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The tudeE Magazine: 1883-1957 John R. Dover Memorial Library
12-1-1924 Volume 42, Number 12 (December 1924) James Francis Cooke
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Recommended Citation Cooke, James Francis. "Volume 42, Number 12 (December 1924)." , (1924). https://digitalcommons.gardner-webb.edu/etude/43
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A APPLETON and COMPANY Some Unusual Educational Publications announce the publication of the most Representing the NET Results of an important collection of standard Amassed Teaching Experience violin music in the world THE ETUDE STANDARD DECEMBER, 1924_ Single Copies 25 Cents VQL* - Stop To-day TECHNICAL OCTAVE STUDIES Musical Antiques Many musicians and music teachers belie their profession By Leo Paalz We were standing at the gate of a wayside dealer in an¬ VIOLIN CONCERTOS and spend no little part of their time in fruitless worry. Music, tiques, in Maine. There was little probability that the dealer Condenses within its comparatively few pages every problem of all arts, should keep them from this form of non-constructivc of elementary and advanced octave playing. Price, 75c. was a cheat. He was not the kind of bucolic highwayman who nonsense. spends part of his time concocting “near-Colonial” furnituie This collection com¬ So many people confound worry with concern, or inter¬ in the barn and the rest of his day disdainfully parting with est, or earnestness. It is none of these. Worry is a form of prises the ten (10) family heirlooms in the parlor. No, here was a dealer with real SUPER LEGATO STUDIES fear, of apprehension, of nervous anticipation of some terrible antiques. There could be no question about it. They were classic and modern thing that may happen. The musician worries because he fears By Leo Paalz too hideously ugly for any manufacturer in these Ladies Home that the public may not like his playing. Suppose it does not. Polyphonic and double note material in contrary motion. A concertos universally Journal-House Beautiful-Pictorial Review-Country Gentleman- Worry will not help the situation. Earnest work and more work entirely different from anything undertaken in this field of days to foist upon the American public. But there are thou¬ used for concert play¬ preparation might. Worry and fear are the thieves of success. piano literature. Price, $1.50. sands of antique-mad pepole who will buy anything, if guaran¬ They unfit one for the real battle, by undermining those forces ing and for study teed to come from a period when their own ancestry was which one must have at command when the great issue conies. obscured in the stream of European immigration which be¬ purposes. Each con¬ Arnold Bennett, the famous English novelist, represents THUMB STUDIES gan with the Mayflower. certo is reprinted from worry thus: “Worry is the evidence of an ill-controlled brain; By Leo Paalz Wc saw one very conspicuous female from the Bronx buy it is merely a stupid waste of time in unpleasantness. If men the original foreign a “real Colonial” rug which would have made a cultured China¬ Scale and arpeggio material in contrary motion. A rapid course and women practiced mental calisthenics, they would purge in fluent, speedy and accurate scale, arpeggio and passage playing. man weep. We saw the pious descendant of a Maine farmer edition without abbre¬ their brains of this foolishness.” Price, $1.00. part with a chair that her grandmother wouldn’t have given viation or alteration. kitchen room. The price paid would have furnished the entire These concertos, if home of John Alden and Priscilla Mullen. Making Others Happy SCHOOL OF ADVANCED PIANO Antiquity is a fetich with many people. Age means noth¬ PLAYING purchased separately in ing except with old violins, old wine and old wives. In music “Ty” Cobb, who, the “fans” tell us, is one of the greatest we know of innumerable things that are revered for their age of all baseball players and managers, is recently quoted: “If By Blanche Dingley Mathews the original foreign editions, would cost more that are by no means exceptional as art works. It is no heresy I had my time over again, I would probably be a surgeon in¬ Draws on Brahm’s Exercises, Chopin’s Preludes, Bach’s smaller than $25.00. The complete list is as follows: to point out that many of the. masters, including some of the stead of a baseball player. I have only one regret, I shall not works and a selection and cadenzas to secure maximum mastery greatest, could be insufferably dull, prolix and even almost trite have done any real good to humanity when I retire.” of keyboard proficiency in minimum time. Price, $1.00. CONTENTS We think that “Ty,” in the vernacular of the ball-park, at times. Bach. Concerto in A Minor Why perpetuate the bad taste of some of our forebears t is “off his base.” This notable player has given pleasure and recreation to thousands and thousands of high-tension men who Beethoven.Concerto in D Major If they bought things indicating that they possessed the germs STANDARD LEFT HAND STUDIES of culture they deserve our respect and admiration. There depend upon baseball as a diversion, and for a “let-up ’ from Brahms.Concerto in D Major the grind that otherwise might shorten their lives on earth. In By Mentor Crosse are thousands of home-made Colonial antiques that have this Bruch.Concerto in G Minor elemental beauty. Others are merely ridiculous. In the mod¬ doing this, “Ty” has made good. Many of the surgeons he The only collection of the kind in the world; an essential for admires would not hesitate to give “Ty” a degree of “Doctor the teacher of the piano. In seven volumes, from elementary to Lalo.Symphonie Espagnole ern parlor they stand in hideous contrast to the best products of Psycho-therapy,” or “Doctor of Sunshine and Happiness,” virtuosity degrees of playing. Price 75c to $2.00 per volume. Mendelssohn.Concerto in E Minor of the Grand Rapids furniture factories. People who buy such atrocities may possibly be followed a hundred years hence by a because he has probably done more for tired brains, tired bodies Paganini.Concerto in D Major similar brood who will purchase our present day lawn mowers and tired nerves than thousands of doctors. If “Ty” is right, all of the efforts of interpretative musi¬ Saint-Saens.Concerto in B Minor and sewing machines as antiques. FAVORITE MOVEMENTS FROM Tschaikowsky.Concerto in D Major It is wise for the teacher to bring up the child with a rever¬ cians are wasted. Their productions are just as temporal as FAMOUS PIANO CONCERTOS Wieniawski.Concerto in D Minor ence for the great classics; but at the same time the teacher those of “Ty.” When the playing or the singing is done, all should know the classics and should read the opinions of great that is left is a beautiful memory unless the artist has recorded Edited, fingered and phrased, with introductory note and an¬ 448 Pages Full sheet music size his art for some reproducing machine. These memories arc notations by I. Philipp. I n these two volumes Mr. Philipp has select¬ critics about the classics so that an intelligent judgment may treasures to those who know that their journey through life ed, not only the favorite movements, but those best adapted to select which are really worth while. Many a teacher has given Price $3.00 is—so far as we know—onefold. Who would give up the glori¬ show the style of the composer, and to develop in students a (For Violin with separate piano acc.) the child musical antiques that even the composer himself in ous recollections of Caruso, Busoni, Bispham, Williams? No, dexterous virtuosity, and a love for the best in art forms. In two (Not Sold in Canada) this day «ould hardly greet with enthusiasm. Many a master “Ty,” the man who gives the world something to rest its mind volumes. Each, $1.50. has produced worts, while under the mflumce °( “ fe" nods, that, were he still living, he would like to see obliterated. and its soul, is not living a wasted life. You have every rea¬ NEW ‘WHOLE WORLD” Yet music of this kind is doled out to pupils as immortal mas¬ son to be glad in your heart that you have had the chance to An Ideal Gift for the Vocalist terpieces, merely because it is “antique ” Why not teach our make so many others happy. CATALOGUE Christmastide brings no finer gift than the chance to young folks to accept music for its intrinsic beauty, not for its A new edition of the “Whole World” make others happy. longevity? FAMOUS SONGS Music Series Catalogue is now ready Edited by H. E. Krehbiel for distribution. It contains the titles, * Four Volumes. One each for Soprano—Alto—Tenor—Bass. descriptions and contents of all the books Christmas Glorious! The Best Songs of All Times—Classical—Folk—Standard. There in the Series, and will be found useful is no song in the list which has not publicly won fragrant tribute Over a hundred million Americans will shout “Merry Christmas” again this year. The echo will to every music lover. Every reader of over and over again. Artistically bound in cloth—gilt. Each ring back'from multitudes in foreign climes to whom this Christmas Glorious will be one of the Volume, $3.00. the Etude can procure a copy free of charge. {Not sent to Canada.) merriest happiest, gladdest in their lives. Just now it is a joy to realize that we are blessed with thousands of musical friends the world over. We want them to know that our Christmas Greetings THE JOHN CHURCH COMPANY in cold print carry with them the warmest kind of a Christmas Greeting in our hearts. D. 109-111 West 4th Street 318-320 West 46th Street APPLETON & CO. CINCINNATI NEW YORK 35-39 West 32nd Street New York City 7 DECEMBER 19U Page'S 11 THE ETUDE Acquiring a Technic of Interpretation Come to Your Senses! Higher Character and Business Standards BY GUY MA1ER Much to the credit of a group of leading American vocal¬ Thousands of very gifted and even notably brilliant ists is a “Code of Ethics and Practice” we have recently re¬ students are painfully impatient before real hard training. ceived from the American Academy of Teachers of Singing of They provide some of the most exasperating experiences in the recitals which have been among the greatest successes of he concert pja Mr. Guy Maier, easily one of the most distinctive of the American New York City. It would be a fortunate thing if these princi¬ teacher’s career. The teacher can endure the dull or even the form in recent years. The records of the playing of ~ pianists of the present day, was born in Buffalo. His American education ples could be adopted by music teachers in general. stupid student who is making an honest effort to progress. for the sound-reproducing machine, arc exceptionally in music was received chiefly at the Neiu England Conservatory where he now at filc University of Michigan Conservatory. He is an exceptionally But the talented fellow, with ability “sticking out all over Preamble studied piano under George Proctor. Later he studied in Berlin under clear-thinking writer and liis articles in the present senes arc sure to attract Arthur Schnabel (piano), and under Paul Juon (composition) Lor many We, members of The American Academy of Teachers of him,” who does not work! ! ! ! the attention and interest of all piano students looking for Pr°c tc° Singing, citizens of the United States, dedicate this code of Such students regard their gifts as aeroplanes that will years he has been one of the foremost teachers of Boston and New York. to advance their work. This article is one of many new articles which His recitals of music for young people have brought him wide ^acknowledg¬ ethics to the advancement of vocal art. “zoom” them to great heights without work. They laugh at The Etude has received from modern teachers. ment from the press. Together with Lee Pattison he has given “Tivo-Fiano We pledge ourselves in our professional activities to the the advice of those who have achieved prominent positions by a pianist feels that he is playing very clearly; and yet, vital principle underlying all enduring accomplishment; in A percussive instrument like the piano, particularly, dint of gruelling labor. These students:—alas—usually arrive There has recently been republished, an excellent book to the auditors who are not familiar with the work and defending our own rights never to be unmindful of the rights needs very subtle treatment, in order to be interesting. by Adolph Christiani, called ‘The Principles of Expres¬ who receive several kinds of impressions on their ears at mediocrity when it is too late to acquire technical skill and Students ought to be encouraged to exaggerate their of others. sion in Pianoforte Playing.” The present generation of at once, his playing is muddled and ineffective. If he cultural equilibrium, which wmuld probably have made them “effects,” to use more vivid extremes of color and nuance, Code music students might dip into its pages with much profit. played more slowly and with more accentuation, the audi¬ more real fortissimos and pianissimos, to underline more great. Sometimes temperament, sometimes conceit, sometimes In the preface the author says, "Fully twenty years ago, ence would easily be able to understand it, and conse¬ Article 1: Members of the Academy, in accordance with certainly all that they do, even at the risk of a little sheer laziness is responsible for leading them to the “easiest when first the idea dawned on me that expression was Article 2 of the Constituiton, agree to further: (1) the estab¬ distortion. Better a bit of exaggeration any tune than quently would be interested in it. based upon principles and not merely upon emotional im¬ In halls the pedal must be used sparingly or not at way” which is always the hardest way in the end. the feeble, impotent approximations of “effects” which lishment* of a code which will improve the ethical principles and pulse or individual taste, I asked myself and others— all in rapid scale passages; but, on the other hand, for deaden the playing of almost all students. How often practice of the profession; (2) the spreading of knowledge and Listen to the scimitar-like phrases of the powerful philos¬ what are these principles? How can I obtain a knowl¬ slow, sustained portions, the damper pedal can be used one hears, “Oh, I was trying to make it sound that way, culture; and (3) the promotion of cooperation and good opher, critic, dramatist, George Bernard Shaw, in a letter to edge, where find a clear exposition of them? longer and more freely than would be advisable in a room. and I thought I did 1” Even first-rate pianists find at “My own teachers have never mentioned the subject, All of the extremes of fortissimo and pianissimo must fellowship. a young man who was striving to substitute his “genius” for times that some feature of a work has not received suf¬ and I venture to say that the conditions of musical teach¬ be carefully marked; and, the singing tone must be richer Article 2: Members of the Academy assume the obli¬ ficient emphasis and that the imagined effect has fallen a real training designed to fit him for»fearless competition with ing, as far as expression goes, are pretty much the same and fuller than in a room. In fact, when one hears a flat, or is scarcely an effect at all except a drab, color¬ gation to promote the teaching of singing, not primarily as a others of his age and with the good sense to grasp such an to-day as they were twenty years ago. Every artist and great pianist play a cantabile passage in the studio or less one. It is better to play with over-much authority commercial project, but as a means of culture; to maintain opportunity. musician to whom I applied had only private opinions to salon, it frequently sounds too loudly—'sometimes almost give on the subject. I searched in German, French and than with not enough. harsh. That is because he is accustomed to playing in and increase the prestige of the art of singing; and to conform “I advise you very strongly to remain in your groove and Before taking up the specific tests there are a few English literature for more substantial information, but much larger places which demand an “al fresco” style. to the standards of correct professional conduct as instructors, general points which cannot be too carefully stressed. postpone all thought as to your future career until you have was astonished at the almost total absence of any practi¬ advisers, and gentlemen. First, supervise carefully your mental and physical atti- finished your university course with reasonable credit and may cal doctrine regarding the laws of expression.” Bottom Article 3: The teacher of singing should possess both offer yourself to whatever cause you may choose to serve, as Very little has been done since Christiani wrote his It is always necessary to watch carefully that the piece character and education. book in 1885, to remedy the situation of which Chris- an adult man with a certified liberal education and the stand¬ has enough “bottom” (bass)—i. e., it is advisable for Article 4: Any unprofessional, dishonest, or corrupt tjani complains. Music teachers—even those of much students to play the bass tones so fully that they almost ing and experience of a university graduate. In that char¬ experience—still follow the “corrective” or “parrot” pol¬ conduct on the part of teacher or pupil should be reported to overbalance the “top.” This is very important and is acter you will be welcome and useful in the struggle for social¬ icy of instruction instead of formulating for their stu¬ the Academy. never given enough attention. Bass tones have not as ism or whatever other struggle may represent your sympathies. dents definite principles of interpretation which the stu¬ much penetrating power as the higher tones, therefore Article 5: Any pupil who has deliberately failed to pay There is one character in which you will be welcome nowhere, dent can recognize and apply for himself. Teaching is they can bear a slight excess of “pressing out” without his just indebtedness shall be reported to the Academy, and still too much, “do it this way”—or “hold back here”—or useful nowhere, and a nuisance everywhere; and that is in the fear of over-shadowing melodic tones above. Schumann’s shall not be accepted as a pupil by any other member until “phrase this so-and-so.” After many years of study, the statement that “By the basses one recognizes the musi¬ character of an erratic, half-educated youth, at odds with his serious student (if he is intelligent and lucky) may possi¬ his debt is paid. cian, can be applied with equal truth to pianists as well family and school and with all other institutions within his bly evolve a haphazard technic of interpretation. But Article 6: Any specific promise by the teacher that leads as to composers. reach, because he is really at odds with his own unstable nerves. what of the overwhelming majority of conscientious, Rests, and spaces between phrases, parts of pieces, the student to false hopes of a career is a breach of ethics and Your letter fills me with horrible suspicions of you in this direc¬ serious students who cannot help themselves? and pedal changes must be longer in halls. In general, integrity. These articles do not pretend to lay down a series of tion. If they are justified I have no use for you, the socialist everything that you do in an auditorium should be more Article 7: A minimum of one year of continuous in¬ laws which will cover all contingencies, but will attempt deliberate and more underlined: only in this way will movement has no use for you, the world has no use for you, and to show that there exist specific principles (or “tests,” as struction shall warrant the teacher in claiming the student as your playing be intelligible and interesting to a miscel¬ I pity your family. So you just drop it and see what you can we shall call them,) which are almost invariably applic¬ a pupil. But fairness must be practiced in the proper recog¬ laneous group of people. do under the easy circumstances of convention before you ask able and which, if followed thoroughly and carefully, will nition of helpful services rendered by former teachers, and show the student how to improve the quality of his work. to be trusted in the difficult circumstances of revolution.” I. Tests of Tempo and Outline derogatory statements avoided. Furthermore, dignity and a This letter, quoted in the Journal of Education, is a When the Pupil “Gets Stuck” (These tests are put in the form of questions. Ex¬ scrupulous adherence to facts in advertising shall always be classic. Teachers of music ought to save it to show to students The complaint is almost universal that, “I can get just planations or comments follow after the heavier type. observed. Do not limit your examination of the work to a few who balk at technic and bask in the sunshine of their own self¬ so far with a piece, but then I am ‘stuck.’ It doesn’t Article 8: Teachers should treat their pupils with con¬ sound well; I cannot play it beautifully or effectively. measures or a page, but conscientiously go through the admiration. We once had a pupil who had great and obvious sideration and patience, inculcating in them respect for If only I would know what to do to improve it!” To entire piece with each test). gifts in composition. After a few lessons in harmony he con¬ their art. “make it sound well,” demands, naturally, an experienced fessed that it was futile “for him to work at something he knew teacher to guide the student. But frequently, for long The First Notes Article 9: In voice trials the duty of the teacher is to by instinct.” That was years and years ago. He has never spaces of time, students (or teachers themselves) have 1. Docs the piece (whether fast or stoic) begin very diagnose the case impartially. Therefore it is suggested that advanced a step since. A little of the training that Shaw no opportunity of working under expert guidance. It clearly, cleanly and impressively ? at the outset the student be requested not to disclose the name is during these discouraging periods that the student has advocates might have made a master of him. If such a student It is advisable to begin rapid works slightly slower of any former teacher. In all instances an honest opinion his real opportunity to do creative work—if he knows can be brought to his senses in time, before his priceless hours than indicated, so that the thematic material mav be should be given the student. how to go about it 1 ( extra-intelligible to the hearer, and also that the pianist of youth have been dissipated in “temperament” that balks at Therefore, we propose that each work (or ‘piece ) Article 10: Punctuality is incumbent upon teacher and GUY MAIER may feel complete control of the piece. It is easy enough the rigors of genuine work, the teacher has accomplished some¬ shall be put through many tests in order to find out what to accellerate as the work gets under way, but almost pupil. Pupils should be held responsible for the time origi¬ * is wrong with it, or what to do to improve it. These thing really worth while. tude before you begin to play. Try to feel eager, en¬ impossible to slow down once the pace is set. Slow nally reserved, except in rare emergency. test’s will be valuable only if the student applies each of thusiastic and relaxed before you start. Do not appear works, on the other hand, ought to begin a little faster them in turn (omitting none) and if the work has been The members supporting these principles include:— flippant or indifferent at the keyboard. It handicaps your than indicated, for then it is easy to find a good rythmi¬ learned so thoroughly that he can devote most of his at¬ Snap Judgment in Music work enormously. Your attitude should be impressive cal “swing” immediately, and also a simple matter to Walter L. Bogert Gardner Lamson tention to listening to his playing of it. There will be: and serious, but not funereal. Your body should feel slow down, if necessary. What is more deadly than a William S. Brady Clifford Lott Do not give your musical opinion lightly. If it is worth (1) Tests of Tempo and Outline. attuned to the music in hand, whether it be serious or slow movement which starts haltingly and which drags Dudley' Buck Isidore Luckstone anything at all it must come from reflection. We have repeat¬ (2) Tests of Rhythm. light, songful or gay. Always try to feel the rhythmi¬ its interminable feet over pages of notes constantly Harold L. Butler Francis Rogers edly heard utterances from half-baked minds upon music that (3) Tests of Phrasing, Tone and Color. cal “swing” of the piece before you start. threatening to sink down exhausted—but unfortunately Charles W. Clark Oscar Saf.nger has been the result of a life philosophy. The opinions have (4) Tests of Pedalling. never doing so? Keyboard Attitude D. A. Clifpinger Oscar Seagle been so ludicrous that those who have made them instantly be¬ These can be applied to any work whether classic or Also, be sure that you are sitting high enough—with A Significant Climax Nicholas Douty William Warren Shaw come subjects for ridicule. It is very easy to say that you modern, rapid or slow, large or small. elbows a little higher than the keyboard, and arms held 2. Is there a well-defined highest point in the piece, and George Fergusson George E. Shea don’t like Brahms, or Moussorgsky, or Palestrina or Cyril Communicating Beauty away from your body—for then you will be able to use do I really make there a significant climax f Yeatman Griffith Percy Rector Stephens Scott or Debussy. But before making such a statement you “Interpretation” may be defined simply as sharing what your “weight” freely and are less’liable to contraction. Almost all works have several high points of suspense Karleton Hackett Stephen Townsend must first assure yourself that you have become sufficiently you have found beautiful with some one else. In order Always wait a long time before you begin to play— or climax, and one highest point. This last must be care¬ Victor Harris Charles A. White to be able to communicate this beauty to others one must longer than you think you should—and then, after several familiar with their best works. More than this, you should fully looked for, and will usually be found somewhere acquire a technic of interpretation or “presentation,” so deep breaths, begin. Frederick H. Haywood Myron W. Whitney' find out “why” you don’t like their works. Much of the after the middle and toward the end of the piece. It is that the work will be as artistically effective as it is It is well to remember also that when you appear in an WlLFRIED KLAMROTH Herbert Witherspoon most often the place which demands the richest or most casual opinion we hear upon Music is about as valuable as possible to make it. Besides the necessity for not vio¬ auditorium (even a small hall) your playing must adjust Sergei Klibansky brilliant playing, and should be greatly emphasized. Avoid barber-shop opinions upon Statesmanship. lating the canons of good taste, of symmetry, balance, itself to the size of the place. The larger the hall, the “climaxing” too often in a short work, but when the control and suspense, certain features of the work must slower must be your tempi (of rapid works) and the highest point arrives drive it home in no uncertain lie slightly emphasized or exaggerated in order that they “crisper” you must play, because the additional reson¬ manner. may be more easily “communicated” to the hearer. ance tends to blur otherwise clear passages. Frequently DECEMBER 1924 Page 818 THE ETUDE THE ETUDE Page 812 DECEMBER 19U them are usually only too eager to make their service of Basic Vitality An Impressive Ending real worth to all patrons...... 9. Is the accompaniment sufficiently reduced m tone so Conditions have developed m which it is the thor¬ 3. Do I hold back sufficiently al the end of the piece? as to be alivays "present” without obtruding? Docs the oughly informed musician who leads in the profession, no Do I "breathe’’ and pause long enough to make the last accompaniment give a real, basic vitality to the piece? matter what his specialty may be. The narrow gauge’ measures impressive? teacher and interpreter must give way o the one who In practicing, it is very helpful to try frequently to knows a thing and knows it broadly. I he musician, in The whole effectiveness of a work depends upon its see how softly an accompaniment can be played while whose, head a single idea is as lonesome as a young finish. If the work ends in a lackadaisical or hurried still really “supporting” the theme. In doing this it is swain with his sweetheart on the way to an African manner the pianist's effort has been wasted; for it well also to make the theme stand out as fully and as mission field, has about as much chance of coming out leaves the audience dissatisfied. On the other a piece interestingly as possible against the pianissimo accom¬ may be indifferently played; but if its end is carefully of his work successfully as has a goose m a pillow paniment. done it may still redeem itself. That pianist is unwise who rushes final chords in a brilliant work instead of ^Make use of the library—of any one or all within deliberately slowing up and holding back in order to pile 10. Is there something of interest going on at all times? vour reach. Store the brain with all sorts of knowledge ‘Ring Out, Ye Bells!” up the volume of tone. And how often do pianists strike i. c., if the melody (or important portion) stops do I relating to your art; of its history, of its theoretical de¬ last tones (whether loudly or softly) and immediately "make something” of the accompaniment? tails, of musical biography—and then of all related remove their hands from the keyboard meanwhile arts—and when the gate of opportunity opens you will How to Secure Bell Effects in Piano Music sustaining the tones with the damper pedal! This is a ' Sufficient Bass serious fault and invariably ruins the effect. It would 11. Is there ahvays sufficient “bottom” (bass) to balance By LESLIE FAIRCHILD be just as inexcusable if a violinist started to walk off “The ultimate object of counterpoint, as of harmony, the work well? the stage while still holding his last tone! The hands is the formation of taste, of what may be called the mu- From the time that t r grandmothers jingled out “Monastery Bells” down should not be taken from the piano until the final tones Always remember that better too much bottom than sical charadeY of the student. It is of little use to know to the present era of Debussy’sssy’s “Japanese Temple Gongs,” bells have played a have been held their full value and then the hands should not enough! Upon the fullness of the “overtones” which that a certain progression is forbidden unless ive our- . | „ _ large part in music. More and more in modern orchestral music bells arc being be removed simultaneously with the releasing of the are given out when bass tones are struck depends the selves feel that the veto is not the result of caprice but damper pedal. sonority and solidity of the work. the considered judgment of men whose taste ts really introduced. Whether it be the delicate tinkle of the Celeste in Korngold’s “Die supreme.” Tote Sladt,” or the ponderous bells, of Tschaikowsky’s “1812 Overture,” they Petering Out Range of Dynamics appeal to the imagination of all music-lovers. I 4. Do I “peter out” too soon before the end of the 12. Docs the piece have a wide range of dynamics? Is Inspirational Moments piece? Do I diminuendo or crescendo, retard or accel¬ s great there a tremendous difference between my fortissimo Bells have tolled down through the centuries, pro¬ density, is called the hum note and an octave above this In producing bell tones on the pianoforte there is erate too long or too quickly, thus preventing a fine and pianissimo, with very well defined gradations be¬ When Music Lovers Speak claiming mankind’s greatest joys and sorrows. They the nominal. In the’first octave are also heard a minor opportunity for unusual pedal effects. In fact it vital finish? i ski 11- tween these extremes? have served him on most all occasions and are to this third and a perfect fifth, and, in the second octave, a possible to create the proper atmosphere without a Too long a retard (in slow pieces) will doom any work People are not interested in the ordinary piano recital “We can do without fire in the house for half of the day a necessity to his daily needs. major third and a perfect fifth. It is said that very few ful use of all three pedals. to a lingering death; and putting on “full steam” too because, as they say, “It is so monotonous!” This year, but we must have music the year round.” The first bells can be traced back to Hebrew antiquity, bells conform to these conditions, but those which swing Let us take for our first example Borodin’s Au Con¬ soon in a brilliant work will kill it more quickly, but just monotony is sometimes caused by bad rhythm, and poor —Sidney Lanier. when golden bells were fastened to the garb of the high are more likely to do so than ones that are struck. vent (At the Convent). Here we have the uninterrupted as surely! quality of tone, but mostly by lack of dynamics. After priest so that their tinkling would call attention of his tolling of a bell for eighteen measures, whose “bell Deliberation students have learned pieces and play them for a period “One tiling is certain, the native American stock is approach to the sanctuary. New Bells Better Than Old note” or fundamental is CS. of time the works tend to “flatten out,” outlines blur, missing a great deal by not taking a leaf from the book 5. Do I approach all difficult places with sufficient de¬ The Romans used bells to announce public assemblies, A point is often raised, “Do bells improve with age?” From the study of the theory of bells we have found the color becomes drab, the dynamics range from mesio- of the Germans, Swedes, Bohemians and other foreign liberation? Do I consciously breathe deeply, pause, and' and a similar custom came into use in the early Chris¬ Mr. J. E. Taylor, president of the Taylor Foundry of that each has a compound tone; and if we can intro¬ piano to forte—and the result to the hearer is boredom. groups, and learning to sing together.” keep my body relaxed at such times? tian churches. Although bells had been introduced into duce some of these overtones in the bell note we are This is a state into which even concert pianists sometimes —The Musical Leader. Loughborough, England, answers this question in a Christian churches about 400 A.D., their adoption on a get, when they play favorite works many times in public. satisfactory way: “Now if one considers this question in a better position to give a more vivid portrayal than if One of the best helps for conquering a difficult pas¬ wider scale is not apparent until after the year 550, sage is to pause before it, take a deep breath, and then It must be guarded against constantly. thoughtfully, it must be realized that it is a difficult one we simply depend on the single fundamental tone. “The art which I feel must lie introduced into all when they were introduced into France. while trying to think of the passage as a whole (and American schools in the shortest possible time—and it for which to obtain a definite and reliable solution. The Make the experiment yourself to prove the justifica¬ Bells have been blessed with the most elaborate cere¬ not of its separate single tones) exhale slowly while it A Live Rhythmical Pulse will take time—is the art of music.”—Charles Eliot. oldest bell, for instance, in the Malines Carillon is one tion of this theory. Note the added richness and depth monies and consecrated in honor of saints. They are tolled is played. The long breath induces physical relaxation, 13. Does the piece swing well?—i. e., no matter how slow of the middle group, and is dated 1480. Now how may of tone that the mysterious hum of overtones give. The during funerals and also for occasions of great joy. stimulates the mind and materially assists in the control or how fast, docs it have a “live” rhythmical pulse? Am auditors at once catch the real atmosphere of the effect “The real test of all great art is its power to give one reconstitute or determine the tone of this as it was of “tricky” places. I thinking of it in smooth, long beats, or in short, jerky, What must the feeling of the people have been when they but are at a loss to explain its phenomena. pleasure to the largest number of persons capable of when first installed in the tower? Its actual pitch and "movement-stopping” beats ? heard the great Liberty Bell proclaiming the adoption of Points of Rest appreciating it, for the greatest length of time.” the Declaration of Independence; and who can forget the relation of its harmonic tone to its fundamental note It is always better—even in very slow sustained works —The Archbishop of York. is probably practically the same now as then; but, as to 6. Where are the places that give me an opportunity to our own feelings when the bells were rung at early to think in long, swinging, measure-beats. In this way morn to awaken the people to the realization that the the quality of the tone, who 'shall say? It is of course rest (bodily or mentally)? the piece is almost certain to sound vital and alive. For “It has been my experience to find that most children World War had ended! impossible to obtain any record of that date to compare In works that demand much technical endurance, or instance, in 6/8 time, do not think of each separate beat, do possess the ability to learn to play an instrument. Of All of us have experienced the psychological effect in with the tone of the bell as it is now. The gramaphone that are complicated contrapuntally or harmonically, there but of making the whole measure curve giving good the hundreds with whom I have come in contact in the quality of tone a bell gives out. The solemnity and may possibly be a great help to future generations for stress on the first beat, a slighter one on the fourth. are always measures which are less difficult. The stu¬ the work I can recall only three or four who were abso¬ impressiveness of the cathedral bell fills our hearts with tone comparisons of that sort; but this machine is of Sometimes even a measure “curve” is too short and tends dent should go through the work, mark these places and lute failures, and they were failures in every other study reverence; an alarm of thrilling excitement flashes much too recent date to help us solve this often asked to arrest the swing; a two-measure beat is then pref¬ deliberately compel himself to relax each time he they attempted. Society is going to demand a great deal through our mind and body when we hear the first stroke question. At any rate, if some of the old bells have im¬ reaches them. This, if done carefully, will help him to erable. more of the next generation than it demanded of us. We of the fire bell; while the merry jingle of sleigh bells proved, they must have been of pretty bad tone in their play exacting pieces with the minimum amount of enjoyed better opportunities and are more accomplished immediately brings to our mind the spirit of “Jack 14. Docs everything that I do sound authoritative and youthful days. Science today enables one to attain a fatigue. It is also good training for the mind. than our mothers and fathers, but we must give the Frost,” dancing snow flakes and cheery fires that warm. definite, or only dull, half-hearted and indecisive? Are more accurate and delicate perfection of tone and of tune all my desired effects sufficiently wdl-marked so as to children of today better opportunities than we ourselves Is it not remarkable that our lives can be so affected by than has ever before been possible.” Color the Voices be “brought home” to the most indifferent of my hearers? had in order that they may meet the demands which will such a simple thing as tone? be made of them in the future.”—J. A. Wainwright. What would you think of a two-hundred and eleven 7. Is the entrance of each “voice” or color so very well The Piano and Bell Effects defined that even the most careless listener can recognise Succeeding articles by Mr. Maier will deal with ton bell being used to form the dome of a chapel ? Such-was For our next example, let us take Tschaikowski’s it? Does otic voice melt away sufficiently before another II. Tests of Rhythm. Why a Musical Italy! Great composers have used the bell as a medium to ex¬ the use made of the largest bell in the world—the great bell Troika, Op. 37 No. 11. Here we have an entirely differ¬ comes to take its place? III. Tests of Color, Phrasing and Tone. press special atmospheric effects in their compositions, of Moscow. This huge bell was cast about one hundred ent type of bell to depict. It is the merry jingle of IV. Tests of Pedaling. By D. Lr Ford and the piano, being an instrument of percussion, is and ninety years back and is twenty-one feet in diameter sleigh bells suspended over the backs of three spirited When a theme or important “motif” enters its appear¬ capable of rendering these effects to a marked degree. and twenty-one feet high. Four years later it was horses who are harnessed to a sleigh filled with jolly ance should be “chiselled out” clearly from the rest of occupants. In measure'thirty and those following we can Self-Test Questions on Mr. Maier’s Article For some years there has been more or less of agita¬ The student should acquaint himself with all the ways damaged by fire and lay partly buried in the earth for the tonal mass. It will not harm the work if this and means of producing these effects: give a very vivid likeness of these tingling hells by exe¬ 1. How may one avoid “getting stuck" on a piece? tion of the question of a National Conservatory of Mu¬ a period of one hundred years after which time it was entrance -is exaggerated; but before another voice First—By actually hearing various bell sounds. cuting them in the following manner. 2. Define Interpretation. sic for the United States. Whether conditions in bur raised. By excavating the earth beneath, it was made to assumes importance the first should practically disappear. Second—By knowing the theory of bell sounds. Do not separate the grace note from the chord as 3. Why should "effects” be exaggerated? country are such as to make such an institution to be of form the dome of a chapel. Frequently, when the outline of a piece is not as clear Third—By having the technic to produce similar sounds shown in Ex. 2 (a) but combine it with the chord as 4. What is the best position at the keyboard? equal value, it still is interesting and worth while to as it should be it is because several voices (or themes) on the pianoforte. shown in Ex. 2 (b). Make the attack a crisp finger are sounding simultaneously with important emphasis. 5. Make a list of ten tests of interpretative technic. know something of what other nations have done to Great Bells of the World foster the musical art. Listening is truly an art in itself. It is surprising the staccato, as snappy as the frosty air, without a trace of Unless the voices are widely separated on the piano it number of musicians who simply play in a purely me¬ Among other large bells are the great bell of Burma, The prestige of Milan can be I letter understood when the resonance that the larger bells require. The listeners is not wise to try to “bring out” two themes of equal The Public Library chanical manner, neither listening to the vibrations of the 12 feet high, 1634 feet in diameter, weighing 2*60,000 we read the following official report: will not be able to distinguish whether the grace note importance. instrument nor to the quality of tone they are producing. pounds; the great bell of Peking, 14 feet high, 13 feet “La Scala Opera House is managed jointly by the has actually preceded or is part of the chord, but they Merely pushing down the correct notes given in the in diameter and weighing 130,(XX) pounds; those at the will appreciate the added zest and likeness that it gives The Accompaniment By Lynne Roche Commune of Milan and a group of private citizens. The printed text will never impress one that they are lis¬ Houses of Parliament, London, 30,OCX) pounds; Montreal to this particular bell effect. 8. Does the accompaniment have a good swing? Do I Commune of Milan yearly contributes 350,000 lire (about Cathedral, 28,560 pounds; Notre Dame, Paris, 28,672 Scarcely a town there is now of any size which does tening to the deep throated bells of great cathedrals or play it with a different) approach in touch or lone from $70,000), and numerous gifts are received in addition. pounds; St. Peters, Rome, 18,600 pounds; St Paul’s, not have its public library—and most of these of a the merry jingle of a sleighing party. Take advantage that which I use for the more important part? In the event of a deficit, this is met by the city. Milan London, 11,470 pounds. nature of which the citizens may well be proud. of the many opportunities you have to listen to all sorts also has a government-owned school for instruction in of bell tones; for this is the only way in which you will And the student may ask, “what has all this to do with The accompanying figure is just as important as the Unfortunately for themselves, but a small per cent, voice and instrumental music. This is the Royal Con¬ melodic line. It should always give an underlying of the music students—and sometimes of the profes¬ be able to depict them properly in our own playing. piano playing?” Just this: The more knowledge we have servatory of Music Giuseppe Verdi, for which the direc¬ of our subject the more it will reflect in our own playing. “liveness” to the piece and should be carefully treated. sional class—have yet discovered that these institutions The depth and richness of a bell’s tone are directly tors arc appointed by the King of Italy. The professors proportional to its size. Its clearness depends on the We know that if we are to produce the effect of the large Its quality should be as different as possible from that of public service have departments of music. Nearly are also selected by the national government. It is open of the important part; and therefore, if you can use all of them have fine collections of reference books metal used, its shape and the skill used in casting. Its bells, our tone should have great depth and should be to both Italians and foreigners, provided the latter speak sound is compound and gives out five or more different rich in overtones. A skillful use of the pedals and a quite another color for it you will succeed in making the on music, biographies of the masters in composition and Italian.” outline of the work clearer. For instance, if you employ of interpretation, and often large collections of music tones. The first note to reach our ears after the bell has proper attack and touch will enable one to produce these a light hand or arm-touch for an accompanying figure, been struck is called the fundamental or strike note, charming effects. If the bells represent the small, The deep, rich, resonant tone of the Kremlin bell in for loan. If they are not thus equipped it is because ‘It is only by knowing thoroughly the great classical while you press out the melody richly, you will then the musicians of the community have not made their which is really the bell note. The lower note which is tingly type, we have to use an entirely different style of Rachmaninoff’s Prelude Op. 3, No. 2 can be greatly en¬ masterpieces that they can lie duly understood and appre¬ heard after the fundamental note has lost some of its attack and touch to bring about the desired atmosphere. riched by employing the attack described below. In the have the two different “colors” which are needed. wants known; for the trained librarians in charge of ciated.”— Landon Ronald. DECEMBER 192k Page 815 THE ETUDE THE ETUDE Page 8Ilf DECEMBER 192i vaudeville pianist. Try the following on your own ears coal scuttle and has square corners. Some of the right hand, strike the bell notes with the third finger, bind¬ and those of your friends. The Triumph of Grieg hammers are round, and vary in size and in the length ing the second finger and thumb to it thus: of their arms. Some of the arms are about ten feet How the Great Norwegian Compose, Has Gained Permanent Recognition long, and each has a wooden plug in it for the pur¬ pose of deadening the metallic sound. A long arm, By Grieg’s Foremost Protagonist from each of the sixteen notes in a large key¬ board, reaches up to the main clapper and allows the HENRY T. FINCK several individual clappers to strike the bells with little There is no room in this article to dwell 4- effort on the part of the player. Six of the ten bells Because it took a lot of courage to come out, four J HEN a writer has reached his seven¬ on the battles I have fought, and the propa- M which make up the entire group are so equipped that they , ,. „ nnw at the dawn of a new year decades ago, with the blunt declaration that Chopin was can play a half-tone above the true pitch of the bell. tieth year—as I did on the twenty- gandism in which I have indulged in behalt |*| . of of goto possibilities, if we wH, “the supreme genius of the pianoforte”—greater than any These six bells are those having the highest pitch. *”ir second of September last—he is by common of Schubert (who is greater, both as melo- of the Germans, including Beethoven. jJEjf consent allowed to talk a little about him- dist and harmonist, than even the giant Bee- The sounding of this higher tone on the bell is made A prominent American musician summed up the gen¬ ’wg self and his “past performances.” Let me thoven), and in behalf of Franz Tschaik.m- possible by the use of an extra tongue within the bell. eral opinion of my “reckless statement” by declaring that avail myself of this privilege by answering sky, Johann Strauss and Massenet; kings, This is timed to strike a fraction of a second later than I must be “Either a consumptive Frenchman or a patri¬ the large clapper. The second vibration is reinforced -rjrssa.!;* — a question I have often been asked: “What all of them, in the realm of melody and masters of har¬ to lay aside antiquated methods for the new, to keep otic Pole!” Yet I merely echoed what Liszt and Schu¬ and is made to follow in a more rapid succession than the do you consider your most important achievement dur¬ mony and rhythm. Their names will, in futures his¬ abreast with the finest musical minds of the world by mann had dared to intimate long before me. Little heed tories of music, be ranked higher than some of the big normal rate of vibration. For the present, at least, the ing your forty-three years as a musical critic?” had as yet been given to their words when I took up the bells will be rung by someone at the keyboard, although readme the best periodicals and books. Let us stri In my book on Musical Progress I wrote: “If I were idols now being worshipped blindly by professional cudgels. I swung them with all my might and main and tobejust to ourselves and to others; so that the evening asked what I am most proud of in looking back on my musicians. it has been suggested that an electric mechanism for the with stubborn persistence. Today nobody denies that If the vear will find us on a higher rung of the ladder forty years’ career, I would answer: ‘My having always Musical Morning Glories playing of the chimes be installed. Chopin is king in the realm of piano music: Even the A distinctive manner will be used in ringing the new stood up as protector of the greatest artists and com¬ ; these composers underrated? Why do some By this method a more accurate attack is possible and Germans are beginning to'see light. Why vi chimes. Instead of ringing every hour as is the usual Self-Test Questions on Mr. Fairchild’s Article posers.’ ” I also expressed my conviction that the only, musicians still underrate them? Let me an¬ the weight of the arm is concentrated on the desired swer this question .with another question. custom, they will ring only four times daily; first at ris¬ 1. Describe how bell tones may be enriched in piano important function of criticism is to dis¬ key. . ing time, then at noon, then at vespers, and finally at cover and boom genius or superior merit.’ Have you over seen or heard of the “Morn¬ A somewhat stiff attack is used in striking the key; curfew. The selections will be.from great musical com¬ Pl<2.inName some of the large bells of the world. Which ing Glory” in the Yellowstone Park? but the wrists are immediately lowered to insure a re¬ positions of the most suitable and inspiring kind. Fol¬ Booming Eleven Composers The first time I visited the park I heard one is the largest? laxed condition. lowing is their program: 3. How should one study bell tones? In carrying this maxim into action I de¬ of a stupid boy who threw a stick into the 4. What is the psychological effect of the different voted much time and space to “booming “Morning Glory.” His poor dog jumped after it and was boiled to pulp in a few Rachmaninoff’s Prelude, Op. 3, No. 3 bell tones? ...... the achievements, in particular, of Bach, 5. How many tones does a bell give out besides its Schubert, Chopin, Wagner, Liszt, Grieg, minutes. fundamental tone? .- Franz Tschaikowsky, Johann Strauss, Mas¬ The “Morning Glory” is the most glorious of a number of intensely hot pools, lined Bibliography senet and MacDowell. Many others of the masters, it is needless with the richest colors,- which are among the “Groves Dictionary of Music and Musicians;’’ Ency¬ to say, were dwelt on with enthusiasm in my most precious ornaments of that wonder¬ clopedias, Britannica and the Americana; “The Bells oi critical comments; but the eleven men I land. They are of fathomless volcanic England,” by J. J. Raven; “The Carillon in ^Literature, have named enlisted my sympathy specially depth, but so celestially pure and translu¬ by William Gorham Rice; “Church Bells, by H. H. because, four decades ago, they were under- cent that those who do not know their depth Walters; “Carillons of Belgium and Holland, ’ by Rice. think them shallow. Underrated? Do I mean to say that the In music, also, there are “Morning Illustration and Demonstration first five composers on my list were not Glories;’’ works deep but so pellucid that shallow observers have supposed them to in Teaching fully appreciated? Numerous other examples can be culled from the vast That’s precisely what I mean to say. Four be like themselves. That’s why ten of field of pianoforte literature and the student is advised decades is a long time, and in that period eleven composers on my list were under¬ By Earl S. Hilton valued and belittled. (Bach was under¬ to study the needs of each individual style, in order to critical and popular opinion on these com¬ valued for other reasons.) obtain the most desirable effects. posers and others has undergone radical Illustration clarifies the way for pupils. Demon¬ Much of Edward Grieg’s music is of this Chimes or carillons are sets of musical bells tuned to changes. I was sneered at many times for stration brings the object to be learned before the pupil. boldly declaring that Schumann (you may kind. It seems so clear that as we are often a given scale. They are made in sizes from the tiniest Illustration opens up to the pupil the possibilities of his call him number twelve in my list) was a told, “any schoolgirl can play it.” But this sets that we have in small clocks up to sets of forty learning the object. Demonstration shows how it is done. greater genius than Mendelssohn. Does any¬ EDWARD GRIEG ACCOMPANYING HIS WIFE, NINA schoolgirl and the average pianist or singer or fifty bells, the smallest of which weigh only a few Illustration is theoretical, while demonstration is prac¬ body deny that to-day? hasn’t the faintest idea of its marvelous pounds and the largest, several tons. tical. Both should be used in a lesson. depth; and if she plunged into it she is likely to get Four decades ago I was stared at and My critical cudgels were also swung eternally in behalf In the east tower of the Notre Dame Church in Mon¬ For example: A child does not know what a sharp is, laughed at for maintaining that Bach was a far pro¬ of our. American Chopin, Edward MacDowell. On this into “hot water.” „ _ , . T , treal hangs a set of chimes consisting of ten bells, the nor where to find it on the piano. founder genius than Handel. To-day I would be laughed Percy Grainger wrote in The Etude for November. point it will be more modest if I allow the eminent San Illustration: A sharp is a little sign like this, S; at if I said the opposite. Handel’s genius—a great and 19?0 ■ “It is the greatest possible mistake to regard Grieg weights of which are: Francisco critic, Redfern Mason, to speak: “At a time placed at the left of a note, like this, *l%. On the piano noble genius it was—has stood fully revealed to all ever as~a ’‘simple’ composer in any sense. To the uninitiated, when most Americans regarded Edward MacDowell as a Do 6011 pounds since his own day; but Bach’s veins of gold were buried perhaps some of his works may seem simple enough; the sharp is found a half-tone to the right of the note pretty good composer 'for an American,’ Henry Theo- Re .3633 " so deep that it is only in recent years that the musical but to the ears of cultured musicians his music abounds with the sharp. philus Finck asserted his right to be included in the same Mi . “ public has become aware of the fact that he was a bil¬ with a unique richness of subtle intricacies. In particu¬ 2220 Demonstration: Ask the pupil to press the key which category as the outstanding Europeans. He did not ask Fa .2114 “ lionaire—the one billionaire in the realm of music. lar, his harmonies are strangely complex, and in this represents the note with the sharp. Then, ask him to to sec the European hallmark before he said a man’s Sol .1631 “ All the world now knows that what Bach is in respect stand closer to those of Bach and Wagner than find the next key to the right of this key he is pressing. music was good. He looked at the work itself and if it La 1463 “ absolute music Wagner is in the field of opera But When this is done, ask the pupil what that note is called. pleased him he said so in words not to be misunderstood. do those of most modern composers.” Si .1200 “ when I came to New York, in 1881, and proclaimed that “In the realm of harmony,” Grainger goes on to say, If his answer is correct, the Demonstration is complete. Today MacDowell is regarded as a creative genius, Do .1093 “ fact with trumpets and trombones and kettle drums, the “Grieg was a daring innovator, whose most iconoclastic If not, then review the Illustration, and afterwards the even by skeptical Europe. But Finck did not wait for Re . 924 “ Meyerbeer, Donizetti and Verdi “fans” looked on me as flights in this direction can most profitably be studied in Demonstration. foreign endorsement before he rendered judgment. He Mi ..“ his amazing arrangements for piano of Norwegian folk¬ a lunatic, pure and simple. did his own thinking and he never fell into the supersti¬ Wagner would have found his level had I never written songs and dances (opus 66 and opus 72), so much so that Total .21696 pounds tion which holds that music, in order to be good, must it may safely be said that the later moderns of different Exercises for Development of Extensors a line; but I am quite sure that my enthusiastic articles have a German, an Italian or a French accent” and which form the scale given below. on his genius, and my two volumes on his operas, helpe countries, such as Debussy, MacDowell, Cyril Scott, “THE DUET,” BY THE FAMOUS RUSSIAN ARTIST, MAKOWSKY By Ada Pilker to accelerate the appreciation of his genius in America. Delius, John Alden Carpenter, Howard Brockway, Puc¬ Ex. 5 That is all a critic can do in such a case. cini, Albeniz, and others, owe more, harmonically, to Daily Program— S :00 A.M... “Scalero" (Old Italian) With weight playing occupying so much of the piano Of Liszt, as an epoch-making creator, I was for years A Valedictory the pregnant suggestions of Wagner’s and Grieg’s har¬ 12 :00 M. . . “World Symphony,” Dvofak monic innovations than they do to the influence of any student’s attention, it is desirable to learn numerous almost the only ardent champion in critical circles a 6 :00 P.M... “Parsifal,” Wagner Mr. Henry T. Finck has chosen this article as 10:00 P.M... “Gregorian Chant” ways of developing the extensor muscles, ability in singular fact inasmuch as all the great pianists and con¬ other two composers.” his valedictory as a metropolitan musical critic. ♦One of the finest carillons of America has been in¬ weight playing being almost entirely dependent upon the ductors have worshipped his genius as much as I nave. And this daring and original harmonist has been He will of course write other articles which we stalled in the Harkess Memorial Tower of Yale Uni¬ Special Program . York Tune strength and flexibility of these muscles. James Huneker did not write his book on Liszt until habitually insulted as a writer of drawing-room pieces Integer Vitae shall have the honor of publishing. However, he versity. The total weight of the bells is 56,000 pounds Adeste Fideles Here are two good exercises for development of the after he had repeatedly urged me to do it, as in a way and songs for school girls 11 It is the most idiotic notion America has this year terminated a service of forty-three and each bears the inscription, “For God, For Country, extensors, based upon the famous Swedish movements. my duty. But I was appalled by the magnitude of the in my vast collection and recollection of critical im¬ years on” the New York Evening Post, during and For Yale.” The largest of the group weighs twice 1. Raise the arms straight in front to shoulder height task. As far as it goes, his book is excellent—every¬ becilities; sillier even, if possible, than Debussy’s oft- In the tower of the Metropolitan Insurance Building which time he has become one of the most dis¬ as much as any of the others and is engraved, “In mem¬ —palms down. Turn the palms upward, angle slightly body should read it-but it does not cover .the whole quoted remark that Grieg’s music gave him “the# charm¬ of New York city, are four bells that form the West¬ tinguished writers upon musical subjects, of his ory of Charles W. Harkness, Class of 1833, Yale Col¬ outward; hold in this position while counting twelve; ground by any means. Liszt’s music is still largely music ing and bizarre sensation of eating a pink bonbon stuffed minster peal. It is said that these chimes are rung at time. Born in Missouri, brought up in Oregon, lege.” The bells range from six and one-quarter tons to return to first position, relax, and repeat several times. of the future. In it may be found the-healthiest roots with snow.” S educated at Harvard, a world traveler, a friend three and one-quarter. The largest bell measures six twice the height of any other peal in the world. The 2. Raise the arms to shoulder height horizontally—turn of what is now called futurism in music. Did Debussy try to obscure the fact that he learned of eminent men and women for half a century, much harmonically, from Grieg? Many of Grieg’s feet in height and seven feet two inches in diameter. four bells weigh seven tons. palms up. Count twelve; return to first position; relax Chopin and MacDowell The largest hammer of the bells is about the size of a Chime effects have ever been present in certain types authority upon a half dozen subjects, author of things, to cite Grainger once more, “appear, after lapse and repeat. One of the leading American composers, EdgarStill- some twenty books, Mr. Finck, who has now of time, like the most modern French ones today.” They of piano compositions. All of us have met the individual These exercises practiced several times a day will man Kelley, has written an admirable book on Ghopin retired to the Riviera to complete other books, were “too modern, too iconoclastic, and took in conse¬ who considers the pianist, who can execute chime effects produce a markedly beneficial effect upon the extensor the Composer” in which, for the first time the full *1 am indebted to Tale University for this interesting says adieu to the field of newspaper critics quence longer to reach the public.” information. It might be also interesting to know that in the upper register of the keyboard, that sound so real¬ muscles and the result will be apparent in the increased depths of Chopin’s oceanic genius are sounded. In it there has been a controversy between the University authori¬ ease and beauty of the tone. in this article, in which he indicates the most ties and the New Haven representatives of the United States istic and maybe just grand, to be musicians of excep¬ he refers to the “brilliant and daring” lecture I wrote important achievement of his industrious and bril¬ Grieg and the Futurists School Girls custom offices as to whether the chimes are works of art tional ability. Such imitative effects as these have an ele¬ on this composer and afterwards embodied in my or musical instruments. The University claims that the liant career. As harmony—and dissonance—are just at present m bells are works of art and are entitled therefore to be im¬ mental appeal; they recall familiar scenes to the mind “The composer must devote to the expression and ■‘Chopin and other Musical Essays” (now out of print). the foreground of musical discussion and composition, ported free of dutv. The custom officials believe the chimes without a vivid stretch of the imagination, and have been elaboration of his ideas the best skill at his command." Why “daring?” to be musical instruments, in which case they are liable to a tax of thirty-five per cent. the means of bringing applause to many a mediocre —Sir Henry Hadow. Page 816 DECEMBER 192^ THE ETUDE THE ETUDE let me dwell a moment longer on this side of Grieg’s DECEMBER 192b Page 817 Yet, to this day—and this is the most horribly unjust achievements. so low as to try to boom that book for commercial rea¬ thing in the whole history of music—many persons be¬ sons. As a matter of fact, I get no royalty from it, It makes me wild with indignation to think that so lieve that, melodically, Grieg was merely a borrower of having sold it outright. much attention is now being given to the senseless caco¬ national tunes!! Are You Going Caroling This Christmas? Therefore, I have a right to urge every professional phonic experiments of the “futurists” while Grieg is The late Victor Herbert was one of my best and oldest and music lover to read and reread Grieg and liis Music, ignored—Grieg who introduced more valuable dissonantal friends, yet one day we nearly came to blows because he Revival of a Mediaeval Custom Which is Sweeping the Country; Stories of the Most and then to buy his songs and piano pieces and absorb material into modern music than all these fellows (ex¬ stubbornly clung to this notion. Famous Christmas Carols and Christmas Folk Songs cepting Stravinsky) combined. ‘ I t’s no disgrace to borrow melodies,” he said; “the and assimilate them in the light of the facts revealed in that book' and the notes to my edition of “Grieg’s Best An English critic has described the latest phase of greatest composers have done it.” By GEORGE A. BROWN music as “compact of a want of melody and the direst Quite true,’ I replied, “but it is disgraceful to accuse Fifty Songs” (on which, also, I get no royalties.) I discords. In one way Grieg does not belong to this one of the world’s most prolific creators of absolutely ask this as a simple, matter of justice toward a creative group, for he is always melodious; but in the matter of original melodies of being merely an arranger of folk¬ genius of the first tank who has been persistently be¬ legitimate and justifiable dissonance no one has gone be¬ songs.” littled. yond him. He was quite aware of this—and proud of it Another American composer declared that when he If I have smashed, destroyed, annihilated the “school¬ One of the most thrillingly beautiful of our more gloriously than with beautiful carols? “It came —when he wrote in one of his letters to his most inti- read Grieg’s melodies, the folksongs of Norway every¬ girl” notion about Grieg, I have not lived in vain. 1 f I Christmas experiences at this day is the revival in upon the midnight clear” has come into a, newer and mate friend, Frants Beyer (which have recently ap- where stared him in the face. I challenged him to point can persuade musicians and amateurs to discover for America of the Old World custom of singing Christ¬ higher spiritual significance. peared in print) : “I have indeed put on paper some hair- out a single instance. He couldn’t do it! Nor could I themselves the riches and the glories of the Greater mas Carols in the streets on Christmas Eve. In some large cities, such as Philadelphia, the raising harmonic combinations.” find such an instance in any collection of Norwegian folk Grieg, I shall be the proudest and happiest man in the Millions of people have been awakened Christmas On pages 216-217 of my Grieg and His Music I have music. In the first edition of my Grieg book I declared matter of caroling is organised upon a municipal world. morning with beautiful music that carried with it the glorious message: referred to many instances of his original discords—as that “Solveig’s Lied” was an exception. But Madame scale. In the “City of Brotherly Love” Mr. Florence J. Heppe, an active I have given up writing musical criticisms for a daily ravishingly new in music as those of Chopin, Wagner Grieg wrote me promptly that it was as entirely Grieg’s “Christ is Born!” music-worker, and a group of faithful assistants, has spent months in past paper because I am tired—oh, so tired!—of most of the :, and .Liszt. If those who prate about Grieg as a com- creation as all his other songs. years in getting ready for Christmas caroling. This has led to a great music publicly performed. But I am not tired of Wholly independent of creeds and sects, mankind bows before the poser for “school girls” would give themselves the trouble Among his piano pieces there are several collections Grieg. When I sit down at my piano and play for my¬ beautiful spirit of the Christ Child. The manger-born Prince of Peace is central “Sing” in the heart of the city on Christmas Eve, with large bands and pleasure, too, I assure them-of looking up these of arrangements of folk tunes, but these are plainly self, it is usually either Bach or Grieg. the highest emblem of the world democracy to-day. of instrumentalists. For two years the huge central chorus has been directed things, they would never again indulge in such foolish marked as such. Nobody could ever call Grieg "the Think what that means! And think what it means by Dr. Leopold Stokowski, director of the Philadelphia Orchestra. Other grand old thief” as an English critic did Handel. The great war Ims come and gone. Whose was the final victory? The groups proceed to all parts of the city. . If yo“ can read German and wish to realize the asinin- that America’s foremost musical genius, Edward Mac- Prince of Peace! If you doubt this, go to the navy yards of the world ity of the “school girl" idea in all its preposterousness, Ignorance, Sheer Ignorance 1 Dowell, to the end of his life adored Grieg more than he where armies of men are demolishing the engines of war. This may be Let us have more and more Christmas carol singing. Collections such did any other composer; and that the same is true of one 1 advise you most urgently to buy a copy of a book pub¬ When Dr. Johnson was asked by a lady what had but a step, but it adds a new meaning to the message that zvill be sung as “Standard Christmas Carols” cost only a few cents when bought in of the leading musicians of our day, Percy Grainger. lished m Leipzig by C. F. Kahnt: Die Freiheit odcr Un- made him, in his dictionary, define a certain word as he around the world: quantity. The carols are so simple they may be learned oz’cr night or at l fre.hct dor Tone. It is by George Capellen, the first had done, he replied frankly: “Ignorance, Madame, Will you try to get acquainted with Grieg's music? a fezv rehearsals by any body of singers'. My! What a glad and happy time Do, please! It is real music of the future. As the ad¬ “Peace on Earth, Good Will to Men!” of the learned theorists to discover the fact that Grieg’s sheer ignorance.1* everyone has! Perhaps you nez’er thought of getting up a Christmas Carol vertisers say: “You will use it ultimately, why not harmonies mark a new departure in music. He devotes It was ignorance, sheer ignorance, that had led the Of all years this is the one when we should join in carol singing with party to sing in the streets until you read this article. Start right azvay no fewer than twenty-six pages to an analysis of Grieg’s two American composers just referred to to underrate greatest joy and triumph. How can the birthday of Christ be welcomed and you will get a new thrill this Christmas. harmonic innovations, and sums up his views as follows: Grieg. It is ignorance, sheer ignorance, that makes Grieg is recognized far beyond his native country as Test Questions on Mr. Finck’s Article other musicians belittle this musical giant. They simply Thf. revival of carol singing in the streets at Christ¬ one of the few masters who have enriched music with f the eleven composers whose cause Mr. Finch Three Ships Come Sailing In.” It comes to us from about 908 and converted to Christianity. The transla¬ dont know his works; they have heard a few of his mas time has brought with it a desire for information new means of harmonic and melodic expression, and cre¬ especially championed, Derbyshire and, in the form now used, dates from the tion is by Rev. Dr. Neale. The music from Helmore’s simpler pieces played “by schoolgirls,” but the Greater about the carols. Is is a curious fact, but one well ated an admirable home-art distinguished by poetic feel¬ Grieg is unknown to them. 2. How are Bach and IVagner to be compared? 15th century. Christmas Carols is based on an ancient melody. “The authenticated, that Christmas was not among the earliest ing and the charm of many moods. For this reason f Zh,° tS k,y in the Rcalm °f Piano Music?" The Coventry Carol, “Lullaby, Thou Little Tiny Child,” Moon Shines Bright” is an English traditional carol It is so elsewhere. When Grieg’s sixtieth birthday was festivals of the Church. Irenaeus and Tcrtullian, early the study of his ‘Lyrical Pieces’ for piano, in particular celebrated, Germany’s foremost critic, Dr. Leopold , li hy wcre the composers, whose works appealed so dates from the 16th century Coventry Corpus Christi from Warwickshire; and “When the Crimson Sun Has church fathers, omit it from their lists of feasts; and cannot be too highly commended to music lovers, were’ Schmidt, wrote m the Tagcblatt of Berlin: “He has cre¬ play entitled the “Pageant of the Shearmen and Tai¬ Set” is another fine old English. carol that shows its ""5 nil , 1 111 ' Origen asserts that in the Scripture, sinners alone, not it only to make it clear to them that the one-sided, nar¬ ated a school—but only a few of his works are really 5. What are the keys to the charm of Grieg’s music? lors.” The melody is charming and while written in clerical source in its Latin refrain. row theoretical rules, as usually taught, too often fail in well-known here.” saints, celebrate their birthdays. a minor mode, as were many old carols, it ends with “See Amid the Winter’s Snow” was written by the lace of his lovely art, without its losing thereby any of Four years later Grieg died. The last letter I received - The First Christmas a major third which has a most beautiful effect when Rev. E. Caswell and set to music by Sir John Goss. its charm.” from him was dated December 30, 1905. It was written Seven Practices to Conquer Difficulties The first evidence of the feast conies from Egypt, sung unaccompanied by a choir of trained singers. “Shepherds, Shake off your Drowsy Sleep” comes to This last point is extremely important. The cacoph- in a hospital. He Had been a sufferer most of his life, about the year 200; and after many changes in the time The Wassail us from French sources as also “Come with Torches, onists of our time—who could learn much, oh so partly because of mental depression caused by the hide¬ By Alice F. Horan of year for celebrating the Nativity—some as late as The Wassail is one of the oldest forms of English Jeanette, Isabelle,” the latter probably the work of much, from Grieg—drive audiences from concert halls ously unjust treatment of his music by the profession. May 20th—the date decided upon by church authorities carol and derives its name from the Anglo-Saxon Nicholas Saboly (1614-1675.) by the naked hideousness of their senseless clashes of He had just read my little book on him—the first edition was December 25th; and in 1038 we find the term “Weshal” (be hale or healthy), a toast equivalent to An American Carol sounds. Grieg, on the contrary, uses his daring disson¬ gen:ngToCTbeEuseeadCh ^ determining the fin- Chnstes Macssi (O. E.), from which we get our English the modern, good health. The presence of a feasting IfrerhG nar,ieSS.,C°m?lete than the Iat«- one written “O Little Town of Bethlehem” is another American ances only for epicurean flavoring, as a good cook uses ‘
Page 826 DECEMBER 1924 THE ETUDE
lyrical nature—and carried out right through the piece, of the once-more returning iteration of the eighth-note some sense of. climax attained. At B(II) there is a though sometimes with slight episodical matter for the accompaniment which dies away only on the ending of feeling of tender resignation and except for the repeated sake of variety. The Prelude is also frequently met with the melody itself six measures later. note this should be played very legato in lioth hands. as the first number of a Suite of short pieces in various At the ninth measure, commencing p the feeling of this forms. Poetical Effects should be intensified by a fuller tone in the crescendo The Chopin Preludes are, on the other hand, almost with a slightly-hesitating stress on the chord at (I.) A Regarding the performance, there are a number of entirely lyrical, though at times rising to almost dramatic slight nuance in the measure before C brings the return small points which, quite apart from the “singing” of significance, as in the famous No. 16 in B flat minor and of the first subject, which is interrupted in its repetition the melody, go to increase the poetical effect of the in¬ No. 24 in D minor. The unity of each little piece is, by the short Coda. This is a very simple melodic per¬ however, maintained in almost every case by the con¬ terpretation. The very-fact of the continuous reitera¬ oration, held together once again by the repeated note in tinuity of the figure of the accompaniment to the melody, tion of the eighth-note (Usually the dominant of the the accompaniment. whatever variety may occur in the latter. In a few cases key) in the left hand makes it very necessary that this Thus ends this little piece which, apart from its musi¬ (as in Nos. 7 and 20 and the very beautiful No. 17) should not be mechanical. It should have the effect of cal beauty, is about as perfect in its miniature form as it they are just beautiful melodies with a simple harmonic some subdued force underlying the calm of the melody is possible for such a thing to be. accompaniment to support them. In the Prelude in D flat, and should be graduated accordingly, having an indiviil- the sense of untity is brought about by the almost Self-Test Questions on Miss Goodson’s Article incessant reiteration of the eighth-note in the accompaniment, and tins is a striking instance J. Wliat two great Musical Romanticists of the “intentional monotony” in rythm referred acre born in 1X09 and 1810? to above. It gives an atmosphere and char¬ What is the secret of the fascination of acter to the piece which nothing else could Chopin’s music? have done. Tt is probably this particular effect 3. Horn would you define “Prelude,' which has led to its being christened the “rain¬ in naming these works of Chopin? drop” Prelude; really rather a sentimental and 4. Outline the Form of the “Prelude in unnecessary effort of the imagination! D-flat." 5. What are the predominating points of Perfection With Simplicity interest in this piece? The little work is built up in the most simple way, but with a perfection which so often goes Other Master Lessons, which have previously hand-in-hand with simplicity. The form is that been published in The Etude, include: of a lyrical song: i.e., (1) a first verse or sec¬ Chopin. Polonaise, Op. 26, No. 1. Grades 6-7. tion; (2) a varied middle section in the tonic Analytical Printed Lesson, by Alberto (enharmonic) minor; (3) return to a cur¬ Jonas. tailed version of the 1st section, with a short Chopin. False in C Sharp Minor. Grade 6. * Coda of eight bars. The structure is as simple Analytical Printed Lesson, by Edwin as the form itself and may be analyzed as fol- Hughes. Chopin. Impromptu, Op. 29. Grade 7. A (I) The Theme of eight measures, which consists of the first four measures repeated. Analytical Printed Lesson, by S. Sto- jowski. A (II) A second part of above Theme, also consisting of eight measures with a prolonga¬ Mendelssohn. Spinning Song. Grades 5-6. ■ tion of three measures leading to a repetition of Analytical Printed Lesson, by S. Sto- jowski. A (I), with ending slightly altered, so as to bring the cadence to a close at the entry of the Mendelssohn. Scherzo, Op. 16. Grade 5. Middle Section, B (I), in C sharp minor. Analytical Printed Lesson, by Edwin B (I) A Theme of eight measures repeated, Hughes. hut with a change in the last four measures to Mendelssohn. Rondo Capriccioso. Grades 6-7. the relative major key of E. These sixteen Analytical Printed Lesson, by Katharine measures are then repeated in their entirety. Goodson. B (II) A second part of above Theme, like¬ Schumann. Trautnerei. Grade 4. wise of eight measures repeated, but—similarly ■Analytical Printed Lesson, by Clayton 1 to B (I ), with a change in the last four meas¬ Johns. ures of the repetition. Schumann. Nachtstiick, Opus 23. Grade 6. C. Return to the first Subject, breaking off Analytical Printed Lesson, by S. Sto- after the sixth measure, where commences jowski. D. The Coda of eight measures. Schubert-Liszt. Serenade. Grade 7. Analytical Printed Lesson, by Katharine Predominating Points of Interest Goodson. The two predominating points of interest in Schubert-Liszt. Hark! Hark! the Lark! this little piece are (1) That it hardly ever KATHARINE GOODSON Grade 7. leaves the tonic key (major or minor) in which Analytical Printed Lesson, by S. Sto¬ it is written, with a momentary exception of four meas¬ uahty of its own. In measures 2 and 6 especially, ( jowski. ures here and there to the most closely-related keys. beat 2 and 3, the progression Schubert. Moment Musical, Op. 94, No. 3. Grade 5. (2) The almost incessant reiteration of the eighth-note Analyt'cal Printed Lesson, by S. Stojowski. in the accompaniment, already referred to above as an AnoL TT in D Minor’ Grades 5-6. example of “intentional monotony” in rhythm. (3) RrA"ar,Cal onnte<1 Lesson- V John Orth. That while these two points would seem to engender R AnM ?N'l B*r.carolle- °R 30, Am 1. Grade 5. dullness and monotony, there is a continual feeling of Gr^g yS; pnted.LeSSOn’ b>' S- Stojowski. freshness and emotional interest. How this is done is from A flat to B flat should be given some sig¬ . 'EG-, Bndal Procession. Grade 5 a study in itself for the student, and one which he can nificance. Before the B flat is struck the pedal B I MacBovvflt"1 P/rn,U;d /i'fS°n- b>' Percy Grainger. follow' out in detail to great advantage. For instance, ob¬ should be raised and put down again only on strik¬ Dowell Witches Dance. Grades 6-7. ~---i serve at the third measure of A (II) the modulation to ing the fourth beat of the measure. The melody, DowellPnnted Lesson> by Mrs. Edward Mac- A flat minor, and how, four measures later, by the simplest while of an indefinable plasticity, should be played with- means this is brought a tone higher to B flat minor, out any sentimentality. Opening, there may be a slightly Si? 999 9 22999999 giving an almost entirely different tonal color to the increased fullness of tone at the ninth measure, and this sotto vuce same melody. The prolongation of A (II) by three should be varied again four measures later on the repeti¬ - measures, before the return to A (I), is one of those tion of the phrase. At A(II) the insistence of the re¬ devices, here so entirely spontaneous, which break up the peating note in the left hand is very happily almost lost until eleven measures later where a slight nuance should 4 -0- mechanical squareness of design so effectively. The two We n’°uld like an expres¬ rresc. eight-measure sections of B (I) should be carefully be made in returning to the opening Theme. In this ^ L-- sion of opinion from our compared, in order to appreciate the full value of the measure the progression F, G flat, A flat, in the left change to the relative major (E) at the thirteenth meas¬ hand should be observed and be treated melodically At readers upon this “Master the measure before B(I), while the A flats should not ure; with the gradual crescendo in the five preceding Lessons Series." How valu¬ be in exact time, there should also not be any marked measures, this E major chord produces an almost tri¬ ntardando before the entry of the subject in C sharp able have you found them umphant effect as if releasing the soul from its mood of n0/hJLSh0U,ldR,fT^Xplained.th,at the le«at0 Iine « the in your tvork? What pieces gloom and foreboding. B (II), with its no*' of resigna¬ right hand, at B(I), is to indicate that the repeated tion, leads us back gradually into less troubled waters. notes are to be gently pressed down in their succes¬ would you like to have added The chords at measures 4 and 12 in this section should sion as opposed to being struck—and this applies to the series? Which of all Ire carefully compared, for such changes as these produce throughout this section, in greater or lesser degree as the lessons has helped you an emotional significance which would be entirely lacking the music is / or p. The crescendo at the eighth meas- most? were the chord at 12 to be a mere repetition of the pre¬ "rc n™st ,JC very gradual and should only increase to f vious harmony. At D, the Coda, the two unaccompanied r 1 ,markcd) at the thirteenth measure. The effect of the ff should be reserved for the repetition which fol¬ measures come as a relief and add much to the effect lows immediately. In this way monotony is avoided and DECEMBER 1924 Page 829 DECEMBER 1924 THE ETUDE tee etude voices at even FOR THE LEFT HAND ALONE RICH. KRENTZLIN, Op. 105, No. 2 Exemplifying the possibilities of the left hand alone. Beautifully made and a good study piece. Grade 4.
Lento espressivo M.M. J= Eige 830 DECEMBER 1924 THE ARKANSAS TRAVELER TEE ETUDE OLD AMERICAN FIDDLE-TUNE CONCERT PARAPHRASE A favorite old tune in a brilliant transcription: Play with humor, and in a crisply accentuated manner. Grade 5. HARL MP DONALn
Copyright 1934 by Theo. Presser Co. British Copyright secured B EC EMBER i924 Page 833 THE ETUDE MILITARY ATTACK A lively show piece,of more than GEORG EGGELING, Op. 245 usual harmonic interest. Grade 3. SECONDO
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International Copyright secured I Copyright 19 24 by Theo.Presser Co. _ DECEMBER 1924 Jhge 835 Page 834 DECEMBER 1924 GALOP Taken from one of the standard overtures, frOm“MERRY WIVES OF WINDSOR” a merry work, fresh and vigorous. OVERTURE Page 836 DECEMBER 1924 THE ETUDE CASTAGNETTE DANCE A languorous air de ballet in Spanish style. The writer is a well-known English teacher and composer. Grade 5. HELLER NICHOLLS
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WALTZ The principal themes from one of the most famous of - “FAU ST” waltzes, arranged in an easy and playable manner. CH. GOUNOD Arr.by A.Garland Tempo di Valse M.M.d- = 72
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CODA<
Copyright 1924 by Theo.Presser Co. British Copyright secured A bright little teachingpiece,requiring TT A ~P~P"Y" TTOTT("irTT^P ft nimble fingers and steadinessof rhythm. X X X ^ ^ ^ m ^ 4^- 3rade2i^uegrejto M.M. J = 108 ROBERT NOLAN KERR 3 1 i r „ /i j* 5
5 1 . O 4 1 [ O T'TTTjX! a 11*- 3 1 . * A. M._m
Copyright 1924 by Theo.Presser C British Copyright secured Page 838 DECEMBER 1924 THE ETUDE
A favorite old Christmas Carol in a 0 SANCTISSIMA pleasing piano transcription.Grade. 3 SICILIAN MARINERS’ HYMN OLD CAROL Andante religioso M.M. J = Arr. by Alexander Thomas
that Mason & Hamlin, Chickering, and Knabe HE appearance of the Ampico in a home The Ampico brings the pupil hundreds of T are three of the four great pianos in general this Christmas is a gift not of music alone; famous artists. Among these are: Teresa Car- use on the American concert stage. but to the plastic and receptive minds of the reno, Erno Dohnanyi, Phillip Gordon, Richard young it becomes a gift of the love of music, of Hageman, Ethel Leginska, Mischa Levitzki, Yet the presence of the Ampico affects in no musical appreciation. Josef Lhevinne, Alfred Mirovitch, Benno way the structure of these instruments. Con' Moiseiwitsch, Mieczyslaw Miinz, Erwin cealed within the piano case, an integral yet en- For an understanding of music can be created Nyiregyhazi, Leo Ornstein, Sergei Rachma¬ tirely independent part of the instrument—the only by a familiarity with great music and great ninoff, Moriz Rosenthal, Arthur Rubinstein, Ampico device, when not in use, touches neither musicians. Constant attendance at concerts E. Robert Schmitz, Germaine Schnitzer,Richard the strings nor the keys. The piano is intact, over a period of years can create this sensitive' Strauss, Milton Suskind, Fanny Bloomfield and ideal for playing by hand. ness. Being born into a family of musicians can Zeisler. bring it about. But for the ordinary mortal it Hear the Ampico often! remains for the Ampico to open the way to the When you are asked to explain At Christmas time, when you are asked to world of music. the miracle of the Ampico help in the selection of the Ampico as a gift, For every Ampico is, truly, a missionary Musical leaders are constantly being asked to you will have frequent opportunities to hear of music. When an Ampico enters a home, explain the Ampico’s human touch, its soulful the Ampico. With each hearing, the instrument great musicians go there to live. Lhevinne, and highly individualized playing. will seem more incredibly perfect. Rachmaninoff, Rosenthal—and hundreds more Frankly,no explanation is adequate. Theme' The dealer at any store where any of the who make up this generation’s aristocracy of rVia rural perfection of the Ampico device that pianos listed above are sold will welcome your music—will play intimately and generously the makes the same things happen to the strings interest. He is anxious to cooperate with you in great music of the world. Sonatas, ballads, of your piano that happened to the strings of your mutual work—the creating of a musical' hymns, nocturnes, dances — every type of another piano when a great musician sat before minded America. music is available to Ampico owners. it and played explains only a fraction of the miracle. For in the playing of the Ampico there Special exchange privilege These are the families from which is that impalpable something called the artist’s A silent or player piano will be accepted in good pupils come soul. Every phrase, every gradation of volume part payment for an Ampico. This exchange —every mood is there just as the great man Not only will more pupils come from Ampico privilege and convenient terms of payment interpreted it. homes, but, inevitably, better pupils. For they place Ampico ownership within the reach of As for the Ampico’s matchless tone—that will have learned what music is—and learning everyone. Foot-power model, $795. Electric is readily explained. For the Ampico may be how to make it is a next step so logical and so power models, $985 to $5000, With freight had only in fine pianos that have been known desirable that rapid progress is natural. Nor is added. Uprights and grands. music for them solely a matter of lessons and for generations as instruments of quality. They A note to the address below will bring a book- practice hours. They live with music at home. are: Mason fe? Hamlin; Chickering; Knabe; let describing the Ampico, and outlining the The other members of the family understand Fischer; Haines Bros.; Marshall 6? Wendell; Franklin;and in Canada the Willis also. Note large library of Ampico recordings. music and stimulate the learner.
9~hc All ofthccPiano
THE AMPICO CORPORATION • 437 FIFTH AVENUE • NEW TOPX DECEMBER 1!
Presents this year the Choice of Two Supreme Types of Instrument
These famous artists of the NEW HALL OF FAME record exclusively for the Brunswick Phonograph and the Brunswick Radiola All are on Brunswick Gold Label, Double-Faced Records. New records ) side of cabinet continuously offered. Always some¬ mg loop for operation of thing new on Brunswick Records BOHNEN MINNEAPOLIS BRANZELL D ANISE EDITH MASON CLAIRE DUX MORRISEY THE CLEVELAND ONEGIN ORCHESTRA PATTIERA Nikolai Sokoloff, MISHEL PIA RETHBERG EASTON ELSHUCO TRIO SCHORR GODOWSKY STRAUSS, RICHARD HOFMANN JOHN CHARLES THOMAS WILLEKE HUBERMAN UKRAINIAN IVOGUN NATIONAL LAURI-VOLPI CHORUS rE(\,ODYNE
BRUNSWICK RADIOLA NO. 100 Radio’s Greatest Achievement The Supreme in Phonographic The Remarkable Brunswick Radiola Super-Heterodyne Reproduction , The Brunswick Phonograph
IN the Brunswick Radiola, Brunswick pre¬ which one may purchase with positive assur¬ CHOSEN by virtually every noted concert period, console and dc luxe styles most happily sents that which musical authorities, ance of lasting satisfaction through the years and operatic artist of the New Hall of suited to Christmas giving. All embody the artists and critics join in acclaiming the most to come. Fame as best fitted to perpetuate the musical internationally acclaimed Brunswick Method remarkable musical achievement of the day. At a turn of a lever it is the most thrilling of triumphs of today to posterity, the Bruns¬ of Reproduction—an advancement obtainable For here is radio given a new quality of tonal all radios. At another turn it is the supreme wick Phonograph has come to be known as in no other make of instrument. beauty, clarity and musical excellence. An in a phonograph to keep the recorded music the criterion of musical excellence by which Prices range from $45 to $775. An instru¬ instrument supremely and immeasurably in of all time at your command. A phonograph, phonographic reproduction now is judged. ment of a style and finish to fit in with any a field its own. a radio in one. And each one, the superlative. Fitting gracefully into that well-ordered decorative motif—and at prices to meet the Multiply your previous ideals of the miracle Some models embody the Radiola Super- scheme of life, which admits only of that restrictions of even the most limited purse. of radio; your former conceptions of the Heterodyne. Others the Radiola Regenoflex which is admittedly above question, it be¬ LIBERAL TERMS OF PAYMENT utmost in home entertainment — and even and the Radiola No. 3 and 3A. All emphasize speaks eloquently the understanding and ap¬ then will you scarcely have a fair picture of the exquisite cabinet work and beauty of de¬ preciation of good music which marks the Your Brunswick dealer will gladly arrange what this new instrument embodies. sign which characterize Brunswick instru¬ home of culture the world over. terms of payment to meet your requirements Combined in joint effort by the Radio Cor¬ ments. Pictured here are but a few of the 24 notable on any Brunswick instrument you may select. poration of America, the leader in radio, with Prices range from $190 upwards. A few of Brunswick, leader in musical reproduction, the more notable models are illustrated here. THE BRUNSWICK-BALKE-COLLENDER CO. it embodies the best that men know in radio A complete showing may be seen at all Manufacturers—Established 1845 and in music. In nowise is it a makeshift GENERAL OFFICES: CHICAGO Brunswick dealers. An opportunity of which Branches in all Principal Cities (simply a radio receiver in a phonograph you are urged to avail yourself now, so as to cabinet), but a scientifically combined unit, be sure of Christmas delivery.
The Brunswick Radiola Super-Heterodyne Some remarkable features
7NSWICK CHIPPENDALE PHONOGRAPHS • RECORDS • RADIOLAS Page 8^2 DECEMBER 192k THE ETUDE DECEMBER 1924 Rage 843 THE ETUDE The Most Exciting Qift That Santa Can Bring Into Any Home
A Nestle "LANOIL” Home Outfit for Permanent Waving—Price Only $15
Thirty-five women were money and convenience are available, and comb them, as you please. Then, blinded through the use of hot but millions of girls and women are if you are not satisfied with the re¬ curling irons in 1913, accord¬ not so fortunate. And for them the sults, if they do not look prettier ing to a recent publication of the Nestle “LANOIL” Home Outfit is every day, return the Outfit within Government Statistical Bureau. just the thing. It lasts forever, and thirty days, and we guarantee to What would an investment of $15 with it, they can, at very little cost, refund the entire $ wave not only their own but other question or delay, heads as well. a penny for packing costs, postage the free trial materials used. The Nestle"LANOIL” Home At the right is an illustration show¬ Outfit Is Safer Than All ing the way the Home Outfit is used. Other Curling Devices You curl the hair strand by strand. Eachstrand, wetwiththesympathetic Although a great many “LANOIL” lotion, and wound on a thousands of Nestle Nestle mechanical curler, is warmed Send a letter, a postal, or the coupon below for your Outfit today. Santa never before had so much to offer you as is contained in the little grey box illustrated above. Charming, natural waves, curls and ringlets for you and yours, through rain and shine, for months, and months, and months!
A permanent wave by the Nestle Home Outfit, with the latest ?aving Outfits are in homes every- for only seven minutes, and each "LANOIL” Prc here in the world, and although strand comes out transformed by this "This Little Girl Was 111 in Bed alone, over four gentle steam pressure, as if by magic, when I waved her hair. Wc rs every day use to naturally curly, even though, are delighted with her curls, curling daily or nightly, into natur¬ the large professional Nestle appara¬ when waved by ordinary methods, waves and ringlets,” writes little Miss Elva Lloyd’s ally curly hair. You may shampoo it tuses for “LANOIL” waving, we such as crimpers or hot irons, it never mother, from Walla Walla, at will, use hair treatments of any have never heard of a single instance held a curl or wave for more than a Wash. kind, dance and perspire, go out into of serious mishap. Its perfect safety day or two. rain and fog, brush and comb it as is a main feature. Its simplicity is If you want further particulars, Do Not Delay before ordering the Home Outfit much as you like—and yet have another. Children of twelve have on free trial, send immediately curly hair just as if you were born successfully waved their elders' hair, In our files, we have over 16,000 for our free illustrated booklet with it! while with many high school girls, photographs and letters like the above and testimonials. Nestle waving has become a favorite from delighted Home Outfit 1 Entire Families oAnd Qroups of pastime, because the process is so in¬ Mothers use it < children on theii Friends IVaved With One Outfit teresting, and the results so thrilling.
Professor Metchnrkoff of the Pas¬ Thirty Days’ Free Trial In Your help their 1 teur Institute‘declared in 1909 that soft, natu and curlsTith Own Home the Nestle discovery of the permanent this wondc hair wave was, in his opinion, the This is the most eloquent evidence not ask you to take our word for any¬ greatest step forward ever made in of the success of the Home Outfit— thing, only to try the bjorne Outfit in hair science. Since then, the pop¬ that every Outfit ever sold in the two your home, at our cost, just as all these ularity of permanent waving has and one-half years since its invention others did. wmmm- climbed to unprecedented heights. was sold on 30 days’ free trial. Send This maj What it means to the straight-haired the Nestle Company a check, money antee, as girl and. matron to have curly, wavy order or draft for $15, and get the Nestle’s an hair under all possible circumstances Outfit on this condition. Besides the as the origiiriginators of Permanent Wav- can be realized only by those who regular supplies, you will receive free ing and tthe famous “LANOIL” Pro- have actually tried the Nestle Outfit, trial, materials. Use these. Then cess. You take not the s never to give it up again, except per¬ examine your hair as to its quality. in making this free trial —and the haps in favor of professional treat¬ Test the curls and waves you get any results will b ment. We recommend this where the way you like. Shampoo, rub, brush great hapj DECEMBERl i924 Page 845 THE etude
British Copyright secured Copyright 1§24 by Theo.Presser Co. THE ETUDE DECEMBER 1924 Rage 847
III Sw. (V. H. Soft Strings. Lieb. & Trem.) ADESTE FIDELES II Gt. (Diaps.8'& 16'& Flute 4') T. READING I Ch. (Soft 16', 8'* 4') Transcribed for the Organ by Ped. (Soft 16')-I EDWIN H. LEMARE A timely transcription of the grand old Christmas Hym Moderat o m.m . J = 93 a m 4 , 11 ^TjSj-a ) ^ p -o- MANUAL< Krf ML *r 'r; ) n i¥ J J Jr j J2
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Copyright 1906 by Theo. Presser Co. Copyright 1023 by Theo. Presser Co. British Copyright secured British Copyright secured THE ETUDE Page 848 DECEMBER 1924 ~ _ . GLORIA DONALD HEINS A broadly flowing melody, of meditative character, but ecstatic in expression. Andante
VIOLIN DECEMBER 1924 Page 851 fgg ETUDE Page 850 DECEMBER 1924 gQ^TQ. QJ! rpjjj] PIRATE MONTAGUE EWING Hubert Fletcher
hieh^thewiall i« nigh.Thd wt.dblowublt-to Id; .. .. thu gulu.We
A crtdhra»»crew,>nd treaeh.’rouutoo A« ev - er mann'd» gun. But her, with me they'.
cheer my heart-ietf, and a To! Ho! Ho! WeHl sail to the Span - ish Main; And man-y a ship on cheer my heart-ies, and a< Yo! Ho! Hoi We’ll sail to the Span-ish Main; And come who may, we’ll
peace-ful trip Shall ne’er re - turn a - gain, We seek no shore, we know no law, Save death or gold to fight our way, Their treaa-ured gold to gain. And while we’ve breath, no fear of death Our hon - or e’er shall
International Copyright secured Copyright 1924 by Theb.Presser Co. .. Page 852 DECEMBER 1924 T THE ETUDe SUNSHINE IN RAINBOW VALLEY Words and Music by BERNARD HAMBLEN Moderato
1. So me-times your heart js a 2. Hearts are not meant to be o i tj- i^-r ■:.pr
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wea - ry, Wish - ing that dreams wouldcome true; Some-times the path - way is drear - y, lone - ly, Skies are not al - ways so gray; Joy al - ways comes if you seek it,
1 ■] -J) i | =Ep ITjjTXK
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Life seems all sad - ness to you: T1here is a smil - ing val - ley 0 - ver the dark hills of Shad-ows will soon pass a - way: Liook for the sil - ver lin - ing, 1 lope, andyour dreams will come
pTfI v PrfPPf
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care; S weet voic - es ring - ing, Laugh-ter and sing - ing 1 iVait - ing to wel-come you there. true; Sor- row will light -en, Dark skies will bright-en,’ Love sends this mes-sage to you. / Ay ^ Z
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dim.
a . Sun - sliiue in Rain -bow Val - lev* O a tempo __ ■ ■ __• ’_ Ros -Tes with fra-grance rare, , Sweet flowrs of ten - der
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International Copyright secured British Copyright secured DECEMBER 1921/ Page 855 THE etude tbs XTVDE Page 854 DECEMBER 1924 Largo maestoso ^
0 I/I OX XU A molto rit.
i of God, Leadji I)C the might - y Chris - tian sword!
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Your Christmas dream come true! A grand piano of tiL, ^ Gui JP, 41 jTTf —nit* < if fT+g Sf 1 |j-T=) ^ ■ f I ■ I II -fl w-*1 netio mosxoJL Vjxempre rit.niPP mm j jf jter"43 *a 3"d“J m -d “"”3 ^ 1 12d lime only 1 Moderato | - , Pa tempo m i iy'- When life’s — twi light soft - ly > > > A A | a tempo UarganPu^^ 4 Zt'/te A «■ % d— 9 - > > ~fE~“ 1 ft* » -0 L 1 And Thy. stern - ]y calls, Not like BRAMBACH PIANO CO. Mark P. Campbell, Pres. 640 W. 49th Street, N. Y. City 3 i -9 Please send me paper pattern «1 f—T showing size of the Brambach & ^ r Baby Grand. CName trai - tors fear - ful - iv, But_with —joy r we pn K ri^T c.Iditms Sold by leading dealers everywhere r THE ETUDE tiie ETUDE DECEMBER 19H Pag? 857 Page 856 DECEMBER 19H lips and the tongue, nor lacking in reso¬ Velocity (Speed, Technic, Kehlfertigkeit) over the footlights, not only the music, T F old Sir Izaak Walton were to return nance from tightness of the soft palate and Quite often the conventionally trained but also the meaning of the words and the to earth again, in this year of grace, uvula. It is good to practice all the singer at the beginning, is made to sing a dramatic situation. 1925, I wonder what his sensations vowel sounds softly, taking great care that lot of vocalises, scales, fiorituri and so would be. Perhaps there still can be The Singer’s Etude they are purely produced, well forward in forth before his voice is well placed. This Fashions in Singing found upon the banks of the placid the mouth and without any dialectic is a mistake. Pose of the voice is first a All the world knows that every year Thames or the rustic Seine, or near the peculiarities. mental thing. It must be thoroughly un¬ brings its change in the fashions for men’s quiet waters of the many canals that inter¬ Edited for December by the Eminent Voice Expert All the vowel sounds should be used derstood mentally, before it is translated and, more especially, women’s clothes. It sect Holland and Northern Germany, not the most favorable ones alone (A as into physical action. No great attempt occurs to few that music and singing have ancient men who fish with the same end¬ NICHOLAS DOUTY in father, A as in cat, A as in law, A as to obtain velocity should be made, until their changes and their fashions also. less patience the long day through. To in hate, EE as in meet, I as in fight, I the student has a fairly well placed voice. Thirty years ago the basso profundo was them the art and pleasure of fishing are It is the Ambition of THE ETUDE to Make This Voice Department as in fit, O as in hop, O as in hope, 00 There are many excellent books of vocal¬ the voice most enjoyed. We were con¬ important, not the catch. But the day of “A Vocalist’s Magazine Complete in Itself” as in too, U as in hue). These vowel ises, many time-tried treatises which give stantly regaled with “Rocked in the cradle the willow switch and the old bent pin sounds should be softly spoken and sung, a synopsis of every exercise necessary to of the deep,” or we were assured that has passed long since. Nowadays the the perfection of vocal technic. It is not happiness alone was to be found “Deep fisherman arms himself with a seemingly but care should be taken that they ate the place of this article to mention any of in the Mine.” Plancon and Eduard de endless paraphernalia of rods and reels, not weak or trembling, nor breathy, nor them. The well trained singing teacher Reszke were our idols; and we used to flies and nets, to accomplish the same pur¬ in any way impure. Then a consonant “The Compleat Singing Tutor” will select from the mass of material marvel at their trills on sonorous low pose. Sir Izaak would discover that noth¬ sound may be added first as a prefix arid then as a suffix, taking care that the con¬ available in any music house, the books tones. Soon afterwards came the fashion ing is ever “Compleat” in this world; that Invisible Breath Action some books upon the subject, select from sonant be delicately pronounced with the and exercises that seem to him best fitted of the “Sword Songs” in which the lusty all life consists of ceaseless, never-ending them exercises which appeal to his special The singer must learn to control every least possible action of the speech mus¬ to the special needs of his individual bases and baritones swung their trusty change. needs, and sedulously practice them. graduation of air-pressure emitted from cles, without interfering with the tone. pupils. blades aloft, dripping with the blood of Swimming, fencing, rowing, tennis, golf, Virtue in New Ideas his lungs, so as to produce every grada¬ We may then proceed to sing simple their enemies, or the innumerable “Stein and other out-door games also will tend Intonation, Interpretation, Musicianship Nor can the vocalist, in his ardent search tion of tone from the softest pianissimo phrases, and finally to sentences pro¬ Songs” very popular in “Stag” assem¬ to keep him in that excellent physical con¬ A man with a truly musical nature blies about 1:30 A. M. for some sure and eternal foundations to the loudest fortissimo, without undue nounced or sung in the same manner. dition which is of the utmost importance seldom sings out -of tune. The moment It would seem that “He Men” lived in upon which the whole of his art un¬ effort, without any trembling of the tone All these exercises must be done rather and without allowing his breath-actions to the singer. softly and in the medium voice, avoiding that his ear tells him he is out of tune all parts of the United States in those Price $725 changeably rests, hope for much greater his nervous reactions correct the error and days, instead of in the “Great open spaces” success than the historic fisherman. He to become prominently visible to his audi¬ “Practice Vowels Softly” both the highest and the lowest tones. ence. Many books have been written to Dialectic peculiarities which are so effec¬ bring him back to the correct pitch again. alone. Our opera singers were men and must remember that all art (and the vocal The vowel is the vocal element in both The Ideal Christmas Gift help him; but too often they are didactic, tive upon the vaudeville stage, must be Unfortunately a great many singers have women with great singing voices and they art is no exception) is continually in a speech and song; by it are determined the Directors of Music of leading educational institutions have selected the impractical and obscure. Nature after all sedulously avoided in all vocal practice. It had a limited musical education. Seldom sang in what was then called “The grand Premier Baby Grand because of its inherent musical value. state of flux. If his point of view has beauty, carrying power and resonance. It do they play the piano or any other is the only sure guide. Study her pro¬ should be remembered that the purer the style” the operas of Wagner, Verdi, The Premier Aristocrat Model—5 feet, 3 inches long—has a national repu¬ crystallized, has become too hardened, so must flow freely out of an open throat cesses and do not depart from them, and vowel and the more easy the pronunciation musical instrument. They are taught to Meyerbeer, Beethoven, and a little later, tation as America’s Foremost Popular Priced Small Grand. that he cannot move with the times, he into the mouth and through the lips into you can never go wrong. A description of of the consonant, the more beautiful the sing the melody; seldom do they listen Ppccini. Perhaps there was not the same Appeals with equal force to the teacher, student, studio and conservatory. will soon be left behind in the struggle the air, unimpeded by any action of the to the harmony which accompanies it. attaition paid to mise en scene, but Nor- the natural acts of breathing may not be voice will be and the freer its emission. > Send for your copy of “The Magic of Music”—illustrates and describes for success which intensifies with every throat, palate, fauces, jaw, tongue or lip Naturally they sing out of tune, because dica, Eames, the de Reszkes, Lehmann, succeeding year. Failure, all too often, is amiss here. the varied Premier models and emphasizes the reasons for Premier Pose of the Voice they do not listen to the other parts. As Kraus, Matema and their contemporaries dominance. Floor space diagram also forwarded on request. not the result of lack of ability; but it Inspiration soon as they become better musicians, they were great singing artists, with voice, tra¬ Personally, the word pose expresses Before selecting any Piano, be sure to hear the Premier at your dealer’s, comes from a mental rigidity which the begin to realize (hat the melody is but a dition, action and style. passing years tend to bring to every man The diaphragm descends and in conse¬ more nearly the physical and mental con¬ or write us and our representative will communicate with you. quence the abdomen expands; the lower part of the composition. As soon as they The passage of time and the Volstead unless he is forever on the alert. ditions necessary for the emission of a learn to listen to the accompaniment, Act, and the strains and horrors of the The old tunes, the old loves, the old ribs expand also, and the upper chest rises Premier Grand Piano Corporation beautiful tone than the word placement. whether it be by the piano, the organ or great war changed all that. We no longer __ if Makers of Baby ids Exclx homesteads, and the old singing methods gently and quietly, without any convulsive One does not place the voice in the same the orchestra, they gradually sing more are allowed to celebrate the stein even in 510-552 WEST 23rd STREET NEW YORK may be the best; but unhappy is the man effort. At the last moment of the inspira¬ sense that one places a dish on the table or true to the pitch. song; and we are too weary of war again Manually Played Small Grands, Period Models, Electr Expression Player Gi who can see no virtue in the new ideas tion the diaphragm and abdomen contract and Reproducing Grands (Welte-Mig: an umbrella in the rack. The voice is There are two other classes of singers to swing the sword, even in imagination. and the new discoveries. He has become slightly, so as to be ready for the expira¬ not squirted here and there in the cavities who sing out of tune as a result of faulty Our composers have evolved, to revive our an intellectual fossil and he deserves a tion which follows immediately. of the mouth and nose, as water is squirted production, 1st, Lyric and Coloratura So¬ jaded musical appetites, the calculated ca¬ place in a museum along with the other The chief difficulty in expiring is to from the nozzle of a hose. Rather the pranos with rather thin voices produced cophonies of dissonance, the wriggling antiquities, instead of fighting in the hard prevent the breath from rushing out too whole body is put into such a position with the' tongue raised high in the mouth, rhythms of “Jazz,” and the silly senti¬ . and dangerous struggle which is the very quickly. The problem is to supply to the that the voice comes into the resonance and who believe that resonance occurs mentalities of the “Heart Songs.” A feel¬ essence of modern existence. vocal cords just the amount of breath chambers and from them out into the air, ing of shock pervaded the nervous system By this it is not meant that there is that is required and no more. only in the cavities of the head above the without friction, and without undue mus¬ mouth. These ladies sing habitually sharp. of the whole country; and as a result, LINCOLN no virtue in the old things. The germ of In the opinion of the writer, this is best cular effort anywhere. If this explana¬ our sense of logic, form and reason in Truth never dies; it changes chameleon¬ obtained by preventing the weight of the It is only necessary to get them to free tion be accepted, one can easily see how music was temporarily disturbed. We like with every fashion, every period and chest from pressing on the lungs during the tongue so that it may move with every expiration. Therefore the intercostal small a thing will upset the pose of the syllable, and explain to them that reso¬ reacted only to the exciting and the exotic. LOGS every cycle. The old laws are ever true, voice. A little too much nervousness, muscles hold the chest firmly raised dur¬ nance occurs in other parts of the body, All our basses tried to sing tenor; our but never static. We must never reject worry, lack of sleep, or a quarrel, and them, but must endeavor to discover their ing almost the entire exhalation, and the to have them improve their intonation. contraltos became mezzo-sopranos; the the voice of even a great artist will get most popular voice being a shrill colora¬ real relation to our own time and our own gentle contraction of the diaphragm and 2nd, Singers with large, thick voices, be the abdominal muscles will supply the out of place. Too great a pressure from they contraltos, dramatic tenors, baritones tura soprano. But thank God all that civilization. Make amount of air-pressure required. This the diaphragm, rigidity of the inter¬ or basses, who habitually sing with too is gradually changing back to normalcy. Applying these ideas to the study of the costal muscles, stiffening of the jaw, art of singing, we find it divided from method, which in the opinion of the writer much breath pressure, are sure to go flat, We hear once more the calm and stately Christmas throat or tongue, and the correct pose the earliest times, under several headings. is founded entirely on natural laws, will MR. NICHOLAS DOUTY especially upon the higher tones. If they tunes of Bach and Handel in our vanishes until these strictures are re¬ last all Breathing, vowel and consonant forma¬ enable the singer to produce long phrases can be made to understand that a tone is churches; Schumann, Schubert, Strauss, moved. The voice loses its beauty and tion (diction, enunciation, and so on), in one breath, and will give a control of muscles. In the production of the con¬ the result of a sense of balance between Brahms and Cesar Franck appear upon through carrying power. placement of tone (pose of the voice), both loud and soft effects impossible by sonant, the free exit of the vowel is inter¬ the force of the breath and the resistance the programs of our recitalists; the tre¬ How then shall pose be taught? It's the year control (Kehlfertigheit, velocite), intona¬ any other. Breathing exercises, that is, fered with, by momentarily touching the of the larynx, they will soon cease shout¬ mendous music of Wagner and Weber is the business of the singing teacher to tion, interpretation (individuality, tem¬ special exercises designed to improve the tongue to the teeth, the roof of the mouth ing and will gradually sing better in tune. given again in our opera and our concert distinguish in the voices of his pupps, perament) and musicianship. These things strength and resilience of the whole series or to the palate, or in the production of Every singer should be forced to take a halls. Good musicians have improved our any interference with the free exit of the jazz melodically, harmonically and or- may be called by different names by dif¬ of breathing muscles, and to increase the M and N, by partly closing the mouth. course in the rudiments of music. He tone. He must be able to tell whether chestrally. The “Heart Song” has largely ferent authors at different times, but a size of the chest cavity and therefore of See that the vowel or the consonant sounds should be able to play at least one instru¬ it be throaty, nasal, guttural, palatal or ment a little. Nor can he understand the been relegated to the “Movie” and our clearly defined idea of their necessity the lungs, are of the utmost importance to are not produced in the throat; that they Real log cabins! Real rail fences! The more sets you give seems always to exist. For the sake of lacking in resonance, and from the im_ structure of. the music that he sings un¬ singers are gradually returning to an ap¬ the singer. He is recommended to read are not guttural, throaty, squeezed by the Wonderfully lifelike rustic fur¬ convenience they may be treated separately, ■paired tone-quality to know just where jess he knows something of harmony and preciation of beauty of tone, control and The more the child can build but in the act of singing they all occur the interference is, and be able to explam a little about musical form. His ability interpretation, instead of forcing and hys¬ niture— bridges, “wild west” simultaneously and indivisibly. The sense it and suggest a remedy. He must hear to interpret is bound to be limited unless teria. Good, pure, round, open-throated buildings, railroad stations, way- Single Set - $1.00 in the tone whether the intrinsic muscles singing is coming back to its own again, of balance among these attributes of sing¬ he understands one or two foreign lan¬ side inns, doll houses! Double Set - 2.00 Mr. Nicholas Douty, who conducts The Singer’s Etude for of the larynx are performing their natura guages. The history of music, its gradual and we can look forward to the future ing must never be forgotten. Not by Youngsters can build them all breath alone can one sing well, nor by this month, has had an unusual career in the field of Voice function of alternate contraction and re¬ development through the long centuries, with hope and confidence. Triple Set - 3.00 with Lincoln Logs—and dozens tone alone. One must hear the words, Teaching. In addition to the fact that he is a composer laxation unimpeded by any action of qie must also be part of his study. How else muscles of the throat. It is this balance “There is no royal road to perfect voice of other structures rich in See your dealer or send coupon easily and clearly pronounced without in¬ and an able musician who readily plays a symphonic score will he be able to understand the difference among all a man’s physical and mental in interpretation between an aria of Bach production, though all students seem to romance. terfering with the natural beauty of the at sight, he has also wide renown as an Oratorio tenor. For voice, or the artist becomes a declaimer actions during the singing that produces the or Gluck and one of Verdi or Puccini; want one and many teachers profess to over a quarter of a century he has been the tenor soloist at Ask the Children and not a singer. Individuality of inter¬ proper pose of his voice and the individual between a song of Beethoven or Schu¬ teach one.”—Dudley Buck. unique quality of tone which distinguishes pretation is absolutely essential; but its the Bethlehem Bach Festivals. His recent book, “What mann, and a song of Debussy, Schoen¬ If they’ve never tried them just his voice from that of any other man. berg or Ravel? The time is past when a “Registers exist only when you sing’ exaggeration makes the singer ridiculous Every Vocal Student Should Know,” with the appendix get a set this Christmas. One of the most common mistakes is ,° singer can rely entirely on his voice alone. wrongly.”—Frantz Proschowsky. and subjects him to much criticism. Wag¬ giving daily exercises for all voices (already humorously confuse resonance and pose. Resonance Whether he be an operatic artist, a re¬ Better still—get two or three sets □ Single Sets at SI. SO logs, ner dreamed not only of the “Singing known as “Douty’s Daily Dozen”), has met with splendid “Nature is often ironical in the distribu¬ while you’re at it. is sympathetic vibration occurring in vari citalist or a concert singer, he must learn It Is understood that you will re Actor” but also of the “Singing Musician.” endorsement among leading voice teachers. His Oratorio ous parts of the body) especially in ttie to use his brains as well as his larynx. tion of her gifts. She wraps a beautiful These unbreakable, clean, notched 5 days. Send postpaid to The loveliest voice, the most musical and Repertoire, four books, one each for Soprano, Contralto, cavities of the mouth, nose and head. To make a success before the educated voice in a husk of indifference or laziness, and it lies there, buried. Or she seems to logs with no sharp corners put rhythmic delivery, the cleanest, purest Tenor and Bass, represents the last word in collections of Pose is the result of the synchronous public which more and more forms the shut in behind the doors of a closed throat more fun in playing with all enunciation, are all spoiled by false intona¬ this kind. action of all the physical and mental a majority of American audiences, the singer an intense desire to sing, and for lack of a other toys. tion, or as the man in the street says tributes of a man’s nature, producing the must be an interpretative artist with a little air it is smothered.”—P. A. Dow. “a bad ear.” voice in the simplest, easiest, most natura strong personality, capable of projecting manner. Please mention THE ETUDE addressing our advertisers. TEE etude DECEMBER 19H Page 859 THE ETUDE Page 858 DECEMBER 19U Vocal Registers An Interesting Paradox “If we look into the cause of this difference of opinion, we find that some By E. H. P. theorists will not accept any registers at all, while some physiologists are not even It is but natural that people of different satisfied with three, but want to subdivide temperaments and different religious per¬ them into four or even five registers. Were suasions should have tastes as widely dif¬ What Action Has we to concede that every different quality fering in the matter of music; but it is of sound in any one voice is entitled to the a curious fact, observed by some organists the Piano? name of a register, we could indeed increase who in the course of their careers have fp HE piano action—t •ful the number accordingly. The school of art, ministered to congregations of several however, can accept only such formation various denominations, that their taste in most vital part? Make it Vne determin- church music is often the very contrary of tone as produces an aesthetic and noble T. S. DENISON & CO. Lrwl/for’W'VSeil, ^ickel ^Gross sound and cannot acknowledge any forced, of what one would be logically led to ex¬ Dramatic Publishers unnatural chest tones as a distinct regis¬ pect. Thus, the Methodists (at least 623 S. WABASH AVE., DEPT. 73, CHICAGO ter any more than it could classify the theoretically, and often actually) frown Nickel & Gross action—the world's on dancing and kindred forms of worldli¬ highest priced piano action. Since 1874 throat and nasal tones as registers. it has been the choice of leading Aincr- “Most breaks in the voice are the re¬ ness, yet in their hymns and anthems show sult of beginning exercises on the lowest a marked preference for gay dance-rhythms, tone and working upward. especially the waltz, while the Episcopal¬ ians, who have the reputation of being stipremacy of this famous product. He “Voice culture today is a struggle with will be glad to show you a Wessell, throat stiffness. The causes indicate the rather inclined to worldly amusements, Nickel & Gross equipped piano, player remedy. Foremost then, is dropping all except in Lent, are most fastidious that throat consciousness, all thought of throat, their church music shall have a properly WESSELL, NICKEL & GROSS all drawing attention to it. The larynx reverent and sacred character. Again, Established 1874 New York City must be left uncramped, unhindered to do the Christian Scientists, whose optimism “L’Oracolo” and “L’Amico Fritz” is a part of their religion, and whose hymns Weaver—the choice of its work in free unconsciousness, which Four works by modern Italian com¬ , —— and church solos (they have no choirs) House, in 1904, with Calve as Sued. The When you Buy on Upright. Grand, it will do if not disturbed by tension in posers seem to have stood the test of time most fascinating number in the opera is are carefully denuded of every sad or many masters flayer or Reproducing Piano-. its neighborhood, or misdirected thought.” in the repertoire of short operas of the famous duet of the cherries, in act ‘ ~ Insist on the ’Wessell. M'ckel 6-> mournful element, nevertheless, often en¬ —Oscar Saenger in The Musician. second, in which Susel throws the ripe The spirit gaily calls, and willing keys respond; comes sorrow 13iS*Ci_Gross Piano Action._LPyCL* joy keenly an organ voluntary of a very serious intent. Mascagni’s “Cavalleria Kusticana,” Leoncavallo’s “Pagliacci,” fruit down to Friend Frits. with its sombre tread, and love, with fiery passion—player and sombre cast, provided it is well played. instrument unite to give them life and feeling. Because it Mascagni visited America in 1902, with A Cure for the Self-Conscious The Roman Catholics, on their part, in¬ Leoni’s “L’Oracolo” and Wolf-Ferrari’s complements the master, instead of merely serving him, great culcate and observe the greatest rever¬ “II Segretto di Susanna” form this quar¬ a “scratch” company, which resulted in musicians acclaim the Weaver Piano one of the supreme Singer financial losses and artistic shortcomings ence toward things sacred, including the tet; but to them probably should be added musical achievements of the age. which the composer would doubtless be church edifice and all connected with it, Puccini’s “Gianni Schicchi,” if it were not To understand this perfect instrument you must hear it, By Jean McMichael glad to forget. At that time he gave yet some twenty years ago the Pope felt grouped with two other important short play it, feel its magic spell. Let us direct you to the nearest “Zanetto,” “Iris” and “Cavalleria Rusti¬ Weaver dealer. Weaver Piano Co., Inc, York, Pa. Weaver, constrained to publish a sharp admonition works by Puccini which are less popular The self-conscious singer will find it cana,” omitting from his repertoire the York and Livingston Pianos and Player Pianos. against the frivolous and secular character in appeal. splendid practice to sing memorized selec¬ popular “L’Amico Fritz.” of their church music in many places. In Europe “L’Amico Fritz” is fre¬ tions to some member or friend of the Franco Leoni, composer of the opera, It may be that music serves as a safety- quently heard and stands next to “Caval¬ family, away from the piano, without ac¬ “L’Oracolo,” was born in Milan, October valve to relieve wearied human nature leria Rusticana” in popularity among companiment. Mascagni’s works. Mascagni’s father was 24, 1864. He was a pupil of Dominiceti WEAVE R from the pressure of some too-strongly- _luliy are filling litglesalarlc.i “FREEv”v • No doubt, at first this will be a most and Ponchielli at the Milan Conservatory. positions. Artist’s Outlit I KEE stressed type of emotion. a baker who wanted his son to become PIANOS to Enrolled Students. embarrassing performance; but it is sur¬ a lawyer. Like Handel, Mascagni gained In 1892 he removed to London and has Write today tor Art Year Book. prising how soon the student becomes quite his acquaintance with the keyboard by since lived in the British metropolis. Of at ease, accustoming herself to facing the $CHGDifFAmiEP Art stealth. Later he attended a music school; his four best-known operas, only one has listeners, at the same time making it pos¬ Over-Use of the Pedal and when his father discovered this he proven a very great success, “L’Oracolo;” Applied Art Bldg.Room 14.BATTLECMEKM1CH. sible for her audience to criticize any un¬ imprisoned him in the house as a punish¬ the story of which was taken from an gainly posture or other shortcoming. Also, EVERYONE INTERESTED IN THE MUSICAL ment. The youth was determined to American playlet known as The Cat and it enables the singer to give full attention By Harold McCubbin EDUCATION OF CHILDREN SHOULD HAVE become a musician; and, despite cruel the Cherub, by Chester Baily Fernald, to the interpretation of the song, forget¬ The “Catalog of Juvenile Musical Publications” It is perfectly clear to the average poverty, he triumphed with the first per¬ who had been a newspaperman in San ting herself to such an extent that ere pianist that if he plays his left hand way formance of “Cavalleria,” in 1890. Francisco, and who based his playlet upon SENT WITHOUT CHARGE TO ANYONE INTERESTED IN Piano Works for the long she finds, to her astonishment, that down in the sub-octave of the piano and “THERE IS A BEAUTIFUL RIVER,” Solo. “L’Amico Fritz” (“Friend Fritz”) is a one of his short stories, published, if the she has become quite unconscious of her CaiWatlsTnd ^CrottarL!°Vvtnircs?lHuSC'Chimcs!8ToyCSymphonic!?MaTOT5 his right hand high above, the results will New, Original, Full of Melody—Price 25c. far more agreeable work than the gloomy writer remembers rightly, in the Century for the Young Violinist, etc. audience and is no longer a self-conscious be thin and unmusical. ROBERT L. VICK, Publisher, Tuckerman, Ark. Magazine. The playlet was first given THEO. PRESSER CO, 1710-1712-1714 Chestnut St, PHILADELPHIA, PA. performer. Sicilian tragedy with which Mascagni won Yet hundreds of organ players, par¬ his first success. The text, of course, in Hammerstein’s Olympia Theatre, New ticularly beginners, use the lower notes of is taken from the well-known story of York, as a part of a vaudeville perform¬ The Mainspring of Art the pedal board of the organ as though IP1AWO JAZZ Erckmann-Chatrian. It is interesting to ance, and it created a great sensation. It it was their religious duty to have them note that the work was first given in was also given later in London with suc¬ JOHN MARTIN’S MELODY BLOCKS cess. The opera was first produced in Save tears and drudgery of music lessons By D. L. Ford come booming out with nearly every America by Gustave Heinrichs, in Phila¬ AN EDUCATIONAL TOY ENDORSED BY MUSIC TEACHERS chord. Possibly one of the reasons why delphia, June 8, 1892. In New York it London in 1905, and in New York in jyjELODY Blocks are neither a 1915. When “Parsifal” had met with colossal the player does this is that his playing is was given at the Metropolitan Opera ing music but an adaptable supple¬ success at Bayreuth, Wagner was asked if swallowed up in the sound of the organ. mentary help. They are blocks with which thechild learns to build MYSTERIES OF THE PIANO he were not satisfied. If they could hear their own playing at a melodies just as he learns to spell LEARN THEM “Well, no,”, he replied. “I am never sat¬ distance they would realize how extremely * OF ALL KOTOS The Story of “L’Amico Fritz” with alphabet blocks. Melody THE PHENOMENA KNOWN AS SOUND isfied. As you know, no true artist ugly are these heavy pedal tones widely separated from the treble parts they are ENTERTAINMENTS" GENERAL CARE AND CONSTRUCTION E. L. GAMBLE, PLAYWRIGHT, EAST LIVERPOOL, 0. 1. Dining Room of the Alsatian home of Frits Kobus. Frits, an inveterate OF THE PIANO . is chided by his friend, the Rabbi David, for his celibacy. As he supplies the Never satisfied ? What live man or playing upon the manuals. The upper 'or the marriage of a pair of David’s young friends, admirers of Frits enter to ITS ORIGIN AND DEVELOPMENT woman could be while yet the strength re¬ notes of the pedal keyboard, nearer i •thday congratulations. " Suscl, the beautiful daughter of one of Fritzs tenants EAR TRAINING, which absolutely teaches anyone pitch to the manual parts of the player, ca ith a gift of Violets. Following Suscl’s exit, in heated argument with his friends, mains to do better? Is anything quite so igcrs his vineyard to Rabbi David, that he will not marry. be used with far more safety and beauty. Endorsed by Musicians and Tuners. inspiring as the conscious feeling that one’s H. Courtyard of the Farm at Mesanges. Susel gathers a nosegay as she sings Use the pedal notes artistically when they ■avalier and his lady who shall wear it. Fritz enters and a short colloquy ensues, feet are firmly planted on just a little deli Rabbi David manages alternately to fan the sparks of passion in both Frits SPECIAL XMAS OFFER $1.0# POSTPAID are really demanded. Teachers write for special offer higher level of attainments than when III. Same scene as Act I Frits is haunted by the image of Suscl. His friend, bearings were last taken? Earnest per¬ . tries to console and cheer him. Wilh Beppc’s departure, Frits apostrophizes Love, Musical Science Library whitrich he is interrupted by David, who only inflames his ardor by cunningly telling sistent effort pays its own dividends—and 1314 SO. HOOVER, LOS ANGELES, CAL. that Baser* father is coming for liis approval of her marriage. His feelings are the rate is high. Rossini’s Wit Once Again ■wo. more perturbed when, left aloiTe with Suscl, -..BT„„v„ ...._for him, a_ - frits relinquishes his bachelor vows, admits his ,1 affection, and surrenders the Teachers—let me give you a regular The hot-headed Rossini was conduct Mueyard to David, which the good Rabbi in turn upon Suscl ns a bridal ddwer; and the curtain falls with all rejoicing. 30c size tube of Kondon’s— a rehearsal of his famous “Barber of A Complete Course of Vocal Technique ville, in Paris. One of the clarinet Keep nose and head clear with The Story of “L’Oracolo” Kondon’s. It prevents infec- FOR DRAMATIC AND COLORATURA SOPRANO kept making mistake after mistake, wh —ALSO— Rossini corrected with none too little An opera in one act The scene is the Chinatown of Kan Francisco. The peculiar tience. Finally he said, “Thank God, m name of the opera is derived from the prophetic faculties of Win-Sliee. the sage. GRADED LIST OF SONGS AND ARIAS • Chim-Fen, proprietor of an opium den, has tried vainly to win as Ins wife the It is absolutely safe to assert that teachers using this method will secure satisfactory results from pupils i the shortest possible length of time, and hold the pupil’s interest with less effort. At all Music Stores, Price 75c, or of the Publishers -WE ALSO PUBLISH OTHER INTERESTING STANDARD MUSIC BOOKS THE “MUSIC FOR THE MILLION” SERIES MASTERPIECES OF PIANO MUSIC Songs for the Family Circle Standard Children’s Songs 2is Standard Piano Pieces, $2.oo, cloth * .. Standard Piano Pieces Standard Mandolin Pieces TOP nnnv OF A THOUSAND SONGS Standard Violin Pieces Ukulele Songs and Duets 1 innVsiVd^rd Old Songs $2.00, cloth $2.50 Standard Opera Selections Standard Saxophone Pieces 1000 Standard Old . 8, Children’s Piano Pieces Easy VioUn Pieces THE CHILD’S OWN MUSIC HUUK Price 75c Each, Postpaid Children's Songs, Games an I Piano Pieces. $2.00, Cloth $2.50___ 207-217 WEST 25th STREET, NEW YORK THE MUMIL PUBLISHING CO. £Write for Free Catalogue example ji EXAMPLE III EXAMPLE IV EXAMPLE V Please mention THE ETUDE when addressing our advertisers. THE etude DECEMBER 19U Page 867 THE ETUDE Page 866 DECEMBER 19U VIOLINS phase of the trio frequently sends the he master the higher p ’cellist into the mazes of the treble clef, teacher at length told him ‘t'y. however, that work is taken He did, and it “tool f’cello m order^ to allow the sayi he is now a professiona: dJrinfSost0aSel™lesTof # Stailart t^Tth^perso r-^r this and the “0gia parts of those works ^rs seemed t0 be t0° large f icisl CCLYl coupled with that of the Mozart Diverti- the making of perfect semitones viola.' In them everything will be met, and every possible situation on the in- BAKER’S COCOA ! Free Book is better because Violin Questions Answered it is made of By MR. BRA1NE better beans by a f better process IBS'6 and has a better flavor than other kinds. .._§| iHH! (MUfttwi =,?„SSfgJ|||pwm. sassssssi g&g|sl5ll JIZZ8B835 THE STRAD 'fcaSMSSSfsyny no gives out the stimulatini vapor ™ hi<* a^s tSjpsSesissN t on the advice of a i.0^ELROD!r50 We Bid*., P-ideoce, » ' _ Sole Agents for U. S. A. BANDERO =r.“srs;£rr;„r;,“; Mee:£W old one, if it is well made. The two bows THE etude DECEMBER 1924 Page 869 THE El Page 868 DECEMBER 192J, Learning to Play Softly cA signal of trouble - Piano Facts Bach was one of the first to advocate tender and bleeding gums By Harold Mynning playing the keyboard with the fingers curved. Prior to his time most of the key¬ Many piano students seem to strive day board instruments were played with by day in every way to play louder and straight fingers. 7 if -■-'i a ‘■"'VW'^TTa in MUSIC PUBLICATIONS EACH louder. Alas, it is quite easy to play loud. The first real clavier sonatas were those But very few amateurs can play the soft of Kuknau, published in 1695. til r \ I lL liUn an outstanding success in notes correctly. It requires much greater Mozart’s advice upon the chief essentials skill to play softly than loud. 1 of good technic are, “Above all things a I /^/l I /r>i\kT ITS CLASSIFICATION For example, play this chord, D, F-sharp, player should possess a quiet, steady hand, A and D, loudly. No doubt every note will the natural lightness, smoothness and glid¬ OVER 10,150,000 COPIES REPRESENT THE ENORMOUS SALE OF THESE WORKS ring out sonorous and true. Now play this ing rapidity of which is so developed that same chord very softly. Probably one note the passages flow like oil” of the chord will not be heard at all, while John Field’s greatest claim foi immor¬ STANDARD GRADED some of tlie other notes will be louder than tality does not consist so much in the fact COURSE of STUDIES m- ' others. In other words, the chord will not that he is said to have created the Noc¬ sound clear and even as it did when you turne, but rather that he was the first to FOR THE PIANOFORTE ChMGmstfSMR played it louder.. Why is this? Simply break away from the conventionalized In Ten Grades—Ten Volumes that it takes much more control to play form of compositions such as Sonatas and TAKES OFF 41 LBS. very softly than it does to play loud. Rondos. By W. S. B. Mathews Price, $1.00 True, some poor pianists never play any¬ In Exactly 7 Weeks! thing but soft; but it is a weak, flabby Jin Unequaled Educational Work f0T Phum j The lady in the picture is close to an ideal softness, not the controlled pianissimo that Bridging the Treble and the weight. Yet two months ago she was far is a complete, progressiv Hif denotes strength. Bass Clefs too stout—was heavier by more than forty But as control is the key of the situa¬ pounds! Mrs. Ella Carpenter, New Or¬ Lge to pupils. Except foi tion, it is of course the thing the pupil leans, explains how she reduced with such ed with the first book. \ success: should above all strive for. This is By Mrs. N. D. Wells simply intelligently building up one’s technic. And, it might be added, it is not Pupils must have a support for any half so important how you hold your hand given form of instruction upon any basic as how you use your ears. Let the ear principle. So many are puzzled and left SUCCESSFUL TEACHING WORKS be your infallible guide. If you strive hanging up in midair concerning many happened. FOR earnestly to play soft notes artistically and points, regarding the different clefs, for ‘Easiest Thing I Ever Did’ VARIOUS GRADES of INSTRUCTION listen intently you will learn how to play instance. “Fifteen minutes each evening I took the re them. And this brings us to the impor¬ We teach them that the C which is ducing movements—to music. It was uncom TOUCH AND TECHNIC—By Dr. Wm. Mason—In Four Parts - $ 1.00 e; nionly interesting; I felt Wetter from the start. tance of playing soft as a means of train¬ nearest the middle of the keyboard di¬ But 1 watched my weight, and that is what ie most remarkable works!in the entire range of piano pedagogy. A ing the ear. When we played constantly vides the right hand or Treble part from thrilled me: I lost 6lbs. that first week. r artistic piano playing highly endorsed by Paderewski, Joseffy, Gra- Naturally, I went on with it. The second weel< ich, Liszt and others. “forte” the acute sense of hearing is more the left hand or Bass. Things move I lost 8 lbs. more. MASTERING THE SCALES AND ARPEGGIOS—By J. F. Cooke - Pr., $1.00 or less dulled. smoothly along until the pupil is first con¬ fronted with the ledger lines piecing out with Wallace—-m> Turkish taths^o^tarvin^nOT Scale study from the beginning to the highest degree of proficiency. I would not leave the impression that patent foods or drugs—I just got thin to music it is not important to play loud at times; the Treble staff at the bottom and the in the United States. as the offer said I would. It was delightfully SELECTED CZERNY STUDIES—By Emil Liebling—In Three Volumes - $1.00 e< but, after all, this is something that can easy. Today, my bathroom settle said 129—not FOR j Bass staff at the top. bad for my 5 ft. 5 inches!” | r.j.fS?d!d.s. be learned without much trouble. This waiting is not concerned with Reduce without punishment; without any “re¬ terly. ledger lines either above the Treble or duced look!” Proof that you can costs nothing. THE 1 FORHANCO. The trial is really free. Coupon brings the full COMPLETE SCHOOL OF TECHNIC—By I. Philipp Pr., $2.00 1 New York below the Bass; for usually these do not first lesson—record and all—without payment puzzle pupils to any extent. It is in the A compendium of modem technic. Excellent daily practice materii GUMS | Fortum's, Ltd. Helps for the Growth of the NOTE SPELLING BOOK-By Adele Sutor a Rural Teacher middle of the keyboard where the young WALLACE student or even the adult beginner is most 0 S. Wabash Ave., Chicago An unusually successful work. The young student is instructed in nd me FREE and POSTPAID for a bemuddled in trying to understand how By W. L. Clark trial the Original Wallace Reducing FIRST GRADE STUDIES—By L. A. Bugbee - Pr., $1.00 the upper staff can suffer a tunnel made Exceptionally attractive material for use after the first fe ■ rudimentary lessons. by the Bass staff, or how—which seems 1. Take a good musical magazine. None even more difficult of comprehension, that ADULT BEGINNER’S BOOK-By C. I. Norcross - • Pr., $1.75 needs its helpfulness more than the rural the Bass staff can be imposed upon by having a basement dug out for support 2. Study some musical history. This of the Treble staff. gives a good background for work. An imaginary stairway, leading up above 3. Stress accuracy in your teaching. the Bass staff, and another stair leading Standard History of Music Some pupil may yet attain to great heights down below the Treble staff have helped Harmony Book for Beginners m the musical world. me in giving the pupil definite ideas of how BY JAMES FRANCIS COOKE PRICE $1.50 BY PRESTON WARE OREM PRICE $1.25 4. Set aside practice periods for yourself, “these things can be;” or, in other words, A History that Has Pleased Thousands to be devoted to the best music. Every Teachers Achieve Speedy Results With This Harmony what to some minds seems impossible is, So Clear that a Child Can Understand Every Word teacher needs definite practice, even though Book. Also the Best and Most Practical Work by the above method, made quite clear. So Absorbing that Adults Are Charmed With It WEAR THEM FREE FOR 10 DAYS pupils are not advanced and teaching ma¬ for Self-Study in Harmony terials are simple. student is supplied with forty story lessons in music lore. The illustration An u nrp of a most interesting character and number over 1S0L All difficul TVY': 5. Go to a city occasionally to attend a concert. It will keep you alert to the Weber’s Little Joke *T™ SEND NO MONEY ^ greatness of the musical profession. In a certain city in Germany one of the not honestiy convinced that this is the greatest pearl valne you 6. Have a musical library of your own, officials conceived the brilliant idea of hon¬ to which you add some good books relating oring the town watchmen with a great to music every year. feast. He wanted this to be an important =Helpful, Economical and Convenient Service to Teachers^ De HOLtbVpL 369T«W. Quincy Street, CHICAGO, ILL. 7. If practicable, organize an orchestra occasion and decided to have a Roast Ox. in the community where you teach. Prac¬ To add to the ceremony he engaged a local The Task of Securing the Best Publications for Teaching Purposes is Not a Difficult One for the Teacher Tak¬ S54ESSWS---- tice in orchestra work aids your pupils in singing society to take part. Not satisfied ing Advantage of the Liberal Examination Privileges of the Presser “On Sale” Plan. Decide on Material obtaining correct time and interpretation, with this he composed the words for the Tried in Your Own Studio. and increases the interest of others in chorus which he wanted sung, which ran: your work. “When everything is safe and sound, Thousands of Teachers of All Branches—Piano, Voice, Organ, Violin, Theory and Other 8. Keep a good musical dictionary at And all the watchmen are around, Branches—Have Found the “On Sale” Plan, Promptness and the Other Features Make hand. It will assist you in getting ac¬ Then eat we Oxen.” WARNER’S STANDARD quainted with unusual musical terms. Weber, then a youth, saw the humor of 9. Organize a musical club of all your setting such a ludicrous text and made the PRESSER’S MAIL ORDER SERVICE THE MOST CONVENIENT AND GRADED PIANO COURSE pupils. Have them to meet once or twice most of it. When it came to the end of MOST ECONOMICAL METHOD OF SECURING NECESSARY MATERIALS Book 1 a month to render a musical program. This the “cantata,” he wrote a chorus of which will accustom them to playing in the pres¬ the sole words were “We Oxen,” repeated A systematic, orderly setting down of the Details of the “On Sale” Plan as Well as Graded and Classified Catalogs on Any Branch Desired Will Be Furnished Cheerfully on Request fundamental problems of piano technic in ence of others. over and over again. exercises adapted to the fingers and mental 10. Keep a definite plan of the work you capacity of children. The material used is entirely original with special emphasis on the believe each of your pupils can accom¬ MUSIC PUBLISHERS AND DEALERS THEO. PRESSER CO. rHSn SUSIC BOOKS mechanics of piano playing. The exercises have plish in a definite length of time. TEN MOTHER GOOSE MAIL ORDER MUSIC SUPPLY HOUSE 1710-1712-1714 chestnut street band ANnnprurcrDLICATIONS been made as attractive as possible musically. Price $1.00 NURSERY RHYMES Established 1883 PHILADELPHIA, PA. taSgTaSS^rSds Special Introductory Price 40c By Laura C. Giese-Gray The prime factors in a successful SUITABLE FOR HOME AND SCHOOL USE singer are natural gift of voice, intelli¬ Imaginative—Psychological—Tuneful the CHART MUSIC PUBLISHING HOUSE gence, interpretative power, personality Price, $1.00 136 VV. Lake Street Chicago and perseverence. Published by Mrs. LsuraC. Ciese-Grsy, Pelham.’N. Y. —Frank LaForge. Please mention THE ETUDE when addressing advertisers. THE ETUDE THE etude Page 870 DECEMBER 19U DECEMBER 19H Page 871 New and Inspiring New Orchestra Book nav Before Yesterday Cleopatra—Opera Burlesque Little Folks’ Music Christmas Solos We have in preparation a new orches¬ operetta for Children tra collection suitable for school and col¬ of College Life—Book and Music Story Book The beautiful effect of the Christmas By Cynthia Dodge Recent Book lege orchestras and for general amateur By John W. Brigham By James Francis Cooke church services, the singing of traditional use. This collection will be made up of Tinkling tunes and charmingly catchy A department of information carols and inspiring anthems frequently This is one of the best productions for There is a great fascination about music standard numbers in part (all in new ar¬ nnes come’ from Cynthia Dodge. She has college or high school under-graduates history even for little children. This new Publications REGARDING may be enhanced by the introduction ot rangements) and some new and particu¬ ehosen History for her musical illumina¬ an appropriate solo number. The fore¬ that we have seen. It is a musical farce work is designed as a music history far larly attractive numbers written and ar¬ tion in this w’ork and she actually opens to be done entirely by men and the whole easier and far simpler than any previous most church soloists exercise great care in An Important ranged especially for this work. Among the pages of the past and out step queer, work is full of good natured fun-making. book on the subject and is intended for their selection’ of the annual Christmas the standard numbers will be such pieces ouaint characters who tell us how absurd New Music Works solo and as publishers we always try to Ihe lines are most clever throughout and very little children, indeed. The play New Work as: Poet and Peasant and William Tell we are For forty minutes we follow the the music is bright and sparkling. Some principle is Introduced since the pictures AND OTHER MATTERS OF INTEREST 1 'have some new attractive material from Overtures (in shortened form), Aida and Anger of Time, and always with smiles, : which they may choose. This year we have ot it is original and portions are adapta¬ themselves are not printed in the book, Tannhaeuser Marches (transposed to the because it is a very clever and pretty TO MUSIC BUYERS a new song, “The New Born King,’ by tions. Much of the fun is of the knock¬ but on separate sheets ready to be cut THEORY most favorable keys). The original num¬ story. The contrasts are strong and ac¬ about character, just the sort of thing in out by the child and pasted in the book. AND Paul Ambrose, composer of many well- bers will include selections from our cata¬ centuate the situations so the audience is known sacred solos. It is published in which the scholastic athlete delights to en¬ The work is sure to have a very large sale log of pieces for which there has been a held interested throughout. Sketches in gage!. The work is easily staged and judging from the number of teachers who COMPOSITION two keys; High Voice; range, D to G, and demand in orchestral form. These will costume of all characters are included in Low Voice; range, B to E. Price, 60 costumed. have ordered copies in advance and thus OF comprise marches, concert pieces, slow the score together with directions for stag¬ The special introductory price in ad¬ availed themselves of the special pre-pub¬ cents. The “Angels’ Song,” for soprano movements, etc. The instrumentation will ing, which are very easily managed. The or tenor, price 60 cents, is another splen¬ vance of publication is 40 cents per copy, lication price of 50 cents, postpaid. MUSIC Talking Machines and be similar to that employed in our Popu¬ music is for the voices in unison and very postpaid. 1 NEW WORKS did song by this same composer. Other lar Orchestra Book and our Crown Or¬ easily memorized. Our advance of publi¬ Records, and Radio By Mail favorite Christmas solos are: What to Play— By PRESTON WARE OREM Advance of Publication Offers Let this be your Talking Machine Store. chestra Book, i. e., the usual combination cation price for one copy only, is 40 cents, Barbarossa of Barbary What to Teach of orchestral instruments, together with postpaid. The Logical Sequel to December, 1924 Sp'rriC1 Philadelphia is one of the greatest Talk¬ Immanuel .. . ■ -Bochau, 60 cents A Musical Comedy in Two Acts By Harriette Brower ing Machine marts of the entire world. There Were Shepherds, High Voice parts for E flat and B flat saxophones, His Immensely Successful Album of Arpeggios for the Pianoforte. (Violin ad lib.) Stoughton, 75 cents solo violin and two obbligato violins. The Dawn of Spring Music By David Britton Miss Brower’s book has reached the Album of Song Transcriptions and Van It is the centre of new ideas, new crea¬ “Harmony Book for Beginners” tions for the Pianoforte. Undimmed Star of Bethlehem, High arrangements will be full and rich, but at Cantata for Two Part An Oriental Musical Play, for young “page proof” stage. That means that it tions, new recordings. We have found Voice .Neidlmger, 60 cents is upon the threshold of publication. It Barbarossa of Barbary—Musical Comedy Sing, O Sing, Medium Voice the same time well within the range of Chorus of Treble Voices people, offering exceptionally attractive Thousands of teachers and self-help —Britton . that this business can be very successfully Risher, 50 cents material for an entire evening’s entertain¬ does not take long to print and bind a students who have used “Orem's Har¬ Capriccio Brill ante—Mendelssohn. the average student on any of the instru¬ By Richard Kountz transacted by mail. It is of especial serv¬ In Old Judea, High and Low Voice ment. The music is catchy and sounds book when it gets that far. We are rush¬ mony” requested a book with which Cat Concert, The—Gilbert. ice to any one located away from a real ments employed. they could continue in this pleasant and Cleopatra—Opera Burlesque—Brigham (Violin ad lib.) Oeibel, 60 cents If you have heard Mr. Kountz’s very big, although it is not difficult to memorize ing it ahead with all proper speed. The center where the finest stock can be ob¬ Nations, Adore, High, Medium or The special introductory price in ad¬ profitable method. The result of th"!- Dawn of Spring—Cantata for 2 Pt. Treble popular song, “Sleepy Hollow Tune,” you nor to render. Miss Frances Bennett, who idea of this book is to give the student demands is this excellent work. Voices—Kountz . tained. The great Victor works are only Low Voice .Shelley, 50 cents vance of publication is 15 cents for each know his gift of melody, and in this short wrote the book, has produced a, charming, and the teacher a wide range of pieces student is led immediately into creative Day Before Yesterday—Operetta for C a comparatively short distance from our instrumental part, 30 cents for the piano work, making practical application of These songs and any others in our cata¬ cantata, which requires twenty-five min¬ witty story with lots of funny situations, employed upon the programs of the best dren—Cynthia Dodge . Chestnut Street establishment and we are part, postpaid. all knowledge gained, meanwhile learn¬ Eleven Indian Love Songs—Three-1 — log may be had for examination. Be sure utes for rendition, we assure you that you all of which can be easily handled by ama¬ artists and in the leading conservatories. ing everything that the ordinary course Chorus of Women’s Voices—Lieurance in constant touch with the latest thought to specify key and range when ordering. will find melody and then more melody, These lists of pieces arc arranged in pro¬ in harmony gives, including modulation How to Succeed in Singing—A. Br in the talking machine world. The com¬ Capriccio Brillante teurs and the tunefulness of Mr. Britton’s and a good working knowledge of mr’- and that easy flow of the voice parts which music will appeal to both audience and gram form so that the readers may learn bination of the Talking Machine with For the Pianoforte al form. Jolly Jingles’ for ’Little Fingers—Cramm Etude Cover Design attracts singers and hearers alike. This performers. The stage business is fully how program makers arrange composi¬ PRICE, $1.25 Little Folks’ Music Story Book—Cooke Radio is a new and startling feature in By F. Mendelssohn work is finely adapted for use in women’s tions in the proper order, that the effect Little Suite for Two Violins in First Posi¬ Contest described in the stage-manager’s guide, which thousands are interested. Both of dub programs and it is easy enough to be upon the listener may be more impressive. tion—A. Hartmann . these marvelous inventions in one cabinet The piano music of Mendelssohn is more which also contains cuts of the characters Music Scrap Book, The—Wright Our contest for a cover design closes given by pupils of the upper grades in in costumes. The advance of publication The advance of publication price of this BASIC PRINCIPLES Musical Moments—Piano-Hudson. work together perfectly. Each has its December 1st. No designs will be entered than holding its own, as a matter of fact, much of it is growing in popularity due schools. The story in the text is about price for one copy only is 40 cents, post¬ novel and helpful work is 75 cents, post¬ New Anthem Book . great purpose. The permanent records after that date. In the designs presented, IN PIANOFORTE PLAYING New Orchestra Book—Parts, each to a revulsion from the efforts of some what happens in Nature during a whole paid. paid. are like a wonderful library; they are like there is a wide range of subject and skill By Josef Lhevinne PRICE, 60 CENTS New Orchestra Book—Piano. of the ultra modern writers. Works of day in the spring from daylight through Peer Gynt Suite, No. 1—Piano, Four precious books that can be taken out and shown by the artists. Some are obviously Mendelssohn are to-day appearing upon the following night until the rising of the Eleven Indian Love Songs The Music Scrap Book read over and over again. The radio is the work of beginners who have had no svelopment of Technic- the programs of many great artists. Some sun. The charm of the work is irresistible By N. Louise Wright l like a lecture and concert course in your experience or training, whatever, in For Three-Part Chorus of time ago we added to the Presser Collec¬ and, while educational it is most attrac¬ So many young pupils are presenting Beflections for Music Students—Silber i own home. Both have an important place artistic work. Other drawings show skill, Women’s Voices tion, the “Concerto in G Minor,” by tive. The examination of a copy will themselves for instruction these days that I should be studied Beverie Album for the Pianoforte.... ’ and no modern home is complete without ideas and proficiency. It is literally as Ehythms for Young People—Steenman. . Mendelssohn, which is one of the most hold your attention. The advance of pub¬ By Thurlow Lieurance in many eases, it is necessary to have d^ student.^ The ^whole subject 1 them. We can furnish you with Bruns- impossible for a person who is not gifted ted in a clear, i Euth—Cantata for Women’s Voices—Paul popular with students. About equally lication price for one copy only, is 30 Mr. Lieurance teHs us that this work something still more elementary than even Bliss . , wick and Victor models and records. The to win a prize in competition with an ex¬ poplar is the Capriccio Brillanli in B cents, postpaid. is primarily intended for high school the easiest instruction book. This means Schubert Album for the Pianoforte. j nature of the business is such, however, perienced artist as it would be for a stu¬ Sr* Study Pieces in Thirds—Moter. Minor, Opus, 22. This number will also choruses. It will prove equally acceptable that one must have some sort of a kinder¬ 1 that we cannot specialize in this announce- dent in the first grade to draw a Carne¬ Vision of Deborah Ten Busy Fingers—M. M. Watson. be added to the Presser Collection. It is to musical clubs in general, however. garten book. It is such a need as this Vision of Deborah—Cantata—Kieserling ) ment. Just write us a little letter of in¬ gie Hall audience in competition with Sacred Cantata for Mixed Voices There is always room on a program for What to Play—What to Teach—Harriett* quiry and we shall be glad to send you shorter than the Concerto and somewhat that Miss N. Louise Wright’s Music Scrap Paderewski. We can see that it will be a By Richard Kieserling one or more good Indian numbers and Book, is designed to fill. It may be de¬ ALBUM OF SCALES ’ information, catalogs, etc., telling you how difficult matter for the judges to make de¬ less difficult, but it is brilliant throughout and extremely tuneful. The March from This is a Sacred Cantata that may be these particular arrangements are made scribed as a series of musical object les¬ we may serve you. For some time we cisions. This will also take time and we from some of Mr. Lieurance’s most suc¬ Thirty-Sixth Annual have been selling phonographs by mail¬ the Capriccio, is often played as a sepa¬ given at any time of the year. It is big sons in notation, in keyboard knowledge ask those who have submitted drawings to cessful songs. They are all taken from and in fingering. Note values are taught Holiday Offer order, with great success and we have he patient until they hear from us. rate number. The Capriccio as a whole, enough to interest the best choruses and may be played with the accompaniment of while it requires many rehearsals it is genuine Indian sources. These arrange¬ without the necessity of any knowledge Genuine price reductions are made on, many customers at distances who buy ments are all effective and none are diffi¬ their records through the Theo. Presser a second piano or with orchestra, but the worthy study and we recommend it to the of fractions and the names of the keys are Study Pieces for Spe- a generous number of publications that Peer Gynt Suite, No. 1, accompaniment is so light that the entire cult of execution. taught in connection with the names on are suitable for gift purposes. Among Co. attention of all choir-masters of serious hum o/ Trills, was an immediate su’ec For Piano—Four Hands number may be played as a piano solo, if intent. The solos are most grateful to The special introductory price in ad¬ the staff. The material is all attractive. the musical literature works will be found Calendars vance of publication is 30 cents per copy, By E. Grieg desired. the singers, and the choruses, with Oriental The special introductory price in ad¬ who recognize the superior value of in¬ books that make very acceptable gifts postpaid. vance of publication is 30 cents per copy, teresting study pieces over dry, technic¬ For 1925 The incidental music by Grieg, written The special introductory price in ad¬ flavor in the musical treatment, maintain to armost any music lover. Among the For a number of years we have been vance of publication is 30 cents per copy, postpaid. al exercises. The pieces in this album collections of music will be found desir¬ for Ibsen’s play. Peer Gynt, and later ar¬ an atmosphere which compels attention to Reverie Album are ail calculated to give the student furnishing the music profession with Art postpaid. plenty of scale work, at the same time able gifts for pianists, singers, violinists ranged by the composer in the form of a the end. The dramatic story is taken Calendars of merit. The large sale these from the Old Testament and follows the For the Piano Six Study Pieces in Thirds furnishing through their musical qual- and organists. Then there are a number Suite, has proven immensely popular. It We have two very successful publica¬ For the Piano ities^an incentive for the student t calendars have enjoyed has stimulated us is already in the Presser Collection in Ruth, Sacred Cantata Biblical text faithfully. There are very of nominally priced collections for build¬ to produce for the coming year, a Calen¬ tions in our catalog, entitled respectively. ing up the Christmas gift pile of young piano solo form and we have now in press For Women’s Voices few such works in existence—not too long, By Carl Moter dar de Luxe. A fine reproduction in color full of contrasts, and alive with melody. Tranquil Hours and Sunday Piano Music. This is an excellent contribution to the THEO. PRESSER CO., Phila., Pa. students. Those desiring to add to their the arrangement for Four Hands. This lat¬ By Paul Bliss Our new Reverie Album will be somewhat of a celebrated musician will occupy the ter arrangement is very effective, as it is An examination of this work will prove literature of the double-note technic. own musical library will find it to advan¬ medallion in a cut-out mat of duo tint similar in character to both of the above possible in duet form to give the true or¬ In this attractive cantata the Biblical most interesting and we suggest to choir¬ Scales in double-thirds are always good to tage to make selections from the Holiday and directly below will be printed a short, story of “Ruth” is told in short recita¬ mentioned. It will contain pieces of the Offer and place orders while the low chestral values and some of the tone color. masters and choral directors, that they practice, but this is not sufficient; they concise biography. There will be sixteen tions, two solos, and number of choruses, obtain a copy while it may be had at the quieter and more contemplative type, suit¬ must be given practical application in prices are in effect. The Mail Order The numbers comprising this suite are: able for home playing and for use also at different subjects, offering a varied selec¬ Morning Mood, Anitra’s Dance, Ase’s which may be sung as three-part by omit¬ special advance of publication price, 30 either pieces or studies. Carl Moter’s A Special Bargain! Service of the Theo. Presser Co. is so tion from which to choose, particularly for devotional meetings in places where the Death, and In the Hall of the Mountain ting the second alto. The usefulness of cents, postpaid, for one copy only. Six Study Pieces serve to exemplify very well established among music buyers music teachers whose custom it is to pre¬ piano may be used. Some of the pieces King. These numbers are not difficult to a work of this sort is apparent. It is ap¬ pleasingly and in various contrasted styles, throughout the country that little need sent these calendars to pupils as Christ¬ propriate at any time; it requires about a Rhythms For Young People are rather ornate in character and in spite be said to assure those who order in good play, being classed in the upper-inter¬ the use of thirds in the intermediate EVERYBODY’S mas remembrances. The following music half-hour in rendition which makes it suit¬ By Blanche Fox Steenman of the title of the selection, there is much stages. There are too few study books of time that delivery will he made promptly. masters will be represented in the series: mediate grade. variety in the book. Modern composers The special introductory price in ad¬ able for a vesper service. The subject This book is now on the press and this this character. Several advertising pages have been util¬ Bach, Beethoven, Brahms, Chopin, Gou¬ treated renders it of use to any body of are represented chiefly, hut there are also ized in this issue by the Theo. Presser Co. vance of publication is 30 cents per copy, may be the last month of the special in¬ The special introductory price in ad¬ SONG BOOK nod, Handel, Haydn,1 Liszt, Mendelssohn, singers. Women’s colleges and schools, some selections from classic and standard vance of publication is 25 cents per copy, presenting the opportunities of the Holi¬ Mozart, Schubert, Schumann, Tschaikow- postpaid. troductory offer. The book is intended writers. The pieces are of intermediate as well as choirs where men’s voices are primarily as a work on musical apprecia¬ postpaid. A Treasury of Favorite day Offer. sky, Verdi, Wagner and Weber. These absent, or not dependable, will welcome difficulty. calendars make effective and inexpensive tion for public school students; to interest The special introductory price in ad¬ VOCAL MUSIC Album of Song Transcriptions the work. The constant requests for them first of all through their rhythmic Little Suite for Two Violins Monthly New gifts and will appeal to all lovers of works of this sort leads us to believe that vance of publication is 35 cents per copy, and Variations for the Pianoforte perceptions and thus to introduce them to in the First Position This book is a great value for music. Price each, 10 cents, or by the this original writing will take its place in postpaid. Music on Sale We beg to announce for the first time the works of the best composers. This By Arthur Hartman, Op. 19 every home possessing a piano. dozen, $1.00. all better class choir and chorus libraries. This year’s demand for the Monthly a new volume which should have been volume contains nearly seventy separate With a collection such as this around, In advance of publication this cantata may New Anthem Book This Little Suite for Two Violins in the New Music packages has exceeded our How to Succeed in Singing undertaken ere this; a collection of popu¬ numbers selected from’ the works of vari¬ First Position is a most interesting and many an evening can be made de¬ expectations; the October and November By Signor A. Buzzi-Peccia lar melodies, arranged within the reach be had for 25 cents, postpaid. One copy ous writers from Bach right up to the This will be one of the series of popu¬ lightful, parties can be enlivened or lar anthem books containing seventy-two ingenious work for the young violin stu¬ installments have been sent out and, from There are many ways to succeed in sing¬ of the average pianist. These popular only to each subscriber. present. Some of the pieces are in their one can enjoy pleasantly a little pages of anthems of a popular order; dent. The composer is one of the fore¬ all reports, have given entire satisfaction ing and many ways to fail. A great deal melodies are always welcome. There are ®r‘ginal forms, others are arranged or most American concert violinists of the diversion at the piano; contains 74 to those fortunate enough to receive them. depends upon the individual, but we have a number of such volumes in existence, but Jolly Jingles For Little Fingers transcribed, so as to make them more something similar to one of our series en¬ old favorite home songs, 147 be¬ titled “Volunteer Choir.” The success of present day, and with his experience in There will not be any regular packages never seen any book on the subject which we expect to make one that will be far By Helen L. Cramm Playable for the average performer, composing, editing and transcribing other loved sentimental songs, 57 operatic sent out during the month of December. gives so many suggestions of a very prac¬ superior to any yet published because we rone of the pieces are intended to be this series has been marvelous, not only songs. 25 sacred songs, 72 hymns, The new work. Jolly Jingles for Little on account of its reasonable price, hut important publications for the Theo. Experience has shown that very little tical character as this, book by Signor A. have a very large collection to draw from, Fingers, is in its author's best style. One Played to the students and commented Presser Co., it is not surprising that he 59 pretty little children’s songs, 27 teaching music is used or desired around Buzzi-Peccia. This celebrated Maestro and this is particularly in oiir line. Some pon, others are to be acted out rhythmi- on account of the usefulness of the mate¬ southern songs, 34 college songs, 13 cannot have too many publications of this rial, and we propose to make this new should write such a useful and compre¬ the holiday season. However, if any of di Canto, famous in Italy and America, of the pieces will contain transcriptions nature, so many are needed in the early ih ,at tlle discretion of the teacher. In hensive work in such a simple way. For sea songs, 6 delightful rounds, 37 our patrons wish a special selection of friend of Verdi, Puccini, Mascagni, and some will contain variations, but the , e Alphabetical Index the record num- anthem book more valuable than any patriotic songs and 33 national and grades. Miss Cramm has always some¬ previous one, as we have a large collec¬ although this Suite is all in first position, new issues during this month, a postal teacher of Alma Gluck, Sophie Braslau, line between the two is very thin. Our thing good to say. In addition to their ers for the various talking machine disks and not difficult by any means, it takes folk songs. card request is all that will be necessary. and many noted singers, ought to know tion from which to select. There is abso¬ patrons may look forward to a collection attractive qualities for young folks, good ?re given in the case of manv of the better the pupil through varied finger and bow Over 500 Old and New Songs Do not forget to mention style, grades and how to “Succeed,” if anyone does. The of the very best and most popular ar¬ roiown pieces. In the Table of Contents lutely no risk to run by choir leaders, or teaching material is to be found in every anyone else interested in church music, exercises. It will prove very interesting number of pupils for whom the music is money spent upon this book will prove a rangements of standard melodies of the mrpretative hints are given for each Favorites for one of her pieces. This new book cannot in selecting this new anthem book. They to the pupil who likes to have his teacher desired and your order will receive our good investment to any singer. Just now day. We will aim, also, to have them fail to please, Le?e 'n order to give the teacher an idea “play along with him.” The special in¬ 75 Cents a Copy, Postpaid careful and . prompt attention. The next you can have a copy reserved for you at arranged in uniform difficulty. The spe¬ if how best to use it. will he more than satisfied with it. It 1'lre special introductory price in ad¬ will remain at the special offer price for troductory price in advance of publica¬ regular installment of “New Music” pack¬ the special advance of publication price cial advance, of publication price for this vance of publication is 30 cents per copy, Van6 sPecial introductory price in ad- tion is 30 cents a copy, postpaid. THEO. PRESSER CO., Phila., Pa. ages will be forwarded in January, 1925. of 60 cents, postpaid. volume is 40 cents, postpaid. a very short time. The advance of pub¬ 1710-1712-1714 CHESTNUT STREET Dostpaid. P°stp 'cf Pukl'cati°n is 50 cents Per C0PJ’’ lication price is 20 cents, postpaid. (Continued on page 872) / the etude DECEMBER 19U Page 87 i A FELIX BOROWSKI, President 59th CARL D. KINSEY, Manager vYear MUSICAL COLLEGE The Leading and Largest Conservatory of Music in America Winter Term Now Open More than 100 teachers of world-wide reputation. Private lessons only or courses leading to Teachers’ Certificates, Graduation and Degrees in Piano, Vocai, Violin, Cello, Church Organ, Theatre Organ, Theory, Public School Music, Dramatic Art and Expression, Toe, Ballet, Interpretative and Classical Dancing, School of Opera, all Orchestral Instruments, Chautauqua, Lyceum, Concert and Languages. I Normal Training for Teachers in all Branches. Positions Guaranteed for Chautauqua, Lyceum, I Concert, Teaching and Theatre Organ Playing when students are qualified. Tuition reasonable and I artistic advantages unequaled. Central Theatre and Recital Hall in College Building for Public ’ Appearances in all Branches of Music and Dramatic Art. Evening Lessons. Of the Total Value FREE SCHOLARSHIPS AND PRIZES of $20,000 ready. H^fyou Za if not, o be awarded for aboard request will bnog * by return ^ ** ' y the Mason & "“IBS 1924-1925 Magazine Catalog ready for u8e for the ,K'xt 8ummer Beason- Opera Scholarships. 15 prizes of $300 each; 15 of $1 JZ SSSX^SJttS :ri"sHa%££' Complete Catalog on Request 1925 Summer Master School Opens June 29 60 EAST VAN BUR™ STREET (1 \ Philadelphia Musical Academy CONSERVATORY CONSE£&^IORI.S^S[USIC inent Faculty. Ear Training, Theory, Composi- PHILADELPHIA FORTIETH YEAR eaidential and Day School of unparalleled F^Uities^for-the attainment of a complete mm A SCHOOL OF INDIVIDUAL INSTRUCTION SIGHT READING ■ Teachers. MADE EASY FOR PIANISTS Full Orchestral Is’ Symphony isS5£&;&rs£ ® sSe^Ss^SS RECIPROCAL RELATIO “ - ~ fcaiSRSassissjsai Courses for Public School Music Supervisors Approved and Accredited Three-Year Courses in Public School Music Supervision. Pennsylvania Stand- how to play accompaniments at sight etc. ard State Certificates issued upon completion of Course, without further examination. The only Conservatory of Music in the country whose courses for Public School Music Super¬ Training Courses visors have been Approved and Accredited by the Department of Public Instruction of for Teachers Complete Course of 5 lessons by mail, $5.00 Pennsylvania. Faculty of 56 Satisfaction Guaranteed or Refund made DORMITORIES FOR WOMEN Specialists in DANF0RD HALL 1 Tvfn°^er CHICAGO In addition to delightful, homelike surroundings in a musical atmosphere, the dormitory pupils have all departments advantages not afforded in any other school of Music. Daily Supervised Practice, Daily Classes in P.M.I. Technic, Musical Science, Theory, Psychology, Chorus, Vocal and Instrumental Ensemble. Pittsburgh Musical Institute, Inc. 31.1„ - . Pittsburgh, Pa. SIX SPACIOUS BUILDINGS pn^i „„ A School of Inspiration, Enthusiasm, Loyalty and Success. rolt Conservatory of Music Illustrated Year Book Free mm i GILBERT RAYNOLDS COMBS, Director on^SS^^>m . _ _ „francis . .L. v_York,1, ayfM. A.,A.. President m_____ A Administration Building, 1331 So. Broad Street 1st Year Elizabeth Johnson, Vice-Prea.dent » May Enter NOW Finest Conservatory in the eat students courses of study based upon the b*8 1 School and College Announcements in This Issue cipleo. Departments—Piano, Voice. Violm. Cello. Organ.J heory, Chicago. Page 873 New York, Page 874 Ohio, 875 Detroit, Page 873 New England, Page 874 Minnesota. Page 875 Pennsylvania. Page 873 Southern, Page 874 Ill. & Wis., Page 875 THE ETUDE when addressing our advertisers. 0S ETUDE DECEMBER-19U Page 875 THE ETUDE Page 87 i DECEMBER 19U Professional NOTICE—TEACHERS OF PIANOFORTE DUNNING SYSTEM for Beginners USING THE “JOHN M. WILLIAMS’ SYSTEM OF FUNDAMENTAL TRAINING” ARE Directory Endorsed by the Leading Musical Educators of the World EARNING FROM $200 to $600 MONTHLY. ARE YOU ? NORMAL CLASSES AS FOLLOWS: If not—Write to us for booklet describing this system of Normal Training EASTERN MRS. CARRE LOUISE DUNNING, Originator. 8 Wwt 40th St., New York City. Mr,. Zella E. Andrew,. Leonard Bids-, Spokane, Wash. MR. WILLIAMS is the author of 11 RlD 1 139 West 97th Street New York City Katharine M. Arnold, 93 Madison St., Tiffin, Ohio, Arnold School of Music. !S of Ten Little Fing ther Goose Land.” (Schirmer) I If you have used any of these books and liked them you would enjoy and 11L Dull 1 Telephone 1620 Biveraide Allie E. Baron, 1006 College Are., Ft. Worth, Te,aa. profit by joining one of Mr. Williams’ NORMAL CLASSES FOR TEACHERS Biaette Reed Barlow, 48 George St., New Bern, N. Car. “ C HILD’S ^F*I tisl C~BOOK ”~^Sc h i r rr i?; OCT WiTiTTHP PI A NO” (Presses) OF PIANOFORTE AND TEACHERS’ TRAINING CLASSES FOR PIANO Mr,, lean Warren Carrick, 160 E. 68th St., Portland, Oregoo-ClaMea-Februory-June and September. ■ ■ ■ * splendid series of articles that appeared in “THE ETUDE” for Jan., Feb., STUDENTS WHO WISH TO BECOME TEACHERS, REECHWOODSBSaS Dora A. Chase, Pouch Gallery, 345 Clinton Are., Brooklyn, N. Y. * Apr., issues, entitled “WHAT TO TEACH AT THE VERY FIRST LESSONS”? I Luvema Blailock Dickerson, 327 Herndon Aye., Shreveport, La. EE:—Send name and address for keyboard chart-for correlating the keys of the pianoforte with the notes on the grand staff-sent absolutely free upon request. Adda C. Eddy, 136 W. Sandusky Are., Belletontaine, Ohio, Miami Conservatory of M. Dayton, Ohio—October Mrs. Beatrice S. Eikel, Kidd-Key Cons., Sherman, Texas. ---- ITINERARY FOR TEXAS --- Mis, Ida Gardner, 15 West 5th Street, Tulsa, Okla. (Intensive Course of one Week during NEW ORLEANS... .January 12 to January 26 Gladys Mmalis Glenn, 1605 Tyler St., Amarillo, Texas, October, 1924-Febr. HOUSTON. Mrs. T. 0. Glover, 1825 Gorman St., Waco, Texas. RICE HOTEL NEW GRUNWA.LD HOTEL DUNNING olrrnnLoia»»Du'iSJig Jiw!40th!' January 28 to February 10 Mrs. Travis Sedberry Grimland, Memphis, Term. For information address 5839 Palo HOUSTON. BIRMINGHAM, ALA.. Ruby Frances Jahn, Dallas Academy of Music, Dallas, Texas. THE TUTWILER RICE HOTEL r A D □ 1 E iropean Opportunities for Fin1 shed Students Maud Ellen Littlefield, Dunning School of Music, 3309 Troost Are., Kansas C ty, Mo. Each Class will be of weeks' duration (daily class lessons of two hours each). Early enrollment is urged as the size of all classes will be limited. r 1 Baker Bldg., Phila. - Carnegie HaU, New York Came Monger Long, 608 Fine Arts Bldg., Chicago, III. Normal Classes, Dallas, Josef Hofmann AD n Chicago Class, December 17 through January. Booklet describing the Course in detail sent upon request. Address Harriet Bacon MacDonald, 825 Orchestra Bldg., Chicago, Ill., Dallas,Texas, Sept. 15th ar lonthly through June 1925. JOHN M. WILLIAMS SYSTEM OF FUNDAMENTAL TRAINING FOR TEACHERS OF PIANOFORTE GUTCHARD.“=SS— Mrs. Kate Dell Marden,61 N. 16th St., Portland, Oregon. MUSICOLOGIST, LECTURER, 73 Huntington Aw., Hutton, Mu»>. Mrs. Wesley Porter Mason, 5011 Worth St., Dallas, Texas. FIVE MINIATURE P. O. BOX 216, TRINITY STATION, NEW YORK CITY Virginia Ryan, 940 Park Are., New York City. Mrs. Stella Seymour, 1219 Garland Street, San Antonio, Texas. MASTERPIECES HAWTHORNE Isobel M. Tone, 626 So. Catalina St., Los Angeles, Calif, Normal Class—June, 1925. ONSEKvATORY Mrs. S. L. Vsn Nort, 2815 Helena St, Houston, Texas. AMERICAN INSTITUTE EASTMAN SCHOOL OF MUSIC Mrs. H. R. Watkins, 124 East 11th St, Oklahoma City, Okla. By THIS MASTER PIANIST -'>^L °f MOULTON sos.s^rtstT^'^phuidiiphu INFORMATION AND BOOKLET UPON REQUEST (Mignonettes-The Children’s Corner) OF APPLIED MUSIC of Musrc 18690 Lonesome, Song Without METROPOLITAN COLLEGE OF MUSIC The University of Rochester K DeWItt Purk NEW YORK Words. 3 S0.3C 18691 Wooden Soldiers, March 4 ,3( Registered with N. Y. State Board of Regei 18692 Lullaby, Berceuse. 3 .2' Kate S. Chittenden, Dean All branches of music taught. Unusual advanta PRETTYLEAF (Cincinnati (fonscrdatorig ^XUnsic 18693 Sister’s Dolly, Polka. 4 ,3C in Concert work. Normal Training Classes. Pi 18694 Nocturne, Complaint. 5 .3( ERNEST BLOCH tice teachers available. Master Courses w world-famous artists in all departments. Ele’ RIESBERG These will conduct buildings, including Dormitories, Auditorium, Gj SUMMER SESSION OF THE DEPARTMENT OF nasium, Studio and Administration Buildings. Y Book sent on request. TDCWTON junior Etude Contest THE VALUE OF MUSICAL The Junior Etude will award three PUZZLES prizes each month for the best and (Prize winner) neatest original story or essay and answers Musical puzzles, I think, are invalu¬ able in the study of music. They not In Yourself? l°SubjecTfor story or essay this month: only test the ingenuity, but also afford •■What my town is doing for music.” an interesting recreation. After a pupil practices scales and studies for a while, Are you satisfied with your outlook in the profession—don’t Uust contain not over one hundred and you feel that you could establish yourself in a position of great¬ ffty words. Any boy or girl under fif¬ they are apt to become dull, and music teen years of age may compete, whether sometimes retreats from sublime expres¬ er responsibility and incidentally enj'oy a better financial future sion to monotonous labor. What quick¬ a subscriber or not. ... if you had a good, practical musical education instead of mere¬ ens the thoughts and imagination better All contributions must be received at ly knowing how to play one instrument ? the Junior Etude Office, 1712 Chestnut than a catchy musical puzzle? Street, Philadelphia, Pa., before Decem¬ Our family eagerly awaits The Etude If for instance you understood Harmony, Counterpoint, ber 20. Names of prize winners and each month and immediately turns to the Composition, Orchestration—if you could play some other in¬ their contributions will be published in puzzle corner; and I think .that many Musical Terms other families do the same. Many mo¬ strument like Piano, Cornet, Violin, Organ, etc. Have you Jean’s Christmas Dream The Xylophone the March, 1925, issue. Put your name and age on upper left ments are spent in working out the puz¬ sufficient faith in yourself to try to improve musically and at the zles, and no one feels that he is wasting By Floy McConaughy corner of paper and your address on up¬ same time financially as well? Will you take advantage of our By Gertrude Greenhalgh Walker time, realizing that the puzzles not only per right corner. If your contribution free offer for four lessons which we offer to readers of The Etude Rallentando—Gradually getting slower. takes more than one sheet of paper do this give a keener insight into music, but at Rinforzando—With additional tone and It was warm and cozy in the living Then Lhe piano said, “Perhaps she does “Tinkle, tinkle—do you hear me? I the same time arouse greater keenness of absolutely free of charge in the hope that they may be the means on each sheet. emphasis. room and the corner of the big daven¬ not see them. Do you suppose there is sound like a bell, but do not ring like Do not use typewriters. mind. Jessie Ruhl (Age 14) of starting you upon a career which will pay dividends in in¬ Romanza—A short composition of a port was very comfortable. It was too anything wrong with her eyes?” metal, for I am made of wood. Do you (No address given.) dark to read any more and the library Competitors who do not comply with creased cash earnings, earnings which you couldn’t possibly poetic character. “Wrong with her eyes? I should say know my name? It is Xylophone. Pro¬ all of the above conditions will not be Rondo—A form of composition in which book dropped from Jean’s hand. Some¬ not. Doesn’t she read two library books nounced, ZI-16-fone. Many people do not Honorable Mention for Essays obtain under your present condition? thing else dropped too, and that was a considered. the first theme is repeated frequently. every week and go to the movies Satur¬ know me by the correct pronunciation, but (When schools or clubs arc competing Claire McCrary, Wanda Anna Brown, curly head on the flat cushion. days? No, it is not her eyes.” We are purely selfish in offering them to you gratis—We have started thousands of Ritenuto—Gradually slower. call me Zill-o-fone. please have a preliminary contest first and Josephine Bacon, Cecelia Patzke, Cath¬ Ritardando—Gradually slower. Suddenly a voice came from across the “Look here, folks,” said Whole Note, “My keys are arranged like a piano, but erine Bernish, Gertrude Mingo, Mae others the same way—many wrote out of curiosity—became intensely interested when they room. It was a very beautiful voice, send only the five best to the Junior Etude saw how practical and how extremely valuable they were—and before they knew it they Recitative—Vocal music to be sung in a “it takes me a good while to move, but I they are wooden bars instead of ivory, Letourncau, Helen Pethel, Margaret M. deep-toned and musical, and it belonged Contest). _ were proficient on another instrument or had a fine, practical knowledge of Harmony and— declamatory style. have an idea. Let’s get her a pair of placed over sets of resonators. The natural Brinton, Sara Margaret Rose, Roberta to the piano. “Oh dear,” it said, “another they were MAKING MORE MONEY IN THEIR PROFESSION. Rhythm—The pattern of the motion of big spectacles for Christmas.” keys are over one set and the sharps over THE VALUE OF MUSICAL Tait, Marie Bayer, Elsie Heiston. day passed and Jean has not touched me music, determined by a symmetrical ar¬ “I have a better idea than that,” said another set of resonators. The resona¬ PUZZLES A graduate writes— once. What will Mrs. Music Teacher rangement of accent. Christmas Carol Book. “Now, you see, tor is to the Xylophone what the sound¬ (Prize winner) “I am indeed proud of my diplomas from your Conservatory. They have been say when Jean goes for her lesson to¬ Puzzle Rest—A silent beat or pulse. I am pretty intimate with Santa Claus, ing board is to the piano. Musical puzzles arc valuable because recognized by the State University and a life certificate issued me. Through them I have Risoluto—In a fearless manner. morrow ?” secured a position with an increase in salary of $50.00 per month. I will be glad at all times and I’ll ask him to get the spectacles for “Of course my wood is of a special they provoke curiosity. I f I start to work By E. Mendes Just then another book fell on the floor to endorse your course in Public School Music.” Jean, and ask him not to get her one variety. Rosewood, on account of its rich, out a puzzle and find I can not get it, I “Change my initial” with a flap of gray covers. It was the other thing. How’s that?” (Name and address furnished on request) Question Box full tone, is generally used, but Cocobolo | ask everyone I see how they would 1. I am a girl. Change my first letter Instruction Book and it said in a cross “Fine!” cried all together; and the answer it. When I find the answer I and I am found on any page of music. Dear Junior Etude: wood, which is much harder and wears and rusty voice, “Well, what do you think notes began to dance around, the rests remember it. Thus I learn many things 2. I am a vehicle. Change my first I wrote to you once before; but my much longer, gives me an extremely bril¬ Students’ Course by William H. Sherwood. of the way that girl treats me? Half flew up in the air, the instruction book about music that I would not know letter and I am found on any page of Piano letter was not published. I must say that liant tone. The wood comes from the the time when she does touch you she flapped his gray cover and climbed back otherwise. Musical puzzles also teach me I enjoy the Junior Etude very much. I music. never opens me. Once she left me at on the piano, and the piano smiled and to keep my mind on my work. If I let 3. I am a girl’s name. Change my first am especially interested in the question of Normal Piano Course William R. Sherwood. the hairdresser’s—of all places—and I was showed all his ivory teeth. my thoughts wander I forget what I letter and I am found on any page of jazz. I would like to have your opinion. there a whole week; and twice I have “Oh dear, Oh dear,” moaned Jean. have done and have to go over it all again. music. By Adolph Rosenbecker and Dr. Daniel Prothe- 1 do not play it but some of my friends spent two days on the back seat of the “Those horrid spectacles for Christmas! They also keep my wits sharpened. Sev¬ 4. I am a flat piece of wood. Change roe. This course includes Counterpoint, Com¬ do and they have a dispute about it. Our automobile. Can you beat that?” Can they really mean it? And I did eral of us work the puzzles together, each my first letter and I am found on any Harmony position and Orchestration. teacher tells us that it will ruin our play¬ “Well, I think I can,” answered the want new furs and a bracelet and a box trying to get it done first and this pro¬ page of music. ing if we play jazz. I believe it, but the Whole Note, as he jumped out of the of candy and ‘Alice in Wonderland’ and motes quick thinking. Then there is some 5. I am a tree. Change my first letter by Frances E. Clark. others do not. Please tell us. instruction book and rolled over on the lots of other things. Whatever shall I Public School Music From your friend, tropical regions and is tempered and sea¬ ‘ drill in spelling. Homonyms are used in and I am found on. any page of music rug. “Jean never counts when she plays do!” by F. B. Stiven, soned for several years before it is ready puzzles, and we must be careful to get 6. I am a small enclosure. Change my Claire McCrary, (Age 14) and she gives me only half my time. It “What shall you do?” said a pleasant to be made into a Xylophone. the right word and spelling if we intend first letter and I am found on any page Director of Alabama. makes me gasp to think of such treat¬ voice beside her. “ Well, the first thing Sight Singing and Ear Training Mui ment.” “The player usually has two sets of to turn in our answers. On the whole I of music. Music, Univer¬ N.B. Your teacher knows you and to do is to wake up. You were talking 1 think musical puzzles are very valuable 7. I am a joke. Change my first letter Then up popped four quarter notes, all mallets, made of a cane handle with vul¬ sity of Illinois. knows how well you play, so she probably in your sleep.” : and wish there were more of them. and I am found on any page of music. in a row. “Why,” said the first one, “in canized rubber balls attached to the aid. knows what is best for you in the case of “Oh, Mother, was I really? Well, if Margaret Rice, (Age 13). 8. I am a piece of ground. Change my her March she leaves us out entirely. Of When he is a professional he can handle Choral Conducting by Dr. Daniel Protheroe. jazz. Some pupils are “ruined” by jazz I start now I can practice an hour be¬ Virginia. two, and sometimes three mallets, in each first letter and I am found on any page while others are not. There is no rea¬ course it spoils the rhythm, but she does fore Father comes home to supper.” hand. Soft rubber and yam handles are of music. _ son why playing a little jazz should ruin not seem to know what rhythm means.” And as Jean went to the piano her THE VALUE OF MUSICAL used to give me the soft, muted tone.” Cornet Amateur or Professional Courses, by A. F. Weldon. one’s playing unless he allows it to do A bird flew off the page. It was not mother watched her in surprise, for never PUZZLES Answer to “Who Am I” Puzzle in September At present there is not much xylophone so. One should be careful to play clearly a bird but it looked like one. It was before had Jean wanted to practice an (Prize winner) 1. Line: 2, Bass: 3, Major: 4, Key: r>, music written, so songs or violin music Rmi; 6, Shill-1): 7 Brat (beet) ; S, Natural ; by Dr. Arthur Heft, noted European violinist. and in good rhythm, not to “smear” with really a quarter note rest. It chirped, hour without being told. What had I think musical puzzles are of great 11. Flat; 10, Minor (miner): II. Bar: 12, Violin the pedal, and not to play jazz all the “This girl never sees me at all, and passes happened? But Jean knew, and I know, are arranged for this instrument. value as they teach us to learn more Best: 13. Chord (cord): 14. lie; to. Slur: me right by. I’m not the only one she Of course, scales, exercises, arpeggios, 111 Measure (or scale) : 17. Treble; 18, Pause time. The more jazz one plays, the more and now you know, too. And as she prac¬ about music, musical instruments, com¬ (paws) ; 19, Note; 30, Signature. Mandolin by Samuel Siegel, eminent mandolinist. cuts, either. I’ve heard Repeat Sign com¬ ticed, and counted, and watched for every keys and musical terms must be practiced posers, terras, and more about the art plain, and the whole Expression Marks sign and expression mark, the piano sang and 'earned. music in general. When wc are work¬ family, and the Sharps and Flats and softly and the instruction book leaned on The xylophone is an instrument which ing out a puzzle we take time to look Banjo by Frederick J. Bacon, America’s renowned banjoist. Slurs and the Staccatos and lots of our the rack in great content, and the Christ¬ responds to any treatment, just as your «P things, and many of them we remem¬ Busy Eyes very best people. She passes right by piano does. Touch it lovingly, and it gives mas Carol Book smiled a Christmas smile ber. In this way they help us to become by the greatest of guitarists—William Foden. My eyes are busy little things, and never sees them.” all to itself. a beautiful tone, but give it an ugly touch Honorable Mention for Puzzles Guitar better musicians. Once I looked up a Margaret Rice, Lorraine Eisilc. Robert They have so much to see, and it snaps back that way to you. musical term in a book. I found it, but Rogers, Ernestine Ruck, Lucille La Valle. They have to watch the music page never knew before that there was such Reed Organ by Frank W. Van Dusen, noted teacher. And tell it all to me. a toord in our musical vocabulary. On Letter Box account of puzzles we do a great deal Voice by Geo, Crampton, noted English baritone. They have to find the notes I play Dear Junior Etude: more thinking about our music. tby Marengo. __ And tell me very fast, § Here is one knocking at vonr door for en¬ Doris M. Evans (Age 13) For if they’re slow at reading notes, trance to your musical circle. I a in lifteon - GOOD FOR FOUR FREE LESSONS = years old and have taken The Etude for sev- _ Connecticut 1,BIARaiU|o?ngEtoL'tdi ym, a fable Once a The measure will be past. eral months and ~ ' ‘ -- walking in Hie woods and heard a I btAR Junior Etude: ?anHfnl bird sing. He said aloud, “If I about it sooner. ]It is a vpr'y welcome monthly nop® all Hu- Junior readers are members visitordsitor in my viemvicinity. I‘have taken about SSwranhire that bird I would buy for him They have to notice other things, ™ musical clubs. We have a big one and all a wonaerful golden cage >'Dd Put bin, in thirtyhirty lessons from our village teacher, but , Pupils in town want to join, and we have ie slightest cost or obligati Expression marks, you know, -jow we are without any teacher here, so 1 “Waiting list. Our club is divided into mv house where he would sing for me.. Then I could not continue my music. I was very And tell me them so I can play nr««2rs 11,1,1 Juveniles, and we have splendid this"said "" Oh.0 sif ITiTthc™' that was » me your Special LimGi m sorry for this, but nevertheless The Etude We 8Jams at our meetings. On one meeting The piece as it should go. helps me a great deal. and ve a P,a-V of Handel’s life in costume, m I enjoy sitting at my much-beloved piano, All gave a Prize for the best composition, -uy younger sister wrote a letter to your Tat it n.;verTSang, Street No.. R, F. D. 01 They have to notice sharps and flats, twin, members who took part were under m ft**™ It’s a pleasure to let The Etude do your Christmas shopping Just sit at your desk at home. Your friends will 1 months and YOU SAVE THE PICK OF THE MAGAZINE WORLD COMBINED WITH ETUDE MUSIC MAGAZINE AT ATTRACTIVE SAVINGS All $■4.65 Regular price.$6.00 J Save $1.00 #8j Mccan’sM PSS5irs“ MAOAZ,NE :::: *?:881 $25 ’l:SSj $f0h0 E5SK®BE.a£2SS5::::^| $3.25 Si£E.!SS£."*^2,’,E : . =s=^as ?S.Dyf,'Sr.,.<=.,,S,'c“,NE SKJ S2T10 S&K:::: $i:°5S| $$0 [as S^SKWSSSSS#:«} $5:*50 .<£} as PIsUH?oEna^crer^,NE:::: $25 *1:88 j jJSo AN EXTRAORDINARY COMBINATION! ADD THE FOLLOWING MAGAZINES TO ANY CLUB OR UNIT ABOVE LISTED AT THE PRICE QUOTED: !w^wtbre!rere)i|$4'85 > DO NOT INCLUDE CANADIAN OR 1 For Everyone Interested in Music Write to us S for prices ETUDE MUSIC MAGAZINE Take sub scrip- on any Price $2.00 a Year * BBSs not listed. THEO. PRESSER CO., Publishers, 1710-12-14 Chestnut St., Philadelphia ticulars. J^off/ane, Jerry froucjft it J ELL-O cAmerica's most famous 3 esse