe¬ of Bach in the later’s Chorale-preludes) have always teen, commencing a long series of ovations which have what pitch is sung. If the pitch is not absolutely true, some of keep pace with these attempts to overstep the common places had a immense fascination for file, particularly the opus attended his performances in England, Scandinavia. gian music was planned. Grieg was given charge of the holes will appear to move either upward or downward on the of language with colloquial phrases. One of the most used of 30 for male voices and the opus 66 and op. 72 (‘Slaat- Holland. New Zealand, Australia, South Africa and the the event and immediately got himself in hot water by United States. As a composer he is largely self-taught. His making arrangements to bring over the famous Concert- cylinder acording to whether the tone sung is lower or higher all is the recent “Step on The Gas” imported from automobil- ter’) for piano. These ‘Slaatter’ are, as it were, the early inclinations were toward the polyphony of Bach, but Norwegian equivalent for the ‘Turkey in the Straw1 later he became greatly enamoured of folksong and primitive geboow Orchestra from Holland with Mengelberg as Ml than it should be. Many surprises are experienced by those dom. This is the time of the year when all interested in music music in general, making extensive investigations of all type of tune and are very jolly. There is a fascination . manner of folk and aboriginal songs, collecting some five conductor. Many of the musicians of Norway took the who practice with a tonoscope, as very few sing even the simp¬ should “Step on The Gas.” A good rate of speed, increased hundred phonographic records of tones from many different time-old attitude that, since the Festival was Norwegian about the study of such things which is almost intoxicat¬ peoples. The combination of these two influences (of Bach les air injtrue pitch; the ear becomes accustomed to tolerate power right now, will mean more than at any other time in ing. One can find so much in them. It is like the man and of folkmusic) are chiefly accountable 1„. in spirit and character, ar^alien orchestra was not wel¬ Si yle.’ great licemPin the matter of fidelity to pitch. the year. This is the time to take down the “Office Hours” who takes up the study of flints for instance The aver¬ salient characteristics of Grainger’s creative come. Grieg’s patriotism, on the other hand, took the While he has employed many traditional melodies in stand that only the very best existing orchestra was A tonoscope may be used to settle any question of a dis¬ sign and work from morning to night to speed up the new age man may walk over a whole field of interesting compositions, many of his own tunes, altogether original flints without their suggesting much, or anything, to with him, have been so identified with the folk-song good enough for a festival of Norwegian music and since crepancy of pitch. A“ i orchestra an oboe and a French season. genre that many have been deceived into believing that him; but the man who has made a study of them will they were ancient ditties. Mr. Grainger’s compositions in there was in Norway no orchestra as fine as the Concert- larger form are not so well known as “Molly on the Shore,” geboow, it would be mistaken patriotism to have anything find one here and there which when properly understood “Sheperd’s Hey” or “Handel in the Strand but those who will carry his imagination back through hundreds of have seen the score of his “Marching Song of Democracy,” but the best when the best was available. He was so “Hillsongs,” “The Warriors” and other works cast on a persistent that he won the day and had the Dutch Con¬ centuries, thru phase upon phase of the development big scale realize that J ' ” " ’ of primitive man. The Norwegian melodies, and in employed he ascends ti- ductor and players to his heart’s content. the etude OCTOBER 1921 Page 6S3 Page 632 OCTOBER 1921 THE ETUDE Verdi’s Thoughts on Art “In fact, this adamant character in Grieg’s genius The Mother and the Musical Boy . must be apparent to anyone really familiar with his music. (From “Musica” of Rome) Even in the lightest, most gossamer of his compositions I,: • there is a solid background indicating the character of the By Charles W. Landon Translated from the Italian man. Grieg had certain impish traits that few people By Edward Ellsworth Hipsher know but which may be imagined easily by anyone who lias taken the trouble to become intimately acquainted with The boy who plays an instrument or sings well gets more out of his musical skill than does the usual girl. From a Master’s Workshop his works. Once a Danish composer visited Grieg at his art the same questions have hotel and bored the master to death with his compositions, Perhaps It is because of Kis rarity. But he is always in which were highly reminiscent of the music of Grieg demand, for orchestra and glee club or choir, as organist, Little Lessons in Musicianship and other composers. Grieg with his love of originality, and for social entertainment. 1 p ; was quick to sense this and was-disgusted. At last the If he ventures into the world, the church and Young On the date December II, 1885, rejoicing in the success By PROF. FREDERICK CORDER Danish composer got up to go and failed to find his Men’s Christian Association are glad to give him a place of “Gustavus Vasa” of Marchetti: . . , w Of the Royal Academy of Mu9lc, London over-coat where he had left it in the cloak-room. He in their musical activities. He is invited into the better “I hear the success of Marchetti, rejoice in it, but inferred that someone bad taken it. Grieg’s impish homes with their refining influences. In his spare hours would wish that his success might be enlarged. I feel exceeds that of all other classes of music put together, reply was quick. ‘Surely you are not going to complain he is spared many a temptation through the “Saving that in the midst of many beautiful things we are at Alberti Bass this singularly unsuitable title. It is a piece without passages, embroidery or ornamentation of any description in the proportion of seventy to one. about someone stealing your overcoat when you your¬ Grace of Music.” length. Alas! In the end they produce weariness; and This is the name applied to the following conventional self steal from us all.’ Family friends or relatives may call the musical boy nothing resists weariness. When one has the poor grace figure of pianoforte accompaniment. whatever. “During the many wonderful days spent in the com¬ a "sissy.” These friends d'o not have the judgement to to be a master of music, he must have courage that is Ballade pany of Grieg, so varied were the experiences that it know that a “sissy” is born and not made, that he would supremely great, the courage to cut off also sometimes This title has been used in music very vaguely. would take a very long time to recount them- His be such wherever he might be put, behind the plow, in the things that are good. We have much need, now Chopin first applied it to his four romantic compositions, . pride in Norwegian scenery was unbounded. Although the blacksmith’s shop, or in the lawyer’s office. The more than ever, to have sound works, that are notched of which the only features in common are the time, musical cult has had to suffer from this unjust opinion, which is compound duple, and the bare outlines of the it was only with great effort that he could climb, he neither by French faults nor by German; and it is de¬ It is derived from the name'of a forgotten Italian insisted on taking me up to the top of the mountain near not because there is anything in the study which does not sirable that this work of Marchetti travel, travel, travel.” form, which is a kind of Rondo, consisting of three or ennoble nature, but because many weaklings have inad¬ composer who is said to have used it to an immoderate Bergen. It was called ‘Blaamanden’ (the Blue Man). On the date March 17, 1882:— four repetitions of a very rhythmical theme, with wildly vertently been thrust into their company. extent. But what eighteenth century musician did not? .Finally, when after great exertion he reached the top, “In fact, in musical opinions it is necessary to be unconventional episodes between and an extended Coda. The boy of musical inclinations has difficulties in which After a time nature taught us that the chord sounds Atmosphere his thoughts turned to the characteristic Norwegian broad; and for my part I am very tolerant. I admit the He would seem to have applied the term Ballade in the his mother can give him much help. He is and should be better with the third above the fifth; so that more ex¬ This is a present day synonym for Character in music rustic music and he said, ‘Here we need a peasant melodists, the harmonists, the dry-as-dusts, and those French sense—that of a short poem with a thrice intro¬ fond of sports. The wise mother will so manage his tended and varied figures were gradually adopted. but generally applied to compositions of the modern fiddler to play a dance for us.’ The view was ex¬ who wish at any cost to be of the fashion; I admit the duced refrain. He probably rejected the word Rondeau ■ affairs that he may practice early in the day and not inter¬ French school which are too indefinite to possess any ceptionally lovely, and, as Grieg looked out over the past, the present, and I would admit the future if I as being associated with compositions of too trivial and fere jvith these activities. She will not hold him to an character at all. It would really seem that the mental valleys so dear to him, his voice was tinged with melan¬ could know it and should find it good- In a -.vord, conventional a character. Later composers, like Liszt and unbending schedule when some event dear to the boy concept of Atmosphere is Mist or Haze. choly as he said, ‘Alas, I shall never get up here again.’ melody, harmony, declamation, florid song, local color Brahms, have written pieces which they have called heart calls him to be with the “gang,” and thus risk The practical musician knows that every degree of He died a few weeks thereafter.” effect of the orchestra (a phrase of which is made so Ballades for no discernable reason, while Grieg gives his looking upon music as an affliction. -A well-known Sonatina by Mozart begins the slow definiteness and indefiniteness can be achieved, according this title to his Variations on a Norwegian Theme, mere¬ How Grieg Played The musical mother can inspire her boy by the playing much use and that most of the time serves only to cover to the proportion of concords or discords which he em¬ the want of thought), only are mediums. Make with ly, it would seem, for the sake of causing people to “Sir Charles Villiers Stanford has called Grieg of duets with him. He will enjoy the evenings at home ploys. The robust obviousness of Handel and Mozart these means some good music, and I admit all and every expostulate. ‘a minature Viking,’ and there is much truth in this and even entertaining of company, if only mother is is the very antipodes of the so-called “impressionistic” kind. For example: in the ‘Barber of Seville’ the remark; for a certain fresh or tragic primitiveness playing with him. art of Debussy and Ravel. But, while employing suc¬ Barcarolle phrase, 'Signor, giudizio per carita’ (Signor, judgment mixed with a somewhat eerie and ethereal spirituality Boys bubble over with life. If some of this energy cessive discords to produce atmosphere, one must re¬ An Italian word signifying “boat-song” and applied to in charity!), this is neither melody nor harmony ; it is die marks off Grieg's music from his mid-European fellow- is turned to the study of music, they will acquire a movement of which is a perfect gem of melody but quite member that such trite ones as dominant and diminished pieces written in imitation of the songs which the Vene¬ Romanticists such as Mendelssohn, Schumann or Chopin, lasting influence on their characters. Many a family has spoken word, just, true, and it is music—good enough.” dulled by having this monotonous figure of accompani¬ sevenths must be sparingly used. All familiar pro¬ tian gondoliers are supposed to sing (but do not). The and reveals more or less affinity with a similar ‘Northern’ spent, to get a son out of a disgraceful scrape, more “I have received the work which you have sent me. ment throughout. Every student should get the part gressions of chords, such as those which lead to a full conventional Barcarolle is usually in six-eighths time, psychology in the works of other Norwegian creators than a liberal musical education would have cost. ‘New Art.’ ***** In the last page I read among the which Grieg has added for a second piano and observe or half close, must be avoided; otherwise, the music the swing of which is intended to suggest the stroke of in other branches of art, such as Ibsen, Bjornson, Vinje others this phrase: ‘If you believe that music is the ex¬ how Mozart’s exquisite phrases are restored to life there¬ will become too comprehensible and the Atmosphere will the oars. But any two or three well-known specimens Arne Garborg, Munch and Johan Sinding. pression of sentiments of love, of sorrow, and so forth, by. This is a fine lesson on the value and power of vanish. taken at random will show such a wide diversity of abandon it—it is not made for you!’ “Those who had the good fortune to hear Grieg Telling is Not Teaching modern resources. If, then, the composer is clever enough to produce tempo that their composers’ aquatic knowledge would perform his own compositions, whether as a pianist or as “And first it cites as the tie plus ultra of music the But it is curious to observe how the Alberti bass crops shape or striking effect without tonality, conventional seem to be of the vaguest. a conductor, are more likely to be alive to the heroic Mass of Bach, the Ninth Symphony of Beethoven, the up in the most unsuitable places; for nothing can be harmony, or more than the most fragmentary and elusive Amateurs are nearly as fond of the Barcarolle as of Mass of Pope Marcellus. For me I should not be quite and intense attributes of his art than those less lucky By W. Francis Gates more unsuited to all the orchestral instruments than melody, his composition (if composition it may be called) the Berceuse which they frequently confuse with it, both in this respect; for Grieg was nothing if not extremely surprised if someone should come to tell me that the this. Yet even quite modern composers make occasional will be considered to possess Atmosphere. The chief giving an excuse for a Tonic Pe3al Bass, which is so virile and dynamic as an interpreter of his works. Al¬ Mass of Bach, for example, is a little dry; that the use of it. There is a curious example in the Coda of resources are the chord of the eleventh and the aug¬ nice and easy to write, but so difficult to quit properly. ways a poet, but above all, always a man. As a rule Telling is not teaching. Making a statement once Ninth Symphony of Beethoven is written badly in some Sullivan’s Overture di Ballo. mented trial with its relative, the French Sixth. In Very often the melody is in thirds, this being a constant his tempi were faster than those usually heard in per¬ or several times is only the barest root of teaching. The places; and1 that in the new symphonies he prefers sente The “Baal Chorus” in Elijah affords yet another speci¬ melody one shohld never make a response to a half feature in the Italian Folk-songs. formances of Grieg works by other artists; and invaria¬ essentials of good teaching are: To show the necessity that is not in the Ninth; and that he finds in Palestrina men. cadence; and in rhythm definiteness is to be avoided Here are two specimens, that by Tchaikowsky being things even better than the Mass of Pope Marcellus. at all costs. bly the enthralling wistfulness and poetic appeal of his for the statement; to make facts interesting; to show Anthem in common time. renderings knew no trace of sentimentality or mawkish¬ “Of the rest I do not speak: I know nothing. I their relation to other things; to create in the mind of This is the one Church Form where the composer may ness. Strong and sudden accents of all kinds and vivid wish to know nothing. I know that the man of the New Bagatelle th- pupil a feeling of their necessity and a desire for be said to have a free hand. It is a choral piece with or contrasts of light and shade were the outstanding features Art will rise among us; he will deny many things of A term for short, trifling pieces, not often employed. more; and, greatest of all, to add to study an enjoyment without accompaniment or solo parts, of from ten to of his self-interpretations; while the note of passion of the work. the past and will disdain the precious ideals of the The examples of Beethoven will readily come to mind; fifteen minutes in duration, and may consist of one that he sounded was of a restless and feverish rather Work without pleasure is drudgery. Much work that present; he will do no other than to substitute defects almost the only other prominent instances of the use movement or a series of connected movements. than of a violent nature. Extreme delicacy and exquisite¬ and new conventions for other defects and conventions; of this term being Dvorak’s Four Bagatelles for Har¬ is routine and repetition is not drugery, because its The words are selected from any suitable part of the ness of detail were present in his piano playing; and covering with odd dress the nothingness of the thought monium and Strings. The term is not an attractive necessity is seen and1 there is a certain pleasure in its Bible; but, in making such selection, the composer should altho the frailty of his physique, in the later years at . ‘And now be healthy and cheerful; that is still more one to English ears, owing to other associations of the doing, from the recognition of the results that are the look a little beyond mere sound and choose texts which least, withheld him from great displays of rugged force sure reward. important for us than the New Art.” word. are suitable for musical expression. Sufficient heed is at the keyboard, yet, when occasion required, he prized And so pleasure becomes a necessity of good teaching. not always paid to this point. and demanded those resources in others. Ballad Simply to tell is not enough. One must explain, The commercial article in this Form is about on the “In short, the general human tendencies of the heroic, My Star Soloist The commercial, or “shop song,” varies considerably analyse, often sugar-coat the prescription, and then the same artistic level as the commercial song. That is to active, poetic, excitedly emotional Norwegian race from pupil will take pleasure in following it. in aim, although its execution is and probably ever will By Rose Frim say, if the composer can find it in his conscience to which he sprang all seemed t6 be faithfully portrayed be absolutely trite and mechanical. The term Ballad is There are so many ways of making teaching interesting write a string of simple platitudes suitable to the powers in his renderings of his own compositions, as were, no applied to this article, though, strictly speaking, a that they defy enumeration and some of them, descrip¬ Have you ever been behind the stage in a fine theatn of a village choir, he will probably find a publisher; but Pianists will remember also one by Rubinstein, in nine- less, the characteristics of the hillscapes and fjordscapes Ballad is but a slight degree removed from a Folk¬ tion. The prime one, however, is that the teacher, him¬ and noticed what attention is paid to her She has - if he writes in the style of Wesley’s famous and beauti¬ eighths rhythm, to the music of which no mortal could of his native land. The brilliant coloring and striking song. The Ballads of Storace, Dibdin and their nine¬ self, take an interest in the individual pupil. In order to special room, with special furnishings, located in th< ful Wilderness he will have to wait till he has been dead row a boat of any sort. clarity of the scenes, the almost indescribable exhilara¬ teenth century successors perhaps did not exhibit any do this, it is necessary that he should acquire the ability most desirable place. She has a maid to attend to het for some years before his work will be taken up. tion of the northern atmosphere, all were mirrored in his great inventive skill; but at least they were not written to put himself in the pupil’s place, to imagine himself and everything to make it comfortable and pleasan music. by utterly ignorant amateurs. The modern article gen¬ Bass the student, often the unwilling pupil led to the slaughter. every moment she is away from the footlights Arabesque “Grieg eschewed all ‘muddiness’ or obscurity of tonal erally takes at least two people to produce it—one to The natural instinct in music is to invent a melody and He must try to think what would interest him, if he Not until I had been playing in public for some year effect in writing for the piano or other instruments; were the pupil. Florid embellishments in Piano music are sometimes whistle and the other to write it down. then to harmonize it with as few changes of chords as did it come to me that I had a star soloist that I hac called Arabesques—meaning Arabian ornamentation. and the performer of Grieg’s music should try to It is a wise teacher of children who accumulates a A Ballad, ancient or modern, is, technically, a simple possible. To think of the lower parts as melodies been neglecting- The soloist sings the melody part Thus, Tausig describes his concert paraphrase of Web¬ realize the composer’s prediliction for the bright and store of short musical anecdotes, stories of the funny harmonized melody, the several verses being of cast- instead of mere supports is not only not natural but also What finger more than any other in both hands play: ber’s Invitation to the Dance as being “With Arabesques clear and' clean sonorities. as well as the serious things of music . Bits from the iron rigidity of outline. But this rigidity disappears in exceedingly difficult. the melody ? Think a moment. Is it not the little fingei by Carl Tausig.” But the term—which after all simply This unusually interesting interview will be lives of great musicians are invaluable, if pleasingly told. performance, the singer endowing the notes with the It is in order to cultivate this power that one studies of the right hand. means “In Arabian style”—has been appropriated by a value best suited to his or her voice. concluded in The Etude for November when Mr. Illustrations at the piano or in voice, of the mannerisms Counterpoint. Also, in learning Harmony one is taught Grainger will give recollections of Cyril Scott, To find out, I took ten average pieces of. different kind: simple piece by Schumann to which the composer gave In England the number of Ballads published every year to reverse the natural process of mind and to build up Busoni and Richard Strauss. to be avoided, as well as the good points to be acquired, and I found that more than seventy per cent of thi serve a splendid purpose. One must remember that melody notes fell to the little finger of the righ what may interest a pupil of ten years may be dull to hand—my star soloist. Master Thoughts from Master Minds another of twenty. The “thirst for knowledge” is the basis of all progress. This series of musical technique. This is enlivened by a rare sense of humor and broad¬ This gave me a new respect for the soloist; and sinc< articles, which will continue for some months, answers in a most readable The manly part is to do with might and main ened by a life-time of rich experience as a teacher, composer, editor and One must gauge his phraseology to the mentality of then I have been on the lookout for all manner o manner many of the hundreds of questions which have come to “The what you can do.—Emerson. the pupil. It is not enough, or, rather, is is too much, to exercises that would exercise the fourth and fifth finger1 Etude” office daily for years. There is always a demand for musical dictionaries. The “I want to say, “This phrase is really an epitome of the whole Professor Corder, who has been the teacher of by far the greatest of the right hand without over-training them Firs know” spirit is particularly strong in America. No amateur or professional It is much easier to be critical than to be correct. piece,” when you are speaking to a student of the lower number of British composers of note of the present day, started out to write musician can read these paragraphs by Professor Corder without acquiring —Benjamin M. Disraeli. of all I insisted that my star soloists should have indi¬ an Encyclopedia of Music. However, he was far too interesting a writer to school grades, who probably has no comprehension of viduality and independence. a more comprehensive aspect of many of the most interesting things in the the statement. Teaching must be fitted to the pupil. produce anything so arid as an encyclopedia in the ordinary sense. He Art.—EDITOR’S NOTE The little finger, employed with the arm touch pressure Knowledge and timber shouldn’t be used much Thus results may be expected. Thus the instructor embodies the human aspect of Sir George Grove, combined with a masterly wise, may become one of the most expressive n/ ir m' until they are seasoned.—Oliver Wendell Holmes. proves that he is a “teacher” and not a “teller.” instruments at the pianist’s disposal.. P f 11 THE ETUDE THE ETUDE OCTOBER 1921 Page 635 Page 634 OCTOBER 1921 music from a given bass. The problem that most con¬ A Lesson in Chopin Interpretation tinually presents itself to the composer is the conver¬ sion of a perfunctory bass into an interesting one. By Joseph George Jacobson Take an example. In writing such a melody as the following the composer probably would think of the bass well. Picture to yourself a little shepherd boy sitting Much has been written on Chopin’s style of piano Ei in a cave and blowing a little flute. Outside the n is playing. The majority agree that his tone was small, pouring down, and his flock is seeking shelter under the Ten Musical Failures and Why They Failed but that his playing possessed accuracy and precision, and green trees. The beautiful melody continues to the end, ■ By the Eminent Music Critic that he excelled only in the interpretation of his own and when it stops you hear the rain only. After this a music. Chopin’s tone may have been small (probably peal of thunder rolls in the distance-and you have felt due to his very delicate structure) but his pianissimo HENRY T. FINCK a little touch of heaven. playing was such that he needed no strong FF to make The main thing to consider, when studying this etude, here noted. He should then regard the Treble and a great contrast. His slender, velvet-tipped fingers is a beautiful soft singing tone for the melody, not too Musical epicures know that while it may give great have just said that I can give no names, but for my brainy wielders of the bow. As a rule, however, the Bass as an exercise in two-part writing and, applying and subtle wrist would glide so gently over the keys obtrusive, just loud enough to be heard above the accom¬ pleasure to hear famous musicians at their recitals and third type of failure I describe that of a well known most intellectual musicians are. the pianists. I could the principles of florid counterpoint, break up these long that it seemed almost like magic. There is no doubt, paniment with fine and delicate shadings. To produce concerts, it is far more delightful to hear them in¬ violinist. name a dozen, from Liszt to Paderewski, who have notes into shorter ones in such a way that the one part however, that Chopin was a thoroughly well-trained This violinist for twenty years was a public pet been noted for their mental brilliancy and wit as well this tone the hand must practice a gliding over motion formally in a private music room. The trouble is that shall move when the other is quiescent. Observe' the pianist of the first order, fascinating and interesting. on two continents, was awarded distinctions in Lon¬ as their splendid playing. I could give the names of and press the melody tones, not strike them. It is well this is a diversion in which only the very wealthy can improved result. As a composer, and in particular as a composer for don and received great honors from a Pope. Is it another dozen who were top-heavy; in other words, first to study the melody’alone and play it with the indulge. Paderewski used to charge $5,000 for play¬ the pianoforte, there is only one Chopin, unsurpassed— not absurd to call such a player a failure? Perhaps it whose too scholarly interest in the intellectual side of exact fingering you would use when playing it with the ing in private houses. Not always, to be sure. A a master beyond comparison, whose melodic, rhythmic is but I am doing it all the same. I do it because I look arpeggios. Another most important thing is correct music resulted, in their failure as public players. and harmonic inventions are of exquisite beauty and friend of mine who was for a time critic of one of at this matter from a high artistic view point. “A A warning to players and students is particularly pedaling of very varied sort. Therefore, when practic¬ seem inexhaustible, transfiguring whatever he attempted the leading New York dailies, invited him for an marvellous technician, he lays too much stress on the ing the melody alone, employ the correct pedaling. I timely at present. Scholarship is a valuable and fine into his own weird, romantic and refined style, of which evening of trios with Wolf and Hollmann. He went, mere exhibition of skill, and arranges his programs thing but it repels the public at large. Many a have found the pedaling particularly well noted in the there is no second. Perhaps Liszt may be mentioned so did I, as one of the listeners; and I must say that chiefly to suit the popular taste that is readily sat¬ splendid young woman has remained unmarried be¬ edition by Sternberg. After you are sure of the melody, with him. never did I enjoy a public performance of chamber isfied with brilliant execution.” cause her too scholarly mind did not allure men. I Of course in practice, especially in concerted music, practice at first not accenting the triplet form, but in Preferring forms of a decidedly rhythmic type, such music as I did this private soiree. _ In this brief sentence this violinist’s artistic status— spoiled the most original and valuable of my books, all the parts should be endowed thus, by main force, this manner as the valse, mazurka, polonaise, bolero, tarantella, noc¬ On another occasion there was among those present and stature—are succinctly summed up in a Biographi¬ Primitive Love and Love Stories, by cramming its with rhythmic and melodic interest. Even in the sim¬ turne, etc., Chopin created works of unrivaled loveliness. a young lady who had just returned from Europe, cal Dictionary of Musicians. That is the general verdict 800 pages with largely superfluous results of scholarly plest ballad the progression of the bass demands some No program to-day is complete without some of his and was getting ready for her New York debut. Pre¬ of criticism. This violinist has failed to be honored with researches in European and American libraries on the little attention, though it seldom gets it. For, on the bass works, and though programs of most single composers the highest class of violinists because in his playing his courtship and marriage customs of savages the world depends the harmony, and on the harmony the whole sently she got up, sat down at the piano, and begun become boresome before they are half through, an.all- nimble fingers are so much more in evidence than his character of the music. The best of melody may be to play—what do you suppose J Why, the whole of over. As a specialist on the subject (it was my Chopin program is keenly enjoyable to the very end. . His head or his heart. Finger success is never lasting. second book on love) I was intensely interested in ruined by a poor bass; but a good bass can render the throughout the entire piece, first with one hand then with the Schumann concerto, solo part alone, before an au¬ original dispersed harmony opened up a new field for Compared with his earlier triumph’s his last American every detail relating to it, and forgot that other per¬ commonest tune beautiful. Here are two striking the other, then both together. When you can play it well dience of musical epicures, who were thus bored for higher technical development and digital ability. tour was a flat failure. sons could not be expected to be so volumenously in¬ examples. ■ this way, practice the triplet form. Make sure that the forty minutes 1 A critic wrote that Bach’s music was masculine and terested. Consequently the book was a failure. If thumbs do not accent too heavily; in fact, it should Nobody, so far as I remember, had asked her to Chopin’s feminine. If he really thought Chopin’s music .Ultracerebral Pianists and Composers some kind friend had blue-pencilled one-half of the sound like a sextolet and not like two triplets. In the play, and certainly not to play a whole concerto with¬ feminine, he did not notice the “cannons buried in roses,” manuscript, I would have made a fortune out of that 11-12 and 26-27 measures we meet difficult stretches in out accompaniment. Her one thought, evidently, was Contrast with this the career of Fritz Kreisler. He the prodigious power and passion smoldering here and book. But how I should have hated that friend! the melody. To secure a sure way of not missing the that here was her opportunity to show before a dis¬ was a failure at the start because he refused to at¬ there to burst out into a dramatic wildness and fury Well, many musicians—particularly composers and high notes, practice first by placing the thumb on the tinguished group of listeners what she had learned. tract attention by exhibiting the usual fiddlers tricks which grips the listener and calls for the most brilliant pianists—are as suicidally scholarly as I was when I note before the jump which would call for the third It was not a musical thing to do, but simply an exhi¬ of digital dexterity. But gradually music lovers dis¬ style of bravura playing. wrote that book (which is already out of print). finger, then later use the marked fingering. covered that expression, temperament, style, and em¬ Chopin’s rubato playing has created more trouble and bition of vanity. I said to my neighbor “She will be Even so great a giant as Richard Wagner came near discussion than anything else of the kind. The truth is a failure”—and she .was a failure, of course. To otion made his playing a thing of beauty and a joy forever. His reputation increased in a steady —=C2 ruining his wonderful Nibelung operas because he that you can no more teach a Chopin rubato to a person thumbs. For-- ...... succeed, she would have had to have some considera¬ made the poems much too long and could not persuade who does not feel it, than you can make an Australian B flat of the right hand triplet v tion for her audience, and to love Schumann’s music amd to-day he always plays to overflowing audiences . the D natural with the right, etc. and everywhere is acknowledged the world’s fore¬ himself to leave out any of the redundant lines when bushman understand the beauty of Emerson. The quin¬ Do not overlook the little eontramelofly beginning at the more than herself, besides a number of other things. end of measure 14 in the right hand. It must be just loud most violinist. That is what may be called success. I he set them to music. On that rock many other com¬ tessence of Chopin’s music lies in the soul. A senti¬ enough to be heard distinctly. In measure 18 the right Were I to write down the names of all the young posers of operas as well as of symphonies have wreck¬ The color and life of music depend very largely upon am proud of a letter I got from him last spring, after mental miss playing the second Nocturne and making a makes a little crescendo, while the left decreases in volume. men and women who have thus failed because they ed their ships; they strew the strand as densely as sea the behavior of the bass. A stationary bass gives a rest¬ Measure 24, Lieztian in character, must be plnyed with his wonderful success in London, in which he thanked ritardando at every second and fourth measure, thinks extreme delicacy and a little ritardando. Tonder a trifle thought of themselves first and of the music secondly, shells. ful but dull charactera marked bass can convey martial, me for having stood by him from the beginning. I she is playing rubato. Some say keep the left hand in before striking the F sharp, as if too exquisite to touch, they would fill a whole number of The Etude. “Less would be more” if musicians, in writing com¬ partiotic and exultant feelings; while a rapid bass can perfect time and play rubato with the right. This is- and pedal three times as the harmony calls for. could give the names of a number of violinists who failed Small is the number of singers who can make a positions or making programs, always bere that in depict the wildest excitement. Pianists are apt to forget absurd folly and seems stupid—if it can be done. I was because they followed the example of this violinist comfortable living by giving recitals. There are di¬ instead of that of Kreisler. To be sure, the example of mind; the number of failures would be greatly re- all this and to write basses that will not tax much the recently working up a sonata of an old master with a stronger, after which increase the speed in the appas¬ verse reasons for this, but probably the principal one Kreisler is very hard to follow; to do so successfully left hand, regardless of more important considerations. violinist. For a few measures the violinist had to ac¬ sionato measures. From now on there must be a gradual is that most singers, in making up a program, pay one must have genius, and genius cannot be acquired— They would also be greatly lessened if musicians— company the piano melody by playing simply eight notes decrease in tone. Use the left pedal from measure 35 little if any attention to the quality of the songs, but or can it? To this question, under the title Are Musi¬ particularly pianists—did not overweight their pro¬ for several measures. Instead of playing them evenly to the end, also ponder before sounding the F in this choose this or that merely because it shows off the cians Born—Not Made? the editor wishes me to devote gams with too many pieces that appeal merely to the he played this way: measure. In measure 43 the melody stops. The follow¬ The Five-Year Old Pupil good points in each particular singer’s voice. But my next article for The Etude. I will do so. intellect, leaving the feelings as cold as a snow drift. ing measures must be played with extreme lightness Maud Powell was not only a superlative artist The modern dissonantal subtleties which interest gradually rising and falling like the waves of the ocean. high-class audiences are not specially interested in the By Bernice Caroline Nelson but also one of the most intelligent women I have trained musicians will never attract the general pay¬ Do not retard. The little trill in the left hand must not good points of a voice, unless it is used to display to known. Fritz Kreisler is a scholar and philosopher ing public , which will always—don’t forget that be exaggerated, and do not drag on the last chord, but advantage the good traits of a worth-while song. —prefer euphony and melody (with some dissonance It is often very difficult to shape the hand of the hold the pedal down for the full value. as well as a super-violinist; and I have 'known other five- or six-year-old child to the keys of the piano. Lack When Caruso Failed for piquancy’s sake) to pieces that are unnecessarily When I drew his attention to it he said haughtily that On a concert program this etude, followed by the next of muscular control causes the little fingers to radiate complex and cacophonous. I could name here a pianist he was playing “rubato” and that it mattered not what one, Op. 25, No. 2, in which you listen in deep rever¬ These singers should bear in mind that even the in all directions. of rare ability and promise who wrecked his career he did during the measure as long as we came together ence to the weird whispering of the zephyr among the enormously popular Caruso, vocal pet of the universe, The young child’s mind needs definite pictures, within by ostentatiously and persistently pelting his audiences at the beginning of the next measure! foliage of the trees and the great Revolutionary Etude repeatedly failed to make a success in operas that had the range of his own concepts. Instead of saying, “Now with music of unmitigated ugliness. He was worse What a wonderful vista has Chopin opened by pre¬ Op. 10, No. 12, make a fine “set.” been chosen for him not for their intrinsic merits keep the knuckles curved out,” or "Play on tips of fin¬ than the men whom Ruskin accused of “flinging pots of senting us with the twenty-four etudes; or, better, “tone- but to show off his voice. If singers pondered that gers,” or “Place the wrist a little lower,” I have used paint in the public’s face.” poems,” for they require for their performance not only weighty fact, what a revolutionary improvement there various phrases and illustrations which have brought ex¬ People who want noise can go to a boiler factory, a virtuoso, but also a true artist—a poet. With these cunt un Moulin nai J^ >11 the ESe« would be in the make-up of programs 1 cellent results. ri that the hand of an artist™ were tn th, or listen to the builders of a sky scraper. studies alone he has enriched our musical literature by The editor of The Etude has asked me to write, Compare the hand (with fingers over five consecutive mhm»nSLin„ ali„s?u” of fantastic einbellishmen an imperishable legacy. n'“ everywhere audible t ‘ opt of the abundance of my forty years experience as Other Causes of Failure keys) to a house with one large room. The arch of the one and a anff «ywaer,e auaibIe a de a critic, concerning ten failures and to give the rea¬ hand is the roof, which of course we will not let fall in it would UC an w1,.errora$ I th/rMra plaving Reginald De Koven was a musical critic as well as The Famous A Flat “Aeolian Harp” Etude sons therefor, Obviously I cannot give names. Nor on our heads. The spaces between the fingers are win¬ >t behe ndistinctlydist!attiCh £heard.pin permitted It w eve a composer of operettas. Once he wrote an article in are names necessary, for each of the failures I shall dows to open for light. The fingers are five soldiers, From this beautiful garden we will pick an exquisite which he referred to girls who, after a year’s train¬ consider represents a type. each of whom must stand erect and walk just so, obey¬ flower of languid loveliness, the A flat Etude, Op. 25, ing of their pretty voices, had obtained engagements while once tte midd^ofThe piref^Tnw®- As my second type let me take the young musician ing the commander, who of course is the pupil. (Here No. 1 (called by Schumann The TEolian Harp), dedi¬ in operetta companies which yielded 200 to 300 dollars who has no taste—who doesn’t know the difference explain that the lower knuckle must grow strong, and cated to the Comtesse d’Agoult. The following story, etude'a SSSSl^JSSS 35* £ ^ a week. between good and medium songs and pieces. Some we must play firmly on the tip of finger.) if not true, expresses the thought of the composition There are such cases, 'but among the dozens that I time ago I had an interesting talk with a professional have known I could name only two or three whose The largest space, between thumb and second finger, accompanist, who assured me I had no idea how is a large round porch, under which our little fat boy fragile voices survived the ordeal of singing, every utterly unmusical many singers are. Blessed with a evening and Saturday afternoon, a trying part which (thumb) runs to. hide in playing Hide-and-Go-Seek. pretty voice, they think that is all that is necessary. would have tested the powers of a strong, well-season¬ He needs to practice getting under easily and quickly. Teachers’ Fees Should Not be Lowered The names of the great song writers are hardly known (Here let the pupil drill his thumb in passing lightly ed voice. from C to E.) to them, much less their songs. To please a manager, There is something particularly pathetic about these By Thaleon Blake a publisher, friends, or just out of sheer ignorance, We will call the forearm a sidewalk leading from the failures; for under proper guidance these young girls they make up the most inspired programs and then back door. Of course we will not have our sidewalk might have won fame and enduring success. Everybody is talking of the “buyers’ strike” and, on wonder why the critics sneer and the public fails to up higher than the roof of our house. That would look Price-cutting of lessons as a means to attract pup One often reads that there is no fool like an old the other hand, of the “retail hold-up.” The long- appear. I am speaking, of course, of those who appear queer and surely be dangerous. is to be condemned. It often ends with those gui •fool. I doubt it. The most foolish of mortals seem suffering public demands that prices come down. This in halls where real artists are heard and real music These and various suggestions may be, used as a of the practice losing their standing with their o' to me to be the young girls who, instead of studying cannot in justice, affect the fees of music teachers—the lovers assemble. In vaudeville and other kindred framework around which a little child may build his public. Every profession must have its ethics- a patiently for years, walk into the spiderwebs of un¬ last to be raised. Let it be remembered that not only places singing of trash does not spell failure. scrupulous charlatans who, for a big sum, promise to efforts in early piano technic. The results derived are were teachers’ fees laggard in getting started upward, price-cutting of teachers’ fees is as bad for teachers fee-cutting is for physicians. Singers have no monopoly of trash. A great deal of land them on the stage—in an' absurdly short time. beneficial, as well as pleasurable. but they did not go far when once started. Stand up for yourself by standing by your friends. it is inflicted on the public by violinists and pianists. I Henry T. Finck Jail is the proper place for such teachers; but they OCTOBER 1921 Page 637 the etude I THE ETUDE Page 636 OCTOBER 1921 Ambidexterity and Piano-Playing live in palatial studios, thanks to the suicidal folly of and How it is Won, “makes the singer’s voice tremble IgMf :;¥. & . these girls. and get off the pitch, the violinist’s arm quiver, the By Maud Helen Wimpenny W YVq What becomes of the tens of thousands of girls pianist’s fingers lose their cunning. The memory be¬ #*adtyib«»2 studying in music schools and with private teachers? comes confused, technical execution incorrect, and ex¬ So far as their aims and ambitions are concerned, all but pression is of course out of the question.” In these days of scientific investigation it is becoming M one or two in a hundred—or shall I say in a thousand? In that book I have given details showing that, with the an understood fact that wonderful development of un- 4 —are failures. Why? In answer to this question I exception of Patti, most of the great artists suffer from used brain area in the right hemisphere is possible by « never tire of quoting an experienced critic, Emilie stage fright; but they overcome it by concentrating their the equal use of both hands, or, by the study of ambi- '<■ Mastering Mistakes Frances Bauer, who knows what she 'is talking about: minds entirely on the music, forgetting themselves as dexterity. Counter-commands are given to left and right “Teachers of the piano and voice will say frankly: ‘I well as the audience. That’s what, among others the motor movements; we direct the left hand from the right M Common Errors and Shortcomings of Piano Students and How to Brazilian pianist, Guiomar Novaes, does so marvelously lobe and vice-versa—therefore piano playing is a step in S cannot get my pupils to study harmony; they do not feel Overcome Them the necessity of it, and they won't.’ They won’t! That well. The individuals I have referred to could not do it, the right direction and a big step—as we perform these jH is the sum and substance of it. And the vocal students so they failed. counter commands non-simultaneously. These unused S won’t study languages, and they won’t read good litera¬ Ill health and lack of care for the body are responsible brain areas, are in the right hemisphere of the brain, in By SIDNEY SILBER ture, and they won’t study dramatic action, and they for hundreds of failures. I have often marveled at all cases except in left handed people, whose barren area '9 Head of the Piano Department of the University School of Music, Lincoln, Neb; won’t go to hear good music, even though they could young women with the frailest of. bodies, entering a race is the left hemisphere. We are largely a one sided ■ hear many things of an educative nature without paying which calls for the strength of an Amazon and “a capa¬ race and will be until man has conquered the control ■ Accuracy and precision are basic virtues in music mak¬ city for working longer and harder than any laboring When one stops to consider how much of the art of for them. What they will do is to tell you how the of the left hand, or, being left handed, has gained con- ■ piano playing may be analyzed, it is indeed surprising ing. They constitute musical decency. Their possession managers won’t work for ‘ them, and how the public man ever dreamed of doing,” as Maud Powell put it. trol of the right hand. how vast multitudes of well-intentioned and gifted stu¬ is no badge of distinction, for like social decency, they No amount of talent or strength of will can overcome won’t encourage them, and how much fault they find To do this, three great essential manual requirements dents sin against the letter and spirit of the art, but are expected in every one. The most effective method with Mme. Destinn and with Mme. Sembrich and with the impediment of ill-health—at least for any length of are needed with which to develop the unused centers—. jM especially against the letter. These “sins” are, for the to overcome literal mistakes is slow practice, which Mary Garden. They have time for all this. If they go time. Eating too much and exercising and sleeping^ too viz; writing and drawing with both hands and efficient most part, traceable to defects in mental discipline. If means, SLOW PRACTICE. The student who adopts to the opera they do not go to learn the great things and little are among the things which make lasting sucVss piano performance. In addition to these studies, it goes they could be remitted by a simple admonition on the and follows the slogan, “Stop, Look, Listen,” has the the good things, they go for the pleasure they derive impossible. “Good singing is seven-eighths a question without saying that all usage of the neglected hand is I part of some authority to “go and sin no more,” the necessary weapon with which to overcome this all-too- of digestion” a well-known artist once said to me. from telling afterward how this or that was off pitch, quite beneficial. problem would indeed be easily solved. What aggra¬ common defect. If slow practice does not enable you and how tired they are of others, and how badly the great I have reserved for number ten, the cause of more I am indebted to H. Macnaughton Jones in his book ■ vates the case particularly, is the fact that most students to become conscious of your “sins against the letter of artists sing and still hold their own while struggling failures than all the other factors combinedThe entitled “Ambidexterity and Mental Culture” for the are either not aware of their sins, not concerned re¬ music” your eyes or ears are defective. If you wil but young artists (?) can’t get a hearing.” lack of magnetism and heart. Let me cite two of the grasp of the three essential studies to be accomplished ■ W garding their remission, or they do not know how to “Make haste slowly” your ears will invariably appraise There are exceptions, plenty of them; young women most prominent and popular artists of our time on equally with both hands—writing, drawing and playing, as^H gain “absolution.” you of your errors as to pitch. and men who work hard and avoid all the causes of this point. “You can train the voice,” said Luisa written above. During twenty years teaching, I have failure mentioned in the foregoing, and who nevertheless Terrazzini, “You can take the raw material and make of tested! the benefit to the brain by the steady application^® Which Way Lies Salvation? Errors in Duration fail. Lack of opportunity is responsible in some cases; it a finished product; not so the heart. It is there or it is of piano technic. In performing a difficult piano com-j^H “Sins” are committed mainly because most students Errors in duration are decidedly complicated than lack of cash to pay for an education and debut, in other not there; if it is not there you will never move an ors in pitch and require more ca lost students play position we not only perform numerous passages have delegated the responsibility for their musical sal¬ ; way they count; and they___ count correctly. cases. It is quite possible that Geraldine Farrar might audience to tears. You will never find sympathy re¬ lion-simultaneous movement of our hands, but, it is vation to the authority known as the teacher. “I am w, then, are f c.ui.- w ”be overcome? It the stu- not have become “the best-known woman in America” it does not hai the feeling of equal metrical divisions, sponding to your lack of sympathy; tears to a tearless necessary to be able to perform eurbythmic bodily studying with So-and-So, who has taught so many ex¬ ve recourse to a machine, which may had not a wealthy lady advanced her $30,000. voice never!” cellent players, Hence, I too, who am equally gifted a blessing or cun»urse. depending upon how it is used. motions to be efficient (this being ability to step in three ’® is machine is the mome. “But,” you interject, Then, for number eight, there is stage fright. I could “Let me tell you,” said Maud Powell, “that the world time, make arm gestures in four time, etc. and all these must produce equally satisfactory results.” Thus play with the metron-‘1" give the name of more than one artist who had every¬ speaks the student. Now, if the premises were correct, Here is the answer: If it is certain that the pupil Sidney Silber is full of artists and musicians whose talent and ability feats performed at the same time). Memory necessarily he the conclusion might be. No student, no matter how not play without the metronome, and he “says” tha thing necessary for a first-class success, but who failed command the' deepest reverence, who, neverless, can¬ strengthens itself as a result of all the sign posts (marks 9 cannot play with it. *■" " temnoram gifted, can delegate the responsibility for the develop¬ _i from study altogether. The Now play the scale over a register of three octaves simply because as soon as they appeared before an not swell box-office receipts by a single dollar for lack of expression) on the journey up the Hill of I’arnassu^^H permanent) separath ment of his gifts to any teacher without jeopardizing „ __jmparable to the man — as follows: audience they were routed by the artist’s worse enemy, of that elusive quality of magnetism. The great public in piano study. This will give to the reader, perhaps, 4 not live withSSSSP\ hisr£.b1 wife^ and therefore*ther petitioned the his highest development. True, some do eventually for a divorce. Investigation, however, reeveaieu me stage fever, which, as I have said in Success in Music is moved by human qualities more than by art qualities.” at least a misty idea, of the need of counter command/3® “come out of the influence”—after years of misspent that he could not live without his wife. A temporary se¬ Groups of three’s, given to motor movements by opposite brain areas. 3 paration was imposed by the judge, which led eientuany energy, when it is too late. to a re union—and the/ lived happily ever after So in Metionome varying from^ =40 toj^ =120 The writer has tested the non-efficiency of the art of a like manner, the pupil who “says” that he cannot play Groups of sixes, rhetorical expression in the right side of the brain, by .■ It would be unjust to lay all the blame upon the teach¬ with the metronome is usually too lazy to reany u.v m ers. The fact, nevertheless remains, that the great mass nlav with it ■ or his teacher does not suggest ways and Metronome varying from #N=40 to#\ =120 the practice of the left hand writing for the first time in 9 of teachers are either incompetent to “draw out" the mu¬ means of proper and rational practice with this instru- Too Much Self Help maturity. I can write, but, not easily, except in mirro(^^| sical potentialities of their pupils or they shirk this respon¬ writing (right to left) which is easy, but, ideas in com- 9 sibility by drawing out their financial potentialities, preying Finally, play in groups of threes and sixes respect¬ upon that most universal human weakness, vanity. The Use of the Metronome position only form as the left hand gains speed and 9 By Ben Venuto The students’s greatest asset, in the quest for truth, is ively with above metronomic variations covering a regis dexterity. The attempt was discouraging, in a way, 9 the spirit of inquiry. We humans learn only in pro] Most important, first of all, is that the metronome ter of four octaves. In order to have the accent come • desire. A student who s s questions con- should not be used over protracted periods. Ten to but, encouraging from a scientific standpoint, in that 9 takes issue with out on the last note, it is necessary, in this" formula, to cerning his problems, discusses, yes, ( fifteen minutes at a time should be the utmost limit. Self-help has long been a quality much admired by musical education do not go to work as young or take it has proven to me the necessary conjunction of left his teacher concerning them, „__t chance of at- play up and down three times in succession. rom the standpoint Of the Anglo-Saxon race, especially here in America. It equal responsibility with the others about the various hand development of the written idea in the unused areas taining worthwhile results. Given, for example, a piece in 3/4 measure, arrange As a final test of speed control through accent, com¬ a quite so soul-deadening or soul- the weight so that there will be a beat of the pendulum is not my purpose either to decry this praiseworthy ten¬ household tasks. of the cortex, in the right hemisphere of the brain. \ killing as lack of interest or lack of response on the part bine the above formula as follows: Play the ascending for each quarter. If many eighth notes and dotted notes dency or, on the other hand, to indulge in praise of it, It seems to be a law of nature that those persons Vocational work performed equally with both hands ‘fl of the pupil. On the other hand, nothing is quite so and decending scales on groups of twos, threes, fou,s, refreshing and inspiring to a competent teacher as this are in such a piece, it may be well to arrange the weight but merely to point out some cases in which b has been whose plans reach far into the future must always seem is a fine asset to the highest mental culture. Despisef^H very spirit of inquiry. Therefore, I repeat: Students, sixes and eights successively, remembering that a reg¬ to allow for six beats in each measure. In either case, selfish to those who live only for the day. One such not the workers then, for they are the salt of the earth 9 take your own cases in hand, co-operate with your teach¬ ister of four octaves is to be used for groups of twos unwisely used. ers in the attainment of desired ends, in the attainment whether you allow for three or for six beats, begin very Quite recently the mother of a six-year old boy spoke case, of particular interest, came under my observation. if located in the proper channels. There will not, as 9 of your highest powers of self-expression. and their multiples, and register of three octaves for a result, be any danger of any of us becoming individuals 9 slowly and accelerate the movement by degrees. Such three’s and their multiples. The metronomic variations to me of her future plans for his education, particu¬ Peter was the third son of a small market-gardener. a method will usually solve the problem of playing in larly in music. When a few years older, she planned Showing marked talent for the violin, in boyhood, he of one idea, but, on the other hand we do stand a chance qS The Nature of Errors and of Shortcomings above suggested should also be used in this formula. to have him take a “newspaper route,” and, with the attracted the attention of a wealthy musical amateur of becoming versatile specialists. This system of study, A Errors and shortcomings common to most students It is a good plan to keep a daily record of work done In compound rhythms, such as 6/8 and 9/8, the along these lines. One month’s practice of this type money thus earned, to pay for his own lessons. Had who paid for his lessons with a high-class teacher. together with the use of both hands is becoming the |l are due to inherent incapacity, physical defects, irra¬ weight should first be arranged so that each one of the will reveal considerable growth if the work is under¬ they been very poor, her scheme would have been laud¬ Peter practiced many hours a day; but his assistance future system of achievement, mentally, physically, and I tional and unscientific methods of study, ignorance (in morally. In answer to a query regarding the latter I the sense of not knowing) and insufficient mental dis¬ eights receives a separate beat. Later, arrange the taken conscientiously. able ; but they were in circumstances which rendered in agricultural labors fell to zero. His father and weight so that there are but two or three beats re¬ statement, I affirm that we may soar to unlimited.]I cipline. Physical defects are not discussed in this After having played all formulae in the scale of B such a proceeding by no means necessary. I said to her : mother complained bitterly to friends and neighbors heights of mentality, fearing no moral foe nor mental 11 article. Nor is much time or space devoted to literal spectively in the measure. Do not confuse 4/4 with Major, take up the remaining diatonic scales as here "Mrs. S., a boy can go to school and take music les¬ and Peter was regarded as the black sheep of the 2/2 (alia breve.) The latter signatuie has a line degeneration because the connection of the now developed ] I mistakes caused by carelessness and indifference on arranged in their order of difficulty: B, E, A, D, E, sons, or he can work and take music lessons, but he family; but he kept stubbornly to his own devices, at double speech, writing, drawing and piano-performing 11 the part of the pupil. Carelessness and indifference through the C, thus: flat, B flat, A flat, D flat, G flat, F, G, C. cannot do all three at once, for he must have time and last leaving home and finding work for himself, of a areas will be greatly strengthened. It is possible the I may, it is true, be caused by sheer laziness which under Minor scales (both harmonic and melodic forms) : energy left for practice. It has been tried too many not too arduous nature, yet sufficient for his support a different teacher may be whipped into well-directed Accent G, F, B, E, D, A, F, sharp, C sharp, B flat E flat, G times, and never with satisfactory results. Even if power of speech may be maintained throughout a para- ■ while he continued his studies. We omit the account lytic shock—restoration of a paralysed limb may be in- 9 activity. It is obvious, in such a case, that a change The metronome may be a most valuable aid in deve¬ time is found, energy will be lacking. A tired-out pupil of his intervening years of struggle. Suffice it to say can accomplish nothing.” finitely more possible by this fertilization of grey 9 of teachers is desirable, provided the parent notices loping a sense of rhythm. Without accent there can that he at length became musical director of a first- matter, also. any shirking of her child. If, however, frequent' be no rhythm; and rhythm is the very life, heart-beat Scale Work in Dynamics The writer once had as a pupil in Harmony, a young class theatre in New York, and earned a salary many What encouragement all this scientific application ■ changes of teacher do not effect a change for the better, and soul of music. Time and rhythm, however, are not The practice of scales is not excellent for the develop¬ man who was already a good pianist. He was attend¬ times that he could have earned had he been willing to ment of precision in accent, smoothness and speed only. should be to either the adult or early beginner in ■ it is also obvious that the child should not be permitted identical. Learn to play strictly in time. Observe the ing high-school one session a day and playing for the act the part of a dutiful helper at home, enjoying the By far the most valuable feature of scale practice is the piano study then! The writer’s experience in first try- I to continue study. letter of the law first; you will then be m a position development of touch control. A scale played with one “movies” afternoon and evening. He was ambitious, commendation of his parents and neighbors. He after¬ ing mirror writing with the left hand was comparatively ™ These errors are : Literal mistakes in playing of single to express its spirit freely (rhythmically). Scale pract¬ and the same degree of tonal intensity is a very unattrac¬ diligent and talented, and I, looked for a promising wards helped his parents financially to some extent. ' tive and drab product. The following practice should be easy and after some effort, found writing from left to 1 notes and combinations of notes as to pitch, duration and ice with the metronome is one of the most effective and pupil; but he was so nervous from overwork that he But a word of caution, on the other hand, against followed in addition to the work just discussed. right, easy of accomplishment with the same hand. The accent, non-observance of accidentals, ties and rests. interesting methods for the development of accentuation. Over a register of four octaves, both hands playing: could not guide his hand sufficiently to be sure to get a making an unjustifiable application of this instance. only hard process was in the art of composition which Shortcomings: Slovenliness in the playing of chords, The student should take the easiest of major ^ scales 1 Increase the power while ascending, decrease while note so one could tell if it were intended to be on a line There are some cases in which children are only too apt descending the scales. will grow as the left hand gains agility and speed. If faulty time, tempi and rhythm, inadequate and incor¬ (easiest, from the standpoint of “playableness ) the or in a space. I soon realized that his brain was in a sim- to take selfish advantage of their parents, brothers and 2 Decrease the power while ascending, increase while it were not true that these barren areas need fertilization ] rect methods of touch, dynamics, and expression B major scale, and play over a register of four octaves, descending the scales. larly uncontrolled state. He never accomplished any¬ sisters, under the guise of devoting themselves to the 3 Increase through the first two octaves, decrease by hand dexterity, the rapidity of idea would flow I generally. each hand separately and later both hands together. thing worth while in music until some years later when study of music. This, where it is really the case, is through the last two octaves of ascending scales. the same as when writing in the usual way. As a result A How to Overcome Literal Mistakes Assuming that the groups consist of sixteenths, the 4 Decrease through the first two octaves, increase he went at the study again under more favorable condi- contemptible and cruelly wrong, but how may a parent through the last two octaves of decending scales. of left hand piano practice, writing is easier—as a j following table of metronomic marks are suggested: distinguish? Easily! Just observe whether the boy or Literal mistakes are due mostly to inattention and 5 Decrease through the first two octaves, increase result of left-hand writing steadily practiced, speech 1 ignorance. In the first case the pupil is at fault; in Groups of two’s, through the last two octaves of decending scales. Another problem is in families where there are girl really works diligently at the lessons assigned and areas will develope. the latter, the teacher is to blame. Ignorance can best Metronome varying from J =50 to^ J—120 6 Increase through the first two octaves, decrease numerous children who go to work at an early age. wins the teacher’s commendation, or whether he merely through the last two octaves of decending scales. The characteristics obtained as a result of ambidex- 1 be combatted through enlightment. Inattention requires Groups of four’s, The total income of such a family reaches quite a re¬ • dawdles over them, plays whatever he likes and simply Now practice the following formula : terity together with piano playing are many, but, a few I mental discipline. Assuming, now, that the teacher is Metronome varying from !s' =40 to ^=100 For the first two octaves, parallel motion, then con¬ spectable figure, and they generally are able to afford amuses himself and wastes time. We have all heard trary motion (each hand covering two octaves), return only may be listed here. Rhythmic repose, or in other I competent to suggest proper modes of study and pract¬ music lessons for one or two of the children who show of the old farmer whose son had come home from an Groups of eight’s, to the position from which contrary motion started, as¬ words, control, bodily, mentally, and morally. Observ- I ice, we must again advise the pupil who persists in cend in parallel motion for two octaves, descend for two a talent in that line. But there is often grumbling and alleged art-course in Paris, who cdfhplained that the A, Metronome varying from J =40 to J =100 atinnal rhetorical and oratorical powers mav be doubly ■ playing inaccurately, to discontinue his work altogether. octaves in parallel motion, then repeat, contrary motion. jealousy because those who are spending time in their boy did everything just like a real artist, except paint. strengthened. I Page 688 OCTOBER 1921 THE ETUDE OCTOBER 1921 Page 639 THE ETUDE Embellishments and return to, starting point. This formula also affords Similarly, three against four are mostly played: opportunity for practice in dynamics. Both A word should be saiid also concerning embellish¬ “ul,“ “■“'v "-easing and decreasing in¬ hand may play independ¬ ments. It is obviously the duty of the teacher to in¬ ently of the other In this connection let i onsider one of the most com- struct the student concerning the meaning of symbols mon failings of students the playing of scales. This and the execution of embellishments. It is well to play is the ' Liming out of the' thumb joint. It is imperative a passage or a phrase without the embellishment, so as Eliminating Stiffness in Piano Playing this joint slightly inward ; otherwise the playing of scales v ---|--JdR.._iously hampered and little progresses to fix the melodic line upon the mind. This line must be made along the line of speed. The necessity of relaxa¬ not be distorted when the embellishment is added. Knocking Down the Blank Wall in the Way of Progress tion will be discussed later; but in playing scales the elbow should be perfectly free and the hands slightly Remember that embellishments are to be played in dia¬ in Grade Three tilted, the left hand when ascending and the right hand To overcome this defect, first think the following tonic degree unless otherwise indicated. One of the when descending. rhythm and tap it with a pencil: commonest mistakes in the playing of embellishments By GEORGE DUDLEY MARTIN happens with mordents. Most pupils play these like Rhythmic Practice of Exercises triplets. Mordents should invariably be played with the Ex. 10 Many technical exercises may be varied to afford an accent on the third note, which follows the two shorter abundance of rhythmic models which will enable the rznn notes, thus: student to gain greater control of the fingers. Taking, for example, Czerny’s Study Op. 740 No. 17, each Taking two pencils, tap as follows: before him. He knows he must somehow translate group of sextuplets may be rhythmically varied as fol- There are in this country a good many music teach¬ efforts and higher ideals by playing for him frequently that note into sound by striking a certain one in the m ers who still live in the bygone days of Lebert and from material in the grade ahead. In short, can you multitude of keys with one of his fingers. He isn’t R R Stark. Numbers of pupils of such teachers now teach a pupil to do what you cannot do yourself? Errors Caused by Inattention any too sure just which key that black dot on the page First version: have classes of their, own and stick to the same old A non-legato touch is first essential, if one is to n n n. n n n. this heading we have non-observance of ties, represents. He concentrates his mind on the work nr.,i slovenly playing of chords. All of methods by which they were taught, either beause they acquire the ability to play easily and gracefully rapid at hand and right there and then his muscles contract. e by close listening. Students n actually believe in them or because they know of no passages of any kind. If we would attain speed, we ever be reminded that rests are quite as important as They do I’ve literally seem them do it, many times. “m Reduced to a simple working model at the keyboard, others. All such are -by their natures antagonistic to must first attain a perfectly natural hand position. The notes. When Berlioz was asked what, in his estimation Not only the hand muscle but also seemingly his whole we have: was the most distinctive and effective feature of Weber’s any suggestion that a thing or a thought may be new hand must do its work on the keyboard with the same music, he answered : “The rests.” Give your listeners a freedom from restraint that characterizes the act of body becomes rigid with the intensity of his mental rest once in a while. Remember that silence is golden. and still have merit. effort. He is trying to do something new with his Second version: On the other hand are many, very many teachers using a table fork or picking up a lead pencil or doing Ex. 12 hands and his mind at the same time; and his muscles who were fortunate enough to come under the influ¬ any of the hundreds of things 'our hands do daily with Ex. 2 s that the t: act in sympathy with the mental strain under which he tailed or sloughed 01 ence of broad-minded and progressive teaching in their unconscious accuracy and grace. nr7J. .fj. One of the-‘ common shortcomings of piano students Any system or method that interferes with such a is working. That much may be admitted. So, right is playing,,„6 hand after the other, when the text indl- student days. from the very/ first time he tries to play h certain ‘that they should be played simultaneously. Tills It Is perfectly true that no student of. piano playing hand position at the same time lessens by just so many printed note on the right key, his hand muscles are in is neard most frequently when both hands arc to play ever should hear the word legato until long after he the pupils chances of getting beyond grade three. chords; but it often happens (as in Chopin Nocturnes) a strained, unnatural condition. Habits form quickly; Third version : when the right hand has but one note to play. Th(. has ceased to be a beginner. A legato touch is truly and it is almost no time at all until his hands seem effect of this kind of playing is slovenly. It is caused hy “a musical asset and not a mechanical one.” It is a the reading of one hand a slight fraction of a second automatically to stiffen at the bare sight of a page of Ex. 3 after the other, instead of reading both hands simultan¬ part of the province of Expression and not of Technic, t four, use Chopin's Fantasy Impromptu and Etude eously. Closer listening will overcome this distressing music. From the very start he is called upen to do habit. and as such it is directly opposed to speed. mrr. When will piano teachers in general learn the lesson something new and difficult and this demand on his mental and physical resources continues on through of relaxation? Why do they (and they do) preach the first and second grades and into the third. At Fourth version: Ten Thoughts for Music Students relaxation with one breath and a legato touch with the next? A legato touch is essentially a pressure touch, each lesson and very likely during each practice period a forced and unnatural touch, and cannot be produced his hands are more or less cramped and rigid; if not By T. L. Rickaby without contracting the muscles and consciously keep¬ in sympathy with his mental attitude, then why? ing them contracted. It is impossible to play a rapid Little effective effort is made to prevent him from I. “It is a mistake to play too many technical exercises his own steam,” as they say of ships and locomotives, scale passage with a true legato touch. It can’t be done. forming this calamitious habit; and he of course never dreams that daily he is placing one stone on another in For chord work along similar lines, Czerny’s Study at any one practice period. Rather take one phase of and not depend on some outside power to get anywhere.” Speed and a legato touch simply do not mix. Op. 740 No. 21 may serve as an excellent medium. technic and work with concentrated energy on that. (Incidentally, it might be said that all teaching worthy A rapid, passage may be smooth as velvet, the tones the wall that will completely halt his progress some¬ where in grade three. To make a bad matter some¬ The above versions may likewise be adopted and applied Arpeggios one day, scales another and so on. By this the name, should be directed in a large measure toward may blend like liquid fire, they may melt one into the what worse, he is severely restricted in the manner in to this study. means you will be able to devote sufficient time to each this end). other in a manner to make the hearer catch his breath, which he is to push down the keys. Not only must he Another quite difficult version consists in playing feature to accomplish something.” VI. “Average music pupils would accomplish more but they are not legato tones because a legato tone is the last study in triplets. As each measure contains II. “All real growth is slow, and music is no excep¬ the result of conscious pressure and such a passage, play a certain key to make a certain sound that will and become infinitely better performers if they would correspond to the printed note, but also he must do 16 sixteenths, the accent will not “come out” evenly tion; so it is useless to look for immediate results. Yet first, do one-tenth of what they are told to do; and, to be played at all, must be done with unconscious.ease, that is j'ust what the average person does. Instead of grace and facility, to say nothing of- the fact that the this in a certain way. This demands further concen¬ until the 4th, 8th, 12th measures, and so on. second, if they would do one-tenth of what they ought comparing your work to-day with that of last week, com¬ player simply does not have time to impart to each note tration of mind and once more the fingers pay the to do without being told.” Complicated Rhythms pare it with that of a year ago. Then you may more rea¬ the individual force necessary to make it legato. The penalty. So, when he finally arrives at grade three the VIII. “Do not “spell” out your music letter by letter, habit of playing with more or less rigid hand muscles Most pupils experience considerable difficulty in cor¬ sonably gauge your progress. Go every hour and watch legato effect in such passages is the result of correct note by note. As a general rule all music comes either in is pretty sure to be deeply grounded. Also, about this rectly playing two notes against three and three notes the plant, and no growth is apparent. Wait a month or pedaling. scale groups or chord groups. Try to think in such time he begins to find passages in his work that calls for against four. In the vast majority of cases, they play so, and there will be no question as to its increase.” I do not teach the legato touch, as such, to any great a little speed and speed he has not. He does not two against three as follows: III. “Horses, cattle, sheep and hogs must be driven. groups. This means that you must acquire as soon as extent. After a pupil has learned the bare meaning They seldom go where they ought, by accident. If you possible a knowledge of scales, chords and arpeggios. of the word as it appears on the printed page of music, realize it then, perhaps never, but the reason his fing¬ must always be told of the correct note, the rest, the This comes by much playing, sight-reading, and chiefly it is much more effective to direct his attention to places ers balk at his efforts to make them travel fast is that Ex. 5 tie, the finger, you are being driven. Use your eyes, perhaps, by writing. Writing trains the eye, and good where sustained tones are required by insisting that he the condition of his hand muscles, when playing, ren¬ your ears, and above all, your mind and memory.” reading depends on a well trained eye.” make melody sing out, instead of repeating in his' ear, der any such quick and spontaneous movement im¬ possible. IV. “It is just as easy to strike the right key as the IX. Who does your arithmetic problems for you at “legato, legato.” wrong one. Think first. A cat can strike wrong notes.” school? You or your teacher? Your musical problems Let us consider for a moment the enormous amount The point in his progress at which he has now ar¬ V. “At the first lessons the teacher must do practic¬ must be solved, and your musical tasks must be accom¬ of damage done and energy wasted by the barbarous rived is almost sure to be his stopping place. Few, ally all the work; but only at these. Very early must the plished by yourself also. If some one else does this, old method that required the back of hand to be per¬ very few, are willing to put forth the effort necessary pupil begin to assume some responsibility, must work, and your problems will be solved, and your tasks will be fectly level from the wrist to the middle finger-joints George Dudley Martin to correct the multitude of bad habits that are the nat¬ In order to overcome this defect, first THINK the think, by and for himself. He must be taught that it is accomplished, but you will receive no benefit. Do it and then bent the ends of the fingers sharply down¬ ural growth of the one big parent habit that was following rhythm, or better still, tap it with a pencil, “up to” him to use his mental powers, develope initiative, yourself.” ward at right angles. This relic of the inquistion is Learning to play the piano is at best difficult enough. permitted to find a lodging place in the hands at the very first lesson. So the others quit for good and who thus : and “do” for himself all that can reasonably be expected X. Just as the clock runs down—so will your enthu¬ still surprisingly in vogue. It includes usually the Teachers who take beginners have need of peculiar and can blame them? I wonder of some of these pupils of a human being at his age. He must progress “on siasm, wind it up by reading your Musical Magazine. lifting of the fingers as high as possible for each unusual talents, in order to start such pupils pro¬ stroke. Also, it harbors a conviction that a very perly on the right road. Young minds and muscles are do not occassionally feel a vague resentment that they ' heavy” piano action is a requisite for proper progress. queer things and play many pranks that puzzle even the could go so far and no farther, and if they do not Five Wasted Years How may the teachers, who insist cn turning the most experienced teachers. sometimes wonder why. studio into a torture chamber, be made to see the For some reason unknown, the moment the hand is There is little doubt that one of the most trying and discouraging facts a teacher has to meet is that most Now, taking two pencils, tap the same rhythm as By Ira M. Brown light. A music lesson ought to be a joyous thing for called upon to perform the unaccustomed act of pressing teacher and pupil; it should be an hour of pleasure pupils fail with a piece calling for easy, graceful, here indicated (R represents the rignt hand and L, down a piano key, just that moment it becomes seized and profit for both, something to which the pupil cf cramps. It stiffens rigidly, all power for free and fluent execution; and that test comes usually about the the left.) A hard working student experienced a standstill in and “notes” are really not delightfully inspiring. Marks should look forward as one of the interesting things of end of grade three. her studies, which began about the end of her third year. of phrasing and expression meant nothing as a genuine natural action leaves it and any movement it makes is life and the teacher with a proper feeling of respon¬ If ever a teacher and pupil are facing a blank This lasted nearly five years, during which time she part of the music, because she had not been taught to strained, forced and the result of will power on the Ex. 7 sibility that it is up to him to make it so. But I must part of the controlling mind. Why? wall, it is surely then; and what can be done? accomplished but little, compared to her previous advance¬ use them. get away from this subject. I am a crank with a The time to have done it was away back at that first ment. Then good fortune brought her in the way of a new I have heard and read many explanations of this notion that pupils should come for lessons because lesson. The thing to have done was to prevent. teacher, one who taught music. Soon she began to fact, few of which have been wholly acceptable. The Perhaps she herself was partly at fault; but, as she they want to come—and it is really easy to make them Then there would now be nothing to correct. realize that notes really mean but little in themselves, eye of the beginner in playing sees a note on the page later said, had her teachers helped her to develop her want to come. Parents are somewhat to blame for the existence of that they are but the outward clothes of a musical idea.’ imagination, to create higher ideals, to awaken the Many pupils are still in third grade because their this almost universal type of pupil. It is still true in Through the study of phrasing and interpretation, she TEditor’s Note: The very inters Applying this model to the piano, play as follows: esthetic sense, and had they carried her more forward in¬ teachers are technically incapable of advancing them dious compositions of Mr. Georee idley Martin are well this country that comparatively few people know any¬ to the studies of the classics, music would have taken on began to understand something of the inner spirit of known to the readers of the Etude Mr. Martin was born thing whatever about music or piano playing, in spite beyond it. A teacher must of necessity play so much in Scranton, Pa . and received hk nnsieal training from Ex. 8 a real meaning to her and she would have worked with music. Study became a pleasure, and reading the litera¬ better than any of his pupils that he is a source of Dr. Hush A. Ciarke, Ponstantin von Stet of the fact that immense sums are being spent in efforts an entirely different purpose. ture pertaining to the musical art was now not only a constant inspiration to them, and it is certainly true ser, and Dr. Alfred Wooler, Amons hi to learn. Fewer still are aware of the knowledge and (taH'r profitable but a very pleasant employment. Whether she compositions are Wood Nymphs and Ln \ if t f r— As it was, her work became scarcely more than an that many teachers all over this country are not good Martin’s article is one of these “Very m infinite care necessary to start a child properly on the -P— suffered from the ignorance, carelessness or selfishness discussions of a subject founded upon exercise in sight reading. Her practice could scarcely fourth grade players. How then, are they to illustrate road to musicianship. Result: the fearfully mistaken of her early teachers, she certainly was an unfortunate Every teacher with an alert mind, who keeps in lom-u wuu be dignified by that name, because she was not interested easily, accurately and with that necessary touch of modern methods, finds out a great many practical helps idea that anyone is good enough to start with, the victim : for now she is working with a will and in many and is anxious to comnuiieate them to others. We wel- A page of music meant just so many notes to be learned; authority, the material at hand, to say nothing of the cheaper, the better. So a very large number of pupils ways fast becoming independent of the teacher. ributions of this kind when they are really fresh very important point of leading the pupil on to better sl-1 have no chance in the world of learning really to play. THE ETUDE OCTOBER 1921 Page 641 Page 640 OCTOBER 1921 THE ETUDE

Almost every normal person likes music and would Individual Teaching ' ■ -v "?; like to be able to play; that each one has the making % .-5 :?It!V . L x „ • -K" ‘ I ''N*LffLxH : : ■ ! of a fairly good player somewhere in him. I believe also that most of these potential pianists are placed under By Eugenio di Pirani such a handicap at the beginning of their studies that W their natural love for music is destroyed in the course m w I rt Here and There in W i of two or three grades. Little difficulties, that should various obstacles. To that purpose he has to invent The insistence by certain teachers upon the use of a * " ■ ' > not worry them in the least under proper guidance, fixed method with the various types of pupils is in my preparatory exercises which may be different with i! !' ^ - a multiply until they become an effective barrier to furth¬ opinion a great mistake. The intelligent teacher must every single pupil. Hence the necessity of an individual || the Field of Music er progress. The pupils soon become indifferent and use as many methods as he has pupils. method of tuition. discouraged and the parents conclude that Susie and Every piano student realizes that each composition But, after the technical hinderances have been over¬ Willie are not very musical anyway and that more he tries to interpret offers some technical or purely come, the task of the student and of the teacher is by HE immense interest in all details An Intimate Page of Fact, Humor and Comment of £185. Miscba Elman was quite money spent for lessons will be wasted. And they are Th ;vith t - musical problems which he finds difficult to unravel and no means ended. There remains the higher, the most connected with the passing of partly right just as they are partly to blame for per¬ with the Great Music Makers of svith thi t his shoulder, playing nr to overcome. However those difficulties are not the same Caruso illustrates better than any¬ f* ?! 3, -double stopping and all mitting, by their lack of knowledge, such things to artistic part of the interpretation. In this, also, the ; for every student. As a matter of fact that which thing else the place of music has come To-day and Yesterday is of big technique, with 'happen. greatest disparity among students may be found. The appears hard, even insuperable to the one, proves a trifle and abandon absorbed in one is endowed with a fervid imagination. The teacher to take in modern life. It may be safely fiddle’s capacities, To get to what I started out to say, pupils fail to to the other, that which scares one student may appear develop ability to play fast because they play with may easily convey to him pictures, visions, embodying said that there are few homes in America owing to the distance I as a plaything to the other. It depends not only upon possessed no car, and that cramped hand muscles. The hands cramp because the poetical meaning of the work of art, which can often where the name Caruso is not known. In the mental attitude but often upon the formation of the because of age eep early hours and would they have been permitted to cramp from the first lesson millions of homes his voice will live for By THE RECORDER hand and of the fingers. The one, as often the case become a revelation to the young artist. Prof. Marx hi;;! d his public concerts, Mis- to the last one. . This defect in the pupil’s playing decades. Think of the public characters and then played to me in males, has strongly built, muscular, fleshy hands. in his comments on the Beethoven sonatas invents a shows up first somewhere along in the third grade; you know, your leading jurist, your lead¬ this new fiddle, the first Rubinstein had the hands of an athlete, with bulky, novel for every one of them, which may or may not be 'ement of Mendelssohn’s Violin Concerto, because pieces calling for speed are usually introduced ing clergyman, your leading merchant and fleshy finger tips. Hands of that type are especially the real meaning Beethoven had in mind, but, at all " with thi ~ ice, all exquisitely. about this time. try to imagine which of them came nearer ’ema con Variatsione fit for powerful, heavy chords, of a wide range, for events contributes to the inspiration of the interpreter. 1 Legato playing, and staccato as well, should be avoid¬ to the hearts of the people than the won¬ by Corelli, of artistic ijtcrpre- orchestral playing. On the other side, the .plumpness ed as a pestilence, at least until the hand muscles are Another pupil, on the contrary, is not equally inclined derful art of Enrico Caruso. of the fingers makes it difficult for their owner to strike HAT become of all the rare Cremona violins? d found the well suited t under such control that simple scales and broken chords to poetical thoughts. It often occurred to me, that after Caruso was notoriously generous. He could have W Mischa Elman 1 into the narrow space between the black keys and, as Why are they so valuable? The answer is and the lie- or tne neck so wen a- can be. played easily, gracefully and fluently, at a speed having tried to bring before the eyes of the student a died a much richer man if he had not given so much to his own style, that he asked and was the case with Rubinstein, necessitates the unavoid¬ simple. The world—that- is, the musical dapted for shifting that precludes all chance for individual attention to poetical image suggested by the composition, he or she away to help those in distress. In talking with him received permission for t 3e. of that Chinese young able sounding of wrong notes. It is astonishing that world—is expanding every minute and it is a very,very forthcoming tour through to each tone and with no conscious effort. looked at me with an idiotic expression and confessed there was no suggestion in his demeanor that- he realized man’s violin all through in spite of his heavy lion paws Rubenstein was able to big one. Major W. G. St.. Clair, of. the British Aarmy intended to be ‘ left at Legato playing is simply ruinous to a beginner. A finally with candor that, in spite of the greatest efforts, that he was probably the greatest male singer of history. bring out of the piano the most gentle, ethereal sounds. located in Singapore, Straits Settlement, in a recent letter Batavia where they would be overhauled and recondi¬ continued legato, calling for a conscious pressure on each he could not see anything of the kind. It would be utterly tioned by skilled men connected with the famous Dutch The same phenomenon I noticed in Ignaz Friedman, He was exceedingly simple in his manner although he to the Recorder gives an insight to the interest in violin key, not only in order to force the key down but also useless to insist on enlightening this type of student. Staff Orchestra there. who also is possessed of a strong, powerful hand. enjoyed lavish furnishings. Once the recorder had the playing in the Far East during the recent world tour of to keep it down, will quickly tire and cramp the hands A less imaginative, more commonplace explanation of Other pianists, on the contrary, as, for instance, privilege of going over the cherished treasures of Mischa Elman. Major St. Clair, because of advancing In gratitude for his treat the Major immediately ar¬ of an experienced pianist. If you doubt that it will, the composition is here needed. Liszt, and most women cultivating this instrument, have the great singer. Most of the crowned heads of Europe years was not able to attend concerts, but Elman was ranged for a return visit of the violinist and has pro¬ try it. If such a touch will so effect capable, well I was once teaching a pupil the famous Prelude in D long, slender hands and elongated1 fingers tapered to had showered priceless gifts upon him. The Kaiser told of his interests in violin matters and visited the vided free seats for students.members of the governmeht developed hands—but why go on, isn’t the answer flat by Chopin. In the middle part, where the psal- a point. This type again finds it easier to circulate was one of the greatest admirers of Caruso. His Major. The foiling is an interesting extract from the bands, and players in Hotel and moving picture orchestras obvious? Any touch, or, to put it in different words, modic theme in C sharp minor starts in the left hand. I amidst the narrow lanes of the keyboard and is especially gifts to the singer were especially costly and rich. letter. of Singapore (think of it, Singapore) 1 any method or way or system of causing a key to des¬ tried to explain my thought; “Monks were assembled fit for scales, arpeggios and all kinds of light rolling Yet, Caruso in fumbling around in his treasure Ten year old children have ceased to gape when aero¬ cend and produce a tone, excepting the natural way, around the coffin containing the remains of the deceased passages. chest took far more pleasure and far more interest “Mischa Elman visited Singapore of his planes fly overhead. The flying machine is one of the is, with beginners, sure to lead to grave difficulties al¬ and they were singing the prayers for the soul of the Eastern tour, and gave two violii recitals at the Victoria in handling a little bronze statuette dug from its commonplaces of our life. Fifteen years ago it was a most from the start. This unlikeness is striking with the different pupils. beloved one.” Theatre, with the most pronounced___be success, well century old sleeping place under the lava and ashes of imagined. It so happened " __1 ’both ” ’his 1 Stadivarius and his marvel that stunned us all with its possibilities. There A piano key is to be struck, not pushed or pressed Among my disciples I have a girl with exceptionally The would be pianist made a sign of understanding Herculaneum—from the same spot where as a boy he feeling the climate, and he did may be some musical youths who do not gasp at the or coaxed, down. The term best describing such a short hands and fingers. She cannot reach an octave and started again to play the second part. She accented not think it wise to risk retaining the strain upon them by used to dig when they were recovering the vanished idea of a Dutch Symphony Orchestra in Java or a Chi¬ stroke or blow is “non-legato”—that is, neither legato and must strike most chords arpeggiated; but as a com¬ forcibly the chords in the left hand and imparted to using them any further at his concerts. And so a Russian city. What was the bauble of a Kaiser compared friend brought him four miles out of town to call upon me, nese owner of a rare Cremona; but those of us who can nor staccato. The pupil will use this touch of his own pensation she has a natural gift for trills, scales and them a decidedly martial, military expression. I stopped passages of thirds. with the art of a great civilization long passed into as Elman had heard that my wife had a Ferdinando boast a few gray hairs will never get over being a- free will just the moment his hand muscles are per¬ her and said: “My dear young lady, you suggest with Gagliano. I need hardly say that I was delighted at the comparative oblivion? mazed at the musical interests in the land of the tigers, mitted to forget that they are doing anything unusual. Another pupil, a young man, has an enormously your playing rather a regiment, marching accompanied visit, having practically given up hope of hearing him, How much Caruso may have been injured by smoking as the hours here for the theatricals and entertainments lotus, elephants, juggernauts, cherry blossoms, temple A pupil in the early grades should never be assigned large hand. He can play tenths with one single stroke by drums and trumpets than a chorus of humble monks will never be determined. Those who remember him are very late, and Elman’s two concerts began at 9.30 P. bells and interminable mystery. tasks that seem to him tremendously difficult. His and hardly needs to use the arpeggio, except when it singing the litany of the dead!” The comparison M., which is the hour I go to bed. The tone was not is prescribed. will find it hard to picture him without a cigarette. practice material should be such as can be learned caused unbounded hilarity and—helped1. Once the Recorder went to his dressing room where quite big enough for Elman, but we put him on to This difference of disposition requires varied systems another lady who has also a violin by the same maker. quickly and played well. Observe that whatever your Altogether every student offers to the teacher a differ¬ the great tenor was changing his costume for another of tuition, qute different tasks for the teacher, who must And this violin he used at his first concert here. The HEN the great meet, the bystanders are often pupils play best, they also play easily and freely and ent problem, which solution necessitates a different act of Rigoletto. He was very restless and was calling afternoon following that we had an invitation to tea to with a minimum of that mental effort that tends to find out for every pupil a way of conquering the disappointed. John Luther Long, who was individual treatment. loudly in Italian for a cigarette. Knowing the singer’s meet Elman and Mr, Arthur Loessler, his accompanist, turn fingers into sticks. at the house of an old friend of mine, the Hon’ble Dr. responsible for the beautiful story and play preferences, the Recorder had remembered to have on w Not absolute relaxation, for that is neither possible Lim Boon Keng, Chinese Member of the Legislative which gave Madam Butterfly to the world, had long hand a supply of a choice Russian brand. Whatever Council of this colony, whose son having spent some time nor desirable.. Not the stiff and stilted “methods" of wished to meet Puccini the composer of the opera. The the singer’s fee may1 have been that night he could in Chicago studying motor engineering,, travelled with our own youth, for they were and are destructive of Elman across the Pacific from San Francisco. So that meeting took place in Philadelphia after hundreds of not have received it with more keen delight than he did talent in wholesale lots. But a happy medium, far re¬ Take It Home and Practice It Some More in a way it was quite a little party of friends; About performances of the opera had been given in all parts that box of cigarettes. On another occasion the Record¬ seven or eight educated young Chinese were also of the moved from either extreme,.of a natural hand position of the world. Puccini does not speak English and Long er visited Caruso in his New York residence at the party, and two of them, brought violins for Elman to producing a natural touch, a free and easy and grace¬ look at. should he desire to try them. does not speak Italian, Puccini, however, boasted one Hotel Knickerbocker—the famous caravanserie of emi¬ ful touch, that alone will give to our playing the speed One of these, a real Cremona, by an old maker who word in English and this was “Fiffer” which being a and facility necessary to advance us over and beyond nent musical artists now turned into a thoroughly really made very few instruments, whose name has for little better Anglicized means “fever.” Conversing by prosaic office building. On entering the room the fog the moment escaped me, was bought by one of these the blank wall in grade three. It is remarkable how often this direction is given by young Chinese lads during a stay in England, for the means of an interpreter is about as interesting as talk¬ Now to get back to the piece that is to be “taken of cigarette smoke was so dense that it was difficult to ing to our friends through a wet blanket. Consequently teachers. While the pupil may need to “take it home home and practiced some more.” What is wrong or de¬ discern who was at the other end. The tobacco and practice it some more,” and while the teacher may this historic meeting was reduced to a dialogue like this: fective in the pupil’s work? Find that out first, and, chimneys were Caruso and Scotti, (the great baritone Puccini (much excited and exceedingly warm, gesticu¬ be sincere, the advice is to a large degree useless. being sure that the pupil recognizes the mistakes or and inseparable friend of Caruso). lating with both hands to indicate his temperature)— First of all, the pupil can either play the piece or he The Pupil Who Yawns defective parts, emphasize the need of concentrated effort Caruso’s successors have already been advertising THANKS! Many thanks to you and the “Fiffer!” Long (confused)—“Fiffer? Oh, you mean can not. He can learn no piece satisfactorily to himself themselves in all parts of the land. The Recorder has at these special places. Be sure that the pupil is prepared large number of Etude friends who fever, heat—very hot.” or others unless it is in his grade, and well within his known most of the singers of the past quarter of a have taken the trouble to write to us and S. M. C. to accomplish what is to be done. In school, when a child Puccini—“Si, fiffer.” grade. Moreover, he must be ready for it, not only century and has heard most of them in public and in tell us that they have enjoyed the spirit in does not seem to know what nine times anything is, the That’s all. technically but mentally As a rule the pieces given to teacher simply suspends all arithmetic examples until the private, • accompanying several at the keyboard. If which this newly inaugerated section of Probably most of us have occasionally met the nervous pupils are too difficult. The young player is not equip¬ Caruso has a successor the Recorder has yet to hear him. The Etude has been presented. technical feature involved—in this case the multiplication Sometimes The Recorder will have a page pupil, the fussy pupil, the unresponsive pupil, the pupil ped to grapple successfully with the mechanical tasks A report from London gives the statement of William table is mastered1. So in music, if the weak passage con¬ —sometimes a column—sometimes a para¬ OW John Philip Sousa floored John G. Johnson, who frowns, and the pupil who weeps, or one who gives that appear; and after a struggle, gives them up. In ■ Lloyd, Fr. R. C. S. in which that well known throat H sists of arpeggios, see that the pupil understands the graph—some months he will not appear at “America’s, greatest lawyer” whose ability was Other manifestations of lack of interest in music study. cases where, by dogged perseverance, a solo is learned, specialist who had attended Caruso insisted that the principles that underlie all arpeggios; and so on with all all. Everything will depend upon what the admired by the entire American bar, is a story Perhaps the most distressing of all these types is the it is often abandoned because the player is tired of it and singer’s larynx should be preserved in the National Recorder has that is really worth while to technical features, which ought to be mastered outside of well worth telling. Lt. Sousa is an institution, not only pupil who gives expression to a spirit of passive endur¬ all the work goes for nothing as the music immediately Museum of Italy because of the altogether abnormal send in. the pieces themselves. We may improve technic by here but around the entire musical world. He is some¬ ance by a succession of “lingering yawns, long drawn leaves the fingers, because it is not rooted and grounded, character of the vocal chords and the vocal tube. Ac¬ When we started this section it was with playing solos, but we do not acquire technic by means of thing far more than a mere musician and composer. His out.” Nothing has a more deadening effect on the as it should be, on a rock-bed of technic. cording to report, Caruso’s vocal chords were one and the understanding that it was to be one of pieces They require technic to begin with. the most readable and entertaining depart¬ contagious personality is reflected in his marches and is enthusiasm of the teacher than a yawning pupil. The Octaves, common chords, dominant seventh and dimin¬ one sixteenth inch long, while those of the average man Therefore it is absolutely necessary to be sure that ments dealing with the personalities, the responsible for a large measure of his success. When feeling is akin to that of a lecturer facing a sleeping ished seventh chords with the arpeggios founded on are only three quarters of an inch long. His epi¬ the pupil is technically able to do what he is told to do • wit, the bright ideas, the “new wrinkles” the band toured Europe, the foremost critics were said to audience. Every effort should be made to arouse such a them; together with the major, minor, and chromatic glottis, according to Dr. Lloyd, resembled that of a and then, instead of saying “Take it home and practice the ideals of music workers great and little have had “Sousaitis” because the American bandmaster’s listless individual to an appreciation of music study, to scales, form ninety per cent (if not a still greater propor¬ bass as well as of a tenor. His voice was so powerful in America. it some more,” say “Take it home and think more,” or instrumentation was so original that he brought surprises stimulate his interest by novel features introduced into tion) of the material entering into the make-up of piano that it broke glasses in the consulting room of the The Recorder is a busy, alert, exper¬ “Take it home and remember more.” But see to it that at every concert. What would they think of his present the lesson- until every vestige of boredom is destroyed. music. For the first three years of a pupil’s course, these specialist. ienced optimistic musician, who has he is given something tangible to think of and to re- organization of nearly twice the size, greatly increased If this phenomenon is one of frequent occurence, it should receive the closest attention; for it is on these As with man singers, Caruso’s voice was not always known personally many of the foremost member. composers and artists of our time, meets “virtuosity” and with the finest procurable instruments? is well to inquire into the health and habits of the pupil. technical features that the pupil’s future as a player de¬ agreeable when heard in a very small room. It re¬ Practicing does little or no good unless thinking is them frequently and is given to under¬ Judging by the box office thermometer Lt. Sousa is at Moreover, a careful examination- of our methods may pends. In spite of the claims of idealists along this line, quired space. The Recorder remembrs hearing him mixed with it. Let the weak or difficult parts be mark¬ stand that the material he presents must the very height of his popularity. He was never in finer reveal the fact that it is. necessary for us to rouse our piano playing must primarily be mechanically correct, in sing in an apartment of little more than hall bedroom ed, and give lucid suggestions as to ways and means be fresh, independant, fair, and always physical or mental condition and his latest marches energies to greater activity, eliminate the dull features fact practically automatic, if it is to be anything else size. Some singers seem to be unaffected by the size readable, or it can not have a place in for treating them. Then results may reasonably be such as Keeping Step with the Union, U. S. Field of the lesson, vary the manner of procedure, in short,, of the room. Melba was one. Once the Recorder The Etude. worth while. looked1 for when the pupil is told to use every means that might add freshness and charm to heard her in a small parlor and it was difficult to imagine Artillery, On the Campus, etc., are only equaled in success by their famous predecessors. the lesson, and make our pupil absolutely yawn-proof. Take It Home and Practice It Some More anything more perfect or more exquisite. THE ETUDE Page 642 OCTOBER 1921 THE ETUDE OCTOBER 1921 Page 648 Not long ago the Recorder had the pleasure of visit¬ Some Stereotyped Faults in Piano Playing ing Lt. Comm. John Philip Sousa at his home on the North Shore of Long Island. Surely Sousa has mas¬ By Francesco Berger tered the art of getting the most out of life, and, inci¬ dentally, of helping his charming family and hundreds whole weight of arm to escape from the elbow, and i, History repeats itself—so does humanity. The sur¬ of friends to enjoy life with him. to be reserved for fortissimo only. We all know that The Story of Automatic Music Like all outstanding men, he plays just as hard as he roundings of our life to-day are different from those of the Elizabethan age, and those that obtained then the legato touch is the very foundation of all good play¬ works. One of the rooms of his home is a veritable Some Things About the Player-Piano that will Interest the Everyday Music Lover were very different from men’s surroundings in the days ing- it must, therefore, be the first to be understood and museum of trophies he has won at trap-shooting con¬ of ancient Rome or Greece or Egypt. But man, his vir¬ practiced. But staccato of the right sort is of very nearly tests in all parts of America. It is hard to think of a tues and his vices, his habits and weaknesses, his “char¬ equal importance, and offers a fresh set of difficulties to By GORDON BALCH NEVIN musician as a champion shot! acter” in fact, has altered but very slightly. Whether be overcome. It is good advice to practice all scales and Another notable feature of his home is the library of he counts his possessions in camels and wives, or in arpeggi with legato and finger staccato touches. Wrist rare volumes that would raise the enthusiasm of the most shares and debentures, whether he aspires to live the staccato may be deferred for a time, and arm staccato rabid bibliophile. Then there are the stables, including a ideal life or contents himself with the material, whether need only be practiced when demanded by the com¬ wonderful Arabian charger; the Music Room; the he shoots his enemies singly with flint arrow-heads or thousand persons were employed in this one trade. In position. Automatic music, using the term in a generic sense, delightful wooded beach overlooking the Sound; every¬ murders them wholesale with Krupp guns, he is the same this country the barrel-operated piano has ceased to The Importance of Rests may be said to be approximately five hundred years old; thing to make life worth while. old Adam, actuated by the same desires, prompted by be a popular thing in the home, as it formerly was, due that is, the earliest attempts at mechanical reproduction Nothing could show the many-sided character of the the same motives, falling into the same errors, The (c) Rests are so very important that one wonders to the rise of the modern player pianoforte. of music are discernible about that long ago. Com¬ composer of “The Stars and Stripes Forever” and leopard that cannot change .his spots is but the symbol why they receive such scant attention even from players About the year 1850, a Frenchman—M. Debain, in¬ mercially, however, it may be regarded as being of “Keeping Step with) the Union," better than his home. of man throughout the ages. And as with the entire race, of advanced technical equipment. They either clip their vented a device for the playing of the pianoforte, en¬ quite recent origin. Indeed, such phases of it as the While browsing about the library the Recorder came so with individuals, and as with individuals, so with stu¬ “rests” of part of their value, hurrying through them tirely mechanical in construction, which though crude, successful reproduction of the actual keyboard manipu¬ upon the proceedings of the famous law-suit in which the dents in general, pianoforte students not exempted. like a railway train hurries through a tunnel, or spend contains the germ of the modern player as we know it. lations of great artists are matters of only a few years family of a former manager of Sousa attempted to con¬ Everybody may notice, and parents will indorse the their value by lingering, on whatever preceded them. I This device Debain termed the “Piano Mechanique.” standing. vince the court that the rights of the impresario extend statement, that although one child differs from another am not aware that any remedy can be prescribed for In it were used a set of hammers which terminated in in temper, in instinct, in personal appearance, in disposi¬ after his death. The Prosecuting Attorney was none this fault, except the general one—count during rests as robably the earliest form of automatic music-malting of a set of fine teeth, compressed like the “comb” of the other than that giant of the 'bar, the late John G. Johnson, tion (i. c. character) and in habits, yet all children have well as at all other times. The Italians have a saying: ch we need take cognizance is that connected with the . "Musical Snuff-Box.” The teeth were arranged so certain ways of thought and modes of action in com¬ “Un bel tacer’ non fu mai scritto” (A fair silence has ■ing of the Carillons, or church bells of Holland, North that they would, when raised, operate the hammers “America’s greatest lawyer,” who, by the way, was many and especially Belgium. From the 15th century mon with one another. They conform to the same pat¬ never been adequately written alxiut.) And Mozart of the pianoforte. This was then done by feeding the personal attorney for many of the foremost of Amer¬ tern in generalities. This uniformity shows itself mark¬ le countries have been noted for the magnificent sets of ican millionaires. He was known for his unrelenting himself is credited with having declared that “rests" con¬ 3 installed in their great church towers. Very often through guide-ways under the teeth what were termed edly in their failings. And a like uniformity shows stituted the more important ingredient in music. T< > raise ie carillons consisted of as many as 40 bells, and in a “Planchettes,” or small boards (of any desired length) cross-examination, in which, by invective, command, sur¬ itself in the failings of those who commence to study the cases, as, for instance at Bruges where there are 48 prise attacks and his own personal force, he was- able to the hand as desired from the wrist and then wait for- 3. and at Malines where there were 44 bells, even this in which were set the pins to operate the teeth of the pianoforte. There are certain faults so usual in all tunately can be practiced away from the keyboard, fur it take the witness off his feet and figuratively “wipe the osing number was exceeded. comb. The whole was of course quite crude, such elementary piano students that they appear to be stereo¬ is totally distinct from tone or accuracy. variations in power as could be produced being brought floor” with him. typed among them. They occur over and over again, (d) Keys that should be held down firmly by a par¬ The art of ringing the carillons was one de¬ about by varying the height of the pins. Thus a short It is said that Sousa is one of the few men who actu¬ with so little variation that the experienced teacher ticular finger while the others are employed on other manding a rare combination of musical skill and physi¬ pin would cause the hammer to strike gently, and a long ally downed Johnson, while on the stand. Sousa, if he expects them quite methodically, and is agreeably sur¬ keys, are often given up in error long before the proper'.’;, cal strength and endurance. Tales are told of the artist’s pin the reverse. The device was also applied to har¬ is nothing else, is a model of gentlemanly courtesy. prised if he does not encounter them. moment for doing so. This is one of those faults arising emerging from performance in the bell-room, in a con¬ moniums. Of students there are but two sorts: those who have Johnson was trying to get Sousa to admit that the from shirking a difficulty, and there are plenty of tech¬ dition which would ordinarily be expected more of a “music” in them, whom the vigilant teacher can, with name is one of the most valuable things about a March. nical studies calculated for overcoming it, though not any blacksmith after a hard day’s work than of the performer The first Player Mechanism patience, break of inborn faults by precept and exam¬ His plan was to irritate the witness as a Torreador ex¬ can take the place of perseverance and self-scrutiny. upon a musical instrument. It is not surprising, therefor, ple, and those who have “np music” in them, whom no The first player mechanism patented in the United cites the bull he is about to slaughter. Sousa refused to ( hearts.” remembered by the hearers as a stupid rendition never 2. This defect is not concerned with musical capacity, for this, and a good one. the start, and the Czerny-Liebling can be added later. can be. The value of this sentence making is not realized but is a pathological condition which may be diagnosed If you will look back over your files of the Round by either singers or players. Scarcely ever is music as mental inertia. Very often it includes a complete Desultory Practice Table you will find this same subject treated on various The Child’s Practice Room former occasions, and thereby perhaps acquire further sufficiently phrased; and punctuation is the means of inertia of the physical system as well, when it may be unths a: phrasing. Without it no one can tell where is the begin¬ best described by the colloquial term, laziness. It grade music from i this be p hints. By Charles W. Landon ning, middle or end of an idea. There is no intelligible She is unable____„_She is no would be a good thing if such persons could be so situ¬ my pupil.,...... ‘B’™ has studied with me for a year am idea; there is only continuous sound. ated that they could be forced to do whatever was for a half, and can play the first page of My Lady’ An Innate Dislike The returns the parent will get on the investment keep it with the very best of care. See to it that the their good, and do it thoroughly. With your music pupil Fan. by Cramm, perfectly. He can read first grad' made in tuition for music lessons will depend on the instrument is always in repair and well in tune. Furnish music at sight and some of the Gospel Hymns of my music study, although I know they must be I know of no better way than selecting some appro¬ His mother is discouraged at his slow progress. H nature of the practice done. The teacher can show what a stool or chair which can be adjusted to the proper practiced regularly if one is to acquire fluency. 1 priate piece and using the blue pencil liberally. Mark practices daily one hour, and is in the Czerny would delight in spending hours on Czerny, dem¬ is to be done and how, but the pupil is responsible for height; and, if the little one’s feet will not yet reach Liebling book. Which of the two is getting tb. enti. Moscheles, etc., but avoid scales and arpeggios. One Minute with Liszt every inaccuracy throughout, then insist that a correc¬ most out of their music?"—L. Z. Now I find the same tendency by neglecting scales the “doing.” So it becomes highly important that the floor, place some kind of rest below them. satisfactory conditions are furnished under which this tion must be made wherever there is a blue mark. If with pupils, and they dislike them too. Is there Genius does nothing without reason. The music room should be one of the most cheerful anything I can do to teach them in an interesting Music may be termed the universal language of man- may be done. she plays as faultily at the next lesson, stop her early in I can express no opinion on the first pupil as your in¬ First, arrange the practice periods at a time in the day in the house. It should have plenty of light which should the piece and insist that she resume its study for these formation is so meager. It is not usual, however, for fall on the piano, from one side, preferably from the left. Your difficulty may be referred to the universal repug¬ Music has, like society, its laws of propriety and when they v, ill conflict least with the recreational activi¬ corrections at home. Keep her at this piece until you pupils to progress from the beginning to the third grade nance towards routine. Routine seems to be one of the etiquette. ties which are the normal privilege and necessity of Let the furniture be of a light character. Heavy up- have induced her to correct the errors. in seven months. It would be possible, however, with most inescapable facts of human .existence. Everyone What is genius else than a priestly power revealing every child. These need not be absolutely inflexible; but, holestry has a tendency to deaden the effect of music. fine talent and ample hours for practice. Your own tries to flee from it, and naturally everyone fails. When God to the human soul? if something out of the ordinary interferes with a Flowers, and especially a few living plants, in the room- A Repertoire pupil is making fair average progress. It is not pos¬ they think they have left it the farthest in the rear, they Music is never stationary; successive forms and practice period, see to it that a convenient time is arrang¬ have a beneficial effect on the instrument. sible to establish any exact rate of advancement for “During my study I have memorized a repertoire turn and there it is, facing them again, not only in one styles are only like so many resting-places on the road ed for this to be made up before time for the next When practice time comes, let the room “belong to of about fifty selections, but I find practicing these pupils, as the personal equation is such a . varying one. form, but in practically every phase of human activity, to the ideal. lesson. If done in the proper spirit, this may be made the child.” Allow no interruptions by anyone, except takes up a considerable portion of my time, and I Even talented pupils sometimes progress very slowly The best plan in order to evade it is to quickly make up A sympathetic recognition is assured to everyone the means of teaching the child the value of doing things am still adding to the list. I memorize quickly but because of inattention, lack of application and general under the most urgent conditions. Teach the child to read so slowly that it is painful. Should I slow up on your mind that it is necessary and inevitable, and boldly who consecrates his art to the divine service of a con¬ in a fair, systematic way that will be invaluable to it laziness. Some gifted with almost no natural talent for feel that its work is important and it will learn to put the memorizing, drop some of the pieces, and study try and conquer it by accepting it. Looked at in the man¬ viction, of a consciousness. in later life. sight-reading?"—T. B. W. music advance rapidly because they have a genius for a value on it for its own self. Thus you will solve most ner you do, it becomes drudgery. Drudgery is hard to Furnish the child with the best instrument which you hard work. They have excellent brain faculty, study of the trouble in getting the little ones to take a personal manage, but routine approached in the right spirit may be can afford; then teach it to take a pride in this and to interest in their music study. Your repertoire is entirely too extensive. It is not accurately, carefully follow every direction given, and at all necessary to keep so many pieces in readiness for are highly intelligent, but their playing rarely becomes made agreeable. I have known many people who deliber¬ The True Musician instant use, unless you are a concert pianist giving musical. No given pupil can be a criterion for another. ately made up their minds that they were going to ma’-e the things they must do, the things that absolutely many programs constantly. It is far better to select a Therefore, while it could not be said that your pupil is When Should the Scales be Taught? could not be avoided, a joy and a delight to themselves, limited number to keep in first-class condition for a making brilliank(progress, I see no reason for discour¬ and many of them have succeeded. It is largely a ques¬ By Horold M. Smith repertoire, from a dozen to twenty-five, to be regu¬ agement with only one hour a day for practice. In an The* c in great nature’s every mood, if only tion of will and determination. It is only a ques¬ lated by individual conditions. If memorizing is easy hour’s practice few pupils make the full time count. we are receptive to its, messages. The question as to just when to teach the scales has tion of whether you rule yourself, or whether you let cir¬ “card” as a means of accomplishing some big end. No it is a good plan to commit all the pieces you learn. Nearly all pupils would advance faster if they would And where can the musician so much attune his spirit had varied answers. If only for their theoretical value, cumstances rule you. If you cannot “master your own better goal presents itself at this early stage than to Any that you specially desire you can add to the reper¬ practice in accordance with directions. Many of them to the varying moods that are the life-breath of his art, scales are an absolute necessity in the building of a destiny,” as the phrase goes, those associated with you will learn and memorize all the major scales, play in? them toire and perhaps drop one of the others. If at some waste the time mooning about from one thing to another as in the wild domain of nature. There the babbling musician. This is* recognized by the best of teachers. have no-better success than you do. Therefore preach two octaves, not merely one as so many pupils are first time in the future you wish to take up one of the pieces and never persist in systematic study until a passage brook sings a never-ending song of sweet content and To the young student the learning of all the major the gospel of joy of doing one’s duty. I know of no taught. The desire for pieces is sufficiently strong in you have dropped, you will find that the fact of having is conquered. Instead of practicing over and over each ripples back the sunbeams in its joy. There the birds, scales is often irksome, but more so when they are way of making the scales and arpeggios more interesting the heart of the average pupil to urge him on to his memorized it formerly will enable you to prepare it a motive, phrase and section in short sentences until a the insects and the contented beasts join in a symphony begun after having played pieces for some length of greatest efforts. With the promise of a piece held be¬ than that fully described in Mastering the Scales and of sounds now grave now gay. Go to the mother heart time. It is a considerable “come-down” for the pupil second time in a very short period. Pieces are very fair degree of facility is attained, they play each and fore him he is bound to strive with all the ambition he Arpeggios. You will find additional ideas in this con¬ of all thou wouldst know and feel, young acolyte of to learn “dry” scales after he has been reveling in noc¬ quickly recalled that have been once learned. This will every piece from end to end. By the time they have possesses With a piece as a reward for each scale nection in the second book of Mason’s Touch and art. There you will find a ready source of all the finer turnes, reveries, marches and other forms of composi¬ give you time in which to make a special practice of reached the last measure they have forgotten the first. thorough y mastered the pupil will soon have acquired Technic. moods you would acquire. Go and learn. For: tion. For this reason the scales should be learned as sight reading. If you will look over your back files And so the desultory work continues. This may be the both a thorough knowledge of the scales and a good “Who is the true musician ? He who loves early as possible, beginning in the very first lessons. of The Etude you will find in some of the Round reason for your pupil not progressing more rapidly. repertoire The difficulty of learning the scales at this “Let the love of literature, painting, sculpture, architec¬ Not only the expression of his art, The biggest “trump card” a teacher ever holds is the Table Departments directions for practicing sight read¬ Give him some practice lessons devoting the whole time ture, and, above all, music, enter into your lives.”— point will be greatly mitigated by a willing'spirit, which But that which it expresses.” promise of the first piece. A wise teacher will use this ing in a manner that will enable you to make progress. to showing him how to practice. Roosevelt. - after all, more than half the battle. THE ETUDE Page 6J+6 OCTOBER 1921 THE ETUDE OCTOBER 1921 Page 04, 7 Keeping Up Your Technic when Without on C, 2 on D, 3 on E, 1 on G; 1 on G, 4 on F, 2 on D, Playing for Pupils a Piano 1 on C, 2 on D, 4 on F, 1 on G; 1 on G, 4 on F, 3 on WALTZ OF THE FLOWERS E, 1 on C, 3 on E, 4 on F, 1 on G. Last, thumb and S. M. C. FREDERICK A.WILUAMS, 0p.l02,No.3 By A. M. Moon three fingers, 1 on G, 4 on F, 3 on E, 2 on D, 1 on C, A valuable study in modulation and in sudden changes of key. A pleasing waltz melody pervades it ail. Grade _ 2 on D, 3 on E, 4 on F, 1 on G. Left hand similar. Pupils often request their teacher to play the new During the “Flu" epidemic I had a severe attack •which was followed by heart trouble; and my doctor Exercise III. lesson for them so that they may get an idea of how kept me in bed for over four mouths, taking the rest Stretching exercise. Hold little finger firmly on the it ought to be played. Such a request should, as a rule, cure. This was a real calamity, and I feared my book and slide fourth finger as far as possible from not be refused. The teacher should, however, be care¬ fingers would become hopelessly stiff from lack of it. Then hold fourth finger firmly and slide the third ful to play the piece in such a way that it illustrates practice. finger as far as possible, etc. the points which he wishes to impress on the pupil. It is After several weeks it came to me, “Why not go Exercise IV. surprising what a revelation this may be, especially to1 through finger exercises, say twice daily?” Of course (a) Play imaginary octaves on the book with loose a beginner who has little or no opportunity of hearing our teachers tell us the value of such practice away good music. wr'st’ • from the piano, but how many of us apply it? (b) Octaves without book or piano; With hanos A talented child-just begining the study of music was The exercises used are mostly of the five-finger spread in octave position, raise, and with loose wrist, painfully struggling through a line which was nothing variety'and are to be practiced on a book (iii my case holding fhe arms still, let' fall, keeping hands spread. more to her than a succession of disconnected sounds. I used two books in bed, one on each side near the Do this a number of times. How her face beamed when the teacher smilingly took hips). Try 'it some time when you can’t get to a piano, and her place and played the familiar strains of Yankee Exercise I. you will see that the fingers lose none of their old Doodle, which were entirely obscured in the maze of Hdnd in five-finger position on a book, with finger? skill. sounds through which she had been groping her way. held down firmly. Raise thumb and strike, say five Some teachers make the mistake of dashing the piece times, with other fingers held down. Then the same off at breakneck speed, to “impress” the pupil, who stands with each of the other fingers singly. Next use two One Minute with Gluck by in awe and wonder. He goes home, tries to imitate the fingers, 1 and 2 and 3, 3 and 4, 4 and S. Then Music requires inspiration. teacher, and the result is a miserable failure. three fingers, four fingers and finally all five fingers. ' The sole aim of the composer should be the progress A teacher who alw*» insisted in counting aloud The left hand the same, only beginning with the of his. art. ' during the lesson undertfrtik to play a piece for a little little finger. The more truth and perfection are sought after, the girl. “Why don’t you count?" said the latter critically, Exercise II. more necessary are precision and exactness. don’t grown-ups have to count?” Five-finger position as above. (Imagine fingers cov¬ Simplicity, truth and unaffectedness are the leading Let us not forget that music is a deep mystery to ering C, D, E, F and G.) Raise little finger, and principles of the beautiful in every work of art. many little minds, and happy is the teacher who knows place thumb under hand on spot where ljttle finger The greatest .beauties of melody and harmony become how to get his pupils to talk and ask questions. was (G.) Raise thumb and strike alternately, 1 on faults and imperfections when they are not in their G, 1 on C, a number of times. Next- use thumb and proper places. one finger, 1 on G, 2 on D, 1 on C, 2 on D, 1 on G, a I regard music not only as an art whose object is to “Music, of all the liberal arts, has the greatest influ¬ number of times; 1 on G, 3 on E, 1 on C, 3 on E, 1 please the ear, but also as one of the most powerful ence over the passions and is that to which legislators on G; 1 on G, 4 on F, 1 on C, 4 on F, 1 on G. then means of opening our hearts and of moving our affec- should give the greatest encouragement.”—M,\m m i v , with thumb and two fingers, 1 on G, 3 on E, 2 on D, 1 from St. Helena.

A New Etude Department of Recorded Music |iP fi i PIP! f V . i % A Practical Review Giving the Latest Ideas for those in Search of the Best New Records and Instruments 1 v • ! it! . Conducted by HORACE JOHNSON

Take Care of Your Instrument of the far-reaching cultural influences of displays the consumate skill of this great usually fine discs, but I recommend without The care of a talking machine is a the talking-machine. artist to the highest degree. reservation any of the above list as not matter in which owners take little interest. There did not seem to be one record of Another song which has withstood the only being an asset for Thanksgiving To them the phonograph is to be used the great man with which they were not test of time and casual popularity is Home entertainment and pleasure but as an ex¬ when they want it; ■ to be carted from familiar. I listened as they discussed, in Sweet Home. This ballad is often spoken cellent addition to your library. house to house and even from country to murdered English, the merits of each of as the greatest home song of English city and back, either in the tonneau of the record with intelligence and convincing literature and after hearing Alma Gluck’s New Records Ford or the bottom of a trunk, without criticism, manifesting an astounding knowl¬ reproduction of it (Victor 74251) I can The list of records of recent issue which any thought of its works unless it refuses edge of vocal technique. After much argu¬ fully understand the tribute granted. Miss I am appending are publications of un¬ Gluck sings the tender and wistful melody to grind out dance music any longer, and ment they finally agreed that the Largo questionable merit and will give you entire with a charm and lyric beauty that is quietly dies. Then the poor, old misused form Handel’s Xer.res was the best re¬ i- satisfaction : excelled. machine is hauled to the nearest “service production Caruso had ever made, and Recently the Brunswick Company pub¬ Classical Selections station” and demand is made to have it walked away. As they passed out of ear¬ lished a record of My Old Kentucky fixed immediately. An examination is shot I heard one of them remark: “I’ve Serenade Espagnol—Eddy Brown, Vio¬ Home (5037A) sung by Marie Tiffany of made, a price quoted, the owner faints at loined my lesson. I alius tho't I cud hear linist, Columbia A3449. the Metropolitan Opera, assisted by a male the expense, and the machine is left for Carus’ anytoime, an’ I waited. But bulieve trio, which is a paramount reproduction - Impromptu in A Flat—Chopin, Leopold complete overhauling, to be called for in me, I’m goin’ ter hear ev’ryone o’ them of this famous Stephen Foster song. The Godowsky, Pianist, Brunswick 30016. two weeks. big guns the hex’ toime I git the chanct.” assistance of the male trio enhances the Whistle Song—Aria from Mephistophe- Why not avoid all this trouble? It is voice. One other quality which is always les, Adamo Didur, Basso, Pathe 54077. a very easy matter to oil the bearings Thanksgiving Records clear and flute-like tones of Miss Tiffany’s Paradise Viennese Folk-Song—Paul occasionally and clean the motor. Dust The records which seem to me to be the noticeable in Miss Tiffany’s work is the Reimers, Tenor, Edison 80620. each record before you put it on to play, most appropriate for the season of Thanks¬ clean diction with which she sings. This Vc Who Have Yearned Alone— Tschai- and they will last longer. Use new giving are the Home songs—the songs quality adds greatly to the attraction of this needles every two or three times, at least. which have found a permanent place in reproduction. 7093 ^’ ^°Sa ^a‘sa> Soprano, Vocalion Do not wind the motor too tightly. Be our music literature, and are in constant There are two other home ballad records careful; it pays. The talking-machine cost use. Not only are they familiar to every¬ to which I wish to calll your atention. The Popular Selections you good money, the records are expensive one, £ut they are a source of unending first is the Edison re-creation 50060, a Lrom to Smile—from “The O’Brien if your library is a classical one. Why pleasure. No matter how often a song double-faced record which includes Massa’s not save by being careful. It is impossible like My Old Kentucky Home or Home In De Cold, Cold Ground, sung by the M982 J°hn McCormack> Tenor- victor to drive an automobile without oil; you Sweet Home. This ballad is often spoken Metropolitan Quartet, and Old Folks At cannot run a phonograph without it. Re¬ ure in hearing it again. Home, sung by Christine Miller with the Cho-Cho-San-F ox-Trot—Waldorf-As- member haste and carelessness make waste. A short time ago I heard a lecturer say assistance of a chorus. The other, record toria Orchestra, Emerson. that Annie Laurie was selected by ballot at is published by the Columbia Company Second Hand Rose—Horn the “Follies”, a recent convention of musicians as the (A5959) and incorporates Carry Me Back Piedmont Dance Orchestra, Fox-Trot, The other day, as I stood looking at a greatest folk-song ever written; and that, To Old Virginny and Old 'Black Joe Pathe Actuelle 020599. window-display of Caruso’s records and because of its haunting beauty and simplic¬ sung by Louis Graveure, one of the photographs on Forty-second Street, two Sally Won’ You Come Back,—Fox-Trot ity, it would remain forever in the hearts finest baritones of the concert platform in young chaps very apparently of the East of everyone who knew it. There is doubt this country. Both of these records are A3453LeWiS 311(1 °rchestra’ Columbia Side stopped beside me. They were as if anyone who has heard Mme. Louise exceptional specimens of mechanical musi¬ AU By Myself-Fox-Trot, Bennie much interested in the display as I was, and Homer’s record (Victor 87206) of this cal production. their comments were not only very illumi¬ Kreuger s Orchestra, Brunswick, 2130A. folk-song could forget it. It is one of the It is possible to mention many other pub¬ nating, but gave me one more evidence most artistic records I have ever heard and Copyright 1921 by Theo.Presser Co British Copyright Secured lications of home song records that are un¬ v£of318?830<,~HaCke11 BCrge 0rchestra’ THE ETUDE Page 648 OCTOBER 1921 OCTOBER 1921 Page 649 BOBOLINK POLKA THE ETUDE J. TRUMAN WOLCOTT Light and graceful, in the style of a caprice polka. Grade 3. Allegretto m.m. J = ios C7\ Polka m.m.ios % i J4 a 4

“Sometimes I keep from goin’ to sleep, Just to hear the Katydids cheep!’ E. L. ASHFORD James Whitcomb Riley From a new set entitled All in a Summer's Day. This is a clever little nature piece, with some good practice features. Grade 8%.

British Copyright secured Copyright 1921 by Theo. Presser Co. THE ETUDE Page 650 OCTOBER 1921 THE ETUDE OCTOBER 1921 Page 671 4; A MERRY LIFE A teaching or recital piece, with some valuable technical features. Grade 2^. PAOLO CONTE,Op.48 Allegretto m.m. J = ios

Copyright 1921 by Theo.Presser Co. SLAVONIC CRADLE SONG British Copyright secured Arr. by W P. Mero BERCEUSE SLAVE F. NERUDA,Op. 11 Originally for violin, this characteristic number makes a very neat piano solo. The continuous “drone bass”gives just the needed effect of drowsiness Grade 4. Andantino M.M.J = 72 ---4/"5-- THE ETUDE OCTOBER 1921 Page 673 THE ETUDE Page 672 OCTOBER 1921 THAT COTTAGE BY THE SEA EACH THOUGHT OF YOU GLADYS LACY Words and Music by A charming home song, by a most popular English writer. ARTHUR E TATE An artistic love song, with a strong climax. A real singer’s song. HERBERT RALPH WARD Slowly and tenderly

knewlong a - go, It is set by the blue of the sea far a-way; There’s a dear lit - tie path where I mem’- ry re - calls, When I sit'mid the shad-ows as ev - en - tide falls; There’s dear lit -_tie, corn - er ^1

And fills my soul with rap-ture o’er and o’er, Ah! this I know, sweet- heart when-e’er I pond - er, And may I find you ev - er at_my side To love and cher - ish till the hour of part - ing,

For you I’m yearn - ing ev-’ry pass-ing hour, . But well I know that_we shall nev-er part, dear,

sweet-est re - frain, It was there that my heart found lore's g&r - den it - gain; So when tbil-ing and sor - row for - love shall be - blest. And my heart will find peace in that ha - yen of rest; Just to live there and dream there What-

And ev-’ry kiss of love is like

' - er de - part, T shall fly to that ha - ven so tlear to my heart, owhen toil-ing and sor- row for - e’er may be-fall, Just to love there with you, dear, the dear - est of all^ Just to love there and dream there what -

Not ev- en death can m 1 j "L f U * r J 8 .p - "r T v p -R^ #- rrTi P rlt- largemente sf -f- f— 9 rf Pi/P ' cl? FT r?»^ rfl 5=s= xi JVhJ -jfrtf-jr r^f N TTJ r slower, ■0 - r-r1— T-u-***-&=* ev-er de-part, I shall fly to thiat cot-tage so dear to my heart. e’ermay be - fall, Justto love therewith you,dear, the dear-est V 1»: ir=| i Za*_ w t £ 1'^ -4 r

& 1 H -1 H §§ i9 8 ^ 7 ♦ Copyright 1921 byTheo.Presser Co. International Copyright secured Copyright 1921 by TKeo.Presser Co. British Copyright secured Page 674 OCTOBER 1921 TEE ETUDE TEE ETUDE OCTOBER 1921 Page 675

STATELY MARCH Ail>o sostenuto («l=50> ING A tuneful but dignified postlude orprocessional. J. LAMONT GALBRAITH

If Beethoven

could be heard by us today playing his Sonatas, what would not the musical world give to KNOW the master’s own interpretation?—Today, the works of composers are preserved exactly as played by them. Also the works of the classicists as The APOLLO interpreted by living masters are preserved and brought to homes of refinement; Foot-Power Upright thanks to modern science which has perfected the art of a truly absolute pianistic reproduction in Mpollo :Reproducing PIANO

The Apollo reproducing piano is not a player Apollo Catalog Oil Request piano: it is the true reproducer of the artist’s This catalog illustrates and desc playing. The world’s music masters now de¬ upright and grand, with and u clare that a perfect pianistic Grand a reproduction, giving every Itifpolib,°fl^3 Jfn?taiiL_Reproducmg A^on m cer. piano, player piano or reproducing shade of tone, color and in- piano, this catalog gives the FACTS terpretation has been accom¬ plished. susipi mmi. Co. * From her ego to the beginning and play to Fine, then play Trio Copyright 1921 byTheo. Pres British Copyright secured The Apollo Piano Co., Dept. 2647, De Kalb, Illinois Page 676 OCTOBER 1921 THE ETUDE THE ETUDE OCTOBER 1921 Page 677 important thing for the singer. Many S. Curry. Both, of these books will help a good church position has been forfeited the teacher to speak through song. Galli- 4 ■ > . > " — X -_ • - - • • because the congregation was never able Curci, Schumann Heink, and David to make out what the singer was singing Bispham never leave a syllable to doubt. about. If you cannot take a course in sing¬ You get every utterance, and audiences in ing the writer can recommend very highly, these days feel entitled to at least a plllJf Diction for Singers and Composers, by F. semblence of human speech at concerts and Department for Voice and Vocal Teachers wm G. Hawn; and Mind and Voice by Dr. S. Edited by Well-Known Voice Specialists ; McCormack in Italy

Told h y Himself bS . ' “Thank You for Your Most Sweet Voices ”—SHAKESPEARE “Time does not pass as swiftly to the assurance and everything seemed to be go¬ young as to the old. It lingered, through¬ ing well until I approached a point in the out those months of Nineteen Hundred, opera in which I knew, my audience would Five. want from a certain top note plenty of What Every Singer Should Know Having much to accomplish, and the noise. I hadn’t figured it out before the path of that accomplishment leading to¬ performance, but as the place drew nearer By M. G. Ucelli ward Italy, there I found myself, in I decided suddenly, as we would say now¬ October; twenty-one and eager. adays# to ‘camouflage’ that particular tone. Francois Villon, that ever de¬ ineffective, growing worse day by day? be on the lookout for his instrument. The writer has known of several women “My dear old Sabatini had returned to It was the big aria for tenor which has a lightful vagabond poet of romance In the olden days throat specialists cured One of the first things that the singer smoking. Their voices seemed to lose the his studio—it was a romantic address, Via top B-flat. I hadn’t a good B-flat then, and when the moment came to let it go who lived about 1430—1484, had a many cases with their treatment. Now, should avoid is the tendency to eat foods “velvet” much sooner than those who did Victor Hugo, Number Four—the day be¬ 1 walked to the footlights, opened my way of saying: they reach more, because in many instances chat are not unconsciously assimilated. Any not smoke, fore I reached Milan! “And one December day, Sabatini eyed mouth and in look and gesture did my best "/ know everything except myself’ poisoned tonsils and irritated nasal con¬ food that asserts itself in any way, (save Overuse and Its Penalty me covertly from over the hand that pulled to -give an imitation of a tenor ripping ditions are often found, due to invisible onions and their plebeian cousins) can up- ^ c M brother o{ CIcofonte The very first thing that the singer and abscesses in the teeth—invisible—often to set a concert or a recital quicker than any- ‘ , - at his thin, silvery moustache. I sensed out a ringing high note—though I pur¬ the vocal student should know is himself. the X-ray. thing else. We are just beginning to under- Catt™ 0846-1896), probably the that he was up to something; his whole posely gave forth no sound. He should know first of all that while manner was that of a grown-up child who “As true as I’m sitting here, I got a When Eyes Are Close The Singer's Teeth stand food poisons which poison some and chlef forcrlmner of Ca™s° of the last there are general truths which apply to may be eaten with safety hy others. The quarter century’ shou,d be remembered by has something- of importance to impart to round of applause. How do I account for vocal culture in all cases, they cannot be A good dentist is more important to the writer cannot eat cucumbers for instance; students and teachers as a warning signal a- one of whom he is fond. I can see him, ;• it? Nothing but the audience’s imagina¬ Is Your Complexion at Ease tion. The people thought that through the applied in every instance to his case. singer with a good voice than the vocal other members of his family eat them with &a'nst over use of the voice. Few tenors as plainly as though it happened yesterday, Does your complexion wince under the appraising gaze! Does it fear the verdict—“make-up”—“coarse”—“muddy”? Unless the singer studies himself and teacher. The care of the teeth is of vital delight. Find out what foods disagree with have ever been more richly endowed. TTis standing near the window in his studio: .orchestral forte they were hearing what playing with his moustache and eyeing me they were wanting to hear, and were Or is it a complexion of confidence — one that delights in engages a teacher who will recognize him significance to every one, but of still you and be your own sanatorium. As a voice was rich, clear, ringing, pure, and of greater significance to the singer. like a mischievous schoolboy. satisfied. But wait—until I tell the sequel. close inspection? It is the latter if you use Carmen! For Carmen as an individual, different from every other rule too much red meat, too much fat, too great power. This was backed by a fine gives the beauty, the youthful bloom, the satiny smoothness Singers, as a rule, prefer liquid or paste “‘Giovanni!’ he cried. ‘There is news; The following night I thought, when the individual ever born, he is not likely to much starch, and too much candy must be personal appearance and a strong physique, that craves scrutiny, knowing that the more critical the gaze, progress very far. dentifrices to powders. Precipitate of avoided. The greatest singers are the most He was generous and greatly admired in something I must tell you.’ Then a pur¬ moment for the high B-flat approached, the more pronounced the praise. chalk and orris root, used so much in poseful pause. I was eager; and the news Til let them have it this time with the Carmen, the powder that stays on, is also Carmen the powder whose In the first place singers do not think abstemious as a rule. Galli-Curci after his day. When Abbey, the manager, found powdered tooth cleaners, are sometimes he held for me was the opportunity for an voice.’ I did, and—would you believe it? charming natural effect on the skin is never lessened under dampness or enough about the condition of the instru¬ her concerts, feasts upon a dish of puffed that he was losing money on all nights cx- glaring light. It is truly the face powder extraordinary, as a test will show. very irritating to certain individuals. The e and milk, and that : _ audition (which was equivalent to an —it didn’t get over at all. The reason is ‘\cmUleOffcv Send 12c to coverpostage and packing for purse site ment they play upon. This instrument Aboye all cept those when Campanini was the tenor OW'mjpicdJJcT box with three weeks’ supply—state shade preferred. writer knew of one pupil whose throat and things avoid condiments that irritate, ; engagement) to sing in seven performances that they actually heard the tone, which may be four feet tall and it may be six soloist, the singer, in the goodness of his STAFFORD-MILLER CO., ST. LOUIS, MO. feet tall. It is never merely an inch or so mucus membrane were continuously catar¬ gar, pepper, curry powder, too much salt, in the Teatro Chiabrera, at Savona, a had not the fibre and ring their imagina¬ rhal until this was discovered. heart, offered to sing every night it tall—never merely the little box in the paprika, tabasco, horse radish, and so forth. small town near Genoa. tions had allowed them to fancy there the to save his manager from bankruptcy. throat which is the point at which the Every singer is aware that the formation All these affect the mucus membrane. “The night at length came for the open¬ preceding night.” Night after night he went on in his great sound is actually made. of the teeth has much to do with resonance ing performance. A crowded audience was Published by permission of Small, and pronunciation. Those who are not Smoke and Song roles, Lohengrin, Mefistofele, Don Josi assured and when the curtain rose we saw Maynard and Co., from John McCormack, CARMEN Blood Circulation in Singing aware of it will readily find out when a few Opinions upon smoking are varied. The D°n Juan, Ruy Bias, etc. Gradually the that it was on hand. I sang with sufficient Bis Own Life Story.) Possibly one of the most important things important teeth are removed writer is prejudiced in the matter and per- luscious quality of the voice disappeared COMPLEXION for the singer to remember is to care for Evan Williams’ Throat haps his opinion should not be taken. He and in two short years Campanini's sun had the circulation of the blood. Normally is convinced that the almost incessant pro- set. Even the most friendly critics had to On the Battle Line the blood circulates through the body A few months before the death of the cession of cigarettes that Caruso passed realize that the voice was so sadly ,m- late Evan Williams, (how fortunate that By Ethel Y. Gibson ER about every three minutes. It does this through his lips was injurious and only be- paired that it was “no more” Campanini whether you will it or not, unless you ire we may still hear that glorious voice in cause of the fact that Caruso was so lav- was still a young man in his forties. S mis White, Pink, Flesh, Cream and new Max Heinrich in his “Correct Principles ill. However in order to preserve a normal talking machine records), the writer care¬ .shly, endowed with the voice of. the cen- Reeves, the great English tenor, did not “When Shall I Ever Get Over Brunette Shade, 50c Everywhere circulation of the blood1 it will be necessary fully examined his throat. Williams was tury was it possible that the effect of these retire until he was seventy three and even My Fear Of The Footlights?” of Classical singing” - writes: for you to hold fast to certain essential then suffering greatly from neglected teeth How many times do vocal teachers hear “The finished, experienced artist’s nerv¬ and the consequent pyorrhea. He realized hmnrh-erdW ^ Sh°JY Certainly ‘hen it was possible for him’ to make ousness, furthermore, is not a fear of fail¬ things which contribute to it. These are: bronchial pneumonia which carried him a- special tours at the age of seventy-five and this? The real answer for the real artist An abundant supply of air regularly this neglect, but pointed to the fact that he is “never,” Of course you will not go ure, that much may be taken for granted; had been a breaker boy in the mines and meYhran18 ™.mdlCate<1 ‘!f h'S T?,5 ?eventy-eigh‘- One outstanding character- it is rather a nervous tension to do as well taken into the lungs through unobstructed membranes and his power of come back” istic of his long career was that he never through your career with the expectation had not had adequate attention. Blood as he knows he is capable of doing, a nasal passages. were decidedly impaired Who knows? overused his voice and never sang when he of duplicating that terrible case of epilepsy Arthur de Guichard poisoning coming from this condition was nervousness begotten of the fact that he Daily healthful exercise—not overdone. you had when you first went out to sing a believed to have been the cause of his g ?reSOti?hen m°dfate 7S n0t " the Vcry best condition. In knows he is singing to a cultured audience, Daily bathing and friction of the skin in some things he might still be with us. fact he often disappointed audiences and death. Some of his teeth were false and solo. But if you are a real artist you will or perhaps only to a critical few in the TEACHER OF SINGING through massage. always have a kind of nervous concern as Good food to make good blood. he wore a plate. He was the first singer Ssior1* WgaretteS am°Unted t0 3 rl7ded money ra‘her than take a chance audience who are intimately acquainted {From Rudiments to Professional Excellence) the writer ever knew who could sing to the outcome of what you desire to inter¬ Good digestion, to make good blood. One'English writer (Frederick J. ^ with the difficulties and details of the work pret. Freedom from toxic focuses tending to beautifully with a dental plate in his mouth. to be performed He who contends that, poison the blood. It.seemed to improve his tones rather than During the war one of the “Four Min¬ in spite of knowing of the presence of MUSICOLOGIST-CRITIC—LECTURER injure them. This, Williams attributed to srs 1’zsrnxSi-iS; A whole faculty of Lampertis, March- taking cold in coming out of a hot room likely that he will get more Thibet ute Men” was given the services of two such an audience, he is not in the least the fact that he had been fortunate in esis, Sbriglias, and Garcias would be un¬ into the open air, especially after -singing; guide in singing is to stop at once if you marines who had recently returned from perturbed, is either boasting, telling a de¬ having a very good plate made. It was able to put you one step further ahead but strong cigars and pipes are to be feel the slightest sign of fatigue One Chateau Thierry. They were to accompany liberate falsehood, or else he is a conceited impossible for him to get good results DICTION DECLAMATION ORATORY unless you attended to the foregoing. avoided, because of the effect upon the half hour of si—- him upon the stage while he made his specimen of mediocrity irresponsible to his without the plate because of the missing : singing after you have sung tc Therefore voice lessons themselves and nerves- your limit i address. One of the men had “walked art, to his audience, and* to himself. Dur¬ PROFESSIONALS COACHED TEACHERS PREPARED teeth. may put an end to all your ing many years I have met personally vocal study are not the things of prime Santley’s Opinion vocal chances. right into the face of hell” on the battle importance in your career, but the care of Sources of Throat Trouble front. When it came to going out and nearly all the celebrities of ‘the boards that The famous English singer Sir Charles Understanding the Singer signify the world’—singers, actors, instru¬ the vocal instrument. Again, one of the things which the singer facing two thousand of his town’s people Santley holds a brief for tobacco in his mentalists—and know whereof I speak, 72 HUNTINGDON AVENUE, BOSTON, MASS. The writer has given hundreds of lessons should know, is that a great deal of the Recently the writer was able to secure a sitting in a theatre his knees went to¬ book The Art of Singing (MacMillan and ho artist who has a reputation to make, to large classes of pupils. In dozens of irritated condition of the throat, nose, and hearing for a young singer with a very gether like castenets and he was the most 1908). After humorously describing how maintain, and enchance will dispute my instances, in bygone days, he found himself mucus membrane of the stomach is due pitiful picture of “nerves” one could at the age of eight, he experimented with statement.” absolutely helpless to remedy certain vocal to decaying teeth. Often beautifully capped possibly imagine. his grandfather’s pipe carefully covering machine company to mY 7 7 conditions of a pathological character which teeth and bridge-work are merely camou¬ ' . - -UJ up the bowl with putty. soo that none of the voice. She7 Pany ,to make records. Al of h , seemed to grow worse and worse with flaged sewers polluting the health of the D. A. CEIPPINGER precious fragrance would escape-all with miles to have the trial record ° Does the Singing Nature Change ? AUTHOR OF W.P. SHILLING TEACHER more practice. There are teachers, of singer every second of the day and night. the usual dire consequenecs-he tells how voice te^t2£C°S^ ^ The Head Voice and Other Problems . . $1.25 131 W. 23rd Street, New York course, who assume that if the student An old teacher in Florence used to say, Shakespeare evidently had some little 2d Page: We are for you: sit i’ the he resumed smoking in later years only to true to pitch clear L i , "7 Systematic Voice Training.1.25 leads a normal life vocal study will keep “Everything that makes you feel fine, makes knowledge, if not experience, of the foibles middle. Author “How to Acquire Soprano and the student in prime condition. In most good singing.” of singers, amateur and professional. With 1st Page: Shall we clap into’t roundly, Teacher of Singing Tenor Tones to High C Without Strain.” Tenor book, part I., free. cases voice work does improve the health, This mental aspect is important. Good what sly wit the dialogue introduces the without hawking or spit¬ KIMBALL HALL, CHICAGO, ILL. largely because it helps the circulation clothes, well groomed hair, personal neat¬ song in Act V, Scene 3, of As You Like it: ting or saying we are The writer has found that singers who because except TnThe^a^ T* 77^ and thus keeps the voice in better condition. ness, a happy frame of mind, a well digest¬ hoarse; which are the only But what is a vocal teacher to do in a smoke favor it enthusiastically, but their nowned singfrs s „gi„“ ^ ° Enter Two Pages prologues to a bad voice? Arranging' and Correction Mss. NO TEACHER ed meal, plenty of rest, all contribute to A SPECIALTY case where all the rules are observed, and make Celeste ,Aida a little more celestial. testimony may merely be an apology for guages, the public fnskted i*"' 1st Page: Well met, honest gentleman. 2d Page: I’ faith, i’ faith: and both in desired without first writing our service department. A. W. BORST, Presser Bldg., Phila., Pa. still the voice seems “phlegmy,” weak, and In other words the singer must constantly their weakness The best medical opinion standing the words of a sonT” Touchstone: By my troth, well met. Come tune, like two gipsies on a THEO. PRESSER CO., Philadelphia, Pa. is against smoking for singers. A course in °e,option S often a very sit, sit and a song. Cnmnoser of Cantatas, Sonus. Pianoforte ant Church Music Please mention THE ETUDE when addressing our advertise, s. Page 678 ' OCTOBER W£l THE the etude OCTOBER 1921 Page 679 One of the Greatest Helps New Time Saving Ever Offered the Question and Answer Department Methods in Business Music Profession Conducted, by Arthur de Guichard THE U. S. DUPLICATOR ie and addre iwered when this h They result from een neglected^ The Perfect Reproducer of its Type Only your initials or a chosen nom de plume will be printed. the purchase of an Make your questions short and to the point. Questions regarding particular pieces, metronoml it likely to be of interest > the greater number of ETUDE re.>t be cc » Old? very short time. You should not sing ascend- m 25 years old, have never studied inS scales until you have acquired complete UNDERWOOD t can read notes. Do you think I freedom of delivery. Sing only descending '•« to play the piano, or am I too scales, until such time as you find a Com¬ oro music. How long would it he Petent teacher whose advice you will follow. learn to play most any N° other counsel can be given you herein; BOOKKEEPING easy piece that I would be asked to play in Singing cam t be taught by correspondence. companyt How many hours a day should I Internatiom Pitch. practice T—“Read Please tell me what is the International MACHINE play Pitch of pianost Are there very many others! i amusement or for the entertain- — __ „ , nit of your friends. It all__ depends_ upon Normal French Pitch, so called becat e degree of your musical .intellect . .. . and- - the ■1 *— _- and. accepted by interna ite of your hands. If your hands are stiff accord, is the p.inu w which The quality of its tone d cramped and your knuckles enlarged and chestras are tuned, by giving __ _ It will demonstrate mewhat knotty, it would take you too long (second space, G clef) 435 double vibrations enraptures the heart __... [¥ht_ a second. This pitch was adopted by a how your office know th^t there are intellects and -* as its beauty of con¬ tellects. There are those who are very in 1858 and infirmed in Vienna In 1885. can cut down its j|Jj lIriITl. ..ri..777n - J to understand law, mathematics, This is the p_ _■ ersally adopted. That wares, medicine, cooking, or millinery, for military bands is struction delights the mentally impossible in music, is known as concert pitch. In England^ inter- overhead. |L~ - i : y...i=al It is n to ‘[love music;” we must national pitch is also called Philharmonic iicivt-LiiuL intellect which responds so well to Pitch which, curiously enough, was also the eye- tlic study of music that our minds can assimi- name of the former and higher pitch, late and reproduce all we have learned. With- Thesis, out this, all is but labor in vain. The best ,, „ . UNDERWOOD TYPEWRITER CO., INC. thing you can do is to go to some reallv eood V.. What is understood by "thesis" in - ' ■ ill him your aspirations; »««<>?"—B. C. H„ Hartford, Conn. il latenti^.-. pow< acwnt11|eS1S’l as “ muslee1 term* signifies the Schomacker Piano applied to the weak or

Company LEEDS AND LIPPINCOTT COMPANY ESTABLISHED 1838 tf ^f 2Mr; ' "''(haitonte-Haddon Hah PHILADELPHIA, PA. ATLANTIC C1TY.N-Jan

THURLOW LIEURANCE

in CONCERT OF SONGS, STORIES AND LEGENDS AMERICAN INDIAN Assisted by EDNA WOOLEY PINS-RINGS TEE ETUDE Page 680 OCTOBER 1921 the etude OCTOBER 1921 Page 681

Diapason tone; the Stopped Diapason, R.—“But the pedals don’t sound. Gedackt and Flute Harmonique, and What’s the matter?” BanishWrinkles Bourdon Swell, as examples of Flute tone; M.—“Ah! I’ve forgotten something. the Dulciana and Salicional, as examples You remember that I explained to you that My Methods Have Restored of string tone; and the Oboe as example the stops on the right side affect only the Beauty to Thousands of reed tone,—playing a short melodic Great Organ—they are marked Gt.—and READ MY FREE OFFER phrase first, and then a few rich chords, the stops on the left side affect the Swell Without telling R. what are ordinarily organ—they are marked Sw. In the same Pimples, Blackheads, nd Superfluous Hair thought to be the characteristics of each way, stops marked Ped. sound only on the tonal class, he is encouraged to draw his pedals, and you must, of course, draw at own conclusions or impressions or re- feast one of them to get any tone.” actions; after R. has expressed himself, R.—“But how queer it sounds; it just he is told the name of the stop, and the makes a deep rumbling tone.” department in which it belongs.. After M.—“That is because the pitch is so this has been done, and R. is still where low; it is difficult at first to distinguish he can not see the console, various stops low pitches as music. Find the coupler are draivn and R. asked to name the stop, marked ‘Swell to Pedal’, draw it, and also This ought to be done for several one of the Swell stops,” (R. does so.) lessons or until R. can name the stops un- R—“Isn’t that funny! See the bottom hesitatingly from the sound. The habit of key on the top manual goes down.” listening for tonal characteristics ought to M.—“Yes, that’s because you have put be formed early. R. goes back to console.) down the' bottom pedal key: you have You mustn’t feel as if you had been injured ‘coupled’ the Swell to the Pedal.” Imposing gathering of Delegates to the Fourteenth Annual Convention of the National Association of Organists. This picture was taken in front of Memorial in being put to practice on an organ of the R.—“And ‘Swell to Great* means that Chapel at Valley Forge. This Chapel has one of the most beautiful interiors of any small Church in the world. THE better the musician—the more finish¬ older type; the manuals are of the proper when that coupler is drawn every note 0.1 ed his technique—the greater will be his compass, the pedal board is concave and the Swell manual will be coupled to the delight in the responsiveness of the magnificent radiating, and of a later pattern, the stops corresponding key on the. Great.” Steger. And those who listen find supreme run all through. You will get a much M.—“Yes, you are getting it I” enjoyment in the Steger’s superb beauty of firmer, cleaner touch than if you practiced R.—“Isn’t one advantage of the manual tone and resonant singing voice. Attractive¬ cn one of the pneumatic or electro-pneu- to pedal couplers that, when one of them Is My Proof Department for Organists ness of design and richness of finish are notable matic organs of the—” is on, one can, by looking at the manual, of what my quick Wrinkle-Method Steger features. Super-excellence of construct¬ s accomplished for myself and h“-J—*- -- Edited for October by Hamilton C. Macdougall, Mus. Doc. ion assure reliability and durability in highest R.—(Interrupting) “What do you mean see whether one has the correct pedal by pneumatic and electro-pneumatic ?” note ?” M.—“Let’s see; you know the organ that M.—“Oh dear, No! You must feel for The First Lesson on the Organ Mr. Smith plays on, don’t you?” thb correct pedal keys with your feet, and R.—(Grinning) “Oh yes, he comes to if you find that you look at the manuals (M. the teacher; Robert the pupil. M’s i.L — iiiueeu mey can; Dut it takes a Straight Street, St Aloysius, where I think 30 notes, and about a dozen stops. Rob¬ studio.) see my sister, and I worked him once to when they are coupled,fold a newspaper very much longer time, and piano practice I can, get you the use of the organ. If ert is plainly disappointed at smallness of M.—“Good morning, Robert. I am very STEGER & SONS take me to his church and . . Oh yes, I to the right size and place it over the and piano technique must come sooner or you don’t hear from me in the mean time organ.) PIANO MANUFACTURING COMPANY glad to meet you. I received your letter remember we looked into the back of the lower half of the manual coupled. The later; so it is best to begin the organ meet me there at this time tomorrow and R.—“What a little organ. You can't Steger Bldg., Chicago. Factories, Steger, Ill. and I want to talk over the organ lessons organ and there were lots of little lead Pedal uncoupled is like the Double Bass with the piano technique formed. Now, make much noise on this, Mr. M.” with you before we actually begin. What we’ll begin our lessons. By the way, tubes no bigger than your little finger; in the—■” has made you want to take organ lessons?” where are you going to practice?” bring a copy of Stainer’s organ primer M.—“It is small, Robert, but it is an and he said it was pneumatic action. He R.—(Interrupting) “Do you mean the R.—“Well, I’ve always wanted to study R—'“Why I supposed you’d have a place The Organ with you.” excellent instrument for you to begin on. let me push some of the keys down, and ‘bull fiddle’? The great big fiddle that the organ, but Father said it was very for pupils?” R.—“Gee, that sounds as if I was going When I was an organ student in London, said the work was all done by little bellows you have to stand up to play ?” important to have the piano lessons first M.—“No very few of us have a studio to begin all over again.” taking lessons from the famous Dr. E. I!. that made the touch very light., Is your M.—“Exactly; the pedal uncoupled is so as to come to the organ with a good organ, nor will many churches allow our M.—“Oh no; don’t get discouraged right Turpin, the teacher of Lemare, he told me [AUSTIN ORGAN s) organ pneumatic, Mr. M. ?” like the orchestra ‘bull fiddle’ and when key-board technique. I’ve been at it now students to practice on the church organs.” off the bat. After all, you are a beginner one day that he’d like to keep me one- THE world of art creation has never M.—“No, my organ is electro-pneu- you couple to a stop on the manual that for four years and I told Father I thought R-—“Well, I like that! It looks to me on the organ.” whole year on an organ with only one row A shown anything knttt\x*n& U^J| matic. When you get so you can play a sounds an octave higher than the pedal it about time to redeem his promise. He as if the churches were trying to discour¬ (Next day they meet at the church of of keys, pedals and two stops; that was in their building. Nor are there any little on this organ I’ll invite you up to the stop you are adding a Cello to the Bass, saw the point and here I am.” church some Sunday after services, and In the orchestra the Bass and Cello often age fellows from learning to play.” St. Aloysius. Robert and Mr. M. find the way, he said, to get a solid founda- which they are held by those who use M.—“Your Father is a man of sense M.—“It does, Robert, very much like it. themselves at the console, which proves to them. A thousand of them playing I’ll show you the electric cable and the play the same notes although the pitches of various marvellous devices inside the in- the notes played are an octave apart. You in more ways than one. Now, how far But I know a little mission church in have two rows of keys, a pedal board of R—I wouldn’t like that. But sometime, Sizes—from small two manual to strument. And that makes me think: why remember I told you what 8 ft, 16 ft, and have you got with your piano? What when I get so I can play a little on this massive f ’ " ' “ were the last things you played?” chapels, h ms, churches not go up into this organ a few minutes. 4ft on the stop heads mean. (They go organ, will you let me take my lesson on R.—“Do you mean pieces, or etudes, or cathedra] It will not take long and you will see some on with the exercises for finding the pedals your big organ, Mr. M.?” technique, or what?” National Association of Organists Convention held in interesting things.” (After turning off without looking at the pedal board.) At M.—“Well let’s sample everything,— M.—“Certainly. Well, let’s go on. This AUSTIN ORGAN CO. the wind they go to the back of the swell first you need not try for exact time; get pieces say.” Philadelphia in July is not a large organ, as organs nowadays 165 Woodland St. Hartford, Conn. box where M. takes down the shutters, the right key, and take time enough to go, having only two keyboards or manuals, R.—“The last thing I had was that revealing the pipes standing in serried know that you’ve got it. Put the key down Kill The Hair Root Chopin waltz in —Oh hang it! I can’t as organists call them. On the right side ranks, so to speak. This gives M. the quickly by pushing it down with a move- ever remember the plaguey keys in any¬ A Review by WILLARD IRVING NEVINS are Open Diapason, Dulciana, Stopped opportunity of taking a few of the pipes ment from the ahkle; don’t move your thing; I don’t believe there’s any sense in Diapason, Octave. On the left side are Organ Students from the racks and showing R. just how knees up and down. Connect one tone sss’s keys anyway.” Bourdon, Open Diapason, Gedackt, Salici- the wind comes from the bellows under with the next. No 1 that’s too much; you Fourteen years ago an organization, to be may obtain M.— (Wisely ignoring the outburst about organist a closer insight of the mechanical known as the National Association of Or¬ and tonal resources of the organ and especi¬ onal, Flute Harmonique, and Oboe. Below pressure and produces tone. The bung are running the tones together; have two keys). “I think you may mean the waltz ganists, was formed at Ocean Grove, New ally of their own instruments. these on the left—” FREE SCHOLARSHIPS can also be taken from the wind-chest things in your mind (1) to take up the Jersey. This body of musicians, who had as DRESSMAKING in E flat, or in A flat, or in C sharp As the organ has played a great part in R.— (Interrupting) “What are those and the valves shown covering the aper- key promptly and (2) at the same moment their motto, “An association for good-fellow¬ the advancement of the movies, special stress at the ship among its members and for the general yellow stops over the top row of keys, tare into the foot of the pipe. M. can now put down the next key promptly. Yes, betterment of organ playing.” This was the is put on that branch of organ .plaving MADE EASY R.—“Yes, that’s it, C sharp minor, and I idea of Tali Esen Morgan, who was the guid¬ The talks and demonstrations at the Stan¬ manual did you call it?” Guilm&nt Organ School make it plain that a forcible, direct, silent that is better. Now let’s find the work for played it first-class; at least my teacher, ley Theatre claimed close attention. The push must be given the key by the finger the manuals alone.” You can now learn, easily ing spirit of the association during its early organ in the theatre was at first a great in¬ M.—“Yes, the top manual is called the and quickly, light in your Miss C., said so.” years. novation but today we look upon the theatre Swell (explains the szvell box) and the Write for Information or foot in order that the valve open R.—“I should think the touch would be own home, during spare time, M.—“Play a little of it for me, will The highly successful convention program as being one of the big factors in making the promptly; and can make it equally plain the same on the organ as on the piano.” by a wonderfully simple and bottom manual the Great; the yellow stops —actical new method, how you? (R. does so, showing a good sense covered four days. Some of the work of the organ in the theatre was at first a great in- Competition October 7th that extraordinary care must be taken in M.—“Yes, there are things alike for various national committees was reviewed on The theatre organists haven’t been slow in are couplers, and they have no tone,—they of rhythm and accuracy of notes) That’s the first day. Early last fall a committee releasing the key so that the valve may both instruments, but there are differ- ,/n and your children’s novation but today we look upon the theatre are mechanical. Notice the names : Great othes and save half or good. Do you know what phrasing is?” for the Promotion of the Interests of Or¬ endeavor. Much mediocrity has existed, both 17 East Eleventh St., New York really fly back. Replacing the pipes in ences, and important differences, too. ganists was formed and a letter to the Clergv to Pedal, Swell to Pedal, Swell to Great. ,ore on everything R—“Do you mean where you lift your in the music used and in the playing. To their racks, and cautioning R. not to make Here’s one: on the piano the touch differs of America was prepared. This letter, 10,000 better these conditions a Society of Theatre We’ll find out about them presently. (M. You can make your last of which were printed, was mailed to each has very craftily not had the wind on yet.) excursions on his own hook into the organ, very much with the degrees of force lason’s dresses and suits member of the N. A. O. and sent to minis- Organists has been formed. The plans of ier into stylish new gar- M.—“Well, that has something to do this society were disclosed at the conven¬ I see you have been pulling out the stops to the bung and shutters are replaced. They required by the music; in the organ the ...ents. You can make gatherings of various denominations, tion and examinations are being prepared as with phrasing.” this letter has been commended by the Pres- see how they sounded, but you didn’t get go back to the console and turn on the loudness or softness are dependent on the fashionable clothes from in¬ R.—“Yes, I know all about that.” a test for future membership. It is inter¬ expensive materials. You bvterian General Assembly and has been the esting to note that that the ability to play any sound, did you ?” wind.) stops employed, on the uses of couplers, can prepare for success in M.— (Smiles internally, while keeping subject of a special article by the Rev. Dr. Bach well is one of the chief demands. R.—“No; what’s the matter?” R.—(Enthusiastically) “Say, that’s and on the opening or closing of the Swell __g or millinery profession and have a a straight face.) “And can you do a Merrill, of the Brick Presbyterian Church of Along with these many interesting talks, cozy, profitable shop of your own. New York City. In addition to this material M.— (Puts on the zmnd.) “The organ some machine 1” box. You remember, Robert, how I ex- velocity study of good old Cramer, or there were organ recitals bv such men as Write today for handsome illustrated book and many other articles have been nrenared and Courboin, Reimenschneider. Gillette. Jennings. is a wind instrument and has to have some M.—“Yes, it is a fine machine, and a com- plained to you the latter? So, remember learn from the experience of over 125,000 delighted Czerny, or Duvernoy at a good rate of sent out by this committee and plans were The Organ Players’ Club of Philadelphia sort of a motor or blower to supply air plicated’ one, too. It will need all your that on the organ the same, smart, strong, members what the Woman’s Institute can do for you. made at the convention to broaden the scone and Sheldon. Every recital was of the State whether most interested in Home or Profes¬ of its activities. This is a work which under pressure. (Takes R. into the organ patience and energy to master it. But virile, firm touch is used in all passages sional Dressmaking or Millinery. R.—“Yes, indeed.” (Goes to piano and highest order and should serve as an inspir¬ means much to the future of the organist. ation to every organist for his or her com¬ or to some place where the motor is, and let’s get down to the actual playing. (R. from pp to ff. Attack decidedly, re- -— —-TEAR OUT HERE- plays one of the Duvernoy Studies, Op. The association hopes to bring about a con¬ ing winter’s work. A trin to Valley Forge is seated at the organ, the proper position lease decidedly, ought to be your motto.” dition whereby the vocation of the organist shows him the way the wind gets into WOMAN’S INSTITUTE 120, correctly, and at about 400 notes in gave the convention members an ideal out¬ explained and the pages of the Stainer (Single notes, chords of two, three and Dept. 66-X, Scranton, Penna. will receive its proper recognition from the ing. At the banauet held at the Pressor the . organ, drawing his attention to the the minute.) public at large. Home on the last day, was the future plans explanations of organ mechanism in book turned to exercises for finding the four notes in each hand are then played Please send me one of your booklets and tell me M.—“Well, that’s all right; you have Another important committee, the Com¬ of the association were outlined. Chicago pedals without looking at them.) Here by Robert for sharp attack and equally how I can learn the subject marked below: mittee of reference, deals with organ specifi¬ was chosen for the next convention and each Stainer’s ‘The Organ’; goes on with key¬ PIPE ORGANS technique of the hands sufficient to begin cations and works in conjunction with organ one went away filled with enthusiasm. board.) I’ll explain the stops to you. but is the very first thing for you to do. sharp release, until he has the idea well organ lessons.” builders. The standardization of the organ Henry S. Fry of Philadelphia was re-elected, you sit over in the corner there, where you Feel out the shorter-key pedal groups of in mind.) R.—“I suppose people can’t begin on the is its one great aim. President for the coming year. two and three keys with your feet, and R.—“Don’t you think, Mr. M. that it is Following the reports of these committees Many of the meetings were held in the can not see the console; listen to the organ just as they do on the piano, with¬ there were very interesting and instructive Wanamnker Auditoriums. One feature was sounds while I play. (M. now draws in The Emmons Howard Organ Co. locate the various long pedal keys by their awfully queer that you have to play just (Please specify wl talks by men who have made great successes out knowing the notes, and the like of a recital by Courboin on the great Wann- succession the Open Diapasons, Great and WESTFIELD, MASS. relations to the groups of two and three as loudly—so far as your muscular feeling lnit?eu,art of ?rgan building. These practi¬ maker organ. that?” cal talks are always illustrated and give the Willard Irving Hciii Swell, and the Octave, as examples of short keys. Take your time, but do not on goes-—whether you are playing softly or Please mention THE ETUDE when addressing any account look at your feet.” loudly?” the etude OCTOBER 1921 Page 688 Page 682 OCTOBER 1921 THE ETUDE M.—“Yes, I agree with you; but that is Dulciana, doesn’t it? Well, that is a poor the peculiarity of the instrument and you combination. . PEN PAINTING have to bear it in mind or you’ll never R—“I don t see why. you ever see any ^New and Artistic have a real organ touch.” H.-“Because the pitch of the passage, beautiful art work ? R —“But won’t that spoil my piano as you hear it, is an octave higher than the touch ?” pitch of the written music calls for.” M—“I don’t believe you’ll do enough ' R—“Yes, I see. But suppose I play the organ practice to affect your piano touch, scale an octave lower than I did before, Four Albums of (Robert grins sheepishly.) If you prac- wouldn’t that make the pitch as heard just Song ticed hours daily on a tracker-action organ, what the written notes call for; and Marked and never touched the piano, nor did exer- wouldn’t that be a good combination, Mr. cises for the wrist flexibility, your piano M?” touch would be injured no doubt; but the M.—“Good for you! You have a Individuality amount of organ practice you will get will good head. Yes, the objection that the Albums-^, do no harm!” combination was untrue to the pitch called R.—“I suppose that a fellow at the piano for is now met, but the poor little, sweet, has just got to remember that it’s a piano soft-sounding Dulciana is almost ‘lost in As a means of contributing to the development of interest in opera, for PUBLICATIONS THAT HAVE BEEN RECEIVED WITH and 'not an organ he’s playing.” the shuffle’.,” many years Mr. James Francis Cooke.. editor of “The EtudcJ> has prepared, M.—“You’ve got the idea. Now practice R.—“Why, Mr. M., it seems to me that gratuitously, program notes for the productions given in Philadelphia by The ENTHUSIASM BY DISCRIMINATING it. Read the left hand of this exercise, the Dulciana is quite plainly heard; I like Metropotitan Opera Company of New York. These have been reprinted extensively in programs and periodicals at home and abroad. Believing that CONCERT SINGERS please. Connect consecutive tones; on the the effect of it.” our readers may have a desire to be refreshed or informed upon certain piano the sound dies away so quickly that M.—“I’m glad to hear you say that; for aspects of the popular grand operas, these historical and interpretative notes one does not realize that the tones are that illustrates something that I was about on several of them will be reproduced in “The Etude.” The opera stories Seven Songs from Songs of the not connected: on the organ the tones last to say, which is that, after all, the ;ost of have been written by Edward Ellsworth Hipsher, assistant editor. WHEREVER folks gather full strength as long as the key is down, registration is, ‘Is it effective’? If the nowadays, music is in demand; and orches¬ ’Way Down South North American Indian tras like the one above are filling that demand. Practice holding the consecutive tones too player likes it and the majority of his audi- Here’s opportunity for you. Doesn’t live music thrill you; Artistic Songs Idealizing A Collection of Nine Indian Songs with long, that is until there are two keys down ence like it, it goes.” Southern Negro Characteristics Preface and Explanatory Notes Superfluous Hair Roots doesn’t the rhythmic surge or a popular selection make you at the same time, and there is a bad dis- “Here is a little book in which I have want to play ? That’s your musical bump.” Develop it Now Removed at Home Wagner’s “Lohengrin’’ easily and quickly with a Conn comet, saxophone, flute, By Lily Strickland By Thurlow Lieurance cord. Now let the first key up sooner, written down the lesson for the next time ; clarinet, any 'wind instrument. Easiest playing; used by Some years ago the writer asked one of Campanini and Del Puente, in 1874. Thus This group of songs may be used as a Artists and teachers everywhere are little by little, until the sounds are just hand this to me at the lesson and that will entirely ne world’s great artists and kings of popular music. the most advanced of modern composers New York saw the opera several times complete cycle or the numbfers may be using Lieurance’s harmonizations of tri¬ connected, and no more. This is legato, save our time in finding out from you FREE TRIAL stn Ffam^fat an important organ touch. Every time you just what the lesson was. You will see eor toilet in Europe which of all Wagner’s music before either London or Paris, Easy Payments No Greater Cost. FREE programmed individually. They rank bal melodies. This album containing _ „„ick of Phelactine at any dru the most successful numbers, such as play an exercise or a study use a different that I’ve written out a few of the tilings counter, follow the easy instruction_ _the hair- dramas he preferred. The reply came The familiar story of Lohengrin,, son Send coupon for details; no obligation. roots come out before your ver-very ™eyeel Yes, you can A Guarantee Bond With Every Conn unquestionably among the best Southern By the Waters of Minnetonka, By the registration,that is a different choice of , that I want you to remember whih you hardlyardly believe your eyes,eyesMt it is done so quickly, instantly: “Lohengrin or Tannhauser, of the Grail King, who comes on a mythi- songs ever written; while some are unpletely, harmlessly. Phelactine is non-irritar because Wagner was in the full exuber- cal swan boa‘ to defend E/ro from her C. G. CONN, Ltd. Weeping Waters, Indian Spring Bird,' stops, choosing any single stop or combina- are practicing—the most important things, ting, non-odorous. non-poisonous. 1013 Conn Bldg., Elkhart, Ind. ance of his teeming youth and had just Persecutors, Ortrud and Telramund. who New York Conn Co. grave, others are gay; some are remini¬ etc., affords a most convenient as well tion of stops you like. I will listen next Read over the first part of 'The Organ’ Tacoma Laboratories Tacoma Block, Chicago as economical method • of acquiring time to your various combinations and giving the history of the organ; study c are- come into the masterly development of w™!?..hav,e hehr ^ away for thef cha^e ’ 233-5-7 W. 47* St. scent, others descriptive. . . . , , of killing her brother, is a very entrancing World's Largest Manufacturers of High these favorites. choices of stops and tell you which are fully the drawings of the various types of characterizing persons, moods and scenes jegend itself Grade Band and Price, $1.25 Price, $1-50 good and which are inferior. There are organ action; particularly the drawing of by meMs of motifs. Elsa’s curiosity, which prompts her to few rules for registration; remember how- the tracker action that you are playing oti; The great master had already fixed ask for the origin of her hero and Songs from the Celebrated ever, that 8 ft stops give the normal pitch, read over the directions for playing the upon the plan of motivization in The Fly- champion against his warnings that if she the same pitch that the music calls for. pedals, position, etc; practice th > five pages Y ellowstone P quartettes—2000 selections. Largest ing Dutchman, which was produced in does he will be compelled to forsake her, Recital Songs If you use a 4 ft stop you are really play- of exercises for finding the pedals, and for A general dealers of saxophone music Dresden seven years before Lohengrin js 0f course the dramatic climax around Four Original and Characteristic ing the music an octave higher than it is playing the pedals (toes only) ; play four and supplies in the world. Expert re- C. G. CONN, Ltd. A Most Notable Collection of Songs jlH pairing. Send for free catalog today. was given first in Weimar. With the pro- which the Wagnerian plot is woven. While Nature Pictures with Music Compiled and Edited written; -and if you use a 16 ft stop you of the exercise for manual alone.” 1013 Conn Bldg., Elkhart, SAXOPHONE-SHOP. 423 S. Wabash A»e., Chicago duction of Tannhauser in 1845, at Dres- Wagner took much of his material from Gentlemen: Please send my copy of “Success in Music a By Thurlow Lieurance By David Bispham are making the music sound an octave R—“May I not have one or two of the and How to Win It,” and details of your free trial easy j den, Wagner had accumulated a sufficient the epic poem of Wolfram von Eschen- payment plan. (Mention instrument that interests you.) Mr. Lieurance has taken a new de¬ Forty-four Master Songs selected lower than it is written. There is no reason little things for pedals and manuals, Mr. Are You Organizing an Orchestra or Band ? opposition of the customary lunkhead reac- bach, he also delved into many other why you may not combine, 8 ft and 4 ft M.?” Name.... parture in this set of songs. The themes, from the repertoire of this foremost tionaries to make the management fear to versions of the legend which may be found breathing the spirit of the great West American artist-teacher and arranged stops, or 8 ft and 16 ft stops, or 8 ft, 4 ft, M—“Don’t be in too much of a hurry, ORCHESTRA B( attempt Lohengrin, despite the fact that in the literature of contemporary medie- Street or Rural Route. and the lure of nature, are in the main and edited by him for recital use, for and 16 ft stops. But you must not forget Robert. We must begin slowly and care- tne composer’s first opera, written after val writers. Thus Lohengrin (originally City. original, but occasionally snatches of the studio, and for the home. Every that the pitch-effect of combinations must fully; if you hadn’t been as well prepared the model of Meyerbeer, had been a Loherangrin), the son of Parsifal (Par- Indian melodies are introduced to singer should possess a copy of this be that of the normal or 8 ft pitch. Draw on the piano as you evidently are I would decided money-maker. zival), becomes the subject of a Wagner- maintain the atmosphere. superb volume. on the Great, the Dulciana and the Octave, not have given you even so much as I In 1849, Wagner’s democratic ideals ian music drama over thirty years before (Robert does so.) Play the scale of D. have. You will have all you want to dr, to Price, $1.00 Price, $2.00 made Dresden too hot for him, and he was the Parsifal drama itself was produced, PRINTER’S MISTAKE resulted in the Virgil (It is done.) The Octave is so much loud- get the assigned lesson at all well. Good forced to flee to esc Ape incarceration. For Wagner felt the bond between the works, Conservatory ads. in the last several issues read- er than the Dulciana that it drowns out the bye.” (They go their various ways ) a time he found a haven at Weimar with however, and quoted parts of Lohengrin ing “ Grades One to Four,” instead of “ Grades The above albums should be in the library of all singers One to Six” for the 175 Pieces and Studies by Violin Strings Liszt, but he was obliged to go on to in Parsifal by way of suggestion. Mrs. A. M. Virgil. ETUDE BRAND Zurich, where he remained an exile of When Lohengrin was first given at Wei- See page 691, this issue Used by the Leading Artists of the thirteen years. Imagine the exasperation mar, Liszt boasted that no expense was THEODORE PRESSER CO. Arranging Orchestral Music for the Organ Philadelphia Orchestra of writing a masterpiece and not being being spared, that at least $1,500.00 would Etude “E” String, 3 lengths... .$0.20 net able to hear it because of the stupidity be spent in getting the work ready and 1710-1712-1714 CHESTNUT ST. PHILADELPHIA, PA. Etude “A” String, 2 lengths.... .20 net of a few monarchists, who could not that they had already ordered a bass Etude “D” String, 2 lengths.20 net By James Higgs recognize his stupendous importance. With clarinet. The cost of one performance My Collie Boy Etude “G” String, 1 length.20 net Song by Thurlow Lieurance Bundle Lots (30 assorted Strings) 4.25 net Lohengrin, the so-called Wagner move- now is enormously larger than that. Wag- •Prices Qioen Are SYrt-tYb Viscount ment began and the composer became a ner did not hear Lohengrin until eleven Price 50 cents—Published in Three Keys i In the arrangement for the organ of duction by other means. And just as an THEO. PRESSER CO. Philadelphia, Pa. “cause” as well as a musician. years after it was first produced at Wei- SUMMY’S CORNER music originally written for the orchestra, engraving is rather suggestive than fully The music drama was a long time in mar. The famous composer was then per- just how far it is desirable really to satisfying, especially to those who know reaching foreign countries. For politi- mitted, by the powers that be, to go to attempt to mimic orchestral effects, and if Why are TEACHERS’ ROUND TABLES such a benefit? the charm of color and tint in the original cal reasons, it was objectionable to the Vienna. In the meantime, the Wagner it is best to attempt to reproduce the tone- picture, so, I apprehend, an arranger of Because Teachers learn what teaching material has been used with success by other NEW PUBLICATIONS Parisians, especially prior to the Franco- cult had been growing all over Germany color of the orchestra, become vital ques¬ orchestral music for the organ or any teachers. Below we list pieces that have been widely used last year by our teacher FOR PIANO SOLO, PIANO DUET, Prussian War, but it was finally given and Austria, and the early Wagner operas tions. Also, “what are the best equivalents other instrument must be content if he be in Paris in 1887, in London in 1875, in were beginning to draw large crowds. customers. _ VOCAL SOLO, VIOLIN & PIANO, on the organ for the several distinctive able to recall vividly to the minds of those New York in German at the Stadt Theatre Probably no more entrancing or more groups of instruments which the Masters CHORUS and CHOIR. Teaching Pieces for Piano, Grades 1-2 who know the original work those treas¬ in 1871, and in Italian, with a famous cast, fervid music has ever been written than employed in their works? See Announcement Pate 696 lique song. The hunter notes the mournful comprising Nilsson, Anna Louise Cary, many of the parts of Lohengrin. rhine of his col’ie dog and because^of a FIVE SKETCHES, Esther Gronow.40c. The comparison of an engraving and ured beauties of the score which may be STORIES TOLD IN TONE, Martha D. Beck.75c slumbering in their memories. But this, THEODORE PRESSER CO.-Phila., Pa. FAIRY FROLICS, Florence P. Rea.75c. painting has always seemed to me a just parallel with a musical arrangement and I believe, is more to be effected by sugges¬ its original, and I think in proportion tive light and shade and contrast of tone, The Story of “Lohengrin” First Grade Pieces that Teachers Agree Have Sound to the real and essential merit of either than by the too direct attempt to abso¬ TINDALE MUSIC CABINETS The story of the opera is woven about Lohengrin, son of Parsival, the keeper of the Teaching Value picture or music, it will justify its repro¬ lutely reproduce the tone quality. Just what you Holy Grail. With this is blended certain features of the Celtic legend of King Arthur and THE WINDMILL, by Hubbard W. Harris 30c. his 'Knights of the Round Table. DREAM-FANCIES Act I Banks of the Scheldt, near Anthwerp. Henry 1, of Germany, arrives at Anth- 40c. have been wanting werv to raise a force to repel the invading Hungarians. Gottfried, young son of the late THE CHILDREN’S REVEL " 40c. Duke has disappeared. His sister, Elsa, is accused of his murder by Telramund, husband THE OLD CLOCK 30c. Will keep your music of Ortrud the Prince of Friesland’s daughter, who claims the dukedom. Elsa is summoned before the King to submit her cause to settlement by combat between Telramund and the Music and Blood Circulation in order, free from knight of her choice. She describes a Knight of her dream, Lohengrin appears in a swan- You will find it an advantage to get acquainted with all the above material damage and where you drawn boat and defeats Telramund. To The Etude. Act II Exterior of the King’s castle. Telramund and Ortrud plot revenge and the its beat increased, thus increasi can easily find it. Va¬ It is only in recent years that there has eiency of the circulation, by plai recovery of lost honors. Ortrud draws Elsa from her chamber, induces her to intercede for CLAYTON F. SUMMY CO., Publishers been really earnest and interesting research march. The blood pressure was i rious sizes,holding 200 Telramund’s release from pronounced penalties and instils doubt in Elsa’s mind regarding the inspiring tones of the Lohengrin. Ortrud dramatically halts the bridal procession, Telramund accuses Lohengrin 429 SOUTH WABASH AV., CHICAGO along this line of investigation. Doctors to 1200 pieces or more. of sorcerv, but the ceremony proceeds. Hyde and Calapino have conducted a series indicating an increase in •ole t Act III, Scene I. Elsa’s bridal chamber. Elsa urges that she know the forbidden secret increasing the activity of Oak or Mahogany. Eastern Agency: HAROLD FLAMMER, Inc., 57 West 45th Street, New York City of experiments for the purpose of determin- of Lohengrin’s origin. Telramund breaks into the apartment to attempt Lohengrin’s life n the blood. They Send for Catalog / inicated the ind lowo ttnd Act"IIL^Scene1 II. Banks of the Scheldt. Before the King. Lohengrin discloses his Send for the STUDY SERVICE SHEET; it ulill be a help in your Fall work. Gives idea systolic and diastolic pressure. These ri TINDALE CABINET CO., 159 W. the Holy Grail. ) the ‘ merican ire worthy of more than passing not identity and announces that now it is necessary that hi on leaching by leading educators. Sent Free. Send for complete Catalog. which the foliowii The Rican reappears. From the boat Lohengrin sings hi farewell t He disenchants they are positive scientific demoi the swan which is Gottfried subject to Ortrud’s enehantn takes the place lay prove of interest. It was found tions of the physical effects derivable of the Swan and Lohengrin sails away as Elsa expires ii her recovered brother's slowed and the force of music —Edward Podods Please mention THE ETUDE when addressing our advertisers. Page 684 OCTOBER 1921 THE ETTJDE THE . ETUDE OCTOBER 1921 Page 685

In regard to the ruining of the tone of a As to the wearing of the fingerboard, this violin by the wire E, there is no proof happen in the case of all strings. Every v"s - - x! s v^y,.. -v whatever that such is the case. The great violin occasionally has to have the little violinists of the day have their violins, gutters, where the strings have worn, among them some of the finest specimens scraped out and the fingerboard made level, of Stradivarius, Guarnerius, Bergonzi, and when the wood has become too thin Department for Violinists Amati, etc., strung with the wire E at all by repeated bevelings, a new fingerboard times. The value of these violins runs into is necessary. many thousands, and naturally their owners Edited by ROBERT BRAINE would not string them in such a way as to In spite of all objections the steel E has come to stay; first, because it does not ruin them. Thibaud, the greatest violinist break; second, because it stands in tune of France, assured me that he could not SCHUMANN better than any string ever made; third, “If All Would Play First Violin We Could Get No Orchestra TogetherV— R. detect the slightest injury to his Stradi¬ because its tone is clear and brilliant under varius violin by the use of the wire E. all circumstances, and does not become Again it is claimed that the wire E is dull owing to the wear of sweaty fingers, foundation to build on when he started at hard on the fingers of the player. If this playing which the world requires. Take What a Late Beginner as in the case with gut or silk; fourth, The Concert Violinist the age of forty-three. One of the reasons is the case, how do the violinists of our the United States, our own country, for because, with the assistance of the little Thousands of ambitious violin students, Accomplished why these late beginners so often fail to best symphony orchestras and grand opera example. The really important solo violin tuning attachment fastened to the tail¬ scattered all over the world, a large pro¬ The Etude has often stated that a stu¬ accomplish what would be possible for orchestras, stand it to play many hours a portion of them in this country, are bend¬ engagements in any musical season are piece, it can be tuned in four or five dent beginning the study of the violin at them, is that they become discouraged so day, year in and year out, on the wire E? ing all their efforts towards mastering the done by not more than ten violinists, and seconds; fifth, because it does away with an adult age could not hope to build up easily, and give up after a few weeks of It is no doubt true that the wire E wears violin to a point where they can become the greatest part of these engagements is slipping pegs. practice. The child does his allotted task the bow hair somewhat faster than gut or concert violinists and achieve fame and done by half that number. more than a limited technic, although a It must be said however that the advan¬ every day, without worrying about the fu¬ silk, but then, horse-hair is cheap, and a fortune. They do not wish to teach or to The number of really important violin notable exception is sometimes found. A tages of the wire E does not extend to the ture, while the adult beginner expects im¬ few extra re-hairings of the bow is a play in orchestra; they wish only to concer- engagements is comparatively small, con¬ number of interesting letters have been re¬ matter of small importance. As to the wire A, D, and G strings. In the case of mediate results. tize, and have their names appear in the sidering the great number of violinists ceived from violin readers on the sub¬ wearing of the bridge and nut, this is the A and D strings, fine Italian gut gives Notwithstanding the fact that we occa¬ small coterie of stars who are known the who are competing for them. Take the ject. One, in particular, from a gentle¬ a trivial matter. The nut wears very the best results; and in the case of the G, world over as the kings of the violinistic average town of 50,000, and we rarely find man in a western State, shows what de¬ sionally find a late beginner who makes slowly, and the bridge can be inlayed by gut, wound with silver wire should be used. profession. Of these thousands all but a that it supports more than one or two im¬ termination and an unending love for the considerable progress in violin playing, it a small piece of ebony where the E string D strings of gut, wound with aluminum pitifully small number will be doomed to portant violin recitals or concerts by a first violin were able to accomplish. The let¬ is a well-proved scientific fact that pro¬ rests, which takes care of that objection. wire also gives good results. disappointment. rate violinist, in a whole year. Some of ter is as follows: fessions and occupations which require the smaller towns may go for years with¬ “A recent article of yours, replying to great muscular agility and perfect co¬ Two Classes out being visited by an important vio¬ an inquirer about the possibility of one ordination of the two sides of the body, Public solo violin playing may be divided linist. Of course there seem to many being able to learn to play the violin can only be mastered in their highest per¬ How to Play Tenths into two classes. First comes the lyceum, violin concerts in the larger cities but after reaching maturity, is very discour¬ fection by beginning in childhood. Per¬ formers on musical instruments, jugglers, The violinist, who would play tenths moving from A to B must move a greater and Chautauqua work, society engagements even here it is not great in comparison aging to an old one who wishes to try. acrobats, equestrians, and a vast number well, must have a large hand, or at least distance up the fingerboard than the fourth in private houses, and minor concerts; and with their size. “Your advice would be ruinous to many finger moving from C to D, although each of others, must begin early in life, if they a large stretching capacity, a nice per¬ second—concerts of the first rank. Work Westerners, who have had slight chance moves a whole tone. To conquer these would become real masters in such occu¬ ception of distance in fingering, a keen, of the first kind is very poorly paid, and the $25,00011! to study more than the simple, common differing intervals is one of the chief pations. quick ear which takes notice of the number of applicants for it is very large. school branches in their teens, yet finally difficulties in playing tenths, as it is to a For the making of a great solo violinist However, the late beginner on the violin accurate intonation of both tones of the In lyceum and chautauqua work the salaries there must be a rare combination of cir¬ accomplished much when opportunity pre¬ interval, and sufficient perseverance to less extent in playing octaves. range from $50 to $100 a week, or possibly can learn a good deal—enough to afford cumstances. He should have a technic sented itself later in life. master the difficulties of this somewhat Another difficulty is the differing finger more in special cases, where the player is of himself and his friends much pleasure—if capable of coping with anything which has •‘As one of these, I wish to encourage tedious department of violin technic. pressure required for the lower and upper high artistic rank,or very well known. The he will put himself under a good teacher been written for the violin; he must have the belated one to try. I, as a country boy, Tenths, where both tones are flhgered notes of the chord. Every violinist notes railroad fares are paid, but the performer and practice faithfully and not expect too a very large repertoire, including all the knew not the meaning of violin teaching are rare in orchestra music, as it is found that from the nut to the bridge, the strings must pay his own hotel bills, and all other much. leading works for the violin, which he till in my twenties. I attended college, much better to divide the violins, where lie gradually higher above the fingerboard, expenses, from his salary. Everyone who must know from memory and be capable graduating with honors in one of the tenths are required, one violin taking the and that it requires a constantly greater has ever traveled under such circumstances, of playing at a moment’s notice; he should professions, and at the beginning of Prejudice upper, and the other the lower note. pressure to press the strings to the finger¬ knows that expenses “on the road” are very have the soul of a poet, a glowing temper¬ Chords at an interval of the tenth such board as we ascend. This is one of the the panic of 1893 found myself trying to With practically all the famous concert high, and the discomforts very great. I ament, and a striking personal appearance. as the following, where one of the tones characteristics of the construction of the make both ends meet. violinists, and literally all the symphony have talked with many performers who He should have youth, a perfect nervous violin. In playing tenths, the string where “I accepted a position that required ten orchestra violinists using the wire E have spent years in this lyceum and chau¬ system, and great personal charm. Be¬ it is pressed by the first finger lies nearer to twelve hours’ daily labor. I had fiddled string, we occasionally hear a wail from tauqua work, and almost all of them say sides all these he should have an indi¬ the fingerboard than the string where it a little and had, perhaps, fifteen lessons of a very small contingent of violin playters that the violin teacher, or orchestra player viduality which at once interests and is pressed by the fourth finger. The indifferent class. I made no further ef¬ that its use is all a mistake, and that is able to save much more, and live a much charms his audiences, and stamps him in fourth finger consequently must overcome fort to learn the instrument for fifteen we ought to go back to snapping gut or happier life. their eyes as a genius. Last but not least, a somewhat greater resistance in pressing years. Then, at forty-three, I tried to see muddy toned silk. They contend that the if he is a new-comer, and has, as yet, done are, however, quite common in orchestra the strings to the fingerboard, than is the if it could be done. I studied for five tone of the wire E is harsh and metallic, The Lure of Travel no public playing, he should have a bank parts, as they offer no special difficulties. case with the first finger. years with one of the well-known teach¬ that its use will, in time, ruin the tone of A friend of mine, a young lady of account of $25,000. A series of tenths, where both tones are ers in a large Western city, continuing to a violin, that it cuts the bow hair, that it In playing tenths, as in octaves, the Chicago, who is an excellent violinist, fingered, is met with sometimes in con¬ work eight to twelve hours daily. I then cuts the bridge, the nut, and fingerboard, fingers must not be removed from the traveled for eight years as solo violinist Costly Debuts certos and miscellaneous violin pieces, al¬ studied one year at the Conservatory of that it is hard on the violinists’ fingers, strings, as each successive tenth is played, in lyceum work At the end of that time though they are by no means common. At the present time, so keen is the com¬ Music. During this time I took advantage that it is impossible to make the proper but must both remain on the strings, she settled down as violinist in a large petition in concert violin playing, that the The following gives the scale in G in of every chance to do ensemble work. I tone and shading on a wire E. moving rapidly between notes, so as to motion picture theatre in the Canadian establishing of a new violinist before the tenths: practiced two hours each evening, when It will be noted that these objections eliminate making slides which will be too Northwest. She was paid a good salary; public, is a good deal like introducing a possible, even after a particularly hard usually come from either amateurs, who perceptible to the ear. If the slides be¬ and, after six months of it, she declared new breakfast food or patent medicine— day’s work. can only play a little, or from old men, tween notes are done too slowly, a sickly, that nothing could induce her to go back it takes a barrel of money. In such a case “During the years of lessons I studied who have used gut or silk strings all their whining effect is the result. In practicing to traveling lyceum work, with its long a vast amount of preliminary and very Hohman, Hermann’s Double Stops, Kreut- lives, and who are very slow in adopting jyy tenths the player will find that it is much strings of small town concerts and uncom¬ expensive advertising must be done. First iNttM# zer, Fiorillo, De Beriot’s Seventh Con¬ any improvement. easier to place the fourth finger in its fortable small-town hotels. She advises concerts are a dead loss; as practically all certo and Scene de Ballet and Rode’s proper position and then stretch back with Now let us consider a few of these The first chord offers no difficulty, as the all young violinists to teach, or play in the tickets must be given away. The new Seventh Concerto. the first finger than it would be to place objections. One of the principal of these lower note is the G string open. The orchestra in preference to doing lyceum or artist must have a manager, and New York “During the past two years I have held the first finger in position and stretch up is that the complaining ones cannot endure stcond chord, in which the lower note is chautauqua work, unless they should wish managers now demand from $2,000 and up, the first chair of the second violins in two to the fourth finger. For this reason an the tone of the wire E, because it is harsh in the first position, and in the third to do it for a year or two for experience. as a preliminary fee, before they will take orchestras which have played Mozart’s exercise such as the following might and metallic. If this is the case, why is it position, is quite difficult for players whose The great proportion of students aiming on a new comer. Advertising and boom¬ overture, Marriage of Figaro, Haydn’s suggest itself. The exercise, it will be that the greatest violinists of the age, hands are very small or have a limited at concert violin work, however, do not con¬ ing must be continued and this all takes Second Symphony (Minuet), selections noted commences with the higher note of like Kreisler, Heifetz, Elman, the late stretching capacity. Tenths become easier sider this lyceum work at all Their eyes money. Sometimes the manager fails to from. Maid Marion, Boadbil, and others the chord, the lower is then stretched back Maud Powell, Ysaye, Thibaud, and many in the higher positions, owing to the fact are fixed on the higher rewards of the pro¬ get a single paid engagement for his client. of that class.’ Both orchestras include in position, and then the chord is played: others, do all their public and private AKADEMIE & ETERNELLE that the intervals lie closer together. As fession. They wish to become really great, Violin teaching has been reduced to an professionals and those students that can playing on the pernicious wire E, and will Silk Strings the fingerboard is ascended, a point is and play at concerts of the first rank. They exact science by the eminent violin teachers play their parts. have no other. These violinists possess LA FAVORITA & ELITE reached where the distance between the Ex. 3 read of the large sums paid the great of this country, and Europe; and the musical hearing of the highest excellence, Gut Strings fingers in playing tenths is no greater than , DEEP, MELLOW, SOULFUL- violinists of the day. They read of their result is an enormous over-production of Perseverance and Concentration ON CREDIT. Easy terms for and they stand out from millions as possess¬ For Sale by Leading Importers and Jobbers in playing octaves in the first position, and great public triumphs, their tours all over concert violinists. For this reason I should i wonderful instruments. GET “I do not claim any special ability as a ing the keenest appreciation of all that is Sole Distributors M. J^SCHOHWK1 CO,Ine. from that on up it is less. VIOLINS;DETAILS TO-DAY. the world, their expensive vacations in the advise any violin student who is studying student unless perseverance and ability to fine and beautiful in violin tone. Yet they One of the chief difficulties in playing GUSTAV V. HENNING mountains and at the sea-shore, and the for the profession, and does not wish 2424 Gaylord Street DENVER, COL. concentrate be classed as such, though I continually use the despised wire E in tenths comes from the fact that the inter¬ rivalry of the phonograph companies to em¬ eventually to teach nor to play in orches¬ was taught in early life to eliminate the preference to all others. If the wire E is vals played by the finger taking the higher Even if practiced with the utmost dili¬ balm their playing for all time in phono¬ tra, not to risk spending several years word ‘cannot’ from my vocabulary, and good enough for the violinists above note of the tenth are smaller than the gence, tenths are barred to many violinists OUR “SPECIAL” graphic records. of his life in studying to be a concert when a goal was once set never to quit named, it surely ought to be good enough VIOLINS BUILT IN OUR OWN violinist, unless he has the assurance of same intervals played by the lower finger, on account of small hands or small stretch¬ 10 Tested Lengths, The trouble is that students who have set until it was reached—advice which I have for people who only "fiddle a little”. It WORKROOMS owing to the constantly decreasing length ing capacity. However many violinists eminent musicians that his talent is of 25c Silk Violin E, for^D^ their heart on becoming great concert vio¬ always found it good to follow.” is also true that if the tone of the wire E Of Finest Material and Workmanship of the strings involved as the player could play them if they would devote the very highest rank, and unless he has Write for prices and terms to, Send for Violin and Cello Catalogue linists, recognize neither the genius it re¬ Our correspondent certainly deserves is as bad as its detractors claim, the direc¬ ascends the fingerboard. For instance in enough practice to increasing the stretching quires for such a career, nor how compara¬ the assurance of large financial backing, as MUSICIANS SUPPLY COMPANY credit for his good work following so late tors of the great symphony orchestras the scale above, in proceeding from the capacity of the hand. The human hand will MUSICIANS SUPPLY CO. tively small a number of concert violinists is soon as he is ready for the concert plat¬ ‘ 60 Lagrange St., Boston, Mass. a start. Probably the playing he did in would certainly not allow its universa' use second to the third chord, the first finger, stretch like a kid glove if the stretching is 60 Lagrange St., Boston, Mass. necessary to do all the concert violin form. earlier years gave him somewhat of a by the violinists in their orchestras. Page 686 OCTOBER 1921 TIIE ETUDE THE ETUDE OCTOBER 1921 Page idea to substitute thirds, as in the follow¬ done judiciously. Practicing octaves on How to “Arrange” for Small Orchestra the viola is an excellent preliminary to ing example, where thirds are substituted for tenths in the first four chords of the practicing tenths on the violin, since, the By Edwin H. Pierce. Part IV intervals being greater on the viola, the key of G, as given above. Of course the hand and fingers are gradually stretched. thirds are not as effective as the tenths, where the composer has indicated the Editor’s Note.—Thousands of musicians and music lovers want to know more t Prices Right Now are In practicing tenths, the greatest care about the orchestra, particularly the small orchestra. The vast attention being must be taken not to over-do the stretching. latter, but they will have a fuller and more given to orchestras in public schools and high schools has prompted us to publish Have You Faith I have known violin students to be put out elaborate effect than playing single notes. the following article, the first of a series which will run for several months. Mr. of commission for many months, on Pierce, former Assistant Editor of ‘The Etude, ’ has had long practical experience ! Down to Rock Bottom Ex 4 account of being too rough with their in this subject and has conducted many small orchestras. He explains everything In order to save money for our friends and subscribers, we hands in Stretching. It is very easy to in such a simple manner that anyone with application should be able to understand strain the tendons and muscles, and per¬ hi3 suggestions without difficulty. "Ihe Etude” does not attempt to conduct a have made special arrangements with the publishers of many lead¬ correspondence in any study but short inquiries of readers interested in this series ing magazines. Our Magazine Departmerlt is at your command— haps permanent injury will result.' will be answered when possible ] Tenths should of course be played, as The violin student who wishes to perfect always ready to render a service to you. No need for you to worry In Yourself? in the case af everything else, in faultless himself in playing tenths will find a num¬ An interesting, practical comment on when sending remittances to Theo. Presser Company. It is safe Repeated chords, even very rapid ones, intonation; but there is one thing which ber of scales in tenths, carefully fingered, the utility of that branch of art which we are much used, and are not difficult. The and convenient. Use the convenient coupon below. the player has in his favor in playing a in Schradieck’s Scale Studies, and in other are treating of in these papers is fur¬ violin has a greater facility in “repetition” passage in tenths, a slight deviation from works on- violin technic. The chromatic nished by the fact that between the com¬ than the piano. Are you satisfied with your outlook in the profession —don’t scale in tenths should also be practiced. Here are Three Real Offers: absolute intonation is not so perceptible pletion of Part III and the commencement Ex. 3 you feel that you could establish yourself in a position of great¬ to the average listener, as would be the Even the violin student with very small of the present section the author was de¬ er responsibility and incidentally enjoy a better financial future case in playing octaves. Almost any listen¬ hands, who cannot get his stretching capa¬ layed several weeks by the call to do a THE ETUDE THE ETUDE THE ETUDE er can tell when octaves are played out of city up to performing tenths sufficiently number of jobs of “arranging”—eight for (for Music Lovers) (for Music Lovers) (for Music Lovers) if you had a good, practical musical education instead of mere¬ tune, but in the case of tenths a very slight well to admit of his using them in a public an amateur minstrel show, two for a pro¬ There are certain accompaniment-figures Modern Priscilla Woman’s McCall’s ly knowing how to play one instrument? deviation is not so noticeable, although of performance, will find their study an fessional vaudeville act, and two for inci¬ found in piano music which need special (for Needlework) Home Companion (Fashions—Fiction) admirable gymnasium for increasing the course apparent to the trained musician. dental music for a movie film 1 treatment when arranged for orchestra: Youth’s Companion The American Modern Priscilla If for instance you understood Harmony, Counterpoint, Where a passage in tenths occurs which stretching capacity of his hand, if he does for instance, (Pretty Things for Women) In our last article we discussed the first (for All the Family) Magazine the violinist cannot master, it is not a bad not do the stretching too violently. Ex. 4 Composition, Orchestration1—if you could play some other in¬ violin part and the orchestral piano part. ALL FOR $5.00 ALL FOR $3.75 We next take up the ALL FOR $5.25 Save 75c. strument like Piano, Cornet, Violin, Organ, etc. Have you Save $1.25 sufficient faith in yourself to try to improve musically and at the Maud Powell’s Violin Second Violin Part All remarks as to compass, etc., made These are perfectly easy to play, but same time financially as well? Will you take advantage of our The late Maud Powell, accounted during day as a present with the following note: under the head of “First Violin” apply, unless supported by sustained notes Smash ! go the Prices free offer for six lessons which we offer to readers of the Etude her life time as America’s premier violin- “I send you my' violin as a present. (usually in the wind instruments) have a of course, equally to the second. The list THE ETUDE and ) THE ETUDE and l$3'25 absolutely free of charge in the hope that they may be the means iste, had, in addition to her remarkable Having heard you, I can never again dese¬ of chords these given should also be somewhat dry and thin effect. In a large S3'65 musical gifts, a singularly lovable charac¬ crate by my feeble efforts the noble in¬ noted. In arranging a hymn-tune, a part- orchestra this function is apt to fall to the Pictorial Review . . . . / Save $1.35 Sunset Magazine. . . ,/savf$i.25 of starting you upon a career which will pay dividends in in¬ ter. On her death bed Miss Powell ex¬ strument I am sending you.” song, or anything - in which the musical French horns; but if you have no horns THE ETUDE and ) $2*25 THE ETUDE and 1 $0-25 creased cash earnings, earnings which you' couldn’t possibly pressed the wish that her favorite violin, fabric consists of a web of melodies (as, you can use two cornets, clarinet and The Queen of Spain presented Sarasate, Today’s Housewife j McCall’s.f Save 75c. obtain under your present condition? a fine Guadagnini, be used, after her the famous Spanish violinist and composer for instance, in a Saraband by Bach), the death, by some great violinist, who would of violin music, with a fine Stradivarius second violin has simply the alto part, like THE ETUDE and \ $250 THE ETUDE and l$3’25 We are purely selfish in offering them to you gratis—We have started thousands of appreciate it. It is announced that Mr. violin which he constantly used in his con¬ a human voice, with possibly the occa¬ others the same way—many wrote out of curiosity—became intensely interested when they Godfrey Turner, Miss Powell’s husband, Boy’s Life.j Save $1 50 Modern Priscilla . . . . j sa« 7Sc. certs. The English admirers of the late sional use of easy chords. In marches, saw how practical and how extremely valuable they were—and before they knew it they in following out the wishes of his famous »3.75 THE ETUDE and ) $4*25 Dr. Joseph Joachim, one of the greatest dance music and melodies with a simple ac¬ THE ETUDE and ( were proficient on another instrument or had a fine, practical knowledge of Harmony and— wife, has loaned the violin to Miss Erika companiment, however, it is apt to consist violinists who ever lived, subscribed a sum Woman’s Home Companion( Save 25c. Review of Reviews . . /s«v?$i.7s Morini, a gifted young Austrian violiniste, almost entirely of chords, usually played they were MAKING MORE MONEY IN THEIR PROFESSION. to purchase a noted Stradivarius violin, still it; her teens, who recently arrived in on the after-beats. If the arranger can THE ETUDE and ] THE ETUDE and » 2’50 the United States. which was presented to him, and which play violin a little himself, he will choose Every Child’s 1 s^si.oo They had faith in themselves—they wanted to do better things—bigger things—more became one of his favorite concert violins. Film Fun j1 Save 50c Many famous violinists have been the easier and more effective chords than one profitable things—and they did. Have you the faith to do better things—bigger things— Lady Palmer, wife of an English noble¬ lucky recipients of noted violins. We are who is guided on a merely theoretical THE ETUDE and \$0-15 THE ETUDE and jM-00 more profitable things in music—if so sign the coupon to-day. It costs you nothing and man, and well known member of Parlia¬ told that the owner of a priceless Cremona, Woman’s World sl«?3Sc. Youth’s Companion ) sISsoc. you will benefit much. who was an amateur violinist, once went ment, bought two fine Stradivarius violins, . .. j one of which she presented to Kubelik, Typical waltz accompaniment: THE ETUDE and 1,$4.25 Don’t wait for this advertisement to appear again. Procrastination is the thief of to hear Paganini. He was so overwhelmed THE ETUDE and ) $3’50 by the legerdemain of the wizard of the and the other to Francis Macmillen, the Ex.l opportunity as well as of time, and there is no time like the present to get busy and make Garden.11 Save 75c Christian Herald J sa^esoc. violin that he sent him his violin the next American violinist. money. Select the course you want and sign coupon NOW ! THE ETUDE and i1 $2-75 THE ETUDE and l$C-75 very great importance. Some recent ar¬ People’s Home Journal I ' Save 50c. World’s Work 1 s.v. 25c. A Perspiration Remedy rangers supply a so-called “Obbligato” vio¬ Piano Students’ Course by William H. Sherwood. Typical march accompaniment: lin part, containing instead bits of counter¬ Excessive perspiration of the hands gives the following advice to people who melody, and where these are not de¬ Each a Re< al Bargain is a deadly foe to good violin playing, suffer from perspiring hands: “Bathe manded, doubling the first violin part at William H. Sherwood THE ETUDE and 1 $4-25 THE ETUDE and ]. $5 00 Normal Piano Course and there are very few who are not your hands in cold water. Rub with a the unison or at the octave below. It Is American Magazine. I Save 25c. Forbes.. JSave $1.00 . Amateur or Professional Courses, by A. F, Weldon, troubled with it, if not constantly, at 10 per cent, solution of salicylic acid, in well to write both, to be used as occasion least at times during the excitement and alcohol. Having dried them, apply a little may require. With a piano, but a scarcity THE ETUDE and 1 $5-** THE ETUDE and l $5‘20 hornet America’s greatest teacher of the Cornet. These and similar accompaniment Mentor. ... J nervousness of playing in public. of a 10 per cent, solution of formaline or figures are apt to be so persistent as to ,of wind instruments, it is very serviceable. Leslies (36 issues).j Save $1.65 Dr. Royal S. Copeland, the well known THE ETUDE and ■* 7* 1* By Dr. Arthur Heft, noted European violinist, pupil a 1-1000 solution of permanganate of pot¬ become wearisome to the players them¬ At this point we advise the student to | $2lu THE ETUDE and t $5‘20 commissioner of health of New York city, ash. Farm and Fireside.1 V lOlin Of Dancla. selves. If you can manage to introduce arrange a regular second violin part to Judge (36 issues) J Save $1.65 a little strain of counter-melody some¬ Moszkowski’s Serenata—the piece on THE ETUDE and 1 $4-25 THE ETUDE and I $4‘75 by Adolph Rosenbecker and Dr. Daniel Protheroe; This where in a second violin part the player which we already began work last lesson. Science and Invention \ Save 75c. Little Travel.1 Save $1.25 Harmony course includes Counterpoint, Composition and Orchestration. Hints will inwardly bless you. (To be continued) THE ETUDE and 1L $4*25 Collier’s (weeklv) . . . . 1 Save 75c. THE ETUDE and l $4‘25 One of the most annoying sources of result that the pegs are conintually slipping. Popular Science.j Save 75c. transposition and editing, peg trouble is where the holes in the pegs, The same thing happens if the holes in the How I Use My Etude THE ETUDE and 1 through which the strings are passed; are McClure’s .1 1 W 4o! 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If their ideas are better than THE ETUDE and l by Frank W. Van Dusen, well known teacher and organist. , s$3-°° Delineator.J Save 25c. Reed Organ the holes are too far to the left the An awl, with a square end like a chisel readers of The Etude might like to follow those which I have been using, they are Boys’ Magazine . string binds at that side, and prevents the a similar plan. One Etude friend wrote should be used for the purpose, as a tool immediately adopted. THE ETUDE and THE ETUDE and 1 $4‘25 by Geo. Crampton, noted English baritone. peg from going far enough into the left l $5-25 Voice with a sharp needle point is liable to split us recently "The Etude has been like a Much may be said about the charm of Current Opinion.J1 Save 75c. Everybody’s.f Save 25c. wall of the string box to hold, with the the peg. visiting conservatory to me. During the a new piece. The Etude serves admir¬ Public School Music by Frances E. Clark. years I have taken it the magazine has ably in this respect; for I note a piece contained some of the most profitable THEO. PRESSER CO., PHILADELPHIA which I know will please a certain lagging lessons I have ever had. Some of my st decide which study you wi Violin Questions Answered pupil; and many, many times those from I enclose herewith $. Please send to addresses as given teachers have wondered why I have pro¬ G. R. W.—For yery simple violin and the Etude have saved the day. by me the magazines in the Special New Low Cut Price. that the string ... „ „„ . __ _ piano pieces for beginners, vou might get gressed so rapidly. The reason is that I -GOOD FOR SIX FREE LESSONS- without using the bow. The word i_ the Harvest of Flowers, Book 1 bv Weiss, When I have gleaned the valuable con¬ means that the how is to be used. If nothing , never miss reading and playing the Etude WRITE and the Young Violinist, Ten Pieces for tents from a copy, if it contains pieces NAMES . UNIVERSITY EXTENSION CONSERVATORY, is said, the bow is used. A pizzicato pas¬ Young Violinists, by Frederick Franklin. 2. from cover to cover every month of my sage must be specifically marked, and when suited to a certain pupil, I give that copy OF MAGAZINES Dept. A 127 Siegel-Myers Building, Chicago, Ill. the bowing is to be resumed the word orco There are several arrangements of various life.” DESIRED .. anas from Carmen in fantasia form. I do to him. Many new subscribers have been AT YOUR Please send me FREE without the slightest cost or obligation on my part Six (6) Lessons of the is used to indicate it. not know of a sixth grade arrangement of RIGHT ... .. the Toreador Song from that opera, alone, First, I read each article, especially gained in this way. 2. A passage like the following for violin and piano. 3. For violin duets those bearing upon piano work. With a By carefully reading the advertisements, Name..Age. with piano accompaniment you might get the NAME. . Symphonies Concertnntes, bv Dancla, and pencil I underline all the best ideas and I have found several books which have Street No.. R. F. D. or P. O. Box. Twelve Duets, by Mazns, Op. 38, Book 1. suggestions; then the underlined parts are been valuable aids to my work. The STREET AND NUMBER.. As you do not state just what character of easily reviewed. If it be an article which Publisher’s Notes are always read with Town .."rate. music you wish, it would probably be more $ TOWN OR CITY..STATE. must be played with three sennrate impulses satisfactory to get a catalogue from the requires working out at the piano, this interest. Through them books and music g Oct. ’21 of the how, either up or down as the ease publisher, or have a number of pieces sent is done very carefully till the technical often have been procured at a generous requires. points are all mastered. Exceptional arti¬ discount. Please mention THE ETUDE when addressing our advertisers. OCTOBER 1921 Page 689 Page 688 OCTOBER 1921 TEE ETUDE the etude Mother Goose Fantasy Player’s Book Selected Studies for the Child’s First Book of Melodies Evangelistic Music on Sale to Teachers, School of the Pianoforte Vol. Ill Violin in the Second, Piano Playing Schools and Colleges of Music By Arthur Nevin By W. E. Honska By Theodore Presser Fourth and Half Positions This little work is intended as an aid Geo. S. Schuler Notwithstanding the promise of poor We are pleased to announce the publi¬ to the teacher in establishing in the business this fall, we are happy to an¬ cation of a very important work by an There is no work in our catalog Charles Levenson This is a novelty which, judging from the American composer, Arthur Nevin, child’s mind a sub-conconscious idea of inquiries we have received from time to nounce that the educational interests that has been received with such enthu¬ Mr. Levenson has already had two brother of Ethelbert Nevin. The title rhythm, harmony and form. This feel¬ time will be welcomed by many. It is of the country will not in any way be siasm as the first and second volumes of very successful volumes of selected vio¬ of the work is Mother Goose Fantasy. this series, known respectively as the ing will become the foundation for all intended by the author as a practical affected. We are as well, if not better, We look forward to this work becoming lin studies: one devoted to the first pos¬ subsequent intellectual enjoyment and guide to those seeking to become more prepared to take care of the sheet music fjeainner’s Book (Red Book) and the New Music Works one of the most important productions Student’s Book (Blue Book.) The an¬ ition, and another to the third position. understanding of music. The work can proficient in the playing of religious and music text m book needs of every of the season. It has all the elements nouncement that a third book to be The new compilation is devoted to some be taken up with the veriest beginner, songs in which the piano accompaniment school, college and teacher in the country, to make it acceptable. First of all it known as the Player’s Book (Green very important positions: the Second, in fact it should be taken up with the is ordinarily lacking. Hymns, for in¬ as we have ever been before. has pleasing music of an average range; Book) is to be published in response to the Fourth, and the Half. These studies instruction book. The melodies all have stance, such as we find in the books are This is particularly true of our On it requires very little stage setting and the immense demand created for it will are but little more difficult than those in words. There are some parts of it that written for singing and not for playing. Sale plan. We are prepared to send can be performed by a metropolitan be pleasant news to the many who have the other two books and they are j’ery will answer the purpose of a writing The pianist or organist must always promptly to any teacher or school of company as well as well as a company used these books. This volume begins carefully arranged in progressive order. book. It also takes the bass clef from adapt his own accompaniment. The ma¬ music, a liberal supply of music selected in a small town or a school, and can be where the Student’s Book left off and In some of the studies the former posi¬ the very beginning and is a work that terial touched upon in this course is such from our catalogue according to the di¬ condensed without breaking the contin¬ proceeding by carefully graded steps tions are introduced in review. The goes hand in hand with an instruction as is used by the best known evangelistic rections sent us, that will furnish suffi¬ uity. There are seven Mother Goose mel¬ takes the student through that most de¬ ’ works of the best masters of violin are book that begins with the treble clef pianists. odies introduced, each of which is The special introductory price in ad¬ These Secular numbers are grouped for cient material for almost every necessity lightful period of study where many in¬ represented in this collection. only. This book is the result of many NEW WORKS. complete in itself. At the time it was teresting piano compositions can be per¬ vance of publication is 50 cents, post¬ mixed voices, male voices and women’s of the season. The special introductory price in ad¬ years of experience of a very practical performed under the author’s direction formed to the delight of parents and vance of publication is 40 cents, post- paid. Advance of Publication Offers — voices; the latter in four, three and two These packages can be added to for and cultivated teacher and we look for¬ special needs or for anything needed for at the National Association of Women’s friends as well as the progressing pupil, ward to great success for it. Our special Clubs there were only four of these melo¬ October 1921 Spec£ individual cases. himself. This work is nearing comple¬ advance price is but 30 cents, postpaid. Grieg—Child’s Own Book School collections in any of the above dies completed but it has since been tion and we would advise the early plac¬ Carnaval Mignon—Schutt . ! The discounts are the same as our lib¬ Great Singers on of Great Musicians groupings, will be sent gladly for in¬ increased to seven. It also has this ad¬ ing of your order if you wish to obtain Child’s First Book of Melodies—Honska eral discounts allowed on cash account. The Child’s Musical Friend Thomas Tapper Child’s Musical Friend (4 hands)— spection, to School music teachers and vantage that any one of these parts can this valuable volume at the very low the Art of Singing Wohlfahrt, Op. 87. supervisors. Anything not used at the end of the be performed separately. The work advance of publication price, 25 cents. James Francis Cooke Melodious Four-Hand Grieg, of all composers since Schu¬ Child’s Own Book—Grieg, Tapper. . . . Our ‘On Sale’ privileges are exception¬ season is returnable. An On Sale blank only requires one soprano, the rest of Piano Pieces for Beginners mann, has written more delightful com¬ Composition for Beginners—Hamilton. will be sent for the asking. This notable work including the ad¬ positions within the range of children in Earlier Duets—Kinross . ally attractive and our publications are the cast is a chorus of children ranging Instructive Pieces By H. Wohlfahrt, Op. 87 Do not overlook our New Music On vice of most of the great singers of the the earlier grades than any other mas¬ Elementary Piano Music—Neely. subject to the very best professional from eight to eighteen years. in All Keys last twenty-five years, is now so near the Evangelistic Plano Playing—Schuler. . Sale plan by which the larger selection The Dream Maid is a lyric soprano, This is a new volume in the Presser ter. We do not mean to infer that there discounts. M. Greenwald point of publication that our readers Great ^Singers on the Art of Singing— of the year is supplemented. Packages her part may also be intoned or spoken. Collection. It consists of fifty little duets are many of Grieg’s pieces that can be Write us today and let us demonstrate will have little more opportunity to se¬ arranged in progressive order beginning of piano or vocil music or both are sent This Dream Maid, who has just entered In the elementary and intermediate played by very little folk, but he is Instructive P All Keys — what the Presser service can do for you. cure it at the special advance of publi¬ with grade one, the parts throughout Greenwald, ... out once a month during the busiest young womanhood, has discovered, while stages of piano study pupils are prone nearer to them by miles than Liszt, cation rate of one dollar. The work has being of very nearly equal difficulty. Melodies for Teacher and Pupil (4 teaching season, made up of new music. sitting in her garden, a Mother Goose to become familiar with certain of the Brahms, or even Chopin. For this rea¬ Hands)—Mrs. H. B. Hudson. The Teacher’s Business been a long time in preparation, as These are not teacher and pupil duets son our teacher friends wll be glad to Modern Violin School—Linburg. These packages contain either eight or book that the children had left lying most used keys, to the exclusion of all such a work should be, but we are sure since all of them may be played by two know that Mr. Tapper has included this Mother Goose Fantasy—Nevin. Management of fifteen pieces and the piano sets are around and this book takes her back to others. This new book, which may be Original Four Hand Pieces. that our patrons will be highly gratified students of very nearly equal attainments. book in his interesting series of “picture 1921-1922 Season classified as to grade. A postal card her own childhood. In her youth she taken up right at the beginning of third with the result. The book will be over Preparatory School to Bach—Liftl.... grade work, is intended to furnish a The duets are all melodious and enter¬ cut-out” booklets which have delighted Preparatory School to the Sonatina— The music teachers of this country will bring these, a postal card will stop thought of these little people as actually three hundred pages and there will be pleasant and practical vehicle for fami¬ taining to play and they will afford the so many little tots. The series now in¬ Liftl . are responsible for the growth of the living in some land beyond the pale of twenty-five handsome full page half-tone best kind of practice in sight reading Prince of Peace—Wolcott. Theodore Presser Co. to the greatest mortals and remembers how her childish liarizing the student with all of the major cludes most of the great masters of the School of the Pianoforte, Vol. Ill— The educational music interests of the illustrations of the Great Singers who and ensemble playing. past . The retail price of these books is music teachers’ supply house and there¬ imaginings carried her into the realm of and minor keys. There are twenty-four have made this work possible. One dol¬ Theodore Presser . country certainly have awakened to the study pieces in well contrasted styles, The special introductory price in ad¬ 20 cents but the new booklet may be Secular Duets . fore the Theodore Presser Co. always fact that the Theodore Presser Com¬ these magic folk. Now, in her young lar sent now purchases a work which vance of publication is 35 cents, post- Selected Violin Studies in Second. womanhood, running over the leaves of each in a different key. This book may ordered in advance of publication for aims to render the teacher every possible pany is able and willing to furnish the upon publication will bear a price of at Fourth and Half Positions—Levenson and reasonable service. The confidence the book, she revels in retrospection, be used in conjunction with any course 12 cents. Tiny Tunes for Little Tots—Scarmolin best material for every need in musical least twice this amount. Twelve Well Known Nursery Rhymes— and friendly patronage of many thou¬ voicing with delight her dreams of the or set of studies. M. Greenwald . sand teachers are greatly appreciated education, promptly and satisfactorily past. She is ever oblivious to the pres¬ The special introductory price in ad¬ Violin Studies Original Four Violin Studies—Kre by the Theodore Presser Co. and all en¬ and according to the most liberal terms ence of the Mother Goose characters that vance of publication is 40 cents, post¬ Melodies for Teacher and R. Kreutzer Hand Pieces as w611 as at the lowest prices it is pos¬ paid. Pupil (Four Hands) deavors are made to make dealings be¬ frolic around her. This is an outline of We have been slightly delayed in the After four hand players have reached tween the house and music teachers sible to get anywhere from any firm. the plot of the cantata. preparation of this new volume but the By Mrs. H. B. Hudson a certain stage they begin to seek the mutually profitable. Tiny Tunes work is now progressing rapidly and we The chorus parts are arranged for two more original duets, that is to say, those Choir and Chorus The best professional discounts on all This is the third book of this kind Our Talking Machine voices and can be sung by either boys or for Little Tots hope to have it on the market in a short which are written originally for four Music for this Season publications are offered by the Theodore girls. The performance will take about that we have issued by this author. The time. Mr. Hahn has edited this work Department A. Louis Scarmolin success of the two previously published hands and which have not been arranged Presser Co. and Presser publications are forty-five minutes to perform and is with the greatest care after a compari¬ Our very complete octavo Catalog will Victor and Brunswick records are still This orginal work is made up of some books has been ph nomenal. A great from something else. There is a wealth appeal particularly to discriminating subject to an even more generous discount suitable for a woman’s club in particular, son of all ’te previous editions. This is despite the fact that they are priced in great demand, and our sales during very tuneful little characteristic pieces, feature of these works is that they have of such material available for interme¬ clioir and secular chorus directors, as it school or high school or for a university. one of the most important of all sets of diate and moderately advanced players. more reasonably than the general run of the past Summer show a decided increase in which however, in place of the con¬ no notes, and require no knowledge of The work * is now in the engravers’ studies for the violin and it is a book Usually these duets are more interesting contains just the class of music that is publications. This ability to price more over the same period of 1920. One of ventional accompaniments, one finds some musical notation on the part of the pupil. hands and it positively will be ready so which at some time or other must be to play since there is more or less inde¬ being sought. reasonably is due to careful purchasing the contributing causes of this gain in elementary polyphonic construction. It We are glad to announce this new book that it can be performed during the holi¬ mastered by every aspiring player. Our pendent work for either part. In this Choir directors will find described in a year that has not been regarded as up is a delightful'little study book and it which is a collection of easy duets ar¬ of paper, and to producing publications days. It makes an excellent jjrOrk to be new edition will be found superior in new volume will be found a splendid its pages ample material from which to of such merit as to warrant the printing will prove most interesting to bright ranged for teacher and pupil with the to 1920 prosperity in most business given during Christmas week. Our all respects. selection of such duets, chiefly from the select appropriate music for the various of large editions, thereby reducing the lines, is the fact that customers have special advance price is 50 cents post- young pupils. None of the pieces go primo part played by the pupil, the let¬ The special introductory price in . d- church festivals as well as hymn and costs through quantity production. beyond the second grade in point of ters of the alphabet being all that the works of modern composers. been able to get hundreds of records that vance of publication is 40 cents, post- The special' introductory price in ad¬ scriptural anthems for Sunday morning . Another important feature of Presser difficulty. pupil need know. The teacher plays the had been unobtainable for a long time, vance of publication is 60 cents, post¬ and evening use and concert numbers service is the “On Sale” plan which en¬ The special introductory price in ad¬ left hand part in the usual notation. due to a factory shortage. While there Our special advance price on this uni- paid. for special musical evenings. ables the teacher to test the suitability Carnaval Mignon vance of publication is 30 cents, post¬ are still many valuable and popular aue book is but 30 cents, postpaid. Twelve Well-known Grouped in our Catalog are chorus of various publications without making Ed. Schutt paid. Victor records missing, the situation is Nursery Rhymes Secular Duets numbers from the oratorios of Handel, an outright purchase of the same. A Ed. Schutt’s Carnaval Mignon, Op. teacher need but state in an order for so greatly improved that a good per¬ Modern Violin School M. Greenwald This is a new collection similar in Mendelssohn, Gounod, Gaul, Stainer, centage of all orders can now be filled 48 is a suite of six numbers: Prelude, Earlier Duets an “On Sale” lot of music, the number Theodore Linburg Mr. Greenwald has been most success¬ scope to our very popular volume of Rossini and Costa, forming a treasury the same day we receive them. This Serenade d’Arlequin, Tristesse de Colom- John Kinross of pupils to be taken care of and the This is a practical and well written ful in the adaptation of familiar folk Sacred Duets. It consists of attractive of standard compositions. brings us to the point of assuring our bine, Polichinelle, Pierrot reveur and This work is sometimes known as the grade and style of material desired and instruction book prepared upon modern tunes or children’s songs, as piano num¬ duet numbers for all combinations .of Anthem writers, who have given us Sganarelle. This work in a new edition First Step (Kinross) in Curwen’s a specially selected number of publica¬ many customers throughout the country lines by a successful teacher and player. bers for teaching purposes. This collec¬ voices, many of* which however are in¬ many fine examples of contemporaneous will be added to the Presser Collection. “Pianoforte Method.” It consists of tions will be sent by the Theodore that we are now in a better position to It may be taken up at the very beginning tion differs somewhat from some of Mr. terchangeable with other combinations. church music that find favor with choirs Presser Co. with the privilege of re¬ It is a most popular suite, each of the material intended for absolute beginners The duets are all melodious and singable fill orders for Victor records than at any numbers being a gem in itself. Moder¬ and it carries the student well along to¬ Greenwald’s previous books. Each num¬ maintaining a high standard of excel¬ turning all not used. time since the war, and if you have not including elementary finger exercises, ber has an appropriate illustration and and of intermediate difficulty. Some of ately advanced players will enjoy this wards the intermediate stages. A spec¬ time exercises and sight-reading exer¬ lence, are Edward Shippen Barnes, W. We call these points to your attention yet tried us on that list of records you ialty advantageous feature is that much directions are given for its performance the most popular pontemporary writers trulv delightful piano music. cises. The remainder of the book is de¬ Berwald, C. D. Blount, F. H. Brackett, now at the beginning of the season of of the way through the book there is a by a group of children as a game or are represented. This will undoubtedly nave been wanting so long, send us The special introductory price in : d- voted to the well-known teacher and A. U. Brander, J. S. Camp, Louis A. 1921-1922 because it means considerable second violin part to be played by the action-song. In each case the words are prove to be one of the most popular vol¬ your order without delay. Our location vance of publication will be 40 cents, pupil duets by John Kinross, Op. 11. Coerne, W. Dressier, A. W. Lansing, in the course of a year to the teacher who teacher. The book is suitable for private given, but the piece may also be used as umes of its kind ever issued. in Philadelphia, just across the river postpaid. This work may be used in conjunction The special introductory price in ad¬ Harry Rowe Shelley, Walter Howe purchases all supplies from the Theodore or class work and we feel that it will be a piano solo. from where these records are made, is with any instruction book or method and vance of publication is 60 cents, post- Jones and Robt. M. Stults—to mention Presser Co. Money saved in purchases much liked by up-to-date teachers. The special introductory price in ad¬ means considerable to all business en¬ an advantage that has enabled us to The Prince of Peace may be taken ut> to gcod advantage right but a few whose compositions we pub¬ The special introductory price in ad¬ vance of publication is 35 cents postpaid. terprises and surely the teacher should fill many an order promptly, and to ob¬ Cantata vance of publication is 40 cents, post¬ at the beginning. lish. be no less careful about such things than tain goods not to be had in other cities. The special introductory price in ad¬ Composition for Beginners In addition to anthems arranged for By J. Truman Wolcott paid. vance of publication is 30 cents, post- Wedding and Funeral the good business man. If you do not Our business in Brunswick records is By Anna Heuermann Hamilton the usual four part mixed voices, we have Presser discounts. On Sale parti¬ also steadily on the increase, and if This is a work which we are pleased to Music for the Pipe Organ accept. It will be the last published Preparatory School We are pleased to announce that this have choir music written especially for culars rnd helpful lists and catalogs you have not added anv Brunswicks to This fine compilation is almost ready men’s quartettes and choruses, anthems send for them now. Our little booklet work of Mr. Wolcott as he passed away to the Sonatina but the special introductory offer will be work is fairly well on the road to com¬ vour collection, you should do so without Preparatory School to Bach for women’s voices and for juvenile “Guide to New Music Teachers on a year ago. His works are all known as continued during the current month. pletion. It is entirely in type and is delay. They are good records, and :ev- Franz T. Liftl choirs of unchanged voices. Teaching the Piano” is also free for the pleasing, melodious, with attractive By Franz T. Liftl This volume will contain all of the best now being made up into pages and we eral of our verv best artist's, including This book will form an admirable in¬ hope that it will be out inside of a Describe your needs and let us send asking. choruses and of a medium grade. This This new compilation will prove to be music suitable to be used for either Godowskv, Chamlee, Karle, Irene Wil¬ troduction to the study of all pieces writ¬ month. The special feature of this work vou with our octavo Catalog an “On is a general cantata with the words taken one of the best contributions to the art weddings or funerals all suitably ar¬ li uns and Bonelli are under contract to ten in the classic forms, and especially ranged and edited. The work is under is that it teaches musical composition to Sale” package ol church music. We are Elementary from the Bible. It begins with a recita¬ the sonatinas and sonatas of the great of elementary polyphonic playing. It sure you will find therein many anthems make Brunswick Records. contains not only many of the simpler the supervision of the well known organ¬ little tots just the same as they are tive the same as the Messiah of Han¬ masters. It will prove to be about the taught literary composition in the public of merit. Piano Music If you are not so fortunate as to works of Bach himself but additional ist Mr. E. A. Kraft but many prac¬ easiest sonatina collection of any pub¬ school. The author has been very suc¬ Our Secular numbers are no less im¬ By Herbert Neely possess a phonograph, we would he glad del, “Comfort Ye My People.” There are ~ easy classics written in similar style. tical players have been consulted as to lished. The work has been compiled by cessful in her own teaching with this portant and should be considered by to send you literature of the Victrola, a few other selections from the Bible These have all been carefully re-arrang¬ the selection of appropriate material. This work is now actuallv on the nress. Franz Liftl, who is an expert in this and work, in fact it has been used as a mail every live chorus director in. the pre¬ work is entirely completed and we Brunswick and Chenev instruments, that are the same as the Messiah. The ed and placed in progressive order. The All of the conventional numbers usually in kindred matters and who has access called for are included together with a order course for composition and has paration of Fall and Winter programs. fully expect to send out advance copies and at the same time tell von how easilv work takes a little over an hour to per¬ to a wealth of material from which to use of this book will surely result in inde¬ form and is suitable for general occa¬ pendence of thought and fingers and in splendid selection of additional or alter¬ been thoroughlv tested with hundreds of Excellent composers are represented, before the next issue but we want to mve you may buy one through the Presser make selections. All of the little pieces pupils. It will be a most useful work sions including Christmas and Easter. greatly increased musical appreciation. native numbers. such as Addison F. Andrews, R. E. De- still another opportunity to those desiring house. Many musicians, especially are very carefully edited and fingered. for a great many teachers to take up. The special advance price that we have The special introductory price in ad¬ The special introductory price in ad¬ Beef, Julian Edwards, A. W. Marchant, to procure a copy at a nominal rate. teachers of vocal music, find that a The special introductory price in ad¬ Our special advance price before pub¬ W. H. Neidlinarer, H. H. Pike, Bruce put on the work is but 40 cents post- vance of publication will be 35 cents, vance of publication is 60 cents, post¬ Our advance price is but 50 cents. This phonograph is a very valuable and ne¬ vance of publication is 40 cents, post¬ lication is but 60 cents. Steane, A. W. Thayer and many others. is less than half what the hook is worth. cessary addition to the studio. j paid. postpaid. paid. the etude' OCTOBER 1921 Page 691 Page 690 OCTOBER 1921 THE ETUDE New Publications Down to Bed Rock Withdrawal from are the New Magazine Special Offer Prices Which Go Into Mastering the Scales Organist’s Offering by Preston Ware Effect October 1st, 1921. and Arpeggios Orem, Price $1.50 This year we have secured many at¬ Schools and Colleges This new pipe organ collection follows tractive money-saving magazine com¬ the two volumes previously published, By JAMES FRANCIS COOKE NEW YORK and NEW ENGLAND binations for our friends. On some, our made by Mr. Orem and which have been prices represent a saving of $1.25 to you; so very successful. We refer to The Price $1.50 Postpaid Organ Repertoire and The Organ on others, it is 50 cents, but taking all 8 Player. in all, the values offered will enable you The fact that this complete Daily Practice Manual, from the First This new album is certainly equal to to save real money in making up your Interested in Piano Playing? either of the above mentioned—fresh, new new magazine list. Steps to the Highest Attainment in these subjects has been en¬ Salvini School of Singing ? material in great quantity, for church, dorsed in the Strongest Terms by several of the Greatest Teachers Then you should know of ninth Mario Salvini, Director xe*e f recitals and picture playing use. Some Here are our New and Pianists, including Gabrillowitsch, Lhevinne, Alberto of the best new sheet music material has The Virgil Method, Vols. I and II < been included and every selection is one Cut-Rate Prices Jonas, Katharine Goodson, I. Philipp, Emil Liebling, Wil¬ 206 West 71st St., New York City Telephone: Columbus 2202 M which has already proven its popularity. Our Special helm Ouchau and others, would mean little if it were not for the How When and Where to Pedal Rate The work will be well bound and the re¬ fact that the Ever-Increasing Adoption of the book by Practical 175 Piano Pieces and Studies (Grades I to VI) tail price, $1.50, is a comparatively low THE ETUDE am A singing school living up to highest standards of art. The direct way to the e3 Modem Priscilla, ■13.25 Teachers is Evidence of Real Results. 4> manager, producer and impresario. Opera, concert, church, 2 •'J Save75c All by Mrs. A. M. Virgil The advance offe on this work is now „Trnr Read the following from the u)ell-knou>n San (Graded catalog on request) 2 oratorio, musical comedy and teachers’ courses. ^ withdrawn. The work can be obtained Pictor£T™view ”13.65 on regular account and will be sent on ' ' J Save $1.35 Francisco Teachzr, Mrs. Noah Brandt: You should know also PUBLIC APPEARANCES “ l ... .. used dozens of copies of Mastering the selection to any of our patrons who so THE ETUDE and The splendid instruments for Piano Practice called desire it. McCall s . j 2.25 Scales and Arpeggios Is and find it Courses for beginners, advanced students and courses of perfection for artists. ® ' ’ ) Save 75c ssults I seek.” The Virgil Tekniklavierl . „ . 4) Opera department endorsed by Gatti Casazz.a, Director General of Metro- Prosser’s Music Writing Books l 3.25 Published by the _ _ > (Keyboards full Piano size) ^ politan Opera House, Arturo Toscanini, Giorgio Polacco, Gennaro Papi a ' ' J Save $1.2 The advance offer on these new books The Bergman Clavier / g and others prominent in the musical world. q_ is now withdrawn. The copies ordered in • l 2.25 THEODORE PRESSER CO. 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Address correspondence the present time. •13.25 By Adam Geibel VIRGIL PIANO CONSERVATORY The books are known as No. 7, No. 8, • • j Save 40c PRICE, 40 CENTS MARIO SALVINI zocwe.^i.t street New York City No. 9, ruled respectively for piano, vocal THE ETUDE and Catalogs and full inform or violin and piano. Each of these books McCalls .. :: 13.75 A Vocal Number of a 120 West 72d St. NEW YORK CITY contains sixty-four pages of the highest Modern Priscilla, all 3 for .. .' , . J Save $1.25 8 THE ETUDE and . Most Acceptable grade, full sheet music size, music paper. Woman’s Home. Companion ' •l 5.25 Character. The price of each book is 75 cents. ’iano, Pedagogy, Public American Magazine, all 3 for . . j Save $ 1.25 U J p-Q.1 They are strongly and attractively The thoughtful sentiment of THE ETUDE and . f * -- * 3 School Music bound. Modern Priscilla . l 5.00 the words is well conveyed by k Kate S. Chittenden Francis 1 Youth’s Companion, all 3 for . . J Save $1.50 •$he rich, tuneful setting. New York School of Music and Arts .. n F. Sherman M. F. I Renewal Offers •13.75 Organ, Composition ’ ) Save 25c for October 150 Riverside Drive, Has your subscription to The Etude •14.25 expired? Have you put off sending your • j Save 25c New York City remittance? Don’t wait another minute ”14.25 is Founded by George Eastman 1710-12-14 Ches —take advantage of this Special Octo¬ ' ‘ j Save 25c Beautiful location overlooking i ber renewal offer and send your own , ALF KLINGENBERG, Director renewal and one new subscription. Se¬ Hudson River. • l 2.10 AN ENboWED MUSIC SCHOOL FOR lect any of the Premimus listed below: " ) Save 40c PROFESSIONAL AND CUL¬ Day and Boarding Pupils ” l 5.25 TURAL STUDY For Your Own Renewal ‘J Save75c Every Teacher Ideal home life for refined, and One New Subscription Special Notices •12.75 cultured girls. 5 Piece Aluminum Spoon Set, Snow •■J Save 50c of Children Should Faculty list includes for next White, stay white handles and rack. S ANNOUNCEMENTS year: T. H. YorkeTrotter, Joseph Europe and America's Most Picture Frame. Exquisite design, •13.50 ' • I Save 50c Possess These Books Bonnet, Harold Gleason, Arthur Eminent Teachers heavily chased. Velvet back. Size 6x4%. Alexander, Arthur Hartmann, U-Press-It Shakers. Salt and Pepper, ” l 2.15 WANTED and FOR SALE Voice, piano, organ, violin, harp and all ’ ’ I Save 35c Pierre Augieras, Raymond Wilson, Nickel tops. Happy Hours in Recital Land Adelin Fermin, Gerald Maas, instruments. Dramatic art, dancing, THE ETUDE and . Arranged by C. Nitzky Stern and Adele Sutor 20th Century Cook Book. Complete World’s Work . •15.75 OBOE PLAYER—Experienced, wou- George Barlow Penny. languages. Outdoor life and all recrea-i in every detail. " ) Save 25c cate In good city, where services would be PRICE, 25 CENTS THE ETUDE and . appreciated by advanced amateur orchestra. tional and social advantages. Crum-Tray and Scraper. Beautifully •14.25 Address A. C. care of The Etude. finished in white enamel. " ) Save 25c SKIDMORE SCFHA°R0Tk Popular Music Albums ”13.75 Institute of Musical Art J Save 25c aineadhigytloCaih|: B1CSti™greed SDom& Sclence’ Celebrated Compositions by Famous OF THE CITY OF NEW YORK modattons 300 Btud'en^^For^atSosue addrSs 1265 tor Composers, a superb compilation of 33 W A N T E. D—Second-hand metro Biographical Sketches Frank Damrosch, Director Charles Henry Keys, Ph.D., President, Box compositions. , • J Save 35c without bell, cheap for cash. Addres Arranged by C. Nitzky Stern and Adele Sutor J, Saratoga Springe, N. Y. Sunday Piano Music, most useful vol¬ W. Burpee, 389 Eastern Ave., Framingham, PRICE, 25 CENTS An endowed school of music conducted l 3.00 solely in the interest of higher musical ume, adapted for Sunday playing at ' ’ J Save 50c PIAffCg^ClflOOL The Courtright System of Musical Kindergarten home, or for use in church services. 25 points in musical biography. They are easily education and providing complete and Oldest and most practical svstem Write for I ANNOUNCEMENTS adapted to any children’s recital and the composers comprehensive courses. compositions. •1 5.25 Carnegie Hall. New York. ’ ) Save 75c Iviozart, Bach, Beethoven, Schubert, Schumann SPECIAL PREPARATORY CENTRES in different American Composers’ Album of me¬ and Mendelssohn. parts of New York City and Brooklyn for children COURSES FOR dium grade and special merit. 22 pieces • l 2.50 MUSIC COMPOSED—Send words. Manu¬ between seven and twelve years of age. by the best American Composers. ' JSave$l.00 scripts corrected. Harmony, correspondence THEODORE PRESSER CO., For catalogues address lessons. Dr. Wooler, Buffalo, N. Y. PIANISTS TP k fUCD Q AKE THE SEASON 15.00 1710-1712-1714 Chestnut St„ - Phila., Pa. Some $1.50 and $2.00 Books ’ j Save $1.00 MUSIC MANUSCRIPTS corrected, ar¬ 1921-1922 THE “BAN¬ ranged and prepared for publication, from ACCOMPANISTS 1 L/lVnLiXJ Cherry Isle—a story of a girl with •14.25 crude copy or dictation. Melodies harmon¬ NER SEASON” in your a wonderful voice whose ambition is • 1 Save 75c ized and arranged with attractive piano ac¬ stronger than her love. companiments. Compositions perfected ; ideas developed. Expert band and orchestra ar¬ StudyNT of Music. A careful perusal of Pilot Gave Sentence—a vivid and l 5.00 ranging. Send manuscripts. .T. Rode Jacob¬ pzJthaca Conservatory of Music—i ’ [Save$1.85 sen, 2638 Milwaukee Avenue, Chicago, Ill. Guide to New pages 691,692,693 & 694 of this issue powerful story of Claudia, the woman Crane Normal Institute of Music Special advantages in concert work. All instru- INTERNATIONAL confronted with one of the greatest pro¬ I 5.00 ARRANGING AND CORRECTION of Teachers Training School for Supervisors of Music ments, vocal, dramatic art, languages. Graduates MRS. BABCOCK will acquainr the serious student blems in history. ” I Save $1.85 MSS. a specialty. A. W. Borst, Presser v. it . both SEXES ^ famous artists in ali departments. Concert hall QFFERS Teaching Positions, Col- with the remarkable advantages Blind Wisdom—Humor underlies the Building, Philadelphia, Pa. 13.50 Teaching the Piano and dormitories. Resident and day student*. ^ leges, Conservatories, Schools. offered by the country’s leading surface of this story of three American _ ' , VIOLINS of all grades. Master Brand Also Church and Concert Engagements _ave oucj Tj0jin strings, sample 25c. Wm. BuslaD. 3731 For eatalog and particulars address sisters of widely diverse temperaments. Send a Postal for Your Copy schools and colleges. Many of 15.75 53 MAIN ST., 7 POTSDAM, NEW YORK The Registrar. 1 DeWitt Park, Ithaca, N. Y. CARNEGIE HALL, NEW YORK Donald McElroy—an unusually strong ; these opportunities in music edu¬ piece of fiction told in a picturesque and New 1921-1922 Premiums cation heretofore have never been interesting manner. It is a Scotch-Irish , 14.75 Many new and attractive articles story. I Save $1.25 make up our 1921-1922 Premium Cata¬ Professional Directory Advertising Gains for the Teacher a Maximum of Publicity at a Minimum of Cost—Sae Page 694 ‘equalled in America. Peter—a book for children. Beauti¬ 14.25 logue. It is now ready and will be THEODORE PRESSER CO., PHILA., PA. fully illustrated. mailed to our friends upon request. Flssse mention THE ETUDE when addressing advertisers. THE ETUB I Page 692 OCTOBER 1921 =53= Schools and Colleges CHICAGO Chicago Musical College __ . - . _ /-m a ttv TT'T'NTOTTtV T7-Ir?otTf. and TVTqtiq rrc*Y» FELIX BOROWSKI, President Dr. F. ZIEGFELD, President Emeritus CARL D. KINSEY, Vice-President and Manager The Leading and Largest College of Music and Dramatic Art of America faA, term now open Faculty of More than 100 Teachers including the following noted artists: (Alphabetically Arranged) VOCAL VIOLIN PIANO RICHARD CZERWONKY MAURICE ARONSON BELLE FORBES CUTTER LOUISE FERRARIS MOSES BOGUSLAWSKI STANLEY DEACON MAX FISCHEL BARTON BACHMANN EDOUARD DU FRESNE FREDERIK FREDERIKSEN EDWARD COLLINS ROSE LUTIGER GANNON MAURICE GOLDBLATT HARRY DETWEILER MABEL SHARP HERDIEN RAY HUNTINGTON GLENN DILLARD GUNN JOHN B. MILLER LEON SAMETINI MAX KRAMM ADOLF MUHLMANN ORGAN ALEXANDER RAAB EDOARDO SACERDOTE CLARENCE EDDY LOUIS VICTOR SAAR BURTON THATCHER ERIC DE LAMARTER C. GORDON WEDERTZ HELEN W. ROSS C. GORDON WEDERTZ HARMONY, COMPOSITION, COUNTERPOINT, CANON AND FUGUE FELIX BOROWSKI LOUIS VICTOR SAAR HAROLD B. MARYOTT LAURA D. HARRIS BARTON BACHMANN TEACHERS’ NORMAL COURSES REPERTOIRE AND INTERPRETATION JULIA LOIS CARUTHERS (Piano) CLASSES GLENN DILLARD GUNN (Piano) BURTON THATCHER GLENN DILLARD GUNN HAROLD B. MARYOTT (Vocal) MAX FISCHEL (Violin) EDWARD COLLINS LEON SAMETINI WALTON PYRE (Expression and Dramatic Art) PUBLIC SCHOOL MUSIC SCHOOL OF OPERA HAROLD B. MARYOTT ADOLF MUHLMANN EDOARDO SACERDOTE DRAMATIC ART AND EXPRESSION WALTON PYRE MINNA MAE LEWIS ral Instruments Taught

OF THE TOTAL VALUE FREE SCHOLARSHIPS OF $20,000 73 Free and 140 Partial Scholarships to be awarded Sept. I. Application blank on request. Mason & Hamlin Grand Piano, presented for competition in the Post Gradua¬ tion Class by the Mason 1 Hamlin Co. Conover Grand Piano, presented for competition in the Post Graduation, Graduation and Senior Diploma Classes by the Cable Piano Company. Valuable Viol-0 presented for competition in the Violin Department by Lyon and Healy. Entire Musical Education for competition in the Vocal Department. These prizes will be competed for in Orchestra Hall, Chicago, before world-renowned musicians as judges and with Chicago Symphony Orchestra. Opera Scholarships. 15 prizes of $300 each; 15 of $ 100; 15 of $50 in the classes: also Diamond, Gold and Silver Medals DORMITORY ACCOMMODATIONS 56th YEAR 620 SOUTH MICHIGAN AVENUE :o Blacks tone Hotel)

Thirty-Sixth Season AMERICANS | Sight Reading MADE EASY FOR PIANISTS Established 1895 by Wm. H. Sherwood PIANISTS can become perfect THE SCHOOL OF OPPORTUNITY CONSERVATORY sight readers by studying my course on “ The Art of FALL TERM Chicago’s Foremost School of Sight Reading.” Sight reading is not a “gift” and is within the Begins on Tuesday, September 6th, 1921 reach of all pianists — beginners Private and Class Lessons in Piano, Voice, Violin, Organ, | and advanced. It tells you of the Theory, Dramatic Art, Dancing, Language, etc. difficulties of sight reading and gasses DORMITORY

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- Theory, Piano. Voice, Violin, Dramatic Art, Teachers Normal Training Unu.ua, opportunities lor prof«sion^.,ude„U under the persona, direction of